Question: What country do the people live who came up with the word Axé comes from? 

full_context: Document 1: Ase (Yoruba): Ase (or "às̩e̩" or ashe) is a West African philosophical concept through which the Yoruba of Nigeria conceive the power to make things happen and produce change. It is given by Olodumare to everything - gods, ancestors, spirits, humans, animals, plants, rocks, rivers, and voiced words such as songs, prayers, praises, curses, or even everyday conversation. Existence, according to Yoruba thought, is dependent upon it.
Document 2: Ntoro: The Ntoro is the genetic aspect of the father which the Akan people believe is passed on to his children. The Akan believe that the Ntoro does not die with the father. Instead, it is passed down to the man’s children, or if the children are not alive, to his nephews and nieces. The father's Ntoro represents the being of the child until the child comes of age. At this point the Ntoro along with the Sunsum and Kra explains how one interacts in the world. The Ntoro is thus explained by Akans to be the father's characteristics which can be inherited. Thus, it is the cooperation of the father's Ntoro with the mother's blood(Mogya) Abusua which is believed to form the child and mold into the Human being.
Document 3: Haitian rock: Haitian rock, or rock kreyòl, started as rock n roll in Haiti in the early 1960s. It was played by rock bands called "yeye" bands. The name "yeye" derives from the Beatles lyrical verse, "yeah, yeah, yeah", which took off in the United States and was listened to by upper class Haitian families who had access to the radio. Young Haitians formed small electric guitar-based bands. These "yeye" rock bands were short-lived, as the addition of "compas" to their repertoires resulted in a sound was called mini-jazz, or "mini-djaz" in creole.
Document 4: Sunsum: In the mythology of the Ashanti people and Akan people, the Sunsum is one's Spirit. The Sunsum is what connects the body (honam) to the soul (Kra). The Sunsum can be transmitted in a variety of ways, including from father to son during conception. This power is used to protect the carriers of this spirit. When a man dies, the Sunsum returns to the metaphorical house of the father in wait to be reincarnated in the next son born of the men of that family.
Document 5: Haitian mythology: Haitian Vodou is a syncretic mixture of Roman Catholic rituals developed during the French colonial period, based on traditional African beliefs, with roots in Dahomey, Yoruba, and Kongo traditions, and folkloric influence from the indigenous Taino peoples of Haiti. The Loa, or spirits with whom Vodouisants work and practice, are not gods but servants of the Supreme Creator Bondye (pronounced Bon Dieu). In keeping with the French-Catholic influence of the faith, vodousaints are for the most part monotheists, believing that the Loa are great and powerful forces in the world with whom humans interact and vice versa, resulting in a symbiotic relationship intended to bring both humans and the Loa back to Bondye. "Vodou is a religious practice, a faith that points toward an intimate knowledge of God, and offers its practitioners a means to come into communion with the Divine, through an ever evolving paradigm of dance, song and prayers."
Document 6: Eshu: Eshu (known as Echú or Exú in Latin America and Esu in Nigeria) is an Orisha in the Yoruba religion of the Yoruba people (originating from Yorubaland, an area in and around present-day Nigeria). As the religion has spread around the world, the name of this Orisha has varied in different locations, but the beliefs remain similar.
Document 7: Samba: Samba (] ) is a Brazilian musical genre and dance style, with its roots in Africa via the West African slave trade and African religious traditions, particularly of Angola and the Congo, through the samba de roda genre of the northeastern Brazilian state of Bahia, from which it derived. Although there were various forms of samba in Brazil with popular rhythms originated from drumming, samba as a music genre is seen as a musical expression of urban Brazil.
Document 8: Soul Grand Prix: Soul Grand Prix initiated a new phase in Rio de Janeiro funk culture in 1975, a phase which celebrated [Blackness] and Black culture. Soul Grand Prix echoed the sounds of James Brown, Kool and the Gang and Wilson Pickett. In order to have large dances, "Soul Grand Prix" would put together huge sound systems, sometimes using over a hundred speakers and generating crowds of over ten thousand of Brazil's youth. Soul Grand Prix dances used mixed media, films, photos, and posters to inculcate the "Black is beautiful" style period. This period influenced the funkeiro culture in [Brazil] who still today host huge parties to dance to today's funk and sample music from the past to create new modernized music.
Document 9: Tropical rock: Tropical rock (or trop rock) is a genre of popular music that incorporates elements and influences of rock and roll, reggae, country music, caribbean, Calypso music and zydeco, with themes and musical compositions inspired by an island style.
Document 10: Efik mythology: In Efik mythology, Abassi is considered to be the Supreme Creator (God). His wife, Atai, is known as the mediator. It is believed that Atai convinced Abassi to allow two humans (one man and one woman), also known as their children, to live on Earth, but forbade them to work or reproduce. The children were required to return to heaven with Abassi whenever he rang the dinner bell. These rules were established so that the Efik people would not surpass Abassi in wisdom or strength. Eventually the children disobeyed and Abassi killed them both. Abassi and Atai were disgusted and gave the humans two gifts, chaos and death.
Document 11: Reggae: Reggae ( ) is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was the first popular song to use the word "reggae," effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term "reggae" more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, especially the New Orleans R&B practiced by Fats Domino and Allen Toussaint, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political comment. Reggae spread into a commercialized jazz field, being known first as ‘Rudie Blues’, then ‘Ska’, later ‘Blue Beat’, and ‘Rock Steady’. It is instantly recognizable from the counterpoint between the bass and drum downbeat, and the offbeat rhythm section. The immediate origins of reggae were in ska and rock steady; from the latter, reggae took over the use of the bass as a percussion instrument.
Document 12: Trop Rock Music: Tropical rock (or trop rock) is a genre of popular music with influences from rock and roll, reggae, country music, caribbean, Calypso music and zydeco. It incorporates themes and compositions of a tropical nature and represents a relaxed and easygoing lifestyle.
Document 13: Faith in the Earth: "Faith in the Earth" is the German philosopher Friedrich Nietzsche's mytho-poetic formulation of his re-valued conception of our possible experience of divinity as contained in his book "Thus Spoke Zarathustra". Although not traditionally religious in the sense of positing the existence of a divine entity or entities, Nietzsche's way of thinking is just as far removed from atheistic materialism as it is from theistic spiritualism. Closely related to the tradition of negative theology, Nietzsche confesses his own oblique form of belief, from his early poem "Dem unbekannten Gott," to the deep meaning of the "Dionysian Dithyrambs". Put simply, we speak least erroneously when we observe a strict adherence to the use of the word "divine" as a verb, and not a noun. To divine is to orient without teleology: we can divine the way without knowing where we are going, while yet still being oriented. Nietzsche's name for this uncanny experience is "amor fati," and it names not things, but a way things can change.
Document 14: Axé (music): Axé (] ) is a popular music genre originated in Salvador, Bahia, Brazil in the 1980s, fusing different Afro-Caribbean genres, such as marcha, reggae, and calypso. It also includes influences of Brazilian music such as frevo, forró and carixada. The word Axé comes from the Yoruba term "às̩e̩", meaning “soul, light, spirit or good vibrations”. Axé is also present in the Candomblé religion, as “the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás”.
Document 15: Carlinhos Pandeiro de Ouro: Born Carlos de Oliveira, Carlinhos grew up in Rio de Janeiro in the 1940s. He was immersed in samba, a style of music with roots in both Africa and Portugal. Its most famous expression is in the poor and working-class neighborhoods surrounding Rio, called favelas, which host performing associations known as samba schools. These groups compete every year in Rio’s spectacular Carnaval parade, with thousands of dancers in feathered costumes and hundreds of drummers playing samba rhythms.
ground_truth: Nigeria