Art and Culture

By Malam Aminu Wase

Once upon a time, Plateau State was a beacon of peace and prosperity. Nestled in the heart of Nigeria, it was a place where nature, culture, and hospitality came together in perfect harmony. Tourists enjoyed its cool weather, striking landscapes, and vibrant local communities. The Tin City, as Jos was fondly called, bustled with life, creativity, and promise.

But the tragic eruptions of religious and ethnic crises turned that promise into pain. In just a few years, the spirit of unity that defined Plateau faded, and the state began slowly declining economically, socially, and psychologically. What once symbolised Nigeria’s peaceful coexistence became a cautionary tale.

As we reflect on what was lost, we must confront what can still be regained. The nostalgia we feel for those better days is not just sentimental—it is a reminder of what is possible when peace reigns. Plateau’s beauty remains, as does the enduring goodwill of its people. We need a collective recommitment to peace, tolerance, and shared progress.

Let us not be deceived: the divisions that tore through our communities were not inevitable. They were fanned by the greed and political ambition of a few elites, who found power in division. But the people have grown wiser. Today, Plateau has a growing desire to put those dark times behind us and rebuild a society anchored in unity and mutual respect.

The future of Plateau depends on us, ordinary citizens who choose dialogue over conflict, cooperation over suspicion. If we unite sincerely, we can restore trust, attract investment, and lay the foundation for a thriving economy. Peace is not a luxury—it is the bedrock of development.

With stability, there is no limit to what Plateau can achieve. Its tourism potential, agricultural wealth, and strategic location can be leveraged to turn it into a hub of economic activity, perhaps even rivalling global success stories like the UAE, in sha Allah.

Plateau belongs to all of us. It is our shared heritage and responsibility. The time to recover its lost glory is now.

By Abbas Datti

I am worried by the increasing broadcast of music videos featuring women in revealing, indecent dressing by the popular Arewa24 television station. In sum, it has reached a tipping point where women featured in music videos are sometimes half-naked, in a provocative, obscene dressing. 

Considering its audience, Arewa24, whose programming is widely accessible to viewers of all ages, must be subjected to public scrutiny for continuously airing content that contradicts the Hausa culture and traditional values of our society.

Many of these music videos not only portray women in revealing clothing but also promote gestures and themes that are inappropriate for family viewing. The consistent exposure to such content, especially during prime time when children and young adults are most likely to be watching, raises serious questions about Arewa TV’s commitment to ethical broadcasting and social responsibility. Most of those video songs are being shown during prime time.

Our society, rich in religious moral character and cultural pride, has always upheld values that protect the dignity and modesty of individuals, particularly women. The portrayal of women in such a demeaning and objectifying manner is not only an affront to Hausa Fulani’s traditions but also sends the wrong message to younger generations.

We call on the National Broadcasting Commission (NBC) and other censorship regulatory bodies to urgently investigate some content being aired by the Arewa TV station. Strict measures should be taken to ensure that all media platforms operate within the boundaries of decency, respect, and cultural sensitivity. 

Furthermore, there is a pressing need for media houses to adopt self-regulation policies and prioritise programming that promotes positive values and Hausa cultural identity. Our religion and cultural heritage must not be compromised in the name of entertainment.

The time to act is now. Authorities must rise to the occasion and safeguard the moral fabric of the Hausa people from further extinction.

Abbas Datti writes from Kano via abbasdatti448@gmail.com.

By Salim Yunusa 

When we were neck deep into planning for KAPFEST 1.0, we decided that we would definitely have a poetry slam. Having seasoned spoken word poets on the team who had participated, judged, or simply watched one made planning for it easier. Everyone knew what to expect and what structure would work. The poetry slam was not going to be a filler—it was going to be a central experience of the festival.

Then came the aspect of naming it. Without hesitating, I suggested we either name it the Aminu Kano Poetry Slam or the Mudi Sipikin Poetry Slam. Both names carried weight. Both men represented distinct traditions of intellectualism, activism, and the power of the word. At the end, we settled for the Mudi Sipikin Poetry Slam. It felt right. It felt timely. It felt necessary.

When I informed my friend Mukhtar that we decided to name a segment of our program after his dad, he was elated. Genuinely elated. We didn’t do it because we wanted sponsorship from the family or anything like that. We didn’t do it because we were friends with the family members. We did it because of what Mudi Sipikin stood for—creative expression, social commentary, economics, science, thought, and literary legacy.

Salim Yunusa is the founder of Poetic Wednesdays Initiative and curates the Kano International Poetry Festival. He writes from Zaria, Nigeria.

He was one of those voices that had shaped public thought and intellectual culture in Arewa for decades. So came to pass the first edition of the Mudi Sipikin Poetry Slam. Young people from different places participated. They competed. They poured their hearts out. They won cash prizes. And they made history.

Two of Mudi Sipikin’s children—Mukhtar Mudi Sipikin and Sani Misbahu Sipikin—were there physically. Mukhtar, in a touching gesture, gifted the winners beautiful textile materials. The SSA to the President also showed up and made generous cash donations. It was a moment of recognition. It was a moment of continuity. It was a moment of reclaiming history.

Then came ZABAFEST. I was pleasantly surprised when they named their poetry slam after Dr. Abubakar Imam, the famous writer and intellectual who lived in Zaria. His name, for those who know, is one of the pillars of early Northern Nigerian literature. The slam segment was electric and greatly thrilled the audience. Two of Dr. Imam’s children were in attendance, and they expressed their appreciation for the gesture. It was not just about honoring their father—it was about honoring an entire generation of thinkers who laid the foundations for what we now call Northern Nigerian literature.

And then, just yesterday, the Jos Art and Culture Festival announced that there would be a poetry slam and it would be named after Danmaraya Jos. That news made me deeply happy. Danmaraya Jos was not just a musician. He was a griot. A chronicler. A custodian of memory. And seeing young people take the initiative to immortalize his name within a literary event speaks volumes. It is not about nostalgia. It is about remembering rightly. It is about giving names their due.

During the opening ceremony of the maiden Kano International Poetry Festival in 2024, I emphasized the significance of literary festivals, stating: “Can we have enough festivals? I am thrilled that we are having literary festivals spring up in this part of the country, where we have many unsung literary heroes and heroines. You see, festivals are remarkable opportunities to educate, empower, enlighten, and entertain the public. They are a breath of fresh air, where we reignite the fires of our literary passion, cultivate new friendships and rekindle old ones, and above all, engross ourselves in rich conversations about the arts, culture, music, and poetry.”

This is why naming these events after literary icons goes way beyond immortalizing them. It is a way of preserving their contributions to the literary world. It is a method of introducing their names—and possibly their work—to younger audiences who may never encounter them otherwise. When I curated the poetry exhibition on the life of Alu Ɗan Sidi, I realized how much has been forgotten. For many attendees, it was the first time they were hearing that name, let alone engaging with the literary and scholarly contributions of the emir. But what pleased me most was how that exhibition opened a portal of learning. It sparked appreciation. It generated questions. And it even led to plans for follow-up conversations and more literary and cultural exploration on of our rich literary legacy. That is how preservation begins.

We are in a time where the literary contributions of our ancestors are being neglected or sidelined. Curriculums barely reflect their names. Public discourse often forgets them. Archives are dusty. Monuments are few. So it is refreshing—no, it is necessary—to see young people bringing back these names and personalities to life through poetry, exhibitions, festivals, and critical discussions. This is more than memory work. It is cultural survival. It is literary resistance. It is about stitching our present to our past, so that the future does not forget.

Hopefully, this growing momentum will lead to proper archiving of their works. Hopefully, it will inspire scholars to take interest in their contributions. Hopefully, it will lead to deeper appreciation and appropriate honor for their legacies, in Nigeria and beyond.

Because the names live on. Because we must speak them. Because the griots must never be forgotten.

By Salihi Adamu Takai

Farida Musa Kalla(FMK) should be the exact definition of the Hausa woman in Kano, not as some of themmischievously intend to misrepresent to the world, being a hope of a lavish and luxurious life without a purpose in their matrimonial home. 

FMK, a woman who married her husband in her early years during her university days, uses her courage and ambition to define how women should be. She has steadfastly retained her femininity, contrasting with how others view them. 

Women are not a liability and shouldn’t be seen as such, neither by how “feminists” position them nor through the extremism of “masculinists.”

I was on Facebook, browsing my timelines when I came across a video on the DCL Hausa Page featuring an interview with Farida Musa Kalla, the CEO of FMK Nigerian Ltd. The program is titled “Sirrin Ɗaukaka,” and it invitesindividuals whose names trend in the media. 

In the interview, FMK disclosed how she started the business with a bit of capital of 30k in her matrimonial home. She used the market tactics she’s known for to advertise her business, recording videos for the materials she sells. This was the first time her name started coming to the media—Facebook, X, and YouTube.

As she improved the business, her husband advised her to put 600k in the business, given to her by her mother, to buy a car. According to her, this 600k expanded the business and blessed it in every second. And today she runs the business with hundreds of millions. 

As FMK’s business improves and gains recognition in the market, she poses a threat to prominent marketers in Kano, such as Mudassir & Brothers. They have started to adopt her market strategies — using videos to unveil their faces as the CEOS of their company, as she has been doing.

Interestingly, FMK has not been using immoral activities just to advertise her business, but rather strategies that are not questionable for a married woman. 

FMK should be a challenge to all the women in Hausa land who think that they’re a liability to their husbands, as they “belong to the kitchen,” as propagated by the immediate former President of the Federal Republic of Nigeria, Muhammadu Buhari.

Salihi Adamu Takai wrote via salihiadamu5555@gmail.com.

By Muhammad Ahmad Iliasu

When Barr. Ammani recommended Hillary Clinton’s Autobiography ‘Living History’ to me back in 2018, I said to myself where could I find it? Because, among others, one thing was certain; books that are authored across the ocean are not easy to find. And if, in the rare case, they are available, a young student like me was most likely priced out of contention.

Then one day, during one of my trekking braggadocios between Kantin Kwari, Bata to Sabon Gari, I stumbled upon an intensely greying old man of modest stature, smiley and incredibly alert and mobile for a man of his age. What pulled my attention to his makeshift shop wasn’t him, but rather the large book carrying the face of Herbert Hoover – USA’s 31st President.

At that time, there were a lot of debates in our Macro class in BUK on Buhari’s Protectionist policy. And with Yanis Varoufakis’s dominance on my bookshelf, how protectionism backfired against Hoover as stated in his ‘Global Minotaur’ became of great interest to me. I didn’t only want to know all about protectionism in the 1930s but the whole lifetime of President Hoover and his administration.

Therefore I stepped to the old man, pointed at the book and asked ‘how much is that one, Baba?’ ‘It’s price is two-thousand five-hundred Naira, boy’ – he replied. I responded ‘what?’ – almost terrified by its incredible cheapness, even though I didn’t have that amount at the time. To which he incredibly remarked ‘if you are truly serious, I will leave it to you at one-thousand seven-hundred Naira’. I laughed and borrowed the money from my boss’s change to settle the payment. I asked him once again ‘do you by any chance have Living History?’ The old man smiled and said ‘That will be Hillary Clinton’s Autobiography. I sold it two days ago. But I have ‘Women in Charge’. He put my curiosity into perspective with that response. Because I didn’t think he would know that instantly. And from then my relationship with him became very close. I admired his familiarity with books, genres and authors. And he became fond of how much I was willing to spend on books.

Interestingly, we never exchanged contacts. I usually stopped by his place anytime my boss sent me to Sabon Gari. And whenever he had a book he knew I’d like, he would keep asking his customers if they knew one big lad from the core metropolis who is crazy about books – I knew that because he asked three people who knew me and passed the message.

Beyond the unbelievable cheapness of his books, what made Alaji Garba special wasn’t his eagerness to sell, but knowing what his customers wanted to buy. He had a way of profiling people’s interest perfectly. For example, anytime he had an autobiography of a famous leader or historical figure he would try his best to see me acquire it. I recall how he kept the biography of Joseph Stalin waiting for weeks even though many wanted to get it ahead of me. Funny enough, I didn’t know who Stalin was at that time. He just believed I would like it. And he was right.

From him I acquired more than 20 biographies of US presidents including those of Washington, Maddison, Jefferson, Lincoln, FDR and Reagan. I first heard about The Bourbons, House of Windsor and The Bolsheviks from him. Better yet, he supplied deep readings on them. I got classics authored by Rousseau, Locke, Homer, Byron, Marx, Calder, Orwell, Dante and Dumas from Alaji Garba.

He introduced me to the artistic savagery of Mario Puzo’s Mafia and the boiling horror of Stephen King. I know Jenni Calder and her father Angus Calder because of Alaji Garba, and thanks to that I know Thomas Carlyle and whoever he mentioned in his analysis of Heroes. I’ve forgotten to mention the book “Heroes” by Jenni which Alaji Garba gave me almost for free, the very book whose analytical dexterity formed the earliest foundation of my ability to conflate history with literature, personality with reality, and what an author seeks to achieve with every detail of his book.

On the afternoon I bought Eisenhower’s biography, Alaji Garba gave me ‘Thirty Centuries of Command’ for free. And beyond acquiring familiarity with the military-industrial complex, the misinformations in the Thirty Centuries of Command on Sultan Muhammad al-Fatih rattled me into reading the history of the Ottoman Empire since Sulayman Shah and Ertugrul up to Lawrence of Arabia and Mustafa Kemal Attaturk.

Indeed, I am nothing without my bookshelf, and my bookshelf would be nothing without Alaji Garba’s heavenly supply. There are five times more books on my shelf that were supplied by Alaji Garba than any other bookseller. And he’s probably only edged by Jakara City on the quantity of my readings supplied. The poor man, whom I truly loved, probably had no idea what he was doing jumping from one shadow to another under a bridge with those small sacks of old treatises. He was probably just trying to put food on his table, unsure of who next will buy, and whether that will be enough to pay the fare home. But he was more than that. And I wish he knew it. I wish he knew how many lives he changed with that materially unrewarding trade. I wish he can get recognition for the volume of knowledge he worked very hard to put into the hands of people who otherwise would never have gotten the chance to get.

I wish he knew how much I loved him and how much I understood his efforts and how much I admired him and his trade. I wish he knew how people like him inspire me to be great despite having no independent ambition to be so, just so that when I tell their story to the people who should’ve known them it will bear some weight. I write, partially, so I could tell the stories that may never be told. And Alaji Garba’s is truly one of a kind. May Allah rest him in His eternal peace. May ‘Iqra’a’ rescues him from the wrath on the day of judgement. For certainly very few have dedicated more to the love of reading.

Muhammad Ahmad Iliyasu is Strategic Communications Officer at the Center for Fiscal Transparency and Public Integrity. He can be reached via his email: Muhada102@gmail.com

By Usman Abdullahi Koli

The grandeur of Kano’s emirate is not merely an inheritance of a throne but the custodianship of a deep-rooted history, culture, and tradition that represents the very soul of African heritage. From the era of Bagauda to the reign of Ado Bayero, the emirate has stood as a symbol of resilience, dignity, and continuity. 

Today, as the emirship tussle continues, it presents a defining moment not just for those directly involved but for the entire Kano people, whose unity and stability rest upon the wisdom of their leaders. It is a moment that demands measured actions, guided by history and the sacrifices of great monarchs who prioritised the collective good over personal ambitions.

The Kano Emirate is no stranger to succession disputes; however, history has shown that wise leaders have navigated such crises with patience, foresight, and a commitment to preserving the integrity of the institution. From the reign of Emir Muhammadu Sanusi I to that of Ado Bayero, the emirate has undergone significant transitions- some peaceful, others contentious- but ultimately resolved with a sense of responsibility toward the larger interest of Kano.

Today, we see echoes of the past in the contest between Emir Muhammadu Sanusi II and Emir Aminu Ado Bayero. While the legal and political dimensions of the crisis continue to unfold, the moral weight on those involved is immense. The key question remains: Will the dignity, harmony, and prestige of Kano take precedence over personal interests, or will history remember this episode as a moment of avoidable discord?

History is replete with examples of monarchs who faced displacement yet responded with wisdom, ensuring that their thrones remained symbols of honour rather than sources of division. In 1936, King Edward VIII of Britain abdicated the throne out of personal conviction, avoiding a constitutional crisis. 

More recently, King Juan Carlos of Spain voluntarily stepped aside to preserve national unity and dignity. Within Africa, deposed monarchs have often demonstrated restraint, placing the peace of their people above personal grievances.

A particularly relevant example is Emir Muhammadu Sanusi II, who, despite the political implications of his removal in 2020, did not rally his supporters to contest the decision. Instead, he accepted his fate with remarkable composure, trusting in destiny and the historical cycle that governs leadership.

Governor Abba Kabir Yusuf is enormously responsible for ensuring that his administration’s actions do not fuel unnecessary tensions in Kano. While he holds constitutional authority over traditional institutions, wisdom dictates that such decisions be made with a far-reaching vision that safeguards Kano’s unity, stability, and the sanctity of its traditions. Political decisions should not be allowed to erode the revered position of the emirate.

To Emir Aminu Ado Bayero, this moment calls for deep introspection on the true essence of leadership. His revered father, Emir Ado Bayero, was an emblem of peace, patience, and sagacity. The respect he commanded was not merely because he sat on the throne but because of his ability to navigate crises with wisdom. Now, his son faces a historic test: will he allow personal ambition to override Kano’s peace, or will he embrace the noble path of sacrifice? The decisions he makes today will shape how history remembers him.

To Emir Muhammadu Sanusi II, his reinstatement is a return to power and an opportunity to lead with renewed wisdom and vision. His expectations are immense—not for vengeance or retribution, but for reconciliation and statesmanship. The people of Kano look up to him to use his vast experience, intellect, and leadership to heal divisions, restore trust, and solidify the emirate as a pillar of stability.

Kano is more than a city; it symbolises Africa’s resilience, culture, and civilization. The emirate embodies centuries of tradition that must not be tarnished by personal conflicts. The world is watching, and history is recording. The real question is not who occupies the throne today, but how that throne is preserved for generations to come.

It is crucial for external influences, particularly those in Abuja, to respect the Kano State Government’s decision. The constitution recognizes states as custodians of their emirates, and any interference from outside forces risks escalating tensions rather than resolving them. Political insinuators should avoid fueling discord and instead honour the autonomy of Kano’s leadership.

Now, the great tradition of the Sallah Durbar, which both factions claim to organise, must not become a battleground for supremacy. The grand procession, deeply embedded in Kano’s cultural and Islamic identity, is meant to unite, not divide. It should not be reduced to a contest of power. Both sides must recognize that personal ambitions should never overshadow the collective peace of Kano. True leadership is tested not in times of comfort, but in moments of crisis, and the world is watching to see whether wisdom or ego will prevail.

Great monarchs are remembered not for how fiercely they fought to retain power, but for how wisely they managed transitions, prioritized peace, and left behind legacies of honor. The lessons of Kano’s past emirs—from Bagauda to Ado Bayero—should serve as a guide for present leaders. These revered figures ruled with dignity, wisdom, and a profound sense of duty to their people.

Those who occupy the throne today must consider: Will they be remembered for upholding this legacy or for diminishing it?

May wisdom prevail over pride, and may Kano remain the fortress of culture, tradition, and unity it has always been.

Usman Abdullahi Koli wrote via mernoukoli@gmail.com.

By Hadiza Abdulkadir

Kano State Governor Alhaji Abba Kabir Yusuf has instructed all four state Emirates to begin preparations for the upcoming Sallah Durbar Celebration. The announcement was made following a Ramadan breakfast meeting with the Emirs at the Government House in Kano.

In a statement from the Governor’s spokesperson, Sanusi Bature Dawakin Tofa, it was highlighted that Governor Yusuf recognizes the community’s enthusiasm for the traditional celebrations, which include wearing new attire, lining the streets to witness the Emirs on horseback, and exchanging greetings.

Emphasizing his commitment to uphold this cherished tradition, the governor assured citizens that all security agencies will be mobilized to ensure their safety during the festivities. Additionally, he revealed plans to inaugurate the Kano State Emirate Council in April, aiming to enhance its functionality.

The relationship among the Emirs has reportedly improved under Governor Yusuf’s administration, with Malam Muhammadu Sanusi II, Chairman of the Kano Emirate Council, noting the friendly ties between the Emirs. He urged the governor to use traditional institutions to effectively communicate policies to the grassroots level.

Emirs from Karaye, Rano, and Gaya expressed their appreciation for recent government initiatives, especially the provision of fertilizer and enhancements in education, health, and infrastructure in their emirates.

By Prof. Abdalla Uba Adamu

For some weeks, I had been involved in judging a photo competition themed “Spirit of Kano”. One way or another, I was made the “Chief Judge” by the Curator, Dr. Shuaib Sani Shuaib, Executive Director, Makuba Center for Arts and Culture, Kano. He is also the Curator for Global Shapers Community, Kano Hub. Overall financial support was also provided by Engr. Anas Yazid Balarabe, who is also the founder of the cooperative. 

As an amateur photographer with a deep and intense interest in art and the aesthetics of the environment, coupled with a fanatical advocacy for the best State on this side of the Milky Way Galaxy, I was honored to be appointed the Chief Judge. However, since it was an open competition and open voting, I designed the judgement criteria for the photos,which were used to judge the 100 or so entries by other judges. Photographers were urged to send pictures that, in their view, capture the “Spirit of Kano”. Many people participated, and many photos were sent. 

These entries were beautifully shot and captured the Spirit of Kanawa and Kananci. They were all beautiful. However, I judged them based on what the images conveyed about Kano in various visual ways—history, architecture, food, clothing, urban life, historiography, etc. For me, choosing the best three was really difficult because there was so much beauty and talent in each photograph—faces, places, spaces. The entire collection was a riot of colorful visual poetry that describes Kano. 

Each picture in the entries has unique features and communicates the dynamism of both urban and rural Kano. Thousands of words could be woven around each picture that communicate the vibrancy of Kano. My selection cuts across history, trade and lived-in experiences. I would have loved to see some architectural shots – the ones I saw were mainly Emir of Palace pictures (Ƙofar Kudu or thereof). A few shots of ‘mansions’ and ‘haciendas’ would have given an evolutionary trajectory of the Spirit of Kano, in addition to the alleyways and gidan kara.

Four judges trudged through the 100 or so entries and made their choices. These were then further pooled by common choice from each judge to pare down the selection to six, on which the final judgment of three was made. To ensure a fair and transparent selection process, the top three winners were chosen based on a combination of judges’ evaluations and public voting. The final ranking was determined by taking an average of the judges’ scores and the public vote ranking in which the winners emerged. Very transparent. Further, everything was done online. 

The final judgment of the top three (shown here) truly deserves it. The winners, based on the highest scores, along with their prizes, were:

1- Muhamad Sani Abbas (₦250,000)

2- Alamin Mohammed (₦150,000)

3- Aisha Suleiman Halili (₦100,000)

Muhammad Sani Abbas’s best picture was of a young greengrocer measuring a customer’s order in a local market. The intensity of his face captured everyone’s imagination and admiration. The photo of the boy is a bookmark on Kano and its commerce—never too young to start. It was indeed a beautiful shot. 

Alamin Mohammed took second place. Interestingly, the picture also shows another young lad galloping on a horse in full ‘royal’ regalia. Frozen in time, the horse rider captures Kano’s ancient tradition and royal heritage. 

Third place went to a composite study of the Kano Emir’s palace guards (Dogarai) from a truly sensitive POV. The winner, Aisha Halilu’s portrait of a shadowed Dogari, makes the maximum use of light and shadows to accentuate the beauty of the setting. The Dogari, with his back to the camera, clearly was not the focus of the shot but the far houses he was gazing at—a contrast between the traditional Hausa architecture of the palace and the post-modern bungalows he was gazing at. 

A picture by Ahmad Sufi, which I voted for, did not win, but that’s alright; after all, it was aggregate scores that mattered. I didn’t place it number one, but I had expected it to be at least number three. The outcome only highlights the high quality of the visual appeal of the photos entered in the competition. 

The one that did not make it on my list was a market scene with an Arab (at least the guy looks like an Arab but dressed in Babbar Riga) holding on to a camel. Far in the distance is a communication tower. To me, the pictures talk volumes about migration, cultural adaptation, trans-Saharan road networks and contemporary communication – all visually encapsulating what Kano has been for centuries and those to come. 

I think it is wonderful that an NGO of young, committed individuals could come up with this. It should be the purview of the Kano State History and Culture Bureau. A letter was sent to the Kano State Government requesting partnership/sponsorship, but there was no response at all. Even the prize money was sourced by Dr. Shuaibu, showing a commitment to Kano far greater than many of us. 

What could the next steps be? Perhaps an annual event? Or a regionalisation of the competition? For instance, it would be fantastic to see the “Spirit of Zazzau”, followed by Rano, Daura, Katsina, Gobir, and so on, all the way to Niamey. This way, we could have an annual Spirit of Hausa Kingdoms as visual poetry, encouraging young people to appreciate the historical, cultural, and aesthetic qualities of their environment. 

By Uzair Adam

The Hausa language is one of the fastest-growing languages, not only in Nigeria but also in other parts of Africa and countries such as China, Germany, and the United Kingdom.

However, despite its increasing global recognition and recorded successes, Hausa people seem to be neglecting the cultural teachings and traditions of their ancestors.

Hausa customs, norms, and values are gradually fading, turning into historical relics that may soon exist only in books or folktales.

This trend has raised concerns among cultural stakeholders.In response, the I-Care Initiative organized a two-day workshop in Kano from Monday to Tuesday, focusing on the preservation of Hausa traditions in the 21st century.

The event brought together stakeholders from various Hausa-speaking states in Nigeria to discuss the way forward through presentations, Hausa poetry, and other cultural showcases.

The workshop featured prominent Hausa novelists, including Dr. Bilkisu and Hajiya Hadiza Nuhu, as well as renowned traditional musicians such as Aminu Ala.

It also attracted traditional dancers, academics from Nigerian languages and mass communication departments, and other cultural enthusiasts.

According to Hajiya Amina Namadi Sambo, the Chairperson of I-Care Initiative and wife of former Vice President Namadi Sambo, the event aimed to highlight the rich cultural heritage of the Hausa people.

She noted the importance of preserving Hausa culture, stating, “Nowadays, many of our children can hardly speak Hausa without code-mixing or code-switching.”

She also lamented the decline of traditional Hausa cuisine, noting that many young people no longer know how to prepare these dishes.

To address this, the event showcased various Hausa delicacies alongside traditional businesses, allowing attendees to learn and appreciate their heritage.

Hajiya Amina further criticized the growing disregard for Hausa traditions, which has led some to believe they are superior to the Hausa people.

She urged individuals to read Hausa literature and called on Hausa filmmakers to promote authentic Hausa culture in their productions.

Speaking at the event, Vice President Kashim Shettima, represented by Sayyada Rahma Abdulmajid, praised Hausa culture and reaffirmed the federal government’s commitment to preserving Nigerian traditions.

He highlighted the creation of a ministry dedicated to cultural preservation and the allocation of significant funds for this purpose.

Shettima reiterated the global significance of Nigerian culture, stating, “Our culture commands great respect worldwide.

“Wherever you go, among every five black people, one is Nigerian. Moreover, the best among them is often a Nigerian.”

The event also showcased Hausa crafts and trades, such as hand fans (mafici), woven mats (tabarma), clay pots (tukunyar kasa), and dyeing techniques.

These businesses have historically connected Hausa traders from Kano to Sokoto, Zaria to Timbuktu, Marrakech, and across West and North Africa.

“Through these businesses, the Hausa man built his own house and city, which later contributed to the formation of Northern Nigeria,” she added.

Also speaking at the event, Professor Aliyu Bunza from the Department of Nigerian Languages, Usmanu Danfodiyo University, Sokoto, took attendees on a historical journey tracing the origins of the Hausa people and the factors behind their success.

Bunza attributed their resilience to strong cultural and moral values, stating, “The Hausa people are known for their honesty and truthfulness. If you are trustworthy, you will earn their respect, but if they find you deceitful, they will not trust you.”

The event was attended by traditional titleholders, government officials, and wives of former governors, including Dr. Aisha Bala Muhammad, wife of the Bauchi State Governor, and Hajiya Amina Shekarau, wife of former Kano State Governor Ibrahim Shekarau, among others.

By Hassana Suleiman Kandi

Health is not merely the absence of disease in the human body; rather, it encompasses the physical, social, and emotional well-being of individuals. Mental health refers to a person’s ability to cope with life’s stresses, recognise their abilities, and function effectively in work and learning environments.

Mental health is integral to our well-being and significantly contributes to our daily decision-making ability. It encompasses the complexity of an individual’s social and psychological life, highlighting the urgent need for action on mental health. It is vital for personal development.

However, mental health is experienced differently by each person. This includes conditions like mental disorders, psychological disabilities, and other mental states associated with impairments. People are inherently vulnerable to mental health challenges.

Social interactions and personal skills strengthen resilience, and mental health issues can be mitigated by identifying social and emotional determinants. However, some issues require actions that go beyond the health sector. 

Fortunately, various forms of art offer protective benefits that can bridge the gap for common mental health conditions. The arts play a pivotal role in mental health. Engaging with the arts can help moderate the risk of mental health problems. 

Art exists in many forms, including visual, performing, and literary arts, each offering unique benefits. Taking a break from daily routines to engage in artistic activities can significantly improve mental health, as the benefits are numerous and deeply engaging.

Visual Arts: Anyone, regardless of skill level, can participate in visual arts. Many people have been encouraged to look after their health by utilizing their leisure time creatively. Visual art, including painting, drawing, and sculpture, is therapeutic, boosting self-esteem and enhancing skills.

Performing Arts: Music, dance, poetry, and storytelling are accessible to all, regardless of skill level. These activities improve mood, promote physical health, boost emotional well-being, and help ward off negative thoughts. Lady Gaga, for example, has famously used music and performance to manage anxiety.

Literary Arts: Writing, poetry, and spoken words can also effectively address mental health issues. These forms of expression are open to all and can help with mood expression and self-reflection. Schools should encourage students to engage in literary arts, as they foster emotional expression and can boost self-confidence.

Crafting: Knitting and woodworking promote relaxation, reduce stress, improve mood, and alleviate anxiety. Many people, particularly women, craft as a fun and therapeutic way to relieve stress.

Numerous individuals have coped with and overcome mental health challenges through art. For example, the renowned painter Edvard Munch struggled with anxiety but found solace in his artwork. Art stimulates brain regions that promote neural connections, adaptability, and the release of endorphins, all of which improve mood.

Many people have overcome common mental health problems such as anxiety and depression by engaging in the arts. Art provides a unique outlet for emotional expression and helps individuals realise their potential. Creativity is innate in everyone, regardless of age, race, or skill level.

Art fosters understanding and unity between individuals or communities, leading to a stereotype-free environment and encouraging cohesive socialisation. Furthermore, it helps represent emotions through body language, words, and patterns. The most exciting part is that anyone, including individuals with disabilities, can participate in art.

It is crucial not only to protect and promote the mental well-being of all but also to deepen the value placed on mental health. A committed approach to addressing the needs of those with mental health conditions will undoubtedly improve overall mental health outcomes.

Hassana Suleiman Kandi is a student at Ibrahim Badamasi Babangida University Lapai and an intern with PRNigeria. She can be reached at kandihassana@gmail.com.