The Learner

Muhammad Muhsin Ibrahim Department of English and French, Bayero University , Kano muhsin2008@gmail.com Abstract The paper seeks to answer some triggering questions on reading: why, when, what and how, through demonstrating to the students some of the many (positive) impacts of good reading culture, exploring the probable 'reasons' why students don’t, or hate to, read, and by offering ways on how to overcome such problems. In the discussion, the writer highlights on how achieving this would contribute to the development of the student’s academic pursuit, linguistic competence and performance, and life in general. In conclusion, a call is made to the “stakeholders” and the people in general to assist the students as their success means, in wider perspective, the nation’s success.   Being a Paper Presented at a Special Lecture Organized by the Department of English, Girls’ Science College, Garko, Kano; 03 rd March, 2013 INTRODUCTION The issue of ed

Preamble The question on, if not the whole issue of, Indian Theatre, whether classical, folk, modern or whatever appendage is affixed to it raises eyebrows. Why? There was no India as known today prior to a certain and recent period of time, which is following the British colonial masters’ declaration of independence to a people who hitherto shared no language, religion, norm and culture; the group of people who were even sometimes hostile to one another. Many scholars and theatre historians and critics have intensely argued (and the argument still continuous) on the true origin, and, again, the existence of an all-encompassing concept called Indian theatre. Reasons ascribed to such contentions are many: Is this the Hindus’, or the Muslims’, the Sikhs’, the Buddhists’, or other religions’ performance that is more befitting to be tagged Indian Theatre? So also the ethnic dispensations; Hindi, Punjabi, Kannada, Bengali, etc all rightly belong to the India; or the recently emerged b