The Rhythm of Futility In the canon of Igbo literature, Goddy Onyekaonwu’s Nwata rie Awọ Ọjụ Anụ serves as more than a story; it is a mirror. When the character Awọrọ cries out, “Ma ụtụtụ – waa waa waa; ehihie – waa waa waa a, ike ya agwụla m,” he is not merely complaining about a bad day at the hunt. He is describing a soul-crushing cycle of expectation followed by emptiness. Awọrọ’s traps were set in the hope of sustenance, yet they yielded nothing at dawn and nothing at noon. This "waa waa waa", this consistent, rhythmic "nothingness" has transitioned from the pages of fiction into the very fabric of the Nigerian political experience. As we look toward the horizon of 2027, we must ask the question that haunts every dining table and bus stop from Kaura Namoda to Yenagoa: Has the Nigerian political system become irredeemable? The Parable of the Empty Trap The Nigerian electorate is like a hunter who meticulously sets his traps every four years. We wa...
Introduction As Nigeria prepares for the 2027 general elections, national conversations are already dominated by familiar patterns of political strategy. Within Nigeria’s evolving democratic framework, promises are frequently made and political affiliations shift, reflecting the dynamic nature of party politics. To fully comprehend this environment, it is valuable to move beyond standard political analysis and consider alternative frameworks for understanding Nigeria's situation. Drawing an analogy with the classic film The Thief of Bagdad , one can observe themes of contested power, challenges to legitimate authority, and widespread uncertainty among citizens. As another electoral cycle approaches, it is important to critically evaluate whether current events reflect a genuine democratic process or echo past instances of political manoeuvrings. The Grand Viziers: Sorcery and State Capture In the film, the Grand Vizier Jaffar is not merely a minister; he is a usurper who uses...