Eedris

Nigeria, CAHR, September 2024 - March 2025

My name is Eedris Abdulkarim, born in Kano metropolis, the capital city of Kano state, on December 24 1974. Life wasn't easy growing up as I had to hawk boiled eggs on the streets of Kano for my mother as a means of helping to cushion the financial burden she had to bear as a single parent. It was while making my routine rounds hawking my wares after school and during the holidays that I got bitten by the bug of rap music. I was ensnared by its hypnotic lyricism and intricate wordplays.

I am built to speak for those who cannot speak for themselves, defend those who cannot defend themselves and fight for those who are marginalised and abused. I am a giver, a lover of truth and promoter of the same. I am a helper of the people, an unrepentant social crusader and human rights activist. Above all, I am a God fearing and respectful man, who loves and cares for his immediate and extended families and people around me. I exude Love as a positive influencer.

Social and rights activism is in blood, directly inherited from my mother who was part of the famous and highly publicised pre-Independence "Abeokuta Women Riot" that ousted the corrupt paramount traditional ruler of Egbaland. My real awakening of the social crusader and activist in me came about when as a young and struggling resident artiste in one of Nigeria's premier hotel establishments in the nation's capital Abuja. I had a front row seat to see how government officials were lavishing and squandering our commonwealth and patrimony on frivolous and mundane material things. I felt frustration witnessing the corruption of the Nigerian governing class and the elites.

This inherent fire for freedom and inequality which had been incubating inside me started blossoming outwardly when I realised the power of the microphone in my hands as an artiste and change agent, and the massive impact that the power of music activism can bring to bear in our society.

So, from day one as a solo artist, I already had a template for this crusade, but the needed impetus I was unknowingly searching for to energise the fight was directly supplied to me when I had the onerous responsibility to take on the gauntlet and expose the incessant and debilitating sexual harassments and 'sex for grade' pandemic ravishing our tertiary institutions with my monumental effective song "Mr. Lecturer" in 2001, and I never looked back ever since.

So, it suffices that I focus on addressing human rights violations in society in all its colours and shapes. I actively follow the policies and programs of the government, monitor its implementations and how it affects the poor masses, and I do not hesitate in calling out the government anytime they err against the people.

I name and shame perpetrators of evil whether in public or private sectors, in my consistent advocacy for good governance in Nigeria. I advocate for the rights of the girl-child, indigent youngsters and their equally indigent parents, women's rights and privileges, students and workers rights. .

My goal is to promote social justice, fiscal transparency, probity and accountability on the part of the leaders and encourage and fight for economic freedom, security of lives and properties, and a level playing field for the citizenry to thrive in tandem, progressively and harmoniously.

Our consistent advocacy also helped in giving birth to a new generation of creative and fearlessly progressive youths, who have shunned ethnic and religious bigotry and hate that our politicians and leaders usually employ surreptitiously to divide, confound and conquer the people during national elections or referendums, while looting the treasury dry endlessly.

It is on record that my revolutionary spat with the American gangster rapper 50 Cent, Nigeria's largest brewery NB PLC, their proxies and showbiz promoters, and the media with the clandestine backing of the government of the day in 2004, became the catalyst for positive change and repositioning of the Nigerian music industry, and by extension, the African music scene; and for specifically making our indigenous music genres and creations alongside our artistes, the toast of the global music scene today. And this remains one of the most important highlights of my vocation as a human rights activist and social engineering advocate.

I already have 7 highly successful studio albums with a litany of singles, collaborations and features spanning more than two decades, and I still have a lot more to offer. When I return to Nigeria after the CAHR fellowship tenure, I intend to intensify my advocacy work and unrelenting music activism by utilising what I have learnt and bringing the knowledge to bear heavily on my activities and schedules going forward.