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Igbó!

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Dele Jegede In Conversation With Prince Yemisi Shyllon
Prof. Toyin Falola

By Toyin Falola

Kilode! 

Don’t say you won’t read this fine piece because it is about Igbó, alias Indian Hemp. I sympathize with the Indian, as the one I want to talk about is the original Nigerian hemp. I am not inviting you to smoke but to listen to Igbó songs. There is Igbó shirt, Igbó powder, Igbó babe, Igbó boss, Igbó cake, and orísirísi amugbó. All those for later. Today, it is about Igbó music. Well, you don’t smoke Igbó; you don’t inhale it, but you have probably danced to Igbó song. Play along with me. Plug in headsets to get some inspiration, you know, for something creative, and lyrics roll out until it gets to Burna Boy’s:

…I no holy and I no denge pose

Like Baba Fryo

My eye, oh, don cry, oh (my eye, oh)

(I need igbó and shayo) shayo

I need igbó and shayo (shayo)

I need igbó and shayo (shayo)

I need igbó and shayo (shayo)

     Shayo (shayo) shayo (shayo)                              https://www.youtube.com/watch?v=421w1j87fEM

…. and it goes on and on. So, I decided to listen to something older, and 9ice “Ganja Man” rolled in…

Ganja Man

9ice

Give me the lighter, pass me the ganja

Quickly roll up the rizzler, let the smoke pump

Let the smoke pump ina air

https://www.youtube.com/watch?v=Ei2zLQkuXzg

If you do not know, Igbó and Ganja mean the same thing: Cannabis. In one of his classics, the uniquely talented Orlando Owoh called it ewé ọlà—the plant of prosperity. And he saluted his famous dealer, Eléwé Ọlà. https://www.youtube.com/watch?v=nycp-qc8CI4. I have tried to sing this song unsuccessfully, but God has yet to create another vocalist with this baritone voice. I can do a soprano, but with Orlando, he can move, in verse, from tenor to countertenor. I am glad he has joined the Angels to sing for God—this way, there is no time to ask him about Ganja!

Igbó heats consciousness and captures the social music trends that probably meet the market demands in contemporary Nigeria or, in fact, the world. “I know so”, to use Fela’s phrase. Coming on the heels of advancements in information technology, particularly mass communication, music has been a major cultural export globally. In Nigeria, hip-hop has been a significant export in the last decades. Hip-hop has remained the most consumed music genre in Nigeria and the continent, with the youth being the predominant producers and consumers. So, the demand is increasing, so they try to conform to different market cultures obtainable, especially in Europe and America, including promoting nudity, social vices, and, most particularly, Igbó.

But before music became a commodity of exchange (to be consumed or exported), it was, and still is, first, an integral component and expression of cultures. Like other components of culture, music is flexible and permissive to external influences. In the dead past, promoting deviance was alien to Nigerian music. Seen as an integral part of the culture, the messages contained in music were targeted at social reforms, albeit with some exceptions. Well, the oldies also have their expressions of relaxation and shortfalls, but in what could be regarded as some sort of permissible silliness in those days, there was still some radiation of culture and didactics.

However, foreign music came with its foreign elements, part of which is the promotion of vices mostly found in American rap and trap music. The modern development of Nigerian pop music has been inextricably linked to the intercourse between American trap music and local acceptance. Interestingly, rap black music originates from the harsh socio-economic conditions of southern United States youths in the late 1990s to the early 2000s who slept and woke up in poverty, crime, and drugs. Music was, therefore, for them, a way to reflect and memorialize their street experiences, hustling, substance indulgence, and struggles in the neighbourhood. It is, therefore, unsurprising that the Nigerian variant, Nigerian hip hop, has thoroughly emulated its American influence. So the humble days of Oshodi Underbridge, Agege street lives, and other ghetto exposures have followed the same patterns and are reflected in Nigerian contemporary hip hops.

The glorification of drug abuse, particularly marijuana, and other vices in Nigerian music is a case in point.  Perhaps, a good way to understand the situation is to trace its history (not its development as discussed above) starting from the origination of Afrobeat as birthed by the iconic Fela Anikulapo Kuti. Well, a modern musician, Mr Real, has said, “K’òsí bí o ṣe fẹ́ fagbó, o lè fagbó tó Babá Felá,” meaning there is no way you would smoke marijuana, it cannot be as intensive as Fela did. On my recent visit to Allen in Ikeja, Lagos— the resting place of the Afrobeat legend and social activist — it was hard to imagine that Fela died more than twenty-five years ago.

Unlike the New Afrika Shrine, which bustles with a fusion of highlife, jazz, and Fela’s rebellious music in the evenings, the Allen community offers more calm as every sanctuary should, but one thing is apparent, Fela’s music and radical legacy permeate the length and breadth of the community in various dimensions, even announcing itself with the controversial headless statue of Fela which welcomes visitors into Allen Avenue from the Opebi corridor. No Shrine you reach.

This ubiquitous and enduring legacy is soothing, offering fond reminisces of Fela’s life and times, but we are presented with its ugly dimension—a case in point. Here, just like in the recesses of Agidingbi (home to the New Afrika Shrine), Allen has its fair share of psychedelics, more fashionably referred to as junkies or stoners, who justify their obsession as rebellion. As with most cultures that stay around long enough, marijuana obsession has found its way into Nigerian music, particularly the hip-hop and pop genre, which is the most popular in the country anyway.

While Fela’s lifestyle may have portrayed an addiction to marijuana, his songs were never about that life.  They were strictly socio-political commentaries and songs of rebellion against the status quo. Fela did reference marijuana in one of his songs (in the Expensive Shit album), but even in that instance, he was referring to an encounter with the police which necessitated him to hide the contraband by swallowing it. Yet, contemporary pop artists have decided to carry on the acts of the preacher with little or no attention to the message. Naira Marley rolls in, 

I just wanna marry Juana 

Please let me marry Juana 

Cannabis in the rizla, so high I can’t get higher

https://www.youtube.com/watch?v=cQ2I0HSWz-I

You will think Juana is a pretty woman!

Having established how the behavior came to be, it might be helpful to look at the motivations behind its continued existence. Here, three hypotheses could help us to understand why there is a growing use of marijuana content in these songs. First, as observed in its history, we see that reference to marijuana and other intoxicating substances furthers an existing culture. Despite being an imported phenomenon, its acceptance has morphed into a tradition—an inextricable component of pop culture. For this reason, artists refer to marijuana and its many other sister substances to keep up with the game’s culture. As more songs continue to romanticize the trend, substance addiction becomes mistaken as a form of radicalism when it is, in fact, nothing but a social vice.

Secondly, we find another motivation for the proliferation of marijuana music in the social organization of the Nigerian pop music industry itself. This reflection reveals that the “high life” nature of the industry promotes a disposition to social vices, particularly philandering, partying, and smoking different kinds of hard drugs. A third hypothesis posits that the continued use of marijuana content in Nigerian music is, in fact, a corollary to popular realities. In other words, pop songs are deliberately written to mirror popular trends. And since popular trends include drugs, deviance, and partying, these artists create space for these contents in their artworks to boost acceptance. Individually or in concert, these factors account for the growing inclusion of marijuana allusions in Nigerian songs. Burna Boy rolls in again …Say, how would you like to smoke some weed…gyal…

Today, Nigerian music is inundated with lyrics that directly and indirectly refer to marijuana. Marijuana has been referenced as an inspiration and a psychedelic tool of liberation from the many struggles that are ever so apparent in society, drawn from testimonies of those that found inspiration in Fela and Bob Marley. So, more than just a muse or a psychedelic drug, marijuana has become a buzzword for musicians and a symbol of deviance among the youth, who are the worst hit by the prevailing socioeconomic difficulties in the country. Fela and Bob Marley are still seen as revolutionaries, and probably some are deluding that marijuana must go with it.

For instance, when the former president of the United States, Barack Obama, shared his favourite songs of 2022, it was good news for Damini Ogulu (Burna Boy), who, for the second time running, had appeared on the ex-president’s music playlist. Burna Boy’s single, Last Last, from his Love, Damini album made the 23-song playlist, opening up many issues for discussion. In Last Last (the first song in the album), Burna Boy wasted no time introducing marijuana to his listeners. His first words, “shayo oh” and “Igbó oh,” both generic street names for marijuana and other intoxicating substances, were the perfect intro for the eventual chorus: “I need Igbó and shayo oh.” In the song, Damini narrates a recent heartbreak experience for which he takes solace in Igbó (marijuana) from the breakfast he was served. In this personal context, Burna Boy hoped to find solace in shayo to forget his pains.

Burna Boy’s Last Last is not a one-off ode to the magical cannabis plant. In 2011, he released a song titled “Rizla,” with lyrics like: “Pass me the rizla/ Make I roll up the ginger/ Cause them no get e liver.” Afeez Fashola (Naira Marley) was even more direct with his marijuana connotation in his song “Marry Juana.” The song opens with a hook: “I just wanna marry Juana/ Please let me marry Juana/ Cannabis in the rizla/ so high I can’t get higher.” In Party No Dey Stop, Adekunle Kosoko (Adekunle Gold) and Azez Oniyide (Zinoleesky) offer the most subtle reference to marijuana with the expression “Olúwé máwé.”

Apart from the undeniable influences of foreign music, marijuana as a theme in Nigerian music is not recent. Marijuana allusions could be found in oldies like Dr Orlando Owoh’s Iye Mi Mabinu. In this song, the late musical genius apologizes to his mother for indulging in marijuana smoking using his native Owo dialect with the lyrics: “Iyemi má bìnú pé mo sáìgbó.”

Marijuana songs in Nigeria indicate more than an obsession with the cannabis plant; it presents a bigger problem, including the abuse of drugs of different kinds. In the dark world of hard drugs in Nigeria, drugs like cocaine, coke, and heroin have been joined by Crystal meth, Ecstasy, and Codeine. I must not forget what is trending now: Colos. 

The National Drug Law Enforcement Agency is unable to win its war, as the drug market continues to grow, further deepening existing addictions and inducting new addicts. At the crescendo of the drug abuse crisis, popular hip hop artiste Olamide Adedeji (Olamide) dropped a single titled “Science Student,” where he glamorized the use of different drugs by referring to it as a scientific process of mixing chemicals to concoct a solution. For instance, the chorus starts with “Wọ́n ti po omi gutter pọ̀/ Ojú ti dirty/ Wọ́n ti po chemical pọ̀/ Àwọn ọmọ science students.” In a more direct reference, he says, “Tramadol lò ńmu bí tonic water yí.” 

Interestingly, the over-the-counter sale of Tramadol has been banned by regulatory agencies following the excessive abuse of the opiate analgesic. The sales and access to marijuana for recreational use or abuse are under supposed strong control and ban. What remains uncertain, however, is whether the enforcement efforts of the regulatory agencies are matched by music censorship boards, considering the degree of unfettered obscenities in contemporary music. Increasingly, substance use is being glamorized and has gotten to the point where the consumption of these drugs has become normalized as the “vogue.”

The impact of music in shaping social behaviour is well-founded. It is not surprising that cannabis has remained the most consumed hard drug in Nigeria. As more songs join the fray in glamorizing substance abuse, these teeming listeners try to emulate the artists and characters in these music videos. And like most vices, marijuana abuse does not exist in a vacuum but in association with other vices. Hence, the need to address the menace before it becomes a bane.

As you smoke up this piece, do not take me for character judge. In understanding the comfort people get from smoking, one must draw the line based on illegality, health, and addiction. However, the efforts of the regulatory agency are like pouring water into the ocean if social characters are excessively fueling what they intend to regulate. Daddy GO, Igbó and the songs around it are here to stay. I heard one of them at the Camp!

Lobatan!

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Opinion

Fear Of Witchcraft And Politics In Zambia

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Witch Burning, Impunity And Abuses Linked to Witchcraft Beliefs In Benue State
Dr Leo Igwe

By Leo Igwe

The Advocacy for Alleged Witches (AfAW) is concerned over the reported arrest of two men accused of being ‘witchdoctors’ in Zambia. The arrest underscores the potency of witchcraft fears and the connection between occult anxieties and the country’s politics. These individuals were accused of trying to bewitch the Zambian president, Hakainde Hichilema. The police claimed that they had charms. They planned to use the charms to harm the president. The report says the two persons have been charged under Zambia’s Witchcraft Act. The Act criminalizes “possession of charms”, “professing knowledge of witchcraft”, and “cruelty to wild animals”. The police found the two with assorted charms, including a live chameleon.

This development is utterly embarrassing and shows that the Zambian government is slowly losing its focus and bearing.The country has many socio-economic challenges. Suspicion of bewitchment or possession of charms should be the least of its worries at this time. There should be no place for witchcraft and possession of charms in modern politics because there is no evidence for these beliefs and practices. Zambian authorities should not weaponize the Witchcraft Act or use it to justify this incident. Zambian law does not recognize witchcraft. Zambia’s Witchcraft Act criminalizes naming or imputing witchcraft. It prohibits accusing or threatening to accuse any person of being a witch or a wizard. In this case, it is the police who are breaking the law.

Otherwise, how did they know the two individuals were ‘witchdoctors’? Did these persons identify as witch doctors? If not, the police are liable because they named and imputed witchcraft and have to prove that these individuals have witch-doctoring powers. The police claimed to have charged these individuals for possessing “assorted charms”, including a chameleon. Really?

The police in Zambia have questions to answer: What are charms? How did they know that what was in their possession were charms, not pets? Is a chameleon a form of charm? What makes possession of a chameleon possession of a charm? When and how does a chameleon become a charm? The police need to answer these questions and more before one takes them seriously.

Again, did the individuals describe what was in possession as ‘charms’? If they did, does confessing or designating something as a charm make it a charm? And if they did not, the police are liable because they need to prove how those possessions translated into charms.

In addition, the police claimed that the duo wanted to bewitch the president. What does that mean? How did they know? Are the police not contravening a provision under the Witchcraft Act by professing knowledge of witchcraft? Can one harm another person using a chameleon? They claimed that the two persons wanted to use the charms in their possession, including the chameleon to harm the president. How did they know that? What is the evidence for that?

The Advocacy for Alleged Witches calls for an end to this state-sponsored witch hunt. There is no evidence of harm through witchcraft or charms. The Zambian government should desist from witchcraft- related infractions and violations including arbitrary arrest, and detention of innocent citizens. These allegations are baseless and absurd. The arrest was politically motivated. This development demonstrates that Zambian authorities are out of sync with their duty and obligation to uphold the rule of law and protect accused persons.

Zambian authorities need to act in compliance with the 2021 UN resolution, which urged states to take measures to combat abuses linked to witchcraft beliefs and ritual attacks. End witchcraft allegations in Zambia. End witch hunts in Africa now!

Dr Igwe directs the Advocacy for Alleged Witches.

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Burning Issues: (FCT Minister And Paulosa) (2)

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Readers’ Showers Of Encouragement
Prof. Tony Afejuku

By Tony Afejuku

The other burning issue, apart from Farotimi and Babalola’s, which I wish to take a look at – and which I am taking a look at now – relates to what is happening in our capital territory. What is this burning issue – which our human rightists and civil society organisations and personages are surprisingly and un-satisfactorily not inclined to focus attention on and examine as they should? I may be wrong, but it surely seems to me that this issue, this burning issue, which is of more importance than Farotimi and Babalola’s – which has been given undue adulation – is deliberately being neglected and depreciated by proclaimers and heroes and heroines of human rights, justice, equity and equality of rights in your country my country our country. Why, why, why and why, why, why? Anyone who has any iota of patriotic sensibility, feeling and judgment well watered and buttressed by a very great influence upon his or her critical judgment will keep on asking the question I am asking.

Mr. Nyesom Wike, as almost everybody who can read and write a little knows, is the current minister of your, my and our Federal Capital Territory. His post or office is akin to that of a governor of a state. As the immediate past governor of Rivers State who was drafted, after his two terms there expired, to continue in the FCT as its new minister-governor or governor-minister under the auspices of a party he is not a true member of, Mr. Wike cannot but be seen as a lucky man. He is in every possible and impossible way. Minister-Governor Wike is a lucky man and a very fortunate one indeed. No former governor of Rivers State (or of any Nigerian state), as far as I know, has achieved what the famed political rouser of rabbles has achieved in one short gubernatorial life-time, and at a relatively young and fertile age. His dual achievement with and in two different political parties at this delicate point of Nigerian politics indicates to our politicians and us all that there is always time for a reminder that there are ready-made high rewards for arch-angels of betrayals. And Mr. Wike may go down in Rivers and Nigerian history as both an arch-angel and an emperor of betrayal of us all if we attempt to indicate what I have defined here as his dual achievement.

We can roughly divide, briefly, Wike’s political development into two periods. During the first, excluding his lower political positions before he became the governor of Rivers State, he quickly adapted his style to that of an emperor who became a rabble-rouser of rabble-rousers whose gubernatorial efficiency moved from stiffness to stiffness. He did not at any time feel that he needed suppleness to govern Rivers State. “Let the heavens fall if they must fall!” We are not there yet in this attempted analysis of the stiff-hearted and stiff-minded one. True? But he is already demonstrating this characteristic in Abuja. False? Judge and give the answer yourself.

Even after he left Rivers State a short while ago as governor, he is still trying to control happenings there to the political discomfiture of his hand-picked successor, his erstwhile “boy” and “son” – with whom he has fallen out. As the minister-governor or governor-minister of the FCT, Wike is occupied with the other taste of the emperor-juggernaut formulator – doing the work of two key political masters in one room and desk of political jugglery. Since his appearance in the FCT, minister-governor or governor-minister Wike has allegedly attempted to recover or transform for Abuja what is not traditionally or socially Abuja’s, for example, the city’s social idiom and landscape and terrain as well as its environs. In doing this he sometimes over-steps his bounds and mark of human/inhuman decency/indecency and psychological understanding of human nature, if you follow well what I am saying; he has so far become at best not really better than a typical pedestrian Nigerian lawyer and officer of political power: in his explorations so far in the Federal Capital Territory we have come to the realization, as T. S. Eliot would say, that “it is so often true that only by going too far can we find out how far we can go.” But one has to be a very negatively obstinate and self-serving emperor and a thorough-bred arch-angel of betrayal of the people and masses to justify such perilous and perfidious expeditions and adventures.

Last week, I saw on Arise Television “The Morning Show” Chief Rita Lori-Ogbebor, the dutiful widow of the late Nigerian supreme patriot and soldier, Colonel Ogbebor (of Benin stock) battling, so to say, to wrest the legacy of her late husband from the tight grip of the adventurous FCT minister-governor who has registered his name and signature in the hearts and consciousness of the people as the depriver of their possessions. The three anchors of “The Morning Show” were in their respective ways splendid in their structures of remarks and questions to Chief (Mrs.) Rita Lori-Ogbebor whom I have had occasions in times past to call patriotically Rita A-K 47 on account of her natural right to fire her beautiful tongue at any person, usually an enemy, of just actions. When she made the case she made to protect the estate of Paulosa Nigeria Limited, her late husband’s aforesaid legacy in the FCT, she was in her natural territory, habitat and element where even at age eighty-four, she never ever loses her stability – although she unusually restrained herself in the Arise Television appearance. Dr. Reuben Abati, Rufai Oseni, and Ayo Mairo-Ese clearly explored seriously but delightfully the mind of the mother-hen of Warri – my other coinage and appellation I gave her in my poetry. Her “The Morning Show” appearance enabled me to see the poignant cry de profundis of the FCT inhabitants whose property and residences in different guises have been demolished. She did not say anything that was out of joint. She spoke and came out as a mother, protector and symbol of the people who have suffered – and are suffering – from the state of affliction and anguish Wike’s demolitions have placed – and are placing – the people.

Ojy Okpe in her delicious and delectable “What is Trending” slot on the same show, showed without exaggeration but with further elaboration what people in and outside Abuja/FCT think of the mighty Wike’s demolitions, a burning issue that the Senate has asked “Let Heaven Fall” minister-governor Wike to halt as the committee the Senate set up on the issue starts its work. Of course, we cannot but assume that Chief Rita Lori-Ogbebor, Mrs. Natasha Akpoti-Uduaghan as well as Mrs. Ireti Kingigbe, the senator representing the FCT in the Senate and other patriotic senators diligently did what they did on the floor of the Senate when the burning issue was tabled for debate with the gracious understanding and authorization of the Senate President.

I need to state further that the “The Morning Show” anchors did well and extremely so by giving the minister-governor the opportunity to air his anti-Paulosa story. His senior special assistant on public communication and social media, Mr. Olalere Olayinka, stood in for him. After he gave the reasons for the clamp-down, his responses to the questions the anchors put to him followed the usual pattern of denials by artificial men in power – denials that they always use to intimidate and betray the people. In fact, Mr. Olayinka’s ploy to ride easily over our dear Rufai Oseni, a wholesome representative of the deprived, that the chap (or is it guy?) and his boss always employ their colloquial speeches and remarks to dishonor, failed. Yes, the ploy failed woefully. In stanza after stanza of the exchanges between Mr. Olayinka and the Arise anchors, he deteriorated – and his deterioration was hall-marked when he unwittingly revealed that the Paulosa land had been acquired by his minister-governor’s close cohort, an act that was nothing short of gross abuse of power and authority.

Because the Senate is already using its authority, power and privilege to resolve the burning issue, hopefully, in a way that the late Colonel Ogbebor’s legacy and family will not be subjected to any kind of degradation, I will utter no more words for now. I trust, however, that the liberties the Senate is taking – or has taken – are for the sake of order to favour the down-trodden.

As for the minister-governor, the PDP emperor at large, here is an immortal quote from Marcus Aurelius, the magnificent and authentic Roman Emperor and philosopher (A.D. 121-180): “If it is not right, do not do it; if it is not true, do not say it.” You lose nothing by giving us a slice of your humanity by your right acts and correct words. Everything changes and passes. Be humane as a human being.

Afejuku can be reached via 08055213059.

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Opinion

Questionstorm As A Method Of Teaching

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Witch Burning, Impunity And Abuses Linked to Witchcraft Beliefs In Benue State

By Leo Igwe

Recently, I facilitated a critical thinking workshop at the Bay Wreath Schools in Lagos. The theme was critical thinking and teacher development. As the theme stated, the workshop was on teaching, about teaching, and for teachers. It highlighted the pedagogical value of critical and reflective inquiry. The workshop exposed teachers to critical mental habits and skills. It emphasized how critical thinking would enhance expertise in the learning and delivery of subjects in classrooms.

I used the opportunity to discuss questionstorm as a method of teaching and learning. Questionstorm is a way that I operationalized critical thinking for primary and elementary schools. Questionstorm is the ability to interrogate all objects and materials. It is a habit of questioning ideas and experiences in all areas of human endeavor. Simply put, questionstorm is a question-driven inquiry. Children are naturally curious. They thirst for knowledge and understanding. Unfortunately, the school system kills children’s curiosity and dampens their interrogative appetite. The school system places much emphasis on rote learning and memorization. It makes the generation of answers not questions or problems the test of knowledge, and the determinant of intelligence. Teaching is largely a drudgery, a monotonous exercise, and a process of depositing knowledge on passive recipients, the students. Teaching entails dumping information on learners whose duty is to cram and reproduce during tests or examinations.

This teaching praxis has been criticized and blamed for the poor performance of students post-school (college and university) and their inability to think independently, creatively, and innovatively. Other teaching methods have tried to address these gaps and limitations. There have been suggestions to make teaching and instruction more active, and more student/learner/child-centered. One such method is the Montessori method. The Montessori method discourages grades and tests as ways of measuring achievement or determining intelligence and excellence. It emphasizes hands-on learning and the development of real-world skills. While the Montessori method stresses the practical approach to learning it says very little about the authoritarian teacher-to-student approach that is the mainstay of teaching and learning in classrooms. Teaching follows a pattern that leaves students and learners in the margins and unable to question and contribute to the learning process. Teachers present what is to be learned such as a text, and then generate questions that students respond or address to demonstrate knowledge of what has been taught. The student’s or learner’s main job is to answer questions, to look for or find answers or solutions. The teacher’s work is to get students to look for, and provide answers, and reproduce what they have been taught or told. But students are answer-depots. Students are not memory banks or reserves. They are active minds and thinking agents.

With questionstorm as a teaching method, the mode of instruction would change. Teaching becomes a cooperative endeavor that actively involves teachers and students. What is taught in the classroom is a collaborative note, not the teacher’s note, not a handout to students. Teachers present or generate texts or objects for learning, in response to intense questioning of the object or material by students, teachers provide information as required for that subject, topic, level, and time frame. No two instances of teaching – of the same topic or subject- are or should be the same because the input of students and teachers is not predetermined.
This is because of an overlooked principle in teaching and learning, that I call the “uncertainty principle”.

The uncertainty principle underlies questionstorm because knowledge is not fixed. Learning is a fluid process. All that is to be learned is uncertain, it is unknown and never determined. No teacher can say beforehand what is to be taught or learned because no one knows exactly the questions and answers or replies that would arise when a topic is presented or taught in a particular class. A topic or learning material elicits unique responses and exchanges that both teachers and students cannot exactly know or predict a priori, before the fact.

Teaching is a shared task and responsibility. Class notes are fluid materials. They are not texts cast on educational stones and delivered by teachers to students to copy, cut, and paste as is often the case. Class notes are not written or produced by teachers for students but by teachers with students. Teachers’ notes are incomplete and insufficient. They account only for a part, not a whole of the learning process and material. Students’ input completes and complements the teaching material and learning process. Thus every class note is unique because it is a product of a specific collaborative endeavor, a product of particular teaching and learning agents and circumstances that cannot be repeated or replicated.

Thus, as a teaching method, questionstorm is set to facilitate teacher development and improve the quality of instruction in schools. Questionstorm will help realize a paradigm shift in education and learning. I hope educators, teachers, and school managers will embrace this method of teaching and learning.

Dr  Igwe directs the Critical Thinking Social Empowerment Foundation.

 

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