Literature

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.

By Muhammad Abubakar

Abuja – Former Anambra State Governor and Labour Party presidential candidate, Mr. Peter Obi, on Wednesday joined a distinguished gathering of diplomats, literary enthusiasts, and dignitaries in Abuja for the Nigerian tour of Chimamanda Ngozi Adichie’s latest book, Dreams Count.

The event, which forms part of the global celebration of Adichie’s new release, attracted ambassadors and High Commissioners from various countries. Obi, who had earlier attended the book’s global launch on March 2 at London’s Southbank Centre’s Royal Festival Hall—an event that drew over 3,000 attendees—described Dreams Count as “deeply moving” and lauded Adichie for her continued impact on literature and cultural advocacy.

During the Abuja event, Obi praised the powerful spoken word performances by Nigerian poets, including Dike Chukwumerije, noting the impressive display of literary talent in the country. He commended Adichie for using her platform to uplift fellow Nigerian writers, giving them visibility and a voice on the global stage.

“Chimamanda remains an exemplary model for every Nigerian, old and young,” Obi said, urging continued investment in Nigeria’s creative industries. “The world is watching, and indeed, our dreams count.”

By Maryam Shehu

In April 2025, the historic city of Zaria, long hailed as Birnin Ilimi (City of Knowledge), witnessed its first-ever Books and Arts Festival, a groundbreaking literary and cultural event curated by a young visionary determined to rekindle the flames of creativity in Northern Nigeria.

Despite its rich academic tradition, Zaria has often left arts, literature, and creativity feeling orphaned, without the nurturing hands they deserve. It takes a persistent muse to find a home in the hearts of the younger generation. To fill this void, in 2022, driven by passion and a deep desire to engage in literary conversations with like-minded individuals, I founded Pen Warriors. It began as a shade tree for emerging voices to be heard and appreciated.

Later, the initiative was rebranded as Bookish Alchemy, with a bookstore arm, Bookish Alchemy Bookstore, whose profits now partially fund our literary programs. Since then, we’ve hosted programs that have reached over 300 individuals, including poetry competitions, a mentorship session with Abduljalal Musa Aliyu, book chats with authors such as Sani Abdulrazak and Aliyu Danladi, serene Silent Book Reading sessions, and intensive August mentorship weekends on spoken word, short story writing, and public speaking.

Toward the end of 2024, the idea of hosting Zaria’s first Books and Arts Festival took hold of me. At first, I was paralysed by thoughts of funding. Some peers warned that such an event would require thousands of dollars I didn’t have. But the idea felt like a child ready to be born–it refused to be ignored.

I assembled a team of six brilliant minds: Halliru Sani Salihu, Abdurrazak Maiwada, Mardiyya Nura, A’isha Ibrahim Ahmad, Sani Abdulrazak, and Hadiza Isyaku Abdulsalam. We dived headfirst into planning, reaching out to guests, drafting sponsorship proposals, and building the foundation from scratch.

With the generous support of organisations like Duniate Culture (Kaduna), Gidan Dabino (Kano), Creative Corner (Kano), Katsina Times, Poetic Wednesday Initiative, Beyond the Pages, and the Bukar Usman Foundation (Abuja)–though none from Zaria itself–Bookish  Alchemy brought the Zazzau Books and Arts Festival (ZABAFEST) to life.

A FESTIVAL IS BORN

To ensure a smooth and enjoyable experience for guests and attendees, Hadiza and Mardiyya coordinated 10 incredible volunteers. Out of sheer love for the arts, Mahmud Jimada, Abdulmumini Yahuza, Abdullahi Abubakar, Maryam Jalo, Khadija, Hauwa, Asma’u, Fatima, Auwal, and Ibrahim took on various roles, including registration, ushering, stage management, and guest welfare.

On April 26–27, 2025, ZABAFEST debuted at the Sultan Muhammad Sa’ad Abubakar Assembly Hall, Barewa College.

“Maryam, how many times have you cried while putting this together? If you haven’t yet, get ready for more,” said Prof. Audee T. Giwa, a day before the festival, as he submitted his book collections, fully aware of the emotional toll such a project could take.

With the theme “Legacy Reimagined,” the dream came to life.

HIGHLIGHTS OF DAY ONE

Day One opened with the presentation of a Lifetime Achievement Award to Alhaji Ado Ahmad Gidan Dabino, actor, author, filmmaker, and cultural icon. The award was presented by Isma’il Bala, author of Ivory Nights, in a moment of reverent celebration.

Prof. Audee T. Giwa delivered a stirring keynote on The Role of Arts in Preserving Our Culture, emphasising how the arts help conserve heritage and foster unity in Nigeria’s diverse landscape.

Next came a rich Hausa panel titled “Ma’abota Al’adu: Muhimmancin Marubutan Hausa wajen Kiyaye Gadon Mu,”moderated by Mal. Abba Abubakar Yakubu, featuring Prof. Ibrahim Malumfashi, Safiyya Jibril Abubakar, and Gidan Dabino. Together, they explored how Hausa literature sustains cultural identity.

The festival’s literary journey was anchored on four key books: Ivory Nights by Isma’il Bala, ZABBA’U by Prof. Audee T. Giwa, An Abundance of Scorpions by Hadiza El-Rufai, Girls and the Silhouette of Form by Star Zahra (who could not attend due to illness)

A captivating book chat on Ivory Nights, moderated by Abduljalal Musa Aliyu, provided readers with an opportunity to engage with the author and ask questions that had lingered since the book’s release.

After lunch, the session Cultural Amnesia: What Happens When We Forget Our Culture? Brought together Sani Abdulrazak, Isma’il Bala, and moderator Ibrahim Ahmed to reflect on the consequences of cultural neglect.

“It looks like a bird entangled in a cage, but it is worth it. It will pay–not now, but definitely. Just endure the pain,” said Gidan Dabino in an emotional aside to me backstage.

The afternoon wrapped up with Ahmad Mubarak Tanimu’s African Literature Quiz. Guests and attendees were grouped and tested on their knowledge of African books, with the winners showcasing impressive literary awareness.

The day closed with the Abubakar Imam Poetry Slam, named after the legendary author of Magana Jari Ce and Tafiya Mabudin Ilimi. Twelve contestants competed under the theme Al’adunmu: A Window to the Past for a ₦200,000 prize. Judged by Namse Udosen, Nasiba Babale, and Abdulbasit Abubakar Adamu, the session left a lasting impression on the hearts of the attendees.

“It wasn’t easy to choose the winners. They came with fire in their words and metaphorized our hearts,” a judge remarked.

DAY TWO: POWER, PEACE, AND POETRY

Day Two welcomed even more guests. The panel Women, Arts, and Activism: Using Creative Expression to Promote Social Justice featured Aisha Lawan Indabawa, Hadiza El-Rufai, and Nana Sule. Their discussion, from creative writing to activism, highlighted the intersections of creativity and impact.

The next session, “The Role of Arts in Conflict Resolution and Peace Building,” moderated by Aliyu Jalal, gathered Sani Muhammad, Salim Yunusa, Nasiba Babale, and Amir Lukman Haruna to explore how poetry and storytelling can serve as tools for healing.

Nasiba Babale also hosted a moving book chat with Hadiza El-Rufai on An Abundance of Scorpions, a novel that follows a woman’s journey through loss and recovery. It was called one of the festival’s most powerful sessions.

Timely and futuristic, the panel on “Ethics of AI-Generated Arts: Authorship, Ownership, and Creativity,” moderated by Mujaheed Aminu Lilo, featured Namse Udosen, Aliyu Danladi, and Ahmad Mubarak Tanimu, sparking debate and insights into emerging creative technologies.

Prof. Giwa’s novella ZABBA’U took the spotlight next, in a discussion with Ahmad Mubarak Tanimu, drawing philosophical and literary insights from the audience.

Later, Husayn Zuguru gave a mesmerising Afrodervish performance, whirling poetry and movement into a dance of spirit and silence.

The final session, The Poetry Garden, featured open mic performances by Abdulbasit, Hidaya, Aisha Indabawa, and other talented poets. It was a closing tribute soaked in metaphor and soul.

MORE THAN A FESTIVAL

ZABAFEST 2025 welcomed over 30 guest speakers from 7 states and more than 300 attendees from 13 states, uniting people from diverse ethnic and cultural backgrounds through a shared love for literature and the arts.

“Organising a festival isn’t easy, especially with today’s financial climate, but this is a much-needed initiative in Northern Nigeria,” said Hadiza El-Rufai. “I applaud your efforts and promise our support for future editions.”

For a first-time festival in a city that rarely spotlights the arts, the positive feedback far outweighed the challenges. Attendees left inspired, encouraged, and ready to write new chapters in their own lives.

The next edition of ZABAFEST promises to be even more expansive. It will explore themes such as climate change, digital creativity, and social advocacy and feature voices from across Nigeria and beyond.

We’re just getting started. The journey continues.

Maryam Shehu wrote from Zaria via maryamshehu6354@gmail.com.

Ngũgĩ wa Thiong’o, one of Africa’s most influential literary figures, has died at the age of 87.

His daughter, Wanjiku wa Ngugi, confirmed the news in a Facebook post on Wednesday, May 28, 2025.

“It is with a heavy heart that we announce the passing of our dad, Ngũgĩ wa Thiong’o this Wednesday morning, 28th May 2025. He lived a full life, and fought a good fight. As was his last wish, let’s celebrate his life and work. Rîa ratha na rîa thŭa. Tŭrî aira!” she wrote.

She also noted that the family’s spokesperson, Nducu wa Ngugi, would release more information about the celebration of his life in due course.

Ngũgĩ, who was born on January 5, 1938, in colonial Kenya, made his mark on global literature through novels, essays, and plays that dealt with colonial rule, independence struggles, social justice, and African identity.

He gained international acclaim not only for his writing but also for his unwavering support of African languages and cultural autonomy.

His debut novel, Weep Not, Child (1964), was the first to be published in English by a Kenyan writer. He went on to write The River Between (1965), which explored the tensions between tradition and change; A Grain of Wheat (1967), a narrative set against the backdrop of Kenya’s independence; Petals of Blood (1977), which addressed post-independence corruption; and Devil on the Cross (1980), originally written in Kikuyu as a political statement.

Ngũgĩ was arrested and held without trial in 1977 due to his outspoken criticism of government policies.

Following his release, he went into exile and continued his work from abroad.

He later became a respected academic, teaching at leading institutions such as Yale University and the University of California, Irvine, where he served as Professor of English and Comparative Literature.

Throughout his lifetime, Ngũgĩ wa Thiong’o remained a leading voice in the call to decolonise African literature and promote the use of indigenous languages in literature and education.

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.