REPORT ON THE AUTHORS' HUB MONTHLY PANEL DISCUSSION_ BY CELINA CHINWEMMERI IKECHUKWU

INTRODUCTION

The Authors’ Hub 12th Monthly Panel Discussion, themed, Interrogating the Absence of Emerging African Writers in School Curricula, was held on 25th April 2026, from 4:30 PM to 6:00 PM via Google Meet.

The session which had a large turnout of attendees, brought together accomplished writers, scholars, and literary practitioners to discuss the absence of emerging African writers in school curricula.

The discussion was moderated by Miss Rashidat Ajakaye, an award-winning scholar, poet, and skilled moderator, she founded STRIDA Club, connecting writers across ten countries, and is author of _Shattered Shadows of Youths_ and over 1,000 poems. She is a Graduate Assistant in the Department of Language, Arts and Social Science Education at Lagos State University, Ojo. She made history as the first First-Class graduate in English Education in over four decades (2022/2023). During the session, she brought both academic depth and practical literary experience to the conversation, steering the session with clarity and insight.

The panel featured an array of respectable speakers:

Prof. Yusuf Adamu is a distinguished scholar, award-winning poet and novelist, Fellow of ANA, and professor of Medical Geography at Bayero University, Kano. He has built a formidable academic career with extensive research on health, environment, and society, and authored over twenty books, including novels, poetry, and scholarly works, blending science and literature. He has also served as Head of Department and Director of Bayero University Press, earning recognition as a Fulbright Fellow and member of the Nigerian Academy of Letters.

Dr. Ahmed Wada Ikaka is a seasoned administrator and literary figure who served as a Director at the National Youth Service Corps (NYSC). Renowned for his disciplined leadership, he contributed significantly to youth development and institutional efficiency within the scheme. As a writer, he is noted for insightful works that engage social and moral issues, blending administrative experience with reflective, nation-oriented thought.

Prof. Segun Adekoya is a distinguished academic, writer, and mentor who taught for many years in the Department of English at Obafemi Awolowo University. A professor of Literature, he has produced influential critical works that deepen understanding of African literature and culture. Through decades of teaching and supervision, he has mentored numerous scholars and writers, earning recognition as a leading voice in literary criticism in Nigeria and beyond.

Prof. Ngozi Chuma Udeh is a renowned academic, writer, and public administrator. A professor of English and literary studies, she has contributed significantly to scholarship, research, and mentorship in Nigerian universities. As a writer, she has produced critical works enriching African literary discourse. She serves as Commissioner for Education in Anambra State, where she has advanced educational reforms, strengthened academic standards, and promoted policies aimed at improving access, quality, and institutional development.

Bishop Sahr Isaac Peterson is a well known Sierra Leonean poet, writer, and dynamic creative voice recognised for his impact across literary and public-speaking spaces. He has received accolades including the Global Writing Company Award (2019) and Intercontinental Writers Award (2025). Academically trained in theology, creative writing, and linguistics, he studied at the University of the People, USA. Having grown up and served in Ghana, he now leads as CEO of the Coalition of Public Speakers & Modern Writers, while working as an English consultant, tutor, and pastor.

The session was hosted by Sumaila Isah Umaisha, founder and coordinator of Authors' Hub.

The moderator formally opened the session by welcoming the panelists and participants. She introduced the discussion theme, “Interrogating the Absence of Emerging African Writers in School Curricula,” and noted its relevance to contemporary literary development, cultural representation, and educational reform.

She proceeded to introduce the distinguished panelists, highlighting their contributions to literature, scholarship, and cultural discourse.

After briefly reflecting on the significance of the topic and appreciating Mr. Sumaila Isah Umaisha for hosting the session, she formally commenced the discussion by directing the first question to the opening panelist.

PROF. YUSUF ADAMU

Responding to the opening question of _"How can interdisciplinary approaches strengthen the case for including African writers in traditionally canon-driven curricula?"_ Prof. Yusuf Adamu emphasized that writers from diverse academic backgrounds, especially the sciences and social sciences, bring valuable perspectives that enrich literary discourse. According to him, interdisciplinary approaches combine analytical insight with creative expression, thereby expanding the way literature is studied and appreciated.

He argued that the exclusion of emerging African writers from school curricula is closely tied to the question of canonization: _“How do we canonize? Who do we canonize? Who do we give a read?”_ He explained that many institutions continue to rely on already established names while neglecting newer voices, often because educators and critics are more familiar with older texts.

Prof. Adamu noted that this dependence on traditional literary canons limits innovation and representation. He stressed the need for scholars, critics, and curriculum developers who are willing to research, evaluate, and promote contemporary African writers.

He concluded that unless deliberate efforts are made to recognize and include new voices, the visibility of emerging writers within formal education systems will remain “very elusive.”

DR. AHMED WADA IKAKA

Addressing the impact of excluding emerging African writers from school curricula, Dr. Ikaka drew from his experience in youth development through the NYSC, where intellectual and moral growth remain central objectives. He described literature as a vital tool for shaping young minds, noting that it strengthens critical thinking, analytical ability, emotional intelligence, and problem-solving skills, while keeping youths aware of events within their environment.

On moral development, he explained that literature serves as a mirror of society and a guide for navigating life’s complexities. According to him, texts help young people develop empathy, ethical reasoning, sound judgment, and the ability to make responsible choices.

Dr. Ikaka observed that many older canonical texts largely focus on precolonial, colonial, and early post-colonial struggles. While these works remain historically valuable, he argued that overreliance on them creates a disconnect with present realities. “The society is dynamic, and the younger generation of Africans must move with the new order.”

He stressed that contemporary writers are better positioned to address pressing modern concerns such as corruption, insecurity, poverty, cybercrime, poor education, abuse of power, and economic dependency. For this reason, he strongly supported the inclusion of emerging African writers in curricula, stating that “the knowledge and wisdom of modern characters are found among the new generation writers.”

On institutional reforms, Dr. Ikaka recommended regular curriculum reviews every three years to accommodate newer texts, greater involvement of state ministries in selecting local authors, and policies requiring examining bodies such as WAEC, NECO, JAMB, and NERDC to include a percentage of works by new writers. He also called for publishing grants, expanded literary awards, stronger online platforms for publicity, and annual engagements between writers, educational agencies, and government stakeholders.

PROF. SEGUN ADEKOYA

Prof. Segun Adekoya delivered a wide-ranging and intellectually rigorous intervention on literary criticism, canon formation, and the place of emerging African writers in school curricula.

He began by explaining that critical criteria are the standards used to assess literary works. These include elements such as plot, characterization, language, rhythm, theme, setting, and point of view. Critics, he noted, examine whether these devices are effectively used and whether they produce a coherent, meaningful, and aesthetically satisfying work. In his words, literary judgment concerns “what is written, how it is written, and the value of what is written.”

Prof. Adekoya observed that critics remain divided on whether literary standards are universal or relative. Some believe enduring writers such as _Homer, Sophocles, Euripides, Aristophanes, Chaucer, Shakespeare, Milton, and Alexander Pope_ achieved greatness by mastering timeless artistic principles. Others argue that values are culture-bound and constantly shifting.

He stressed that while classical principles remain useful, contemporary writers must respond truthfully to present realities. Citing _Ola Rotimi’s The Gods Are Not to Blame, he noted that though the play follows Aristotelian structure_, it places responsibility for tragedy on human actions rather than divine forces. He also referenced *Wole Soyinka’s* _“Dawn” as an example of innovation within inherited forms._

According to him, modern society has altered the nature of tragedy itself. Science and technology have weakened older beliefs in fate and divinity, while new global realities often make suffering appear absurd or “comically tragic,” as seen in Franz Kafka’s Metamorphosis. Yet he warned that modern inventions, including artificial intelligence, while promising liberation, also carry destructive potential.

Turning directly to the panel theme, Prof. Adekoya argued that it is inaccurate to claim emerging African writers are entirely absent from curricula. Rather, they are underrepresented. He cited current WAEC texts such as _Pede Hollist’s So the Path Does Not Die, Elma Shaw’s Redemption Road, Bosede Ademilua-Afolayan’s Once Upon an Elephant, Elizabeth L. A. Kamara’s “New Tongue,” and S. O. H. Afriyie-Vidza’s “Hearty Garlands.”_

At tertiary level, he noted that institutions already have room to introduce newer voices. He referenced writers such as _Chimamanda Adichie, Chika Unigwe, Helen Oyeyemi, Helon Habila, Kaine Agary, Tess Onwueme, Onyeka Francisca Onyekuba, Chinelo Okparanta, Chinyere Grace Okafor, Chigozie Obioma, Elnathan John, and Segun Afolabi_ as examples of contemporary authors already gaining curricular presence.

Prof. Adekoya emphasized that selecting texts is never simple. Space, time, relevance, and quality all matter. Literary judgment, he said, often includes subjectivity, reminding participants that _“Beauty is in the eye of the beholder.”_

He further noted that access remains a major barrier. Many writers self-publish, but weak distribution systems mean books do not circulate across Africa. Teachers cannot teach texts they cannot obtain. He called for stronger public libraries and better publishing networks.

On canon formation, he reminded participants that literary reputation changes with time. Writers once considered “popular” or marginal, like Shakespeare, later entered the canon. “The world is a marketplace of ideas,” he declared, where newcomers must compete for space and recognition.

He therefore advised emerging writers not to lose hope or become impatient when society fails to understand them immediately. They should continue refining their craft, mastering the rules before attempting to break them. While many younger writers are bold and confrontational in tone, he noted that subtlety remains one of art’s highest strengths.

In one of his most striking remarks, he lamented that “art has lost its ability to speak,” urging writers to restore literature’s power to challenge, illuminate, and endure.

He concluded that the surest path for emerging writers is excellence, persistence, and confidence: not shortcuts or connections, but the “craggy and rugged road” that leads to unquestionable greatness.

PROF. NGOZI CHUMA-UDEH

Prof. Ngozi Chuma-Udeh approached the discussion from an educational and practical standpoint, stressing that the issue is not the absence of African writers alone, but how curricula are structured and managed within a limited academic system.

She noted that Africa and Nigeria already possess many gifted writers, including globally recognized voices such as Chimamanda Ngozi Adichie and numerous others. However, she cautioned against overloading students with too many texts, observing that _“there are so many wonderful writers in Africa… if the children are to read all of them, it’s going to be too Herculean for them.”_*

According to her, education operates within a system of macro and micro structures, where books are reviewed periodically and selected according to each level of learning. She maintained that African literature and African writers should continue to be adequately represented through these review processes.

Speaking candidly, she remarked: “I am not going to be sentimental about it.” She explained that many writers strongly desire to have their books prescribed for secondary school classes, but curricular inclusion must go beyond personal ambition.

Prof. Ngozi emphasized that at every stage of text selection, indigenous works should be intentionally represented: “Between every set of books, at least one of our own books should be included, especially within the school curriculum.”

She then moved to what she considered a deeper solution. Literature, she said, should not be written merely to enter the curriculum. “Literature is not life, but literature is an imitation of life. Therefore, we should not write only for the sake of the curriculum; we should write for a general readership.”

For a book to attain lasting relevance, she argued, it must speak beyond the classroom. An engineer, doctor, farmer, and ordinary reader should all be able to connect with it. In her words, “That is the true representation of reality.”

She identified three qualities that elevate a book to greatness:

It is passed from one generation to another and continues to be valued.

It earns enduring acclaim over time.

It transcends geography, so readers across cultures appreciate it.

As she illustrated, a Chinese reader, South American reader, or Australian reader should be able to encounter the text and say, “Wow, this is beautiful.”

She concluded by reminding participants that curriculum space is limited. While many talented writers deserve recognition, not every worthy book can be included at once. She referenced examination bodies such as WAEC and NECO, noting that several African texts are already in use. The real challenge, therefore, is not inclusion alone, but fair selection, quality, and broad relevance.

BISHOP SAHR ISAAC PETERSON

Responding with passion and conviction, Bishop Sahr Isaac Peterson affirmed that emerging African writers are still struggling for recognition, not only within school curricula, but within wider cultural, educational, and literary systems.

Speaking from his experience in Sierra Leone and the broader West African space, he identified one of the greatest obstacles as the decline of reading culture. According to him, the rise of social media has shifted the attention of many young people away from books, with a large percentage now more engaged online than in sustained reading. This, he said, has weakened literary growth, readership, and intellectual culture.

He also questioned the continued dominance of foreign texts in African classrooms. While clarifying that he was not opposed to William Shakespeare, he argued that many classical texts contain language and expressions unfamiliar to younger African learners. Terms such as “thou” and “thee” may be difficult for children at foundational levels, making literary engagement less accessible.

Peterson maintained that if African writers such as _Chinua Achebe, Chimamanda Ngozi Adichie_, and others had been consistently prioritized earlier, foreign writers would not have occupied such overwhelming space in African reading culture.

A central part of his intervention focused on identity and originality. He argued that Africa has been gradually distanced from its own voice through inherited systems that undervalue indigenous creativity. In one of his strongest remarks, he declared: “We have been beaten out of our Africanness.”

Using the story of Kunta Kinte in Roots, whose name was changed to Toby, he illustrated how identity can be erased through imposed systems. He linked this directly to literature, stating that African writers are often pressured to abandon their authentic styles, names, and creative expressions in order to fit foreign expectations.

He lamented the growing culture of imitation among creatives, saying: _“The writing system, we are all becoming copycats." He further explained with a memorable analogy: _“Just like an artist who performs another person’s song, you may appreciate it, but when it is not originally yours, the rightful owner remains the one who deserves the recognition. That is how Africa is.”_

According to him, African societies often celebrate borrowed forms while neglecting originality. Many writers are praised for writing in foreign styles rather than developing their own voices and techniques.

Drawing from his own struggles within Sierra Leone’s literary space, he hinted at the difficulty younger writers face in entering or reforming structures that are slow to recognize new voices. He also expressed concern about weak coordination among literary institutions and inconsistent educational reforms across parts of West Africa, where new subjects or curriculum changes are sometimes introduced without clear planning or long-term direction.

While careful not to condemn his country, he acknowledged that many of the literary works currently gaining broader recognition in the region are coming from Nigerian writers who are intentionally developing their craft and engaging seriously with literature.

Peterson therefore called for unity among African writers, scholars, and institutions. In his words, “If African work should be known to the world, we should be united and work together to make them recognized.” He urged Africans to build a common literary vision, promoting their writers, originality, ideas, and creative methods, so that the continent can speak confidently through literature rather than remain under the shadow of others.

CONTRIBUTIONS FROM PARTICIPANTS:

MALLAM DENJA ABDULLAHI

Mallam Denja Abdullahi highlighted systemic gaps in how literary texts are selected and integrated into Nigeria’s educational curriculum, stressing that the core challenge lies in weak coordination among key gatekeeping institutions.

He observed that there is a disconnect between policy, implementation, and practice, noting that although revised curricula exist, many schools still rely on outdated versions. In his words, “the gatekeepers; those who determine what a nation presents, are disconnected.” This, he argued, reflects a broader failure of inter-agency collaboration and governmental follow-through.

According to him, curriculum content is shaped by multiple stakeholders, including policymakers in education, literary scholars, publishers, and prize institutions. However, he emphasized that without a clear national framework, these actors operate without cohesion or direction.

He raised fundamental policy questions: What do we want our children to read? Who determines this? Who assesses it? And who ensures implementation? For him, the absence of a clear literary and educational policy is the root of inconsistency in curriculum design.

Mallam Denja also drew attention to weaknesses within assessment systems such as Education Resource Centres, noting that decisions are sometimes infl