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Demola Martins and Asuquo Udoh, good friends albeit of contrasting social and spiritual backgrounds, face the harsh realities of life in a country where, despite its bountiful oil reserves, the majority do not have access to a steady supply of water or electricity, employment opportunities for university graduates are severely lacking, and corruption is rampant in a government that appears to deliberately prevent its citizens from being heard. After two years of being jobless, Asuquo inadvertently applies for a doorman's job at the International Airport Hotel, willing to accept the only form of employment available to him despite his degree in chemistry. Demola, an electrical engineer from a family of professional elite, opts to wait for a job more suited to his social rank. Four years later, Demola decides to act on a vision and founds the Campaign Against Rigging Elections (CARE). Asuquo and Demola, along with three other visionaries, form the Crisis Group to head the Campaign, and a youth movement is born. Through peaceful rallying, they push for a more transparent balloting and counting system—the spot ballot method—with the ultimate goal of eliminating election rigging to redeem the “Nigeria that prospers all.”
It is about life in a unique secondary school in Nigeria in the 1970s and 1980s. The principal, Dr. Tai Solarin, was totally dedicated to producing academically and intellectually sound students who were also trained in the practical aspects of life farming, cooking, electrical wiring, plumbing, baking, building, man owar and others. It was hard to find such students unemployable. They were trained to dream big and be high achievers. This is a personal account of one of the students who experienced this unique training.
The failures of old generations to teach most young ones Nigerian family, traditional, religious and national values are mostly responsible for lawlessness and immoralities in the society. These prove the fact in the adage that says, “a man who builds a house without building his children only builds what the children will later sell”. For so long, Nigerians had been paying too much attention on politics, economy and other things at the expense of the Value System which is partly designed with the use of the National Anthem and The Pledge to the nation. Because of the near extinctions of moral; family and other values with the belief in God Of All Creations, the abundant resources in Nigeria had become snares for the citizens who are supposed to use them for the good of present and future generations. This book which is designed for children and youths gives vivid picture of Nigerian Value System through explanations of the National Anthem and The Pledge. The author uses twenty-six stories, poems, class activities and other items to teach civic responsibilities and moral obligations.
Letters of disillusionment with Nigerian politics and government from students I’d taught at Nigerian universities in the 1980’s inspired this book of fiction. They’d complained of how the virtues of government they’d learned in class were being defamed by successive Nigerian governments. Public services dysfunction, infrastructure decay, chronic official corruption, clamped down free speech, perennial election rigging, and state-sponsored lawlessness had all ruined their dreams for a better life, while many within their ranks had simply surrendered to the lucre of official financial embezzlement. What options, they ask, are they left with? The rising expectations from Africa’s colonial liberation in the 1960s never materialized for the vast majority. In Nigeria, that dream quickly extinguished after the rigging of that nation’s first general elections in 1959. The seam of nations that the British had cobbled together into the Nigerian state soon began to crack under the divisive issues of tribe, religion, region, and class. In 1967, an unprincipled civil war tore the country apart and affirmed the long-held view that the center in Nigeria could no longer hold under the circumstance. Yet, history was never linear. The digitally sophisticated young people around the world are increasingly demonstrating the capacity to organize and mobilize while entrenched oligarchies have become increasingly vulnerable. This book captures this imaginative historicity and relives the dream of change that is possible. However, this story does not stress youth organization purely for its own sake. Rather, organization must drive mobilization through innovative democratic ideals that’d complement Nigeria’s pluralist ideal of justice for all. For a nation as resourceful, this book portrays the hope that its talented youths would seize this moment in the sun to demonstrate the unique industrious nature of the Nigerian spirit. To the Nigerian youth is this book dedicated.”
This story is about an African American businessman who embarked on what he thought would be a promising business trip to Nigeria in 1978. Although that first business trip was unsuccessful, he would eventually make four more trips, with the hope that the next trip would bring him that elusive financial success. I am that African American businessman, and in the process of making these trips, I lived in the country for more than fourteen years. My experiences included living under military rule, a strained union, corruption, and other social problems. Despite these difficulties, I had the opportunity of sharing the warm and friendly relationships with members of the three major ethnic groups (Hausa, Ibo, and Yoruba) and some of the over 250 minorities. After witnessing Nigeria's problems for more than fourteen years, it left me with a strong urge to write about their situation in a constructive way. My journey touched on various levels of the Nigerian society, and I would like to share these experiences with you in "It's Time" for A Country Called Nigeria.
The bata is one of the most important and representative percussion traditions of the people in southwest Nigeria, and is now learnt and performed around the world. In Cuba, their own bata tradition derives from the Yoruba bata from Africa yet has had far more research attention than its African predecessor. Although the bata is one of the oldest known Yoruba drumming traditions, the drum and its unique language are now unfamiliar to many contemporary Yoruba people. Amanda Villepastour provides the first academic study of the bata's communication technology and the elaborate coded spoken language of bata drummers, which they refer to as 'ena bata'. Villepastour explains how the bata drummers' speech encoding method links into universal linguistic properties, unknown to the musicians themselves. The analysis draws the direct links between what is spoken in Yoruba, how Yoruba is transformed in to the coded language (ena), how ena prescribes the drum strokes and, finally, how listeners (and which listeners) extract linguistic meaning from what is drummed. The description and analysis of this unique musical system adds substantially to what is known about bata drumming specifically, Yoruba drumming generally, speech surrogacy in music and coded systems of speaking. This book will appeal not only to ethnomusicologists and anthropologists, but also to linguists, drummers and those interested in African Studies.