Kuli kajalaɣ caŋa

Ajɛyɛ kpɛndʊʊ Ajɛyɛ kpɛndʊʊ tɔmpiye, pɩkɛ lɩmaɣzɩyɛ nɖɩ ɖɩ-paɣtʊ kɛ se pɔcɔna nɛ pana ɛzɩma ɛyaa paa ɛjaɖɛ nɖɩ ɖɩ-taa pɩzɩɣ nɛ pɛlɛdɩɣ ɖama taa tadɩyɛ nɔmɔʊ taa, pʊ-tʊʊ tobi taa se ɖama hɛkɩŋ taa sʊʊ, liidiye lɛɛzʊʊ nɛ ɖama, tʊma, ɛyaa tɩtɩŋga taa ɖama sʊʊ, lɛɣtʊ kpɛlɛkʊʊ nɛ ɖama cɔlɔ welesiɣ. Pɩkɛ nɔmɔʊ ɛzɩma pɩtɩŋna nɛ ɛyaa sʊʊ ɖama hɛkɩŋ paa le tʊ yɔ, kpaɣ kɔzɩ kɔzɩ tadɩyɛ tɔm taa, ɛyaa ɖama cɔtɩnaʊ, mbʊ pɩkɛ se paa weyi lɛ ɛ-laŋɩyɛ ɛtaamaa nɛ lɛɛlʊ tɛ ɛjaɖɛ taa wobu, se pɩsa ɖɔɖɔ nɛ pɔcɔna haba yɔɔ ɖɔnaa ɖeɖe ɛyaa nɛ pa-kɩyakɩŋ wondu ɖeɖe.

Fransɩɩ kʊnʊŋ taa lɛ, tɔmpiye nɖɩ palaba-ɖɩ nɛ kajalaɣ ɖeɖe lɛ Pierre Courbertin tʊ kaalɛna-ɖɩ labɩnaʊ tʊmɩyɛ, kɛ Figaro takayɩ hɔɔlaɣ taa ŋga pama-kɛ pɩnaɣ 1904 saŋayɩŋ fenaɣ kɩyakʊ 13 yɔ, ɖɔɖɔ ɛzɩ Fransɩɩ tɔm kɛdɩyʊ kaayɔɔdʊʊ yɔ ɛnʊ payaɣ Vincent Capdepuy. Tɩlɩɩ ɖɔɖɔ Paul Otlet takayaɣ nakayɛ taa pɩnaɣ 1916. Tɔmpiye nɖɩ ɖɖi-tɔbʊʊ nɩɣ keekee kɛlɛ mbʊ se ɛyaa ɛsʊʊ ɖama taa paa hɔɔlɩŋ weyi taa paa ajɛyɛ wena lɛ taa kɛ you sɔsɔʊ wayi mbʊ pʊyɔɔ pɩɩwɛ sɔndʊ ɛyaa nɛ lalaa tɛ tɛzʊʊ.

Tɔmpee naalɛ naayɛ anasaayɩ kʊnʊŋ taa kɛlɛ kabɩyɛ taa akɛ kʊyʊm ana kpɛm tɛ nɛ kpeekpe kpɛndʊʊ. Kajalaɣ taa lɛ tɔmɩŋ ɖɩlɩyɛ tʊmɩyɛ tɩnaa cɔlɔ lɛ, ɖɔɖɔ ɛzɩ kpeekpe tɛ nɩɣ taa lɛ ɛjaɖɛ (palɩzɩɣ tɔmpiye nɖɩ nɛ latɛŋ kʊnʊŋ mundus pʊ-tɔbʊʊ kedeŋga kpeekpe) nɛ globus ɖɩɖɩ tɔbʊʊ se kpeekpe nɩɣ taa) yebina nɛ papɩzɩɣ pɔtɔ se awɛʊʊ yɔ akɛ kʊyʊma anasaayɩ taa kɔyɔ mondialisation nɛ Ɛnglɩsɩ kʊnʊŋ taa kɔyɔ globalization.

Yee tɔmpiye ajɛyɛ kpɛndʊʊ nɖɩ ɖɩkɛ kɩfaɖɛ yɔ, tɔm kɛdʊʊ paɣtʊ taa lɛ ɖɩɩwɛɛ halɩ ɖooo hoho. Ajɛyɛ kpɛndʊʊ tɔmʊʊ, pɩkɛ nɔmɔʊ ŋgʊ kiyeba se ɛyaa ɛsʊʊ ɖama taa nɛ kedeŋa paɣlɩ pɩlɩna tʊma ndɩ ndɩ labɩtʊ taa ɛzɩ tɔm kpoŋ lɩzɩɣ ɖɔɖɔ tɔbɩŋ ndɩ ndɩ yɔ, ɖɩcɔna kɔyɔ tɔm ndʊ tɩɩwɛɛ pileɖa. Pɩnzɩ kaaɖɔ sakɩyɛ sakɩyɛ pɩcɔ papazɩ nɩɣ ɖɩtaŋ wayi wayi wɛɛ anɛ a-taa.