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Prologue the management of distressed banks in developing economies: an overview
No full textThis chapter explores bank insolvencies and associated laws or policies in a selection of developing economies in Africa. It provides a rigorous scrutiny of the efficacy of asset management companies, bridge banks and securitisation in resolving financially distressed banks in the country often caused by non-performing loans. Nevertheless, the state of banking law in these developing economies, particularly those that relate to their fiscal stability and resolution of insolvency events, is also critical and deserving of tailored consideration for several reasons. The authors now briefly turn attention to the legal nature of banks, and how this nature impacts upon current and proposed treatment of bank-stakeholder interests in developing economies in an insolvency scenario. Indeed, custom-built bank insolvency laws of many countries, some of which are presented in this book, attest to this. They briefly introduce typical bank insolvency procedures or systems that will be amplified in the context of developing economies
Mayowa Adeyemo praises Ogun (God of Iron)
No full textUniversity student Mayowa Adeyemo renders the traditional praise of Ogun in the Ijala style of praise poetry (orikI). Keywords: African Languages and Societies; Other Languages, Societies, and Cultures; Poetry; Religion
Oriki Eledumare (Praise of the Creator) by Mayowa Adeyemo
No full textPerformance: Mayowa Adeyemo +2348039220116 Videography: Aaron Carter-Ényì Translation: Mayowa Adeyemo Captioning: Aaron Carter-Ényì Interviewer: David Aina Description: Aaron Carter-Ényì In this video, Mayowa Adeyemo praises Eledumare (Yoruba for Creator) at Peter King College of Music on July 26, 2013. She was then a music student at Lagos State University in Ojo along Badagry Expressway in Nigeria. In an accompanying interview, she explained that she "freestyles" when praising Eledumare because she is a Christian, and Eledumare (Creator) is now used to refer to the Christian god. This is similar to the practice of Yoruba gospel singers such as Tope Alabi who were active at the time of this recording and incorporated oriki into their recorded hits (such as "Mimo Oluwa" - Holy is the Lord). In his book "Olodumare" (an alternative pronunciation and spelling of Eledumare), Nigerian Methodist leader E. Bolaji Idowu wrote a book arguing that Yoruba people were always monotheistic and had acknowledged a single supreme being (Eledumare/Olodumare, the Creator). However, others have pointed that there were no shrines to Eledumare/Olodumare in Yoruba land and that the conflation of the Yoruba concept of creator (Eledumare/Olodumare) and the monotheistic Abrahamic God (found in both Christianity and Islam) is a result of Muslim, and later Christian, proselytization. Given this context, and that the performer identified as a Christian, this performance reflects an evolving and growing inventory of praise epithets (see Karin Barber 1991) as opposed to a fixed rendition. To see an example of oriki largely fixed within the oral tradition, view the video "Oriki Ogun" by Mayowa Adeyemo (https://youtu.be/-pvTKPRfbHk)
Oriki Ogun (Praise of the God of Iron) by Mayowa Adeyemo
No full textLagos State University music student, Mayowa Adeyemo, praises Ogun (Yoruba Orisha/God of Iron). Recorded on July 26, 2013 at Peter King College of Music near Badagry, Lagos State. Keywords: African History; African Languages and Societies; Critical and Cultural Studies; Dance; Digital Humanities; Ethnic Studies; Ethnomusicology; Folklore; Gender, Race, Sexuality, and Ethnicity in Communication; Linguistic Anthropology; Oral History; Performance Studies; Poetry; Race and Ethnicity; Social and Cultural Anthropology; Sociology of Culture
Oriki Ogun (Praise of the God of Iron) by Mayowa Adeyemo
No full textPerformance: Mayowa Adeyemo +2348039220116 Videography: Aaron Carter-Ényì Translation: Mayowa Adeyemo Captioning: Aaron Carter-Ényì Interviewer: David Aina Description: Aaron Carter-Ényì In this video, Mayowa Adeyemo praises Ogun (Yoruba Orisha/God of Iron). It was recorded on July 26, 2013, at Peter King College of Music near Badagry, Lagos State. At the time, she was a music student at Lagos State University in Ojo, along the Badagry Expressway in Lagos State, Nigeria. This performance represents a specific style of oriki (Yoruba praise poetry), called Ijala. Ijala is specifically related to hunting and warfare topics, which are themselves related to Ogun and blacksmithing. Mayowa's performance might be said to be in what Comaroff calls the "formal" code of oral poetry, in that it is fixed and unchanging. In addition to this performance, two more renditions of "Oriki Ogun" are available from ADEPt: a live performance before a large audience on April 16, 2013 (https://youtu.be/bC_xB9rFbJA) and an audio-only recording from the same day as this performance (https://youtu.be/imXLJhjxSo8). Listeners may note that the text and pitch contour (melody) are nearly identical for the majority of all three performances. However, in the live performance, Mayowa concludes with a striking tune and lyric: "I have sacrificed a dog for Ogun." That very melodic part of her rendition (which sounds more like singing than chanting) is not included here. This particular performance includes embodied expressions of the poetry, including the moment where Mayowa says, "Ogun has two cutlasses: one for cutting grass, and one for making marks." "Making marks" refers to the common Yoruba practice of scarification (cicatrization) on the face, called "ila" in Yoruba
A genome-wide search replicates evidence of a quantitative trait locus for circulating angiotensisn l-converting enzyme (ACE) unlinked to the ACE gene
No full textBackground: angiotensin I-converting enzyme (ACE) plays an important role in cardiovascular homeostasis. There is evidence from different ethnic groups that circulating ACE levels are influenced by a quantitative trait locus (QTL) at the ACE gene on chromosome 17. The finding of significant residual familial correlations in different ethnic groups, after accounting for this QTL, and the finding of support for linkage to a locus on chromosome 4 in Mexican-American families strongly suggest that there may well be QTLs for ACE unlinked to the ACE gene.Methods: a genome-wide panel of microsatellite markers, and a panel of biallelic polymorphisms in the ACE gene were typed in Nigerian families. Single locus models with fixed parameters were used to test for linkage to circulating ACE with and without adjustment for the effects of the ACE gene polymorphisms.Results: strong evidence was found for D17S2193 (Zmax = 3.5); other nearby markers on chromosome 17 also showed modest support. After adjustment for the effects of the ACE gene locus, evidence of "suggestive linkage" to circulating ACE was found for D4S1629 (Zmax = 2.2); this marker is very close to a locus previously shown to be linked to circulating ACE levels in Mexican-American families.Conclusion: in this report we have provided further support for the notion that there are QTLs for ACE unlinked to the ACE gene; our findings for chromosome 4, which appear to replicate the findings of a previous independent study, should be considered strong grounds for a more detailed examination of this region in the search for genes/variants which influence ACE levels.
The poor yields, thus far, in defining the genetic determinants of hypertension risk suggest a need to look beyond simple relationships between genotypes and the ultimate phenotype. In addition to incorporating information on important environmental exposures, a better understanding of the factors which influence the building blocks of the blood pressure homeostatic network is also required. Detailed studies of the genetic determinants of ACE, an important component of the renin-angiotensin system, have the potential to contribute to this strategic objectiv
Oral poet Mayowa Adeyemo praises Èjirẹ́ (twins)
No full textIjala is a form of Yoruba oral poetry, described in English as "The Hunter's Call". Lagos State University student Mayowa Adeyemo is a young master of the form and has a beautiful voice for poetry and singing. Keywords: African Languages and Societies; Audio Arts and Acoustics; Comparative Methodologies and Theories; Ethnomusicology; Music Performance; Other Languages, Societies, and Cultures
An evangelical voice in Africa: the worldview background of the theology of Tokunboh Adeyemo (1 October 1944-17 March 2010)
No full textAfrica was blessed with a son of the calibre of Dr Tokunboh Adeyemo. Since he only recently passed away, we do not yet have (as far as the author is aware) an assessment of the legacy of this eminent Christian leader. This article is the first preliminary evaluation written from a reformational worldview perspective.
The set-up of the investigation is as follows: Firstly, a brief out- line is given of his life history, especially his training in the Evangelical tradition. Then, the décor (the overall situation of African Christianity) that was the background against which he lived and worked is painted. Thirdly, it is followed by the strengths and weaknesses of Evangelical Christianity of which Adeyemo was a representative. Fourthly, it is indicated how Adeyemo thought in line with post-Lausanne Evangelicalism. In the fifth place a preliminary worldview evaluation of his legacy is given. To assist possible future research a bibliography of his most important publications concludes the investigation
Time Index: Oriki Ogun (Praise of the God of Iron) by Mayowa Adeyemo
No full textThis file is the time index for " Oriki Ogun (Praise of the God of Iron) by Mayowa Adeyemo
United We Stand: How the Election Results Dismiss the Narrative of a Divided #Nigeria
No full textLSE’s Lola Adeyemo looks at the numbers behind the 2015 Nigeria Presidential elections and analyses what it reveals about the Nigerian state. This post is part of our African Elections series
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