thanks ken.
one comes across various manuscript vetting strategies.
i was struck once to see a call for papers from Europe or the US that insisted that those submitting proposals must have particular credentials, either a PhD or an academic post or both, not sure which. When I asked why, I was told its bcs the publishers are more comfortable with such credentials.
I recall mentioning to an Igbo professor in Nigeria more than a decade ago that I was writing on Igbo thought, making a comparison between that and Jewish cosmology. His response was ''are you Igbo?"
At the beginning of my journeys in Ifa studies, I mentioned my interest to a Yoruba scholar of Yoruba thought in a Nigerian university. She was nice and very helpful but found my aspiration odd, wondering how a person outside the circle of Yoruba esoterica could think he could enter the subject by jumping into the middle of the ocean of this disciplinary matrix, which she understood as Ifa. Find a realistic subject you can build an academic career on, she urged, not trying to enter into something about which you have no clue, something in which you even have no lineage connection with, she stated.
So, I speak from a history of struggle against restrictive gatekeepers, people who are very different from my experience with the Falola Network, who often have even requested my work in relation to various disciplines, rather than me offering the work and seeking acceptance.
In contrast to such restrictionists, my academic publishing opportunities in Ifa, except for one essay I submitted purely on my own initiative,
Ifa in relation to autobiographical theory and the letters and art of the Dutch/French artist Vincent van Gogh, have come from discerning Yoruba scholars, such as Abiola Irele, who requested I write the 2011 Oxford Encylopedia of African Thought essays on Ifa/Odu, and on the Yoruba philsopy concept
Ori, which I did, even though he might know I have no academic education in Yoruba, philosophy or religion.
He also commissioned me to write the encyclopedia article on modern African art even though I have no academic education there, either. The writer of the companion essay, on traditional African art, was Suzanne Preston Blier, PhD Art History, Columbia, longtime Professor of Art History, Harvard, writing side by side with Adepoju, MA Literature, then graduate sudent in literature,
no PhD in anything.
I would have gained other prominent publications, in different fields, with Irele's suggestions, but my understanding of the opportunities he was offering was quite limited.
Almost all my publications with the Falola Nework have been by invitation, except the one on women in spirituality in the Palgrave Handbook of African Womens Studies. The essay on the significance of Yoruba philosophy to education in an issue of the Yoruba Studies Review, the article in the Falola book on the artist Victor Ekpuk, the one on African philosophies of art in the Adeshina/Falola book on African Philosophy, the other on African environmental ethics in the Wariboko/Falola book on African ethics, those in the Philosophy of Nimi Wariboko book, the Ifa/Calvino,/Heidegger essay in the book on Africa in the changing global order, those on Falola's work in the Yoruba Studies Review, one of them even first published as an essay on Facebook.
Other essays would also have been published on such requests if I had been better organised. Books would also have come out based on such suggestions, but im still in the process of working out my direction in relation to book publication.
There are scholars highly academically trained in those various fields across the world which the network edtors could easily reach, but they choose to request contributions from Adepoju who is largely self trained in the fields in question, philosophy, art and Yoruba Studies.
So, Adepoju will be particularly sensitive to such sterling values.