Literature

By Khadijat Abdulrasheed

A short play on Peer Pressure, Courage, Confidence, and Modesty.

CHARACTERS:

 1. Amina: Hijabi girl, shy but spiritually strong. Calm and polite.

 2. Toke: Trendy, confident girl who loves teasing others. Loud and playful.

 3. Zee: A follower. Often supports Toke but watches and thinks deeply.

 4. Teacher Fatima: A teacher who is Kind, firm, and respected.

SCENE 1: School Corridor (After Break)

[The school bell rings. Students return from break. Some are laughing, others are walking in groups. Amina walks in quietly, her hijab well-arranged. Toke and Zee stroll in together, looking fashionable.]

TOKE

(laughing loudly)

Ha! See our aunty again. Amina, the hijab ambassador! You no dey ever gree show small swag?

ZEE

Her own swag na hijab and long skirt. Babe, this is 2025 o, not 1925!

TOKE

(pretending to whisper)

Na only God go help her. Fashion don pass her by.

AMINA

At least I cover myself the way Allah wants. That’s my absolute confidence.

TOKE

Confidence ke? You dey hide beauty under a scarf. If I get your fine face, I go use am blow on IG! You go just dey hear likes everywhere.

AMINA

But if beauty is only for likes… what happens when you lose followers?

ZEE

She get point o.

TOKE

Abeg joor. I no get time for all this hijabi wisdom. Let’s go jare.

[Toke and Zee walk off. Amina walks the other way with a peaceful look.]

SCENE 2: Classroom, Next Day

[Students are chatting. Teacher Fatima walks in. The class becomes quiet.]

TEACHER FATIMA

Good morning, class.

STUDENTS

Good morning, ma.

TEACHER FATIMA

Today, I want to talk to you about something important, which is Dignity in Modesty.

(She pauses)

Modesty is not weakness. It’s not for the old. It’s not backwardness.

It is honour and it is strength. Prophet Muhammad (SAW) said Modesty is part of faith.

Even when people laugh at you… be like Maryam (AS). She was mocked, but she remained pure and firm.

We dress modestly, not because we are ashamed of our beauty but because we are grateful for it.

[Amina listens with a soft smile. Toke shifts uncomfortably. Zee watches them both.]

SCENE 3: Corridor After Class

[The students come out. Amina is by her locker. Toke hesitates, then walks up to her.]

TOKE

Uhm… Amina.

AMINA

(looks up, smiling)

Yes?

TOKE

About yesterday… I was just catching cruise, but… You really dey try sha.

AMINA

It’s not me. It is Allah who gives strength.

TOKE

(chuckles)

I wish I could get your kind courage. Me, I dey fear people’s opinion die.

AMINA

You can ask Allah for strength, too. He listens.

ZEE

Maybe courage is not about talking loudly. It may be about standing firm.

[They all walk off slowly. Peaceful music fades in.]

SCENE 4: Two Weeks Later, School Debate Competition

[The school is holding a debate. Topic: “True Confidence From Appearance or Inner Values?” Amina and Toke are in the same group. The hall is packed. Teacher Fatima is in the audience.]

TOKE

(nervously looking at Amina)

I have never joined anything like this before.

AMINA

You will do well. Just speak the truth from your heart.

[Toke steps up, clearing her throat. She speaks slowly.]

TOKE

Before, I thought confidence was how you walk, dress, and trend online.

But I met someone who never followed the crowd… yet she stands taller than all of us. She wears her scarf with pride… and doesn’t need to shout to be heard.

That kind of confidence…

Comes from knowing who you are, not who people want you to be.

[The audience claps. Amina looks down shyly. Zee claps too, smiling proudly.]

SCENE 5: Corridor, After School

[Toke, Amina, and Zee walk together. Toke now wears a scarf, not a full hijab, but modest.]

ZEE

Wonders shall never end. Our slay queen don join hijab squad.

TOKE

(laughs)

But honestly, I feel freer and more comfortable.

AMINA

That’s because obedience to Allah removes the burden of impressing people.

ZEE

And between peer pressure and modesty… I think we know who really won.

TOKE

Modesty won because it gave me peace. Not pressure.

[Teacher Fatima walks by slowly and overhears. She stops and smiles.]

TEACHER FATIMA

When a heart chooses Allah over people, that heart has already won.

(she looks at them all)

May Allah keep your steps firm. Always.

ALL THREE GIRLS

Ameen.

[They walk off together, smiling. This time, not as different girls, but as sisters.]

✨ THE END

MORAL MESSAGE:

Modesty is not a cage. It is not something that locks you away or hides your beauty in shame. It is an honour, a beautiful shield that protects your dignity, your heart and your purpose. It is a quiet strength that says, I know my worth and I choose to honour it the way my Creator wants. True confidence is not found in the approval of the crowd, not in likes, not in views, and not in trends. Crowds change, opinions shift, but Allah’s pleasure never changes. When He is pleased with you, that is the highest success. Peer pressure is loud, it laughs, it whispers, and it tries to make you feel small for not joining the crowd. But modesty doesn’t need to shout. It walks calmly through the noise, stands firm, and in the end… it lasts longer.

By Muhammad Sulaiman

The Association of Nigerian Authors (ANA) has lauded President Bola Ahmed Tinubu for granting a posthumous pardon to the late Major-General Mamman Jiya Vatsa, a former Nigerian Army officer and acclaimed poet.

In a statement signed by ANA President, Dr Usman Oladipo Akanbi, and General Secretary, Dame Joan Oji, PhD, the Association described the gesture as a “commendable act of national healing” and a recognition of Vatsa’s enduring contributions to Nigerian arts and literature.

General Vatsa, who was executed in 1986 over alleged involvement in a coup plot, was one of ANA’s early leaders and a strong patron of the literary community. He was instrumental in securing the land for the Mamman Vatsa Writers’ Village in Abuja, a landmark project of the Association.

While expressing appreciation for the pardon, ANA maintained that Vatsa was wrongfully convicted, noting that his trial and execution were the result of “deliberate malice orchestrated by a perceived close associate.” The Association said the presidential pardon serves as a vindication of Vatsa’s innocence.

ANA further appealed to President Tinubu to direct that all the rights, privileges, and entitlements due to the late General be paid to his family as a gesture of justice, closure, and recognition of his service to the nation.

The Association concluded by thanking the President “for finally wiping the tears of the Mamman Vatsa family,” adding that the act will forever immortalise the legacy of the distinguished poet-soldier and patron of Nigerian literature.

By Bashir Uba Ibrahim, PhD.

Two weeks ago, I visited Prof. Isa Mukhtar after we concluded one of the parallel sessions organised for a national conference on the works of Aliyu Kamal, in which I served as a rapporteur. The event was held at the Department of Linguistics and Foreign Languages, which was renamed the Department of Linguistics and Translation following the unbundling and upgrade of the former Faculty of Arts and Islamic Studies to the College of Arts and Islamic Studies.

Prof. Isa Mukhtar is one of the most academically generous teachers I know. After exchanging greetings, he gifted me his newly published book titled An Introductory Hausa Linguistics, which I intend to review here briefly. Unlike previous books on Hausa grammar and linguistics, Mukhtar, in this thirteen-chapter book, attempts to simplify the branches of linguistics by extensively drawing on examples from the Hausa language and redefining some linguistic terms. This review is by no means exhaustive or comprehensive, as it would be difficult to do full justice to the book in this limited space.

Chapter one, which is entitled ‘Views on the Origin of Language’ (Ra’ayoyi a kan Asalin Harshe), dissects some of the speculations regarding the origin of language. He addresses the speculations regarding the origin of language by citing Zarruk’s views on the phenomenon, including divine creation, man’s discovery, man’s invention, and man’s evolution from a human perspective. He thus attempts a glottochronological examination of Hausa and Amharic, the language of Ethiopia, and Hausa and Coptic, the language of Egypt, in his effort to relate the origin of Hausa with its cognate languages in Africa.

Chapter two, titled ‘Introduction to Language’ (Gabatarwa a kan Harshe), discusses various functions of language. Citing relevant examples from doyen linguists like Fowler (1974) and Leech (1974), he nominally examines the general functions of language, buttressing the thesis with examples from Hausa. The chapter also briefly explains numerous linguistic forms (nau’oi a cikin harshe) in which he shows arbitrary and non-arbitrary forms of language.

The third chapter is titled ‘Historical Linguistics and Stylistics’ (Tarihin Nazarin Harshe da Ilimin Salo). Here, the author provides a historical analysis of the origin and development of linguistics as a field of study from antiquity to the present day. Various schools and movements that shaped major linguistics trends and ideas, such as structuralism (bi-tsari) and its subsidiaries like the Copenhagen school (makarantar Copenhagen), American structural linguistics (Bi-tsari a marajtar harshe ta America), French structuralism (Bi-tsarin Faransa), Prague school (makaranyar Prague), rationalism (na tunani), and empiricism (gogayya). The chapter also attempts to link structuralism with stylistics by discussing some of the stylistics scholars influenced by structuralism, such as Charles Bally, Roman Jakobson, and Michael Riffaterre. These scholars developed their theory on the style of communication and contributed to generative stylistics.

Chapter four, ‘Functional Linguistics and Stylistics’ (Harshen Aiwatarwa da Ilimin Salo), builds on the previous chapter by examining stylistics (ilimin salo) from a systemic functional linguistics perspective. In this chapter, the writer attempts to appropriate Halliday’s theory of stylistics and apply it to Hausa data by extensively drawing examples from it. Thus, Halliday’s main conception of the stylistics function of language into ideational, interpersonal and textual was heavily domesticated and linked with Hausa.

The fifth chapter titled ‘Classification of African Languages’ (Rarrabewa Tsakanin Harsunan Afirka). In this chapter, the author bases his classification of African languages on Greenberg (1966), in which he classified African languages into four phyla, namely, Afro-Asiatic, Khoisan, Niger-Congo and Nilo-Saharan. He attempts to trace the Hausa language to the West-Chadic branch of the Afro-Asiatic language family. He establishes its relationship with cognate languages in Nigeria, such as Bole, Kare-Kare, Warji, Ron, and Bade.

Chapter six, which is entitled ‘Syntax and Grammar’ (Ginin Jumla da Nahawu), makes a historical examination of grammar from a Greek grammarian, Dionysius Thrax, traditional grammar (Nahawun gargajiya), structural grammar (nahawun bi-tsari), finite state grammar (nahawun kwakkwafi), phrase structure grammar (tsarin nahawun yankin jumla), generative grammar (nahawun tsirau), transformational grammar (nahawun rikida/taciya), transformational generative grammar (nahawun taciya mai tsira), etc.

The seventh chapter, ‘Advanced Syntax’ (Babban Nazarin Ilimin Harshe) served as a build on its preceding chapter. The chapter makes a deeper examination of the extended standard theory by Chomsky, looking at Government and Binding Theory of Syntax and its application in the Hausa language. While chapter eight, which is titled ‘Issues in Hausa Syntax’ (Muhimman al’amura a tsarin jumla), builds on the previous one by examining extended standard theory and its syntactic operators and how they can be applied in Hausa.

Chapter nine, which is entitled ‘Phonetics and Phonology’ (furuci da sauti), makes an extensive examination into Hausa phonetics and phonology. It looks at articulatory, acoustic, and auditory phonetics, drawing heavily from Sani (2010). It also discusses Hausa phonological inventories and processes as the backbone of generative phonology, such as assimilation, dissimilation, palatalisation, labialisation, nasalisation, metathesis, polarisation, etc. Meanwhile, chapter ten titled ‘Morphology’ (Ilimin Tasarifi) discusses Hausa morphological structure, morphemes, types of morphemes, criteria for identification of morphemes, morphological processes and word formation processes by citing Abubakar (2001) to exemplify his discussion.

 Chapter eleven, ‘Dialectology’ (Ilimin Karin Harshe), explores the relationship between language and society by examining major sociolinguistic aspects and relating them to Hausa languages, including argot, slang, jargon, sociolects, Hausa dialect variety, and language and culture. Chapter twelve, which is entitled ‘Semantics’ (Ilimin Ma’ana), makes a historical examination of the term ‘semantics’ and shows how it is problematic in relation to linguistic analysis. The chapter also examines the relationship between semantics and linguistics, as well as Hausa semantic change, collocations, componential analysis, speech-act, descriptive semantics, theoretical semantics, and general semantic theories. The chapter also delves into the relationship between semantics and other branches of linguistics, such as morphology, phonology, and syntax, in what can be called a ‘linguistic interface’. 

Meanwhile, the thirteenth chapter, which is the final chapter, is titled ‘Sociolinguistics’. It examines the issue of multilingualism in Nigeria, with Hausa as one of the major languages. It examines how sociolects served as social varieties of language that are determined by social factors rather than geography, citing examples with Hausar masu kudi, Hausar sarakai, Hausar malamai, Hausar ‘yan daba, Hausar likitoci, etc.

Overall, this book, intended as an introductory text, aims to acquaint readers with foundational topics in Hausa linguistics. Its straightforward presentation and accessible language make it especially useful for beginners. However, the author’s effort to simplify the content may have been overextended, leading to notable gaps. Crucially, important subfields such as psycholinguistics, neurolinguistics, applied linguistics, forensic linguistics, and computational linguistics are not mentioned at all.

Another significant omission is the absence of Ferguson (1970), particularly given the discussion on dialectology—a field in which Ferguson was a major contributor—as well as the exclusion of key works on Hausa dialectology such as Musa (1992). Similarly, in Chapter Twelve, the focus is limited to structural semantics, with no mention of Hausa cognitive semantics or relevant contributions like Bature (1991) and Almajir (2014).

The book appears to lean heavily towards stylistics and syntax, dedicating two chapters to the former and three to the latter, specifically Chapters Six through Eight. While these topics are undoubtedly important, the focus becomes somewhat disproportionate. For instance, in the discussion of Government and Binding Theory and complementation, the author omits important works such as Yalwa (1994), Issues in Hausa Complementation and Mukhtar (1991), Aspects of Morphosyntax of Hausa Functional Categories, both of which could have enriched the analysis from a Hausa linguistic perspective.

In conclusion, as Ibrahim (2008: 260) aptly states, “There is no perfect text. But as human life itself, the various imperfections of our life provide a constant challenge to us as scholars embroiled in the learning process.” Despite the criticisms above, Mukhtar’s ability to present complex topics clearly and subtly remains commendable. This book stands out as one of the more accessible introductory texts on Hausa linguistics, suitable for both students and newcomers to the field.

By Fatima Badawi

The Department of English and Literary Studies at Bayero University, Kano (BUK), successfully convened a two-day National Conference to critically examine and celebrate the prolific, well-grounded and giant literary works of the literary guru, Professor Aliyu Kamal, one of the Northern Nigeria’s most influential literary figures.

Held at the University’s Main Campus under the theme “Interdisciplinary perspectives on the works of Aliyu Kamal,” the conference attracted a diverse gathering of academics, writers, students, and family members of the prolific English author.

The event served as a significant platform to re-evaluate Kamal’s contributions to Nigerian literature and his unique portrayal of the socio-cultural dynamics of Northern Nigeria, which some view as Islamic genre.

The opening ceremony was chaired by the Vice-Chancellor of Bayero University, Professor Haruna Musa, who was represented by the Deputy Vice Chancellor Research and Development, Professor Amina Abubakar. In his address, the Vice-Chancellor commended the department for its initiative, stating that “Aliyu Kamal’s works are not merely stories; they are cultural archives that document the complexities, the joys, and the challenges of our society. This conference is a vital step in preserving our intellectual heritage, and it will pave way to getting a Nobel Laureate, starting from home.”

The keynote address was delivered by the renowned literary scholar, Professor Sani Abba Aliyu, mni. In a compelling presentation were he maintained that
Kamal possessed an uncanny ability to weave intricate tales that are simultaneously local and can equally be regarded as universal. His characters grapple with issues of modernity, tradition, governance, religion and personal identity in a way that resonates deeply across the Northern Nigerian landscape. He gave a distinct voice to the Northern Nigerian experience, ensuring it was an integral part of the national literary conversation.

Over the course of the conference, multiple lead papers featured presentations from scholars from various universities across the country. Papers explored diverse aspects of Kamal’s oeuvre, including feminist readings of his female characters, post-colonial interpretations of his narratives, stylistic and metaphorical analyses of his use of language, the Islamic genre and the philosophical underpinnings of his themes.

The Head of the Department of English and Literary Studies, Dr. A’isha Umar, in her remarks, described the conference as a resounding success. “Our objective was to ignite a renewed scholarly interest in Aliyu Kamal and to introduce his rich legacy to a new generation of students. We expect an overwhelming participation and the quality of discussions today and in the remaining days of the conference. This is not an end, but a beginning of a more sustained engagement with his works.”

Some of the participants urged that the papers presented should be compiled and published in an edited volume, ensuring that the critical insights generated would contribute to future scholarship on Nigerian literature. The event firmly re-established Aliyu Kamal’s position as a cornerstone of the nation’s literary canon.

The conference is still ongoing and it is expected to finish next Thursday.

By Dr Abubakar Bello

The recent controversy over an alleged honorary doctorate awarded to musician Alhaji Dauda Kahutu Rarara has sparked debate across northern Nigeria. Initially, reports indicated that the European-American University conferred an honorary doctorate on him in Abuja. However, days later, the institution publicly denied endorsing such an award, describing the event as fraudulent.

This is not the first time Rarara’s name has been caught in institutional back-and-forth. At one point, the Federal University Dutsin-Ma (FUDMA) was said to be planning a conference to celebrate his contributions to music and politics. Yet the university later backtracked, insisting the information was fake. The recurring pattern suggests not a lack of merit on Rarara’s part, but rather institutional hesitation in dealing with a figure whose art, political songs, and social influence are both celebrated and contested.

There is clear precedent for cultural icons receiving academic recognition. The late Mamman Shata, perhaps the most revered Hausa musician of the 20th century, was formally honoured by Ahmadu Bello University, Zaria. That recognition secured his place not only in the cultural memory of the Hausa people but also in academic history. By that measure, Rarara too will, sooner or later, be recognised by universities both within Nigeria and abroad for his cultural and political contributions. The real question is: which university will take the initiative?

Across Nigeria, universities have rightly celebrated industrialists, politicians, and philanthropists with honorary degrees, sometimes even surprising their own local institutions, as happened when other universities honoured Katsina’s business mogul, Alhaji Dahiru Mangal, taking Umaru Musa Yar’adua University, his home-state university, by surprise. Yet cultural figures, especially musicians whose work captures the pulse of society, are too often overlooked until history forces recognition.

This is an opportunity for Nigerian universities to redefine what they celebrate. Honorary degrees are not just ceremonial gestures. They are statements of value, affirmations that music, political commentary, and popular culture are as vital to society as commerce and politics.

Whether in Katsina or beyond, Nigerian universities have the opportunity to lead by recognising Rarara. Doing so would not only honour one man but also promote the significance of indigenous music and political expression in our collective intellectual and cultural heritage. The controversy over fake awards should not overshadow this larger truth: Rarara’s contributions are genuine, and he deserves formal recognition.

 Dr Abubakar Bello wrote from the Department of Biological Sciences, Umaru Musa Yar’adua University, Katsina. He can be reached via bello.abubakar@umyu.edu.ng.

By Salihi Adamu

Writing A Glimpse of Takai in the History of Kano has been a personal journey for me. Growing up, I have read stories about Takai’s rich history and its impact on the Kano emirate. However, I noticed that there wasn’t a single book that told the story of Takai in a way that was easy to understand. This book is my attempt to fill that gap.

As I researched Takai’s history, I discovered many interesting stories and facts. I learned about the town’s founding, its role in the Kano Civil War, and its cultural heritage. I also met with people from Takai who shared their experiences and insights with me. Through these interactions, I gained a deeper understanding of the town’s history and its people. This book is a reflection of what I have learned, and I hope it will be a valuable resource for anyone interested in learning more about Takai.

This book is not a complete history of Takai. Instead, it’s a collection of stories and facts that give readers a glimpse into the town’s past. I have endeavoured to make the book accessible to a diverse range of readers, from those interested in history to those seeking to learn more about Takai.

One of the challenges I faced while writing this book was deciding what to include and what to leave out. Takai’s history is complex and multifaceted, with many stories that could be told. I have tried to focus on the most important events and themes, while also leaving room for further research and exploration.

I hope that A Glimpse of Takai in the History of Kano will inspire readers to learn more about Takai and its people. I also hope that it will contribute to a greater understanding and appreciation of the town’s history and culture.

I would like to thank everyone who contributed to this book, from the people of Takai who shared their stories with me to my family and friends who supported me throughout the writing process. Ultimately, this book is a labour of love, and I am proud to share it with readers. 

By Uzair Adam

The Emir of Kano, Muhammadu Sanusi II, has criticised successive governments in Northern Nigeria for neglecting education while focusing on roads and flyovers, warning that the region is sliding behind the rest of the country.

Sanusi spoke on Saturday as a panellist at the Kano International Poetry and Art Festival (KAPFES), organised by the Poetic Wednesdays Initiative, during a session themed “Beyond Words: Unlocking Northern Nigeria’s Literacy Potential.”

The former Central Bank governor recalled how Kano State sponsored his secondary and university education in the 1970s and 1980s, covering tuition, living expenses, and allowances. 

He said, “My parents did not pay a dime. Why is it that the younger generation has not been able to get those benefits? Something went wrong in terms of the political class and its priorities.”

He argued that leaders must channel “huge resources” into schools, scholarships, and teacher training rather than spending billions on physical projects. 

“It’s nice to have beautiful flyovers and underpasses, but you are building these roads for uneducated children to walk on. Who will maintain them in the future?” the Emir queried.

Describing education as the most valuable investment, Sanusi stressed that it is the only asset that cannot be inherited or taken away. 

“You can be given money, a house, or even a political position, and all of these can disappear. But once you are educated, no one, no ruler, no oppressor can take it away from you,” he said.

He linked Northern Nigeria’s current setbacks to colonial policies that discourage the growth of an intellectual Muslim class. 

According to him, Arabic literacy, despite its intellectual depth, was devalued under British rule and is still treated as illiteracy today.

Sanusi also highlighted the role of language as a barrier, calling for the adoption of mother tongues in teaching. 

“In Germany, you study in German; in France, you study in French; in China, you study in Mandarin. Why can’t a doctor be trained in Hausa, Yoruba, or Igbo?” he asked, noting that mother-tongue instruction reduces dropout rates and improves learning outcomes.

Challenging conventional views of schooling, he argued that communities should utilise available spaces, such as mosques, as temporary classrooms instead of waiting years for new buildings. 

“If a mosque is vacant between morning prayers and the afternoon, why can’t children be taught there?” he asked.

The Emir concluded with a call for leaders, policymakers, and citizens to humanise statistics. “When we say three million children are out of school, these are not just numbers. 

“This is somebody’s son, somebody’s daughter, a future mother on the street without hope. In everything we do, we must ask ourselves: who is the human being at the end of it?”

By Uzair Adam

One of the most engaging sessions of the ongoing Kano International Poetry and Art Festival (KAPFEST 2025) was the Mudi-speaking Slam Competition, which shone a spotlight on young poets with powerful performances on the theme of ‘Poetry in Times of Crisis.’

The contest, part of the three-day festival organised by the Poetic Wednesdays Initiative, featured 18 shortlisted contestants out of 65 entries. After three competitive rounds, three winners emerged, each receiving a cash prize.

Shafa’atu Ahmad won first place with a prize of N500,000, followed by Muhammad Ubandoma, who came second and received N300,000, while Nazeer Sulaiman took the third position with N200,000.

Speaking after the event, one of the judges, Abba Musa Idris, popularly known as Abdurabbihi, said the competition was both exciting and challenging.

He stated that, “Judging is never easy because everyone comes with creativity and strong emotions. But the session was impressive, especially as many contestants were performing for the first time and still advanced to later rounds.

“The whole idea is to encourage new artists, and I am impressed with the fresh voices that emerged,” Abdurabbihi added.

The festival’s Literary Lead, Abdulbasit Abubakar, described the slam as one of the most vibrant parts of KAPFEST.

He noted that, “There is always this rush of adrenaline and energy at the slam. It gives young poets the chance to be known for their craft, and seeing their passion convinces me that many of them will do great things.”

Shafa’atu, who hails from Kaduna, described her victory as both surprising and rewarding. “It feels amazing. Honestly, when I was making the pieces, I thought they weren’t good enough. But it turns out they are actually good,” she said.

She explained that all her poems were composed explicitly for the contest, drawing inspiration from her real-life experiences. 

“Every one of the poems was written because of this competition. I would like to thank Hilton Creative Arts Foundation for nurturing me, Poetic Wednesdays for making this possible, and my parents for their support.

“To every victim of crisis whose stories I borrowed to compose these pieces, I hope they find peace, and I hope it never leaves them,” she added.

The winners, all new names in the poetry scene, said the platform has given them confidence and visibility.

The slam session added colour to the festival, which also features panel discussions, exhibitions, and poetry nights, highlighting Kano’s growing place in Nigeria’s literary and artistic landscape.

By Uzair Adam 

The second edition of the Kano International Poetry Festival, organised by the Poetic Wednesdays Initiative, has opened in Kano, with a focus on using poetry and art to advocate for peace in a time of crisis.

The three-day event, which began on Thursday, was formally declared open on Friday under the theme “Celebrating Poetry in a Time of Crisis.”

The Daily Reality reports that the festival drew an audience of writers, poets, academics and art enthusiasts from different parts of the country, further strengthening Kano’s place as an important centre of literary and cultural expression.

Speaking at the opening, Nasiba Babale, the Creative Director of the initiative, said the festival aims to remind people of the power of poetry and art in fostering peace and development. 

“We are just trying to remind ourselves how we can use poetry and art to advocate for peace in a time of crisis that we have in Northern Nigeria,” she said.

She explained that the festival features a variety of activities, including a panel discussion with the Emir of Kano, Muhammadu Sunusi II, a grand poetry slam with a prize of one million naira, a poetry and music night, an art and poetry exhibition, and a poetry dispensary.

According to Ms Babale, the festival, first held in 2024 at Bayero University, Kano, is expected to draw between 300 and 500 participants. 

Guests are attending from across the country, including Lagos, Kaduna, Minna, Jos, and Zaria, as well as virtual participants from outside Nigeria.

Also speaking, one of the participants, the renowned writer BM Dzukogi from Niger State, said the festival was “beautifully organised” and praised its broad reach in bringing artists together from across Nigeria.

The veteran writer, who also received a Lifetime Achievement Award in recognition of his service and dedication to the arts, added that young writers must embrace responsibility, creativity, and innovation to make meaningful contributions to society.

By Samaila Suleiman, PhD

“No amount of deconstruction and reconstruction, to turn history on its head, can bury the truth” – Sule Lamido.

Writing a review of Being True to Myself, the autobiography of His Excellency, (Dr) Sule Lamido, is, for me, both an intellectual obligation and a profoundly personal reckoning. As a student of historiography and politics of knowledge production, book reviewing is an integral part of my professional calling. At the same time, as a member of the editorial team of the Sule Lamido Autobiography Project (SLAP), along with my colleagues Dr Nu’uman Habeeb and Mustafa Ibrahim Chinade, I lived with the idea of this book, from its conception to the first manuscript drafts, the final typeset, and its printing and public presentation. 

Book reviewers are traditionally expected to be neutral critiques, assessing works with analytical distance and relying largely on their reading of the text. What I offer here, however, is a deeply personal reflection of a tripartite engagement with the author, the text, the context of its production and the reactions it elicited from readers. This is, therefore, not a conventional book review but an attempt, as one of the editorial consultants for the project, to recount the story of thinking (working) with Sule Lamido in the making of Being True to Myselfitself. 

The Context

I first met Sule Lamido in 2019 when the late Professor Haruna Wakili introduced me, along with Dr. Nu’uman Habeeb and Mustafa Ibrahim Chinade, to serve as editorial consultants for his autobiography project. Our role was to facilitate the production of the text through interviews and other editorial interventions. Before this meeting, my knowledge of Lamido was limited. I knew him only as a former Minister and Governor. What I did not immediately realise was how profoundly the project would impact me as a historiographer, constantly negotiating the epistemological questions of truth, power, and narrative responsibility. 

The first lesson I drew from the project was the discovery of Lamido as an intellectual—an aspect of his persona that is often overshadowed by his public image as a forthright politician. At our inception meeting, I was immediately struck by his brilliance and philosophical acuity—following a lengthy conversation about the focus of the autobiography. My initial perception of Lamido was quickly overturned. Beneath the image of a seasoned politician, I encountered a man of deep philosophical substance, whose politics is rooted in a profound knowledge of history and critical thought. 

Although Lamido is not a career academic, his grasp of political and historical discourse is profound to the extent that some of his academic friends affectionately call him “Professor.”  He is one of the few politicians around who embodies the tradition of first-generation politicians, whose politics are grounded in principles and knowledge.

Over the course of many interviews with the editorial team, Lamido narrated his life story with a precision and wit that often left me marvelling at his hyperthymesia, attention to detail, and critical reasoning. Each time we returned to a topic for clarification, he would recount events with striking consistency, as though he had already internalised the book long before the project began. 

As the project advanced, Lamido took control of the content, style, and narrative flow of his autobiography, insisting on framing his experiences within a broader historical process. Even at the stage of typesetting and design, he remained involved, reviewing passages, fact-checking, and fine-tuning the manuscript. At one point, I jokingly said to him, while the book was already at press: “Your Excellency Sir, bakin alkalmi ya bushe”—implying that no further edits should be made, especially with the launch date approaching.

Some of our most intense editorial discussions went beyond factual accuracy to debates about historical methodology and explanation. When Lamido was advised to moderate some contentious revelations in the manuscript, he posed critical questions around secrecy and privacy in knowledge production, carefully dissecting the distinction between classified and declassified records. I found myself challenged, at times humbled, by his rigour and the depth with which he interrogated established academic assumptions about Nigerian history, politics, and writing. This level of discursive sophistication is rare among people without advanced degrees in historical studies.

There were moments when the manuscript resisted simplification, and we chose to retain its complexities rather than smooth them over, because they were intellectually honest. This demonstrates that a political memoir, at its best, is not merely a legacy-building exercise, as many autobiographies are, but a critical exercise in self-reflection within the context of history. Lamido gave himself that space and, in doing so, gave us the opportunity to reconsider some of our scholarly convictions about the nature of truth, memory, and life writing.

The Text  

Lamido’s distinctive voice is evident throughout Being True to Myself. Those familiar with his discursive signature will immediately recognise his bluntness, candour, and unfiltered expression in the text. 

Unlike many public figures whose autobiographies are primarily shaped by ghostwriters, Lamido maintained a hands-on approach. Each chapter bears his imprint, making the work not only intimate but also a demonstration of authorial agency.

Even the book’s title was not chosen lightly. It was the product of a year-long reflection on what Lamido’s life represents. Ultimately, Being True to Myself was favoured as the narrative’s central theme, mirroring the life of a man of unshakable principles and conscience.  The title comes from a passage where he describes himself as “an independent-minded child, who always stood his ground…not because I felt important, but because I tried to be true to myself.” 

What makes Being True to Myself particularly compelling is its historical nuance and emotional texture. Lamido alternates between humour, vulnerability, and defiance, recounting comical childhood stories, such as his naïve performance during Ramadan tashe, alongside harrowing experiences of persecution and betrayal. His willingness to revisit painful memories, without bitterness but with conviction, creates a text that is both deeply personal and politically insightful. 

The book is divided into eight broad thematic parts, tracing Lamido’s journey from his early life in Bamaina to his career in the Nigerian Railways and Tobacco Company, his involvement with the PRP, his time as foreign minister, and his tenure as governor of Jigawa State. It offers rich commentary on important political events such as the annulment of June 12, his detention under General Sani Abacha, his role in the formation of the PDP, the Obasanjo Presidency, his tenure as Foreign Minister, the Yar’Adua Presidency and how he was succeeded by Goodluck Jonathan, and the intricacies of power, politics and democratic governance in Jigawa state. 

In discussing Nigerian politics, Lamido dons the garb of a political scientist and historian, offering a critical examination of the military’s role in Nigerian politics. He critiques successive regimes, from Buhari’s military rule to IBB’s sophisticated but flawed transition programs, Abacha’s repression, and Abdulsalami’s genuine and successful transitional government, as well as the restoration of democracy. His reflections read as much like political history as autobiography, enriched by his insider perspective. One cannot help but wonder at the contents of his library, given his ability to weave theory and empirical detail with ease. 

The Praise and the Pushback 

Since its launch in May 2025, Being True to Myself has attracted a wide range of reactions, from praise by the media, scholars and statesmen to criticism from political associates, reflecting the complexity of both the author and the book.

At the high-profile launch in Abuja, political heavyweights celebrated the work. President Bola Tinubu, through his minister, commended Lamido as “a bold, consistent, and principled politician whose personal journey mirrors the story of Nigeria’s democratic evolution.” He described the book as a “significant contribution to Nigeria’s political literature,” encouraging other political veterans to document their experiences for posterity. 

The book reviewer, Dr. Iyorchia Ayu, lauded Lamido’s courage, recalling episodes such as the author telling an IGP, “Who are you?” and a military head of state to his face, “You must resign”. 

The book has not been without detractors. Some critics, including Malam Aminu Ibrahim Ringim, a former Chief of Staff to Lamido during his governorship, criticised the memoir as being rife with “self-glorification, misrepresentation and disrespect for the contributions of others.” 

Taken together, these divergent reactions reveal the dual nature of Being True to Myself as both an intimate self-portrait and a contested historical document. 

On the whole, the Sule Lamido Autobiographical Project is an elegant demonstration of how autobiographies can serve as a space for dialogue between politicians and scholars, working as collaborators in the pursuit of truth.

As former President Olusegun Obasanjo writes in the foreword: “No historian or public affairs officer should be without a copy of the book. I enjoyed reading it.” 

Happy 77^th Birthday and best wishes, Sir!

Samaila Suleiman, PhD, wrote from the Department of History, Bayero University, Kano. He can be reached via smlsuleiman@gmail.com.