Opinion
Farooq Kperogi: Celebrating ASUU-FG’s historic reset with caveats
Farooq Kperogi: Celebrating ASUU-FG’s historic reset with caveats
After sixteen years of stalemate, serial strikes and ritualized brinkmanship, the Federal Government and the Academic Staff Union of Universities (ASUU) have finally signed a renegotiated agreement that replaces the moribund 2009 pact. This is at once historic, consequential and praiseworthy.
For the first time in a generation, Nigeria’s public universities have a framework that promises industrial harmony, predictability of academic calendars and an end to the cruel cycle in which students lose years of their lives to shutdowns that have nothing to do with them. If implemented faithfully, the agreement will allow students to graduate on time, restore confidence in public universities and begin the long task of rebuilding Nigeria’s battered higher education system.
Credit is due to the Minister of Education, Dr. Tunji Alausa, and to President Bola Ahmed Tinubu for pushing this through. In fact, the ASUU agreement is about the only major promise Tinubu made in the poetry of campaign that he has clearly kept in the prose of governance.
The symbolism is even more striking when contrasted with the immediate past. The Muhammadu Buhari administration presided over one of the most destructive eras in the history of Nigerian university education.
This was made all the more tragic by the presence of Adamu Adamu as Minister of Education. Before his appointment, Adamu, for whom I had enormously unconditional respect, was a well-known public defender of ASUU in his intrepid newspaper columns in the Daily Trust. Once in office, however, he turned out to be one of the most hostile ministers Nigerian academics have ever encountered.
On October 9, 2022, at the height of that administration’s war with ASUU, I wrote on social media: “Adamu Adamu, an erstwhile ASUU ally, is turning out to be the deadliest foe ASUU has ever had. With help from Ngige, he’s dealing the union one crushing blow after another…. Lesson: the fact that someone is your friend today doesn’t mean they can’t be a murderous foe tomorrow.”
The Tinubu administration has, at the very least, reversed that posture of antagonism and replaced it with negotiation, compromise and a willingness to reset the relationship between government and academia.
At its core, the new pact addresses the three issues that have driven nearly two decades of conflict: pay, welfare and the structure of university funding.
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First is a 40 percent salary increase for lecturers, effective January 1, 2026. Someone rightly remarked that it’s the single largest upward review of academic salaries in over a decade. It’s a long overdue correction after years of erosion by inflation and currency collapse.
For professors, this comes with a new professorial cadre allowance of about 140,000 naira monthly, while readers (roughly equivalent to associate professors) receive about 70,000 naira. Earned academic allowances have also been restructured and tied more clearly to actual academic labor such as postgraduate supervision, fieldwork and research coordination.
Second is a major reform of retirement benefits. Professors who retire at the statutory age of 70 are now guaranteed pension benefits equivalent to their full annual salary. This provision alone is transformative. It ends the shameful tradition of professors retiring into poverty after decades of service and sends a powerful signal to younger academics that a life devoted to teaching and research will not be punished at the end.
Third is the institutionalization of research funding through the proposed establishment of a National Research Council, funded at not less than one percent of GDP. For the first time in Nigeria’s history, research financing is being embedded in national planning rather than left to donor whims and sporadic government interventions.
If implemented properly, this could anchor doctoral training, strengthen laboratories and libraries and finally position Nigeria as a serious knowledge producer.
Fourth is a new funding structure for universities that links capital funding, infrastructure development and staff development to long-term planning rather than emergency interventions. TETFund remains central, but funding is now part of an overarching reform framework.
Fifth is a recommitment to university autonomy and academic freedom, including protections against political interference in hiring, curriculum and internal governance. If faithfully implemented, which is never a guarantee but noteworthy nonetheless, vice-chancellors may not be the glorified political appointees that many of them are now, and universities may cease to be extensions of the civil service.
Finally, the agreement formally buries the 2009 pact that haunted the system like a zombie document. The new framework, produced by the Yayale Ahmed Committee after fourteen months of negotiations, is structured, phased and subject to periodic review. This gives ASUU leverage and gives government predictability.
Yet it is important to separate celebration from illusion. The new agreement is a noteworthy improvement on the living and working conditions of Nigerian university lecturers. But it is not yet competitive by continental standards, and it is unlikely, on its own, to halt academic brain drain.
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Before the agreement, a full professor in a federal university earned roughly 525,000 naira to 630,000 naira monthly. With a 40 percent raise and the new 140,000-naira professorial allowance, a senior professor will now earn in the range of 1 million naira to 1.1 million naira per month, depending on rank and allowances.
That sounds impressive in naira terms. In continental terms, however, it remains deeply uncompetitive.
In South Africa, professors earn the equivalent of about $4,500 to $5,000 per month. In Kenya, professors earn around $1,300 monthly. In Uganda, the figure is about $1,100. In Ghana, professors earn roughly $700 to $800 monthly. In Egypt and Morocco, senior academics earn well above Nigeria’s new scale.
At current exchange rates, a Nigerian professor earning 1.1 million naira a month makes roughly $700. That places Nigeria near the bottom of Africa’s academic pay ladder, ahead of only a handful of fragile economies.
This is why Nigerian universities continue to hemorrhage talent. Professors are leaving for South Africa, Rwanda, Kenya, Botswana, the Gulf, Europe and North America not because they dislike Nigeria but because Nigeria does not value academic labor competitively. A Nigerian professor now earns in a month what a South African professor earns in a week.
The salary increase is therefore a necessary correction, not a strategic solution. It slows the bleeding. It does not stop it.
There is also a potential booby trap embedded in the agreement that deserves sober reflection. The guarantee of full-salary pensions for retired professors has been widely welcomed, and rightly so. But pension experts have warned that this provision resembles a return to the old defined-benefit pension system that Nigeria abandoned two decades ago because it was fiscally unsustainable.
A January 16, 2026, report by TheCable highlighted the controversy sparked by the Director-General of the National Pension Commission, who defended the ASUU deal amid fears that it could undermine the contributory pension scheme. Critics argue that guaranteeing pensions equivalent to full salaries without a clearly defined funding mechanism risks recreating the very problems that forced Nigeria to reform its pension system in the first place.
If the new pension promise is not carefully structured, transparently funded and legally insulated from political manipulation, it could become a future flashpoint for industrial conflict that unfairly punishes students and parents.
Expectations will rise. Budgetary pressures will mount. Regulators will resist. And another round of industrial disharmony could follow.
There is one more omission in the agreement that deserves attention. My friend Prof. Moses Ochonu and I have long argued that the federal government should not simply accede to ASUU’s demands, however legitimate, without also insisting on mechanisms for instructional accountability, research productivity, service delivery and innovation.
Without a system to institutionalize accountability and transparency, students will always be shortchanged, and the nation will be betrayed by lecturers who show little commitment to their craft or to genuine knowledge production and dissemination.
It has become a disturbing culture in Nigerian universities for lecturers to show up in class whenever they please without consequence. In my undergraduate days, I took courses where lecturers appeared only twice in the entire semester, first to introduce themselves and last to set an exam on material they never taught. My conversations with today’s undergraduates suggest that this still happens.
Of course, not everyone is guilty of this. Many Nigerian academics are dedicated teachers and serious scholars working under brutal conditions. But not even one person should be allowed to get away with such negligence.
University lecturers should also not be allowed to publish in substandard, pay-to-play, predatory journals simply to climb the academic ladder. Promotion should reward intellectual rigor, not transactional publishing.
If Nigeria is going to invest billions in salaries, pensions, and research funding, it must also demand excellence in return. Anything less is a betrayal of students and of the country’s development aspirations.
This agreement gives Nigeria a chance to rebuild. Whether it becomes a renaissance or another chapter in the long story of squandered opportunity will depend on what happens next.
Kperogi is a renowned Nigerian columnist and United States-based Professor of Journalism.
Opinion
“Christian Genocidization” of the Kaiama massacre, By Farooq Kperogi
“Christian Genocidization” of the Kaiama massacre, By Farooq Kperogi
“Christian Genocidization” of the Kaiama massacre, By Farooq Kperogi
Kperogi is a renowned Nigerian columnist and United States-based professor of Journalism
Opinion
Descending from Fela’s Afrobeat to Wizkid’s Afrobeats
Descending from Fela’s Afrobeat to Wizkid’s Afrobeats
Tunde Odesola
(Published in The PUNCH, on Friday, January 30, 2026)
Three occupants of a black Mercedes-Benz were heading to work on a good Friday morning. One was the driver, another was the aide, and their oga patapata. They came to crawling traffic on George Street in Ikoyi, Lagos, en route to Obalende, their office. The Federal Secretariat was at a touching distance.
Suddenly, a hail of gunshots rained on the black Benz like a hundred stones from the devil’s sling. Then the tyres screeched away. Then silence. Rivulets of hot blood trickled from the heads and torsos of the driver, the aide and General Murtala Ramat Mohammed. This was February 13, 1976, the first bad Friday I knew.
The second bad Friday was on February 18 of the following year. I had bounced off to St Paul’s Anglican Primary School, Idi-Oro, Lagos, in the morning, having celebrated a quiet birthday a day before. Except for the khaki-wearing planners of sorrows, tears and blood, no one else had a foreboding of what lay ahead in the day.
My class was in full session on the middle floor of the school’s two-storey wing when the news broke and shattered peace and learning. “Soldiers are attacking Fela’s house! Lagos is on fire!”
Yeepa! Fela’s house was a stone’s throw from my school. Before the teacher finished passing the information to the class, she had grabbed her bag, just as the school bell sounded, summoning everyone to the assembly ground. Exhibiting no emotion, a fair-complexioned, slim and fatherly teacher, Mr Mayungbe, disclosed the reason why the school was closing abruptly, strictly warning pupils to head straight home.
He said pupils whose homes were around Fela’s house in the Moshalashi area should wait behind for their parents and guardians to come and pick them up. Subsequently, our class teachers brought out the registers containing pupils’ addresses, calling those whose houses were not around Fela’s house to head home. My name was called. I jumped out, my bag slung across my back and headed towards the gate.
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At the school gate, I thought it was a betrayal to go home and not witness the injustice soldiers were inflicting on the beautiful white house of my hero; the house located by a bend, the house whose architecture I beheld and ogled at during incessant truancy trips. So, I headed to Fela’s house located on No 14 Agege Motor Road, Idi-Oro, where thousands of soldiers were deployed to destroy a harmless civilian, his family and livelihood. Yes, livelihood, because the house had a recording facility. It also had a free health clinic. This was during the military regime headed by General Olusegun Obasanjo, an Egba man like Fela. The barbaric soldiers threw Fela’s 78-year-old mother through the window of the storey building. And she died.
To weigh in on the supremacy fire raging between Fela’s son, Seun, and Afrobeats star, Ayodeji Balogun, popularly known as Wizkid, the aforementioned background from the eyes of a little boy sheds light on the indomitable spirit of the Abami Eda, and why his legacy as the founder and father of Afrobeat is forever encased in gold.
Without ever meeting Wizkid, I wrote a two-part article titled “The god that cut soap for Wizkid” in THE PUNCH more than two years ago. The articles, published in the month of September 2023, extol the humility of Wizkid’s mother, Mrs Morayo Balogun, and the grace upon the life of her superstar son, Ayodeji.
On Friday, May 19, 2023, in a public show of shame, Seun slapped a police officer on the Third Mainland Bridge. I penned “Seun Kuti’s double-edged slap” to criticise Seun’s arrogance and stupidity. Seun’s action on that day exposes the impunity men and women of power and influence inflict when relating with people they consider lower on the social rungs. Fela, despite his avowed stance on human rights advocacy, reportedly fell short on that account on a number of occasions. Neither is Wizkid a saint in this regard. Nigeria’s big men, more often than not, exploit the weakness in law enforcement to get away with any crime. A power monger called Wasiu Ayinde disrupted a flight and attempted to stop a plane from taking off; instead of a time in jail, he was given an award. Because he was close to President Bola Tinubu.
Let’s be clear from the outset, please. This article is not a magisterial judgment on who is right or wrong in the Seun-Wizkid fight. Mark my words – Seun-Wizkid fight, not Fela-Wizkid fight. To place Fela on the same pedestal as Wizkid is to compare the storm in a teacup with the roar of the Atlantic. Igi imu jinna si ori, the distance between the nose and forehead is far. It is arduous for the fingerless fellow to thread the thread through the eye of the needle. Fela is the creator, Wizkid is the creation.
A product of the University of Ibadan and the Imperial College, London, where he specialised in Sound Processing, octogenarian music producer, the legendary Odion Iruoje, is renowned as the producer of Nigeria’s first true pop music with his collaboration with the teenage sensation band, Ofege. Iruoje, who produced a series of Fela’s first hits, including ‘Jeun Kooku’, ‘Beautiful Dancer’, ‘Alijonjokijo’, and ‘Ojuelegba’, gave an insight into how Fela created Afrobeat.
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In an interview on popular online media, Agbaletu TV, Iruoje, who read Industrial Electronics and Control Systems, said Fela came to one of the foremost recording companies in the country, E.M.I, upon returning from England, where he recorded an unsuccessful album, ‘Won Fe Gba Aya Wa’, with E.M.I. in London. The sound guru described Fela as a troublemaker whom E.M.I London didn’t want to deal with.
“When he came to me, he said, ‘Mr Iruoje, I have a new sound now, and it is called Afrobeat’. I told him what sound do you have that I have never heard before? I didn’t understand what he was saying. I told him there’s no sound you are going to play outside Highlife. So, I went to audition (him). Goodness! I couldn’t believe it when he started the horns. I have never heard such a horn arrangement in my life. No one ever did that – plenty of horns – the arrangement, ha! I couldn’t believe what I was hearing. I have never heard such a sound before. I said we have to go to the studio.
“In fact, the MD (a white man) came to my audition, he was listening to it, he said, ‘Mr Iruoje, please, can you get this man into the studio before he changes his mind?’ I said no, I have not finished with the rehearsal, he (the MD) said no, no, please, Mr Iruoje, you know he is very unstable, he could change his mind. I told the MD that Fela would not change his mind on me.
“The MD and I did not believe him when he first came to announce that he had a new sound. But he said, ‘Odion, come to the Shrine and listen to it, and see what few changes you want to do to it, and I went, we did a few changes. His rhythm guitar was (new), and first-time of his time, then he added tenor guitar and lead guitar. So, Fela had more guitars than the regular Highlife band. The regular Highlife band had only one guitar and bass, but Fela had all four. Fela influenced Juju bands because they started introducing tenor, rhythm and other guitars.”
On Fela’s flip side, Iruoje described the political activist, culture advocate and social crusader as a troublemaker, whom recording companies did not want to touch with a long pole. Because he gave E.M.I. London troubles over royalties, Iruoje was told by the authorities of the E.M.I branch in Nigeria not record Fela.
“If he signs a contract which states that his royalty would be so much (amount), that is what he signed before going to the studio, once he goes into the studio and the song starts selling and becomes a hit, he would say, “That song is no more N80 o, he wants to get N100 or N200. At times, he would snatch the master tape,” Iruoje said.
If told he signed a contract, Iruoje said, “Fela would say, what is contract? Contract is ordinary paper. That music is more than what is in the contract. He would snatch the master tape now, (and say) he was not going to release it. He (would say) we had to change that. Maybe, at times, I may not be in when he’s making the trouble, when I come back, they would say, “See what your man is doing o. He has taken (the master tape). Then I would send somebody to call him. He would come to my office because he respects me.”
To be continued.
Email: tundeodes2003@yahoo.com
Facebook: @Tunde Odesola
X: @Tunde_Odesola
Descending from Fela’s Afrobeat to Wizkid’s Afrobeats
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