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For a Mass Communication student, knowing how to write a news story is one thing. Knowing how to find the story, approach someone for an interview, sit behind a microphone and carry a programme, record and edit audio, or operate the equipment that keeps a broadcast running is another.
The difference between knowing and doing is where classroom theory meets practical experience.
At the University of Maiduguri radio station, students attached to the Radio and Television Attachment course are introduced to different parts of broadcast work. The station serves as a training ground where students can move beyond what they learn in lectures and experience the routines, pressure and discipline that come with working in a media environment.
The Station Manager explained that the main purpose of having students at the station is participation and training. The station does not only take Mass Communication students, but also students from related courses and different institutions who come to gain practical experience.
But presenting a programme or reading the news is only part of what students are expected to learn.
The manager said students should also learn discipline, work ethics and how the different units of a broadcast station operate. They are expected to understand how to handle broadcast equipment properly and develop what was described as the “perfection of routine” needed to work professionally.
The difference is often obvious when students first arrive.
Some come with classroom knowledge but are nervous, timid or unfamiliar with the environment. With time, however, the manager said they become more confident and comfortable with the work.
“This is a training ground where if you get the right experience in today’s competitive media space, the sky will be your limit,” the manager said.
But those lessons are tested most visibly when the microphone comes on.
From the live studio, the Duty Continuity and Announcer(DCA) has a different view of how students use the opportunity. Some students, rather than paying attention to what is happening around them, spend their time charging their phones, enjoying the air conditioning or chatting.
“They charge their phones, enjoy the AC. That is the primary thing they do, and then they gist,” the DCA said.
The concern is not that every student behaves this way, but that too few take advantage of the practical environment around them. “The numbers are very few.”
For students who take the opportunity seriously, however, the live studio can become a place where confidence grows naturally, one programme at a time.
A student attached to Saturday Jams and Morning Show remembers once watching other students handle live programmes and wondering how they managed to do it. Speaking on air had seemed almost impossible. Now, hosting a live programme is something the student prepares for by rehearsing, studying difficult names and words, and thinking about what to say before getting behind the microphone.
The first attempt did not go as planned.
The student described being nervous, with a shaking voice and the feeling that everything had gone wrong. But criticism after programmes, especially from producers and the DCA, gradually helped.
The experience also changed the way the student approached script writing. What had once seemed difficult became something that could be done without the same level of stress.
The DCA said students are not expected to follow a script “letter by letter, word for word.” Instead, the script should serve as a guide. Students are expected to research their subjects and understand what they are presenting rather than simply reading from their phones.
Yet this is one area where the station still sees a problem.
The DCA said most students use AI-generated scripts and fail to do proper research, sometimes only searching for information shortly before their programmes.
“Frankly speaking, there is no way they are going to have a good program like that,” the DCA said.
The live studio can therefore reveal both sides of practical learning. It can expose a student’s weaknesses, but it can also show how much a person can change with practice.
“There are a few who has come to the studio very naive and now leaving the studio full of confidence and professionalism,” the DCA said.
“And I think it’s a thing of joy to see that someone has come and not waste their time, because many of them don’t ever bother coming into the studio to learn about these skills. But to see some of them actually making use of the studio, it’s nice to see, and I would like to see more of that.”
But a radio programme begins long before the presenter takes the microphone.
In the newsroom, students are introduced to another part of the process: finding and developing stories.
The newsroom producer begins by asking students for ideas and assigning beats, with particular attention to issues that affect students and the university community. Students are taught what questions to ask, who to interview and how to approach people for information.
For many, the hardest part is the transition from classroom theory to actual reporting.
Writing a lead in a classroom assignment is different from having to produce a story that will actually be used. Students may also struggle with recording interviews properly, especially when using phones in noisy environments or when the quality of the recording is poor.
There is also the challenge of getting people to talk.
Students may know what information they need but still struggle to approach a lecturer, student or other source and persuade the person to grant an interview.
With practice, however, familiarity grows. Students become better at writing stories, conducting interviews and applying what they have learnt in class.
The producer’s advice is simple: “Come and learn.”
Once the story has been gathered and the interviews recorded, another set of decisions begins in the editing suite.
For students who have never edited audio before, even basic organisation can be a lesson. The editor teaches them to create folders for their work and arrange files according to programmes, days and times so that recordings and scripts do not become mixed up.
Then comes the more important question: what should stay in the audio and what should be removed?
“The essence of editing is to know where it’s needed and not needed from a sound in the whole audio script,” the editor said.
A beginner may hear a recording and struggle to identify unnecessary noise, awkward pauses or parts that do not contribute to the story. With practice, some students become capable of using the editing system themselves and working on programmes that eventually go on air.
The quality of the original recording matters too. Background noise, paper sounds and noisy surroundings can make editing more difficult.
The editor said students also need to be committed and respectful of the people teaching them.
“Be committed, be aware of what brought you to the environment.”
And even a well-written script and carefully edited report still depend on the systems and equipment keeping the broadcast alive.
The engineering unit exposes students to the technical side of broadcasting, something that can easily be overlooked by those focused mainly on presentation.
The equipment is not limited to the engineering room. Consoles and speakers are found in the live studio, while computers, printers and other systems are used in the newsroom, recording studio and editing suite.
Students may already be using some of this equipment without fully understanding how it works. Engineering sessions help them recognise the technical functions behind the tools they depend on.
For aspiring broadcasters, understanding the technical side is part of becoming a better presenter.
“Be technical,” the engineering unit advised.
The experience is not limited to UNIMAID students either. External university interns also use the station to gain practical experience.
One external Mass Communication student who had spent about four weeks at the station said the opportunity to participate in actual work was one reason for choosing the station. Instead of simply watching professionals work, interns are exposed to different parts of the station, including the newsroom, live studio and editing suite.
The orientation begins with an introduction to the station, its rules and regulations, and the routine students are expected to follow. Interns then rotate through different units.
For the student, one of the biggest challenges has been news gathering. Stories are time-bound, and an interview that takes too long can affect the time a reporter has to return before the news bulletin.
Approaching people for interviews was also difficult at first. That changed with experience.
The student recalled interviewing a senator, something that would have seemed intimidating before the practical experience began.
The station also taught a different kind of discipline. Unlike a lecture where a late arrival may sometimes be tolerated, broadcast work operates around schedules. If a programme or bulletin is meant to happen at a particular time, the work has to be ready.
That difference between the classroom and the workplace is one of the clearest lessons students take away.
For me, that difference became clear gradually.
When I was in 100 level, I occasionally went to the radio station and noticed a senior student around the live studio. The person seemed completely comfortable with the team, handling live programmes with a confidence I admired.
At the time, I wanted to be able to do that too.
I did not start attending regularly immediately. I procrastinated, and when I eventually began showing up more often, I knew very little about radio beyond what I had learnt in class.
At first, I mostly sat and watched. I was sometimes bored, and before becoming more involved, I had to show the staff that I was serious enough to be trusted with actual work.
I kept coming.
As part of the Radio and Television Attachment course, I was assigned to Sunday Morning Show, a one-hour phone-in programme that runs from 11am to noon. I did not immediately become the host. I participated in the programme and read the news on the hour.
One of the earliest things I heard repeatedly was, “Be audible.”
My voice is naturally small, so speaking louder on air was uncomfortable. I worried that if I tried too hard to project my voice, I would make a mistake.
But the mistakes came anyway, just as they do in live broadcasting.
Sometimes a programme would go blank. Sometimes I would press the wrong button or select the wrong programme or file when airtime was close. There were moments when I had to speak into the microphone while simultaneously trying to find something on the system.
Live radio leaves little room for silence. You have to think, act and recover quickly.
Another challenge for me was Hausa.
I understood Hausa, but speaking it professionally on radio was different. I did not know how to sound natural enough for a broadcast. Even choosing music was initially a challenge. At the beginning, I knew only two Hausa songs and would sometimes select songs based on instinct.
Somehow, they worked.
Over time, I began to notice changes I had not consciously worked towards. One day, while I was on air speaking Hausa, an editor in the editing suite commented on the way I was speaking and asked whether I actually knew how to speak Hausa.
That moment made me realise that I had improved without noticing it.
Later, I recorded myself launching and closing a programme in Hausa and sent it to my family. Their reaction was one of surprise because they knew how I had always related to the language.
The station taught me more than how to sit behind a microphone. It taught me editing, confidence, discipline and how to stay calm when something goes wrong. More importantly, it gave me an idea of what a workplace feels like.
I became familiar with the staff and the routine. Sometimes I was teased for spending so much time there.
“Is this place your new home? Why are you always here?”
I did not mind. I enjoyed being there. The station became a place where I could learn, experiment and escape the routine of school for a while, without losing sight of my academics.
Eventually, the role changed.
The student who had once watched someone else confidently handle a programme became someone other students could watch and learn from.
One student working as a DCA told me that hearing about the difficulties I had faced helped make the experience feel possible. Seeing someone else struggle, learn and improve gave the student hope that the same could happen for them.
That was perhaps the clearest reminder of what practical learning can do.
The station is not a place where every student automatically becomes a confident broadcaster, reporter or editor. Some attend because they have been assigned to a programme and leave without making much use of the opportunity. Others ask questions, accept corrections, keep practising and gradually become comfortable with work that once seemed impossible.
The difference often comes down to consistency.
As the DCA put it, “You don’t prepare for something when you’re actually in it. It’s before you go in that you start preparing.”
For students, the lesson is bigger than radio. Classroom knowledge gives them the foundation, but practical experience forces them to apply it, make mistakes, accept correction and try again.
In the live studio, that may mean learning not to freeze when the microphone comes on. In the newsroom, it may mean learning how to approach a stranger for an interview. In the editing suite, it may mean understanding that not every sound belongs in the final report. In engineering, it may mean realising that a broadcaster also needs to understand the equipment behind the voice.
And sometimes, learning by doing means becoming the person you once watched from the side of the room, wondering how they made it look so easy.
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