Between Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam Who is a ‘Creative’ and an ‘Analytical’ Fiction Writer (II) (Makirkiri Da Manazarcin Kagaggen Labari) By U. S. Machika

Between Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam

Who is a ‘Creative’ and an ‘Analytical’ Fiction Writer (II)

(Makirkiri Da Manazarcin Kagaggen Labari)

By

U. S. Machika

I intend to cover three areas in this second segment on the above. The first concern is to identify the persona of Hafsatu Ahmed Abdulwaheed in the entire saga of disputing or discrediting the sole authorship of Sir Abubakar Imam. I will also try to ascertain whether she actually made such a bizarre statement in reference to the pioneer ‘first among equals’, which without any iota of doubt, Sir Abubakar Imam is. I will also consider what fiction is before identifying where and how fiction writings originate.

It is important to recall that Mai Bazazzagiya alleged that through a BBC Hausa interview, Hafsatu Ahmed Abdulwaheed said that she does not consider Sir Abubakar Imam as a ‘creative’ fiction writer. She was further alleged to have said, Imam was presented with a collection of books, which he read before writing his books, as such, there is nothing creative in his writings. She was also alleged to have added that she rather considered Imam as an ‘analytical’ fiction writer instead. Therefore, she was said to have added that, if she is presented with such a scenario, she can write even a thousand books. This was the reason behind Mai Bazazzagiya to descend on her and at a time, our father, teacher and mentor, Prof. Malunfashi had to step in to give us a historical account of Sir Abubakar Imam and his writings.

The question is who is Hafsatu Ahmed Abdulwaheed? Well this ‘kallabi sakanin rauwuna’ (a tribute to women venturing into an exclusive men’s world) was born in Kano in 1952. She did her primary and secondary school and a Diploma in Kano. She started writing at a very early age. Her skills in writing was discovered as early as when she started writing stories in primary three. She was a recipient of the British Council prize at that tender age. Her book “So Aljannar Duniya”, which she wrote when she was in primary five, was featured in 1977 competition organized by Northern Nigerian Publishing Company and her entry bagged the second (2^nd) prize. She had received many accolades ever since. Some of which include awards from Kano State and many organizations. At present Hafsat is said to have written about thirty (30) books, although only five (5) were known to have been published.

Her first and second books are: So Aljannar Duniya and ‘Yar Dubu Mai Tambotsai. These two are fiction under the genre of folklore. The third book is ‘Nasiha ga Ma'aurata’ on marriage counselling (nonfiction). The fourth book ‘Namijin Maza Tauraron Annabawa’ is on the history of Prophet Muhammadu (Peace and Blessings of Allah Be upon Him) also nonfiction. Her fifth and recent published work is a fiction ‘Ancient Dance’ in English under the genre of poetry. Most of her other writings are on religion, which qualify them to be nonfiction.

Hafsatu Ahmed Abdulwaheed is a courageous, bold and fearless woman who airs her views and makes her position known at all times and anywhere. In a cultural and religious setting of Northern Nigeria, where most women were intimidated in venturing into partisan politics, particularly at the earliest Nigerian democratic history, Hafsat made bold to contest gubernatorial election at the return to democracy in 1999/2000. Although she was not a partisan politician, Hafsat was provoked into taking the decision because the women’s group she headed, on a courtesy visit, asked the Governor why he had no women in his cabinet. The governor responded that it was because there were no educationally qualified women in Zamafara state at that period to hold a cabinet office. According to her, she was not there because, ‘she cannot see and ignore or hear and refuse to speak’. Hafsat felt it was ridiculous because she was aware of women in the state with masters’ degree. She therefore set to challenge his seat. Such is the strength of Hafsat character. Well this is the persona accredited to stating that she does not consider Sir Abubakar Imam as a ‘creative’ but an ‘analytical’ writer.

Looking into this thought provoking matter carefully, I decided to lend my voice to the discourse. However, the size and weight of the subject matter kept forcing me to procrastinate the attempt. Yet, the more I try to ignore it the more sleepless nights I have. I found it difficult to reconcile the two words – ‘creative and analytical’ in reference to fiction writing, particularly in considering the calibre of Sir Abubakar Imam and his writings. While I know of a creative fiction writer, I sincerely wondered if there is something like, ‘an analytical fiction’ writer. I was forced to ask myself, ‘Is an analytical writer not somebody who subjected a piece of literature into his mind’s magnificent microscope, to see beyond an ordinary minds strengths and weaknesses of the said literature based on an established scoring checklist?’ Well, I couldn’t help, but to undertake this journey to look into this matter at a closer range.

From the onset, I made it clear that my primary reason for venturing into this adventure is the implication(s) it connotes to younger and aspiring writers. However, to do justice to this I needed to ascertain that a writer of the calibre of Hafsatu Ahmed Abdulwaheed, despite her strong and bold known character to air herself actually made such a statement before a reputable international media outfit like the BBC Hausa. Unfortunately, to be honest I was not privileged to have listened to that interview. I therefore have to surf with the hope of finding Hafsat’s transcribed interview. Fortunately, I found Hafsat’s two transcribed interviews. One was in English, an interview conducted by Yusufu Adamu, way back in 2008 (October 25). I was also lucky to have found the transcript of the referred interview in Hausa conducted by Muhammad Kabir Muhammad aired by BBC Hausa on the 30^th November 2016 titled ‘Mata 100: Yadda Hafsat Abdulwaheed ta kalubalanci Gwamna’.

I found both interviews relevant to the subject matter. I therefore, decided to present both. However, I selected only the questions relevant to the subject of this write up without tempering (editing) anything from the transcript. Here are the transcripts of Hafsat’s interview, starting with the 2008 interview.

Interview with Hafsatu Ahmed Abdulwahid

By Yusufu Adamu, October 25, 2008

http://www.africanwriter.com/interview-with-hafsatu-ahmed-abdulwahid/

ADAMU: What drew your attention to start writing?

ABDULWAHID: I have been an avid reader and listener of folktales since my childhood. When I started schooling, I develop my skills of writing from the home-works and assignments we are given.

ADAMU: What is your first storybook?

ABDULWAHID: So Aljannar Duniya. I started writing this book since my primary school days. It was about my elder sister who got married to a Libyan. When I learnt about a competition organised by the NNPC, I sent it as my entry and I was successful to have won the second position.

ADAMU: How do you get your inspiration?

ABDULWAHID: Mostly from the happening around me.

ADAMU: You have earlier said that So Aljannar Duniya was based on the life of your elder sister. Can we consider it as entirely a true story?

ABDULWAHID: The story as it was in the book is a combination of her life and some personal experience. I am also married to someone that is not of the same race with me, but I have not experience many problems as my elder sister.

ADAMU: Do you read other writers in Hausa or English? If yes, give us an example.

ABDULWAHID: I do. I read mostly classical Hausa writers like Abubakar Imam and other writers of that generation.

ADAMU: Who among Hausa writers impress you most?

ABDULWAHID: Of course it is Abubakar Imam and the author of Tauraruwar Hamada, one Ahmad somebody…I also read authors like Jabiru Abdullahi the author of Na gari na kowa, the author of Jiki Magayi, and so on. For English writers, I read Rider Haggard, Catherine Gaskin, Arnold Rake and so on.

Below is Hafsat’s transcript of her 30^th November 2016 interview with the BBC Hausa. Again, only the unedited portion related to this discourse is presented.

Mata 100: Yadda Hafsat Abdulwaheed ta kalubalanci gwamna

Muhammad Kabir Muhammad BBC Hausa, Abuja

30 Nuwamba 2016

http://www.bbc.com/hausa/labarai-38160059

Muhammad Kabir Muhammad:

Daga cikin litttattafan da suka taimaka wajen kaifafa basirar marubuciyar a kan harkar rubutu akwai Magana Jari Ce da Ruwan Bagaja na Abubakar Imam. Sai dai kuma ta ce ita a ganinta Imam ba marubuci ba ne, manazarci ne:

‘Some of the books that inspired the writer in her writings include Abubakar Imam’s Magana Jari Ce and Ruwan Bagaja. However, she said that she does not consider Imam a writer, but an analyst’

Hafsat Abdulwaheed:

Bai taba rubuta wani abu shi kadai ba, sai tafiyarshi Ingila. Shi an bas hi littattafai ne ya yi nazari a kai ya fitar da labarai?an ba shi Alfu Laila, an ba shi Ikra, littattafan tatsuniyoyi na Larabawa. In aka ban littafi yanzu, aka ce in fitar da littattafai, wallahi ko dubu ake so zan iya fitarwa in dai za a ba ni labaran?kamar yanzu a dauko tatsuniyoyin Ingila ko na Scotland a ba ni a ce na fitar da littattafan Hausa ba zai min wahala na fitar da suba.

‘He has never written a book alone, except the one on his journey to England. He was given books to analyse before writing a story. He was given Alfu Laila, Ikra and some Arab story books. If I am given books now and I am asked to produce books, certainly even if you want 1000 books I can produce them, if I will be given the stories. For instance, if you give me a collection of British or Scottish folklore and I am asked to produce books in Hausa, it would not be difficult for me to produce them.’

These are the transcripts of Hafsat’s interviews. Can you now deduce between Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam who is a ‘Creative’ or an ‘Analytical’ writer? Yes of course you can. However, since my goal in this attempt is to spell out the implication of this assertion to the young and aspiring writers, I will first of all present a few salient, but pertinent questions for them to understand what and who is a creative and/or an analytical writer. In the forefront is what fiction is and to identify where and how fiction writings originates.

As a general rule, fiction is made out of nothing and on the other hand non-fiction comes out of something. The simplest way of considering fiction is to see it as something that is ‘feigned, invented or untrue; a made-up story’. It is therefore, an artistic creative invention. It is literature created from imagination. While a fiction writer might draw inspiration from the world around him, his work is made up from his imagination. It is created by a writer’s imaginary ideas and relies on the story of imaginary things, imaginary people, imaginary events, imaginary places and imaginary writing. Therefore, it is artificial, because a writer based on just his imagination creates stories. The invented story is entirely a reflection of the writer’s imagination. Fiction is commonly divided into three areas according to the general appearance of the text:

1.      stories and novels: prose--that is, the usual paragraph structure--forming chapters

2.      poetry: lines of varying length, forming stanzas

3.      plays: spoken lines and stage directions, arranged in scenes and acts

However, the genres of Fiction are many, they may include: comedy, drama, horror, humor, romance, satire, tragedy, fantasy and adventure. These may be depicted in imaginary voyage, sea story, lost world, slave narrative, occupational fiction, musical fiction, sports fiction, philosophical fiction, political satire, fantasy, ghost story, alien invasion, crime fiction, romance, family saga, fantasy,   a fable,  fairy tales,  science fiction, short story,  folklore,  historical fiction,  a tall tale,  legend  mystery,  mythology, etc.

It is important to note that if something is said to have happened in real places, whether in the past or present, it is considered non-fiction. But if something is said to have taken place in a fake place, then it is fiction. For instance, newspaper articles are nonfiction even when fabricated, except in designated columns of folklore. It does not matter whether the story is true or not, what matters is whether the story claims to describe reality. Unfortunately, according to Daniel J. Kurland (2000), ‘The distinction between fiction and nonfiction has been blurred in recent years. Novelists (writers of fiction) have based stories on real life events and characters (nonfiction), and historians (writers of nonfiction) have incorporated imagined dialogue (fiction) to suggest the thoughts of historical figures’.’

From the foregoing, it is clear to identify where and how fiction writings originates. From a simple glance, it originates from the writer’s IMAGINATION. It is also clear that there is a binding relationship between the writer’s artistic imagination and his artistic creation. His artistic creation comes out of his artistic imagination. Would it then be right to conclude that without imagination, there would never be fiction? If that is the case, then my next line of questions in order to really have a clear picture of a ‘creative’ and an ‘analytical’ fiction writer, would be “What is the source of the writer’s IMAGINATION? Can somebody write fiction without knowledge? If not, what are the sources of a fiction writer’s knowledge?” Hmmm! Even in a multidisciplinary setting, to consider the theories of imagination and epistemology is taking us way out of literature to the subject matter of psychology, sociology and philosophy. Now you can understand what I meant when I said the size and weight of the subject kept forcing me to procrastinate undertaking this herculean discourse. However, since my not undertaking the adventure had given me sleepless nights, I will plod to the end.

Therefore, that and Sam Ogabidu’s one line Facebook post of 30^th November 2016 would be my next consideration in my attempt to unravel between “Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam, who is a ‘Creative’ and/or an ‘Analytical’ fiction writer”.

-TO BE CONTINUED-

Between Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam Who is a ‘Creative’ and an ‘Analytical’ Fiction Writer (I) (Makirkiri Da Manazarcin Kagaggen Labari) By U. S. Machika

Between Hafsatu Ahmed Abdulwaheed and Sir Abubakar Imam
Who is a ‘Creative’ and an ‘Analytical’ Fiction Writer (I)
(Makirkiri Da Manazarcin Kagaggen Labari)
By 
U. S. Machika

I was nudged to quench the quest to dabble into writing on this lofty subject by some of my Facebook friend’s posts. A Facebook post by Malam Sulaiman S. Mai Bazazzagiya on the 30th November 2016, another one the 1^st December with a follow up the next day 2^nd December 2016 triggered my reaction. Another post on the same 30^th November and on the 2^nd December 2016 on the same matter by our father, teacher and mentor, Prof. Ibrahim Malumfashi just made me tightened my armor. By coincidence, before their post arrested my attention, I have been cogitating on the one line Facebook post of Sam Ogabidu on the 23^rd November 2016. I particularly savored the comments of Leo Chris Aba in his response to Sam Ogabidu (I immediately forwarded a Facebook Friends Request to him).

Although this stimulated my sense of adventure to make bold, the size and weight of the subject kept forcing me to procrastinate undertaking this herculean discourse. However, the more I try to ignore it the more sleepless nights I have. So, here I am. 

Let me start from the beginning. Malam Sulaiman is an academic, a linguist specializing in Hausa. He is a celebrated poet, with a number of his poetry published in Hausa. Thus, in his capacity, he is a champion and vanguard of the Hausa language. He is therefore at all times in a combatant ready position to help propagate, defend, promote and strengthen the Hausa language. From the name of his Facebook handle, ‘Sulaiman S. Mai Bazazzagiya’, as a ‘Zagezagi’ (a man from Zaria), he sets to continua taunting his traditional jokemates – the people of Kano. As expected, at every opportunity, the ‘Kanawa’ (the Kano people) also hit back. Nonetheless, sometimes the scenarios where the arrows sent to hit back at a jokemate, indeed may not be a joke, but intended factual messages of the realities on ground deliberately sent to the jokemate. In my thinking, this is what hit my friend, Sulaiman Mai Bazazzagiya. I may be wrong. But this is what I deduced from his Facebook posts. 

On the 30^th November, 2016, an interview aired on BBC Hausa news channel hit him hard, possibly below the belt. In his Facebook posting titled “WATA SABUWA; IN JI 'YAN CACA” (a bizarre happening exclaimed the gamblers), Mai Bazazzagiya quoted Hafsat Abdulwaheed, the author of the Hausa novel ‘So Aljannar Duniya’ as saying that she did not consider the famous Hausa author, (who is now considered an indigene of Zaria), Sir Abubakar Imam as a CREATIVE writer, rather, she considers him more of an analytical writer. Her reason(s) were, Imam was given a collection of books from which he wrote his books. She added that if she has such an opportunity, she can write a thousand books. This did not go down well with Mai Bazazzagiya who considered it a direct affront to the uncontestable acclaim of the ‘Zaria' indegine - Sir Abubakar Imam of blessed memory. Thus, Mai Bazazzagiya concluded by asking for the views of his Facebook followers. He got many. 

On the 1^st December 2016, Mai Bazazzagiya again made another Facebook post titled ‘BBC HAUSA KANWA UWAR GAMI!!!’ literally meaning BBC Hausa, Strife instigators. Emotionally, Mai Bazazzagiya stated that at a period where they are facing challenges in promoting the Hausa language, BBC Hausa is planting a seed of disharmony amongst them. He narrated another episode of about three years. It was again another BBC Hausa interview. Prof. Dandatti Abdulkadir was the one interviewed. In the said interview, Prof. Dandatti stated that Sir Abubakar Imam was not the sole author of ‘Magana Jari ce’ series. Mai Bazazzagiya said that Prof. Dandatti repeated the same thing in a recent gathering of 2016 Hausa writers in Kano. Mai Bazazzagiya said he could not help, but approached Prof. Ibrahim Malumfashi, the renowned known and respected authority in the writings, publications and history of Sir Abubakar Imam. According to him, Prof. Malumfashi responded that he is aware of Prof. Dandatti’s view on Abubakar Imam, but they are false. Mai Bazazzagiya asked why Prof. Malumfashi never countered Prof. Dandatti. Prof. Malumfashi again told him that Prof. Dandatti is their mentor and he has never made such pronouncements in his presence. However, any day he makes such statements in his presence, it would amount to a direct challenge to him, and then he will respond. Mai Bazazzagiya concluded his post by stating that the statement of Hafsat Abdulwaheed was definitely related to Prof. Dandatti’s pronouncements on Imam three years ago. He thinks it is the highest politics of scholarship. 

Sulaiman S. Mai Bazazzagiya was not done. On the 2^nd December 2016, he visited his Facebook again with another post titled ‘MAKIRKIRI DA MANAZARCIN KAGAGGEN LABARI: Shi ilimi kogi ne’ (Creative and Analytical Fiction Writer: Knowledge is infinite). In that post, he challenged Hafsat Abdulwaheed and those with similarly opinion to differentiate between a ‘Creative and an Analytical Fiction Writer’, which would enable him to properly identify where to place Abubakar Imam and Hafsat Abdulwaheed as writers respectively. Hafsat in that interview explained that she wrote her book based on the true story of a ‘force’ marriage of her sister to a Libyan man. Similarly, based on the collection of books Imam read, wrote his books. So, what is the difference between Imam and Hafsat in regards to a ‘creative and an analytical’ fiction writers, Mai Bazazzagiya asked? However, he agreed that there are ‘Creative and Analytical Writers’ and he illustrated with poetry, his area of specialty. A creative poet, he said could study collections of poetry and come up with a unique poem, while analytical poetry writer x-rays different aspects of the poem. He posits that as long as Imam did not ‘copy and pasted’ a work, there is creativity in bringing a different write up. 

I think Prof. Malumfashi heard the cry of anguish from Mai Bazazzagiya and decided to dust his sword and wore his armor and stepped into the battle ground to rescue his mentee. 
Prof. Ibrahim Malumfashi is versatile; an academic per excellence. Academics is his first calling, while the media, his love. He is known to be a workaholic. He spent better part of his life teaching and researching extensively in the field of translation, Hausa fiction, drama, and literary history, and is one of the leading authorities on Hausa women writers in Nigeria. He has published books and several articles and chapters in many journals. He was a fellow (2007) and is now a member of the Centre of African Studies at SOAS, University of London. Born in 1962, Prof. Malumfashi obtained his PhD in Hausa studies (with specific focus on the writings and times of Sir Abubakar Imam) in 1999. He is a professor of Hausa literary history at Usmanu Danfodiyo University, Sokoto for many years. He worked for the Voice of Nigeria and is currently the Dean of Post Graduate School at Kaduna State University, where he is on Secondment from UDUS. No doubt, he is a literary giant. 

On the 2^nd December 2016, the Professor presented Sir Abubakar Imam to the world in response to the ongoing melodrama. Graphically, Prof. Malumfashi gave us a ‘concise summary’ of who Sir Abubakar Imam was in series. So far four (4) series are out. In his opening remarks, Prof. Malumfashi stated that he promised to discuss this issue here, meaning on Facebook because of the recent happenings and at all times when Sir Abubakar Imam is referred to as ‘an experts of experts’ in the area of Hausa lexigraphy and syntax. He appealed to the readers understanding. He appealed to everybody to be opened minded, to desist from the use of foul language and baseless attacks. He promised that the aim of the voyage is to simply share knowledge. He reminded the readers that by June 2016, the man in question, Sir Abubakar Imam departed this world some 35 years ago. 

To be fair to Malumfashi, sometimes back, he has admonished Hafsat on her position regarding Imam. Malumfashi recalled the interview granted by ‘his teacher and the teacher of his teachers’, where it was said that he stated that Abubakar Imam was not the sole author of ‘Ruwan Bagaja’. Malumfashi confessed that by that time a cat got his tongue, so, he was not able to say anything, but he knew it was not true. He also acknowledged the number of people who sought for his intervention in the matter, but he did not. He said Hafsat Abdulwaheed heard that interview and called him to resolve the matter for her. The Professor said he told her that the stories going round about Abubakar Imam were not true and he even made effort to inform her how the book was published. But having made up her mind, she laid claim on what the big Professor said. Prof. Malumfashi was surprised that it is now Hafsat that was quoted as making the statement that Imam is not a creative but an analytical writer. He said he believe something is amiss. The Professor hoped that somebody is not responsible for influencing BBC Hausa to deliberately disseminate such baseless falsehood.

Professorially, Malumfashi started his series in defense of Imam and his legacies by stating that if he says that Imam did not contribute to the development of Hausa lexigraphy, he may not be wrong. According to him, a convener does not contribute to his event; rather, he receives contributions from well wisher. Emphatically, the Professor stated that as far as Hausa literature is concerned, Imam is the convener, who found, shaped and reshaped, designed and redesigned and properly erected the cornerstone of the Hausa literary foundation. He however emphasized that it is a good thing for scholars to dig into history of forbearers so that the present generations would learn from them especially today, where everything has turned upside down. Having x-rayed Imam’s selfless service to Nigeria in various theaters of national building, Prof. Malumfashi concluded that there was no writer like Imam in his generation and there is none in the present generation and there would be none in future as far as written Hausa is concern. Ha! 

This is the background, in which I could not help, but to unsheathe my sword. The question is, what is my stake in this? I am not in any way here to champion the Hausa language, no. Yes, I have an unreserved, unalloyed, unadulterated reverence for Sir Abubakar Imam. In fact, in my small world, I don’t think there is anybody, (that including his biological relatives), who place Imam in the highest pedestal of esteem as I do. Tukur Abdulrahman, the MD of New Nigerian Newspapers can recall our discussion on this subject matter. My position is, in grading contributors to the making of Northern Nigeria by indigenes, Sir Abubakar Imam scored higher than Sir Ahmadu Bello, the Sardauna of Sokoto and the only Premier of Northern Nigeria. Let me quickly clarify that by Northern Nigeria, I am referring to edifice created by colonial masters. So, that clearly leaves the great reformer Sheik Usmanu Danfodio out of my scoring list. Many might not agree with my scoring that is why I said I am a lone star in my reverence for Imam.
However, the unsheathing of my pen has nothing to do with my position on Imam, although, I would use him as my subject of analysis in this discourse. My primary reason for venturing into this adventure is the implication(s) of this to younger writers and emerging writers. While, Mai Bazazzagiya may be more concern on the dent to Hausa language and our father, teacher and mentor, Prof. Malumfashi is forced to come out because somebody has touched the core of his scholarship, I am more concerned with the grass that suffers when two elephants fight. In this case the aspiring writers. 

I intend to cover three areas….

-TO BE CONTINUED-

ALARAMMA ABUBAKAR RIBAH, REVIVING TRUE ISLAMIC SCHOLARSHIP WITH A MODERN TOUCH

ALARAMMA ABUBAKAR RIBAH, REVIVING TRUE ISLAMIC SCHOLARSHIP WITH A MODERN TOUCH

 by

U. S. Machika

Many scholars have written a lot about Northern Nigerian ‘Almajiri System of Education’. Recently, the Federal Government waded into this sanctified traditional Islamic scholarship. Rich analyses of the later bastardized traditional Islamic System of Education abound in many bodies of knowledge. There is indeed very little more to add. The intent here is to share a practical, exemplary and sanctified traditional Islamic scholarship with a little touch of modernity, which I witnessed on Friday, the 15^th January 2016 in Ribah, the Headquarters of Danko Wasagu Local Government Area of Kebbi State. Madarasatul Darul Qur’an Ribah, under the distinguished leadership of Alaramma Abubakar Muhammad Ribah graduated 135 pupils, 99 male and 36 female on that day.

It was a normal traditional Qu’anic graduation ceremony. Convocation, at whatever level, can be pictured graphically. On invitation, the first ray of thought is to ask, “would there be fund raising?” If no, then just go there, eat and merry with the celebrants and have a good time. This was quite different. There was no fundraising, there was no merriments but it was a lifelong unforgettable experience. The ceremony afforded me the opportunity to have a rethink over the Almajiri System of Education. There is no doubt that the Almajiri System of Education as practiced today in the Northern Nigeria had been completely bastardized from the sound system it was operating in the pre-colonial period.  There is no iota of doubt that the Almajiri system is today in a pitiful state. I found one exception in Madarasatul Darul Qur’an in many scores.

It is difficult, very rare to find a truly traditional model of ancient Almajiri School in Nigeria today. The closest I ever found is Alaramma Abubakar Ribah’s Madarasatul Darul Qur’an. Let me illustrate by presenting the components of traditional Almajiri System of Education.

The word ‘Almajiri’ emanated from the Arabic word AL-MUHAJIRIN. From the Islamic perspective, Prophet Muhammad (P.B.U.H) uses the word to refer to the companions who migrated with him for the sake of Islam from Mecca to Medina. The word Muhajirun later came to refer to those seeking for knowledge, by moving from one place to another in search of the knowledge like the founding Islamic Scholar crisscross the breadth and length of the then Islamic world searching for Hadith and other Islamic knowledge from outstanding, renowned Scholars of the day. This was what the Quranic schoolteachers of the ancient Nigerian society and their pupils tried to emulate. Thus, in Northern Nigeria, Almajiri is a Hausa word, meaning immigrant. It refers to children sent from their homes and entrusted into the care of Islamic teachers, wherever they were to learn the Islamic studies.

In that glorious past, begging was never part of the Almajiri system of learning. Nor were the learners reduced to doing menial jobs for survival. Pupils then lived with either parents or under the Islamic Scholar entrusted with the pupils and the community partake in augmenting the needs of the schools within the immediate environment. In other words, members of the communities and the parents of the learners maintained the Almajiri System of Education. The teachers and students also contribute towards their upkeep through farming and other Self-Reliant Skills.  “Bara” as it is known today, is completely unheard of and was not part of the component of the Almajir System of Education. 

The elites collectively attributed the collapse of the Almajiri System of Education to the colonial masters. There is no doubt that the British, 100% deliberately abolished support for the Islamic education. It was 100% catalytic in the total collapsed of the Almajiri system to its present state. The question is how long can we continue to blame the British? How soon will we own up to our collective negligence in allowing the system to remain in its present form? And, for how long will it take us to restore the system back to its pre-colonial preeminence? For example, the society at governance level and the parents at the family level cannot be absolved from this collective negligence, because they abdicated their obligations of properly caring for and educating their children. This is certainly the genesis of the predicament of the Almajiri system today.

Today, the mere mention of the word Almajiri, the picture evokes unkempt and hungry looking children of school age clutching plastic plates and begging for alms to many minds. In its present form, many have concluded that the system as it is presently practiced has outlived its usefulness. The argument presented to substantiate such claim is that the system lacked good teachers and that it operates in an unhealthy environment. As a result, the schools produce half-baked semi-illiterate Qur'anic Malams with attendant consequences to the learners and to the larger society.

The solution to this saw the emergence of “Islamiyya Schools”. While, this truly excluded the ‘ugly’ side of Almajiri System of Education, with many innovations, it does not actually substitute the traditional Almajiri System of Education. Many of the components of the Traditional Almajiri System of Education are missing in the Islamiyya System. The danger of neglecting  and failure to put corrective measures to Almajiri School need not be over emphasised. The dangerous doctrines inculcated into our young lads has cost Nigeria untold hardship. Unquantifiable lost of lives and properties as a result of such negligence is known to all. The pitfall is, it should be either properly redressed, or many abusive tendencies with ugly attendant consequences will continue to haunt our society.

It must be noted that the Almajiri System of Education is an unalloyed “Teacher Centred Learning”. The wisdom behind this Islamic method is providing leadership at all societal strata.  Unfortunately, the Islamiyya successfully migrated from the "Teacher Centred Learning” to “Pupil Centred Learning”. While the Islamiyya System has greatly encouraged the spread of Islamic knowledge, the component of leadership provided by the Almajiri Islamic Scholar is thinning by the day.

This was what impressed me at the Madarasatul Darul Qur’an Ribah’s graduation ceremony. The school has all the components of the Traditional Almajiri System of Education intact. And a perfect innovation that replaces the component of “learning trades and other skill” by the learners with western education. All the ‘ugly’ trends of the present day Almajiri system were systemically removed and placed on checked.  Here are the structures of the Madarasatul Darul Qur’an Ribah.

Let me start by asserting that Almajir system revolves around an outstanding and renowned Islamic Scholar. Take this component out and the system collapses like a pack of cards. This might mock the government’s attempt to form Almajiri schools. The government Almajiri schools can never be a true Almajiri system of Education, rather another form of western education. A cluster of teachers, no matter their level of education cannot substitute a known, respected Islamic Scholar as the arrowhead of propagating Islamic scholarship and providing exemplary leadership as in the Almajiri System of Education. While for western education, the “Child Centred Learning” outshines the “Teachers Centred Learning”, Islam challenges every ‘learned’ – Scholar to pinpoint the authorities underpinning his sources of knowledge. While certificates confirm western education, the scholars one studied from certify Islamic knowledge. This is an element, which even Islamiyya schools hardly have. Of course, it is totally absent in the Almajiri schools established by government.

If Nigerian government, Islamic Scholars and indeed the society in general truly want to address the issues of Almajiri and the security challenges facing Nigeria, then the Madarasatul Darul Qur’an Ribah need to be replicated. We would revisit Alaramma Abubakar Muhammad Ribah’s Madarasatul Darul Qur’an Ribah, but for now, the aim is just to present a point of discourse.