Dauda Kahutu Rarara

By Professor Abdalla Uba Adamu

Katsinawa never cease to amaze me. They put their money where their mouth is. Their desire for cultural preservation is truly legendary. Housing some of the most significant cultural interlocutors in northern Nigeria, they spare no effort in cataloguing and documenting the cultural histories of Katsina, and by extension, northern Nigeria. And make no mistake about it: despite the much-vaunted commercialism of Kano, Katsina was first in almost everything; although not the best, for to be the best, you need to come to Kano. 

Such was the case of Dauda Kahutu Rarara. Love him. Hate him. You can’t ignore him. Love it. Loathe it. You can’t ignore the performance genre he has crafted —not created, for many came before him—and from which he has made a stupendous amount of money in the last two decades. Despite his ingenuity, it is trite to claim he is the best; he’s certainly good at what he does—such judgement is a matter of personal choice, much like choosing between apples and oranges, or guava and mango: all lovely, healthy fruits, and the best is a matter of personal preference. 

That was the backstory. Nowga labaran dalla-dalla. I was pleasantly surprised when, on Saturday, November 14, I received two lovely books as a gift from Danjuma Katsina. Printed. Not Acibilisian e-copies. Katsinawa are the real deal. Old school and as real as can be. One was Rarara: The Rise and Prominence of Dauda Adamu Kahutu by Muttaqa Rabe Darma, Mukhtar El-Kasim, Bashir Usman Ruwangodia and Gambo Garba. The other was Mamman Shata Katsina: The Singer as an Oral Philosopher in Hausaland. This post is about the Rarara book. Next, it will be about the Mamman Shata book. 

I have posted extensively on Rarara and wrote a monograph on the Critical Discourse Analysis (CDA) of his performances. This was in a monograph titled Rarara’s Invective Barbs: Innuendoes, Body Shaming, and Kano Politics. I also recalled that last summer there was a ruckus over a proposed “1st International Conference on the Songs of Alhaji Dauda Kahutu Rarara”, scheduled for October 2025 at the Federal University Dutsin-Ma, Katsina State. Miscommunication all round scuttled that initiative, with apologies being issued here and there. Well, it seemed either the conference went on as planned, or if not, its spirit—documentation of the theme of the conference went right ahead, and the product is this book. So, all was well that ended well. 

And even better, we now have a book. A big book. Some 516 pages, including an index. One thing that’s for sure: it is heavily researched. The authors interviewed some forty-three individuals from Kano to Zinder in the Niger Republic. And Atlanta And London. No, they didn’t travel to these places; they used perfectly valid phone interviews (which I hope were recorded for archival purposes) as sources. 

They also analysed about 196 of Rarara’s songs, categorising them by subject matter. It’s no surprise that 143 (about 73%) were classified as “political”. After all, Rarara classifies himself as a political singer. This is no doubt the largest collection of contemporary political songs in modern Hausa performances. Love them or hate them. They are an awful lot. Irritatingly, the authors kept referring to Rarara as a musician. He is not. He is a lyricist, songwriter, and singer. But does not play any instruments to the best of my knowledge. All the music in his songs is composed by studio session musicians using piano synthesisers. 

Now to gripes. The References section only says “some academic and quasi-academic literature used.” There is nothing like “quasi-academic”; every opinion counts in research; it is just a matter of proper categorisation. That is why “Letters to the Editor” are considered legitimate resources. And even then, for a book this expansive, you would have, through that, the libraries in BUK, UDUS and KASU scoured for dissertations as references. But even then, only five references were listed in the book. Curiously, EACH was repeated twice! Then the index, which is good, but too many “mark every entry” incidences. For instance, “Hausa” and “Rarara” have more than one hundred entries. “Buhari” has dozens. Same with “Kahutu”, “Kano”, “Katsina”. That’s all overkill. An index should reference the most important part of the text, not every single occurrence. 

Then the cover. It displays a large, beautiful colour photo of Dauda Kahutu under the book’s banner title. The first question I would ask myself was, “Who’s this guy?” And “Rise and Prominence” in WHAT, specifically? Nothing indicates what he is prominent in. Whether he is a rocket scientist, an engineer, a politician, a banker or an AI expert. Certainly nothing in the picture suggests that he is a performing artist—no stage picture, no microphone in his hand, no concert shot. Nothing. The cover of a biography—and this IS a biography of his songs—should at least convey a sense of meaning of the person whose life we are about to unravel. Nice shot, though. 

The book also contains many badly reproduced colour pictures of various individuals, scenes and locations that were important to Rarara. I couldn’t find a single shot of his stage performance, which is what made him prominent in the first place—only his philanthropy, which isn’t what the book is about (that would require a separate volume). The arrangement of the pictures is not particularly impressive. Some have their tops cut off, so you have no idea who was depicted, although a legend is printed across. Others show individuals with wide, gaping mouths, which is certainly inelegant. Curiously, there were no pictures of his very early childhood—just Rarara, looking well-fed and posing with famous people. 

Despite some flaws, and without having read the entire book, I think this is an excellent effort to document one of the most visible vocalists in modern Hausa performing arts. From the looks of it, Dr Darma and his team have done a very good job of cultural curating and documentation. I hope this book will be made available to Hausa cultural depositories such as Wisconsin (US), SOAS (London, UK), Cologne (Germany), and Warsaw (Poland). 

I got mine for free! If you want to own a copy, I was told you can contact the editors of Katsina Times/Katsina City News with any inquiries. 

I leave you with the book’s blurb:. 

“This book tells the remarkable story of Dauda Adamu Kahutu, Rarara, a boy from the village of Kahutu, who rose to become one of the most influential voices in Northern Nigeria. It begins with his birth in 1986, the rituals that welcomed him into family and faith, and the lessons of Qur’anic schooling, farm work, and village ‘waƙa’ that shaped his early years. From there, it follows his journey to Kano, where hardship as an ‘almajiri‘ became a path to discovery and opportunity. 

In Kano, he found his calling in music, first in Kannywood and later in political anthems that carried his name far beyond the city. His songs blended Hausa oral traditions with satire, praise, and bold commentary, capturing the struggles and hopes of ordinary people. Some praised him as a cultural icon; others criticised him as controversial. Yet no one could deny the reach of his voice, from love songs that consoled the heart to campaign songs that swayed elections. 

The chapters move beyond performance to explore the man himself: his family roots, his faith, his philanthropy, and his place in the wider story of Hausa society and Nigerian politics. They show how his work framed leaders and parties in words ordinary people could carry and repeat, why his songs stirred both laughter and debate, and how his voice became a mirror of his times. With more than 200 songs, countless interviews, and community projects that changed lives, Rarara’s story is not only about music but about resilience, influence, and legacy. 

This book captures that story in full: the boy of Kahutu, the singer of politics, the giver to his people, and the man whose words still echo across homes, markets, and campaign grounds.”

By Shamwil Ibrahim (Justice)

Dauda Kahutu Rarara, I have a question for you: after all your years in Kannywood, is Triple R really the best name you could come up with?

Creativity should mean more than having a popular name, a large following, or the ability to attract attention. It should also mean having the imagination to create something distinctive, something people can associate with your vision without immediately conjuring an established historical legacy.

The name Triple R Kannywood for Renewed Hope Initiative merits more than a passing glance. For anyone familiar with Nigeria’s history, the name immediately evokes the Three Rs introduced under General Yakubu Gowon’s government after the Nigerian Civil War: Reconciliation, Rehabilitation and Reconstruction.

Rarara, did no one on your team pause to consider the historical association before settling on this name? Was there no alternative that could give the initiative a more distinctive identity? Or has the standard for creativity in our entertainment industry fallen so low that a name only needs to sound appealing to be accepted?

That is what troubles me.

Kannywood is built on storytelling, music, imagination and expression. Its artists understand the power of words and the importance of creating work that captures people’s attention. Yet the name of this association has left the public asking why a concept so closely associated with an important chapter in Nigeria’s history has resurfaced in this form.

If you want people to take your initiative seriously, give them a reason to see it as something genuinely distinctive. Do not expect applause simply because your name is attached to it.

You have spent years building your reputation, Rarara. One would expect that experience to be reflected in the ideas associated with your name. Instead, the choice of Triple R raises an obvious question: why this name, when so many possibilities are available?

I am not claiming that the resemblance proves deliberate copying. I am questioning why a public figure with your experience would choose a name that immediately invites comparison with an established historical policy. That is a legitimate question, and it deserves a serious answer.

Unfortunately, public discussions in Nigeria sometimes confuse criticism with hatred. When a popular figure is questioned, some supporters rush to defend them without addressing the issue itself. That attitude does little to encourage accountability or improve the quality of ideas in our creative industry.

Popularity is not a substitute for originality. Influence is not proof of creativity. And fame should never put anyone beyond public scrutiny.

Kannywood needs people who can think beyond the familiar. It needs fresh identities, bold ideas, and individuals who understand that influence comes with responsibility. We should challenge our creative people to raise their standards rather than lower our expectations because they have become popular.

So, Rarara, what informed this choice? Was the historical connection considered? What makes Triple R the right identity for your association? And what distinguishes it from the concept Nigerians have known for decades?

These are fair questions. You may disagree with my criticism, but that does not make the questions themselves unreasonable.

My concern is not that you have established an association. My concern is that an opportunity to demonstrate originality has produced a name that invites an immediate comparison with history.

If we cannot question the choices of influential figures in our entertainment industry, then what exactly are we allowed to question?

Kannywood deserves creativity. The public deserves explanations. And those who occupy influential positions should be prepared to defend their decisions.

TRIPLE R. WHY THIS NAME? WHY NOT SOMETHING DISTINCTIVELY YOUR OWN?

Shamwil Ibrahim (Justice) can be reached via Ibrahimshamawilu@gmail.com.

By Khalid Imam

On Tuesday, 2nd September 2026, Triple R Kannywood Renewed Hope, led by Alhaji Dauda Adamu Abdullahi Kahutu Rarara, organised a grand Maulidin Nabiyi (SAW) at the Aminu Dantata Trade Fair Complex, Kano.

The event was chaired by Alhaji Aminu Alfandaj, Head of the LOC, and commenced with a recitation of the Glorious Qur’an, followed by a welcome address by Tijjani Asase, the PRO of Triple R Kannywood Renewed Hope.

The gathering featured inspiring religious lectures, devotional songs and poetic praises celebrating the noble life, virtues and exemplary character of the Prophet Muhammad (SAW).

The atmosphere was set by a fascinating and thrilling succession of cantatas, devotional songs and poetic praises celebrating the extraordinary and stellar personality of the Noble Prophet Muhammad (SAW). The performances, delivered by some of the finest Islamic song-artists, beautifully captured their profound love, reverence and admiration for the Messenger of Allah (SAW).

Malam Nafi’u Adam Sha’iri set the floor ablaze at exactly 11:58 a.m., opening what became a deeply moving and spiritually uplifting session of devotional songs. He was followed by Sayyada Faiza Amatullah, Sayyadi Sojan Ma’aiki, Sayyadi Malam Kabiru Kiya Ambato, Malam Mustapha Zakariya and Malam Ahmad Gwangwazo, among many others.

The likes of popular composers of Soul-Stirring Cantata in Praise of the Prophet (SAW), led by Sheikh Hafiz Abdalla and Malam Bashir Ɗandago, added their melodious voices with heartfelt verses and evocative performances; the artists celebrated the noble character, unparalleled virtues, mercy, compassion and exemplary life of the Prophet Muhammad (SAW). Their renditions created a unique atmosphere of spiritual reflection and renewed love for the Messenger of Allah (SAW).

At exactly 12:27 p.m., Malam Bazallahi Sheikh Nasiru Kabara was invited to speak on Mu’amalatu Maʿaiki wa Ṣaḥabatihi—the uncommon relationship and interactions of the Noble Prophet Muhammad (SAW) with his reverential Companions. 

He described the bond between the Noble Prophet (SAW) and his Companions as one founded upon profound love, mutual respect, sacrifice, and unwavering devotion. Their relationship was not merely that of a leader and his followers; it was a remarkable bond built on faith, loyalty, compassion, trust and a shared commitment to the cause of Islam.

He also stressed that the Companions loved the Prophet (SAW) deeply, honoured his guidance, stood by him through hardship and were prepared to make tremendous sacrifices for the sake of Allah and His Messenger, citing the Battle of Uhud as one of the true tests of sacrifice that the Prophet and the Sahaba went through together. In turn, the Prophet (SAW) treated them with exceptional kindness, dignity, compassion and understanding, nurturing them into a community bound together by faith and brotherhood.

He further highlighted that the Prophet’s interactions with them therefore provided a timeless model of leadership characterised by compassion, dignified fellowship, and loyalty founded on faith. The relationship between the Prophet (SAW) and his Companions remains an enduring example of how love, respect, sacrifice and devotion can transform individuals into a united and purposeful community.

As the special Maulidin Nabiyyi session drew to a delightful close in the evening hours, several scholars took to the podium to deliver educational admonishments to members of Triple R Kannywood Renewed Hope and dozens of enthusiastic guests in attendance, urging them to emulate the noble character of the Prophet Muhammad, peace be upon him, and to use their influence in Kannywood to promote unity, discipline, and moral values in society, while prayers and commendations marked the end of the spiritually uplifting gathering.

By Muhammad Abubakar

Since I came to France for work, I have been extremely cautious about criticising Israel or Benjamin Netanyahu. Often, though wrongly, people conflate criticism of an entity or a person with criticism of an idea or of an entire ethnic or religious group.

Soon after Hamas’s attack on Israel on October 7, I felt driven to write about the unresolved conflict. It was difficult to ignore the subject. Yet I was also concerned that expressing my views might affect my employment or even my residency status in France. To be certain, I reached out to our Human Resources department for guidance.

We essentially agreed on an important distinction. Israel and Benjamin Netanyahu are not the same as the Jewish people or Judaism. One can criticise the policies of the Israeli government or the actions of its prime minister without expressing hostility towards Jews or the Jewish faith. The same principle applies elsewhere. A person may criticise Saudi Arabia or Crown Prince Mohammed bin Salman without being an Islamophobe or an enemy of Islam.

This distinction is fundamental in any society that values free expression and intellectual honesty. Democracies depend on the ability of citizens to question governments, leaders and public figures. If every criticism of a political leader is interpreted as an attack on an entire religion or ethnic group, meaningful public debate becomes impossible.

I was reminded of this principle after listening to new songs released yesterday by the Nigerian political singer, Dauda Kahutu, popularly known as Rarara. The songs appear to criticise an opposition politician in Gombe State, Sheikh Ali Isa Ibrahim Pantami, who is also a respected Islamic scholar.

Unfortunately, I have seen some people make the same mistake that often appears in discussions about international politics. They have framed criticism of Pantami as though it were criticism of Islam itself.

Pantami does not represent Islam. He is a Muslim and an influential public figure, but he remains an individual whose political choices, public statements and actions are open to public scrutiny, just like those of any other politician. Defending him is entirely legitimate, but such a defence should be based on facts, evidence and reason rather than on the assumption that any criticism directed at him is an attack on the religion he professes.

By any definition, both the singer and the governorship candidate he appears to criticise in his songs are Muslims. Neither of them represents Islam. Their political disagreements should therefore remain political disagreements. Turning them into religious disputes serves neither truth nor the public interest.

This tendency to wrap political figures in the cloak of religion is dangerous. It discourages accountability and deepens unnecessary divisions within society. Once religion becomes a shield against legitimate criticism, it becomes difficult to separate public responsibility from personal belief.

Nigeria’s diversity demands greater care in the language we use. Political competition should not be transformed into religious confrontation. Citizens should be able to disagree with politicians, governors, ministers or scholars without being accused of attacking an entire faith.

The lesson is simple. We must distinguish between people and the principles they claim to represent, between governments and the nations they govern, and between political leaders and the religions they practise. Failing to make these distinctions only fuels misunderstanding and polarisation.

Criticise ideas. Debate policies. Defend people if you wish. But let us avoid presenting political disagreements as battles for religion. In the long run, both politics and religion are better served when we keep that distinction clear.

By Ibrahim Aliyu Gurin 

In Northern Nigeria’s political battlegrounds, the loudest attacks don’t always come from campaign podiums. Long before Facebook, TikTok and WhatsApp turned everyone into a publisher, Hausaland already had its own version of political messaging.

The maroƙi (praise-singer) was more than a singer. He was a storyteller, historian and public commentator. When a leader did well, he sang yabo, verses filled with praise and the same performer could just as easily turn that skill toward humiliation by mocking a rival’s failures, appearance, or character in verses crafted to stick in public memory, which is referred to as zambo. 

Zambo is a sharp, witty poetry designed to mock, embarrass or expose. It wasn’t always pleasant, but it was part of the culture; the difference today is that zambo has become a political business.

Instead of entertaining a local crowd, one song can now reach millions of people before sunset. A chorus recorded in Kano can be playing in Kaduna, Sokoto, Abuja and even among Hausa communities abroad within hours.

No one illustrates this better than Dauda Kahutu Rarara. Over the years, he has released songs like Hannun Karɓa, Masu Gudu Su Gudu, Baba Buhari Dodar, Jagaba Shi Ne Gaba and recently Malam Ya Yi Rawa. To his supporters, these are campaign anthems. To his critics, they are political attacks wrapped in catchy melodies. Whatever side you take, one thing is difficult to deny: people remember the songs long after they have forgotten the campaign speeches, and this alone says something about the power of music.

What makes today’s political songs different from the poetry of men like Sa’adu Zungur, Mudi Sipikin or Garba Affa is intention. Earlier political poetry was designed to awaken society, challenge injustice and educate the people. Much of today’s political music is driven by patronage. A politician hires a musician, the musician praises one side, ridicules the other, and the song becomes another campaign strategy.

Perhaps that is why political music now feels less like public service and more like political advertising. There is nothing wrong with musicians supporting politicians. Every artist has the right to hold political views. The concern begins when entertainment replaces truth, becomes more influential than verified facts, and insults travel farther than ideas.

Maybe the bigger question is not why politicians pay musicians. Maybe it is why we, the listeners, remember the insults more easily than the policies.

As another election season approaches, perhaps the challenge is to enjoy the music without allowing the chorus to become our ballot paper. After all, a hit song lasts only a few minutes, but the consequences of the leaders we choose can last for years.

Ibrahim Aliyu Gurin is a graduate of mass communication from Bayero University, Kano, and can be reached at ibrahimaliyu5023@gmail.com.

By Prince Daniel Aboki

Every Nigerian has the constitutional right to support any political party or candidate of their choice. That right is guaranteed by the Constitution and should always be respected.

However, an industry cannot thrive when, every election cycle, a few individuals position themselves as speaking on behalf of everyone, mobilising groups to endorse politicians and, in the process, reducing the industry’s engagement with government to the pursuit of personal benefits.

When this becomes the dominant culture, the industry risks not being taken seriously. Government and development partners are beginning to see the industry not as a strategic economic sector but as a collection of individuals seeking patronage every four years. More often than not, the distribution of cash gifts, vehicles, and other favours also creates avoidable divisions within the industry, as practitioners become aligned with competing political interests. Instead of fostering unity around the collective growth of Kannywood, election seasons too often leave the industry fragmented long after the campaigns have ended.

Politicians understand the influence that Kannywood celebrities command, particularly in Kano and across Northern Nigeria. They know these personalities can shape public opinion, mobilise supporters, and amplify campaign messages during elections. That influence is valuable, but it should be used as a bargaining tool to secure lasting benefits for the entire industry—not for personal aggrandisement. Our collective influence should translate into meaningful negotiations for better policies, sustainable funding, stronger institutions, improved infrastructure, and greater opportunities for everyone in Kannywood, rather than short-term personal gains for a few individuals.

Kannywood is far bigger than election campaigns. It is one of Northern Nigeria’s greatest cultural and economic assets. It has the capacity to create thousands of jobs, preserve and promote our culture, strengthen social values, attract tourism, earn foreign exchange, stimulate investment, and project Northern Nigeria to the world.

What makes this even more compelling is that Kannywood has already demonstrated its commercial strength. Some of its producers operate some of the biggest and most successful YouTube channels in Nigeria, attracting millions of views and building significant audiences worldwide. That success should not remain the achievement of a few individuals. It should be consolidated into an industry-wide strategy that creates opportunities for younger filmmakers, actors, writers, directors, editors, cinematographers, musicians, and other creative professionals.

This is the conversation we should be having with those in office and those seeking public office.

Rather than seeking cash gifts, vehicles, or personal favours, we should be demanding policies that strengthen the entire industry: film villages, production funds, affordable financing, stronger copyright protection, modern cinema infrastructure, professional training, international partnerships, tax incentives, and support for participation in global film markets and festivals. That is how enduring creative industries are built.

Over the years, Nollywood has increasingly engaged government and development partners on issues that strengthen the industry’s ecosystem. The conversation has largely centred on policy, investment, institutional support, skills development, financing, and international collaboration. Individual practitioners may support political candidates—as they are entitled to—but the industry’s long-term development has remained a central focus.

This does not mean Nollywood is a perfect congregation. There have also been individuals within Nollywood who have pursued personal interests above the collective interest of the industry. However, when the two industries are compared, Nollywood has, on balance, positioned itself more effectively as a strategic partner in industry development, policy engagement, and institutional growth. Kannywood can do the same.

We must stop approaching politicians with a cap in hand every election season. An industry with this much talent, influence, and economic potential should not present itself as a sector waiting for handouts. It should present itself as a partner in development—one capable of creating jobs, generating revenue, attracting investment, promoting tourism, preserving culture, and contributing meaningfully to the economy of Northern Nigeria.

Politicians will respect Kannywood when Kannywood first respects its own value. This is not a criticism of anyone’s constitutional right to participate in politics or support a candidate. Rather, it is a call for Kannywood to recognise its collective economic power and organise itself as an industry worthy of sustained investment, strategic partnerships, and long-term development.

The question should no longer be, “Who is giving us what?” The question should be, “What policies, investments, and partnerships will transform Kannywood into one of Africa’s most competitive creative industries?”

The future of Kannywood will not be determined by what a handful of individuals receive during an election season. It will be determined by what the entire industry builds together for generations to come.

The choice before us is simple: we can continue chasing political patronage every four years, or we can build an industry that creates wealth, creates jobs, attracts investment, shapes culture, and becomes impossible for governments and the rest of the world to ignore.

Prince Daniel is “A Concerned Citizen” and a filmmaker. He can be reached via blackvillemedia@gmail.com.

By Khalid Imam 

The Triple R Kannywood Renewed Hope Initiative, the highest body of elite Kannywood actors and other influential Arewa creatives, led by Alhaji Dauda Adamu Abdullahi Kahutu Rarara, organised a special prayer session to pray for peace, unity, and security in Nigeria on 22nd June 2026 at the Aminu Dantata Trade Fair Complex in Kano City.

Conceived by a high-powered 5-Man Committee of Special Prayer chaired by Nura Hussaini, a famous Hausa film actor, the session drew a massive turnout of notable Hausa film actors, directors, singers, scriptwriters, authors, and other creatives in the arts industry. TikTok influencers and dozens of group members were also in attendance, and all were united by their concern over Nigeria’s security situation.

The special prayers attracted enthusiastic attendees from the film and arts industry in Kano, Kaduna, Gombe, Niger, Sokoto, Borno, and other Northern regions. Starting around 11 am, members recited the Holy Qur’an. A big cow and a large ram were slaughtered, and the meat was shared among the public. The act sought Allah’s intervention for lasting peace and security, especially in troubled areas. 

Prayers were also faithfully offered for Almighty Allah to completely crush all those directly or indirectly profiting from the killing of innocent lives, especially bandits and other troublemakers. Members also prayed, asking God to bring a permanent end to terrorism, armed robbery, kidnapping, and every form of insecurity plaguing Nigeria, particularly the North.

To ensure a well-coordinated and sustained approach, the initiative is committed to establishing the said powerful standing committee under the chairmanship of Nura Hussaini, with Sharu Nagudu serving as Vice Chairman. All members of the Triple R Kannywood for Renewed Hope Initiative are automatic and committed members, working collectively to hold continuous prayers for peace, unity, security, and Nigeria’s overall development.

At the heart of the prayers was a collective plea for Allah’s immediate intervention in ending the violence still disrupting communities across Nigeria. The group also prayed for lasting peace, security, and stability across Nigeria, for unity, love, and mutual understanding among all citizens, and for wisdom and sound guidance for the country’s political leadership at the national and state levels as they strive harder to steer the nation toward achieving peace and socioeconomic transformation.

Speaking to journalists at the venue of the special prayers and sacrifices, Rarara, a preeminent Hausa song artist and leader of the converged creative minds under the Triple R Kannywood Renewed Hope Initiative, said, “The initiative recognises the daunting challenges security agents face daily in tackling insecurity across the country. This prayer session was organised to complement their efforts by seeking Allah’s intervention and urging the general public to join in praying for the success of the government and security personnel in combating this persistent menace.”

Khalid Imam, a multiple award-winning bilingual author based in Kano, attended the special prayer session and crafted this report.

By Bilyamin Abdulmumin, PhD

No one takes up the title of Dr for head like the famous praise singer Dauda Kahutu Rarara. His predicament began when a university under the aegis of the European-American University conferred on him an honorary doctorate. When the university was later discovered to be a mushroom, given how he had initially taken the title with glamour and pageantry, Rarara received ridicule for his life. 

Perhaps Rarara’s fanfare and grandeur in celebrating the honour stem from mockery over his lack of formal education; as a result, mockers say he doesn’t understand English. Rarara, floating the Dr title would have been a slap to the face of these mockers.

The award of an honorary doctorate was initially given to figures who excel in their field of endeavour and thus render landmark service to their community.  For example, honorary doctorates for Mamman Shata, Ibrahim Babangida, and Aliko Dangote. However, some universities are now believed to resort to awarding the honorary title quid pro quo. Therefore, the recent Federal government order to bar the indiscriminate use of the Dr title is seen as long overdue. 

A doctor is simply referring to someone qualified to teach at the highest level. But a blurred line existed between doctors of medicine and a doctor of philosophy.  Because when “doctor” is mentioned, given our culture of genericising brand names, we subconsciously think of medicine. This is why every toothpaste is a Close-Up, every milk is a Peak, chocolate Milo, seasoning cubes Maggi, instant noodles Indomie, washing detergent Omo or Clean, bleach Hypo, and every antiseptic liquid Dettol. Therefore, after the federal government succeeded to stop abusing Dr title, they had many more disputes to settle. Including clearing this genericization ambiguity. 

Another order that Professor Suwaiba Ahmad has to issue concerns herbal practitioners. The herbalists called themselves doctors, and society also addressed them as such. As traditionalists, perhaps the federal government should order them to stick with the traditional names they are known by:  Mallam (Hausa), Oníṣègùn (Yoruba), Ọnyọ́gwọ́ (Igbo), Oma-oyi (Idoma), Vingir (Tiv), Oboh (Igala), Amawato (Ijaw), Malam (Hausa & Kanuri), and Gandoowo (Fulfulde).

There is also abuse of the title Dr. among Nigerian students. A year-one medical student or a PhD calls themselves a doctor. When do these under-breastfeeding qualify to train others?  The minister needs to issue a warning order.

The most hilarious part is when remedial or matric students are addressed as doctors. Students in this category who intend to study MBBS address themselves as “Dr.” As a matter of urgency, the Honourable Minister should issue a stern warning against this misuse of the professional title “Doctor.”

Titles are held with high regard in Africa. It appears that the longer the titles, the more important the person. In this regard, the former presidents of Gambia and Uganda stand out. Yahya Jameh is addressed as Sheikh Professor Alhaji Dr Yahya Jammeh, Babili Mansa (Conqueror of Rivers” in Mandinka), His Excellency, Master of the River Gambia, Lord of the Animals and Birds of the River Gambia, President of the Republic of the Gambia, Commander-in-Chief of the Armed Forces. 

Idi Amin’s title is much more glamorous: His Excellency, President for Life, Field Marshal Al Hadji Doctor Idi Amin Dada, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Seas and Conqueror of the British Empire in Africa in General and Uganda in Particular. 

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 Abdullahi Mukhtar Algasgaini

In a significant gesture of goodwill, the European-American University (EAU) has formally extended an offer to award genuine honorary degrees to Nigerian celebrities, including popular Hausa singer Dauda Kahutu Rarara, who were recently victimised by fraudsters.

This development follows a widely publicised incident in Abuja, where impostors falsely claiming to represent the university organised a sham ceremony and presented fake honorary degrees.

In an official statement, the university confirmed it has reported the fraudulent event to the Nigerian Police for investigation. The EAU stated it believes the recipients, who also include Alhaji Ahmed Saleh jnr, Mustapha Abdullahi Bujawa, and Tarela Boroh, were “innocent victims” who acted in good faith.

The university has now invited the individuals to contact its Nigerian representative, Professor Luke Okojie, to begin a proper validation process. Subject to their consent and a review of their credentials by the university’s Honorary Degrees Committee, they will be awarded legitimate degrees at the EAU’s official Nigerian convocation this November.

The university explicitly stated that no fees will be required throughout the process, a point emphasised to distance its legitimate operations from the actions of the scammers.