storytelling

Ethics Under Fire: When Survival Meets Storytelling in Nigeria’s Conflict Zones

In one of the world’s most deprived and volatile regions, HumAngle’s reporting and experience reveal that journalists in Nigeria are not just observing suffering but are pulled into it as they try to report it. Consequently, they say, they find themselves paying out of pocket to feed the people whose stories they are trying to tell.

In theory, the profession is expected to observe some emotional distance from its sources and the stories they tell. However, that model is inoperable in conflict-affected regions of northern Nigeria and the Sahel.

Journalism here is embedded in environments shaped by violence, poverty, and dense social networks. Since these variables affect people at random, the reporter is not an outsider; sometimes, the conflict directly affects them as well. Ethical decisions are then made under pressure, repeatedly, and often without the comfort of certainty.

HumAngle operates in this space. Its work across Lake Chad, Central Africa, Nigeria’s Middle Belt, the North West, the South East, and other conflict zones forces a confrontation with a difficult question: What does ethical journalism look like when the people you report on are not just sources, but individuals whose survival may intersect directly with your presence?

The limits of imported ethics

Global journalism standards discourage payment for information, and while exceptions exist, they do so under strict editorial oversight, a clear public-interest justification, and transparency. Journalism teachers say that, though these frameworks are expected to provide clarity, they don’t in conflict-affected Nigeria, where the assumed context doesn’t apply. The ideal context has clear distinctions between sources and service providers and functioning identity systems. This is hardly obtainable in conflict-affected environments.

Dr Kabiru Danladi, a Mass Communication scholar with the Ahmadu Bello University in northwestern Nigeria, says, “Our curriculum borrows heavily from Euro-American ethical frameworks – objectivity, detachment, neutrality – principles rooted in relatively stable societies. The failure becomes evident when our graduates are deployed to cover issues that weren’t directly taught in class, or they are sent to cover conflicts in places like Zamfara, Sokoto, Kebbi, Borno, Yobe or Benue, where journalism is not just a profession but a survival exercise.”

Dr Obiora Chukwumba, a researcher and media expert in Abuja, identifies the same problem in the moral obligation created by field contact. “There is no ethical barrier to a journalist intervening on grounds of goodwill to assist a source who is in a vulnerable position,” he said.

The reality of field reporting

A fixer in Zamfara, where terror groups continue to kill, abduct, and loot, is not simply an access broker but may also translate, assess risk, and act as a negotiator in certain environments. A driver in Borno, North East Nigeria, may carry more situational intelligence than any formal briefing. An intermediary in the southeast may navigate relationships across vigilante groups and separatist networks.

Barrister Joseph Danboyi, a senior lawyer in Jos, North Central Nigeria, says, “Payment to a fixer creates liability if the journalist knew his connection with criminals. Ordinary payment for information is insufficient. The journalist will be aiding and abetting when payment is purposefully linked to criminal conduct.”

He goes further to add, “The practical bottom line is that a journalist who unknowingly pays a criminal for information is generally not liable… liability requires knowledge… and intent to help or further it.”

Dr Obiora also treats fixers and access arrangements as part of newsroom operations, not automatically as ethical breaches. “Parts of the routine (investigative) costs tied to the operations of a newsroom include such services as engaging fixers, obtaining access to a reasonably considered newsmaker, and appreciation handouts,” he said. “They are all legitimate operational costs.”

There is no procedural checklist that eliminates these risks. What exists instead is a need for structured awareness and disciplined judgment in newsrooms.

The Knifar women: A case that reshapes the debate

HumAngle’s engagement with the Knifar movement brings these tensions into focus. The Knifar women are part of a grassroots movement shaped by prolonged suffering. Their husbands, sons, and brothers were detained during military operations, often for years, without trial. In many cases, these men were the primary providers, and so their absence triggered cascading consequences for these women, including food insecurity, poverty, and social fragmentation. The women organised into a pressure group to demand accountability for the detention of their male relatives.

HumAngle’s reporting amplified their efforts, influencing outcomes that ultimately led to the release of over a thousand men that the women were advocating for. 

Our work required prolonged engagement with the women, whose daily reality was defined by deprivation. In some instances, our journalists provided stipends. In other cases, some of these women became part of the reporting process as fixers and contributors with fixed incomes in our newsroom. We have even given some of them ‘additional reporting’ credit for their work. Since they are both sources and resource persons for our newsroom, we are often clear about what we are paying them for – their work, not their information. We have spoken publicly about the dynamics of our relationship with these women, including in a Pulitzer Centre-supported documentary.

Kunle Adebajo, a renowned award-winning investigative journalist, reflects on his own experience in being moved to provide money to vulnerable sources: “I’ve often had to pay vulnerable sources. This is because the majority of them live from hand to mouth and rely on wages from daily labour to get their sustenance, and so such interviews could be very disruptive and uncomfortable for them. Oftentimes, they also have to transport themselves to meet at the interview location. The sums given were trifling, and there was never an understanding that the interview itself was transactional. 

Dr Obiora agrees that the understanding must always be clear. “If the source or interviewee presents the personal need to overshadow the reason for the meeting with the journalist, then that could be a red flag,” he said, “pointing to potential compromised narrative or ‘adjusted facts’ from the source or interviewee.”

When observation is not enough

Journalists are trained not to pay sources because it could risk distortion and affect credibility, but what happens when the people you are interviewing live in destitute conditions?

“I met residents, elderly men and women who could not feed themselves, who could not afford basic healthcare. I met a father who lost his wife to a particular ailment, and whose two kids are still suffering from the same ailment. Yet, he could not help.”

The award-winning journalist said he felt compelled to help. “I offered to buy meals for some of them through my fixer. Yes, I offered them some cash to buy what they needed. When I got back to my hotel room that evening, I actually cried. I felt the depth of these people’s suffering.”

He is not unaware of the ethical grey spots in giving money to sources. “Ethically, I did not really care at that point whether offering them some cash would be seen as an inducement. I told myself that I had to act as a human being at the moment and drop the toga of ‘a journalist’ at that point.” 

Dr Danladi understands this and says that “Students must be taught that they are a journalist, yes – but they are also human beings. Refusing to help in the name of ‘objectivity’ can itself be an ethical failure.” He says that liability only becomes possible “where the journalist knows or is willfully blind to criminal activity… or where the payment itself is tied to illegal conduct.”

Another journalist from southwestern Nigeria, who declined to be named, described facing similar situations in which his sources were suffering. 

“They had had to eat rotten food sourced from the nearby markets, and sometimes they went days without eating anything because their husbands, who provided for them, had been killed. I saw that most of their children were malnourished and looked so skinny. It was such a touching situation, and I couldn’t help but give them some money that I had with me so that they could buy food and cook.”

The practice of support

Payment for content implies a transaction because it links money to information, but support that exists independently of reporting is different. It protects the integrity of the story while still acknowledging the reality of the environment.

Hauwa Shaffii Nuhu, an award-winning journalist and newsroom manager, said that though in her early days as a journalist, she could not resist the urge to help vulnerable sources, she has now learned to favour long-term external support. “Now, I connect them [the vulnerable subjects of her story] with NGOs… or make it possible for society to donate directly to them or through an independent third party like a fixer.”

“These steps will not protect you from state action if authorities choose to act,” a senior security official said. What they only do is to protect the integrity of your journalism, he implied. They help you draw a line between necessary support and inducement, between humanitarian assistance and conduct that could be interpreted as enabling someone directly or indirectly tied to the crime you are investigating.

The unresolved tension

Consider the fixer a journalist has worked with closely. Not a transactional contact, but someone embedded in the reporting process, with days, sometimes weeks, spent together. The journalist has covered his meals, made stops at his home during fieldwork, supported him beyond the assignment, helped with school fees, and contributed when his child was ill. Then, months or years later, the fixer is named in a crime. The record of the journalist’s relation with him exists: Transfers, messages, shared locations. A traceable history of proximity that can be turned into proof of complicity.

A different kind of responsibility

The Knifar women’s story forces a reconsideration of responsibility and demands a different approach to how journalism ethics is taught and judged. “We graduate students who know the code, but cannot survive in the field,” says Dr Danladi.

Dr Obiora returns the question to dignity. “A journalist whose interaction with a source contributes to lifting the source’s dignity has discharged his or her obligation professionally.”

In environments where silence sustains suffering, the act of telling a story, and the way that story is told, carries consequences beyond journalism.

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Ari Shaffir brings back the storytelling show that launched comedy careers, but says this is ‘The End’

Back when late-night TV sets were still the primary route for a comedian to reach a mainstream audience, Ari Shaffir found a different way to make his mark. It started with creating a show where comics could tell completely uncensored, unhinged real-life stories. What started as a live show grew into “This Is Not Happening” on Comedy Central, and later, into “Ari Shaffir’s Renamed Storytelling Show,” building a loyal fan base along the way, with clips still making the rounds 15 years later.

Supporting shows leads to new opportunities, and while Shaffir’s latest chapter may close the book on his storytelling run, his final offering is certainly a strong one. Aptly titled “The End,” and taped live at the Box NYC, this seven-part series will be released and available for purchase through YMH Studios on Thursday , and it’s jam-packed with comedians that quite literally might kill you. Especially one.

The lineup is too stacked to leave anyone out, so buckle up for wild, unforgettable stories from Shaffir, Tom Segura, Ali Siddiq, Nate Bargatze, Tony Hinchcliffe, Ms. Pat, Shane Gillis, Sam Tallent, Steph Tolev, Jim Breuer, Robert Kelly, Chris Distefano, Big Jay Oakerson, Jordan Jensen, Joe List, Steve Simeone, Mark Normand, Duncan Trussell, Roy Wood Jr., Jessa Reed, Sarah Tollemache, Dan Soder and Colum Tyrrell.

Dan Soder, left, and Shane Gillis appear in Chapter 6.

Dan Soder, left, and Shane Gillis appear in Chapter 6.

(Troy Conrad)

Everyone’s stories are so nextlevel, and I almost choke-laughed and died during Ms. Pat’s. It also looks incredible, tell me everything about the room.

Ari Shaffir: The room is called the Box, and it’s this burlesque place. Or maybe you call it modern burlesque because it’s not just those feathers. I really don’t know, but I feel like burlesque has evolved and that’s what this place is. It’s kinda crazy, and it’s definitely a night out. Dave Chappelle used to have these “comedian balls,” which were so cool because he would just invite comics. Like, all of the comics. He’d invite everyone out and pretty much without saying it was like, talk to each other and trade ideas about the industry. It was just so cool in there, and we scouted a bunch of places, but the look of this place, it was just right.

It makes so much sense that the room is called the Box now, visually.

What you saw wasn’t even color-corrected, so I appreciate it. I went to test the sound because we put the stage in a different place. It moves around and we just thought it looked better with all the red, but I wanted to hear what the sound was like when they were not on the stage too. They were like, oh the emcee will have a cordless as they move around, and I watched it, and it was great. But man, I was so f— up on molly that I was grinding my teeth so hard that I cracked a molar, so yeah, that place rules!

Ali Siddiq appears in Chapter 7.

Ali Siddiq appears in Chapter 7.

(Troy Conrad)

Well, the room took my breath away, kinda like the lord took your solid tooth away. It’ll make sense to fans of your podcast You Be Trippin’ that ‘The End’ is produced by YMH Studios, but how did this series even end up happening?

Tom [Segura] and I have a relationship, we were openers for Rogan together, and we were kinda broke together, so we just talk about things. He’s so funny and prolific and I like talking things out with him. I talked to him about doing my special “Jew” too, but they were busy with the show, and you know back then, people weren’t jumping on getting into YouTube specials. So I had a chance to think about doing this show over the pandemic and finally was like, alright, let’s start working on this, and they said, “Come talk to us about it because we can help you now.” They have a great infrastructure there, and a streaming service too, so it’s like they already have everything built in, and Tom was like, “Dude, this show meant a lot to me, and we should make it again.” It’s not going to be a huge moneymaker for Tom, you know, it’s like pro bono work for lawyers, so it’s really cool of them. Another cool thing about this is the way the staff kicked in too. They’re all super talented, and kind of wasting their time on podcasts because they’re more talented than that, but it’s cool to work with a family and I liked the way they really took ownership of the work they did.

They’re a well-oiled machine of fun over there! With so many wild stories in the mix, is there anyone you are especially excited for people to see?

I’m excited to show some people new people. Even with the live shows, it’s always like, let me show you two headliners you know, a mid-level guy you’ll know and let me show you two people that you just don’t know. That’s what stand-up is in New York, L.A. and even Austin. There are some killers no one has ever heard of, and they’re destroyers. So I’m excited to show people Colum Tyrrell because he rules, he’s so funny, and his story is great. Tony Hinchcliffe’s story was really good, he’s just a monster storyteller in every sense of the word now. I just rewatched all of these a few times in a row for sound, and Roy Wood Jr. is so smooth it makes me feel like I’m needy and insecure on the stage. He’s just so calm and so good you’re like, “Damn, I’ve never been this smooth.” Sam Tallent is going to be one people talk about, Jim Breuer is so great, Steph Tolev crushed it with something fun and interesting and wow, this is really tough. Every time I’m doing a promo for this show it’s like, but what about this person, and this one?

It was also nice to see past killers on, definitely love to see the classics doing something new.

Yeah, having Big Jay [Oakerson] back was a key because he’s on the Mount Rushmore of this show, and we have three of those on “The End.” Jay, Ms. Pat and Ali Siddiq. We couldn’t get Sean Patton out because he was shooting something, and Bert [Kreischer] had a movie or something with his daughter moving or maybe it was a graduation…

Group of comedians on "The End" (Left to right): Ms. Pat, Ari Shaffi, Dan Soder, Duncan, Shane Gillis, Colum.

Ms. Pat, from left, Ari Shaffir, Dan Soder, Duncan Trussell, Shane Gillis and Colum Tyrrell.

(Troy Conrad)

What a funny world, though, if Bert Kreischer paid to have a graduation moved so he could do your show.

Yes! Just pay the school to move the graduation for a week! Don’t you make like $50 million a year? It’s so funny how it used to be crazy to think of someone making $100 million and now there are like 10 comics who make at least half of that. And without doing press! It is really cool, though, I haven’t paid for lunch in so long. And Ali Siddiq has become so huge, he’s like the success story of this storytelling show in its entirety. Everyone got helped a little bit, but Ali kind of broke off of these stories and to see him so successful and still so smooth, it’s really cool. You can’t be “niche” doing arenas, and there’s this independent boom that’s not going to wait for anybody. So it’s another big win for us, it’s our turn in the whole story of this.

So then is this really “The End” or could it be a new start?

There is a very, very small percentage of a chance that it comes back. The plan is that this is it, and that’s why we called it that. I’m just glad you liked the show. I’m glad you liked the look and the intimacy, and that you picked up on all of that. It feels so long ago that you forget, but that’s so awesome to hear because it was a lot of fun. I think comedy fans that knew about the show before will want to see more of it because it’s just this funny televised storytelling, and they missed it. And everything turns over every five years anyway, so new people can now be like, actual stories being told like this in front of an audience? What is this cool new thing?

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