Future Governance shines light on the endemic nature of cyber vulnerability and explores the meeting point for cyber security and data protection in Nigeria.

Economics is full of surprises. Its foundations might at first glance seem counterintuitive, but they have proved themselves true, again and again in practice. People in countries where citizens and their governments understand economics have higher standards of living and more personal liberty than do people who have the misfortune to live in countries where these principles are ignored or misunderstood. Dr. George Ayittey understands these principles, and Applied Economics for Africa shows exactly how ignoring them has contributed to the struggles Africa faces today. This book demonstrates that the key to Africa’s development lies in building upon “its own indigenous heritage of participatory democracy based upon consensus (under the chiefs), free village markets, and free enterprise.”    

Share Anonymous Initiative is an ongoing project that is transforming society's understanding and response to sexual and domestic violence through storytelling, data, and technology. This free e-resource is guide  and tool for survivors and victims of sexual and domestic violence  to track their progress and compare themselves to others who have experienced the same things, they could learn more about how to improve their outcomes.

Social Media Usage Guide for Health Workers is an open access resource and tool  for healthcare professionals who wish to  engage and share  accurate health information or correct medical misinformation on social media. It was written and designed  by Healthhub Africa -  A network of innovators, leaders, influencers and key players in the health sector, collaborating to advance #SDG 3; Good health and Well being

The present Igbo dictionary is a much revised and expanded version of the Igbo dictionary published by Kay Williamson, Ethiope Press, Benin City in 1972. Professor Williamson died in early January 2005, with it still unpublished. The revision was prepared in the 1970s and 1980s and was typed camera-ready in a manuscript submitted to the same publishers in 1983. The publishers first delayed in responding and then finally admitted they had lost the copy. So only a photocopy of the original typed version exists.

The literature on Yoruba sculpture and sculpture-related problems is extensive, but as yet there is no publication which describes the true range and depth of the art. This bibliography, therefore, is designed not as an exhaustive survey but as an aid to further research. The list has two sections: the first contains sources on the Yoruba, the second, general handbooks and exhibition catalogues. Asterisks in the index mark those works which provide the most detailed, careful, or latest studies of a given subject. Certain kinds of research concern the relationship between Yoruba sculpture and the arts of Nok, Ancient Ife, "Great Benin", Esie, and the traditional sculpture of contemporaneous neighboring peoples. In the interest of brevity however, most references on these other styles have not been included. Much unpublished data has also been excluded; for this kind of material the student is referredto the archives of the Western Region Secretariat (ibadan, Nigeria), the archives in the Nigerian Museum (Lagos), and the IRAN archive (Porto Novo, Dahomey). In addition to commonly known types of wood sculpture — figures, masks, headdresses, staffs, house posts, and doors — Yoruba artists created works in wrought iron, brass, pottery, ivory, beads, leather, and stone. Most of these objects served various cults, each of which has its own repertory of songs, dances, and symbols. The richness and complexity of this sculpture is a function of many interrelated factors: over five million people divided into ethnic sub-groups unified by language; an old and unusual tradition of urbanism; an extensive pantheon of spirits (brisa), at least twelve of which call for sculptural forms recognized across Yoruba land; an elaborate cosmology; a complex social and political organization; a frequent interaction of sculpture, music, and dance; and a well-developed sense of artistic quality. Only recently, however, have scholars begun to communicate the originality of Yoruba artistic thought and the complexity of iconography, and to classify sculpture into styles and schools.