Nigerian troops have found two former schoolgirls who were abducted by Boko Haram jihadists eight years ago, the military said Tuesday, freeing some of the last victims of the 2014 Chibok abduction.
The two women each carried babies on their laps as they were presented by the military, after captivity with militants who stormed their school in April, 2014 in northeast Nigeria in a mass kidnapping that sparked international outrage.
Major-General Christopher Musa, the military commander of troops in the region, told reporters the girls were found on June 12 and 14 in two different locations by troops.
"We are very lucky to have been able to recover two of the Chibok girls," Musa said.
Dozens of Boko Haram militants stormed the Chibok girls' boarding school in 2014 and packed 276 pupils, aged 12-17, at the time into trucks in the jihadist group's first mass school abduction.
Fifty-seven of the girls managed to escape by jumping from the trucks shortly after their abduction while 80 were released in exchange for some detained Boko Haram commanders following negotiations with the Nigerian government.
In the recent releases, one of the women, Hauwa Joseph, was found along with other civilians on June 12 around Bama after troops dislodged a Boko Haram camp, while the other, Mary Dauda, was found later outside Ngoshe village in Gwoza district, near the border with Cameroon.
On June 15 the military said on Twitter that they had found one of the Chibok girls named Mary Ngoshe. She turned out to be Mary Dauda.
"I was nine when we were kidnapped from our school in Chibok and I was married off not long ago and had this child," Joseph told reporters at the military headquarters.
Joseph's husband and father-in-law were killed in a military raid and she was left to fend for herself and her 14-month-old son.
"We were abandoned, no one cared to look after us. We were not being fed," she said.
Thousands of Boko Haram fighters and families have been surrendering over the last year, fleeing government bombardments and infighting with the rival group Islamic State West Africa Province.
The conflict has killed more than 40,000 people and displaced 2.2 million more since 2009.
Dauda, who was 18 when she was kidnapped was married at different times to Boko Haram fighters in the group's enclave in the Sambisa forest.
"They would starve and beat you if you refused to pray," Dauda said about life under Boko Haram.
She decided to flee and told her husband she was visiting another Chibok girl in Dutse village near Ngoshe, close to the border with Cameroon.
With the help of an old man who lived outside the village with his family, Dauda trekked all night to Ngoshe where she surrendered to troops in the morning.
"All the remaining Chibok girls have been married with children. I left more than 20 of them in Sambisa, she said. "I'm so happy I'm back."
After the Chibok school mass abduction jihadists carried out several mass abductions and deadly attacks on schools in the northeast.
In 2018, Islamic State West Africa Province (ISWAP) fighters kidnapped 110 schoolgirls aged 11–19 years from Government Girls Science and Technical College (GGSTC) Dapchi in neighbouring Yobe state.
All the schoolgirls were released a month later except Leah Sharibu, the only Christian among the girls, who was held by the group for refusing to renounce her faith.
A senior U.N. official warns of catastrophic consequences for millions of people in northeast Nigeria facing a food and nutrition crisis if the U.N. does not receive the funds needed to assist them.
U.N. resident and humanitarian coordinator for Nigeria, Matthias Schmale, says he is ringing the alarm bell now because the United Nations has received less than 20 percent of its $350 million appeal for Nigeria.
He says people in Borno, Adamawa, and Yobe states are struggling to survive after 12 years of conflict. Of the 8.4 million people who need humanitarian assistance, he says the U.N. plans to support at least 5.5 million of the most vulnerable. He says nearly 600,000 people are starving and go for days without food.
Malnourished children, he says, are of particular concern.
“Approximately, overall, 1.74 million children under five are expected to suffer from acute malnutrition across the northeast this year. Of these, over 300,000 … are expected to suffer from severe acute malnutrition and are, indeed, at high risk of death," said Schmale.
He says about 80 percent of U.N. aid will be used to assist women and children who often suffer the most in conflict zones. He says they are subject to violence, to abductions, to rape, and other forms of abuse.
Trond Jensen is Head of the Office for the Coordination of Humanitarian Affairs in Nigeria. He says much of the northeast lacks adequate protection for civilians. He says people who venture outside the fortified military garrison towns are in danger of being killed.
“It is a serious crisis in the sense that there is no freedom of movement, in the sense that much of the countryside is under the control then or the influence of the various different factions of Boko Haram," said Jensen. "So, that there are indiscriminate killings of civilians.”
U.N. officials recognize Nigeria’s crisis is overshadowed by the disastrous war in Ukraine and is in danger of being forgotten. However, they warn ignoring the humanitarian needs of Nigeria would have far reaching consequences in further destabilizing the region.
Nigeria’s Tobi Amusan is hitting the right note at the right time ahead of next month’s World Championship in Oregon, USA.
The sprint hurdler on Saturday set a new African record as she finished in pole position in the 100m hurdles, in 12.41 seconds, at the Diamond League meet in Paris, France.
Amusan before Saturday’s race was already the African record holder having erased the previous long-standing record held by her compatriot, Gloria Alozie.
However, while the initial record achieved at the Diamond League in Zurich nine months ago was12.42s, the 25-year-old has lowered it to a new lifetime best time of 12.41 seconds.
This is the 3rd fastest time in the world in 2022 behind Jasmine Camacho-Quinn, the reigning Olympic champion who ran 12.37 seconds early this month in Rome, Italy, and Alaysha Johnson of the USA who ran 12.40 seconds seven days ago in New York.
Going into the Paris leg of the money-spinning Diamond League, Amusan had widely been tipped to emerge tops and the Nigerian star did not disappoint; not just winning but in record-breaking fashion.
The eight maximum points she secured have moved her top of the event’s standing with 15 points. Amusan is also expected to pocket $10,000 in prize money.
Amusan’s latest win is coming a few days after she also won the 100 Hurdles event at the Paavo Nurmi Games in Turku, Finland.
Before her exploit in Finland, Amusan had also successfully defended her African title at the Senior Athletics Championship in Mauritius where she also helped Team Nigeria to gold in the 4x100m Women’s relay event.
Amusan will now shift focus to the Nigerian Athletics Championships which will take place between June 24 and 26 in Benin City, the Edo State capital.
The reigning Commonwealth Games champion is the favourite to retain the Nigerian 100m hurdles title she won last year at the Yaba College of Technology Sports complex.
Gunmen attacked two churches in rural northwestern Nigeria on Sunday, killing three people, witnesses and a state official said, weeks after a similar attack in the West African nation left 40 worshippers dead.
The attack in Kajuru area of Kaduna State targeted four villages, resulting in the abduction of unspecified number of residents and the destruction of houses before the assailants managed to escape, locals said.
It wasn’t immediately clear who was behind the attack on the Kaduna churches. Much of Nigeria has struggled with security issues, with Kaduna as one of the worst-hit states. At least 32 people were killed in the Kajuru area last week in an attack that lasted for hours across four villages.
Worshippers were attending the church service at the Maranatha Baptist Church and at St. Moses Catholic Church in Rubu community of Kaduna on Sunday morning when “they (the assailants) just came and surrounded the churches,” both located in the same area, said Usman Danladi, who lives nearby.
“Before they (worshippers) noticed, they were already terrorizing them; some began attacking inside the church then others proceeded to other areas,” Danladi said. He added that “most of the victims kidnapped are from the Baptist (church) while the three killed were Catholics.”
The Kaduna state government confirmed the three deaths by bandits who “stormed the villages on motorcycles, beginning from Ungwan Fada, and moving into Ungwan Turawa, before Ungwan Makama and then Rubu.” Security patrols are being conducted in the general area” as investigations proceed, according to Samuel Aruwan, Kaduna commissioner for security.
The Christian Association of Nigeria condemned Sunday’s attacks and said churches in Nigeria have become “targets” of armed groups.
“It is very unfortunate that when we are yet to come out of the mourning of those killed in Owo two Sundays ago, another one has happened in Kaduna,” Pastor Adebayo Oladeji, the association’s spokesman, told The Associated Press. “It has become a recurring decimal.”
Many of the attacks targeting rural areas in Nigeria’s troubled northern region are similar. The motorcycle-riding gunmen often arrive in hundreds in areas where Nigeria’s security forces are outnumbered and outgunned. It usually takes months for the police to make arrests and authorities have identified the attackers as mostly young herdsmen from the Fulani tribe caught up in Nigeria’s pastoral conflict between host communities and herdsmen over limited access to water and land.
In 2013, Bianca Okorocha, a Nigerian artist who performs as ClayRocksU, received a DM from one of her Twitter followers. It was an invitation to Metal and Romance, a party in Lagos focusing on rock music — a genre long plagued by negative stereotypes in Nigeria. When she got there, she couldn’t believe what she saw: a whole community of fellow rock fans. “It was one of the happiest moments of my life,” she recalls.
Okorocha grew up listening to her father’s rock records, mostly by foreign bands. Through her teenage years and early adulthood, she immersed herself in punk fashion. But she noticed that people were always wary of her. “In church, I was always called to the pastor’s office for one complaint or the other,” she says. “People always gave me the side-eye and refused to approach me. So I didn’t expect to see so many people in tune with rock music.”
During Metal and Romance, she was shocked to hear Danjuma, lead singer of the metal band 1 Last Autograph, growl — something she’d never seen a Nigerian do. “When I saw them perform, I said to myself, ‘No way I’m not going to collaborate with these guys,’” she says. She’d later become friends with Danjuma, and perform and release music together with 1 Last Autograph, including the metal single “Down” in 2014. These days, they’re still playing together anywhere rock music can be found in Lagos and elsewhere in the country.
And they’re not the only artists leading a new wave of Nigerian rock. For the Love of Woman and Country, the latest album by Lagos’ Oma Mahmud, features both Afrobeats and punk-rock songs, along with songs that blend both genres. “There’s a lot of people that actually want to listen to [rock] songs like this,” Mahmud says. “Every single time I perform my music, it’s usually one of the highlights of the night. Mostly because most rock songs are people just venting their frustrations, and living in Nigeria, [it’s] a country where almost everybody’s frustrated.” His music speaks to Nigeria’s everyday problems, such as corruption, poor government, and a failing economy. Mahmud’s high-energy performances make his audiences feel connected to his music. “They immediately lock on to the music and feel like I’m their best friend,” he says, “like I’m telling their story.”
With artists like Burna Boy selling out Madison Square Garden and Wizkid and Davido doing the same at the 02 Arena, Nigerian music is becoming part of the Western pop mainstream. Could Nigerian rock be the next breakout sound? Okorocha thinks so. “If we can combine the rock that we love with Afrobeats, it may go a long way,” she says.
While rock music is often aligned with non-conformity and resistance, in a hyper-religious society like Nigeria, the genre is also branded as evil — or even associated with the occult. “Most people just think rock fans are listening to something demonic,” says Deoye Falade, who started listening to rock and metal in the mid-Nineties and now attends rock festivals and meetups in Lagos. “The kindest reactions I often get is that this is noise.” But, he says, he no longer cares. “When you like something and you understand it, you just enjoy it.”
He recalls a video of a Nigerian wedding that trended on Twitter in 2018, which featured the couple and their guests headbanging to System of a Down’s “Toxicity.” Some viewers couldn’t understand why Nigerians were partying to rock while dressed in agbada. “But you don’t have to paint your faces or rock the fashion before you like rock music,” Falade says.
A 26-year-old Lagos-based graphic artist going by the name of Queen, who has loved punk and metal since she was 13, says she felt shunned by her peers for listening to music from her favorite bands Bring Me the Horizon and Asking Alexandria. “People were wary of talking to me, and I struggled to make friends,” she recalls. “Once I started rocking and nodding my head, my roommates would say ‘the spirit’ had possessed me, which is weird because even the Christian music they listened to is pretty much rock music — just a softer kind.”
But rock music wasn’t always perceived like this in Nigeria. In the 1970s, after the Nigerian Civil War, and as the country was experiencing an economic boom fueled by the discovery of crude oil, rock bands like Ofo and the Black Company, War-Head Constriction, the Hykkers, the Funkees, and the Lijadu Sisters graced the airwaves with psychedelic rock and funk that captured a distinctly Nigerian sound. These artists chronicled the evils of the civil war, and Nigerians reveled in a renewed sense of optimism that turbocharged the growth of the nation’s music industry. But leftover war trauma and unresolved tensions got swept under the rug — along with Nigerian rock.
Music historian and researcher Uchenna Ikonne, who spearheaded the two-volume compilation Wake Up You! The Rise and Fall of Nigerian Rock 1972-1977, says that rock’s youth appeal in Nigeria — which set it apart from the then more popular genre of juju — ultimately hurt the genre. “In Nigeria, [young people] have the least amount of disposable income, compared with the West where teenagers have jobs and can spend money on entertainment, buy records, and support artists,” he explains. “Teenagers [have never really had] jobs in Nigeria, and the ones that do are doing it to help support family. So rock music had a niche culture that had a hard time sustaining itself, as opposed to juju artists like King Sunny Ade and Ebenezer Obey who would make entire albums praising the richest aristocrats in the society. Those social elites would in turn attend their performances and shower these musicians with their money. … So while juju artists were making money hand over fists, rock artists were struggling.”
Ikonne also draws distinctions between Nigerian rock artists and the country’s most recognizable musical icon, Fela Kuti. On one hand, Fela Kuti’s Afrobeat sound shares stylistic similarities with Nigerian rock: percussive rhythms, and grungy electric guitar and organ work. (Compare the solos in “Ije Udo,” a track by Seventies Nigerian rockers Magnificent Zenians, for example, with Fela Kuti’s “Shakara.”) But, Ikonne says, “coming from a middle-class background, Fela was able to sidestep the struggles of rock artists at the time, as he had more resources.” In the end, his experimentation with Afrobeat, highlife, and rock, coupled with his larger-than-life personality, attracted more attention than his rock peers. “When [Fela] perfected his sound, it kind of upstaged and cannibalized the Nigerian rock scene,” says Ikonne.
By the Eighties, an era that saw a growth of Christian revivalism in Nigeria, heavily influenced by the Moral Majority movement in the United States, rock music gained a bad rep in the country. Those prejudices have lingered for decades. Even in the 2000s, Dammy Lawal, who grew up listening to foreign rock artists and would go on to found the Metal and Romance fest, faced criticism for his taste in music. “Most of what I was hearing was that it’s the devil’s music,” he recalls.
In 2013, Lawal started a BlackBerry Messenger group where he and his friends could share rock playlists. “We had people sharing songs from Disturbed to Linkin Park, AC/DC to Creed, and so much more,” Lawal says.
The collective grew and transferred to WhatsApp. As each group reached its member limits on the app, newer offshoots were formed: RockazWorld, Rock Republik, Rock Haven. Eventually, Dammy decided to host an in-person event: Metal and Romance, where he also met ClayRocksU. “It was meant to be a meetup for sharing music playlists and dancing to our favorite songs, but by the next year, members started demanding that we include performances,” he says. “That was when we knew we had to host an actual show with a bigger venue. We were on to something.”
In October 2015, Rocktober Fest was born. Rock bands and artists visited from all over Africa to attend the show. More than 700 tickets were sold, and 15 performers delighted fans. The numbers grew exponentially over the next two years.
Lawal believes that African rock artists need to embrace their culture, rather than simply emulating Western sounds. “The best rock songs are the ones that have local flavor,” he says.
Oma Mahmud agrees, saying that Nigerian rock artists have to make rock music “native” to the country. “I can perform regular punk-rock songs, but I know who I expect to listen,” he says. “But to scale, the rock has to sound [more] Nigerian.” He says that his friends often play his songs in front of random people, “to see if it’ll draw a reaction.” It always does. “When you hear rock music that sounds like it comes from here,” he says, pointing to his heart, “it catches people’s attention.” In 2021, Afrofolk artist Johnny Drille featured a punk-rock song on his album Before We Fall Asleep — a politically satirical rock song in pidgin that involves growling — to positive reception.
ClayRocksU excels at something similar, fusing Igbo language and local pidgin folk elements with punk rock. In February 2021, she released “Amin” with her band, the Misfits, creating a subgenre of sorts: “Afro-rock.” With the song — a feel-good tune sung in Nigerian pidgin and blending punk rock, Afrobeats, and folk — Okorocha and Co. are also attempting to challenge the negative stereotypes attached to rock music in this part of the world. The singer recalls performances where audience members were shocked to learn that what they were listening to was rock music. “Sometimes, people don’t care about genre,” she says. “They just like what they like.” The lyric video for “Amin” now has 12,000 views on YouTube, a feat she’s achieved organically.
“Not bad for a rock artist in a country where no one listens to rock, eh?” she asks.
Nigerian troops have found two former schoolgirls who were abducted by Boko Haram jihadists eight years ago, the military said Tuesday, freeing some of the last victims of the 2014 Chibok abduction.
