Literature

By Ugochukwu Ugwuanyi

Just like calling someone’s name often makes them look your way, there’s hardly a better way for brands to secure attention than by tying their messaging to human truths. Some of the best conversions happen when businesses step into their customers’ shoes. A story lands when audiences can glaringly see themselves in the narrative through a graphic representation of their lived circumstances. Brands that know what customers are grappling with will always outperform self-centred competitors.

Empathy storytelling targets human connections in public relations by deliberately making stakeholders heroes or protagonists of the plot. It subjects the brand or organisation to playing a supporting role in the lives, struggles, wins, and aspirations of audiences. It’s a strategy that puts the people first in order to win them over. Understanding and embodying the emotions, objections, and motivations behind a potential patronage is what separates the storytelling that gets read from the one that converts.

The best messaging isn’t built around businesses but inspires a dialogue about people, problems, and change. This is what will turn audiences into advocates. A post that engineers 100 genuine discussions is often more valuable than one that reaches 100,000 people and is forgotten the next day. Empathy storytelling is like human-interest journalism that funnels into conversations people actually want to join.

Factoring In the Critical ICP Framework 

ICP stands for Ideal Customer Profile. It involves getting a 360-degree picture of your archetypal audience so you can speak to them with empathy and effectively assuage their pain points. ICP makes for laser-focused messaging so that the writer can turn from a generic, scattered narrative into personalised storytelling that cuts through the noise. When you speak directly to an ICP’s specific problems and goals, your storytelling becomes significantly more persuasive.

The framework guarantees better word choice by enabling the storyteller to ditch corporate-speak and industry jargon, embracing vocabulary and tone that resonate with the reader. Businesses are prone to describing their products in argot, while customers express their problems in simple, emotional terms. The closer your messaging is to your audience’s language, the easier it is for them to feel understood and trust what you’re selling. Before delving into storytelling, the ICP framework should be used to flesh out the following:

Desires: What is the ideal customer’s end goal? What, in specific terms, are they trying to achieve?

Problems and Pain Points: What is standing in their way? Why are current solutions failing them? Taking note of negative 3-star reviews of your competitors on Amazon or Alibaba gets you the exact phrasing that will make your storytelling convert.

Voice of Customer (VoC): Great messaging usually sounds like the customer wrote it themselves. What are the exact words they use to describe their frustrations? You can analyse Amazon reviews, stalk Reddit threads, support tickets and YouTube comments to pull phrases that will make your reader be like, “You’ve got me there!”

Rehashing customers’ vocabulary and phrases is the ultimate hack for high-converting storytelling that feels deeply personalised. Finding and using the exact words people use to describe their problems will make your content land more naturally and relatably.

The Situational Theory of Publics

Empathy storytelling will miss the mark without audience segmentation or stakeholder mapping. Enter the Situational theory, which hypothesises problem recognition, constraint identification, involvement, and information seeking as the four determinants of how people react to an issue or an organisation.

This model helps the storyteller achieve empathy by identifying and segmenting publics, understanding their needs and preferences, so that communication with them can be meaningful. The following is how situational theory segments publics based on their levels of problem recognition and information seeking:

1. Non Publics: Individuals with zero connection to or interest in the issue. They are unlikely to engage with your message.

2. Latent Publics: People who are affected by an issue or an organisation but are unaware of it or do not perceive it as a problem. The opportunity here is to build awareness.

3. Aware Publics: Individuals who are aware of an issue or a business but do not seek information or take action. 4. Active Publics: People who are fully aware, personally invested, and actively discussing, organising, or advocating around the issue.

All of this can be deciphered from community discussions, forums and social media comment sections where patterns can be gleaned when similar questions and objections appear repeatedly. From the derivable insights, you can then use empathy storytelling to either increase the problem recognition of latent publics or reduce the constraint identification of aware publics.

The Bubble Trap: Company Excitement Doesn’t Approximate Audience Attention

Living inside your organisation’s bubble is one of the greatest pitfalls of PR. This is particularly true for complex industries such as tech, medicine, energy and finance. It plays out when an upcoming activity or launch attracts so much enthusiasm and anticipation within that you start feeling as if it’s the same without. That’s assuming that everyone else is as excited as the internal teams. But until the comms team comes to terms with “Why would anyone outside this room care?” they don’t yet have a story.

Probing every idea with an external lens brings fresh perspectives and puts PR tactics on the same page with prospects. Nothing beats having someone explain their frustrations, goals, and buying decisions in their own words. People need to feel heard and believe that the person or organisation communicating with them understands their concerns and values their perspective.

You will communicate with confidence when you come out of your company’s cocoon. Businesses with strong public confidence often enjoy increased customer trust, stronger partnerships, improved media relations, and sustainable brand recognition. A good sense of news judgement can be lost when buried in your own brand for long enough.

Having frequent conversations with people who aren’t in your company but active in the industry as audiences goes a long way in maintaining the filter. Given that PR doesn’t exist to reward effort, if you can’t explain why somebody outside your business should care, journalists won’t bother either. Neither will your customers give a hoot!

AI Must Remain an Assistant, Never the Master Storyteller

The imperative of field findings and human connection in broader storytelling (let alone the empathy variant) means that the crafting of stories and the thought process that goes into it must never be outsourced to a machine. The best stories aren’t stilted, formulaic or templated but are discovered, as has been expounded in the ICP framework and the situational theory of the publics.

If only for the resonance that the Voice of Customers guarantees, organisations can’t rely on automated summaries and other generative artificial intelligence that sounds professional but feels disconnected. AI knows the words but doesn’t know the people. You cannot stop scrolls, let alone convert audiences with banal AI-esque cliches like “Building resilience”, “Creating sustainable change”, “Empowering vulnerable communities”, “Transforming lives through partnerships”, etc.

From a mile away, experienced communicators can spot an AI slop, differentiating between a story that has been lived, listened to and understood – and one that has been generated. An organisation’s reputation is under threat when they rely on a soulless bot for content creation. An AI-generated piece of writing passed off as one’s own is deceitful and chips away at credibility. There are also ethical concerns, as information created by machine learning isn’t always factual. AI-generated images or videos can sometimes make it difficult to distinguish between real and manipulated content.

AI chatbots should therefore be confined to their assistant role, where they help with research, proofreading and polish for brevity, tone and clarity. Machine prompts shouldn’t go beyond transcribing interviews, organising ideas, improving grammatical structure and accelerating content production. A copy, writing, or asset that is nuanced in the attributes of audiences, portrays their concerns and dignity, identifies potential risks, and is ready at the right time would always trump synthesised content. The synthetic can never be as good as the authentic.

Ugochukwu is a branding specialist, storyteller and media trainer who can be reached via nmiringwu@gmail.com.

By Khadijat Abdulrasheed

Not every pain is loud. Some are hidden behind smiles, silent prayers, and eyes that have cried when no one was watching.

The book Tears They Never Saw is a deeply emotional and faith-driven story that explores the unseen struggles people endure in silence. It reflects heartbreak, emotional wounds, family trials, and the kind of suffering that the world often ignores but Allah never does.

At the heart of this story is a powerful message: the strength of dua (prayer) and its life-changing power. It shows that even when situations seem impossible and when hope feels lost, sincere prayer can rewrite destinies. Tears that fall in secret are never wasted when they are poured out before Allah.

Through compelling storytelling and relatable characters, this work reveals how faith becomes a lifeline in the darkest moments. It reminds readers that healing, mercy, and change can come in ways that human understanding cannot explain.

Tears They Never Saw is not just a story; it is a reflection of real-life struggles, silent battles, and the unseen strength of those who keep going despite pain. It carries a message of patience, hope, and divine intervention.

This book is for readers interested in a full emotional and spiritual journey that blends reality with faith. Anyone interested in reading the complete work can reach out directly for access.

Because sometimes, the tears no one sees… are the ones Allah answers most.

Khadijat can be reached via abdulrasheedkhadijatkuburah@gmail.com.

By Muhammad Abbas

Once, in a land as far as you could imagine, there lived a boy called Usman. He was a thirteen-year-old boy with a strikingly handsome face and glowing eyes. Usman wasn’t just a normal kid; he was different.

At a very young age, Usman could already solve complex equations, and that made him stand out among his mates.

Usman’s father, Alhaji Sani, and his mother, Hajiya Zainab, were very rich, but Usman didn’t really care about his parents’ wealth.

Even when his parents offered to take him to school in their Rolls-Royce, he would tell them he would rather go on the bus like other students.

Usman went to one of the best schools in town called Arewa Fields Academy. It was a world-class school with some of the best facilities, such as an advanced robotics lab, digital views of space and the ocean, modern classrooms, and world-class sports facilities.

However, Usman never really liked the school very much. He preferred to go to a normal school with normal classes and live a normal life like other children.

One day, Usman’s father suddenly became very sick. It was a serious and chronic illness that needed urgent medical attention. The family rushed to find help, but there was a big problem.

Their village, called Garin Dutsi, had only one medical doctor, and unfortunately the doctor was not in town that day.

People tried their best to help Alhaji Sani, but the illness became worse. Sadly, Usman’s father did not survive.

After the funeral, Usman cried until he had no tears left. He loved his father deeply and missed him every day. But that painful moment also made him think about something very important.

He realized that if there had been more doctors in the village, maybe his father and many other people could have been saved.

That night, Usman made a promise to himself. He decided that one day he would become a doctor so that he could help people in places where medical care was difficult to find.

Years passed, and Usman worked very hard in his studies. Eventually, he finished university with a first-class degree in medicine. People admired his intelligence and his determination.

When he finally became a doctor, Usman chose to return to villages like Garin Dutsi, where many people still struggled to find medical care.

He treated the sick, helped families, and trained young health workers so that communities would never again suffer because there were not enough doctors.

Usman never forgot his father, and the memory of that difficult day always reminded him why he chose to become a doctor.

And that is the story of a kid with a dream who grew up to help others.


Muhammad Abbas is an aspiring writer, a secondary school student, and lives in Kano.

By Harajana Umar Ragada

The offer felt like a golden ticket. A celebrated Nigerian celebrity was hosting a festival and needed a spoken word documentary. For a talented artist in Northern Nigeria, this was the sought-after break, a chance to step into a national spotlight reserved for the chosen few. She believed in her craft, and she said yes.

The project was defined: two videos, one in Hausa, one in English, featuring her voice and her performance. She submitted her fees, a fair reflection of her skill. The project manager’s reassurance was smooth, hinging on the host’s lofty reputation. “Trust the process,” she was told. And so, she did.

She requested an advance to book studio time. A partial payment was made to her, but it was insufficient and did not cover Abuja’s professional studio rates. She dipped into her own resources to make it work. When the video shoot approached, another surprise: she was to supply her own costume due to “budget constraints.” Professional to her core, she invested in the perfect attire, believing her dedication would be honoured.

Then, the turnaround. After she sent the final recordings, she was called upon that the celebrity’s sister would headline the Hausa version. Her role was being reduced to just the English piece. She objected firmly; this was not their agreement, and her payment was still pending. After tense negotiations, a new, fragile deal was struck: she would be credited as a collaborator, and nothing would be posted without her approval.

On a sunny afternoon, they summoned her to the Art and Craft Village for the shoot. When she arrived, she found them already filming the sister. When she reminded them of their terms, the promises flowed anew: payment after filming, glowing accolades, and the full weight of the celebrity’s influence to boost her career. Placing her trust in that stature one more time, she completed the work.

What followed was a masterclass in creative exploitation. They chipped away at her agreed rate, pleading budgetary limitations. They sold her on a future of unlocked doors and dazzling opportunities, convincing her to accept far less, to trade monetary value for the currency of exposure and credit. She acquiesced, hoping the recognition would be worth it.

Months slipped by without the remaining payment. After persistent appeals, another fraction of the sum arrived. Weary, she let it go, choosing peace over a protracted fight.

Then the video was live. And as she watched, a cold realisation settled in. Every name was listed in the credits… except hers. Her voice filled the piece, but she had been erased completely. Not a mention, not a link, not a trace. The feeling was a hollow mix of betrayal and devaluation; she had been used and then discarded.

This story is not a solitary lament. It is the shared refrain of countless creatives. Like Abdulmajid Gambo Danbaba, a poet from Katsina, who discovered his deeply personal poem “I am Me,” born of his childhood struggles, and proudly posted it on another man’s Facebook page, claiming it as his own. The confrontation was messy, requiring the threat of legal action to force an apology and a takedown.

These are the everyday hazards in the digital marketplace of ideas, where work is copied, credit is stolen, and promises are broken. So, what can be done?

Navigating the Minefield: Wisdom from the Frontlines

We turned to experts to demystify the path from vulnerability to empowerment.

Dr. Ismail Bala, a renowned poet and critic, frames the issue clearly. He defines creative exploitation as using another’s work without payment or permission, and plagiarism as outright theft of authorship. His advice is twofold: vigilance and formalisation. “Copyright your work,” he urges. “And move beyond handshake deals. Any collaboration needs a legal contract, however simple.”

The consequences, he notes, are both emotional and economic; a loss of confidence and a loss of livelihood. While social media democratizes sharing, it also facilitates this theft. The remedy, he states, is a cultural shift toward fundamental respect, acknowledging sources and compensating creators fairly.

Muhammed Bello Buhari, a digital rights activist, frames this not as a mere commercial issue but as a human right. “Your creativity is your voice. To steal it is to strip you of your agency and dignity,” he explains. International law protects the moral and material interests of creators, but the systems are often skewed toward those with power and lawyers.

He highlights the legal grey zone that creatives must navigate. “The law protects your specific expression, not the general idea. Someone can mimic your style without crossing a legal line, which is why documentation is your greatest weapon.”

Buhari champions the “paper trail.” Your drafts, timestamped files, and email records become irrefutable proof of ownership. “That version history is your shield,” he says.

MB Buhari recommends a practical toolkit for every creator:

1. Document Everything: Create a “receipt culture.” Save early drafts, note creation dates, and follow up verbal agreements with a confirming email or message.

2. Mark Your Territory: Use the copyright symbol (©) on your work. It’s a simple but clear signal of ownership.

3. Have the “Terms” Talk: Before sharing work, state clearly how it can be used. A simple text message can form a basic contract.

4. Leverage Community and Platforms: Use the court of public opinion respectfully but firmly. Know how to issue a DMCA takedown notice on social platforms to remove stolen content.

5. Embrace Simple Contracts: Outline collaboration terms, ownership, and credit in writing. “A contract is a seatbelt for your creativity,” Buhari notes.

6. Seek Strength in Numbers: Join creative associations and leverage pro-bono legal networks. There is power in collective advocacy.

The Northern Star: A Community’s Victory

The most powerful chapter in this story is its conclusion. When the spoken word artist was erased, she did not stay silent. She shared her story. And the Northern creative community erupted. They became her amplifiers, her defenders, and her unyielding support system. Through poems, posts, and shared outrage, they applied a pressure that no individual could. Faced with this unified front, the celebrity apologised.

This is the ultimate blueprint. The fight against exploitation is not a solo journey. It is fought by building a community that values integrity over influence, that champions credit over “exposure,” and that stands as a united front against those who would diminish their peers. It is about transforming individual vulnerability into collective, unshakeable strength.

Harajana Umar Ragada wrote via kharajnah@gmail.com.

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.