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AN ENGLISH NURSERY RHYME
The law locks up the man or woman
Who steals the goose from off the common
But leaves the greater villain loose
Who steals the common from off the goose
The law demands that we atone
When we take things that we do not own
But leaves the lords and ladies fine
Who take things that are yours and mine
The poor and wretched don’t escape
If they conspire the law to break
This must be so but they endure
Those who conspire to make the law
The law locks up the man or woman
Who steals the goose from off the common
And geese will still a common lack
Till they go and steal it back
- Anonymous (circa 1764)
--
kenneth harrow
professor emeritus
dept of english
michigan state university
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AN ENGLISH NURSERY RHYME
The law locks up the man or woman
Who steals the goose from off the common
But leaves the greater villain loose
Who steals the common from off the goose
The law demands that we atone
When we take things that we do not own
But leaves the lords and ladies fine
Who take things that are yours and mine
The poor and wretched don’t escape
If they conspire the law to break
This must be so but they endure
Those who conspire to make the law
The law locks up the man or woman
Who steals the goose from off the common
And geese will still a common lack
Till they go and steal it back
- Anonymous (circa 1764)
--
Listserv moderated by Toyin Falola, University of Texas at Austin
To post to this group, send an email to USAAfric...@googlegroups.com
To subscribe to this group, send an email to USAAfricaDial...@googlegroups.com
Current archives at http://groups.google.com/group/USAAfricaDialogue
Early archives at http://www.utexas.edu/conferences/africa/ads/index.html
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Great thanks IBK, for unmasking that perfidious creature whom you describe as not only lazy, insufficiently unmotivated, a failure as an academic unable to gain the confidence of his peers, a person whose writing is characterised by ''Total bombast and illogical stringing of high sounding words to trick [ his] porous mind that [ he has] worked hard at thinking'', naked yet claiming to be clothed in an emperor's clothes, a stunted thinker who imagines himself as a hippopotamus [though] less than a rat in... stature. If he jumps into the water, he will make no splash or steam, a fly buzzing around and land [ing] on any feces he chooses, in puerile attempt [s] to pass off a dog as a monkey, as you once strikingly characterised him, a person who ''hides behind words he does not fully understand to create his own imaginary alternative reality'' yet is able to gain the confidence of a Toyin Falola.
Such a characterisation might ordinarily be seen as illogical but may history not bear witness otherwise?
How could a pseudo-scholar, a trader in emptiness masquerading as knowledge, be able to deceive such a consummate scholar as Falola?
Was the famous British historian Hugh Trevor-Roper not deceived by the forgery known as the Hitler Diaries, fabrications pretending to be the intimate writings of the leader of the Third Reich?
Please forgive the awkwardness of comparing Trevor-Roper with Falola, since the much earlier historian represents everything Falola contradicts.
Roper, then Regius Professor of Modern History at Oxford, is the man known for the following statement:
Perhaps, in the future, there will be some African history to teach. But at present there is none, or very little: there is only the history of the Europeans in Africa. The rest is largely darkness… the unedifying gyrations of barbarous tribes in picturesque but irrelevant corners of the globe, and darkness is not the subject of history.
Toyin Falola, currently Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin, on the other hand, may be represented by this passage privileging African thought and history in its formation before contact with Europe:
Wisdom is like a baobab tree, a single person's hand cannot embrace it. It is time for all disciplines to combine, providing an understanding of the centres of indigenous epistemologies, unifying their multi-layered and intricately connected ontologies, plumbing the depth and breadth of their ritual archives, the density of each genre with its own hydra-headed fragments and hundreds of individual constructions and presentations, converting them to theories of universal power.
Forgive me for correlating Falola's words from his essay,"Power is Knowledge: Discussions in Intellectual Liberation", where the Akan baobab image comes from, with lines from his "Ritual Archives'', slightly edited for smoothness, in order to arrive at that representative passage.
Is it possible this masquerade has bewitched Falola by pretending to be a Falola scholar, presuming in ''Toyin Falola: A Dancing Mask and His Footprints,'' to sum up strategic aspects of Falola's work from the past ten years?
This character's expressions also include what he describes as other mappings of Falola's creativity in terms of what he wants us to think are multi-cultural and multi-disciplinary forms, "Toyin Falola and the Caravan of Thought: African History on a Global Stage in a Multifaceted Lens", Parts One and Two.
He claims to examine and apply Falola's ideas on classical African thought in ''Epistemic Roots, Universal Routes and Ontological Roofs of African 'Ritual Archives': Disciplinary Formations in African Thought'', "Reworking Ifa : Self Initiation into Èṣù through Contemplation, Invocation and Prayer Inspired by the Work of Toyin Falola'' Parts One and Two" and ''Baobab Epistemology and Mysticism : A Critical Response to Toyin Falola on the Baobab as Epistemic Metaphor''. He presents himself as further developing these orientations in ''African Epistemic Metaphors : From the Mask to the Baobab : Toyin Falola and the Mystical Dimension of Knowledge,'' Parts One, Two and Three.
How much of this is hot air and how much true scholarship?
Shorter essays also issue from him, seemingly aspiring to density of thought, such as ''A Response to Toyin Falola's "Humanism and the Future of the Humanities", ''The Scholar as Public Educator vs the Scholar as Self Preserver : Engaging The Toyin Falola Reader'', ''Paradoxical Positions: Western Thought in Toyin Falola’s Introduction to the Toyin Falola Reader and in Salimonu Kadiri’s Contributions in the USAAfrica Dialogues Listserve'' with a rich debate at that link.
In his normal lazy style of self publishing he has also thrown online his essay correlating Falola's thought and a strand of Hinduism, ''Imagination as Transposition Between Realities : Image Theory in Falola’s Thought and in Hindu Yantra Aesthetics''.
Clearly an ambitious creature. Suspiciously so in the breadth of knowledge he claims for himself.
These questionable posturings of intercultural and multi-disciplinary knowledge tiresomely unfold in a search for his writings on Falola on the USAfrica Dialogues Series group and a general online search on the same subject.
One must be wary of this character, though.
What self respecting scholar chooses to use social media as a publishing platform, talk less a primary one?
An effort to avoid the cleansing rigors of peer review, as you once alleged?
''...an impostor and a charlatan who cuts corners and is unwilling to subject himself to the rigours of academics but wishes to bask in the undeserved limelight (by tagging on the coattails of hard thinkers and workers)'' as you boldly declared in response to Falola's ''Toyin Adepoju is a Genius''?
Falola perhaps dazzled by the chap's flashy displays, even in their emptiness of substance? A ''genius'' whose productions are cooked in his bedroom and the cave of his mind alone and assessed by no one?
No wonder he has no academic position, a misfit even in his earlier University of Benin position as you once observed, fleeing to Britain to engage in self indulging splurging in anything that caught his fancy, writing about everything from erotica to esoterica, publishing from Youtube to academia.edu to Scribd to Facebook to Linkedin to listerves and self created websites, creating and populating more than eighty blogs with different levels of content, writing in Standard English and translating the first chapter of Dante's Divine Comedy, one of the greatest works of Western literature, into Nigerian Pidgin English, as if such dilettantism would impress anyone, a so called multi-disciplinary and multi-platform scholar, seeking to bamboozle through butterfly restlesness in place of any kind of solidity, his publications in academic books and journals likely to be due to the kindness of honest scholars taking pity on him.
From within this clowning he claims to be rethinking and reworking such venerable African knowledge systems as the Yoruba origin Ifa, the most venerable Ogboni, the ancient Olokun and to map the esoteric Egbe/Mgbe and its Nsibidi script with its premier artistic projector Victor Ekpuk.
Really?
Within that little head of his alone?
He even claims to be developing an expansion of the Hindu ritual the Sri Devi Khadgamala Stotram, in honour of the Goddess Tripurasundari, from the dust of whose feet the cosmos was created, one side glance from whom can transform a decrepit old man, unskilled in the arts of love, into a focus of crazy desire for women, who race after him, their clothes bursting asunder in their haste, as described in the Soundaryahalari, The Billowing Waves of the Ocean of Beauty, Goddess of Lust and yet of Wisdom, tensions unifying cosmos, but this character's description of his efforts resembles one of his suspicious schemes to monetise knowledge which he dubiously claims to possess.
Focus yourself on something verifiable and credible, he should be told.
Scholar of relationships between the visual and verbal arts, philosophy, spirituality and science he calls himself, pontificating on no less a one than the magnificent Islamic philosopher and mystic Ibn Arabi, claiming to analyse the dazzling opening to Arabi's awesome Futuhat al Makkiyah, The Meccan Illuminations, correlating Ifa and Buddhist poet hermit Milarepa, claiming such pioneering analyses as of Bruce Onobrakpeya's artistic Oracle series and a broad ranging and supposedly unique study of the Nigerian artistic movement Uli, a self constructed website containing the texts and cosmographic art of the Ghanaian Nyornuworfia Agorsor, among other self bloatings.
Even positioning himself as a thinker on such pre-eminent scholars as Nimi Wariboko, Abiola Irele and Immanuel Kant.
Really? One person.
Its challenging trying to present more than this representative fraction of his roamings from subject to subject. Where could I find the energy to fully map his will of the wisp fleeting from discipline to discipline, from culture to culture, continent to continent, from claiming such unprecedented creativities as composing new Ifa literature by a non-initiate of that venerably esoteric guild to making a film unifying the poetry of Christopher Okigbo with the underwater photography of David Doubilet, even taking time to do what he calls celebrations of his teachers at the University of Benin while claiming he could settle neither there nor anywhere because of his self proclaimed creative restlessness.
Really?
Softening them up to make it hard for them to expose the rogue pseudo-scholar as they know him?
A PhD he will not get like any serious scholar. A person unable to complete a doctorate at both the University of Benin and University College, London, needs to take a hard look at himself.
He is known to claim inadequate freedom in those places to pursue his predilections, his eccentricities, as if academia is about dancing without rhythm, the style he is known for.
Skipping across his fantasies, how can he thrive in the rule bound rigour of supervised academia? Those who schooled well after him have long become professors while he glories in posting essays on social media. A confused creature.
An academic job he will not seek. Where will he find the discipline for such focused pursuits? He might even see such systems as constricting to his self understood largeness of quest. A circumference everywhere and a centre nowhere? That he was able to hold an academic job at the University of Benin for the time he did is itself an aberration, given the chameleonic creature he is.
His means of income, if he has any, is unknown. He is known for such funny schemes as trying to make money from so called self created knowledge systems. He is to be found requesting donations at the conclusions of his tediously ceaseless essays, claiming to have created one of the most extensive free access online scholarly and writing platforms. He should approach UNESCO if he is serious. We are not fooled.
He presented an odd story tring to paint himself as a visionary thinker out of place in the world.
Hm! He wishes. Get down to work like everyone else, sir.
A cautionary tale really in spite of the impression of scope of writing and publication.
Who is he really?
Seat your ass in one place and be useful to yourself and others, he should be told, not gallivanting ceaselessly online from place to place.
Thanks for your service to humanity, brother, in unmasking him.
Thanks
A Scandalised Onlooker
To view this discussion on the web visit https://groups.google.com/d/msgid/usaafricadialogue/DB6PR04MB29827807B20E6B37184D971BA6AF9%40DB6PR04MB2982.eurprd04.prod.outlook.com.
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Response
Great thanks for unmasking that perfidious creature whom you describe as not only lazy, insufficiently unmotivated, a failure as an academic unable to gain the confidence of his peers, a person whose writing is characterized by ''Total bombast and illogical stringing of high sounding words to trick [ his] porous mind that [ he has] worked hard at thinking'', naked yet claiming to be clothed in an emperor's clothes, a stunted thinker who imagines himself as a hippopotamus [though] less than a rat in... stature. If he jumps into the water, he will make no splash or steam, a fly buzzing around and land [ing] on any faeces he chooses, in puerile attempt [s] to pass off a dog as a monkey, as you once strikingly characterised him, a person who ''hides behind words he does not fully understand to create his own imaginary alternative reality'' yet is able to gain the confidence of the consummate scholar a Toyin Falola, as you state.
Such a characterisation might ordinarily be seen as illogical but may history not bear witness otherwise?
How could a pseudo-scholar, a trader in emptiness masquerading as knowledge, be able to deceive such a scholar as Falola?
Was the famous British historian Hugh Trevor-Roper not deceived by the forgery known as the Hitler Diaries, fabrications pretending to be the intimate writings of the leader of the Third Reich?
Please forgive the awkwardness of comparing Trevor-Roper with Falola, since the much earlier historian represents everything Falola contradicts.
Roper, then Regius Professor of Modern History at Oxford, is the man known for the following statement:
Perhaps, in the future, there will be some African history to teach. But at present there is none, or very little: there is only the history of the Europeans in Africa. The rest is largely darkness… the unedifying gyrations of barbarous tribes in picturesque but irrelevant corners of the globe, and darkness is not the subject of history.
Toyin Falola, currently Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin, on the other hand, may be represented by this passage privileging African thought and history in its formation before contact with Europe:
Wisdom is like a baobab tree, a single person's hand cannot embrace it. It is time for all disciplines to combine, providing an understanding of the centres of indigenous epistemologies, unifying their multi-layered and intricately connected ontologies, plumbing the depth and breadth of their ritual archives, the density of each genre with its own hydra-headed fragments and hundreds of individual constructions and presentations, converting them to theories of universal power.
Forgive me for correlating Falola's words from his essay,"Power is Knowledge: Discussions in Intellectual Liberation", where the Akan baobab image comes from, with lines from his "Ritual Archives'', slightly edited for smoothness, in order to arrive at that representative passage.
Is it possible this masquerade has bewitched Falola by pretending to be a Falola scholar, presuming in ''Toyin Falola: A Dancing Mask and His Footprints,'' to sum up strategic aspects of Falola's work from the past ten years?
This character's expressions also include what he describes as other mappings of Falola's creativity in terms of what he wants us to think are multi-cultural and multi-disciplinary forms, "Toyin Falola and the Caravan of Thought: African History on a Global Stage in a Multifaceted Lens", Parts One and Two.
He claims to examine and apply Falola's ideas on classical African thought in ''Epistemic Roots, Universal Routes and Ontological Roofs of African 'Ritual Archives': Disciplinary Formations in African Thought'', "Reworking Ifa : Self Initiation into Èṣù through Contemplation, Invocation and Prayer Inspired by the Work of Toyin Falola'' Parts One and Two" and ''Baobab Epistemology and Mysticism : A Critical Response to Toyin Falola on the Baobab as Epistemic Metaphor''. He presents himself as further developing these orientations in ''African Epistemic Metaphors : From the Mask to the Baobab : Toyin Falola and the Mystical Dimension of Knowledge,'' Parts One, Two and Three.
How much of this is hot air and how much true scholarship?
Shorter essays also issue from him, seemingly aspiring to density of thought, such as ''A Response to Toyin Falola's "Humanism and the Future of the Humanities", ''
The Scholar as Public Educator vs the Scholar as Self Preserver : Engaging The Toyin Falola Reader'', ''Paradoxical Positions: Western Thought in Toyin Falola’s Introduction to the Toyin Falola Reader and in Salimonu Kadiri’s Contributions in the USAAfrica Dialogues Listserve'' with a rich debate at that link.
Much writing. How much substance?
In his normal lazy style of self publishing, as you describe it, he has also thrown online his essay correlating Falola's thought and a strand of Hinduism, ''Imagination as Transposition Between Realities : Image Theory in Falola’s Thought and in Hindu Yantra Aesthetics''.
Clearly an ambitious creature. Suspiciously
so in the breadth of knowledge he claims for himself.
These questionable posturings of intercultural and multi-disciplinary knowledge tiresomely unfold in a search for his writings on Falola on the USAfrica Dialogues Series group and a general online search on the same subject.
One must be wary of this character, though.
What self respecting scholar chooses to use social media as a publishing platform, talk less a primary one?
An effort to avoid the cleansing rigors of peer review, as you once alleged?
''...an impostor and a charlatan who cuts corners and is unwilling to subject himself to the rigours of academics but wishes to bask in the undeserved limelight (by tagging on the coattails of hard thinkers and workers)'' as you boldly declared in response to Falola's ''Toyin Adepoju is a Genius''?
Falola perhaps dazzled by the chap's flashy displays, even in their emptiness of substance? A ''genius'' whose productions are cooked in his bedroom and the cave of his mind alone and assessed by no one?
No wonder he has no academic position, a misfit even in his earlier University of Benin position as you once observed, fleeing to Britain to engage in self indulging splurging in anything that caught his fancy, writing about everything from erotica to esoterica, publishing from Youtube to academia.edu to Scribd to Facebook to Linkedin to listerves and self created websites, creating and populating more than eighty blogs with different levels of content, writing in Standard English and translating the first chapter of Dante's Divine Comedy, one of the greatest works of Western literature, into Nigerian Pidgin English, as if such dilettantism would impress anyone, a so called multi-disciplinary and multi-platform scholar, seeking to bamboozle through butterfly restlesness in place of any kind of solidity, his publications in academic books and journals likely to be due to the kindness of honest scholars taking pity on him.
From within this clowning he claims to be rethinking and reworking such venerable African knowledge systems as the Yoruba origin Ifa, the most venerable Ogboni, the ancient Olokun and to map the esoteric Egbe/Mgbe and its Nsibidi script with its premier artistic projector Victor Ekpuk.
Really?
Within that little head of his alone?
He even claims to be developing an expansion of the Hindu ritual the Sri Devi Khadgamala Stotram, in honour of the Goddess Tripurasundari, from the dust of whose feet the cosmos was created, a side glance from whom can transform a decrepit old man, unskilled in the arts of love, into a focus of crazy desire for women, who race after him, their clothes bursting asunder in their haste, as described in the Soundaryahalari, The Billowing Waves of the Ocean of Beauty, Goddess of Lust and yet of Wisdom, tensions unifying cosmos, but this character's description of his efforts resembles one of his suspicious schemes to monetise knowledge which he dubiously claims to possess.
Focus yourself on something verifiable and credible, he should be told.
Scholar of relationships between the visual and verbal arts, philosophy, spirituality and science he calls himself, pontificating on no less a one than the magnificent Islamic philosopher and mystic Ibn Arabi, claiming to analyse the dazzling opening to Arabi's awesome
Futuhat al Makkiyah, The Meccan Illuminations, correlating Ifa and Buddhist poet hermit Milarepa, claiming such pioneering analyses as of Bruce Onobrakpeya's artistic Oracle series and a broad ranging and supposedly unique study of the Nigerian artistic movement Uli, a self constructed website containing the texts and cosmographic art of the Ghanaian Nyornuworfia Agorsor, among other self bloatings.
Response
Great thanks
for unmasking that perfidious creature whom
you describe as not only lazy, insufficiently unmotivated, a failure as
an academic unable to gain the confidence of his peers, a person whose
writing is characterized by ''Total bombast and illogical stringing
of high sounding words to trick [ his] porous mind that [he
has] worked hard at thinking'', naked yet claiming to be clothed in
an emperor's clothes, a stunted thinker who imagines himself as a
hippopotamus [though] less than a rat in... stature. If he jumps into...water, he will make no splash or steam, a fly buzzing around and
land [ing] on any faeces he chooses, in puerile attempt [s] to pass off a
dog as a monkey, as you once strikingly characterised
him, a person who ''hides behind words he does not fully
understand to create his own imaginary alternative reality'' yet is
able to gain the confidence of the consummate scholar Toyin Falola,
as you state.
Such a characterisation might ordinarily be seen as illogical but may history not bear witness otherwise?
How could a pseudo-scholar, a trader in emptiness masquerading as knowledge, be able to deceive such a scholar as Falola?
Was the famous British historian Hugh Trevor-Roper not deceived by the forgery known as the Hitler Diaries, fabrications pretending to be the intimate writings of the leader of the Third Reich?
Please forgive the awkwardness of comparing Trevor-Roper with Falola, since the much earlier historian represents everything Falola contradicts.
Roper, then Regius Professor of Modern History at Oxford, is the man known for the following statement:
Perhaps, in the future, there will be some African history to teach. But at present there is none, or very little: there is only the history of the Europeans in Africa. The rest is largely darkness… the unedifying gyrations of barbarous tribes in picturesque but irrelevant corners of the globe, and darkness is not the subject of history.
Toyin Falola, currently Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin, on the other hand, may be represented by this passage privileging African thought and history in its formation before contact with Europe:
Wisdom is like a baobab tree, a single person's hand cannot embrace it. It is time for all disciplines to combine, providing an understanding of the centres of indigenous epistemologies, unifying their multi-layered and intricately connected ontologies, plumbing the depth and breadth of their ritual archives, the density of each genre with its own hydra-headed fragments and hundreds of individual constructions and presentations, converting them to theories of universal power.
Forgive me for correlating Falola's words from his essay,"Power is Knowledge: Discussions in Intellectual Liberation", where the Akan baobab image comes from, with lines from his "Ritual Archives'', slightly edited for smoothness, in order to arrive at that representative passage.
Is it possible this masquerade has bewitched Falola by pretending to be a Falola scholar, presuming in ''Toyin Falola: A Dancing Mask and His Footprints,'' to sum up strategic aspects of Falola's work from the past ten years?
This character's expressions also include what he describes as other mappings of Falola's creativity in terms of what he wants us to think are multi-cultural and multi-disciplinary forms, "Toyin Falola and the Caravan of Thought: African History on a Global Stage in a Multifaceted Lens", Parts One and Two.
He claims to examine and apply Falola's ideas on classical African thought in ''Epistemic Roots, Universal Routes and Ontological Roofs of African 'Ritual Archives': Disciplinary Formations in African Thought'', "Reworking Ifa : Self Initiation into Èṣù through Contemplation, Invocation and Prayer Inspired by the Work of Toyin Falola'' Parts One and Two and ''Baobab Epistemology and Mysticism : A Critical Response to Toyin Falola on the Baobab as Epistemic Metaphor''. He presents himself as further developing these orientations in ''African Epistemic Metaphors : From the Mask to the Baobab : Toyin Falola and the Mystical Dimension of Knowledge,'' Parts One, Two and Three.
How much of this is hot air and how much true scholarship?
Shorter essays also issue from him, seemingly aspiring to density of thought, such as ''A Response to Toyin Falola's "Humanism and the Future of the Humanities", ''The Scholar as Public Educator vs the Scholar as Self Preserver : Engaging The Toyin Falola Reader'', ''Paradoxical Positions: Western Thought in Toyin Falola’s Introduction to the Toyin Falola Reader and in Salimonu Kadiri’s Contributions in the USAAfrica Dialogues Listserve'' with a rich debate at that link.
Much writing. How much substance?
In his normal lazy style of self publishing, as you describe it, he has also thrown online his essay correlating Falola's thought and a strand of Hinduism, ''Imagination as Transposition Between Realities : Image Theory in Falola’s Thought and in Hindu Yantra Aesthetics''.
Clearly an ambitious creature. Suspiciously so in the breadth of knowledge he claims for himself.
These questionable posturings of intercultural and multi-disciplinary knowledge tiresomely unfold in a search for his writings on Falola on the USAfrica Dialogues Series group and a general online search on the same subject.
One must be wary of this character, though.
What self respecting scholar chooses to use social media as a publishing platform, talk less a primary one?
An effort to avoid the cleansing rigors of peer review, as you once alleged?
''...an impostor and a charlatan who cuts corners and is unwilling to subject himself to the rigours of academics but wishes to bask in the undeserved limelight (by tagging on the coattails of hard thinkers and workers)'' as you boldly declared in response to Falola's ''Toyin Adepoju is a Genius''?
Falola perhaps dazzled by the chap's flashy displays, even in their emptiness of substance? A ''genius'' whose productions are cooked in his bedroom and the cave of his mind alone and assessed by no one?
No wonder he has no academic position, a misfit even in his earlier University of Benin position as you once observed, fleeing to Britain to engage in self indulging splurging in anything that caught his fancy, writing about everything from erotica to esoterica, publishing from Youtube to academia.edu to Scribd to Facebook to Linkedin to listerves and self created websites, creating and populating more than eighty blogs with different levels of content, writing in Standard English and translating the first chapter of Dante's Divine Comedy, one of the greatest works of Western literature, into Nigerian Pidgin English, as if such dilettantism would impress anyone, a so called multi-disciplinary and multi-platform scholar, seeking to bamboozle through butterfly restlessness in place of any kind of solidity, his publications in academic books and journals likely to be due to the kindness of honest scholars taking pity on him.
From within this clowning he claims to be rethinking and reworking such venerable African knowledge systems as the Yoruba origin Ifa, the most venerable Ogboni, the ancient Olokun and to map the esoteric Egbe/Mgbe and its Nsibidi script with its premier artistic projector Victor Ekpuk.
Really?
Within that little head of his alone?
He even claims to be developing an expansion of the Hindu ritual the Sri Devi Khadgamala Stotram, in honour of the Goddess Tripurasundari, from the dust of whose feet the cosmos was created, a side glance from whom can transform a decrepit old man, unskilled in the arts of love, into a focus of crazy desire for women, who race after him, their clothes bursting asunder in their haste, as described in the Soundaryahalari, The Billowing Waves of the Ocean of Beauty, Goddess of Lust and yet of Wisdom, tensions unifying cosmos, but this character's description of his efforts resembles one of his suspicious schemes to monetise knowledge which he dubiously claims to possess.
Focus yourself on something verifiable and credible, he should be told.
Scholar of relationships between the visual and verbal arts, philosophy, spirituality and science he calls himself, pontificating on no less a one than the magnificent Islamic philosopher and mystic Ibn Arabi, claiming to analyse the dazzling opening to Arabi's awesome Futuhat al Makkiyah, The Meccan Illuminations, correlating Ifa and Buddhist poet hermit Milarepa, claiming such pioneering analyses as of Bruce Onobrakpeya's artistic Oracle series and a broad ranging and supposedly unique study of the Nigerian artistic movement Uli, a self constructed website containing the texts and cosmographic art of the Ghanaian Nyornuworfia Agorsor, among other self bloatings.
Even positioning himself as a thinker on such pre-eminent scholars as Nimi Wariboko, Abiola Irele and Immanuel Kant.
Really? One person.
Its challenging trying to present more than this representative fraction of his roamings from subject to subject. Where could I find the energy to fully map his will of the wisp fleeting from discipline to discipline, from culture to culture, continent to continent, from claiming such unprecedented creativities as composing new Ifa literature by a non-initiate of that venerably esoteric guild to making a film unifying the poetry of Christopher Okigbo with the underwater photography of David Doubilet, Sanskrit religious music and Christian Gregorian chant, even taking time to do what he calls celebrations of his teachers at the University of Benin while claiming he could settle neither there nor anywhere because of his self proclaimed creative restlessness.