Emmanuel Solate guides us to the three-day festival in Kaduna, Nigeria, that embodies a youthful regeneration of cultural pride.
In the heart of Kaduna State, the sprawling campus of Ahmadu Bello University (ABU), Zaria, undergoes an annual cultural transformation of cultural funfair and galore. For three days, it ceases to be just a citadel of academic learning and metamorphoses into a rich display of a living tapestry of Nigeria’s soul. The ABU Cultural Carnival, acclaimed as the largest campus cultural fiesta on the African continent, is more than an event; it is a powerful statement of identity, a celebration of heritage, and a masterclass in national unity, orchestrated by the nation’s most potent asset: its youth.
The 2025 edition, held from August 16th to 18th under the resonant theme “One Nigeria,” was a spectacular affirmation of this vision. It stood as a dazzling counter-narrative to divisive rhetoric, proving that within the university grounds, Nigeria’s profound diversity is not a point of friction but its greatest source of strength and beauty.
A Magnificent Display: The Carnival Unfolded
The carnival is a meticulously curated symphony of sights, sounds, and flavours. It commenced with a colourful procession, a moving panorama of Nigeria’s ethnic mosaic. Students, adorned in the traditional attire of the Yoruba, Hausa, Igbo, Idoma, Tiv, and countless other tribes, paraded with a palpable air of pride. The air thrummed with the rhythmic beats of diverse drums, from the talking drum of the Yoruba, to the royal kakaki of the Hausa, and beats from the ekwe drums of the Igbo people, creating a harmonious dialogue of cultures.
Beyond the processions, the carnival grounds buzzed with activity. The performative artistry of the students captivated audiences with rhythmic dances, compelling drama, and music that told stories of ancient kingdoms, heroic deeds, and communal values. The elegance of a Hausa/Fulani horse-riding display (Durbar) coexisted with the energetic agility of Tiv Swange and the majestic poise of Igbo masquerades.
Gastronomy
Food stalls extended the festival into the culinary realm. Nigerian classics such as Suya, Tuwo Shinkafa, Jollof rice, Amala, and Banga soup transformed the carnival into a gastronomic tour. Beyond consumption, food served as a form of cultural diplomacy—students exchanged meals across ethnic lines, embodying fellowship in the most tangible sense.
Fashion, Craft, and Innovation
Beyond performance, the carnival spotlighted Nigeria’s artistry in fabric, leather, and beadwork. Aso-oke from the southwest shimmered under the sun, akwete handwoven in the southeast dazzled with geometric precision, and northern leatherworks carried the earthy smell of craft handed down generations. Fashion shows did more than entertain—they became platforms for students to reinterpret tradition, combining old techniques with modern silhouettes. The message was clear: heritage is not static; it evolves through the creativity of each generation.
Competitions and Awards
There were also inclusive Competitions, from Dance-offs, talent showcases, and other games that fostered a spirit of healthy rivalry and inclusivity, allowing every participant to shine.
A poignant highlight was the crowning of the “Sardauna ABU,” a title bestowed upon a student exemplifying exceptional leadership and cultural pride, honouring the legacy of the university’s founder and Nigeria’s pioneering nationalist, Sir Ahmadu Bello (who held the Chieftaincy title, The Sardauna of Sokoto, when he was alive). Sardauna means the Crown Prince in this case of Ahmadu Bello University, ABU.
The crowning was a reminder of leadership rooted in cultural pride. But perhaps the deeper triumph was in the students themselves. In an era of globalisation, where homogenised digital cultures threaten to flatten difference, ABU’s youth are reasserting cultural knowledge. By researching, embodying, and performing traditions not necessarily their own, they resist erasure. They become custodians, interpreters, and innovators of heritage.
The Imperative of Cultural Acknowledgement by the Youth
The ABU Cultural Carnival is significant because it is youth-led. In an age when globalised digital cultures threaten to homogenise difference, students actively seek out traditions, costumes, and histories beyond their own communities. This is not performance for its own sake—it is an act of cultural preservation and patriotism.
By learning and re-presenting practices that might otherwise fade, they become bridges between generations, ensuring heritage is not static but continually renewed, as many traditional practices, languages, and art forms are at risk of fading into obscurity. When the youth become active participants and custodians, they inject new energy and ensure these traditions are passed down to future generations.
This cultural acknowledgement also dismantles prejudice that stems from stereotypes and ethnic biases, which often thrive in environments of ignorance and unfamiliarity. The carnival acts as a living library, allowing a student from the Niger Delta to understand the depth of Hausa fashion and a student from the North to appreciate the complexity of Yoruba mythology. This firsthand experience replaces preconceived notions with genuine understanding and respect.
The cultural carnival is also a platform that fosters empathy as youth have the opportunity of learning about the history, struggles, and joys embedded in another culture’s dance, music, or attire. This shifts abstract concepts of “national unity” from government slogans to tangible, emotional connections between people.
The Nexus: Youth, Cultural Festivals, and Nigerian Unity
The ABU Carnival is a microcosm of Nigeria itself. It provides a powerful model for national cohesion by demonstrating the nexus between cultural celebration and unity.
The university campus becomes a neutral, egalitarian space where all cultures are presented on an equal platform. There is no majority or minority culture at the carnival; there is only a celebration of Nigerian-ness in its multitude of expressions. This is where the theory of “One Nigeria” is practised and perfected.
When a youth from the South-East learns the steps of a Northern dance, and a youth from the North learns the lyrics to a South-Western song, they are doing more than just performing. They are building a shared national identity. They are creating a new, collective culture that is enriched by its many parts. These interactions forge friendships and professional networks that transcend ethnic and religious lines, creating a future generation of leaders for whom national unity is a lived experience, not just a political aspiration.
The Vice-Chancellor’s closing remark that “Our diversity is our strength” is brought to life in the carnival’s very structure. The event proves that unity does not mean uniformity. The goal is not to create a monolithic culture but to build a strong, unified nation where every distinct culture is respected, valued, and celebrated. The social media buzz, with users declaring ABU Zaria as the “true definition of ‘One Nigeria, ’” is a testament to the powerful, unifying energy the carnival generates.
A Blueprint for the Nation
The 2025 ABU Cultural Carnival was more than a success; it was a constant revelation. It showcased the university not only as being “Naturally Ahead” in academics but also as a pioneering force in cultural engineering and national integration. The carnival is a blueprint, demonstrating that the path to a more united, peaceful, and prosperous Nigeria is paved with the bricks of mutual respect, cultural curiosity, and the unwavering commitment of its youth to see themselves first and foremost as Nigerians.
As the sounds of the drums fade and the vibrant costumes are stored away, the spirit of the carnival endures in the hearts and minds of the hundreds of students, staff, officials and visitors who witnessed it. It sets the stage for an even grander 2026 celebration, continuing its vital role as a beacon of hope and a powerful reminder that in our diversity, we find our true strength.
Photos by Kaybee Photography, Kabir Isah
