Hausa

By Sabiu Abdullahi

There is growing discontent among Hausa speakers and language professionals over what many describe as careless and culturally insensitive translations in advertisements and public communications by major Nigerian companies.

This concern resurfaced recently when Hygeia HMO, a prominent health maintenance organization, launched a campaign in Northern Nigeria using the slogan “Lafiya Ubangiji ne.”

While it may have sounded spiritual to non-native ears, it struck many Hausa speakers as bordering on blasphemy.

“The intended meaning was likely, ‘Health comes from God,’ but what people heard was ‘Health is God,’” said Habib Sani Galadima, a professional Hausa-English translator. “It wasn’t just a translation error. It was a failure to respect cultural and religious sensitivities.”

In an opinion piece published by Nigerian Tracker, Galadima criticized the use of literal translation in a language where tone, logic, and spiritual coherence matter deeply.

He pointed out that the message would have been better rendered with a familiar Hausa expression such as “Lafiya uwar jiki”, which loosely means “health is wealth.”

“Too often, translation is treated as a technical afterthought,” Galadima added. “But when it’s done carelessly, the damage is real—especially in communities where moral and religious values are central.”

The outrage is not limited to a single campaign. Another incident involved a drink advertisement that attempted to promote a non-alcoholic beverage using the phrase “Ba barasa a cikin wannan giya”, which literally means “No alcohol in this beer.”

But in Hausa, both barasa and giya mean alcohol—making the phrase sound absurd.

A better alternative, Galadima suggested, would have been “Abin sha mai daɗi kuma babu giya a cikinsa”—a clearer and culturally appropriate way to convey the same message.

Frustration is also mounting on social media, where many Hausa speakers are voicing concerns over perceived regional bias and neglect.

“How is it that companies based in Lagos are approving translations for audiences in Kano?” one user asked. “You call MTN customer care or your bank, and you’re shocked by how bad the Hausa sounds.”

Others argue that the issue goes beyond language—it’s about representation and systemic imbalance.

“Most company headquarters are in the South, and they prefer to use their own people—even when the result is subpar,” said one commentator. “Even when northern celebrities are made ambassadors, their packages don’t compare to those given to their southern counterparts.”

Some have pointed to the broader cultural implications, suggesting that the North must do more to support its own.

“We don’t promote our own talent enough, and we’re not intentional about protecting our language,” one respondent lamented.

This issue is not new in the tech and linguistic communities either. A PhD who is a Hausa NLP expert, shared how during his early involvement with Masakhane, an African language machine translation initiative, Yoruba speakers were initially translating Hausa using tools like Google Translate.

“I had to push back and reclaim that space for actual Hausa speakers,” he said.

The recurring problem, many argue, is the lack of qualified translators with a deep understanding of Hausa culture, values, and dialectal variations.

In Hausa, words are not just linguistic units—they carry rhythm, reverence, status, and deep social cues.

Professional translators and language advocates are now calling for a national conversation and policy shift.“What would change if we trained translators not just in grammar, but in cultural listening?”

Galadima asked in his piece. “This work requires more than accuracy. It requires care.”

As Hausa remains one of the most widely spoken languages in Africa, the stakes are high.

Without proper translation, messages meant to connect may instead offend, confuse, or alienate the very people they are trying to reach.

For now, voices from the North are growing louder: “This is more than bad grammar—it’s about respect.”

By Sabiu Abdullahi

Prominent author and social media commentator Reno Omokri has strongly defended the Hausa people and their culture after a Facebook user made what many saw as a derogatory comment about the ethnic group.

The controversy began when Omokri shared a celebratory post about his daughter, Oritsetsolayemi.

In response, a Facebook user, Arc Eze Chukwukere Atuegbu, sarcastically wrote: “Na Hausa APC ward chairman go marry this ur daughter. Congratulations sir.”

The comment, perceived by many as an ethnic jibe, drew a direct response from Omokri. In a follow-up post, Omokri expressed disappointment that being Hausa was implied to be an insult.

He described the ethnic slur as ignorant and unjustified.

“I don’t know why you think being Hausa is a derogatory thing. If my daughter marries a Hausa man, I would have no issues as long as it was a love match,” Omokri wrote.

Going further, he praised the cultural and intellectual legacy of the Hausa people, stating they had been writing in Ajami (Arabic script) for over 800 years, long before colonialism.

He contrasted this with what he described as the historical nakedness and lack of formal civilisation among many Southern Nigerian communities before Christian missionaries arrived.

Most notably, Omokri made a bold linguistic claim that has since gone viral:“There is no language in Southern Nigeria whose lexicon is wider than Hausa. None. Absolutely none!”

Language experts have weighed in on the statement, noting that Hausa is not only one of the most spoken languages in Nigeria but also across West Africa.

It is used as a lingua franca across borders, has a deep literary tradition in both Arabic and Latin scripts, and contains thousands of native and borrowed words that have influenced other Nigerian languages.

Omokri’s response has received widespread support and has reignited national discussions about ethnic tolerance, cultural pride, and the historical contributions of northern Nigeria to the broader Nigerian identity.

By Aisha Musa Auyo

Let me start with this adage: being predictable is boring. The only way to keep attracting your man is by constantly exciting him.

A woman’s unpredictability and mystery can add excitement and intrigue to a relationship, keeping things fresh and engaging. This sense of mystery fosters curiosity and a desire to continually learn more about her, which can help prevent complacency. By maintaining an air of unpredictability, a woman can inspire her partner to stay attentive and actively invested, enhancing emotional and romantic connections.

A classy woman in a relationship exudes respect, grace, and self-confidence. She values herself and her partner, communicates maturely, and maintains her dignity even in challenging situations. Her elegance comes through her kindness, understanding, and ability to express love while setting healthy boundaries. This balance makes her an inspiring and cherished partner.

There are many ways to display charm and sophistication in everyday life.

When it comes to names, choosing affectionate ones for your spouse can depend on the mood, occasion, and shared history. Some days, you can be casual and warm, like “My love,” “Sweetheart,” or “Habibi.” At other times, use respectful titles like “Sir,” “Ranka ya dade,” “Alangubro,” or “Yallabai.”

Use playful nicknames on fun and flirty days (I won’t drop examples here, yauwa). During special moments, use affirming and supportive names like “My Hero” or “My Rock.”

In terms of dressing, if you’re always wearing native wear, surprise him with bum shorts and a spaghetti top. Or try a clingy evening gown or a see-through nightie. Let him know you possess what those Ashawos flaunt, except yours is reserved for his eyes alone.

When styling clothes, try different outfits that give you a new look and poise. We love comfort, but we can still make comfort look sexy and appealing.

Before experimenting with style, know your body type. Know what flatters your figure and what doesn’t. You can’t wear a fitted gown with a big tummy or bum shorts with bow legs. If you’re Qashi da Rai, avoid bubu—it may make you look like Muciya da Zani at home. Yauwa! This isn’t body shaming—it’s being real.

On perfume: know that perfume is the silent language of emotions. A single scent can lift a mood, stir memories, and instantly transform feelings. Use perfume to your advantage at home. It’s a soft weapon of attraction.

Learn to use scents to evoke peace, desire, and comfort. Use different perfumes for the day, night, special occasions, or even just to create a relaxing atmosphere. If you stick to one scent, he might get used to it, and it may lose its effect. Find out which scents he likes and rotate them. Explore English and Arab perfumes, humra, oils, kulaccam, incense, body mist, body milk, body sprays, bath mists—you name it. And remember: your house should smell pleasant too. Don’t smell like a flower while the house smells like Daddawa! Set the tone with your space, then yourself.

Nana Aisha (RA) said:

“I used to perfume the Prophet (peace be upon him) with the best perfume I could find until I saw the shine of the perfume on his head and beard.” (Sahih al-Bukhari, Hadith 5923)

When it comes to homemaking, we must constantly evolve. If you can’t change furniture often, update your space with small touches: new decor, decluttering, rearranging, or freshening up your environment. Minimal furnishing in small spaces often gives the cleanest look. Keep the house neat and germ-free. Fumigate regularly, burn incense, and use home mists, fresheners, and mopping sprays.

On behaviour—this is tricky, because we can’t be who we are not, but we can improve. If you’re naturally moody, try being more cheerful around your man. A cheerful wife is a huge turn-on. Be the woman he rushes home to. This way, he’ll notice quickly when something is off.

Avoid nagging. Often, a gentle reminder or silence works better than complaints. Be calm when he expects arguments, and then ‘show him shege’ when he least expects it—that’s the art of being unpredictable with a touch of sophistication. But this only works if your man is mature and understanding.

If you have the freedom and mutual understanding in your relationship, playfully surprise him by pretending to be away—perhaps plan a two-day trip, but return after just one. Welcome him with a good meal, a new nightie, and a memorable evening. Or, if he’s open to it, surprise him at work or send a special lunch to brighten his day.

If you always cook continental dishes, try traditional meals sometimes. If you usually serve food plainly, try plating and garnishing. Serve kunun tsamiya instead of a smoothie, or fresh juice instead of fruit salad. Don’t be the woman who only cooks shinkafa da miya and tuwo. Learn, upgrade, and initiate.

For hairstyles, try different braids or updos—ponytails, doughnuts, Kitson GABA, all-back, Calabar styles, etc.- but choose based on your hair type. Don’t insist on a style that doesn’t suit your hair. Most importantly, keep your hair clean and fragrant.

In Oza’s other room, learn to initiate intimacy. Don’t be the boring wife who waits for her husband to make the first move. A wife initiating intimacy strengthens emotional and physical bonds, makes her husband feel desired and valued, and breaks the assumption that one partner must always lead intimacy. It deepens connection, enhances communication, and fosters a more fulfilling relationship.

Also, explore different styles to keep things exciting and mutually satisfying.

If you’re used to black henna, try red or maroon. If you always wear ‘daurin ture ka ga tsiya, switch to turbans or different gele styles.

Sometimes, soften your voice—lower your tone and speak gently when needed. I heard there’s a tone called bedroom voice, right?

If you’re usually strong and independent, try being soft and playful sometimes.

If you’re always asking for money, ease up on small requests, especially when he’s managing big expenses. Surprise him instead with a perfume, shoes, a book, attire, pyjamas, a watch, or a ring. You shouldn’t always be the one expecting gifts. That’s why we say ‘ki nemi kudi, Lantana’.

And to you, Dan Lami or Man Sagir, know that all this charm, sophistication, versatility, and surprise can’t happen if you are too strict, stingy, or overbearing. You must be friendly and generous with your words, smiles, time, emotions, and yes, your wallet. Yauwa.

Lemme stop here….

Aisha Musa Auyo is a doctoral researcher in Educational Psychology. A wife, a mother, a homemaker, a caterer, a parenting, and relationship coach. She can be reached via aishamuauyo@live.co.uk.

By Abbas Datti

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

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

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

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

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

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

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

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

By Hadiza Abdulkadir

Nigerian scholar Professor Abdalla Uba Adamu has officially announced the publication of his new book, Hausa Cinema of Northern Nigeria: Cultural Imperialism and Censorship, a landmark work that explores the development, politics, and aesthetics of Hausa-language film across West Africa.

Published by Bloomsbury, the book is the product of over twenty years of research spanning multiple countries and academic disciplines. Rather than focusing solely on the popular commercial industry known as “Kannywood,” Adamu takes a broader approach, examining Hausa cinema in its many forms—including diaspora productions, documentaries, art films, and digital series.

“This is not just about Kannywood,” Adamu explained. “It’s about Hausa cultural expression wherever it exists, rooted in Islamicate values and media flows across the Global South.”

Completed in 2010, the manuscript faced delays and was almost shelved. However, a 2023 conference presentation and a meal hosted by Dr. Muhsin Ibrahim, where Adamu jokingly called the large waina “one terabyte,” in Cologne, Germany, reignited interest, leading to its acceptance and revision. 

The final version, praised by scholars such as Graham Furniss and Brian Larkin, will be released in July 2025.

Though priced at $130, Adamu plans to publish a locally accessible companion book titled Kannywood: A Brief Introduction later this year in Kano. It will be tailored for readers interested in a concise, less theoretical overview.

With this announcement, Hausa cinema gains its most comprehensive and scholarly treatment, firmly placing it in the global conversation about media and culture.

By Uzair Adam

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Ahmed Abdulƙadir

Recently, I came across an announcement by Deutsche Welle (DW) Hausa Radio that it will cease transmitting its Hausa Programs on the Shortwave (SW) frequency channel. Instead, it will continue broadcasting through its partners on FM Radio throughout West Africa and through its various platforms on social media.

This decision brought to mind the gradual but noticeable paradigm shift by traditional media toward the use of social media in its operations.

Social media has significantly impacted the practice of traditional media in several ways. One major change is the shift in content distribution. Traditional media outlets, such as DW, are adapting to this shift by utilizing social media platforms to reach a broader audience. For instance, DW’s decision demonstrates the recognition of the growing influence of social media in reaching its target audience.

Social media also allows for more interactive and immediate engagement with the audience. Traditional media used to have limited interaction with its audience, with communication limited to letters or phone calls. However, social media platforms provide a platform for direct engagement, enabling real-time feedback, comments, and discussions. This creates a more dynamic and engaging relationship between media outlets and their audience.

Additionally, social media has given rise to citizen journalism, in which individuals can share news and information in real time. This has challenged the monopoly of traditional media in reporting news events. With the widespread use of smartphones and social media platforms, anyone can become a content creator and share their perspectives, breaking news, and images. This has forced traditional media outlets to compete with citizen journalists and adapt their reporting practices.

Furthermore, social media has transformed the way news is consumed. With the rise of social media algorithms, individuals have more control over the content they consume. They can choose to follow specific news sources, topics, or individuals, creating personalized newsfeeds. This has led to a fragmentation of news consumption, where individuals are exposed to diverse perspectives and sources of information, rather than relying solely on traditional media outlets.

Aside from DW, there are several examples of traditional media outlets that have made similar shifts toward utilizing social media platforms. One prominent example is the British Broadcasting Corporation (BBC). The BBC has recognized the importance of social media in reaching and engaging with its audience. It has established a strong presence on platforms like Facebook, Twitter, Instagram, and YouTube, where it shares news updates, videos, and engages with its viewers through comments and discussions. The BBC has also developed specific social media strategies to cater to different demographics and regions, ensuring a wider reach and engagement.

Another example is The New York Times (NYT), one of the leading newspapers in the United States. The NYT has embraced social media as a key component of its digital strategy. It actively shares its news articles, videos, and multimedia content on platforms like Facebook, Twitter, Instagram, and LinkedIn. The NYT has also invested in creating engaging content specifically for social media, such as short videos, infographics, and interactive stories, to cater to the preferences of its social media audience.

Furthermore, Al Jazeera, a global news network based in Qatar, has also recognized the impact of social media on journalism. It has established a strong presence on social media platforms and actively engages with its audience through live streams, interactive discussions, and user-generated content. Al Jazeera also utilizes social media platforms for real-time reporting, breaking news updates, and citizen journalism contributions.

These examples highlight how traditional media outlets such as the BBC, The New York Times, and Al Jazeera have embraced social media as an integral component of their media strategies. They have adapted their content distribution, engagement, and reporting practices to harness the power of social media and reach a broader audience.

But not only is the traditional media making a paradigm shift and embracing the social media in its modus operandi but the profound change is gradually catching up at the individual and personal levels. Starting with my self observation, I’ve come to realize that I’m more inclined towards getting my news content through the social media rather than the usual traditional media.

A further observation reveals that even media owners, especially heads of government in Nigeria, are rapidly losing interest in the coverage of their activities from traditional media in favor of social media. This has resulted in the neglect of their traditional media organizations in favor of a more robust interest in social media.

In summary, social media has changed the practice of traditional media by altering content distribution, enabling direct audience engagement, empowering citizen journalism, and transforming news consumption patterns. Traditional media outlets like DW are adapting to these changes by utilizing social media platforms to reach a wider audience and engage with their viewers and listeners in a more interactive manner.

The rise of social media and its impact on traditional media cannot be denied. It has brought about significant changes in content distribution, audience engagement, and news consumption patterns. Traditional media outlets like DW, BBC, The New York Times, and Al Jazeera have recognized the importance of social media and have adapted their strategies to include these platforms.

However, it is important to note that social media is not completely replacing traditional media. Instead, it is transforming the landscape and forcing traditional media to evolve and adopt new methods of reaching and engaging with their audience. Traditional media still holds a certain level of credibility and trustworthiness that social media platforms may lack. It continues to play a vital role in providing in-depth analysis, investigative journalism, and reliable news sources.

Moreover, while social media allows for immediate and interactive engagement, it also comes with challenges such as the spread of misinformation and the lack of editorial oversight. Traditional media outlets have the responsibility of fact-checking and providing accurate information to counteract these challenges.

In conclusion, social media is undoubtedly reshaping the practice of traditional media, but it is not replacing it entirely. The two can coexist and complement each other in providing diverse perspectives, real-time updates, and engaging content to the audience. It is up to traditional media outlets to adapt and leverage the power of social media to stay relevant in the ever-changing media landscape.

Ahmed Abdulkadir wrote from Katsina via ahmadakadir@yahoo.com.

By Abdurrazak Muktar Makarfi

Have you ever stopped to think about the language you speak and how awesome it is? Well, I’m here to tell you about the Hausa language, and let me tell you, it’s pretty amazing! As someone who speaks Hausa, I’m bursting with pride to share why this language is so special.

Let’s take a little trip back in time to the historical kingdoms of the Hausaland, nestled in what is now called Nigeria and some other neighboring countries. That’s where the Hausa language started to take shape, blending influences from trade, migration, and cultural exchanges over the centuries.

Now, here’s the cool part – Hausa isn’t just a local language. Nope, it’s a global superstar, ranking as the 11th most spoken language in the world! Can you believe it? From Africa and beyond, millions of people speak Hausa, making it a real powerhouse in the linguistic world.

But Hausa isn’t just about saying words; it’s a whole vibe, a cultural identity that connects people across borders. It’s like a treasure chest of traditions, stories and values passed down through generations. The Hausa language is the heartbeat of West Africa, pumping life into its rich cultural tapestry.

Okay, let’s talk on business and politics. Hausa isn’t just chilling in the background; it’s making things to happen. As a lingua franca in West Africa, it’s a language of trade, commerce, and diplomacy, bringing people together and driving progress in the region.

Now, let’s zoom in to education. Imagine learning in a language that’s close to your heart, that speaks to your soul. That’s what Hausa language education does for millions of kids, giving them a solid foundation in learning while celebrating their roots.

Sure, Hausa language faces challenges like any other, but it’s also full of opportunities. We’re talking about initiatives that promote awareness, document our language’s rich history, and bring Hausa into the digital age.

So there you have it – the awesomeness of Hausa language in a nutshell! It’s more than just words; it’s a celebration of culture, a bridge between people, and a source of pride for millions. As a proud Hausa speaker, I’m shouting it from the rooftops – Hausa language rocks!

From the pen of Abdurrazak Muktar Makarfi, a proud Hausa speaker

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

By Sabiu Abdullahi 

Dr. Muhammad Sulaiman Abdullahi, a lecturer in the Department of Nigerian Languages and Linguistics at Bayero University Kano, has arrived in Beijing with his family, his close associate, Dr. Muhsin Ibrahim, posted on his Facebook handle.

Dr. Abdullahi is set to contribute to the global academic landscape by teaching Hausa to Chinese students at Beijing Foreign Language University (BFSU). 

This collaboration marks a unique opportunity for cultural immersion and linguistic exchange between Nigeria and China. 

Dr. Abdullahi’s expertise in Nigerian languages, particularly Hausa, is expected to enrich the linguistic diversity at BFSU, one of China’s premier institutions for language studies. 

The initiative is part of BFSU’s ongoing efforts to broaden its language curriculum, offering students exposure to languages beyond the traditional offerings. 

Dr. Abdullahi’s presence is anticipated to foster a deeper understanding of Nigerian culture and language among Chinese students, promoting cross-cultural dialogue.

As the academic semester commences, Dr. Muhammad Sulaiman Abdullahi is poised to become a cultural ambassador, bridging the gap between Nigeria and China through the universal language of education.