Literature

By Khadijat Abdulrasheed

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

CHARACTERS:

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

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

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

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

SCENE 1: School Corridor (After Break)

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

TOKE

(laughing loudly)

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

ZEE

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

TOKE

(pretending to whisper)

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

AMINA

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

TOKE

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

AMINA

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

ZEE

She get point o.

TOKE

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

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

SCENE 2: Classroom, Next Day

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

TEACHER FATIMA

Good morning, class.

STUDENTS

Good morning, ma.

TEACHER FATIMA

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

(She pauses)

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

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

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

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

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

SCENE 3: Corridor After Class

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

TOKE

Uhm… Amina.

AMINA

(looks up, smiling)

Yes?

TOKE

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

AMINA

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

TOKE

(chuckles)

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

AMINA

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

ZEE

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

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

SCENE 4: Two Weeks Later, School Debate Competition

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

TOKE

(nervously looking at Amina)

I have never joined anything like this before.

AMINA

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

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

TOKE

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

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

That kind of confidence…

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

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

SCENE 5: Corridor, After School

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

ZEE

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

TOKE

(laughs)

But honestly, I feel freer and more comfortable.

AMINA

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

ZEE

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

TOKE

Modesty won because it gave me peace. Not pressure.

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

TEACHER FATIMA

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

(she looks at them all)

May Allah keep your steps firm. Always.

ALL THREE GIRLS

Ameen.

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

✨ THE END

MORAL MESSAGE:

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

By Uzair Adam

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Uzair Adam 

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

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

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

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

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

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

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

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

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

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

By Hadiza Abdulkadir

Nigerian spoken word artist and poet, Maryam Bukar Hassan, has been appointed the first United Nations Global Advocate for Peace, marking a historic milestone for both the artist and the continent.

Known for her evocative poetry and powerful performances, Hassan, often called “Alhanislam” by her fans, has gained international recognition for using her voice to address pressing social issues. Her latest appointment underscores the UN’s commitment to engaging young voices in the global peacebuilding process.

In her new role, Hassan is expected to lead campaigns that inspire dialogue, promote conflict resolution, and amplify youth perspectives on peace. Her message, rooted in empathy and resilience, has resonated with many around the world.

“Peace is not a silence you force into people’s mouths… It is not the absence of war; it is the presence of understanding,” she says in her latest poem — a reflection of the conviction she brings to her advocacy.

With conflict and crisis affecting millions globally, especially young people, Hassan’s appointment comes at a critical time. Her voice offers not just representation, but a rallying call for hope and healing.

By Muhammad Abubakar

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

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

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

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

By Maryam Shehu

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

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

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

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

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

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

A FESTIVAL IS BORN

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

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

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

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

HIGHLIGHTS OF DAY ONE

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

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

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

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

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

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

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

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

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

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

DAY TWO: POWER, PEACE, AND POETRY

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

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

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

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

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

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

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

MORE THAN A FESTIVAL

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

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

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

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

We’re just getting started. The journey continues.

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

By Salim Yunusa 

When we were neck deep into planning for KAPFEST 1.0, we decided that we would definitely have a poetry slam. Having seasoned spoken word poets on the team who had participated, judged, or simply watched one made planning for it easier. Everyone knew what to expect and what structure would work. The poetry slam was not going to be a filler—it was going to be a central experience of the festival.

Then came the aspect of naming it. Without hesitating, I suggested we either name it the Aminu Kano Poetry Slam or the Mudi Sipikin Poetry Slam. Both names carried weight. Both men represented distinct traditions of intellectualism, activism, and the power of the word. At the end, we settled for the Mudi Sipikin Poetry Slam. It felt right. It felt timely. It felt necessary.

When I informed my friend Mukhtar that we decided to name a segment of our program after his dad, he was elated. Genuinely elated. We didn’t do it because we wanted sponsorship from the family or anything like that. We didn’t do it because we were friends with the family members. We did it because of what Mudi Sipikin stood for—creative expression, social commentary, economics, science, thought, and literary legacy.

Salim Yunusa is the founder of Poetic Wednesdays Initiative and curates the Kano International Poetry Festival. He writes from Zaria, Nigeria.

He was one of those voices that had shaped public thought and intellectual culture in Arewa for decades. So came to pass the first edition of the Mudi Sipikin Poetry Slam. Young people from different places participated. They competed. They poured their hearts out. They won cash prizes. And they made history.

Two of Mudi Sipikin’s children—Mukhtar Mudi Sipikin and Sani Misbahu Sipikin—were there physically. Mukhtar, in a touching gesture, gifted the winners beautiful textile materials. The SSA to the President also showed up and made generous cash donations. It was a moment of recognition. It was a moment of continuity. It was a moment of reclaiming history.

Then came ZABAFEST. I was pleasantly surprised when they named their poetry slam after Dr. Abubakar Imam, the famous writer and intellectual who lived in Zaria. His name, for those who know, is one of the pillars of early Northern Nigerian literature. The slam segment was electric and greatly thrilled the audience. Two of Dr. Imam’s children were in attendance, and they expressed their appreciation for the gesture. It was not just about honoring their father—it was about honoring an entire generation of thinkers who laid the foundations for what we now call Northern Nigerian literature.

And then, just yesterday, the Jos Art and Culture Festival announced that there would be a poetry slam and it would be named after Danmaraya Jos. That news made me deeply happy. Danmaraya Jos was not just a musician. He was a griot. A chronicler. A custodian of memory. And seeing young people take the initiative to immortalize his name within a literary event speaks volumes. It is not about nostalgia. It is about remembering rightly. It is about giving names their due.

During the opening ceremony of the maiden Kano International Poetry Festival in 2024, I emphasized the significance of literary festivals, stating: “Can we have enough festivals? I am thrilled that we are having literary festivals spring up in this part of the country, where we have many unsung literary heroes and heroines. You see, festivals are remarkable opportunities to educate, empower, enlighten, and entertain the public. They are a breath of fresh air, where we reignite the fires of our literary passion, cultivate new friendships and rekindle old ones, and above all, engross ourselves in rich conversations about the arts, culture, music, and poetry.”

This is why naming these events after literary icons goes way beyond immortalizing them. It is a way of preserving their contributions to the literary world. It is a method of introducing their names—and possibly their work—to younger audiences who may never encounter them otherwise. When I curated the poetry exhibition on the life of Alu Ɗan Sidi, I realized how much has been forgotten. For many attendees, it was the first time they were hearing that name, let alone engaging with the literary and scholarly contributions of the emir. But what pleased me most was how that exhibition opened a portal of learning. It sparked appreciation. It generated questions. And it even led to plans for follow-up conversations and more literary and cultural exploration on of our rich literary legacy. That is how preservation begins.

We are in a time where the literary contributions of our ancestors are being neglected or sidelined. Curriculums barely reflect their names. Public discourse often forgets them. Archives are dusty. Monuments are few. So it is refreshing—no, it is necessary—to see young people bringing back these names and personalities to life through poetry, exhibitions, festivals, and critical discussions. This is more than memory work. It is cultural survival. It is literary resistance. It is about stitching our present to our past, so that the future does not forget.

Hopefully, this growing momentum will lead to proper archiving of their works. Hopefully, it will inspire scholars to take interest in their contributions. Hopefully, it will lead to deeper appreciation and appropriate honor for their legacies, in Nigeria and beyond.

Because the names live on. Because we must speak them. Because the griots must never be forgotten.

By Sa’adatu Aliyu 

Whenever I think of Nigeria, my mind swiftly veers towards the plot of author Adamu Kyuka Usman’s book “Hope in Anarchy.“ A book that explores the disastrous effects of poverty in Beku City where Ahoka, the main character, finds himself, and how this impoverishment, caused by the enormous economic disparity between the rich and poor, injustice, and political disillusionment, slowly tore into the fabric of society, creating a Republic of criminality and lawlessness, consequently proving that injustice and poverty largely birth insecurity.

Security in a country can’t be underestimated. It is a thread stitching other things together. It is what lets a nation thrive; without it, the potential of a people is diminished, as fear is one of the greatest potential killers. Unfortunately, this menace bedevils our country today, disorganising everything and everyone, causing citizens to lose their lives and means of livelihood. While the state appears to be attempting to tackle this, little success has been recorded, leaving most in utter despair and repeatedly asking: When will this nightmare end?

Similarly, I am writing this piece with the question: When will this mayhem cease? But while also seeking accountability from the government, in addition to challenging them to bring an end to this menace, though I do not want to point accusing fingers at some malicious politician as being in the know of the root cause of this instability or as having direct involvement with the current status quo for one selfish reason or another—primarily to enrich themselves or capitalising on the insecurity to gain political leverage during elections. I firmly believe that we’re not as helpless as we portray.

To quote a PhD student of Political Science, Hamza Aliyu, who is also a political analyst, “Sometimes if there’s a prolonged state of insecurity in a nation, the government is aware of its actors.” Backing former military president Gen. Sani Abacha’s quote, “Any insurgency that lasts more than 24 hours, a government official has a hand in it.” While these claims may be exaggerated, and I do not want to make myself believe such statements, I strongly insist that we cannot continue like this. As such, with the right attitude, there’s a way forward.

And this is why I am calling on President Bola Ahmed Tinubu to put necessary mechanisms in place to fight these insecurities presenting themselves in multiple shades: from ethnic and religious tensions to kidnapping. Doing so will certainly elevate his reputation in the sight of the people; otherwise, the current groaning continues. Moreover, it is wise to do so as a leader who intends to recontest in 2027. If Nigerians were to vote for him, on what basis would that be? The bloodbath, harsh economic policies, or delivering to the people based on the 2023 campaign promises? I think it’s time to look beyond the politics of money (vote buying) because Nigerians are tired of having an endless trail of failed leadership.

Additionally, the Northern part of the country remains the hardest hit, and it is disheartening to see the lack of ingenuity of Northern politicians who care more about sustaining their lavish lifestyles along with those of their families. At the same time, their region is aflame, doing very little to develop the region. I’m using this medium to call on the Arewa Elders’ Forum and Northern politicians and businessmen to put self-interest aside and work tirelessly and collectively towards ensuring regional security. 

And among other things, one of the ways forward is reforming the Almajiranci system of education; Almajiris, being citizens who have become easy targets for electoral violence and other acts of criminality, must be integrated into society and equipped with the necessary basic education and skills to become useful citizens of the country.

Insecurity affects everyone, rich or poor. For this reason, they should invest primarily in securing the region and attract foreign investors, in addition to creating a conducive environment for economic development for hardworking entrepreneurial Nigerians, even if this means devising strategies typically unheard of.  

Difficult situations call for drastic measures. Whether Nigeria has failed as a state and people to secure the nation is not up for debate at this point, but prioritising the security of our people and the way forward is the goal.

If this means seeking foreign intervention from well-equipped and well-trained military mercenaries like the Russian Wagner group to train our security personnel and enhance our security apparatus, I think we should take the plunge. Critics, however, might argue that this move is myopic, as doing so is akin to inviting foreign intervention into the country, which has suffered at the hands of colonialism. 

Moreover, arguments like indulging private mercenaries come at a price, mainly that of exploiting natural resources in exchange for security services. As such, the mercenaries might work against, instead of for, the betterment of the country by worsening the insecurity and prolonging it to continue gaining access to solid or liquid minerals, as seen in CAR, Sudan, Libya, and Mali, where the Russian Wagner group has had some presence. An argument that holds water to an extent, but is essentially not solid in the face of the realities staring Nigeria in the face.

Besides, political meddling by foreign powers, especially the United States and its other Western allies, has been constant in Africa. While ideally, this is a time for the continent to be ridding itself of foreign aid in its multifaceted nature, we have failed to give hope and instil confidence in our people.

As a young military leader, Ibrahim Traore seems to be the only leader currently making waves and admirable political reforms on the continent. However, he might not be the best example to cite for some because his leadership is undemocratic. But who cares about democracy? While the governance system is suited for the West, we Africans must find a system that works to drive significant change and development, fostering capacity building in Africa. It could be a modified form of democracy suited for our place, people, and time – there should be several routes to the market.

Having said that, I am calling on northern politicians to wake up. We do not need more bloodbaths before the fog is parted from our eyes to see the glaring realities of the North. Particularly, the way our elites display wealth, wining and dining in luxury, while their masses are subjected to inhumane conditions at the hands of criminal gangs and biting poverty. The wedding ceremonies of the sons and daughters of elites, intimidatingly littered across social media platforms, with wads of crisp hard currencies on display, sleek exotic cars, and palatial wedding halls, prove our misplaced priorities. We can do better. All that money could go a long way in developing the region, investing it into something that profits the population.

So, I’m calling on the youth of the North as well. The younger generation must try to outdo their fathers, ensuring they work for the good of the nation and not to satisfy their greed. We do not want a country like the Beku City Republic, as rightly portrayed by Adamu Kyuka Usman in “Hope in Anarchy,” where: “The Republican police were sent to arrest armed robbers but did not return. It was later learned they had joined the armed robbers. Eventually, the police and the armed robbers were brought to the judges for trial, but the judges joined them. This is the order of things in our Republic today.” A country “where everyone will prosper by the strength of their arms or perish by the lack of such strength.”

However, while there’s huge dysfunctionality in the nation, I want to convince myself that Nigeria may not be a failed state, despite the anarchy; I’m trying to hold on to hope. But it is undoubtedly unapologetically swaying its shameless hips towards that direction. But we, the masses, cannot afford that. I believe even the rich do not want to wake up to the realities of a nation where deep resentment, as a result of poverty, drives an unquenchable thirst for the blood of the rich.

If President Nayib Bukele of El Salvador can round up notorious criminal gangs, we can restore Nigeria’s peace and security. Therefore, in this spirit, I am calling on Northern youth, Nigerian youth – rich and poor – the nation’s development is in your hands. Rise.

Sa’adatu Aliyu is a tutor at DLC Ahmadu Bello University, pursuing a Master’s in Literature. She writes from Zaria, and can be reached via this email: saadatualiyu36@gmail.com

By Abdullahi Yusuf Tela

Introduction 

In many societies, women are constantly reminded of their roles as wives and mothers. They are saddled with the responsibilities of producing and nurturing children and caring for the home. Over the years, however, women have embarked on a struggle aimed at affirming their identities while at the same time doing all they can to transform the societal, cultural, or traditional perceptions of their gender. Women are striving very hard to change these perceptions through education and by creating awareness.

Female writers have significantly helped by making the female characters in their works more prominent. They aim to have female characters that are powerful and outspoken. This is because women in most male writings are often illustrated as subservient. 

In 1966, Flora Nwapa broke the silence of women by publishing her first novel, Efuru, inspiring other female writers. These women used literature to explain the state of their societies, either good or bad, and the importance of female existence in society. These feminist writers include Zaynab Alkali, Buchi Emecheta, Mobolaji Adenubi, and Hilary Rouse-Amadi.

Notably, Azizah, like other female writers, has been able to outline the following feminist angles in her book, A Sackful of Wishes.   

Cultural Feminism:

Cultural feminism celebrates human attributes in women. It focuses on the feminist virtues by celebrating the positive sides of women. In A Sackful of Wishes of Azizah Idris M., Inna Binta, Hadiza’s mother, is a character who portrays aspects of cultural feminism. Inna Binta is a calm, reserved woman who faces a lot of tragedies as a new bride to Mallam Musa. She is hated and manipulated by her co-wife, Mairo Lauje. Inna Binta’s character shows a woman with patience despite the confrontations she faced from Mama Mairo. Cultural feminism believes that there is strength in a woman’s silence. They see the strength in women in the face of oppression. 

Hadiza’s mother, Inna Binta, could endure hardship from her co-wife or return to her parents. Binta remains strong even when Mairo Lauje makes her evil plot to charm her into never staying in Mal Musa’s house. 

Despite all the plots, Binta says, “It’s okay, I can do that . . .as long as she lets me stay with you. You are worth it.”

It is evident from the above quote that Binta, as being put in the cultural feminism, wanted peace for herself, her husband, and her children; that was why she heeded Mama Mairo’s deal. At this point, the cultural feminists view the mother’s strength as crucial. “Mothers have to be strong to take on both roles, loving, protecting, and counselling in turns” (Ngcobo 536).

Marxist feminism: 

The Marxist feminist approach propounded by Karl Marx is embedded in this work. The author portrays Hadiza Musa as someone who earnestly wants to earn for herself and feed her children. When she faces hunger, starvation and poverty, Hadiza immediately engages in a skilled job to take care of her children. She was into plaiting people’s hair and got an immense reward in cash. Hadiza becomes her own woman, independently sourcing and feeding herself and her children. 

It should be noted that Marxist feminists connect the oppression of women to social exploitation and oppression. A Sackful of Wishes by Azizah Idris M. majorly portrays an oppression of the female gender. According to Sotunsa, Marxist feminists believe that male domination is one of the societal ills, and gender oppression must be overcome to overcome societal ills. Hadiza resists the dominance of her husband, AR, whom society believes she needs to bow to. In the text, Hadiza says:  

“I want to start a business.” 

“I don’t have enough money, but I have skill in weaving hair. So, I’m going to start making people’s hair, I want your permission.” (129)

When her husband, AZ, decides to stop her, Hadiza says:

You can’t stop me, you know. You don’t feed me, nor clothe me, you don’t know how I buy my detergent or my body cream or provide the needs of Maahir. You just go out and come home. Some nights, you would try to come near me. Why do you think I got the money for those perfumes and creams that make me feel smooth and appealing to you? You either man up and hold on to your responsibilities or you let me start a business. (129)    

Fortunately for Hadiza, she wins the battle to make people’s hair after Umma Sala, Abdurrazak’s mother, intervenes.   

In portraying her bizarre situation, Hadiza was quoted as thus: 

I resorted to selling two of my wrappers from Mahir’s naming gifts to buy some foodstuffs since I was so heavy, I could not plait my customers’ hair at this stage. I found it difficult to sit for long. They did not sell for much. I saved some of the cash because I knew my situation, and I could need it anytime. I bought some spaghetti and vegetables. My sisters came to check on me the next day. We ate and chatted, and I even gave them some transport fare. Nobody would think things were amiss in my house. (141) 

Another portrayal of Marxist feminism in the text is in the character of Umma Sala, Abdurrazak’s mother. Umma is the boss of the house because her husband, Abdurrazak’s father, is not earning much, and she’s making money with her food business. 

As it turns out, Umma took over control of the house. With her business as a food vendor and other small businesses, whenever she did something in the house, she billed it to Baffa. Whether he had it or not, he would pay when he got some money. 

Radical Feminism: 

A Sackful of Wishes by Azizah Idris M. portrays richly a form of radical feminist approach. Radical feminists view society fundamentally as a patriarchy in which men dominate and oppress women. According to Shulamith Firestone, radical feminists seek to abolish the patriarchy in a struggle to liberate women and girls from an unjust society by challenging existing social norms and institutions. This struggle includes opposing the sexual objectification of women, raising public awareness about such issues as rape and violence against women. 

The central character, Hadiza Musa, exhibits a taste of radical feminism as a woman who mysteriously falls in love with a man so obsessed with her that Hadiza rebels against her husband’s oppressive behaviours. The radical feminism inked in the work portrays Hadiza as a woman who stays firmly and fights against starvation, rape, humiliation, and disrespect from her husband and, subsequently, his. Hadiza Musa rebels to the extent that she leaves her husband’s house several times out of her mother’s frustration and anger. 

Hadiza states that: 

I was fed up with my life. I was just twenty-five years old, but I had seen the difficulties of a sixty-year-old’s lifetime. I did not put on fancy clothes, nor did make-up appeal to me. I had forgotten how to laugh heartily, my soul was a wreck, my spirit in shambles. I was a walking time bomb waiting to explore. The things I bore in my chest were unimaginable. I had a sackful of wishes that I craved, that I needed to explore but could not do that because I was a coward. There, that’s it. (172)

Her rebellious act makes her stand tall against society, which tends to make her return to her horrible marriage. With the assistance of her brother, Yusuf, Hadiza can take the matter to court. She perseveres despite the intricacies of her husband, Abdurrazak, until she finally gets a favourable judgment dissolving the marriage.  

Conclusion

A Sackful of Wishes is one of the many texts that portray the difficulties, hardships, pain, angst, and oppression women experience in their marriages. It is one of the works that uses a feminist approach to fight for women’s freedom and free them from society’s shackles. 

Thus, it is evident from the text that there still exists a repressive and hostile environment against women. The text shows how young Hadiza faces and traverses through oppression and pain from her psychopath husband and his mother. 

Abdullahi Yusuf Tela wrote via abdullahiyusuftela@yahoo.com.

By Aliyu Idris

Engausa is a new emerging phenomenon that involves code switching and code mixing in English and Hausa. It’s a creative bilingual blend encompassing importance, uniqueness, and sending a message using a fusion of two popular languages (Hausa and English). It’s another genre of poetry and writing with its peculiarities. Its linguistic efforts are not to create a phenomenon that is Hausa or English but to create a genre that’s genuinely “Engausa.”

Khalid Imam and Ola Ifatimehin worked to establish a new writing phenomenon in the atmosphere of writing. After submission, they edited the ENGAUSA poetry anthology titled KWARAPTION.

Kwaraption Engausa Anthology is a poetry anthology comprising fifty-one poems penned by forty-five teeming poets. Various notable works of art have been produced on corruption in Nigeria. The poems in this anthology were written in various styles, from traditional to experimental, and they reflect the diverse voices and experiences of the poets.

One of the anthology’s strengths is its focus on Engausa poetry. Engausa is a hybrid form of poetry that blends Hausa and English languages. It is a relatively new and still evolving form of writing. The anthology features several poems in Engausa, allowing readers to experience this unique and dynamic form of writing.

The poems provide readers with a vast knowledge of Nigerian richness and valuable resources, but they’re not properly managed and are embezzled due to corruption. They also portray corruption as a major hindrance to the country’s progress, lament the nation’s current status, and inquire when corruption will end. The poems highlight many causes of corruption and its consequences.

The poets come from various backgrounds and experiences, and their poems reflect this diversity. The anthology features poems from established and emerging poets, which shows diversity in the anthology.

They try to display the pervasiveness of corruption in all parts of the country. Clearly, corruption was endemic but has now metamorphosed into an unending pandemic that continues to destroy the nation’s advancement. Several instances of the poem address corruption in different sectors of life, ranging from offices to hospitals to markets to politics to schools.

Kwaraption Engausa: An Anthology of Poems is a valuable contribution to Nigerian and Hausa literature and literature at large. It is a must-read for anyone interested in contemporary Nigerian poetry or the Engausa form of poetry as a newly branded way of writing.

Aliyu Idris wrote via aliyuidris063@gmail.com.