Times of crisis are periods of extreme difficulty or risk that compromise people's freedom, their lives, and their possessions. Due to bandit raids that have occurred repeatedly over the years, southern Kaduna, like other northern states, has suffered a severe setback.
Due to the wide variety of ethnic and religious practices that predominate in this region, it is thought that ethnocentrism and religious apathy were the driving forces behind crisis in Southern Kaduna.
Many people who reside in the places where this insurgency is occurring have been forced from their homes and properties as a result of these barbaric actions, making it dangerous for the locals to remain there.
An Overview of Crisis in Southern Kaduna
Currently, a humanitarian crisis is gripping Kaduna State. The majority of the deadly violence against farming communities has been perpetrated by herdsmen in the southern region of the state.
This is set between two larger contexts: Fulani herdsmen's attacks on farming villages and retaliation, particularly in the North Central region.
The epicenter was located in Plateau State in the distant past (particularly in the Barkin Ladi region), followed by Nasarawa State and Benue State.
Whole communities have been uprooted from these places, many people have died, and many farmers have been unable to produce and harvest for many years.
Southern Kaduna has experienced an increase in long-standing tensions since the major scene of this violence has now relocated from these North Central states to a North Western state. Livestock rustling is still a big issue in Birnin Gwari, which is in the Kaduna Central zone, but it's gotten much worse in the Kaduna South zone, especially since the victims are people rather than cattle.
Brief Historical Background of Southern Kaduna
It has been debatable to use the phrase "Southern Kaduna" for a long time. According to some sources, it was originally commonly used to refer to the southern region of Kaduna State (which officially came into being in 1987, when it was detached from Katsina Province).
Others contend that the phrase only entered formal usage after 1907 and applied to the areas that made up the British colonial government's Southern Division of Zaria Province. The decision to implement this administrative shift was prompted by the local confederation of Christian ethnic nations' ongoing rebellion against Muslim-controlled Zaria, particularly from 1901 onwards after British colonial forces took control of the region.
The intensity of ethnic resistance, framed in the context of Christian independence from alien Islamic-inspired forms of authority from Zaria, sparked a movement that was segregationist in nature.
As a result, "Southern Kaduna" arose as a sociopolitical identity that encapsulated the fight against the Muslim Hausa-Fulani hegemony, notably in relation to religion, politics, and culture.
It should be obvious from the foregoing that the history of Southern Kaduna is a Pandora's box of fights for dominance. It is replete of plots and conspiracies that stake out ownership of land and other natural resources, indigeneship, sociopolitical rights, and rights of traditional leadership, to name just a few potential areas of Hausa-Fulani conflict.
Numerous non-Hausa peoples live in Southern Kaduna (formerly Southern Zaria), which is located south of the Zaria Emirate in Kaduna State. It is situated in the Nigerian Middle Belt. Out of the 23 local governments in Kaduna State, 12 are in the southern part of the state. Some consider it to be more of an ethnic identity concept than a concept of regional identity.
They are made up of a number of subgroups connected by a shared culture and history as well as numerous closely related ethnic groups. James (2000) divided these people into the following categories according to their ethnolinguistic affinity under the heading "The Middle Belt (Composition of the Nok Culture Area)": Out of the estimated 8.5 million people living in Kaduna state in 2016, the population of Southern Kaduna is thought to be above 4.5 million.
Out of the estimated12 million people in Kaduna State in 2021, 5.1 million are predicted to be Southern Kaduna. Hausa is the most often used general language in the region as a means of communication. Christians make up 85% of the population in these regions, followed by Muslims at 12% and Traditionalists at 3%.
The Concept of Banditry
Outlaws often use violence or threat as part of organized crime which is known as banditry. An individual who practices banditry is referred to as a bandit, and they typically engage in individual or group extortion, robbery, and murder offenses.
In current usage, banditry can be used interchangeably with gangsterism, brigandage, marauding, and theft. Numerous claims that the Fulani Herdsmen are bandits, murderous herdsmen, and marauders have been made over the past few years.
The Concept of Scrawlism Technique in Painting
The name "Scrawlism" refers to an artistic movement that originated from the word "scrawl," which denotes crudity, quickly, or carelessly written or drawn work. Art styles define how a piece of work appears. The way an artist portrays their subject matter and communicates their vision is referred to as their style. The qualities that define the artwork, such as the way the artist uses form, color, and composition, to name just a few, are what define its style. Examining how the artist uses the medium while taking into account the method or technique that the artist employs is another crucial element in establishing the style of artwork.
An additional aspect of art styles is the philosophy or driving force behind the artwork. All of these stylistic elements are defined by the choices artists make as they compose their artwork (Thaneeya McArdle 2008-2022).
Statement of the Problem
When art addresses aspects of (community) existence as opposed to one person's point of view or experience, it has a social purpose. Social art frequently elicits some sort of emotional response from viewers, and they are occasionally even moved.
Satire serves social purposes. Both the Spanish painter Francisco Goya (1746-1828) and the English portraitist William Hogarth (1697-1764) tried this, with various degrees of success, in an effort to use their art to inspire societal change. Sometimes a community's standing can be improved by the possession of particular works of art. An Alexander Calder stabile (1898–1966), for instance, can be a community treasure and source of pride.
As a result, this painting, Documentation of Banditry Attacks in Southern Kaduna, reveals the bandits' (Fulani herdsmen's) criminal acts, which include kidnapping, raping, maiming, and destroying farmland, people's lives, and property. As a result, it has had a very negative impact on trade and business.
Through the use of the scrawlism painting method, this seeks to inspire social change in response to the marauders' bad deeds. Can the investigation of the scrawlism painting method, however, properly chronicle these attacks in order to draw people's attention?
Summary
This study “Documentation of banditry attacks in southern Kaduna: an adaptation of scrawlism painting technique” is aimed at exploring scrawlism techniques to document banditry attacks in southern Kaduna. Scrawlism painting technique was developed by the researcher (Amacho Ebenezer) a trained painter.
The concept of developing the technique was to contribute to media and technique development. While the need to document the banditry attacks is to encourage effective documentation by artists in our society, as a means to propound solutions to societal ills.
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