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The Girls Who Fainted at the Sight of an Egg | Yemisi Aribisala | The New Yorker
..The grandmother’s instrument of investigation was a small, free-range egg. You would have to lie back, hitch up your dress, close your eyes, for goodness’ sake, and instinctively clench. You hoped for the best with what little you knew of your body or of rudimentary biology or of the phenomenon of contagious pregnancy. Whether you liked it or not, whether you were willing or not. Whether you thought it was unfair that the boys in the house could do what they liked and fondle whomever, or wondered why pregnancy seemed to be the punishment for sex. If your body reverse-hatched that egg, your life was not going to be worth living. The excuse that your hymen “broke during physical and health education’”was never going to fly with this omniscient grandmother. All hell would break loose if the egg passed from the grandmother’s hand into that dark part of your anatomy you knew so little about. Before the week ran out your parents would come to get you even if they were coming from Kotangora.
Nigeria  NaijatheGood  Writing  Narrative  Ibadan  Yoruba 
6 days ago by AfroMaestro
On a Coding Diet | Fife Ogunde | The Republic
[Unrelated to this post, this is my first Pinboard in a month. Pinned nothing in the month of September even though inbox be filling up, Chrome tabs dey pile up. That's how I know this residency thing no be beans. And EGS is the devil. We must read, sha. Then we shall pin.]


This article reads more like a list of all the things Nigeria has done well w/o structural/government aid. I still like it, but perhaps it was mis-titled. Closing para here:

There is a place for STEM development in Nigeria and that place is a crucial one. One could argue that all Nigeria’s sectors cannot function effectively without some STEM development. However, Nigeria should be looking at taking a more organic route: using existing resources in the arts, tourism and sports to make the kind of global impact that will, in turn, result in increased economic growth and foreign investment. Income accruing from such growth and investment can then be directed towards developing the infrastructure and securing the necessary expertise for STEM development. If we’ve been able to gain a modicum of relevance in the arts, tourism and sports without heavy STEM influence, imagine what we could do with more⎈
Nigeria  Tech  NaijatheGood 
16 days ago by AfroMaestro
Twitter
RT : Taking the stage headquarters in to talk all things with an…
NYC  Nigeria  from twitter_favs
17 days ago by DocDre
MainOne set for submarine cable systems landing in Senegal and Cote d’Ivoire - Data Economy
MainOne has confirmed the scheduled landing of its submarine cable systems in Senegal and Cote d’Ivoire in September and October this year.
Africa  Undersea  cables  fibre  optic  infrastructure  2019  Nigeria  coted'ivoire  senegal  MainOne 
20 days ago by stevesong
Bimbo Archive | 4. Ginger Baker - Nigeria 70 - The Documentary by BIMBO 📻 | Free Listening on SoundCloud
Bimbo Archive | 4. Ginger Baker - Nigeria 70 - The Documentary by BIMBO 📻 To hear the rest of Nigeria 70 visit. https://ift.tt/2nUipUG Produced By ▶ https://ift.tt/2nQAZgghttps://ift.tt/1imCxl5 Nigeria 70 is an audio programme that introduces us to Nigeria’s vibrant and flourishing music scene in the 1960s and 70s. Produced by Sue Bowerman - founder of Blanket Productions, in collaboration with Strut Records; this documentary features an astonishing collection of interviews and footages with musical pioneers who helped shape the history of Nigerian music; including but not limiting to Fela Kuti, King Sunny Ade, John Collins, Jimmy Solanke, Tony Allen, Ebenezer Ober, Segun Bucknor, the Lidaju Sisters, Eric Clapton, Ginger Baker, and more. In this particular audio journey, we learn that Nigeria’s deeply rooted music scene is emphasized through musical legends who created sounds like highlife jazz, afrobeat, and juju music; all by and for the people. Prior to Naija’s booming scene of highlife music, the 1950s carried social music known as Asiko - a genre migrating from Sierra Leone and Cameroon that constituted drums and voice groups. Brass instruments were later introduced by musicians who trained to play in the Nigerian army; who later on shared their knowledge of playing such instruments with students across Nigerian schools. At the same time, Nigerians who had travelled abroad had been returning back to their home country with their newly acquired musical abilities involving the saxophone and trumpet. Consequently, these returning professionals formed “elitist” bands, which increased the pressure and competition amongst aspiring local Nigerian musicians as described on episode 03. As the 1960s begun, figures like E.T. Mensah and John Collins travelled to Nigeria to partake in the country’s booming music scene. Mensah entered Nigerian night life with a musical advantage - he had “The Tempos”, a band which he led, that included a trumpet, saxophone, electric guitar, upright bass, drums, and percussion. As Nigeria 70 documents, Mensah & The Tempos’ productions were common meter tunes influenced by the church; and consequently, this encouraged local Nigerian artists to split from the church and return to their villages to create their own music. This is described to be the most prevalent time for the popularity of highlife music, as it represented progress in the identity and nationality of West Africa; while also emphasizing and celebrating Nigerian history, culture, and morality. High life was and still remains the music of happiness and freedom; the music which prevails the West African coast.
ifttt  soundcloud  highlife  Nigeria  Afrobeat  favorite 
22 days ago by stringbot
Twitter
RT : On Day4 of mission I'm trying to understand why the 29th largest economy in the world has more ppl living…
Nigeria  from twitter_favs
4 weeks ago by dalcrose

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