LJ~GUISTIC A.ND CULTURAL Ol<.:VELOPMENT OF NIGERIA: I\tlASS MEDIA INFLUENCE AND lMPACr BY ABIGAIL ODOZI OGWEZZY LECTURER 0-0 - - DEPART IE T OF MASS COMMUNICATION UNIVli:nSITY OF AKOKA - LACOS A PAPER PRESE. TED AT TilE 6'1'11 APN1LAC NATIONAL CONFERENCE

A lrstrac-t '}'I,:,\, /'(//"',. cvnm itn:« the role ofth c tncd u) IIf tlt« /llIgIII,\'I/L' IIIld "11/1111'0/ .towtoinnont ql' Sig('I'IC1, , '1}('('ilh'C1/~\', il,/i!('/I.\'l'S ou th«: ,",'('I('I)"i(' media. If look. ••at broadcast regulations as 1'L'.I!,(ln/s IIIL' iSSIIL' 111/(1 opines tliat tli«: medic: through tts /JI'oJ{rafl"I/t1.\'lI/aIHJ visible our 'angllages and cultures. Delving into issues ofmessage packaging, the paper arguesthat II· 'If I"l'(t! {'rfl,I!1'UIIJIIIl'S CO/l ln: heifer packaged to make them more attractive and (11I tilt' net: )J'/~ ui! J)" J" 1,\ if /"./!.' \',' \ I'" 1/ /"'1 111/0 It.' IIIf' /lI'og nil/lilies, and thus the languages and cultures. If posits that the media is under-representing th« ilJ(/IJ:;t:IIIJ/1,V /'ffIHl/fI}{(J,V antl clI/11IreS in their programming and calls for a revisit to avoid another form of imperialism, especially in Theface of debates on media hegemony. It concludes that the media can help in the linguistic and cultural development of .

L,\'TRODLJCTtON Mcdiu is taken from the Latin word 'medius' which means middle. Communication media are different technological processes that facilitate communication. between (and

are in till! middle of) the sender of a message and the receiver. Also, the same media

111,":';:II',t' ~':1Il be interpreted differently by two different sets of people (Croteau and IloYlh.':>,2000) ~'.

Il"I\(',r,. (:"'l!!.!1' C"r\llll'l' /lilt! his ussocintes (1994). Signorielli and Morgan, 1990),

argue that the media plays a homogeneous role for other wise Ilclc"ugcoc,,"p pPplllnl ions. They argue that immersion in media culture produces a "mainstreaming" effect whereby differences bused on cultural, social, and political characteristics are muted in consumers of media content. This raises a question on the impact of the mass media on the linguistic

:1I1t1 cultural development of nations, especially Nigeria.

TIl~ impact or media cultivation on cultural development seems to be in the direction of

impcr ialixrn, as some scholnrs argue that the rise of the mass media is the central cause of rho decline in cultural preservation. They posit that the media has altered and transformed the vuy WI; Ihill!- !llId IlIlk about culture. This is in tandem with the position of the

Canadian scholar Marshall Mcluhan, who posits that. "the mcululII ill tho mousuge'', The scholar argues that we should focus our attention on the ways each new medium disrupts tradition and reshapes social life.' if the influence of the media interests us. He does not base his argument on the content of the media but the ways the media alter out social world (Croteau uud l loyncs, 2000).

Hither to the development or the n141~~media, 'our social roles and identities were closely tied to the physical places where we performed these roles. [However], with the advent of

... media .... old ruk:~i Hlld idl.·lllili~~111iXlIIlllJ blurred or rcconfigured in response to new kinds of social situations. This ... stresses the ways the media arc part of, and help shape

I !II' '>'I\,illlllllil'II!' 111111 hy extension our culture, with its attendant linguistic implications (Croteau and Hovnes, 2UOO. JU/).

L~"I'GUAGE, CULTURE, MASS MEDIA AND DEVELOPMENT According to Edward Sapir and Benjamin Lee Whorf, language affects culture and vice versa. 'The Sapir-Whorf hypothesis is concerned with the possibility that man's view of

his environment may be conditioned by his language» Essentially, the duo argue that 'a speaker's native language sets up a series of categories which act as a kind of grid through which he perceives the world and which constrain the ways in which he e:ll~'goriz~~ra~~d conccptuulises different phenomena' (Trudgill, 1974: 26 and 24).

Language is a means through which a group of people learns to organise their

CXpc'IIc'II\..~U'~IIl!III~H':\11'1 1\ rhild growing up learns to order and react to habits about his

environment through language. According to Greenberg (I nl), IH/lI!1I0g is the prerequisite for the accumulation and transmission of culture. Such fundamental aspects

of culture as organised political life, legal systems, religion and science are inconceivable

without that most basic and human form tools, a linguistic system of communication. Language is not only a necessary condition, it is what distinguishes homo-sapiens from apes and other animals with high level of intelligence (Adcbayo, 1995),

--. 2 Language itself is part or culture. l lowevcr culture is defined as a complete way of life of

;t gl'lllP (\I'l'L'(lpk, Thi" .ov 'rs their tradition, environment, and how they harness it, diet, music, dance, folklores, language, how they view their world, etc. Thua, it may be said that language is closely tied to culture and thus may account for why scholars are concerned about the linguistic threat faced by minority languages, especially in the face

of the use of the dominant languages by the international and local mass media . .. According to Muhlhausler (1997:3) in Croteau and Hoynes (2000), 'Ninety percent of the

world's latll',l1:I)',es arc threatened'. r .anguagcs are disappearing at a much faster rate today than they ever did in the past. When a language dies hundreds of thousuuds or

experiences die with it. It represents nn incredible loss of diversity, culture..and identity for peoples across the globe. He predicted that out of about 6,500 global languages

"1'"\ 'II hv SOllll' "i. ') hillinu people, the world may be left with just five - English,

Spanish, Gernuui, io't cu It ilttd l\ 1,11111111111 III tit •... "1"'11 l't>III"fY, 'I'hia usscrtion it! 11little exaggerated due to the fact that every language of the world is in a continuous state or flux. For instance, we now have Nigerian Pidgin English (NPE), which evolved as a re-sult of English language coming in contact with Nigerian languages. In fact, Pidgin

English has been developed orally in the Niger-Delta region by the people to such a high pedestal that it has taken many linguistic nuances of the indigenous languages, Even the

'Standard' English spoken in Nigeria is not exactly that spoken in Britain, the Nigerian

J • element (e-al~l}ralinputs) have been added to it.

Thus, while it may be true that English is a dominant language in Nigerian mass media at

1he dct rimcnt of other indigenous languages, the use of' some major indigenous languages

,Ii"t ! Wt', ,'\"., j"tl·. III 1111' 11I1'11I1( 11'11 111('dill i'l Oil III increase,

Hence in looking at the roles of the media in the linguistic and cultural development of \:igcria, focus will be on the broadcast media, which allows the use of airwaves to transmit a media product directly to anyone who own a receiver. So, how did the

broadcast media affect the consumption and development of media products in Nigeria?

3 • The development of broadcasting fundamentally altered the patterns of media consumption by creating till! possibility or a largely privutiscd und individuulised media experience from a general source, Public media experience such as cinema, concerts, are now being supplemented by TV, video, DVD and recorded music which people usually

'11">1 'PI" " ill II,., "I i,'p,'v Ill' t lu-ir \lOI11('S (Crotcan and Hoyne 2000),

It is unarguable that a world of cultural diversity is better than a world of monolithic culture, If it is not checked, it may result in cultural colonisation of the peoples of a developing country like Nigeria, as the values and the culture may gradually be suffering invasion, This concern prompted Herbert Schiller (1967), cited in Uche (1989), among others to argue that: 'foreign programmes will lead to new cultural pattern to the detriment of the indigenous cultures because once cultural patterns are established, they

endlessly persist, uud us sucl: the rllleigll progruuuuos tIUII'xro broudcast over the local

uctwo rk s of ,11('sl..' 11:I(i0I1Smay determine, in large measures, the cultural outlook and the social direction or the new nations for generations to come', Schiller is not alone ill this crusade, Katz (1973) says that continued dependence on foreign programmes would be

These and many more may account for why the Nigerian national cultural policy recommends that: the media should be used for the dissemination of cultural and artistic

products for the purposes of preserving Nigerian's cultural heritage; the media should enhance :Nigeria's cultural development by broadcasting the citizen's horizon, awakening

their irnnpination and stimulating, their aesthetic awareness, values and creativity,

Despite this recommendation, it is not likely that the mass media devote u reasonable time to airing foreign media products, as Uchc (1989: 8-1) says that 'N- 'rA' Two Channel rive, transmits more than ~O% of its hours on the air on foreign films.... He further says

11\,,1 \1\ (,~("" tll'I'lllei!'ll 1'1"l1l\lafllllll:Sarc shown at prime time on NTA Channel Ten. He

:11'!!tlesthnt as a result of this, Nigeria is tied 10 the lIllI 011 t.trilll!,' (,f' tltr We,ll Rill III dill, and may be facing cultural conquest, (especially through the electronic media),

4 However, in his speech at the fifth anniversary celebration of the National Broadcasting

Commission (N nC) in Abuja on till! 25th of August, 1997, Dr Walter Ofonagoro, attested

to the fact that the situation has changed. Again Tom Adaba (1997) says the local programme content in open television stations range from 54 to 60% •. The satellite . "---'" transmitting stations have an average of 20%, while NTA and state owned stations go as

Ill!.' I I ,n H(I" I III :"1111111 'II'W';I 111"v d ••p'1 ,hi'l inllllf'IlI'P IlHl'lFl media products in Nigeria?

TIlE QUEST TO PRESERVE LANGUAGE AND CULTURE IN THE FACE OF GLOBALlSATION Nigeria, a country with over 250 linguistic groups has been grappling with the problem of .

adopting a national language. Language policy on a education which states that the mother taught should be used as a medium of instruction in the first three years of primary education; English Language taught as a subject during that period; and English

L:lnguage used as a medium 0(' instruction from primury lour to till" tertiary level, with

indigenous Languages taught as subjects. However, no one indigenous language has been adopted as a national language, perhaps for fear of cultural assimilation,

/\11\ \\:IY 111 the- I:I~'L'of t·.lobalisatioll, gradually lending to the homogenisation of culture,

lltl'll' is tilt' Ill'l't! tn preserve local cultures to avoid its erosion. How do we achieve this? Not unt il media scholars and practitioners from countries see the production of music, literature, films and TV programmes as export products that require standardisation, ..... packaging, ~"'d.. promotion, the developing countries including Nigeria stand to loose, Although (Ricklefs, ] 998) has said "Globalisation is about the export of a monoculture. It is the death of a human diversity".

nl'f'Of'l' tlte :ldVCIII (lfsatl'lIile dish, cuh urnl works imports are pusscd through customs and it can be censored i.e. restrict the inflow of foreign films. -Nigeria had.a law which states

111:1' :1 qunrt cr of' l\f"ric:11I lihw; mus! be shown weekly, The businoss was also exclusively

uuuu I'llI' • I IL',I: 11,1liS 1.0. uuly NI!.)0Ihlil~ ahuuld lIWII Illtiilll :i, di:illil",lo 1iI",~ uru] T.Y materials in Nigeria via indigenisation decree. But now there is no control. Anybody can buy satclutc dish or cable wire and watch anything without passing through our Customs

5 and Excise point. Also the language of some products is global Hence the cultural global product like music sells because its language is universal. Even when the lyrics are in a foreign language, the rhythm not the lyrics generates sales. Thus globalisation of music has resulted in cultural contact, leading to both negative and positive impact. To a reasonable extent. there is the infiltration of western music into our countries, which reduce the market share for local artists. Howe:e'r, it is notall tales of woe. This development has also led to the exchange of musical elements between different cultures. 'Contemporary Afro-pop somet. imes combines the electric guitars of Western rock and roll with melodies and rhythm' reminiscent of more traditional African Music. Western rock drummers, on the other hand, have long used a tradition from whereby the sounds of' many different drums are combined .... In both cases, artists have incorporated

and adapted components of one, culture within the context of another' (Croteau and Haynes, 2000: 333). Thus we may say that globalisation has resulted in the compression of cultural distance. This gradual loss of identity is also reflective of some of our indigenous broadcast progrunuues flagrantly bastardised with English language.

L FLUENCl!: OF FORl!:IGN Ml!:DlA PRODUCl'S ON DEVELOPMENT IN I NIGERIA

'[IIl! U/l1\ CI',:II 1/llll1CII.:· iucchu [u uclu 'IS or lito iudu: tl iulisod couutrioa exert over tho media programme preference of' media administrators in Nigeria and other Third World

co unt rics, have coutribut cd to the imbalance in international flow of media products and

contents, whereby local cultural autonomy and awareness are threatened and relegated by external cultural values. The consequence is that there is a risk of a possible cultural

imposition on the people of Nigeria and their counterparts in the Third World from the media source countries (Uche, 1989:75) Croteau and Hoynes (2000:346) corroborate this

VICW

The media products emanating from the West, especially the , ~o pow.:r""l1y vhupc the cultures olothcr IIl1lillllS Ihnl tit")' 1I1111111ut III II cultuml form Ill' douuuauou. .. Values UIIU images of Western society.according 10 this arguuieut 1IJ'l; embedded in the media products sold by Western corporations. Norms of individualism and consumerism. for C'\/II11p[e, pervade media products exported by the West and often coutlicr with IIIe 1J'lIdiliolllll vulucs ill the nations where such products ure sold. The 110w or I It c'.! III I'" ••J" "'. III 111/,.1111,,'"1 VOIII;IIII .' 1111 ill Iho CfIJNio/l,,/, Illoul QllllllrOI/ IlIId values Looking at music, Croteau and l loyncs (2000), posit that the overwhelming majority of music in the global market place is sung in English. For example, in Brazil. where people speak Portuguese, nearly three-quarters of the song played on the radio are in English. In , English songs make up 80% of radio play list. In Japan, about half the songs are in English (Barnet and Cavanaugh, 1994).

What accounts for this? It is argued that U.S. media products have been so successful because they 'tend to have substantial budget resulting ill very slick und uuructive

,I production value' (Economist, I CJ97).

Till! recipient countries of the US media products that do not have the resources to develop the infrastructure necessary to produce high-quality media products are thus adversely affected. The impact on local cultures, critics contend, can be devastating (Mattelart, 1979; Schiller, 1992).

This has resulted in the inability of less developed countries to penetrate the developed countries with their cult urnl works, while the developed countries flood tho ere eloping countries with their works, This, critics refer to as cultural imperialism (the cultural works of a country imposed on another country). The receiving country is seen as the victim of imperialism. This could discourage the receiving countries from developing its own, The attendant implications are artistic, economic.send political.

!\rtis~i~aHy, writers, dramatists, actors. production crew of the victim country are denied o pport unit ics or practisin/j their talent mainly because there are very limited avenues for presenting/exposing their WOt ks to audiences. Why are there limited avenues? The viewers of the victim countries have been attracted to the cultural products from abroad and so their attention is denied to the indigenous cultural works. Thus, the artists of the victim countries are denied the opportunities of exposing their creative talent.

Unfortuuntcly, the victim countr ics depend upon their local nrtists for tho propngution of their local cultures, It then follows that the development of and documentation of local cultures will be constrained. This could further lead to brain-drain, not discounting the Econo micully, where pco plc urc cousistcntly exposed to tho cultures of other countries, the people will tend to adopt the lite style of the other countries to which they are exposed.

Adoption of the life styles mean a strong desire to acquire cultural items of the foreign countries. E.g. dressing modes, wearing of jeans and T-shirts with American emblems.

Driving of' ·cars on which uru placed Amoricnn ",,"1>1011111. Making the huir to look • American (in speech many or our people WUIlL to speak like Americans and they have never lived there).

It means that people will want to travel to these advanced countries and import things from the advanced countries whose cultures attract them. In other words. people of the victim countries try to patronise the goods and services of the forei~~'-cOuntries to the neglect of their own products. This is one of the means by which the economies of the victim countries suffer, as their balance of payment could be adversely affected.

These and many more make it imperative for indigenous scholars to carry out research on how to address this trend. From the above, it is necessary to see Western 'export of media

Il1:IlL:r ia Is ... us Wl:IIas I he rcsu Itille cult ural dominance and dependency relations ... as an economic and political manifestation of a monopolistic market-dominated media syst m (Uche, :r9&9: 77).

This continuous over-dependence on Western media products show lack of patriotism and nationalism. The jingoism exhibited by the West over media products should be checked.

A viable way of resisting cultural imperialism through the media is via policing the media. If the media truly implement the National Cultural Policy, the trend will be reversed. Patriotic should question the probity and wisdom of the influx of

l'OI'l'i!,.1I 1I1l'di:1 prodllcts which 11I.:gnlu 'the principle or the new world inforrnution and

8 communication order that challenges the domination of international news and media products by the industrialised Western societies, consequently leading to imbalance in the media between the North and South'. This will be the situation until we rise up to challenge the status quo. 'It is not until a generation of culturally-minded radio and television managers emerges, shall we have stupendous preference for such popular culturally acclaimed Nigerian television comedies as Masquerade, Jagua, Village Headmaster, Alawada (Uche,1989: 81 and 85), In the face of these challenges,can the

Illcdia help ill the lillguist ic nnd culturul development of Nigeria?

There is room for H turn-urouud via re-urchitectiug, re-engincering, and repositioning of our indigenous media products to make them of international standard and quality.

However, it should be realised that 'the direction taken by future media changes will t.o ...~_---... ". depend on the decisions made by the members of the society' (Croteau and Hoynes, :2000:363). Uche (1989:91), apt Iy puts it thus: 'culture cannot be forcibly imposed on any group of people who are unwilling to be acculturated by foreign values', This implies that our future in terms of resisting cultural imperialism through the media is in our hands. Thus we should begin to look inwards and ask ourselves: how are international media products created'r; why are some cultures prevalent in the mass media, while others are marginalized? etc.

FU~t:H~,EDIRECTIONS IN THE QUEST TO PRESERVE LANGUAGE AND CULTURE THROUGH MEDIA PRODUCTS The media (print and electronics) have been at the vanguard of developing and preserving

Nigerian languages and culture. Newspapers, magazines and other literature are available I in the three national languages. Yoruba had lwe Irohin, as far back as 1959. It also has Alaroye, The Ibos have Udoka newspaper, and the Hausas have Gasikya TajiKwabo (which means truth is better than money). Some magazines like F~~~' also had some stories published in Pidgin English.

I) Furthermore, it is a truism that most people cannot read and write their mother tongue, but understand a speaker. Thus the broadcast media is a potent channel of reaching a reasonable segment of the society. Although, programmes in 'local' languages help develop Nigerian languages and preserve the culture, they may face some constraints in a

I multilingual setting like Nigeria. In a situation like that, pidgin comes handy to supplement major languages used. -.- ... These are assets that can be utilised in the quest to preserve language and culture. Others are favourable media policy framework on cultural development, increase in production of local films and private sector participation in funding the production, deregulation of the broadcast industry which can enhance carving a niche for a station through the promotion or culture. A good example is African Independent 'I'clevisiou (AIT).

This does not mean that there are no liabilities. Multilingualism; poor packaging of local media products which does not encourage stations to expose in the face of competition for market share of viewers and advertisers; high use of foreign films and documentaries

as fillers for airtime at the expense of home grown programmes to satisfy audience taste and crave for foreign media products, and lack of resources, amongst others.

Although many developing countries including Nigeria are multilingual and this has not

h:ld a smootl: sail ill terms of lIS0 by the media, and hence the linguistic diversity may pose a problem as it is not harmonious to choose and impose one indigenous language on the 'Ptltire people of Nigeria. The Pidgin English is making in-road into media messages

ill the (Il:C o l lrugursuc phu aluy III the country.

Furthermore, the media thus face the problem of translators, who may have even had

formal education in the indigenous languages, but not trained translators. Also many

indigenous languages do not have developed and standard autography. Despite these

liabilities, there is a way forward. e.c -

\0 TH E \-VAY FORWARD HYS EA IH.'II: i\ thorough research should be conducted on the history, language, tradition, lore, value, etc. of the indigenous people concerned to uncover data that will be useful in the presentation of indigenous programmes.

TECI.:rNOLOGY: The problem with many indigenous media products is poor quality of

production. Perhaps, the assumption is that since such programmes are indigenous, it is

\!Irllt'\t'l al 'In 'ill' people hence there is no need for high production standard, since the

people know the level of technological development in Iltelr COIIIII,y.

111 order to nurnct the attention and retention of target audience, and favourably compete

with imported foreign prograrnmcs there is need 10 invest 111 the latest technology such us digital cameras, lighting equipment, audio equipment, outside broadcast (OB) vans, digital editing technologies, recording device such as compact disc (CD), DVD, etc. Also, the use of satellite communication technology transmitting broadcast signals live from any part of the world, improved sound effects and text scrolling, lighting and

animation technological equipment are essential for quality production.

PERSO~NEL: The media professionals to manage the stations should be adequately

II":Iill\.·d (nnd H.-tailll.'d) cont inuously in order to keep pace with emerging technologies. f

Such people should be well remunerated according to industry standard. Many prosoutors

of' im! igcnous broadcast programmes are poorly paid because most- ofthese stations are

state owned and the Slill!" Pilld 11\:\:01 ding to the ivil u rvjco ulnndurd.

AtIJHI':NCI,: SIo:CI\IIo:N'I'ATION: 'I'he PJOUICIIl with most indigenous broadcast

programmes is that they are not targeted at a specific audience (i.e. they are meant for every speaker of that language). Indigenous programmes should be seen as products and

be marketed not based on ethnic sentiments but on what market segment it wants to occupy: what are the needs and wants of the consumers in this segment, packaging the 'product' to promise the satisfaction of such needs and wants, and finally delivering on it. Scornentation can be carried out based on the following criteria:

11 • Demographic factors i.e. sex, age, ethnicity, level of education, occupation,

income und other quunt ifinblc luctors.

• Geographical factors: based on the' needs, wants and purchasing habits of the people in one region of a country (or the world) that differs from those in other regions.

• Behaviouristic factors: This is based on purchase behaviour. Some determinant

variables affecting this are: users status, usage rate, purchase occasion and benefit sought (Arens, 1999). ., i'\EED FOR PRODUCT DIFFERENT1AT10N AND BRANDING

PRODUCT DWFI~IU:NTIATION: l ndigenous programmos should be approached from marketing orientation. There is competition even among indigenous broadcast i11t1L\ln111111pq ""111'(' 111(' need [or 'product differentiation- it creates a product difference t hu t uppeu ls 10 the pretcr cucc olu chsuuct uuu k ot segruou!' (AIOllti. I~IJ'.)),

PROGRA!VtME BRANDlNG: Starts from the name, words, symbols, (Montage) or' design that identifies the product and its source and distinguishes it from competiting products. Presenters of such programmes should also be branded and fit into the programme brand personality, for instance the presenter of Odenigbo on AlT.

HOW TO PACKAGE FOR ADVERTISERS DELIGHT: Firstly. the producers have

III ('lI:I~!~('Jrolll old orientation that indigenous programmes can be sold on ethnic sentiments and are targeted at mcdiocrcs. It must adopt u professional oricuuu iou, The rr0}'.rnmme should be designed to compete equally in ·the market place with other illJig<.:nous ami unpou cd progruuuues. t,tU:.lCI vlllg '''1.1 HhoVQ fucrcrs will make it nppcn linp to advertisers to fund and sustain on tho IIirwavcs.

Brand of products or services with similar target audience should be sought i.c. Odcnigbo programme (on AIT) and automobile and electronic spare parts brands are synonymous.

Advertisers of' such will not need to be persuaded long before buying into the Programme.

12 1~:'\po rtu \ iOIl ,\ lid pr~lI\101 ion 0 r indigenous broadcast programmes through the internet,

!'tlll1s, videos, DVLJ, C'ublc TV i.c, '1101111,) TV', ux.1 ",III hroudcnut stution» like Minnj Broadcasting International (MBT) and Voice Of Nigeria (VON), should be encouraged. Local artists should be packaged and promoted as global stars. Makosa' music today is doing the rounds everywhere. Also in the music industry, the pop stardom of Michael

Jackson and Madonna in the 1980s and early 1990s market the sale of a media

commodity that was popular in many different countries.

CONCLUSION

It is undisputable that the media is an engine for growth. The impact of the media both in I

content and in process ill 4111 areas or our lives especially cultural development is undeniable. However, the finesse with which producers package messages and the

1''''41'l1ll1lilll\4 Ill' 'owl! I1l('II'HIJ!l'H urc crucial for HUCCCSS in this crusade. 'Thus the media could help reconnect the culture that had been frugll1cnled by the media.

The media should rise lip to the occasion by promoting indigenous culture and not over exposing foreign cultures. The media practitioner should decipher the desirable and undesirable aspects of indigenous culture and sell it to other countries. Also government

should put in place mechanism to monitor compliance with cultural policy on media. Furthermore, more general media message like news should be translated into main

indigeaous language for the environment within the reach of a broadcast station. This however, should not be abused. Nobody, no class stratum should be alienated.

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