On 14/03/2016 11:04, Oluwatoyin Adepoju wrote:

Fascinating
- i wonder if you have been following the "Rhodes Must Fall" debate here 
in Oxford & elsewhere which has blossomed into a a campaign to 
de-colonialise the curriculum - there seem to be several conferences and 
workshops related to that - i will look for you on twitter
and see if i can share the links though maybe if you follow

NatanielAdamTobiasC:
my research & teaching at http://www.natcphd.me . Check out my public 
engagement at http://www.dtmh.ucl.ac.uk . #RhodesMustFallOxford
>
>
>
>
> ​
>
> *Nsibidi/Ekpuk Philosophy and Mysticism *
>
>
> *Reflections on  Progress in  Expanding a  Cognitive System in the
> Context of Exploring Africana Cognitive Expressions and Art in a Global
> Framework
> *
>
>                                                                                                                                                                          Oluwatoyin Vincent Adepoju
> Compcros <http://danteadinkra.wix.com/compcros>
>                                                                                                                                                                Comparative Cognitive Processes and Systems
>                                                                                                                                                 "Exploring Every Corner of the Cosmos in Search of Knowledge"
>
>
>
>
>
>
>
> I am so pleased at the progress I am making on this project in a field
> of Africana esotericism,  the scope of which I first presented in
> "Nsibidi/Ekpuk Philosophy and Mysticism : Research and Publication
> Project", posted on various social networks, on Facebook,
> <https://www.facebook.com/notes/oluwatoyin-vincent-adepoju/nsibidiekpuk-philosophy-and-mysticism-research-and-publication-project/10153389283379103>
> Academia. edu <https://www.academia.edu/s/916629695b> and Scribd,
> inspiring a rich discussion by various contributors  at Academia.edu.
>
> The central essay describing the nature, uses and potential  of Nsibidi
> symbolism, from South-South and South-Eastern Nigeria and South-Western
> Cameroon,  is taking me more than eight months to complete, as I learn
> more of the details of this  ancient body of knowledge and as its
> implications unfold.
>
> Ever since I observed, as a teenager,  that classical African culture
> was not included in our rich family library,and since I read Wole
> Soyinka's /Myth, Literature and the African World/, an awesome
> celebration of classical African thought, within the context of the
> beginning of my quest for ultimate meaning in exploring  Western
> esotericism and new Western religions, Christianity, Hinduism and
> Buddhism in the 70s and 80s, one of the goals to which I have devoted
> myself is the exploration of the philosophical and mystical
> possibilities of African thought, art and other expressions, from the
> classical period to the present.
>
> It has turned out to be a most inspiring experience, more than
> justifying my conviction that the cognitive wonders and sublime mind
> expanding ideations and perceptions, expanding the self into the
> immanence of cosmic possibility,  accessible through Asian and Western
> philosophies, central to shaping those civilizations and profoundly
> reverberant globally,  may also be accessed, in their own distinctive
> ways, through Africana bodies of knowledge embodying the distinctive
> responses of Africans within and beyond the continent, and those
> inspired by their achievements, to the struggle to appreciate and
> understand the beauty, meaning, processes and power of the cosmos.
>
> One should be able to look out of the window of one's life into the
> expanse of existence and plot cosmic coordinates from that point,
> coordinates which could take one on a journey into infinity.
>
> When I began my explorations, I concluded from the texts I was exposed
> to, that such breadth of aspiration was more often associated with
> Western and Asian than with African thought.
>
> Even now, in the face of the expansion of texts in various media on
> Africana related philosophies, spiritualities and arts,what may be
> understood as the ultimate human aspiration, the quest to perceive or
> experience the source of existence, the mystical quest, is not
> represented in relation to African contexts in anything near the same
> scope as in relation Asian and Western contexts, yet the evidence for
> this aspiration in the Africana context is abundant, though inadequately
> highlighted, in classical and newer Africana thought, art and even science.
>
> My goal is to contribute to elucidating what has been achieved so far
> and build upon it in ways that all people can use in enriching their
> lives in both a theoretical and a practical sense.
>
> The Nsibidi/Ekpuk project is itself part of a larger project in which I
> aspire to integrate the Western, Asian and African streams of my
> philosophical, spiritual and artistic quest in a synthesis revolving
> around the exploration of the essence of being as mediated through
> aesthetics, an exploration of beauty in terms of the implications of the
> Yoruba expression  "Iwa le Wa" which may be translated as " Character or
> inward being or is beauty, an aesthetic configuration".
>
> Along with presentations in more formal media, such as a book and book
> chapters, my major workshops in exploring these possibilities and
> related interests  has been through the flexibility represented by
> Blogger <https://www.blogger.com/profile/09960684003287695951>, Scribd
> <https://www.scribd.com/user/20819756/Toyin-Adepoju>, Academia.edu
> <https://compcros.academia.edu/OluwatoyinAdepoju>, Flickr
> <https://www.flickr.com/photos/ifadante/>, You Tube
> <https://www.youtube.com/user/Compcros/videos?flow=grid&view=0>
> [Compcros account], You Tube
> <https://www.youtube.com/user/ifastudent/videos?sort=dd&view=0&shelf_id=0>
> [ Adepoju account]   and my Facebook Notes
> <https://www.facebook.com/oluwatoyinvincent.adepoju/notes> and photo
> albums
> <https://www.facebook.com/oluwatoyinvincent.adepoju/photos_albums>,
> various websites and Facebook groups, the last two categories in
> particular, along with my print and book publications, accessible from
> the Cognitive Platforms
> <http://danteadinkra.wix.com/compcros#!cognitive_platforms/cee5> link on
> the website of Compcros, the system in terms of which these initiatives
> are unified.
>
> These sources represent most of my work since 2006 when I began blogging.
>
> Some of the most important work since then as well as all initiatives
> before 2006 are yet to be made publicly accessible.
>
> I am working towards further integration of  these investigations in
> terms of multimedia websites and books.
>
> These explorations have  taken me into magnificent  domains of knowledge
> and experience, the following Africana systems being those to which I
> have paid particular attention, as evident from my work so far :
>
>
> *Classical Benin/Edo Spirituality and Art *
>
> Benin/Edo  nature spirituality
>
> Benin/Edo shrine aesthetics
>
> Benin/Edo Olokun spirituality, philosophy and art
>
> Benin experience of Ifa, as represented by the thought of babalawo
> Joseph Ohomina and the writings of Cromwell Osamaro Ibie
>
>
> *Classical Yoruba  Spirituality and Art and its **and its Influence on
> Newer Thinkers and Artists *
>
> Classical Yoruba and Diaspora Orisa and spirituality, philosophy and art
>
> Yoruba and Diaspora Ifa spirituality, philosophy and art
>
> The Yoruba Orisa forest cosmography of the school of Susanne Wenger
>
> Yoruba Ijala hunter's poetry and philosophy, particularly as depicted by
> Abiola Irele
>
> Yoruba female centred spiritualities and artistic traditions of Gelede,
> Iyami and Aje in Nigeria and the Diaspora
>
>
>
> *South-South and South-East Nigeria and ***South-West *Cameroon Ekpe
> Esotericism and its Conjunction with Nigerian Art
>
> *
> South-South and South-West Nigeria and Cameroon Ekpe esotericism and its
> Nsibidi symbolism, in conjunction with the art of Victor Ekpuk, and in
> relation to Igbo uli art, its intersection with the work of Obiora
> Udechukwu and other artists of the Nsukka school and other Nigerian artists
>
>
> *Classical Fulani Spiritualities and Philosophies and the Thought of
> Related Peoples in Relation to the Work of Newer Thinkers and Scholars
>
> *
> *
> *
> As represented by the work of Ahmadou Hamapte Ba and studies of his
> work, by the work of Germaine Dieterlen and of Marcele and Camille
> Griaulle**and studies of their work*
> *
> *
> *
>
> *Classical Akan and Ewe [ Ghanaian]  Spirituality and Art and its **and
> its Influence on Newer Thinkers and Artists *
>
>
>   Akan [ Ghanaian]  Adinkra artistic symbolism and philosophy
>
> Akan forest philosophy as depicted by Ayi Kwei Armah in /The Healers
> /
> Akan Adinkra symbolism and its conjunction with the art of Owusu Ankomah
>
> Ewe [Ghanian] Afa thought in its conjunction with the art and thought of
> Kofi and Nyornuworfia Agorsor
>
>
> *Classical Zulu Philosophy and Spirituality
>
> *
> Classical Zulu philosophy and spirituality as depicted by Mazisi Kunene,
> particularly in his introduction to his /Anthem of the Decades /
>
>
> *Individual Scholars *
>
>
> The art and thought  of Wole Soyinka
>
> The thought of Abiola Irele
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>