Importing poverty into our country and exporting jobs abroad

Mr Idowu Ibrahim started the day early, having set his alarm clock (MADE IN INDIA) for 6am. While his teapot (MADE IN CHINA) was perking, he shaved with his clipper (MADE IN HONG KONG). He put on his shirt (MADE IN THE UK), and designer jeans (MADE IN ITALY) and shoes (MADE IN THE USA).

After cooking his breakfast in his new electric cooker (MADE IN FINLAND) he sat down with his calculator (MADE IN MEXICO) to see how much he could spend today. After setting his wristwatch (MADE IN TAIWAN) to his radio (MADE IN VIETNAM) he got in his car (MADE IN GERMANY) filled with petrol imported from (SAUDI ARABIA) and continued his search for a good paying NIGERIAN job...

At the end of yet another discouraging and fruitless day checking his computer (MADE IN MALAYSIA), Mr David Ahmed Okoro decided to relax for a while. He put on his slippers (MADE IN BRAZIL) poured himself a glass of wine (MADE IN SOUTH AFRICA), while fiddling with his mobile phone (MADE IN SOUTH KOREA), and then wondered why he cant find a good paying job in... NIGERIA.
He felt achy and sore in his left kneel, he decided to take one tablet of his TRAMADOL TABLETS (MADE IN BANGLADESH) to relieve the pain. Lying down on his bed and wondering why NIGERIAN External Foreign Reserve has depleted to under $ 28billion which has translated to free fall depreciation of Nigerian NAIRA to US DOLLAR at PARALLEL MARKET.......
Fellow Nigerians, let's us start producing, let us start buying made in NIGERIA goods If our economy is to grow and create better jobs.
How can a country like Nigeria be importing toothpick, cutting bud, cotton wool, matches, rubber band e.t.c? And we complain at d same time that there is no jobs for our teeming youths?
The situation is even pathetic now when you see Nigerians ( in Lagos) prefer Cotonou garri to that of Ijebu, buy cotonou pineapple and they say it is better than that of Nigeria. That is why frozen foods will be exported to Cotonou from farms like that of obasanjo repacked and imported back to Nigeria bcos they know Nigerians always prefer made in outside Nigeria goods .
That is why you will see an expatriate renumeration will be juicy than that of his Nigeria counterpart even if that Nigerian is more certificated than d expatriate ( This also happen in government parastatals).
Any nation that import majorly foreign made goods/ services rather than producing their own are hurting its people....
When we keep importing foreign made products into Nigeria, we keep importing poverty into our country and exporting jobs abroad...
Let's go back to the land to grow and patronise MADE IN NIGERIA products...
PLEASE SHARE FREELY TO ENLIGHTEN ALL NIGERIANS.

Any nation that import majorly foreign made goods/ services rather than producing their own are hurting its people....
When we keep importing foreign made products into Nigeria, we keep importing poverty into our country and exporting jobs abroad...
Let's go back to the land to grow and patronise MADE IN NIGERIA products...
PLEASE SHARE FREELY TO ENLIGHTEN ALL NIGERIANS.

NOUN Appoints New Vice Chancellor - 2016.

NOUN Appoints New Vice Chancellor - 2016.
Prof. Dr. Abdalla Uba Adamu - NOUN VC 2016
Prof. Dr. Abd

alla Uba Adamu, holds double professorships in
Science Education (1997) and Media and Cultural Communication
(2012) from Bayero University Kano, Nigeria. The Professorial
Inaugural Lectures he delivered in each discipline are available
on this site.
His main research focus is on transnational media flows and their
impact on the transformation of Muslim Hausa popular culture
especially in literature, film, music and performing arts. He is the
creator of the Foundation for Hausa Performing Arts (Kano,
Nigeria, www.fohapa.com) whose main focus is archiving
traditional performing arts heritage of the Muslim Hausa.
In 2012 he was appointed European Union Visiting Professor for
the project 'The Modern University' at the Department of African
Langauges and Cultures, University of Warsaw, Poland from 1st
March to 31st May 2012. At Warsaw, he taught two highly
popular courses: Transnationalism and African Popular Culture,
and Oral Traditions in Local and Global Contexts. His recent
publications are listed in this website.
He is currently working in the area of Cultural Anthropology,
with a specific focus on the identity formation among Hausa-
Arabs in northern Nigeria.
Specialties: Media and Cultural Communications, Science
Education, Ethnoscience, Research Methdologies, Management
Information Systems, Translations
Interests
Ethnomusicology cultural anthropology digital archiving of
literary texts
research methodologies media anthropology performances
Experience
Department of Mass Communication, Bayero University Kano,
Nigeria
October 2012 ? Present (3 years 5 months)
Teach courses in media and cultural communication, especially as
both relate to the Muslim Hausa of northern Nigeria, and
specifically in areas of popular culture such as music (both
traditional acoustic and electronic), literature (mainly
contemporary Hausa literature) and Hausa video films, film
theory and criticism, film techniques, film production, literary
criticism, social media and online identities, online
communication, media research methodologies
Bayero University, Kano
October 1997 ? Present (18 years 5 months)
Teaching and research in Science Education, Ethnoscience,
Ethnomathematics, science education curriculum development,
indigenious knowledge in science and environment, indiginization
of Arabic script (as ajami) by the Hausa in literacy campaigns,
History and Philosophy of Science
Bayero University Kano
July 1980 ? Present (35 years 8 months)
Visually Ethnographic Networks
March 2003 ? Present (13 years)
Visually Ethnographic, established in 2006 in Kano city, northern
Nigeria, is a research company with a focus on field recordings of
ethnographic data, especially in northern parts of Nigeria. It
mainly produces non-commercial, educational documentary films
for libraries, schools and NGOs on various aspects of cultural
anthropology of mainly Muslim Hausa as part of its contributions
towards digitalization of the cultural experiences and
transformations in the region. Its main focus is on media and
cultural communication.
Foundation for Hausa Performing Arts
January 2008 ? Present (8 years 2 months)
Ethnomusicological research, digitization and archiving of n
Hausa traditional folk music in northern Nigeria
Center for Hausa Cultural Studies
January 2003 ? December 2007 (5 years)
NGO with a focus on research on Hausa media technologies
especially film, music and literature
Skills
Ethnographic Documentary Filmmaker Film and Music Director
Film Producer
Traditional Hausa Music Production and Direction
Translations (from Hausa to English, or vice-versa) Research
Qualitative Research Teaching Ethnography Film Creative
Direction
Intercultural Communication NGOs Creative Writing English See
11+
Education
D.Phil, Education and Human Resource Dvt
1985 ? 1988
M.A., Science Education
1982 ? 1983
Chelsea College, Bridges Place, University of London
Dip Sci Education, Science Education
1981 ? 1982
B.Sc. (Ed), Science Education/Biology
1976 ? 1979
Publications
In Isma'ila A. Tsiga & M. O. Bhadmus (Eds.), Literature, history,
and identity in northern Nigeria (pp. 101-128). Ibadan: Safari
Books Ltd. Safari Books Ltd, Ibadan, Nigeria
January 2016
Authors: Abdalla Uba Adamu
Music in the World of Islam Conference, Assilah, Morocco
August 2007
This paper is a study of how transnational musical genres and
forms, specifically from Hindi film music, became appropriated
and domesticated by Muslim Hausa of northern Nigeria and
integrated as part of their youth popular culture, as well as
religious musical performances. It specifically analyses how the
Muslim Hausa music of northern Nigeria became transformed
first as a result of Islamic encounters, and subsequently as a
result of global media flows which appraises the musical
relationships that have been formed and continue to be formed
between different regions of the world of Islam. It looks at how
Hindi film music became appropriated by the Muslim Hausa and
recast as a new form of secular and religious performance in an
Islamicate society, and the consequences of such circulation on
the structural character of Hausa traditional music.
Authors: Abdalla Uba Adamu
Bayero Journal of Political Science (Maiden Edition), pp. 65-89.
Bayero University, Kano, Nigeria
June 2014
The political climate of the Kano State, Nigeria, partisan political
administration from 2003-2011 reveal a state of constant clash
between the Kano State government regulatory agencies and the
indigenous entertainment industries. This resulted in banning, for
instance, the Hausa video film industry for sometime, and the
jailing of many entertainers on the pretext of contravention of one
censorship law or other. The result of these government activities
created an atmosphere of angst in the entertainment industry,
leading to the virtual collapse of the entertainment industry as a
result of the exodus of many entertainers from Kano. When the
2011 elections came up, the biggest group of youth mobilizers
were those from the entertainment industry who through music
and lyrics created a message tunnel to youth to vote against the
then current government in power. Situated within the theoretical
frame of voter mobilization, this paper therefore analyses the
feelings of angst and expression of anger towards the political
class in 2011 Nigerian elections and politics by non-partisan
Hausa urban electronic musicians in the northern Nigerian city of
Kano.
Authors: Abdalla Uba Adamu
In 9/11 and its Remediations in Popular Culture and Arts in
Africa, Edited by Heike Behrend, Tobias Wendl (2015), pp. 39-57.
Berlin, Lit.Verlag.
June 2015
This chapter analyzes the remediation of 9/11 event in two Hausa
video film comedies that parodied both Osama bin Laden and the
American President George Bush. The two video films, Ibro Osama,
and Ibro Saddam, provide a light-hearted look at an extremely
serious event, re-mediating the event through re-interpretation of
the event based on news reels as reported by international news
media. In this way, the Hausa filmmakers re-tell the story from a
different point of view to an audience largely sympathetic to
Osama bin Laden.
Authors: Abdalla Uba Adamu
The Oxford Encyclopedia of the Islamic World. 6 Bde. Oxford 2009.
Bd. III, S. 459-462
2009
Encyclopedia entry on Maitsine religious cult in the 1980s in
northern Nigeria, updated from the original by Allan Christelow
to include Qur'anniyun (The Submitters) in Kano.
Authors:
Abdalla Uba Adamu, Allan Christelow
The Journal of African History, 55(1): 129-130
March 2014
This is a review of Role of the Press and Communication
Technology in Democratization: The Nigerian Story. By Aje-Ori
Agbese, and published in The Journal of African History
Authors: Abdalla Uba Adamu
Visually Ethnographic Networks
July 2014
This is the video segment of my se

cond professorial inaugural
lecture which I delivered on Wednesday 9th July 2014 in Bayero
University Kano, Nigeria. The text of the lecture is available on
this site. I cringe whenever I hear my voice -- so I understand if
you also cringe :-)
Authors: Abdalla Uba Adamu
Bayero University, Kano, Nigeria
July 2014
Full text of my second Professorial Inaugural Lecture, delivered on
Wednesday 9th July 2014.
Authors: Abdalla Uba Adamu
Bayero University Kano, Nigeria
April 2004
Full text of my first Professorial Inaugural Lecture, delivered on
Saturday 24th April 2004.
Authors: Abdalla Uba Adamu
Saturday, February 13, 2016

The Eagle and the snake

The Eagle does not fight the snake on the ground. It picks it up into the sky and changes the battle ground, and then it releases the snake into the sky. The snake has no stamina, no power and no balance in the air. It is useless, weak and vulnerable unlike on the ground where it is powerful wise and deadly.
Take your fight into the spiritual realm by praying and when you are in the spiritual realm God takes over your battles.

• Don't fight the enemy in his comfort zone, change the battle grounds like the Eagle and let God take charge through your earnest prayer
•  A: The oldest recorded bird in the wild is 29 years. This is biased low because longevity records are from banding. It is likely that birds can live well into their 30s and maybe beyond
• B: There is a transition in plumage over the first 5 years. Each successive molt being closer to adult plumage. Most birds attain the classic adult pattern between their 4th and 5th year. Some may have residual brown for more years or may never entirely lose it.
• C: Eagles are warm-blooded like humans meaning that their body temperature is maintained within a relatively narrow range. There is a complex physiological system that governs temperature regulation.
• D: There are nostrils or nares at the base of the bill. Like with humans, this is one way the bird can breathe. Most birds are not believed to have a very well-developed sense of smell. That is the general thinking with eagles. They do not use this sense to locate prey. Supporting this view is that they have a relatively undeveloped olfactory bulb compared to birds like turkey vultures that have a very well-developed sense of smell.
• E: After fledging eaglets return to the nest to be fed by adults, to roost at night, and to loaf. Their association with the nest and the natal territory will begin to wane as they learn to forage on their own and they begin to roost elsewhere. The length of this transition to independence varies considerably between individuals from a couple of weeks to several months.