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NIGERIA PR REPORT 2020 Kano
INSIDE THE PUBLIC RELATIONS AND COMMUNICATIONS INDUSTRY IN NIGERIA NIGERIA PR REPORT 2020 Kano Inside the Public Relations and Communications Industry in Nigeria Abuja Lagos PUBLISHED BY IN PARTNERSHIP WITH PUBLISHED BY IN PARTNERSHIP WITH Port-Harcourt Research & Intelligence 1 NIGERIA PR REPORT 2020 INSIDE THE PUBLIC RELATIONS AND COMMUNICATIONS INDUSTRY IN NIGERIA 2 3 NIGERIA PR REPORT 2020 INSIDE THE PUBLIC RELATIONS AND COMMUNICATIONS INDUSTRY IN NIGERIA ABOUT THE NIGERIA PR REPORT Cover Design Publisher Nigeria PR Report is the country’s first-ever annual report on Public Relations, dedicated ID Africa BHM 32 Community to gathering, chronicling and analyzing data on trends, perceptions, challenges and road, Off Allen prospects within the industry. Design and Avenue, Ikeja, Lagos The goal of Nigeria PR Report is to purposefully place Nigeria on the global marketing Layout [email protected] communications map by producing annual analyses and providing valuable insights Onewildcard www.bhmng.com that can help build a world-class industry. www.nigeriaprreport.com Limited The report is prepared for the use of agency CEOs, brand managers, students, teachers, institutions, journalists, consultants, regulatory bodies and researchers. Research Compass Insights Project Coordinator Iyinoluwa Adunade 4 5 NIGERIA PR REPORT 2020 INSIDE THE PUBLIC RELATIONS AND COMMUNICATIONS INDUSTRY IN NIGERIA ABOUT BHM RESEARCH & INTELLIGENCE ABOUT PLAQAD ABOUT COMPASS Plaqad is a social network connecting brands and INSIGHTS BRI, an independent intelligence team working from Nigeria serves to gather and individuals to content creators, publishers and influencers. Compass Insights is a boutique business advisory analyze data for brands and organizations in public relations, advertising, ICT and outfit based in Nigeria, that provides accessible data- Media. -
Davido-Bio-November-2019.Pdf
DAVIDO Nearing the close of 2019, it’s hard for many to say they haven’t heard the name Davido, born David Adedeji Adeleke. The year marks another fete of huge achievements, from opening the year with a sold out date at London’s O2 Arena – making him the first solo African artist to do this – to creating mass hysteria across America with his 2018 single “Fall” which has gone on to have the longest run of an Afrobeats single on the Billboard charts, and saw it peak across Shazam as one of the most searched songs in the United States, and now gears up to release his second album A Good Time, all before a circuit of Christmas shows across Africa. If anything has framed where Davido currently is, it would his “childhood.” The youngest of five, growing up with his parents in Lagos, Nigeria, he was “exposed” to the world. Across summer breaks he would travel to visit his siblings in London and Atlanta, the latter being home to some of the artists that he today he can call his good friends – YoungThug, Gunna, Lil Baby – and the home to some of his favorite rappers growing up – Ludacris, Nelly – the sounds of noughties Hip Hop that he “loved.” It was most likely these trips that would drive a love for music that reflected global ambition. This exposure to the world, would in turn give Davido the opportunity to share with his University of Alabama friends music from Nigeria, that he knew if “given a chance” would go global. -
Leagues Structure
Football P. O. Box 49911-00100, Nairobi Tel: + 254-709699000 Kenya Email: [email protected] Website: www.footballkenya.org Federation ATT: FKF Members, RE: FKF LEAGUE STRUCTURES – 2020/2021 TO 2024/2025 SEASON. FKF LEAGUE STRUCTURE – 2021 TO 2025. We wish to inform you that during the National Executive Committee meeting held on No- vember 10, 2020, the FKF NEC resolved to adopt the below league structure; 1. The Top Tier League. In accordance with the FKF Constitution, the Federation’s top tier league shall be referred to as the FKF Premier League. The League shall be comprised of eighteen (18) professional teams. The Winner of the League shall be crowned the national champion and shall represent the country in the CAF Champi- ons League and CECAFA Championship Tournaments. The bottom two placed teams at the end of the season shall be relegated to the second tier league, the National Super League. The third-last ranked team in the FKF Premier League shall participate in a promotion/relegation play-off match with the third-best ranked team in the second tier for the final spot in the next FKF Premier League season. 2. The Second Tier League. The FKF’s second tier league shall be referred to as the National Super League. The League shall be comprised of twenty (20) semi-professional teams. The Winner of the League shall be crowned the League Champions and together with the second-placed team in the league, shall earn automatic promotion to the FKF Premier League. The bottom three placed teams at the end of the season shall be relegated to the third tier league, the FKF Division One League. -
Foregrounding Female Agency in the Dance Culture of Nigeria
WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion. -
Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus
Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus Emwinromwankhoe Osakpolor, University of Benin, [email protected] Volume 9. 1 (2021) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2021.299 | http://cinej.pitt.edu Abstract This study investigates the portrayal of women in contemporary Nollywood films, using Isoken (2017) and King of Boys (2018) as case studies. The objective was to highlight the various ways in which women in the films are portrayed to viewers and ascertain whether contemporary Nollywood movies are an improvement on the issues of gender stereotypes and sexism which are hitherto prevalent in the industry. Anchored on the cultivation theory, the study adopted the qualitative content analysis method. Findings showed that women in the studied films are negatively portrayed in various ways and that these portrayals are, at best, parallel to the stereotypical ways in which women were portrayed in previous Nollywood movies. Taking cognizance of the fact that both films are directed by women, the researcher recommends that Nollywood female directors should look beyond the lenses of financial gains and set a pace with regards to changing the narrative and portraying Nigerian women in a positive light. Keywords: Portrayal; women; Nollywood; Nollywood films; Isoken; King of Boys New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus Emwinromwankhoe Osakpolor Introduction Film, also referred to as movie, motion picture, theatrical film or photo-play, is unarguably a medium of mass communication. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Petition 41 of 2016
Petition 41 of 2016 Case Number Petition 41 of 2016 Kenyan Premier League Limited v Nick Mwendwa, Petra Doris, Robert Parties Muthomi & Football Kenya Federation Case Class Civil John M Ohaga, FCIArb - Chairman Gabriel O Ouk - Member Mary N Kimani - Judges Member Mr Geoffrey Orao-Obura instructed by Obura Mbeche & Co. Advocates for the Advocates Petitioner Mr Ken Ochieng’ instructed by Sila Munyao & Co. Advocates for the Respondents Case Action Decision Case Outcome Application allowed Date Delivered 10 Jan 2017 Court County Nairobi Case Court Sports Disputes Tribunal Court Division Tribunal REPUBLIC OF KENYA THE JUDICIARY OFFICE OF THE SPORTS DISPUTES TRIBUNAL PETITION NO. 41 OF 2016 KENYAN PREMIER LEAGUE LIMITED......PETITIONER -VERSUS- NICK MWENDWA.....................................1ST RESPONDENT PETRA DORIS...........................................2ND RESPONDENT ROBERT MUTHOMI................................3RD RESPONDENT FOOTBALL KENYA FEDERATION.....4TH RESPONDENT DECISION Hearing: 24th November, 13th December, 15th December & 20th December, 2016 Panel: John M Ohaga, FCIArb - Chairman Gabriel O Ouko - Member Mary N Kimani - Member Appearances: Mr Geoffrey Orao-Obura instructed by Obura Mbeche & Co. Advocates for the Petitioner Mr Ken Ochieng’ instructed by Sila Munyao & Co. Advocates for the Respondents Brief Background 1. The dispute between the Petitioner and the Respondents is relatively simple and straight forward. The issue is whether the Kenya Premier League for the season 2017/2018 should have 16 or 18 teams participating. At the centre of the dispute is the interpretation of the Agreement dated 24th September, 2015 (‘the Agreement’) entered into between the Petitioner and the 4th Respondent. The Parties 2. The Petitioner is a limited liability company duly incorporated under the provisions of the Companies Act, Chapter 486 of the Laws of Kenya (now repealed) (now Act No. -
Full Booklet
DR. BENSON I. WAIREGI, EBS B.CQM. (ACCO~NTING), MBA (NAIROBI), C.P.A. (K) o RSITY J OFFICERS OF THE UNIVERSITY Chancellor DR. BENSON I. WAIREGI, EBS B.COM. (ACCOUNTING), MBA (NAIROBI), C.P.A. (K) Chairman of Council PROF. RATEMO W. MICHIEKA, EBS., FKNAS B.Sc., M.Ed., Ph.D. (RUTGERS) Vice-Chancellor PROF. OLIVE M. MUGENDA, EBS, CBS B.Ed. (NAIROBI), M.Sc., Ph.D. (IOWA STATE), MBA (ESAMI) Deputy Vice-Chancellor (Administration) PROF. PAUL K. WAINAINA B.Ed., M.A. Ed. (NAIROBI), Ph.D. (ALBERTA) Deputy Vice-Chancellor (Academic) PROF. JOHN OKUMU B.Ed., M.Sc. (KENYATTA), Ph.D. (LEEDS) Deputy Vice-Chancellor (Finance and Development) PROF. GODFREY S. MSE B.Ed., (NAIROBI), M.Ed., Ph.D. (KENYATTA) Deputy Vice-Chancellor (Research, Innovation and Outreach) PROF. FREDERICK Q. GRAVENIR M.A., Ph.D. (PRAGUE) Registrar (Academic) DR. STEPHEN N. NYAGA B.Ed., M.A., Ph.D. (KENYATTA) Registrar (Administration) DR. DANIEL M. MUINDI B.Ed., M.Ed. (NAIROBI), Ph.D. (KENYATTA) Registrar (Finance and Development) DR. NELSON M. KARAGU B.Sc., M.A. (ED.) (IDAHO), Ph.D. (NAIROBI) Registrar (Research, Innovation and Outreach) DR. VINCENT ONYWERA B.Ed., M.Ed., Ph.D. (KENYATTA), ISAK 2 Registrar (Corporate Affairs) DR. RUTH W. NDUNG’U B.Ed., M.A., Ph.D. (KENYATTA) Chief University Librarian DR. GEORGE G. NJOROGE B.Ed. (NAIROBI), PGD. LIB., M.Sc. (WALES), Ph.D. (MOI) Director of Student Affairs DR. EDWIN GIMODE B.Ed. (NAIROBI), M.A., Ph.D. (KENYATTA) Chief Finance Officer JOSEPH I. GITAHI B.Sc. (BUSINESS ADMIN.), M.Sc. (ORG. -
The Role of Sports Diplomacy in Promoting Kenya's Foreign Policy
THE ROLE OF SPORTS DIPLOMACY IN PROMOTING KENYA’S FOREIGN POLICY GOALS (2002-2018). BY MUTISYA MARY MWONGELI UNITED STATES INTERNATIONAL UNIVERSITY- AFRICA SPRING 2019 THE ROLE OF SPORTS DIPLOMACY IN PROMOTING KENYA’S FOREIGN POLICY GOALS (2002-2018). BY MUTISYA MARY MWONGELI A THESIS SUBMITTED TO THE SCHOOL OF HUMANITIES AND SOCIAL SCIENCES FOR THE FULFILLMENT OF MASTERS DEGREE IN INTERNATIONAL RELATIONS UNITED STATES INTERNATIONAL UNIVERSITY- AFRICA SPRING 2019 DECLARATION I, undersigned, declare that this is my original work, and has not been submitted to any other institution, college or university other than United States International University-Africa for academic credit. Signed: Date: Mutisya Mary Mwongeli This thesis has been presented for examination with my approval as the appointed supervisor. Signed: Date: Dr. George Katete Signed: Date: Prof. Martin Njoroge Dean, School of Humanities and Social Sciences Signed: Date: Ambassador Prof. Ruthie Rono Deputy Vice Chancellor, Academic Affairs (DVCAA) i COPYRIGHT All rights reserved. No part of this report may be recorded, photocopied or otherwise reproduced, stored in a retrieval system or transmitted in any mechanical or technical means without the permission of the copyright owner. Mutisya Mary Mwongeli. Copyright © 2019 ii ABSTRACT Kenya’s foreign policy anchors towards its interlinking pillars, with the cultural diplomacy pillar seeking to promote sports diplomacy by recognizing the role of athletes. Kenya therefore seeks to pursue its national interests in its relations with other countries through sports diplomacy to meet its foreign policy objectives. These foreign policy goals include integration, projection of Kenya’s image and prestige, regional peace and security, multilateralism, economic prosperity of Kenya and its people and protection of Kenya’s sovereignty and territory integrity. -
Faculty of Applied Economics
Faculty of Applied Economics EXTENDED CINEMA IN KENYA AND TANZANIA. TECHNOLOGICAL INNOVATION AND RELATED TRENDS IN LOCAL AUDIOVISUAL STORYTELLING. Ann Overbergh, Antwerpen, November 2014 Proefschrift voorgedragen tot het behalen van de graad van doctor in de Toegepaste Economische Wetenschappen aan de Universiteit Antwerpen te verdedigen door Ann Overbergh Promotoren: Prof. Dr. Arjen van Witteloostuijn Prof. Dr. Annick Schramme DOCTORAL JURY Prof. Dr. Arjen van Witteloostuijn (supervisor) University of Antwerp, Tilburg University – Tilburg School of Economics and Management Prof. Dr. Annick Schramme (supervisor) University of Antwerp, Antwerp Management School Prof. Dr. Luuk Van Waes (chair) University of Antwerp Prof. Dr. Philippe Meers University of Antwerp Dr. Lizelle Bisschoff University of Glasgow Dr. Alessandro Jedlowski University of Liège ACKNOWLEDGEMENTS ASANTENI! I would not have been able to start or finish this project without the help of a large number of people. First and foremost, infinite gratitude to three of the most generous people I know: Dirk De Wit, Sam Eggermont, and Pieter Leenknegt. For hospitality, encouragement, friendship and laughs. Many thanks to my supervisors, Prof. Arjen van Witteloostuijn and Prof. Annick Schramme, for four years of moral support, reading, and discussion, on a topic which I know was not part of your day-to- day interests. Annick was the first to think of me as a PhD candidate, and to give me the call that kick- started everything. Arjen followed up by arranging a meeting and convincing me to take the leap. The four years that followed seemed like an unlikely endeavor, but together we made it work. Many thanks also to my doctoral committee and jury members, for attentive reading and constructive feedback: Prof. -
An Appraisal of the State of Professional Songwriting
AN APPRAISAL OF THE STATE OF PROFESSIONAL SONGWRITING ON THE NIGERIAN MUSIC INDUSTRY CHAPTER ONE INTRODUCTION 1.0 Introduction Nelson (2010), making reference to a Music quote by Henry Giles, mentioned that “A song will outlive all sermons in the memory”. “Every song is like a painting”, Dale (2013) and every picture tells a story. Also, “Great music is that which penetrates the ear with facility and leaves the memory with difficulty because Magical music never leaves the memory”, Beecham (2015). Songwriting may mean different things to different songwriters and at different times. Songwriting, like any other creative endeavor, can be meaningful in a variety of ways. So while there are some objective ways to determine “good” or “bad” when it comes to songwriting, it is also a creative space open to a myriad of options. “A Creative mind has the ability to make discoveries and create innovations”, Rivera, (2014). 1.1 Background to the Study The American Heritage Dictionary of English language, 5thEdition, (2013) defines a songwriter as one who writes lyrics or tunes (or both). They are often referred to as ballad makers, tunesmiths, composers - someone who writes the lyrics and usually the Music of Songs. To some extent a songwriter is much like a storyteller and the listeners are his captive audience. Most songs revolve around a central theme such as love, friendship, struggle, triumph, or other forms of experiences, etc. Every song tells a different story while each song usually contains an atom or 1 atoms of uniqueness which makes them differ from the works of other composers and songwriters. -
Kenyan Hip-Hop Artists' Theories of Multilingualism, Identity And
“HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Rhetoric and Writing - Doctor of Philosophy 2016 ABSTRACT “HATUCHEKI NA WATU”: KENYAN HIP-HOP ARTISTS’ THEORIES OF MULTILINGUALISM, IDENTITY AND DECOLONIALITY By Esther Milu This is a qualitative research study that constellates several theoretical and methodological approaches to understand why and how three Kenyan Hip-hop artists, Jua Cali, Nazizi Hirji and Abbas Kubbaff, engage in translingual communicative practices. A variety of data types including in-depth phenomenologial interviews, lyrical content and multimodal compositions were evaluated to understand how and why the artists used particular linguistic and semiotic resources in composing their texts and in their everyday communication. A translingual analytical framework was applied to examine these resources across various modalities of communication: verbal, written, audio, visual, performative and embodied. Findings from the study indicate that the artists translingual practices are aimed at : 1) constructing various ethnicities and indentities based on their everyday language use and not on dominant language ideologies or theories of race and ethnicity in the country; 2) engaging in language activism work by raising critical language awareness within dominant institutions, and by actively participating in the preservation of youth languages and cultures; 3) theozing and practicing diverse options for cultural and linguistic decolonization. The study concludes by proposing a translingual pedagogy that challenges students to demonstrate critical awareness of the “linguistic culture” surrounding the languages, codes and symbolic practices they use in their translingual composing.