Literatura científica selecionada sobre o tema "Wings (Musical group : Nigeria)"

Music is an essential feature of most broadcasting programmes, and research indicates that the appropriate use of music by broadcasting organisations could actuate significant national renaissance and promote development efforts. This study examines the contributions of radio musical broadcasting to national development efforts as perceived by two distinct cohorts comprising media practitioners and media audiences. Anchored on the Uses and Gratification Theory, the study utilises the survey research method and multisampling technique to recruit 500 study participants in two major cities in Delta State. The outcome of the study shows that there is a high level of exposure to radio musical broadcasting on national development-related issues among the two cohorts, and such broadcasting content is widely perceived to contribute to national development efforts in Nigeria by serving as a platform for nationalists to preach the principles of justice, equality, unity, national integration, freedom, democracy, and genuine social change in Nigeria. However, the study also found a significant discrepancy in the rating of the benefits arising from music broadcast between the two cohorts with the media practitioners group tending to overrate the influence of music broadcasting on national development. The study recommends that radio broadcasting stations should regularly conduct audience surveys to understand the actual influence of their content on the audience to ensure better programming.

Music is one of the oldest and most practiced arts in Nigerian traditional societies. The revered place of music in the lives of Nigerians is indisputable, as a consequence of its towering roles in nearly all communal events and activities. In Nigeria, music is utilized in diverse facets especially in religious, economic, martial, and political life of the people. In other words, it is unusual to preclude music from any societal event. Though these attributes pervade all Nigerian traditional societies, it is even more fascinating that every ethnic group or culture has their peculiar music with which they are recognized. Thus, there is bound to be dissimilarities in the manner in which various societies regard music as a concept, phenomenon, or how it functions in traditional life. The thrust of this paper therefore, is to examine music as a phenomenon, its roles in society, and how it is conceived by the people of Plateau. Data were gathered using ethnographic method, while interviews formed a significant part of the research tools. Some existing videos and those collected from the field were analysed by the authors. Findings from data gleaned reveal that there is a plethora of music types among the Plateau people. It is also gathered that music forms a fundamental aspect of life on the Plateau, and is widely used in virtually all communal events. However, research efforts into the different traditional music types of the people of Plateau need to be intensified and sustained over time, in order to document findings that will further lead to addressing the protracted challenge of dearth of literature in the traditional music of the area under study.

This article examines the Ijieleghe and Igbabonelimin acrobatic dances for female and male ensembles. The data was obtained through ethnographic research techniques which include research in the library, interviews, focus group discussions, the use of interlocutors and participant observation. We found that both genres stem from the same source and are similar in dance patterns, repertory and musical instruments. While Ijieleghe performers wear light costumes, those of Igbabonelimin are heavy and sometimes accompanied by male and female masquerades. In Igbabonelimin, however, women are not admitted into any of its departments; while in Ijieleghe, male participants are confined to drumming and singing. Only the female participants perform the dance. This paper asks: Why is it that women cannot be admitted into the membership of the sonic space of men in the Igbabonelimin? What will happen if these ensembles admit members of the opposite sexes into gender restricted areas? These questions are what this paper intends to answer. However, while we are aware that there are gender-based restrictions that are not conducive to integration in this day and age, it is our view that in the light of present-day realities in Nigeria, gender restrictions should be challenged to lengthen and enhance the longevity of these ensembles.

Among Muslim women in predominantly Islamic societies, music-making remains a contested subject. At the core of these contestations are questions of boundaries, agency, taboos, resistance, and generalisations of the socio-musical experiences of Muslim women. This article explores the development of senwele music, a socio-religious music form of the Ilorin in northern Nigeria, from its origin as orin-kengbe (calabash music) to its transition into a translocal music form. Given influences of the Yoruba, Hausa-Fulani, and Islam, senwele music is examined as a compendium of history; one that is not only reflective of the Ilorin traditional music scene, but also the north-south dualism in Ilorin, tensions in music-making and Islam, and regio-political remapping in Nigeria. Based on fieldwork with a major exponent of senwele, Alhaja Iya Aladuke, and her music group in Ilorin, the article explores the practice, ambivalences, convivialities and sustainability of senwele music performance within its predominantly Islamic context. I argue that while established societal conventions, such as those in Ilorin, function as a standard for the acceptance of music, a woman musician such as Alhaja Iya Aladuke continues to thrive through a musician-community exchange that takes into cognisance the sensibilities of the people while retaining their patronage and her artistic autonomy. Beyond its sonic, textual, and entertainment prerogatives, the sustained practice of senwele music in Ilorin presents a continuum for interrogating and negotiating cross-cultural encounters, socio-religious binaries, gender boundaries, and the multiplicity in the socio-musical experiences of Muslim women.

The article examines the literary legacy of the multi-artist Mykhailo Zhuk (1883–1964) as a member of the “Muzahet” group (1919) and an author who, navigating the bifurcation points of his time, influenced the development of Ukrainian culture in the first half of the 20th century. The paper outlines the specifics of the modernist society’s activities in the historical context at that time. It highlights the characteristic features of the publication process of the multi-genre almanack “Muzahet”. The author pays particular attention to M. Zhuk’s contribution to maintaining the association’s activities. His Muzahet poetry, particularly in the poem “Wings” (“Kryla”), decodes metalogical components through picturesque and musical reminiscences. The dramatic poem “Autumn Night” (“Nich Osinniia”) synthesises poetic, musical, and dramatic narratives and consists of several tonally distinct “musical” parts, being an example of a quasi-symphonic structure. The author explores the intertextual interaction of the “Autumn Night” text with Goethe’s “Faust”, which serves as its hermeneutic key. The impressionistic story “Etude” (“Etiud”) is interpreted through the depiction of the act of creation, the “introduction of dreaminess”, harmony through abstract imagery, and the metaphor of blindness in the dual world of the artist. The story “Melancholy” conceptualises the intermedial problem of harmony related to voice, sound, listening, dialogue, silence, and pauses based on the family relationship crisis theme. The author points out that the auditory reception of the character aligns with his internally defocused state. The paper also analyses M. Zhuk’s review of V. Yaroshenko’s book “Lighthadows” (“Svitotin”) (1918), highlights the critic’s primary criteria, including the preservation of one’s own identity (by avoiding the influence of the “other”), the title, and the genre-compositional organisation of the book. The portraits of P. Tychyna, D. Zahul, and Yu. Mezhenko in “Muzahet” are noted to not only reproduce the faces of artists but also capture the characteristics of their character, their distinctiveness, and idio-stylistic dominants in their work. In conclusion, the author argues that Mykhailo Zhuk’s creative method draws on cross-mediality and the synergy of arts, emerging not as a technique but as an inherent trait. The harmonious unity of various artistic components in the text often provokes synesthesia – the ability of the recipient to visualise, hear, and feel the texts simultaneously.

Night entertainment as a form of leisure and relaxation is not a strange phenomenon globally, it is also gaining prominence in Nigeria particularly in urban centre. Scholars have discussed the prospects of this brand of entertainment in terms of its economic and social rewards, but most of these efforts are foreign based. This study studied the situation in Abuja in Nigeria. The study was quantitative in approach and has questionnaire as its main tool of data collection. A total 100 respondents were involved in the study. The data collected were analyzed, interpreted and presented in simple percentage. Night entertainment was preferred because the period is unique, devoid of hustle and bustle commonly found in the day time (17%) and has power to enhance total wellbeing, opportunity to make business contacts (19%). Live Musical band (42%), wining and dining (34%), indoor game (14%) and comedy corner (10%) were the preferred activities. Challenges encountered in night entertainment include harassment by the law enforcement agents (36%), stigmatization on the part of the general populace (22%) and occasional disturbance due to unruly behaviour of some patrons (30%). Coping measures adopted to mitigate these challenges include moving in group with other patrons to prevent or minimise embarrassment (43%), possession of official identity card to prevent harassment from security agents (36%) and enlightenment of service of security agents to curtail unruly behaviour from patrons (21%).

Ticks transmit a greater variety of pathogenic micro-organisms than any other arthropod vector group, and are among the most important vectors of diseases affecting animals. A survey on the prevalence of tick species infesting domestic birds sold in Gwagwalada main market, Abuja between April and July, 2015. A total of 450 birds were examined by feather separation with fingers and a pair of forceps to expose the skin of the birds for presence of the ticks. An overall prevalence of 25.6% was observed. Out of the 150 domestic fowls examined 62(53.9%) were infested, 44(29.3%) of the 150 Guinea fowl and 9(6.0%) of the 150 Pigeons were infested. Of all the ticks identified, 93(51.4%) were from the Domestic Fowls and 77(42.5%) from the Guinea fowl and 11(6.0%) from Pigeon. Thirty (32.3%) of the ticks from the Domestic fowls were Argas persicus, 25(26.9%) Argas walkerae, 20 (21.5%) Ornithodorus moubata and 18(19.4%) Ornithodorus savignyi. Similarly, 34(44.2%) of the ticks from Guinea fowl were A. walkerae, 20(28.2%) O. moubataand 23(32.4%) O. savignyi. Five (45.5%) of the ticks from Pigeon were A. persicus, 4 (36.4%) were A. walkerae, 2 (18.2%) were O. moubata and no O. savignyi. Observation on the location of tick from the hosts body showed highest prevalence was found under the wings (55.2%) and lowest on the head & neck (5.00%). The result of this research revealed that Gwagwalada market poultry section is endemic of tick infestation. Chemical control with acaricides and improved management and sanitation of the poultry cages in the market should be enforced.

Background and context: Breast cancer is the number one diagnosed cancer in Nigeria. 75% of these breast cancer diagnosis are at stage 3 and 4. This is due in part to lack of awareness of the signs and symptoms, inadequate screening and diagnostic facilities, insufficient policies and guidelines, and fear. Metastatic breast cancer patients do not have the time nor the strength to deal with the stress, delay, and confusion of trying to find adequate care. Run For a Cure Africa (RFCA) wishes to establish a program that helps navigate metastatic breast cancer patients in Lagos state, and surrounding states in Nigeria toward breast cancer care and resources. Aim: The MetaPink program empowers and educates patients with advanced stage breast cancer by providing them with timely and relevant information and resources on their disease and how they, the patient, can improve their quality of life and overall prognosis. Additionally, RFCA creates greater awareness of metastatic breast cancer in the community and the necessity for regular screenings. Strategy/Tactics: This project is being implemented by RFCA. RFCA is working work with the health care professionals (HCP) in the oncology and community health department at the Lagos University Teaching Hospital (LUTH) in addition to their organization mentors, The Rose Foundation in Houston, Texas. RFCA is also working with community associations, drama troupes, and groups to create sensitization in hard to access areas. Patients and participants of the MetaPink program have a support team, through the monthly support group, with whom they fellowship, ask advice, gain insight, and just off load any looming concerns. Program/Policy process: RFCA enrolls metastatic patients through our supported clinics, call ins, and our screening outreaches. Each patient enrolled in the program gets a starter pack. RFCA hosts monthly support groups and Q&A sessions anchored by medical professionals, RFCA also hosts community outreach events via the radio, market drama skits, and musical awareness presentations. Periodically we follow-up and communicate with MetaPink program participants via MetaPink WhatsApp, telephone, in-person meetings/visits, and support group meetings. Outcomes: The objective of the MetaPink program is to simplify the breast cancer journey for metastatic breast cancer patients in Nigeria and give them the emotional support and confidence to understand and navigate through their personal breast cancer journey. RFCA also creates larger community awareness of advanced stage breast cancer in a method that is culturally appealing and resonates with the environment. What was learned: As the program progresses, RFCA will learn how to effectively navigate patients in this resource-poor environment. This will contribute to their quality of life and improved breast cancer management in Nigeria. [Figure: see text]

Subject area This case is most suited for the course on Strategic Management. Study level/applicability The case can be used for post graduate management students and executive education participants. It should be used in the section dealing with capabilities of an organization. Case overview Sonalika Group, situated in Punjab, India, started its operations in 1969 by manufacturing agricultural implements and equipment’s. By 1990, the firm graduated into manufacturing tractors. It gradually expanded its wings in countries like Nigeria, Argentina and Brazil and became the third largest tractor manufacturer of India in FY 2012. The year 2005 was a landmark year when it entered the passenger vehicle segment through its subsidiary International Cars and Motors Limited that launched a multi-utility vehicle (MUV) named Rhino. The vehicle was expected to fill up the vacant spot created by the withdrawal of “Qualis”, which was a highly popular MUV manufactured by Toyota. However, the enthusiasm of launching Rhino waned with time because its sales did not pick up as expected. After selling around 5,000 units of Rhino, the company stopped its production as the product had started showing up teething problems. The marketers and designers burnt midnight oil to bring out an improved version of Rhino. This version was christened “Extreme” and launched in 2012. Despite all marketing, sales and service efforts, “Extreme” also failed to take off. The group is wondering when it was so successful in tractors why it has not been successful in passenger vehicle category. It has to work out a strategy to be successful in passenger vehicle segment as well. Expected learning outcomes Expected learning outcomes are as follows: to analyse the external and internal environment for a business and understand its impact on business decision-making; to understand the relationship between operational capabilities and dynamic capabilities; to identify opportunities and match it with internal capabilities; to analyse the reasons for product failure and identify remedial measures; to understand the process of technology diffusion and thereby strategic planning. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject Code: CSS 11: Strategy