A person that went through formal schooling system and attained what he has attained because of that system will never downgrade the system. The system has done so well for him to downgrade it, he has reached his/its zenith, something many of the young bloods can only dream of and yet some among them find fault in a book published by him with a title they feel offended by, most without even going through the book. What happened to the saying “Don’t judge a book by its cover”? Don’t tell me you’ve judged it by its title!
I am not trying to justify what the author said for I believe he wasn’t trying to do so either. It’s just a friendly reminder from a person who has seen what you have not seen, worked where you haven’t worked, traveled places you didn’t even dream of. He’s not trying to downplay your “hard earned” degree, my dear graduate.
Let us get to the reality of things in this country and almost everywhere around the world. A degree is a paper issued to someone affirming that he/she has gone through the process of a university education and nothing more. If you are a university student or graduate or infact a student anywhere, you know that there are a lot of ways through which people earn their degrees, some earn it in a legitimate way and others otherwise. In universities, we have seen ladies complaining of how some lecturers harass them (demand for sex) so they will be awarded marks.
Again, how many of your colleagues cheat during exams and unluckily for them they weren’t caught up to their final years or even up to their graduation? How many more others do you know that theirs is just to memorize what is given to them even without understanding anything and passing the exams that way? I bet they are much more than those that are good at what they are studying. Do you then expect yourself as an employer to stick with first set of people just because they have a degree? For the sake of your company, your answer must be NO!
On the part of employers, how many people with good results have they employed and they delivered? Or do you mean because you have a degree and your employer knows how hard it is to earn a degree he/she won’t fire you if you cannot deliver? How many of those with lesser qualifications delivered in their work places because they have the required skills? Many! Or should they all be fired because they do not have a degree? Put yourself in the employer’s shoe and do what will save your company or enterprise.
I’ve seen and heard of so many people without degrees who excel in their endeavors. Some brought value to what they do beyond measures. Their biggest asset were the skills they possessed. And I’ve seen so many with certificates who destroy businesses because they lack the needed skills. These skills include; leadership skills, communication skills among others.
As a graduate, would you rather give your car to a mechanic with the skill of fixing the car or give a graduate with a first class degree with no skill to fix your car?
Your degrees are important nobody dares to downgrade them! But skills, if unemployed, increase your employability and if already employed, accelerate and simplify your job for you.
Do your degrees, if you can’t afford a degree find a skill and engrave it! You’ll appreciate yourself for making that decision.
A patient in Ilorin has met with a sad fate when one Ayodele Joseph, the Chief Medical Director of Ayodele Hospital, sedated and raped her iside the hopital.
A police report revealed that Dr. Ayodele sedated the patient and eventually raped her without her consent.
It added that the doctor sedated the patient and raped her when she went to the hospital for medical treatment.
Ayodele was arraigned on a two-count charge of act of gross indecency and rape, contrary to sections 285 and 283 of the penal code.
The Daily Reality, through the police report, learned that the victim, who fell under the doctor’s trap, is also a professional nurse.
“Investigation into the matter however led to the recovery of the video recording containing sexual action of the defendant on the victim while medical text also confirmed that the said nurse was assaulted and raped”, the charge sheet disclosed.
Gbenga Ayeni, the prosecutor, informed the court of the gravity of the offence and the motion attached to the police report, which sought to remand the suspect.
The court granted Ayeni’s prayer for remand while the matter was adjourned to May 18th, 2023.
President Muhammadu Buhari asked the Senate on Wednesday to approve a $800 million loan to fund the National Social Safety Network Programme.
During the Senate’s Wednesday plenary session, Ahmed Lawan, who is the President of the Senate, read a letter from Buhari that contained the request.
The money, according to the President, will be distributed to 10.2 million low-income and destitute households for a period of six months, with a predicted multiplier effect of 60 million people.
To ensure proper implementation, the president therefore asked the lawmakers to take action quickly.
A 56-year-old man recounted how he punched his wife, Atinuke, into a coma over a dispute in Akure, the Ondo State, a development many people have frowned at.
The man, who simply identified himself as Akure, was said to have been a famous Lagos state ex-boxer.
The man said he punched his wife because she was very stubborn and refused to give him a television remote control when he requested it.
The Daily Reality gathered that the ex-boxer has since been arrested and detained by the police detective in the state.
It was learned that the suspect, who is also a driver, returned home on a fateful day and wanted to watch a programme on the television, but the wife insisted on watching another programme.
According to a source, “The husband asked the wife to hand over the TV remote control to him, but she declined. The husband did not waste time as he descended on her with several punches on her face.
“It took the intervention of neighbours to rescue the woman from her husband after the children ran out screaming and crying for help.
“When the neighbours entered the house to rescue the woman, they met her on the floor lying unconscious, and they quickly rushed her to the nearest hospital,” the source added.
According to the victim’s sister, the woman was rushed to the hospital and has been responding to the medical treatment.
Mr Funni Odunlami, the state police spokesperson, couldn’t be reached for comment.
After accessing some social media posts about the 50th anniversary of the National Youth Service Corps (NYSC), I wish to share two of the numerous issues I had with the scheme.
Although I’ll try to avoid certain details, I must mention that an unpleasant encounter with a senior official of NYSC marked the third time I shed tears since reaching adulthood.
First issue
When I confirmed my mobilisation to serve under the National Youth Service Corps (NYSC) in 2018, I sought information about the registration process and requirements. I found that prospective Corps members could either get their call-up letters through their schools or pay about N3,000 to print the letters online. I went for the first option because I couldn’t afford the second one. Besides, I was about to go to Zaria for my statement of result, so I decided to pick up my call-up letter from Ahmadu Bello University (ABU), Zaria.
Everything went well, and I proceeded to the NYSC orientation camp in Fanisau, Jigawa State. However, the camp authorities insisted that I either pay the money and print the online version of the call-up letter or leave the camp and wait for the next stream (due in three months). They maintained their position despite acknowledging the authenticity of my call-up letter, which NYSC had sent to ABU. I had no option but to leave the camp for Kano (a short distance from the camp).
Fortunately, my arrival in Kano changed the story. I had no mobile phone, so I inserted my SIM card into someone’s phone. Within a few minutes, I received two different but connected calls, and I got the money I needed to print the call-up letter, hence my immediate return to the camp.
Second issue
My fellow Corps members received their allowance for December 2018 before the 25th of the month, but I didn’t get mine till after five months.
I started contacting relevant officials in the last week of December 2018, and by April 2019, I had submitted my bank statement of account, proof of clearance and about four letters. Surprisingly, I received a letter from my Local Government Inspector (LGI) titled “Query”, which demanded that I submit a handwritten reply to explain why I shouldn’t be punished for “refusing” to apply for my unpaid allowance. Well, I just replied as instructed, but I still didn’t receive the money (N19,800) until about a month later.
Two questions and answers
One, why did the camp officials force me to pay the N2,786.24? I believe they were keen on generating money for their organisation, and they felt letting me dodge the payment would lead to a fall in revenue in subsequent batches because I might communicate to other prospective Corps members whose closeness to their schools might make them opt for the free call-up letter.
Two, why did I receive a punishment threat for “refusing” to apply for my unpaid allowance? I feel it was the officials’ way of shifting the blame.
Conclusion
I had disliked NYSC long before my graduation from university, and my experiences during my service year only heightened the feeling.
However, I acknowledge the scheme’s contributions to national development. The interest of the majority supersedes that of an individual.
Ishaka Mohammed can be contacted via ishakamohammed39@gmail.com.
His name was Tijjani, and nicknamed Ma’aslam. He mainly lived in the Sabon Sara ward, Kano city, but was a common sight along the Mandawari junction to Kasuwar Kurmi corridor in the 1960s.
Everyone considered him nuts. Apparently, he built a single-storey building without stairs to access the upper floor. He did not think a door was necessary for any structure either, so the building had no doors. He simply jumped up to the upper floor at night and jumped down in the morning. It was enough for the ward head to report him to the Jakara magistrate for him to be locked up on insanity charges.
During the hearing, he was given a basket to fetch water. He simply laughed at the judge, informing him that only a madman would attempt to fetch water in a basket. The judge threw the case out, declaring him perfectly rational. He may be nuts – although eccentric was more apt to describe his behaviour. But then, it takes a certain amount of nuttiness to be an innovator. And he was an innovator.
As children – and I am talking 1960s inner city Kano – we simply referred to him as Ma’aslam. He, I would argue, planted the seeds of onomatopoeic intertextuality in Hausa popular culture, at least in Kano. This was the process of picking up an element of popular culture, say, a song, converting it side-by-side into a different language (intertextual), using ‘sound-alike’ of the original (which is onomatopoeia) into a new one. A quick example was the Bob Marley hook:
Get up, stand up,
Stand up for your rights
Sadi Sidi Sharifai, a Kano onomatopoeic superstar, converted this to:
Jallof, Jallof,
Jallop, sai da rice
Try singing both the original and Sadi’s interpretation, and you have become an onomatopoeic star yourself!
In 1967, the American super soul star James Brown & the Famous Flames recorded the stunning live double album of their concert at the Apollo Theatre in New York. It was, perhaps unimaginatively enough, titled, ‘Live at Apollo.’ A standout track on the album was ‘I Feel Alright’. Its choral hook was:
‘Hey, hey, I feel alright
One time, uh!’
The album of the concert was released on 16th August 1968. I was 12 years old then, and still now, totally wired in music, complete with a Ukulele guitar, given to me by David Hofstad (author of Tabarmar Kunya play). My Dad, an avid music lover, noting my attachment to the song which was played on the radio, simply bought the double album for me at Musa Zamani Record store in Fagge (are there any old codgers who remember this record store?). I played it to death on the old Grundig music player we had then.
Back to Tijjani Ma’aslam. With his eccentric behaviour categorising him as loony, Ma’aslam started reciting the ‘Dalailul Khairat’, a celebrated manual of salutations upon the Prophet Muhammad (SAW), written by Muhammad ibn Sulayman al-Jazuli in 15th century Morocco. What was unique about Ma’aslam’s open-air recitation, however, was that he adopted the James Brown meter in the song, ‘I Feel Alright’, as his chorus. His rendition of the hook for his recitation of the Dalai’lu was:
Mujibun, Mujabun,
Afiyan, Afuyan,
Rasulillahi
Ahlan wa Sahlan
Rasulillahi
This was accompanied by James Brown’s dance moves (shown on Television’s Soul Train, which was available in a few houses that he might have access to). Maybe he was not reciting the salutations in their structured order, but at least his verses were discernible, as the Dalai’lu itself was recited in a song form by many reciters in Kano. What he did, and did it differently, was using a foreign music meter to make it more accessible. This formula was to be adopted by the Ushaqu Indiya group of devotional singers in the city of Kano (actually along the same neighbourhood as Tijjani Ma’aslam). More of this in subsequent articles/posts.
Tijjani Ma’aslam’s delivery mode was intertextually onomatopoeic to ‘Hey, hey, I feel alright’. The chorus was ‘Rasulillahi’. Ma’aslam was usually followed by a gaggle of kids echoing the chorus while he merrily led the way, clapping his hands, dancing and reciting the names of the Prophet from the Dalai’lu. Elders were bemused at the spectacle and simply labelled Ma’aslam crazy. He might have been. He certainly was not following the sequencing of the Salawat from the book. But his performances opened a door.
Up the road from his haunt and covering the same zone was the Palace cinema. This was built and completed in 1951 and opened in 1952. Palace cinema became an instant hit with the youth, closeted in the city and without any visible means of night-time entertainment. Before its opening, and still a carryover from the World War II years (1939 to 1945), a curfew used to be imposed on city residents at 8.00 p.m. With the relaxation of the curfew, the few neighbourhood plazas (dandali) that offer games for youth (both boys and girls) were no match for the sheer spectacle of a massive screen accompanied by loud music. The predominant films shown in the cinema were cowboy or mainstream European films. However, after independence in October 1960, Indian films started to be shown from November 1960 in Kano cinemas. Early films screened included Cenghiz Khan, Jaal, Sangeeta, Raaste Ka Patthar, Waqt, Amar Deep, Rani Rupmati, Dharmatama, Dost, Nagin and thousands of others. The one that caught massive imagination in Kano’s inner city, however, was Rani Rupmati, originally released in India in 1957 but only found its way to Kano cinemas in the 1960s.
Like all Indian films, at least from what the industry refers to as Bollywood, Rani Rupmati had a lot of songs – in fact, its overall screenplay is based on two people united by their love of music. However, two songs from the film caught Kano’s inner city imagination, ‘Itihaas Agar Likhna Chaho’ and ‘Phool Bagiya Mein Bulbul Bole.’ Interestingly, there was no choreographic dancing in these two songs, unusual for general Bollywood films but typical of earlier, more historical and artistic ones.
The first, ‘Itihaas’, sung by Lata Mangeshkar, has a great hook that, thanks to Tijjani Ma’aslam, became domesticated by kids along his sphere of influence and Palace cinema zone. It goes something like this:
Itihaas agar likhana chaho /
Itihaas agar likhana chaho /
Azaadi ke mazmoon se /
…
To seencho apni dharti ko /
Veeroon tum upne khoon se /
Har har har Mahadev /
Allaho Akubar /
Har har har Mahadev /
Allaho Akubar /
Sung within the backdrop of a band of warriors getting ready to go into a battle, led by a woman (the titular Rani Rupmati), it certainly gave the picture of a woman more enlightening than what was both the Hausa and Indians are used to. The film itself endeared itself to Hausa through the modesty of the women – shy drooping kohl-enhanced eyes with long blinking lashes, fully clothed (even the swimming scene shows the singers fully clothed in the river), with sari that resembles Hausa wrapper (zani), lots of jewellery, and stunning beauty. A Hausa common saying of the period was, ‘Allah, kai ni Indiya ko a buhun barkono’/God, let me visit India even in a sack of pepper. That was how besotted Hausa youth were to the beautiful Indian women seen on the screen, giving a false impression that every single Indian woman is beautiful.
Hausa youth, inspired by Tijani Ma’aslam, quickly domesticated the chorus of the song as:
Ina su cibayyo ina sarki / where are the warriors, where the is king?
Ina su waziri abin banza / And the useless vizier?
Mun je yaƙi mun dawo / we have return from the war
Mun samo sandan girma / and we were victorious
Har har har Mahadi / hail, hail the reformer
Allahu Akbar / Allah is the Greatest
Har har har Mahadi / hail, hail the reformer
Allahu Akbar / Allah is the Greatest
In an interesting case of lyrical substitution, the Hausa intertextual transcription captured the scene of the song as shown in the film, if not the actual meaning of the words. Loosely translated, the original verse was urging warriors to defend their land with their lives and become part of history. The chorus translates as ‘Let each of us sacrifice ourselves to Mahadev’.
While Mahadev was a reference to the Indian deity, Shiva, this pantheistic line was followed by a monotheistic reference to Allah, the Supreme Being in Islam. Thus, two contrasting religious sentiments were expressed in the song. It was likely that S. N. Tripathi, who directed the film and composed the music, introduced the chorus to attract both Hindu and Muslim audiences. After all, while Rani was a Hindu, her love interest in the film, Baaz Bahadur, was a Muslim. The expression, however, has since then been used as a slogan of communal harmony between often warring Hindu and Muslim communities in India.
But more stunningly, the Hausa version substituted the word ‘Mahadev’ with ‘Mahadi’. The Hausa heard ‘Mahadi’ (guided one), not ‘’Mahadev’, which worked perfectly well. Substituting Mahadev for Mahadi Islamized the song, as it were. In Islamic eschatology, Mahdi is a messianic deliverer who will fill the earth with justice and equity, restore true religion, and usher in a short golden age lasting seven, eight, or nine years before the end of the world.
The second song from the film, ‘Phool Bagiya Mein Bulbul Bole’ (also sung by Lata Mangeshkar, with Mohammed Rafi), also inspired onomatopoeic intertextually but further afield from Kano and bizarrely entered into Hausa urban legend of the 1960s. Its first verse goes something like this:
Phul bagiya me bulbul bole /
Daal pe bole koyaliya
Pyaar karo /
Pyaar karo rut pyaar ki aayi re /
Bhanwaro se kahati hain kaliya /
Ho ji ho ho ji ho ho ji ho /
Ho ji ho /
What Hausa youth heard in the choral refrain was ‘Hotiho’, not ‘Hojiho’, and in the film Rani Rupmati, the lady (played by Nirupa Roy) came to be referred to as Hotiho. The Hausa griot, Mamman Shata (d. 1999) popularised the word (which has no particular meaning) in his song, Mallam Sidi, ‘Mijin Hotiho’/Mallam Sidi, Hotiho’s husband.
In the film, there was no marriage between Rani and Baaz Bahadur because she said she was ‘married to her music’, despite living with him after running away from home to avoid death from a chalice of poison given to her by her father to avoid the shame of her rejecting a chosen husband. In all their dialogues, Rupmati and Baaz Bahadur stress their shared love for music, not their love for each other. So, Shata did not accurately describe the relationship in the film. However, such deep film analysis is not important to the transnational interpretation of Shata of Baaz Bahadur as a signature tune for a hen-pecked husband. Shata’s interpretation of the actor who played Rani’s lover was certainly in order as he was effeminate and obsessed with music rather than empire building, despite being heir to a throne. It was even Rani who led their army into war. He was wounded in the battle and ran away.
Another Hausa griot, Ali Makaho (d. 1984), known famously for his anti-drug song, ‘Mandula’, briefly referenced Rani Rupmati in another of his songs.
Za ni Kano / I’m going to Kano
Za ni Kaduna / I’m going to Kaduna
Mu je Katsina lau za ni Ilori / Let’s go to Katsina and Ilorin
Na je Anacha / I will go Onitsha
Ni ban san kin zo ba / I didn’t know you had arrived
Da na san kin zo ne / If I had known you have arrived
Da na saya miki farfesu / I ‘d have bought you [pot of] pepper soup
Hitoho hotiho /
Hotiho hotiho /
With a comedy skit thrown in, Ali Makaho’s rendering uses Phoolbagiya’s meter to narrate a series of anticipated travels over northern Nigeria. As an intertextual comedy, it worked and remained of his most memorable skits.
A third Hausa griot to adapt a song from Rani Rupmati was Abdu Yaron Goge, who played the goge (a large fiddle played with a bow). Abdu picked ‘Raat Suhani’ from the film for his adaptation. Since, unlike the other griots who used the elements of the songs from the film, Abdul was a musician, he used two approaches – first was rendering the symphonic structure of the opening bars of the actual composition, Raat and playing it on his fiddle, then secondly, he onomatopoeically appropriated Mangeshkar’s lyrics as Hausa version. The original lyrics were as follows:
Raati Suhani /
djoome javani /
Dil hai deevana hai /
Tereliye /
Tereliye /
These lines were pure expressions of love the protagonist has for her lover, especially ‘in the beauty of the night’ [raati Suhani]. Abdu Yaron Goge’s rendition was as follows:
Mu gode Allah, Taro / We should thank Allah, people
Mu gode Allah, Taro / We should thank Allah, people
[These lines vocalized the opening bars of Raat]
Duniya da daɗi /This world is nice
Lahira da daɗi / The hereafter is nice
In da gaskiyar ka / If you are truthful
Lahira da daɗi / The hereafter remains nice
In babu gaskiyar ka / If you are untruthful
Lahira da zafi / The hereafter is blazing
Thus, in a single verse (which he kept repeating over and over till the end of the performance), Abdul Yaron Goge borrowed a popular musical motif from another culture and domesticated it to Hausa entertainment. At the same time, he delivered a message totally different from the original meaning.
There were, of course, many other onomatopoeic intertextual interpretations of Indian film songs, but the three songs from Rani Rupmati, predated by Tijjani Ma’aslam’s innovative use of foreign motifs, were the definitive pioneers in music. In Literature, look towards Abubakar Imam and Magana Jari Ce. The intertextual origins of Hausa arts, of course, started in the 1930s; but its migration to music was certainly in the 1960s. It spawned a Hausa Cinema industry which was labeled ‘Kanywood’ in 1999, a few years before the term ‘Nollywood’ to refer to the Nigerian English language cinema, was created.
On a final note, Nazeer Abdullahi Magoga, a Kano ‘Indian’ (who speaks the language fluently, to the shock of BBC Delhi, who sent a crew to interview him in Kano, in Hindi) composed a song for the Centre for Hausa Cultural Studies, Kano which I was heading, but which I had to pause due to lack of funding. He used the Raat Suhani meter and used both Hausa and Hindi lyrics in his wonderfully beautiful tribute to the Centre. A link to the song on YouTube is given below. To really appreciate Nazeeru’s performance, listen to the original Raat Suhani from the film Rani Rupmati, also provided in a link.
Cibiyar Nazarin Al’adun Hausa by Nazeer Magoga [Raat Suhani template]
Hajiya Turai Yar`adua, the wife of a former Nigerian President, the late Umaru Musa Yar`adua, went on a mental trip lane as to when her husband was alive and how his good memories crossed her mind daily.
Turai, who spoke on the 13th memorial of the death of her husband, described how life has become difficult for her years after her husband’s demise to the world of our silent fathers.
She said that she still regrets her last moment with Yar`adua to the extent that she often quarrels with herself about why she left the place he was lying to break her fasting.
She stated, “I was fasting on that day. In fact, I had been fasting non-stop from when he took ill and even after he died, I did not stop. So when it was time for me to break my fast, he was lying down looking at me.
“I felt he did not want me to leave, so I told him I was going to break my fast. He then shook his head, and I left. I was later called, and I met him struggling with his breath. That moment still lingers in my mind. I even quarrelled with myself on why I left to break my fast, I should’ve stayed.”
She went on to say, “I think about him every day. Every day seems like any other day. The only difference is that today, people gathered to pray for and eulogise him, and I’m happy. I thank them.
“He was simple. Worldly things did not carry him away. For example, he could continuously use a wristwatch until the strap gets broken into two. Then, unless I see it, he would continue to use it like that,” she stated.
“My husband was not taking alcohol, would not go after women, and was not corrupt. He was a straightforward person who did not attach importance to worldly things. Even leadership, Allah destined he would be, but he wasn’t that ambitious about it”.
“Our marriage was full of happiness. People were saying they had never seen our kind of relationship. I was like a new bride every day. That was why he always returned home straight from the office.
“So, even if I travelled, he would be the first person I would call once I reached my destination. That was what I really missed. The first time I travelled, no one called me to say, ‘Turai, how was your trip?’ That was the first time I cried over his death,” she stated.
The ability to communicate effectively in the official language of one’s country is a hallmark of education and social mobility. Mastery of the official language is essential for communication and for accessing educational, economic, and social opportunities.
Language proficiency is a barometer of education and intelligence. One’s ability to articulate themselves with precision and clarity in the official language of their country is a reflection of their level of education, critical thinking, and cognitive abilities. Proficiency in the official language is integral to formal education, typically mandatory for accessing higher education and advanced employment opportunities.
Furthermore, proficiency in the official language is crucial for social mobility. Communicating effectively in the official language is paramount to accessing educational, economic, and social opportunities. Individuals who lack proficiency in the official language face barriers to accessing these opportunities, resulting in social exclusion.
Additionally, proficiency in the official language is pivotal for national integration and unity. A shared language promotes a sense of national identity and solidarity, fosters social cohesion, and enhances cultural exchange and understanding. The ability to communicate in the official language facilitates participation in democratic processes and civic engagement, promoting active citizenship and democratic values.
In conclusion, proficiency in the official language of one’s country is a crucial aspect of education, social mobility, national integration, and democratic participation. Therefore, it is imperative to prioritise language learning and provide equitable opportunities for all individuals to develop their language skills and reach their full potential. Doing so will foster inclusive and cohesive societies that value linguistic diversity and promote social and economic progress for all.
On 28th October 2015, a cool Tuesday morning, I headed to Jigawa State for the national call to offer my service to the nation. I wasn’t the type of person that went outside Kano often. I found it so amazing because it was my first trip for three weeks outside Kano. I felt a bit afraid. I didn’t know the nature of the people I would meet during my trip and the people in the orientation camp because all my schooling was in Kano State.
We were inside the car with my friends; as they were busy talking and laughing, my eyes and mind were on the road seeing long trees swinging and dancing to the tune of the winds, topographies, landscapes, undulating slopes, farms, markets, schools, and children among others. We reached the orientation camp around 10:00 am, along Dutse Road in Fanisau. I saw hundreds of people called Corps members at the gate being checked. We quickly followed the long queue to be checked too.
I remembered home, asking myself how I could cope among thousands of people as we were 4000+ during the exercise. We were in that queue till 4 pm, and still, we didn’t get accommodation and other things that would be used during the exercise at the camp. Finally, my friends and I sneaked to a line (short-cut), wrote our names and completed the registration for accommodation. We prayed, ate and returned for another registration and collection of kits (uniform, canvas and jungle boots). When I opened my gear, I saw that my boots were not my size, so I went outside around 2 am to change them.
It was hard to sleep because I wasn’t used to sleeping in a big room with many people as we were 64. So I cried as my friends had all slept. But I got used to the camp after 2 – 3 days; I became closer to many people from different schools, states, backgrounds, religions, and tribes.
The morning meditation was the first thing that scared me; we woke up by 3 am, took our baths, and, if there was time, ate something and headed to the mosque for prayers. Immediately after the Salaam was said, the soldiers would shout, “If you are finished, come out”; “If you are sleeping, you are wrong…come out”. I felt afraid for the first two days as soldiers used to scare me, but I was used to it the following days as the soldiers were friendly if and only if you followed their instructions. Each Platoon participates in different activities in the camp. Our group participated in the kitchen too.
I enjoyed the parade on the parade ground, especially when the drums were being beaten. I miss the friends I met. Going to Mami market with Fatima and eating noodles, that is when we don’t want to eat the food prepared by the kitchen, Platoon meetings, lectures (boring sometimes), Entrepreneurial skills which I was in a cosmetology group where I learned how to make air freshener, hair cream, liquid soaps etc. many my friends join different groups and learn other skills.
Activities that I miss at the camp include a parade, lectures, skill learning and friends. My Platoon parade commander (Danladi Mairiga and Aminu), Platoon leader and members, I missed you. The friends I miss include Fatima, Doris, Nene, ‘Yar Gaya, Hauwa, Patience, Your Excellency, Ayo (room leader), Aysha, Aysha (from Niger state), Makkiyya, Sabi’u Halliru, Rislan, Adamu, Aminu Funtua, Ahmad KD, a friend that I can’t recall his name in Kofar Waika of Kano. Many friends and roommates said the space would not be enough to write their names. My colleagues (Amina, Rabia and Walida) started together but later relocated. Some colleagues we started and finished together are all in my mind.
Government Secondary School Kanya Babba, Babura Jigawa State, was my first primary assignment, but I was transferred to Babura Divisional Library for some reasons. I served alongside Ann and Isma’il. That is where I completed my one-year national call.
In conclusion, National Youth Service is an activity that unites people of different tribes and religions, paving the way for many relationships, from marriage (my friends have married during the service year) to jobs and many opportunities. It strengthens the unity among Nigerians.
My service year was peaceful; it was perfect and successful. During my trip, I miss Bandirawa, Kwanar Dumawa, Minjibir, Danbatta, Koko, Tukui, Wailare and Makoda when taking off from Kano. When heading to Jigawa, I can’t forget Kazaure, ‘Yankwashi, Karkarna, Dandi, Burji, Walawa, Tasawa, Kwanar Sandamu, Koko, Kanawa, Babura, Rafin Canji, ‘Yar Kirya, Garun Gudunya, Babura Kudu, Babura Yamma, Gari Uku, Kanya Babba and many other places that I can’t recall their names. Indeed, the people in those areas showed great hospitality to us.
The Centre for Media, Policy and Accountability (CMPA) has continued its advocacy to seek collaboration with sister agencies on the successful implementation of the Nigeria Anti-Corruption Performance Public Reporting (NAPPR) project.
The Executive Director of the Centre and project lead, Dr Suleiman Amu Suleiman, who led the project team to Centre for Fiscal Transparency and Integrity Watch, explained that the project has four components: research, advocacy, training and developing a harmonised template for anti-corruption reporting.
He lamented the differences in the pattern of reporting corruption by Anti-Corruption Agencies (ACAs) as a result of the different indicators used and hope that the project will fill this gap by developing a harmonized template that the ACAs will use in reporting corruption in Nigeria.
Also speaking, the Deputy Project Manager, Naziru Mikailu, said at the onset of the project, ‘the Centre faced difficulties in convincing the ACAs to key into this project’.
‘We hope that the Centre will help us in the implementation of this project and development of the template in view of your field experiences’, Naziru noted.
The Executive Director Center for Fiscal Transparency and Integrity Watch, Mallam Umar, described the NAPPR project as brilliant which will give civil society organizations, the media and members of the public an opportunity to check those who check others.
‘We will support CMPA Implement this project’, Umar assures.
Also speaking, Chairman of the Centre Abdulrahman A. Mustapha expressed the hope that the template, when developed, will give the required result of unifying various variables of measuring corruption which will facilitate development.
‘The centre is ready to provide CMPA with all the technical support needed to ensure that the template is accepted by the ACAs in Nigeria’, he added.
