Writings of the general word's body

Showing posts with label Emman Usman Shehu. Show all posts
Showing posts with label Emman Usman Shehu. Show all posts

Tuesday, October 23, 2007

More Than Just A Widow's Mite

On 25th October, 2007, three writers would emerge in Abuja as winners of a brand new literary contest. Almost four months ago, the Association of Nigerian Authors (ANA), Abuja Chapter, proposed to the Executive Secretary of the Federal Judicial Service Commission, Hajiya Bilkisu A. Bashir, to consider endowing a prize for Hausa literature in memory of her husband who had died in October, 2006. In a country where values have not just been misplaced but turned totally upside down, the Association was pleasantly surprised when Hajiya Bilkisu agreed to immortalise her husband through a prize for Hausa literature.

The Engineer Mohammed Bashir Karaye Prize for Hausa Literature will run in a three-year cycle covering fiction, poetry and drama. For starters, the top three contestants would share three hundred thousand naira. The first place winner gets one hundred and fifty thousand, the second collects one hundred thousand, while the third receives a consolatory fifty thousand naira. This too is unique in the annals of the country’s literary prizes because usually, including the Nigeria Liquefied Natural Gas (NLNG) Literary Prize, the top winner carts all the money home and the runners-up don’t even get a handshake from the organisers. The approach adopted for the new Hausa literary contest will hopefully make the competition keener.

The Mohammed Bashir Karaye Prize is also significant because it is the first non-governmental intervention in the history of Hausa literary contests. Indeed the growth of Hausa literature seems to have been largely propelled, with one significant exception which shall be addressed later, by literary contests. The first competition took place during the colonial era. In 1933, the Education Department of Northern Nigeria, through the Zaria-based Translation Bureau headed by Rupert East, organized a creative writing contest in Hausa. The records show there were only five entries in manuscript format but this small field would provide the formative canon of imaginative prose-writing in Hausa. One of the writers, Abubakar Imam, would eventually have a dominant effect not only on Hausa literature, but also on the use of Hausa language in journalism.

The five entries were Bello Kagara’s Gandoki, Abubakar Tafawa Balewa’s Shaihu Umar, Muhammadu Gwarzo’s Idon Matanbayi, John Tafida’s Jiki Magayi and Abubakar Imam’s Ruwan Bagaja. Of the lot, Imam’s entry stood out and he was encouraged to put together a collection of stories which after several revisions appeared as the three-volume classic, Magana Jari Ce. The momentum generated by the contest led to the establishment of a publishing house - the famous Gaskiya Corporation, a newspaper (“ Gaskiya Tafi Kobo”), and the publication in the 50s of three novellas; Ahmadu Ingawa’s Iliya Dan Maikarfi, Garba Funtuwa’s Gogan Naka and Ahmadu Katsina’s Sihirtaccen Gari. From the 60s to the 70s, Gaskiya Corporation (later to become the Northern Nigerian Publishing Company) would publish four more novellas reminiscent of the pioneering five. These novellas were Sa’idu Ahmed’s Tauraruwar Hamada, Jabiru Abdullahi’s Nagari Na Kowa, Umaru Dembo’s Tauraruwa Mai Wutsiya and Dare Daya.

Another defining period was triggered by two contests that ran almost at the same time. In 1979 the Northern Nigeria Publishing Company organized a contest and got twenty-two entries out of which half were rejected. The top three entries were Suleiman Ibrahim Katsina’s Mallakin Zuciyata, Hafsatu Abdulwahid’s So Aljannar Duniya and Magaji Danbatta’s Amadi Na Malam Amadu. The next year a contest in some Nigerian languages was organised by the Federal Department of Culture with manuscripts as the entry format. Suleiman Ibrahim Katsina once again led the pack in the Hausa category with Turmin Danya. Three other noteworthy manuscripts were Musa Mohammed Bello’s Tsumangiyar Kan Hanya, Bature Gagare’s Karshen Alewa Kasa and Manir Mohammed’s Zabi Naka.

The two post-colonial contests heralded the emergence of a significant novelist, Suleiman Ibrahim Katsina. He would consolidate his prominence with a third novel in 1983 titled Tura Ta Kai Bango, a work described as radically different in content from the typical Hausa novel. The contests also signaled the arrival not only of female writers, but also of the love theme that would be the fulcrum for “Soyayya Novellas” boom in Kano and some other major Northern Nigerian towns. The preoccupation of these novellas, mostly written by women, with “love, passion, and the power relations between men and women” , as Graham Furniss has put, has generated much controversy. This is to be expected since traditionalists and purists are unsettled by the uncompromising reflection of contemporary existence.

The emergence of a new Hausa literary contest, this time emphasising published works rather than manuscripts, creates a number of challenges. First, publishing will be taken more seriously as the contest openly demands that entries must be well produced. Second, writers will need to be more skillfull in the realisation of their stories, poems and plays, so that the handling of contemporary issues will have more depth and the storylines will have realistic but imaginative motivations. Third the consistency of the contest may attract a variety of contests with even more lucrative prizes. The maiden award features a launching to sustain the funding, and a lot of heavyweights in government and business have promised to support the endowment, with the former Chief Justice of Nigeria, Mohammed Lawal Uwais giving the keynote address. If this becomes a watershed in the development of Hausa literature, then the Engineer Mohammed Bashir Karaye Prize for Hausa Literature will be more than just a widow’s mite.

Emman Usman Shehu
*Published in his GRAFFITI column, page 37, Leadership Newspaper, October 19,2007.
~
  • Shortlisted writers: Maje El-Hajeej for Kankana; Ibrahim Sheme for Yar Tsana; and Balaraba Ramat Yakubu for Matar Uba Jaraba.

Monday, October 01, 2007

Enter the Vampire

"Our appeal is straighforwardly based on the need for clemency as an essential element in the attainment of that healing process which the present national leader swore to embark upon, on taking oath of office. Without being superstitious, we cannot but observe how a 10-year cycle of blood-letting appears to have become an incubus on the very life of the nation's Armed Forces - 1966, 1976 and now 1986. You possess the will to break this jinx. You have the moral duty to exercise that will."

- Chinua Achebe, J.P.Clark and Wole Soyinka
in a petition to General Ibrahim Babangida at Dodan Barracks on March 4, 1986.


11

if you are going to dodan,
dont wear flowers in your hair.

if you are gong to dodan,
dont write or chant poetry.

if you are going to dodan,
dont mention human rights.

if you are going to dodan,
dont announce consummation's cycle.

if you are going to dodan,
ride in an armoured carrier...


III

The betelgeuse of compassion
led three graying sages
to the dodan of decision.

Our three wise men
brought no gold,
brought no frankincense,
brought no myrhh,
only logos of compassion
to break cycle of consummation.

But no room in the ears
of the leader-lord
to hear professorial pleas.

If you are going to dodan,
ride in an armoured carrier...

© Emman Usman Shehu
  • Enter the Vampire is taken from Emman Usman Shehu's first collection of poetry, 'Questions for Big Brother' (ANA/Update, 1988).
  • Used with permission.

Monday, September 03, 2007

Book Places on the net

Visit the stylish new website for the book, Celebrated - Nigerian Women in Development, written by Ayona Aguele-Trimnell (Toyin Sokefun Bello took the portraits in the book, published by Kachifo Ltd).

Kachifo also publishes Farafina. The magazine's website has been redesigned and is worth a visit. The last edition out, Farafina no 9, is now downloadable in pdf format.

The website for Abuja's chapter of the Association of Nigerian Authors has gone live. ANA Abuja's site was launched at the end of August, same time as the branch kick-started plans for creative writing workshops. There will also be a new prize for Hausa Literature, to be overseen by ANA Abuja. More details on the site, where you can read short stories, poems and other outputs of Abuja writers, led by the branch chairman, the poet Emman Usman Shehu

Sunday, December 17, 2006

Songstress

You stand on the stark platform
under the lone glow
an island of attention,
a vulnerable picture –
pouring out your heart,
a river of candid songs.

How come such tenderness,
from a heart full of scars?
You teach me forgiveness
under a tungsten lamp.

O Songstress, O Songstress,
I hear this river of songs –
sometimes as fast as a flood,
now and again slow as twilight –
pouring out of your wounded heart.

How come such passion
from a soul full of fissures?
You teach me endurance
on a loney island.

O Songstress, O Songstress,
I hear this river of songs
sometimes soft as a whisper,
streaming out of your heart.


© Emman Usman Shehu

  • Published in the Sunday Sun, Lagos, on 26 November 2006. Reproduced with permission.

Sunday, September 10, 2006

Reviewing WS

Not the Wasted Generation


The importance of memoirs cannot be underestimated because they provide insights that sometimes cannot be found in history books. So memoirs are essential towards our understanding of a particular history, because of the knowledge, however little, they pass on. The German philosopher, Friedrich Nietzsche noted in 1873:

Every person and every people, according to its goals,
forces, and needs uses a certain knowledge of the past,
sometimes as monumental history, sometimes as
antiquarian history, and sometimes as critical history, but
not as a crowd of pure thinkers only watching life closely,
not as people eager for knowledge, individuals only
satisfied by knowledge, for whom an increase of
understanding is the only goal, but always only for the
purpose of living and, in addition, under the command
and the highest guidance of this life.

That need for understanding the past becomes all the more urgent for Nigerians whose nation’s history has thus far been anything but peaceful and successful. Nigeria continues to be a puzzle of underachievement, a conundrum of missed opportunities, a riddle of failures, an enigma of misplaced values, and a mystery of misused potentials and roads not taken.

Little wonder that at his 50th birthday anniversary in 1984, Akinwande Oluwole Soyinka, frustrated by the grip of hopelessness and despair on the nation, lamented that his "has been a wasted generation". But has it really been a "wasted generation" ?

You Must Set Forth At Dawn, Soyinka’s third memoir, following Ake:The Years of Childhood and the faction, Ibadan – The Penkelemes Years, provides an intriguing retraction of that famous phrase. At the end of what is easily his lengthiest and most fascinating book, a hefty 500 pages in the American edition sans pictures, appendix, and index, and an almost intimidating 626 pages in the Nigerian edition courtesy of the Ibadan-based Bookcraft, there is no evidence that his generation has been a wasted one.

Yes, the generation has not fulfilled the promise with which it emerged as the potential successor to the local leaders who had overseen the country’s transformation from a British colony to an independent state. But even as students of higher institutions in the United Kingdom, Soyinka and his colleagues could see the quality of leadership that the country was about to be blessed with.

The nationalists, the first-generation elected leaders and
legislators of our semi-independent nation, had begun to
visit Great Britain in droves. We watched their preening,
their ostentatious spending, and their cultivated
condescension, even disdain toward the people they
were supposed to represent. There were exceptions, but, in
the main, they did not appear to have emerged from the
land and people we had left behind when we journeyed out
to acquire some skills and learning. While we dreamed of
marching south to liberate Southern Africa, they saw the
nation as a prostrate victim to be ravished.
(P. 48)

Contrast that with how this young generation saw itself:

We knew, beyond all doubt, our place within the evolving
organism of new nations. We, the young generation of that
independence phase, a renaissance people who would
transform the strange bequest into a world. The only way to
grasp this confidence, this self-assurance is to treat it as pure
knowledge. Not intuition, not revelation, not blind faith, not
ambition, not deductive reasoning or a conscious sense of
mission – no, simply as knowledge in its purest, unassailable
form. And we were working in our various fields – quite
indifferent to any special designation – to bring about this
renaissance.
(P. 43)

That the renaissance has failed to materialise especially in Nigeria is not totally the fault of these purveyors of progress.

Soyinka’s account shows how the euphoria of Independence progressively turned into a cycle of bloodletting, rigged elections, coups, a civil war, and more coups. And yes, more of his generation gradually become part of the ruling establishment that leads the nation from one disaster to the other. But it is also his generation that sets the standard in various fields of human endeavour; standards that are yet to be surpassed, for instance, in the field of literature.

It is also his generation that has been at the forefront of opposing the variants of misrule that the country has experienced, with Soyinka himself becoming an arrowhead of sorts from the moment he daringly swops the tape of the recorded speech of the Premier of Western Nigeria with his own denouncing the rigged elections.

One shudders to think of what would have become of Nigeria if there had been no consolidated resistance to the various forms of misrule and tyranny that have been our lot since the Union Jack was lowered October, 1960. In one sense then, You Must Set Forth At Dawn is a tribute to the resistance that has ensured Nigeria has not gone down the drains. A resistance that has paid the price in many ways. But it is a passionate ode to steadfast, loyal and sacrificial friendship. The roles of his bossom friends especially Femi Johnson and Oyetunji Aboyade are crucial to several of his interventions in the nation’s political arena. Their loss is fittingly captured in this epic narrative. Indeed the tribute to Femi Johnson influences the structure of the memoir.

But this epic is more than a tribute. It also enables us understand and appreciate, and rightly so since it is through his perspective that the narration takes place, Soyinka as political motivator, activist, writer, hunter, wine connoisseur and noble Nobel laureate.

First, it is evident that the author is driven by the credo of justice. When the quest for justice possesses him, he undertakes highly risky ventures like going to negotiate the possibility of a truce on the Biafran side during the Nigerian Civil War, pleading a reprieve for Mamman Vatsa and other alleged coup plotters, or taking unorthodox and dangerous procedures of going into exile to escape Abacha’s murder squad. He puts everything into the resistance including the windfall from the Nobel Prize. This desire to see that justice is done propels him to intervene beyond the shores of Nigeria, to stop the bloodletting in South Africa or Northern Ireland.

Soyinka has an almost religious devotion to wine and hunting and several examples turn up frequently as attestation. Likewise, he recognises his limitations and would not be enticed into doing things he knows he does not have the capacity to deliver to the required standard. Soon after the demise of Abacha, he is courted by both Abdulsalami and a pressure group to consider taking over as the nation’s leader. He declines the offers and promptings even when there is a promise to bankroll his campaign if he accepts to contest:

My immediate objection was that I would not make
a unifying president. An influential caucus in the North-
a feudal elite whom I had never spared, and who in turn
had indoctrinated their constituency with the convenient
notion that I hated the North in its entirety – viewed me
with great suspicion. To make the ideal president, I would
first have to dismantle that lie, and that, I knew, would
require making undeserved concessions.
(P.575)

Soyinka comes across as a pragmatist and this he exhibits in his religious syncretism as well as in his involvement with at least one or two military regimes. He justifies the latter thus:

It boils down, ultimately, to one’s personal confidence in
determining the length of spoon with which one dines with
the devil and one’s ability to keep a firm hold on it. This
involves deriving no advantages, no gains, no recompense
in the process – if anything, expending oneself both materially
and mentally for the attainment of a fixed and limited goal,
retaining one’s independence of action. Most deliciously
of all is the ability to walk away from the dinner table, flinging
a coin on to it as a tip for the host.
(P. 215)

This justification for working with an Artful Dodger of a dictator will certainly make some wince and shake their head in total disapproval.

You Must Set Forth At Dawn is also a timely warning to Nigerians on the need to be alert, watchful and sensitive about the safety of democracy. It is a collective responsibility, the memoir strongly suggests, to ensure that the ethos of democracy is not hijacked and subverted by those who have self-serving and dictatorial tendencies and ambitions. As the nation’s history has shown, even within the scope covered by Soyinka’s account, each time democracy is undermined the task of restoration becomes more onerous, with greater sacrifices having to be made.

Although not directly stated, it is apparent that the effectiveness of the Resistance over the years has been hampered by lack of proper organisation and coordination. From the Third Force to the NADECO/NALICON era, the Resistance appears to limit itself to Lagos and some sections of the Southwest.

A major insight that this Soyinkan tome provides is that a lot of work needs to be done in the area of sorting out perceptions. There are still genuine fears within the ethnic entities of the nation. Unfortunately any dialogue that has taken place thus far seems to be only when a leader wants to manipulate the political process for a self-serving goal. Consequently the age-old fundamental concerns are given a cosmetic treatment.

In his portrayal of the various key players in Nigeria, Soyinka gleefully savages quite a handful even in the way he describes them. But the indictment of the quality of leadership Nigeria has had to put up with does not come directly from the Nobel laureate. As the black on black killings escalated in South Africa across political and ethnic lines, the danger of a civil war increasingly loomed on the horizon. Various efforts to solve the problem, including external interventions made virtually no headway, especially on the side of the African National Congress, as some hardliners would not allow for dialogue. Yet at some point Nelson Mandela and Chief Buthelezi, the Inkatha leader showed the true stuff of leadership:

The no-dialogue rhetoric continued for some months,
escalating in intensity even as the sheer statistics of
reprisal settled into a numbing spiral. Then one day,
several select assassinations and indiscriminate
massacres later, including the detonation of bombs at
political gathering, right on the heels of yet another
fire-breathing ANC bulletin that promised to wipe out
Inkatha and Inkatha’s like response, news emerged that
Nelson Mandela had quietly shunted aside his Executive
Committee and traveled out on his own to meet Buthelezi.
(P. 323)

Of course, the consequence of that deft move was that South Africa pulled back from the brink of what would have been a tragic civil war.

You Must Set Forth AT Dawn comes to a tantalising end as Soyinka returns home from a physically, mentally and emotionally excruciating exile. This closure seems to indicate that Ogun permitting and without Esu intervening, another Soyinka memoir is very possible. This monumental, critical and perceptive account further proves that the Nobel Prize has been far from a "kiss of death" for Soyinka. Instead, like vintage wine, he is proving that with age even his accomplished standard of the mastery of language and its application to the public good can be surpassed.

  • Emman Usman Shehu's review of You Must Set Forth At Dawn at its formal presentation in Abuja on Tuesday 5th September, 2006 at Shehu Musa Yar’Adua Centre. Quotes are from the Bookcraft edition.