Nigeria Inspirational Quotes

A nation is not defined by its borders or the boundaries of its land mass Rather, a nation is defined by adverse people who have been unified by a cause and a value system and who are committed to a vision for the type of society they wish to live in and give to the future generations to come.

In such a regime, I say you died a good death if your life had inspired someone to come forward and shoot your murderer in the chest - without asking to be paid.

Girls are pearls, ladies are rubies, mothers are moulders, and women are wonderful.

We inter-change ideas. You can stay in the United States and inspire people in Indonesia. You can stay in Ghana and inspire people in Turkey. You can stay in Nigeria and inspire people in cote'd voire. You can stay in Senegal and inspire people in China and vice versa.

In such a regime, I say you died a good death if your life had inspired someone to come forward and shoot your murdered in the chest - without asking to be paid.

To succeed in this day and age, all you need to be ahead of the pack is to be informed, and turn the information into transformation for your betterment and that of others.

Some people refer to a ‘just war’ or a ‘war of necessity’ and others posit that it is simply an illusion to dignify war, no matter the circumstance. Having said that, the necessity or otherwise of war can be seen in the Igbo of Nigeria concept of ‘akwa aja ahụ ọgụ’. A man is thus bound to defend his ‘ama’ or territory and his manhood against any intruder, oppressor or aggressor or be regarded as a ‘woman’ by his people.

All leaders were equal at the conference table, but those from heavyweight countries showed that they were more equal by arriving in big private jets, the British in their VC 10s and Comets, and the Canadians in Boeings. The Australians joined this select group in 1979, after Malcolm Fraser's government purchased a Boeing 707 for the Royal Australian Air Force. Those African presidents whose countries were then better off, like Kenya and Nigeria, also had special aircraft. I wondered why they did not set out to impress the world that they were poor and in dire need of assistance. Our permanent representative at the UN in New York explained that the poorer the country, the bigger the Cadillacs they hired for their leaders. So I made a virtue of arriving by ordinary commercial aircraft, and thus helped preserve Singapore's third World status for many years. However, by the mid-1990s, the World Bank refused to heed our pleas not to reclassify us as a "High Income Developing Country", giving no Brownie points for my frugal travel habits. We lost all the concessions that were given to developing countries.

When asked if he had a special feeling for books, critic-turned-filmmaker Francois Truffaut answered, "No. I love them and films equally, but how I love them!" As an example, Truffaut gave the example that his feeling of love for "Citizen Kane" (USA, 1941) "is expressed in that scene in 'The 400 Blows' where Antoine lights a candle before the picture of Balzac.' My book lights candles for m any of the great authors of this world: Chinua Achebe (Nigeria), Angela Carter (UK), Saratchandra Chattopadhyay (India), Janet Frame (New Zealand), Yu Hua (China), Stieg Larsson (Sweden), Clarice Lispector (Brazil), Mario Vargas Llosa (Peru), Naguib Mifouz (Egypt), Murasaki Shikibu (Japan), and Alice Walker (USA) - to name but a few. Furthermore, graphic novels, manga, musicals, television, webisodes and even amusement park rides like 'Pirates of the Caribbean' can inspire work in adaptation. Let's be open to learning from them all. ("Great Adaptations: Screenwriting and Global Storytelling," 2)

Palo Mayombe is perhaps best known for its display of human skulls in iron cauldrons and accompanied by necromantic practices that contribute to its eerie reputation of being a cult of antinomian and hateful sorcerers. This murky reputation is from time to time reinforced by uninformed journalists and moviemakers who present Palo Mayombe in similar ways as Vodou has been presented through the glamour and horror of Hollywood. It is the age old fear of the unknown and of powers that threaten the established order that are spawned from the umbra of Palo Mayombe. The cult is marked by ambivalence replicating an intense spectre of tension between all possible contrasts, both spiritual and social. This is evident both in the history of Kongo inspired sorcery and practices as well as the tension between present day practitioners and the spiritual conclaves of the cult. Palo Mayombe can be seen either as a religion in its own right or a Kongo inspired cult. This distinction perhaps depends on the nature of ones munanso (temple) and rama (lineage). Personally, I see Palo Mayombe as a religious cult of Creole Sorcery developed in Cuba. The Kongolese heritage derives from several different and distinct regions in West Africa that over time saw a metamorphosis of land, cultures and religions giving Palo Mayombe a unique expression in its variety, but without losing its distinct nucleus. In the history of Palo Mayombe we find elite families of Kongolese aristocracy that contributed to shaping African history and myth, conflicts between the Kongolese and explorers, with the Trans-Atlantic slave trade being the blood red thread in its development. The name Palo Mayombe is a reference to the forest and nature of the Mayombe district in the upper parts of the deltas of the Kongo River, what used to be the Kingdom of Loango. For the European merchants, whether sent by the Church to convert the people or by a king greedy for land and natural resources, everything south of present day Nigeria to the beginning of the Kalahari was simply Kongo. This un-nuanced perception was caused by the linguistic similarities and of course the prejudice towards these ‘savages’ and their ‘primitive’ cultures. To write a book about Palo Mayombe is a delicate endeavor as such a presentation must be sensitive both to the social as well as the emotional memory inherited by the religion. I also consider it important to be true to the fundamental metaphysical principles of the faith if a truthful presentation of the nature of Palo Mayombe is to be given. The few attempts at presenting Palo Mayombe outside ethnographic and anthropological dissertations have not been very successful. They have been rather fragmented attempts demonstrating a lack of sensitivity not only towards the cult itself, but also its roots. Consequently a poor understanding of Palo Mayombe has been offered, often borrowing ideas and concepts from Santeria and Lucumi to explain what is a quite different spirituality. I am of the opinion that Palo Mayombe should not be explained on the basis of the theological principles of Santeria. Santeria is Yoruba inspired and not Kongo inspired and thus one will often risk imposing concepts on Palo Mayombe that distort a truthful understanding of the cult. To get down to the marrow; Santeria is a Christianized form of a Yoruba inspired faith – something that should make the great differences between Santeria and Palo Mayombe plain. Instead, Santeria is read into Palo Mayombe and the cult ends up being presented at best in a distorted form. I will accordingly refrain from this form of syncretism and rather present Palo Mayombe as a Kongo inspired cult of Creole Sorcery that is quite capable