Opinion

By Sa’id Sa’ad

In 2021, I sat at Arewa House. I listened to Late Ummaru Danjuma (Kasagi) thunder – in his old throaty yet commanding voice – bitterly about how Hausa culture and stories have diluted over the years. His face, though saddened, lit by fluorescence – old, yet much alive – spread goosebumps throughout the room, reawakening all the murdered tales back to life. No one would think that that command births the reawakening of not just Hausa culture, stories, and language but northern Nigeria’s stories.

That was the maiden edition of the Hausa International Book and Arts Festival (HIBAF)—a time when literary festivals have suffered lashes of COVID-19. Literary enthusiasts, writers and journalists were once again full of life to reconnect. While some see it as a promising beginning for a new Jaipur Literature Festival of Northern Nigeria, a lot thought it was just a naming ceremony of yet another Nigerian literary festival that will soon wither due to shrinking funds.

Hausa or northern Nigeria literature – before now – couldn’t afford itself a “consistent” arts festival that solely promotes and celebrates its artistry, culture, and stories until the advent of HIBAF. However, there were several one-off attempts previously, but mostly political. One might argue that festivals like Kaduna Book and Arts Festival (KABAFEST) have blanketed the same purpose. Still, I would differ because KABAFEST is an international festival bringing international guests with national stories to a northern city. KABAFEST is – or now probably was – an arts festival “in” northern Nigeria, while HIBAF is an arts festival “for” northern Nigeria. This is not a dismissal of the influence KABAFEST had on northern Nigeria. It would be stupid to dismiss that.

However, as the region continues to suffer stereotypes about its literary prowess, HIBAF could stand on the edge of liberating northern Nigeria from such an ugly view. Perhaps the birth of what can be predicted today is the conscious reawakening of northern stories.

For a young festival with such an ambitious name, the question is: Is HIBAF only representative of the Hausa people or northern Nigeria?

It is easy to assume that HIBAF solely represents Hausas and their stories, especially for those who view them from the outside. This is mainly because, unlike other art festivals in Nigeria and around the world founded to represent a geographical entity, such as Lagos Book and Arts Festival, HIBAF is one of few whose nomenclature represents a tribe. In previous seasons, the festival granted conversations in the English Language; therefore, that says a lot about HIBAF going beyond Hausa “alone” in its programming, which I find healthy.

It would be great if HIBAF were only for Nigerian Hausas. It is okay if it is for Hausas globally. But it will be graciously honourary if HIBAF is for northern Nigeria in general. The value of this ambitious festival is in its capacity to reconnect Hausas and Hausa cultures with cultures around it through diversifying into introducing tribes that have existed with Hausas, such as Fulani, Nupe, Tiv, Igala and other northern tribes to its programming. This will mean Hausas and communities of non-Hausas in Hausa communities could re-share a space in arts and shape a positive narrative of the region in terms of collective literary and artistic prowess. This will create a unified northern story(ies).

Another issue that can’t be dismissed is the problem of northern consciousness – this time, refusal – to appreciate northern initiatives. It is a similar case for HIBAF. It is seldom difficult to see a representation of famous northern personalities – especially from Kannywood and music sub-sectors, aside from a few interested in literature such as Aminu Ala or Ado Gidan Dabino. Most hardly care. This does not mean that such personalities – who don’t care – will decline invitations from similar festivals in other parts of Nigeria. They certainly will accept. Now, the question of the “potentiality” of the festival in creating “value” and “shaping northern stories” has everything to do with bringing people of value, not just in literature but from other art sub-sectors such as Kannywood and Hausa music space into its fold.

Knowingly or unknowingly, the Kannywood industry needs more fora this time than ever. Imagine Ali Nuhu, Rahama Sadau, Fauziya D. Sulaiman and Salisu Balarabe on a panel to discuss how northern creative writers could get their – more well-written stories – to Kannywood screens. This panel can pave the way for collaboration that could place both the creative writing and Kannywood film industries decades ahead—a potential both industries share.

With its ambiguous programming nature of inculcating cultural programmes, the festival could give life to northern cultural heritages on the verge of fading with the recent digital revolution. It will be fascinating to see HIBAF Durba, HIBAF Tashe, HIBAF Dambe, Dandalin HIBAF, HIBAF Mawakan Gargajiya and other numerous HIBAF’s all-year-round that could bring back the northern cultural heritages while also Including non-Hausa cultural programme. Again, this creates unified northern cultural narratives.

This year’s HIBAF, in its third year of awesomeness and vibrancy – though still wounded by honest negative feedback from the second season – is bringing diasporic faces back home. Simply put, ‘going international with locals, and for locals.’ Such a breed can give life to a new dimension of cross-geographical collaboration between northern storytellers in the diaspora and Nigeria—a remarkable feat to a tremendous progressive bond.

While the festival, through its host organization, is becoming a spot for learning and sharpening creative and artistic mastery through workshops and seminars, it depicts how it can create a birthplace of yet new sets of Abubakar Imams and Zaynab Alkalis who would live to tell the stories. But this can also be limited if the focus is Hausa and literature alone as, thus, expansion both in language and sub-sector is where the growing inclusive value lies.

From pages of novelists to the rhymes of poets, from scenes of playwrights to screens of filmmakers, from the vocals of singers to the lyrics of songwriters, from the colours of culture to the lens of photographers, from northeast to northwest and northcentral, HIBAF could cook a recipe of blended stories – of all that have been around Hausa – to a valuable northern unified story.

Though all these are a long walk to a new revolution for northern Nigeria’s stories, it can place HIBAF at a point of liberating the region and demolishing its stereotypes.

Sa’id Sa’ad is a Nigerian writer, playwright and journalist from Maiduguri. He won the Peace Panel Short Story Prize 2018 and the NFC Essay Prize 2018. He writes from Bonn, Germany. He can be reached directly at saidsaadabubakar@gmail.com

Usman Muhammad Salihu

In the hustle of everyday life, many people find themselves navigating through challenges, and for some, the journey includes the demanding world of academia. A recent encounter with a university student sheds light on the harsh reality students face on the path to education, especially in Nigeria today.

As a graduate waiting for our results to be released, I engaged in a rickshaw business. As I was moving through the city of Jos, Plateau State, I picked up a young woman who, by all appearances, seemed to be a dedicated university student. Little did I know that the shadows of academic hardships marred her journey.

Her phone conversation with a fellow coursemate delved into the frustrating realm of carryovers and spillovers. According to her, some lecturers seemed to wield their power recklessly, subjecting students to the ordeal of repeating courses, even after graduation. What struck me was the claim that these burdens were inflicted upon students who resisted inappropriate advances.

With a frustrated tone, the young lady spoke of the financial strain that accompanies repeating courses. Despite the current economic challenges faced by many Nigerians, students find themselves compelled to pay registration fees to rectify the consequences of what appears to be an unjust system.

If the allegations are indeed true, and this is a manifestation of the notorious “sex for grades” issue, it raises serious concerns about the ethical conduct within our educational institutions. It is a cry for justice that cannot be ignored.

In response to these distressing revelations, a collective responsibility falls upon the government, the Students Union, and the wider public. The government must ensure a thorough investigation into these claims, holding accountable any lecturer found guilty of such misconduct. The Students Union has a vital role in advocating for the rights of its members, providing support, and pushing for systemic changes that protect students from exploitation.

Moreover, the public must not disregard the struggles faced by these students. Awareness is the first step towards change. By shedding light on these issues, we collectively contribute to fostering an environment where students can pursue education without fear of victimisation. Only through collective action and a commitment to transparency can we hope to eradicate these hardships and create a safe space for education to flourish.

Usman Muhammad Salihu writes from Jos, Nigeria, via muhammadu5363@gmail.com

By Aminu Mohammed

This article was inspired by a Facebook post by Dr Maryam T. Hamza, who urged northerners to stop casting aspersions on actors and practitioners of the Hausa language film industry, popularly known as Kannywood. The post got me thinking about my recent trip to Nigeria last year. I still recall how enthusiastic people at home were about the movie series Dadin Kowa shown on Arewa 24. I wondered what kept them glued to the TV while watching the Dadin Kowa drama.

It is a well-known fact that many families spend ample time at home watching movies from India, Korea, Turkey, the Philippines, and other countries. While in secondary school in the 1990s, I discovered that most of my friends were conversant with the names of famous Indian actors such as Amitabh Bachchan, Dharmendra, Jeetendra, Rajesh Khan, etc. We also became conversant with Indian culture, food and cities through the movies.

This reminds me of Funke Akindele’s recent movie A Tribe Called Judah, which has become the first Nollywood movie to hit one billion Naira from the cinemas in just three weeks of its release, marking a historic moment in the Nigerian movie industry. The film portrays the challenges bedevilling low-income families in their struggle for livelihood and survival. President Bola Tinubu congratulated Funke for the feat, and eulogies from former Vice President Atiku Abubakar and Peter Obi also followed this.

We Need to Tell Our Story

I have watched the movie Amina, which tells the story of Queen Amina of Zazzau, a 16th-century Hausa kingdom in what is now known as Zaria. Although the film was interesting and well-made, I was surprised to learn that the producers, Okechukwu Ogunjiofor and Izu Ojukwu, were not from Kannywood, despite casting Ali Nuhu, among other mainstream Hausa actors, in the film. I wondered why this was the case.

While I enjoyed the movie and praised the producers for their work, I couldn’t help but feel that something was missing. I felt uneasy that outsiders were telling the story of our traditional system while our people had overlooked or neglected to do so. It bothered me that we tend to criticise and demonise artists and icons in our society rather than promote them. Are we comfortable with outsiders telling stories about our culture and traditions? Are we okay with letting outsiders define who we are?

It’s concerning that people who watch American, Chinese, Korean, Indian, and Turkish movies are quick to condemn Kannywood actors and actresses, accusing them of spreading immorality. Why do we celebrate foreign celebrities and movie stars while looking down on our own simply because they speak the same Hausa language as us? How can we expect to progress as a society when we tear down our talents and icons?

During my undergraduate days at the Ahmadu Bello University, Zaria, American pop music and gangster rap were popular among students. However, things have changed over time, and many Nigerians now listen to our local music. Nigerian artists like Burna Boy, Davido, Wizkid, Tiwa Savage, Kizz Daniel, and others are now popular across the globe. Even former U.S. President Barack Obama listens to Nigerian music. Afrobeats singers like Burna Boy and Ayra Starr were on his 2023 summer playlist.

Kannywood Has Great Potential

Nollywood has become one of Nigeria’s biggest exports in the last decade, highlighting the immense talent of Nigerians. The creative and entertainment industry has seen tremendous growth over the years, improving the livelihoods of many practitioners. Similarly, Kannywood has created numerous job opportunities for people in the North, such as actors, producers, directors, costumiers, makeup artists, fashion designers, singers, dancers, scriptwriters, and bloggers.

We must support Kannywood and promote our own talents rather than criticise them. We must stop seeing the movie industry as a place for fostering immorality and social vices. Instead, we should harness Kannywood’s potential to generate foreign exchange and enhance economic growth and development in Kano state and the entire Northern region.

Film as Instrument of Positive Change

The movie industry has the potential to inspire diligence, hard work, honesty, and productivity among our youth. It can serve as a valuable tool to promote girl-child education, literacy, and women empowerment, generate employment opportunities for talented youths, as well as change the negative perception of the North as a place plagued by religious intolerance, banditry, and insurgency.

I enjoy watching Dadin Kowa and Kwana Casa’in on Arewa24 occasionally. I also listen to Hausa songs, especially those by Naziru Sarkin Waka, to stay connected to my culture and traditions as I live outside Nigeria. It is worth noting that Kannywood movies do not depict scenes of sex, kissing, hugging, or any other inappropriate content that could tarnish the industry’s reputation.

Promoting our culture and language through movies and home-grown creative efforts is essential. We can use movies to tell heroic stories about our forefathers and instil good values, family ethics, productivity, and religious morals in our youth. I firmly believe that harnessing Kannywood’s potential can bring about the desired change in our society and encourage us to hold our political leaders accountable for their stewardship. 

Aminu Mohammed wrote this article from Ingolstadt, Germany. He can be reached at gravity23n@gmail.com.

By Muhammad Muzzammil Bashir

While mastering essential skills and knowledge is crucial, true success today often hinges on going beyond the baseline and actively cultivating personal growth. It’s about unlocking your full potential and becoming the best version of yourself.

It’s common that in order to do your job effectively, you need to have the technical know-how, or more so, you need to earn a certificate and license in order to practice for professional careers. These are the essentials. The prerequisite for skill practice. They provided the foundation – the sturdy scaffolding upon which we built our lives. They equipped us with the knowledge and skills to navigate the complexities of the world and secure a foothold in the ever-churning tide of life.

In this constantly ever-changing world, with different definitions of success always emerging, from being prowess with hard work to earning academic accolades, or both, now to low-profile, nuanced skills that are embedded in our personal character, termed soft skills, personal growth skills, or more so abilities beyond the technical, that propel us toward success. The skills, degrees, and certificates we earn alone may not, by themselves, help us build the career path we aim to reach. We found ourselves in an era where the application of artificial intelligence is rampantly proliferating, where distance and space are no longer barriers, and where employers are looking for employees that have skills that show the warmth of empathy, active listening, imagination, time management, efficiency, and the spark of passion to ignite
self-discovery.

In his famous book, Skills Rather Than Just Degrees, Professor Isa Ali Pantami cited that the major unemployment challenges Nigeria faces are not, in part, the unavailability of jobs but rather, unemployability, where “positions cannot be filled because there are graduates and candidates without the requisite skills to take up such positions.” This is where personal growth steps in: having the dexterity to handle complex projects under pressure, to think critically outside the box, to prioritize tasks at hand, and to problem-solve effectively and efficiently. It’s about communication skills—the ability to organize your thoughts and communicate them in a clear, precise, and simple way without ambiguity while putting empathy and compassion into consideration. It’s about your interpersonal skills, how you relate to your peers, and your emotional intelligence—how you react to things that happen around you. Personal growth isn’t a linear path; it’s a winding journey punctuated by triumphs and stumbles, laughter and tears. It’s about embracing the detours—the unexpected turns that lead us to hidden treasures within ourselves. It’s about learning from our mistakes, not as failures but as stepping stones to a higher vantage point. Personal growth is about recognizing that the pursuit of knowledge is not confined to textbooks but blooms in the fertile ground of lived experiences. It’s the volunteer project that pulls us outside our comfort zones, revealing hidden depths of empathy and strength. It’s the heartbreak that cracks open our hearts, teaching us the profound dance of vulnerability and resilience.

In this era, what employers look for in candidates now is, mostly in part, what benefit you can bring to the table, how critical and quick you are in thinking and spotting opportunities, how open-minded you are in adapting to new ideas and environments, how broad-minded you are in project management, and how good you are in thinking about how those projects can be executed in a cheap and better way. So also, how analytical are you at predicting the future? Personal growth is about cultivating the habit of lifelong learning. A lifelong learning habit will give you an edge among your peers, make you important and relevant in your workplace, or give you a competitive edge in your business domain.

Great leaders, either in business or public organizations, tend to excel in their respective domains because they read books, update themselves regularly with the current trends in their domain, and choose to go out of their comfort zone to seek new knowledge and experience. You are better off succeeding at your job or business if you use your time to read books for personal and career growth that will change your thinking and broaden your imagination. You are better off succeeding if you use your time to learn soft skills from online learning platforms like Coursera, Udacity, Udemy, and LinkedIn online courses, among many others, to leverage the gap for the skills you lack that will give you a competitive advantage in your
domain or help you land a job in top-notch corporations. You are better off succeeding if you use your data subscription to watch Youtube videos, TedTalks, documentaries, and listen to postcards that will hone your skills, broaden your knowledge, and open your eyes to global trends in your career. You are better off succeeding if you can give yourself to volunteering and/or internships, especially at the beginning of your career, where you will have ample opportunity to gain lots of experience and mentorship and, at the same time, clinch a job whenever there is a vacancy in the organization or from a different organization through a referral from someone in the organization you are volunteering for.

You are better off succeeding if you seek out mentors that can offer valuable insights, shortcuts, and advice on navigating challenges you might face and share their expertise in your field, helping you develop new skills or refine existing ones and provide unbiased feedback on your work, performance and ideas. This can help you identify areas for improvement and make more informed decisions. Personal growth is a lifelong journey, not a destination. Embrace the process, enjoy the learning and witness how it transforms you into a more successful and fulfilled individual.

Muhammad Muzzammil Bashir can be reached via; mbashir199@yahoo.com

By Ibrahim Tukur

Teaching, a practice dating back to the inception of human civilisation, remains the cornerstone of knowledge dissemination and societal development. Across diverse forms, teaching has profoundly influenced our lives and the world at large. It’s the vessel through which knowledge, information, and invaluable experiences are preserved and transmitted across generations. In the structured confines of schools, students engage with various disciplines, not solely to absorb knowledge but also to challenge, reframe, and contribute to a brighter future.

Yet, despite being the progenitor of all professions, Nigeria seems to overlook the significance of the teaching profession, unlike professions like law or medicine, where extensive training and years of study are prerequisites, teaching frequently appears as an accessible career path, sometimes attracting individuals without the essential pedagogical skills or comprehensive subject mastery.

This oversight manifests glaringly in the underappreciation of teachers by the Nigerian government, notably in the form of insufficient compensation. The meagre salaries offered to educators fail to recognise the intricacies and demands inherent in their roles, severely limiting their ability to perform optimally and affecting their morale.

Additionally, the teaching landscape in Nigeria grapples with a multitude of challenges that impede effective education delivery. Inadequate infrastructure, including a scarcity of classrooms, laboratories, libraries, and teaching materials, is a significant barrier to teaching and learning. This scarcity, coupled with a shortage of qualified educators and deficiencies in teaching methodologies, hampers students’ ability to reach their academic potential.

The lack of comprehensive and quality teacher training programs is a significant challenge educators face in Nigeria. Many teachers enter the profession without adequate preparation, lacking essential pedagogical skills and updated teaching methodologies. This deficiency in training directly impacts their ability to engage students effectively, cater to diverse learning needs, and employ innovative teaching techniques. Insufficient training also hampers educators in adapting to evolving educational trends, impacting the quality of education imparted to students across various levels of schooling.

Consequently, Nigeria’s education system suffers, and the ramifications are dire. If not rectified, this neglect of teaching—the bedrock of all professions—will perpetuate the birth of underqualified professionals. It’s a situation that could escalate brain drain, where competent educators seek opportunities abroad where their expertise is appreciated and duly rewarded.

Recognising the pivotal role teachers play in shaping society, there’s an urgent need for substantial reforms. It starts with acknowledging and properly compensating teachers for their arduous task of moulding minds and futures. Additionally, investing in comprehensive teacher training programs, extending the duration of educational courses to allow for a more thorough mastery of teaching methodologies, and implementing stringent selection processes for educators are imperative steps.

The government’s commitment to furnishing all schools with adequate resources and facilities is equally crucial. This holistic approach ensures seamless teaching and learning experiences, vital for the nation’s educational advancement.

In conclusion, it’s paramount to accord teachers the reverence and support they deserve. Their pivotal role in shaping both individuals and the world demands acknowledgement and concrete actions aimed at rectifying the systemic deficiencies currently hampering the teaching profession in Nigeria.

Ibrahim Tukur is a hearing–impaired individual from Ingawa, a town in Katsina. He earned his first degree in Special Education/Sociology. He is a Disability Rights Advocate and can be reached via inventorngw@gmail.com.

By Sirajaddeen Mohammed Bello

In Nigeria’s many socioeconomic challenges, one issue stands out as the biggest threat, casting a gloomy shadow over the present and the nation’s future. Youth unemployment is a subject that elicits head shakes, furrowed brows, and a sense of impending doom. But beyond the sombre tone, let me unravel the implications of this predicament and infuse a touch of hope— and a pinch of ‘humour’ into this all-too-serious subject.

Youth unemployment in Nigeria isn’t just a problem; it’s an iceberg of colossal proportions. The National Bureau of Statistics (NBS) stated that Nigeria’s unemployment rate rose to 33.3% as it stood at the rate of 4.1% in the first quarter of2023, which translates to about 23.2 million people— youths, in particular. Let’s face it: numbers don’t always tell the whole story. Picture this: some hundreds of thousands, nay, millions of mostly educated, bright young minds stuck in a seemingly endless and almost fruitless game of job hunting— a game with fewer opportunities and a mammoth crowd of players. 

It’s a perplexing paradox, navigating through such a complicated realm that occasionally resembles a labyrinth of bureaucracy and nepotism. These players could either be overqualified or, in many cases, underqualified, creating a complex, ‘funny’ puzzle that baffles many— in a head-scratching manner.

Now, one might wonder why we care about this particular problem: youth unemployment. And even go on to declare it a “time bomb”? Too strict a term? Well, let me draw you a vivid picture. A sizeable chunk of our youths are left idle, grappling with feelings of inadequacy, financial crisis and frustration. Do you think all will end well? No! If not given the needed attention and channelled constructively, this sluggish energy can surely fester and lead to various social ills in unimaginably ugly ways. So, you see? It’s not just a ticking time Bomb: it’s an evil fuse that could ignite a powder keg of problems for this country.

It’s still not too late for the authorities to right this wrong. We’ve analysed the problem to an extent. Let’s talk solutions because dwelling on problems only, without drawing out remedies, is almost like writing a story with no plot. Nigeria’s youth is its greatest asset, with creativity and untapped potential. A serious country can’t afford to let this resource go to waste. More than ever. Now is the time to bridge the gap between the skills our youths (are assumed to) possess and the skills demanded by the labour market. 

Various vocational trainings (not the usual ‘crash’ workshops that hardly change a thing!) and education systems tailored to market needs can play a vital role. The government and the stakeholders in the private sector need to collaborate and determine what knowledge and skills young people should be taught to have rewarding jobs, considering how businesses are suffering from skills mismatch. Government should play a more active role in promoting appropriate education and Capacity-building for the youth.

Another equally important area to work on is entrepreneurship. Why not encourage more young entrepreneurs in a country where the labour market is fiercely competitive? Our youths are teeming with brilliant ideas waiting to be hatched. Government support, access to funds and mentorship programmes can nurture these promising— budding business moguls.

Technology and Innovation. Nigeria’s burgeoning tech ecosystem offers great hope. The digital world is undoubtedly a place where opportunities abound for a tech-savvy. The government should then invest in technology infrastructure and create an environment that supports innovation and startups and training and mentorship for young people. These and many other initiatives centred on progress and empowerment can go miles in addressing our plight.

The evil of unemployment in Nigeria is undoubtedly a ticking time Bomb, but it doesn’t have to detonate. By investing in skills development, nurturing entrepreneurship, promoting innovative empowerments and retaining our trademark diligence, we can defuse this albatross and unleash the incredible potential of our youths.

Sirajaddeen Mohammed Bello wrote from Yola, Adamawa State, via sirajaddeenm2019@gmail.com.

By Ismail Obansa Nimah

Yesterday again saw another targeted Israeli assassination of a high-profile leader of the Palestinian resistance axis, Hamas deputy leader Saleh Al Arouri. The assassination by Israel took place in the heart of Beirut, the capital of Lebanon, at about 5:45 pm Local time. It comes roughly 24 hours before the 4th anniversary of the assassination of Qassem Soleimani, former Commander of Iran’s elite Quds brigades of the Iranian Revolutionary Guard corps.

On the 3rd of January, 2020, turmoil was yet again unleashed in the Middle East when the United States of America (USA), in collaboration with her Israeli ally, assassinated Major-General Qassem Soleimani, a man who doubled as the commander of the Iranian Elite Revolutionary Quds Force and the second most potent/influential man in Iran after Ayatollah Al-Khamenei (Iran’s supreme leader).

Citing the preservation of the interest and national security of America, the United States launched a drone strike at a convoy conveying Soleimani and Iraqi militia leader Abu Mahdi Al-Muhandis, killing them both and eight others near Baghdad airport in Iraq.

The conflict between the US and Iran dates as far back as the 1970s, and as almost always, the killing of Soleimani immediately rattled up tensions, bringing the US and Iran to the brink of war. According to some Iranian sources, General Soleimani was on an important mission to deliver a message to the Iraqi prime minister about its gulf neighbours and reconciliatory steps taken between Iran and its neighbours, especially its regional rival Saudi Arabia, suggesting that Riyadh may have leaked intelligence to Washington.

The killing of Soleimani was met with shock, worldwide condemnation and fierce declarations of avenge from Iranian officials and Iranians, generally with the supreme leader, President and military commanders/leaders pledging a harsh retaliation. Following the killing, massive protests and mourning broke out in the cities of Iran and Iraq, with hundreds of thousands of Iranians pouring out into the streets, mourning and chanting their desires for revenge.

On January 5th, 2020, the remains of General Soleimani and the other Iranians killed alongside him were flown into Iran amidst a sea of millions of mourners. The funeral and national procession of the Iranian legend was planned for the 7th of January, at his home town in ‘Kerman’, but an ensuing stampede due to massive crowds led to the death of at least 56 people and injuring 213 people, resulting in the immediate postponement of the burial.

In the early hours of the 5th day after Soleimani’s assassination, on the 8th of January 2020, Iran retaliated and launched over a dozen ballistic missiles on two US bases in Iraq. The attack by Iran injured over 100 US soldiers, with most of them reportedly suffering traumatic brain injuries, and also resulted in the destruction of important US assets in the bases. Tensions immediately skyrocketed following the Iranian counterattack, with oil prices rising to levels not seen in 3 months and countries including the US ordering their citizens to evacuate and leave Iraq and its environments, as well as airliners being told to avoid the airspace over Iran and Iraq.

As the world woke up to the news of an Iranian response, so did the news of the downing of Ukrainian International Airlines flight 752, killing all 176 on board. The Iranian Revolutionary Guard Corps placed its defences on high alert following the counterattack, allowing its surface-to-air missile defence system to mistakenly shoot down the Kyiv-bound airliner shortly after take-off from Tehran. Following damages to the US bases and injuries to personnel, President Trump and the Pentagon ordered the immediate deployment of more US military assets to the Gulf region. Consequently, an airstrike on Iran that would be called off at the last minute by President Trump was ordered.

 Iraq, caught in a conflict between the world’s superpower and a Middle Eastern regional power, became destabilised. With the outright violations of its national sovereignty by a supposed ally, protest broke out with both ordinary Iraqis and the Iraqi parliament calling for the expulsion of American troops and other foreign forces from its soil. For a lot of them (Iraqis), the horrors and consequences of decades of war can still very much be remembered and felt, and they, by all means, want to be left out of another regional conflict.

Four years on, tensions remain at a ceiling level between Iran and the US/its Middle Eastern allies, particularly Israel. Israel’s brutal genocidal war on Gaza has killed more than 22,000 Palestinians, as well as more Israeli-targeted killings of Iranian officials. It’s regional allies with American support, including Mohsen Fakhrizadeh; it is yet to be fully known how close an all-out war is between Iran and American-backed forces within the region, particularly Israel.  Although so many structures have been re-named after Soleimani, the void created in the hearts of Iranians, the Palestinian resistance axis and the Islamic Republic of Iran by his death will take a long time to heal and will require more than an anniversary celebration for the already sanction crippled nation.

Ismail Obansa Nimah wrote via nimah013@gmail.com.

By Umar Sheikh Tahir (Bauchi)

Columbia is an Ivy League University, one of the eight most prestigious institutions in the United States of America. Ph.D. students at this university undergo two years of coursework. One of the classes I took was Islam, Knowledge and Forms, which a visiting professor from Germany taught. Part of the course is a library visit to the exhibitions section under the project of Islamic Sciences, Science, Nature, and Beauty: Harmony and Cosmological Perspectives in Islamic Science (2022) at Butler Library, the largest library of Columbia University with millions of resources. 

The exhibition contained objects, images, rare manuscripts, and other learning materials. Two materials, among others, became the most astonishing factors in the exhibition: one of them is a rare copy of the Holy Quran, and the second is a locally handmade wooden tablet (Allo).   

The instructor asked everyone to talk about any material in the exhibition. Students gave their feedback on the experiences passionately; different things wowed everyone. When it came to my turn as someone who had known these items since childhood in my father’s private library, where we sneaked as children, which housed similar treasures. To us, these are the most useful items in his library as we do not read books; we only view images and magazines, such things that are not viewed as essential to the readers. Then, I shared my familiarity with these items, telling them I was exposed to most of the exhibited materials from my upbringing in Northern Nigeria, including “rare manuscripts” of the Quran. 

The Quran displayed was a giant copy of the original Uthmanic Quran, denoted to the third Caliphate of the Muslim nations who reigned (644/23H–656/35H). It was so amazing to all of us. As for me, the Quran is the most frequently read book in my entire life, and to their surprise, I can read this copy fluently without diacritical marks. I highlighted that memorising the holy Quran, even without understanding Arabic, is common in Northern Nigeria.  Most of my fellows never knew that sometimes people memorise it at an early age. I did not shock them with that, as I am one of them. 

In the second incident, Professor Brinkley Messick invited me to speak in his class on Islamic Shariah Law as someone with experience with an Islamic Madrasa background and went to Azhar University in Egypt. The theme of the class is the Islamic madrasa. He is interested in the Islamic tradition, as evident from the cover of his book, “Calligraphic State.” 

The Professor brought Allo a wooden tablet to the class and circulated it to students. Everyone was looking at it with surprise. I named it to them as a personal tablet for inscription and memorisation of the holy Quran, and the students asked for more details. I said we write verses from the holy Quran for memorisation after repeating it several times; not everyone understands how that works, except those with Islamic background. However, when I told them when we wash the script, we drink it, everyone was left with open mouths, surprising our embodiment of the holy book, including the professor. They could not process as modernised individuals with high sensitivity to germs and bacteria. Again, as I told our class last semester, this is very common in Northern Nigeria. 

Coincidently, one of the attendees from a Saudi background added that people used some scripts for Talismite and protection from Djinn (Ruqyā in Arabic or Ruqiyya in Hausa) by reciting some verses in water. I told her this is true; we have that part in our culture too, but the biggest part is that we drink washed script for the embodiment and show respect for not letting a drop of that water on the ground as a sacred word. As kids, we were told that whatever verses we memorise from the holy Quran and drink will stay in our hearts for a long time.

In reference to that, American Professor of Islam in Africa Rudolph Ware published his book Walking Quran on the Madrasa system in West Africa. He referred to those Quranic students’ embodiment as the Walking Quran in relation to the narration of the Hadith reported in the books of Hadith such as Ṣaḥīḥ Muslim; Aisha was asked about Prophet Muhammad’s PBUH character, and she said he was a Walking Quran.  

Our cultural legacy, often undervalued by some of us in our region, gained recognition at Ivy League institutions. Those people appreciate a centuries-old Quranic educational tradition or Almajiri system and show their respect to our subregion. Even our way of drinking the washed script of the Quran mesmerised them. 

A professor dedicated his projects to studying a school system called Daara schools in Senegambia or the Tsangaya schools in Northern Nigeria, making it evident that our legacy is an astonishing point to those communities. Then, as indigenous Africans who were introduced to the colonial system of Education less than a century ago in Northern Nigeria, we should be more proud of our system by appreciating those communities who choose to preserve it, as they make our subregion a central point of high intellectual conversation around the world. 

We should not deny our legacy by stigmatising the Almajiri system of education. Instead, we should support it and create a way of modernising it to empower and preserve our centuries-old legacy.  Whoever shows kindness to the Quran and its reciters will receive people’s applauses in this life, including Western intellectuals, and God’s reward in the hereafter. Thanks to those state governments in Northern Nigeria who support and recognise this system of education.

Umar Sheikh Tahir is a PhD student at Columbia University, New York, USA. He can be reached via ust2102@columbia.edu.

By Dr Kabiru Danladi Lawanti

The whole Cotonou degree is criminal and all those involved need to be fished out and punished. Some people might see us as harsh or maybe insensitive for saying this. 

There are things we cannot say in public, but one needs not to be prophet of doom to predict that Nigeria cannot withstand this onslaught and will eventually crash. 

Our desperate quest for certification through whatever means led us to this situation. Parents are desperate to have their kids in the university, some even underage (we saw 15, 16 and 17 year olds being pushed to universities), whose mental capacity is too elementary to grasp or cope with challenges of university education.

The crises in higher education and the adoption of neo-liberal policies that have no place in a developing country like ours also contributed to this confusion. Consequences of commodification of knowledge is enormous in a country with no strong institutions to checkmate excesses and greed of capitalists. The results is the proliferation of degree mills all over.

Adoption of neo-liberal policies means cutting funding for public services like education, health and sanitation. Nigerian public universities suffer from these policies. Funding was cut, citing many reasons. The results is restrictions in admissions. When you have many applying to enter university and the slots are few, universities have to admit based on quota. Therefore, few can be admitted.

Parents, in their desperate efforts to get their children into universities, started sending their kids to some African countries for bachelor’s degrees – Uganda, Benin Togo, Ghana, Sudan, Niger Republic, etc. 

Another reason is the dichotomy between degree and HND. Many people affected by stagnation in their places of work because of HND opted for a way to have a degree that can help them get promoted. Many went for the Cotonou degree. Since it is acceptable by MDAs or they made it acceptable, most of them started trooping to these mushroom universities to obtain these degrees to get promoted.

Then we have people who can’t cope with rigorous nature of our public university system. I know a lot who not only failed exams, but are withdrawn from diploma programmes, but appear after 6 months with a degree from these degre milling centres. Others could not pass UTME therefore unqualified to enter public universities. Cotonou degree provide an alternative.

The last, in my opinion, are those running from ASUU strike. Many parents justify purchasing the Cotonou degree because of the unending industrial disputes in the public universities.

I don’t want to talk about the “motor park gang” led by former minister of education Adamu Adamu and his National Universities Commission (NUC) executive secretary, who bastardised the university system for only God knows why. They have killed what remained of our public university system.

Lastly, some of our private universities are not any different from the “Cotonou universities”.

President Bola Tinubu needs to do a lot more to rescue the situation. I like how the Minister of Education, Prof. Tahir Mamman, handles the situation. But sincerely, the students of these dubious universities, their agents, officials from Federal Ministry of Education, NUC and the other places need to be rounded up, arrested and punished according to our laws.

Kabiru Danladi Lawanti, PhD, wrote from the Department of Mass Communication, ABU Zaria, via kblondon2003@yahoo.com.

By Prof. Abdalla Uba Adamu

An industry is a system made up of interconnecting parts that synchronise together to create a perfect dynamic and functional entity. However, there is a central creative focus. Thus, while no one can claim to have been the actual originator of commercial Kannywood since many people – and processes contributed to its development – nevertheless, the creative spark that lit the fire of Kannywood was the late novelist Aminu Hassan Yakasai. If one person can be credited with creating the industry, it was him and only him. 

In the late 1970s, the Nigerian film director Ola Balogun directed two successful Yoruba films. The first, “Ajani Ogun”, was co-produced with the actor Ade Love. The second, “Ija Ominira”, starred Ade Love. Hubert Ogunde, a famous Yoruba travelling theatre showman, decided to join the trend. He invited Ola Balogun to direct Aiye, which was hugely successful and led to a follow-up, Jaiyesinmi. 

These Yoruba films found their way to Kano’s bustling “stranger” (or, more appropriately, “guest settlers”) communities of Sabon Gari in the 1980s, where they were shown in cinemas and hotel bars. This attracted the attention of Hausa amateur TV soap opera stars and crew, such as Bashir Mudi Yakasai (cinematographer), Aminu Hassan Yakasai (scriptwriter) and Tijjani Ibrahim (director). Surprisingly, despite the massive popularity of Hausa drama in television houses and government financial muscle, the idea of full-scale commercial production of Hausa drama episodes by the television houses was never considered. Individuals wishing to own certain episodes simply go to the television station and pay the cost of the tape and a duplication fee, and that was it. There was no attempt to commercialise the process on a full scale. 

In the same period, the northern cities of Kano, Kaduna, and Jos benefitted immensely from the massive transfusion of modern media influences caused by not only a liberal society but also the tolerant interaction of diverse cultures and religions in the same public spaces. They were, undoubtedly, the creative hubs of northern Nigerian popular culture. Jos was famous for its vibrant nightclub and music scene. Kaduna also had a rich musical heritage, coupled with a TV culture. Kano was more muted and relied on music and club life inflows to Sabon Gari from other regions. 

However, one aspect of popular culture Kano had that was absent in Kaduna and Jos was prose fiction. While other cities were grooving the night away, residents of Kano were burning the midnight oil. The first published modern Hausa fiction was “So Aljannar Duniya” by Hafsat AbdulWaheed from Kano in 1980`. It opened the floodgates and led to hundreds of novelists creating a whole genre of African indigenous fiction referred to informally as Kano Market Literature. 

Also, at the same time, Kano had many drama groups that enjoyed stage plays that were often improvisational and not based on any script but with a general focus on social responsibility. These drama groups became spawning grounds for those who established the Kannywood film industry. These included Tumbin Giwa Drama Group (Auwalu Isma’ila Marshall, Shu’aibu Yawale, Ibrahim Mandawari, Adamu Muhammad, Ado Abubakar, Jamila Adamu. (Gimbiya Fatima), Hajara Usman, Ɗanlami Alhassan, etc.), Jigon Hausa Drama Club (Khalid Musa, Kamilu Muhammad, Fati Suleiman, Bala Anas Babinlata), Tauraruwa Drama & Modern Film Production (Abdullahi Zakari Fagge, Shehu Hassan Kano, Iliyasu Muhammad, Hajiya Rabi Sufi, Auwalu Ɗangata, Ado Ahmad G/Dabino, Asama’u Jama’are), and Hamdala Drama Wudil ( Its members include Rabilu Musa Ɗanlasan (lbro), Mallam Auwalu Dare, Ishaq Sidi Ishaq, Bappah Yautai, Bappah Ahmad Cinnaka, Haj. Hussaina Gombe (Tsigai), Shua’ibu Ɗanwamzam, Umar Katakore etc.) There were many more, of course, but these were foundational to Kannywood. 

The TV shows from then Radio Television Kaduna were gripping and inspiring to these drama groups. TV show stars that became role models to these Kano drama groups included Ƙasimu Yero, Usman Baba Pategi Samanja, Haruna Ɗanjuma, Harira Kachia, Hajara Ibrahim, Ashiru Bazanga (Sawun Keke) and others. 

Thus, it was that at the time of producing Bakan Gizo in Bagauda Lake Hotel 1983 to 1984 Aminu Hassan Yakasai, Ali “Kallamu” Muhammad Yakasai, Bashir Mudi Yakasai started strategising creating a drama for cinema settings (thus Kannywood was often seen as the creation of a ‘Yakasai Mafia’ as those from Yakasai dominated its creative direction!).

The tentative title of the film they were thinking of shooting was to be called Shigifa. It was a story of four unemployed graduates thinking about setting up a company – a departure from the romantic or comedic focus of then-then-popular TV shows. A script idea was floated, and Aminu Hassan Yakasai was to be the scriptwriter. However, before the idea matured, the group started getting contracts for video coverage of social events, etc. Actually, part of the coverage was also stored as footage, although the film was not eventually made. 

The precise decision to commercialise the Hausa video film, and thus create an industry, was made by Aminu Hassan Yakasai in 1986, with technical support of Bashir Mudi Yakasai, the leading cinematographer in Kano, and Tijjani Ibrahim, a producer with CTV 67. 

Aminu Hassan Yakasai was a member of the Tumbin Giwa Drama Group. He was also a writer and a member of the Raina Kama Writers Association, which spearheaded the development of what became known as Kano Market Literature in the 1980s. Thus, the idea of putting Hausa drama—and extending the concept later—on video films and selling it was a revolutionary insight, simply because no one had thought of it in the northern part of Nigeria. The project was initiated in 1986, and by 1989, a film, Turmin Danya, had been completed. It was released to the market in March 1990—giving birth to the Hausa video film industry. Salisu Galadanci was the producer, director, and cinematographer, while Bashir Mudi Yakasai provided technical advice. 

The moderate acceptance of Turmin Danya in Kano encouraged the Tumbin Giwa drama group to produce another video, Rikicin Duniya in 1991 and Gimbiya Fatima in 1992 — all with resounding success. By now, it was becoming clear to the pioneers that there seemed to be a viable Hausa video film market, and this viability laid the foundation of the fragmented nature of the Hausa video film industry. While organised groups formed to create the drama and film production units, individual members decided to stake out their territories and chart their future. Thus, Adamu Muhammad, the star of Gimbiya Fatima, decided to produce his own video film, independent of the Tumbin Giwa group in 1994. The video film was Kwabon Masoyi, based on his novel of the same name, and outlined the roadmap for the future of the Hausa video film. At the same time, it sounded the death knell of the drama groups. This was because Aminu Hassan Yakasai, who created the very concept of marketing Hausa video films—and thus created an industry—broke away from Tumbin Giwa and formed Nagarta Motion Pictures. Others followed suit.

Other organised drama groups in Kano did not fare too well either. For instance, Jigon Hausa, which released a genre-forming Munkar in 1995, broke up with the star of the video film, Bala Anas Babinlata, forming an independent Mazari Film Mirage production company (Salma Salma Duduf). Similarly, Ado Ahmad Gidan Dabino broke away from Tauraruwa Drama and Modern Films Production (which produced In Da So Da Ƙauna) and formed Gidan Dabino Video Production (Cinnaka, Mukhtar, Kowa Da Ranarsa). While Garun Malam Video Club produced Bakandamiyar Rikicin Duniya, written by Ɗan Azumi Baba, after the video film was released, Baba left the group and established RK Studios (Badaƙala). 

From field studies and interviews with the producers in Kano, most of these break-ups were not based on creative differences but on financial disagreements or personality clashes within the groups. The number of officially registered “film production” companies in Kano alone between 1995 and 2000 was more than 120. There were many others whose “studio heads” did not submit themselves to any form of registration and simply sprang into action whenever a contract to make a film was made available. 

Interestingly, Adamu Muhammad of Kwabon Masoyi Productions produced the first Hausa video film entirely in English. It was “House Boy”. Although it was an innovative experiment by a Hausa video filmmaker to enter into the English language video genre, it was a commercial disaster. Hausa audience refused to buy it because it seemed too much like a “Nigerian film”, associating it with southern Nigerian video films. When the producer took it to Onitsha—the main marketing centre for Nigerian films in the south-east part of the country—to sell to the Igbo marketers, they rebuffed him, indicating their surprise that a Hausa video producer could command enough English even to produce a video film in the language. Further, the video had no known “Nigerian film” actors and, therefore, was unacceptable to them. Thus, the Hausa audience rejected it because it looked too much like a “Nigerian film”, while non-Hausa left it because it used “unknown” Hausa actors, so it must be a Hausa film, even though the dialogue was in English!

Tragically, Aminu Hassan Yakasai died in an automobile accident on Saturday, June 16, 2001, on his way to Katsina to participate in a film, “Arziki da Tashin Hankali”.