₦airaland Forum

MuhdG:
He is hausa. I don't know his real name, but he is nicknamed baban chinedu (chinedu's father)
He usually play's the role of an igbo man living amongst hausa people.

I learnt that once an interview with him and he was asked how he plays that character perfectly, and he replied telling them that, when he was in school, they had a classmate who was an igbo, and could speak hausa. But because of his igbo accent, most people made fun of him when he spoke hausa baban chinedu inclusive, infact he said he was the leader in tormenting him coz of his igbotic accent. Lol

kay29000:
Ofcos he does. I am one of them.

GboyegaD:
I don't know how they are treated however, if they feel they are not treated well, they can relocate.

madridfc:
Reminds me of my final year project topic, I don suffer for unibuja hand sha.
They method of data analysis is what I will like to know, cos their figures aint possible.

It seems that before about 3000 years ago the part of the Middle Niger in which Jenné-jeno is situated was so often covered by river floodwater that it was not regularly occupied, although there must have been hunters, plant-food gatherers, and fishermen in the vicinity. Farmers and herdsmen might also have been nearby because there is evidence of them at Jenné-jeno from about 2500 years ago. By the time its inhabitants were already growing rice and keeping cattle, as well as raising other crops, fishing and collecting wild plant food. In addition, they were smelting iron from iron ore brought from outside the area. This iron industry is among the earliest known in sub-Saharan Africa, antedated only by that of the Nok culture. They build houses of sticks and mud and made fine pottery. By about 2000 years ago their village had grown into a small town, and by about 1000 years ago it had become a city of perhaps as many as 13,000 people, protected by a city wall 2 kilometers long. The area made an important contribution to the world economy during the first half of the second millennium AD, handling much of the gold that reached Europe at that time. Jenné-jeno has not only thrown new light on the indigenous origins of urbanism in the West Africa savanna, it has also demonstrated the significance of the Middle Niger in the history of Africa as a whole. (Conna 2004)

bigfrancis21:
Can I get the link to the full article?

The organizers of X Prize have just announced their newest target: global education. For this new contest, each team must "develop open-source and scalable software that will enable children in developing countries to teach themselves basic reading, writing, and arithmetic," by two years from now.

X Prize competitions put forth multi-million-dollar prizes to encourage teams of engineers, designers, and dreamers to take on the big problems. Previous competitions have challenged their teams to build high-efficiency gas vehicles, personal spaceflight, and Star Trek-style medical tricorders. For the Global Learning X Prize, the foundation is offering $10 million for the winner and $1 million each for five runners-up.

In the announcement, X Prize CEO Peter Diamandis optimistically draws parallels between the promises this new contest holds for revolutionizing global education and how, a decade ago, the Ansari XPRIZE catalyzed the field of commercial spaceflight. "We will never build enough schools or train enough teachers to meet demand," Diamandis says, but the software developed during the competition will bring "quality learning experiences to children no matter where they live."

bigfrancis21: That's a nice question you asked there. Igbo people are some dynamic bunch of people, often speaking at least 2 languages throughout their entire lives. Even the elderly ones living close to neighbouring tribes in the village in the village who don't speal English or pidgin speak the neighbouring language as second language. These elderly ones in the village, even if they don't speak English understand it to a considerable extent.

To find monolingual speakers of Igbo, you'd have to look in the village. In the Nsukka area where I did my undergrad, I came across several indigenes, young and old, in the market, on the streets etc. who spoke only their dialect and nothing else. You had to speak Igbo to converse with them.

Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull; 31 August 1911 – 31 December 1970)[1][2] was a Cuban musician, composer and bandleader.

He played the tres (Cuban string instrument) in son-based music and tumbadora, or conga, in folkloric rumba. In the 1940s and 50s Rodríguez reorganized the son conjunto ('son group') and developed the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred song lyrics.

The first question is about remembering the time before LPs and Arsenio mentions 2 records that he recorded as 78s. Then in interviewer starts asking about some of the people involved in the second CD and they start talking about the singer Miguel, who Arsenio said used to be a danzonette singer but when he heard the voice he said to himself "this is the voice i need to sing my afro-Cuban music" so he brought him into the band Casino de la Playa and taught him how he should sing the afro-cuban style.

Then the guy asks about the song Bruca Manigua. Apparently it was daring or defiant or some such thing to use the African words at that time. The guy asks for a translation of some of it. They don't get very far. "Yo son carabalí" and Arsenio explains that this means "Yo soy carabalí" meaning that the person is from the carabalí(Kalabari) tribe from Nigeria. [Sidebar: The congos didn't speak good Spanish and would use the wrong verb forms as in this case, so you have old refrains such as awé son awé y mañana son mañana that you still hear in timba songs today] Arsenio explains about how he is a descendant of Congos, [meaning his ancestors came either from the kingdom of the Congo or the Congo river basin]. He tells how he learned from his grandfather about the different African tribes. He starts listing them and the interviewer mentions that he remembers a song called Yo soy makuá, one of the other tribe names.He thinks it was released after Bruca Manigua. Arsenio says Yes he was trying to use the info he had about the various tribes.

The interview then says that considering the technology available at the time, that the recordings by Casino de la playa were very good and had Arsenio or anyone ever considered doing symphonic arrangements of the afro-cuban music. Arsenio said he liked the idea and they had tried once to do it it cuts off during that part of the story so I don't know what happened to the attempt to do symphony arrangements.

The Apo Mechanics Village is a spare parts village and makeshift mechanics workshop. No one can keep a car running for longer than these guys.

Filmed by Jolyon Hoff, Sound by Agu C.J. and edited by the ever talented Naheed Bilgram

The Anambra State Governor, Mr. Peter Obi has described as unconstitutional, illegal, the recent 'forced deportation of 86 Nigerians of Igbo Ethnicity from Lagos State'.

Many have said this is a very disturbing development that may have vast national security and political implications. What could have prompted this action by Lagos State which most Nigerians find hospitable and see as a home to all? I think we must start by clarifying His Excellency's allegations.

First, you cannot deport any Nigerian from one part of the country to another, so I think, with respect, that it is a wrong choice of word. Second is the fact that only 14 persons, and not 86, were assisted to their places of origin in this particular instance, having been found disoriented, homeless and destitute in Lagos. They were taken to Anambra because that is where they told our officers they came from.