While travelling in some parts of the Plateau state, please be cautious and vigilant. It’s unfortunate that some blood-sucking people don’t know their enemy and enjoy attacking innocent travellers passing their towns, not knowing we are all victims of the same system.
I don’t honestly know their aims. Do they want to turn every federal road that crosses their towns or within the state into gallows, a wasteland, battlefields, graveyards of multiple unknown bodies, or maybe something else of their making?
I nearly lost my life yesterday! Not only that, but I nearly lost my breath, lost the life beating inside me, but my strength and courage and determination and experience, like echoes of vigil nights, disappeared within seconds. Not only that, but I think casualties are not the death of those who started the war or those prowling grievance.
Not only that, but I believe casualties are those who keep quiet, who have the opportunity to talk but keep quiet, and those who smile every day when their next-door neighbours are in tears. But how can we together hold and retrieve ourselves back from this brainwashing?
So, I began to wonder what’s more important than human life. What’s more critical than togetherness, than friendships and relationships and progress? What’s more significant than peace, development, progress, success, love, respect, responsibility, and understanding? What’s peace if we can’t go anywhere inside our towns?
What friendship if we can’t befriend someone from another tribe, village, or country? What’s love if we can’t love and respect what others revere? What’s the progress if we can’t put one block over another? What’s progress if we can’t come together? What’s the responsibility if we can’t be accountable for our mistakes?
What’s faith? What’s a belief if we can’t respect other people’s choices and generational values? What’s up if there are no others? How can you, without reason, kill someone for someone’s sin or mistake? Why punish an innocent traveller for a sin they didn’t commit or knew nothing about?
Imagine we spent half our day alongside the road linking Mararraban Jama’a to Abuja, waiting for death, revenge, hatred, or the taste of human blood to leave people’s minds. We stayed as the only means of safety in our possession. We waited for God’s intervention, waiting and waiting, and I pray for no one to wait for this type of wait… waiting without knowing where death would come from.
Usaini Abubakar wrote from Jos, Plateau State. He can be reached via usainiabubakaradam5091@gmail.com.
A patient in Ilorin has met with a sad fate when one Ayodele Joseph, the Chief Medical Director of Ayodele Hospital, sedated and raped her iside the hopital.
A police report revealed that Dr. Ayodele sedated the patient and eventually raped her without her consent.
It added that the doctor sedated the patient and raped her when she went to the hospital for medical treatment.
Ayodele was arraigned on a two-count charge of act of gross indecency and rape, contrary to sections 285 and 283 of the penal code.
The Daily Reality, through the police report, learned that the victim, who fell under the doctor’s trap, is also a professional nurse.
“Investigation into the matter however led to the recovery of the video recording containing sexual action of the defendant on the victim while medical text also confirmed that the said nurse was assaulted and raped”, the charge sheet disclosed.
Gbenga Ayeni, the prosecutor, informed the court of the gravity of the offence and the motion attached to the police report, which sought to remand the suspect.
The court granted Ayeni’s prayer for remand while the matter was adjourned to May 18th, 2023.
President Muhammadu Buhari asked the Senate on Wednesday to approve a $800 million loan to fund the National Social Safety Network Programme.
During the Senate’s Wednesday plenary session, Ahmed Lawan, who is the President of the Senate, read a letter from Buhari that contained the request.
The money, according to the President, will be distributed to 10.2 million low-income and destitute households for a period of six months, with a predicted multiplier effect of 60 million people.
To ensure proper implementation, the president therefore asked the lawmakers to take action quickly.
Real Madrid and Manchester City played quite an entertaining one-all draw at the Estadio Santiago Bernabeu. The much went as much as I expected it, with Manchester City dominating the possession, trying to dictate the tempo of the game and Real Madrid pressing the City players, trying to disrupt their rhythm and attacking at full pace through the electric Vinicius Jnr and the young prodigy, Rodrygo Goes.
That was the pattern for much of the game. Real Madrid will be a bit disappointed for not registering a win (no matter how slender) ahead of the second leg next week. Of course, it’s easy to criticise Guardiola for settling for a draw. But come on! We are talking about a FIRST LEG of a UEFA Champions League semi-final. Do you seriously expect any serious coach to attack Real Madrid all guns blazing and risk getting hammered via counter attack?
True, Manchester City players looked tired and disjointed in the closing stages of the game. I expected Guardiola to introduce Mahrez, Alvarez and/or Foden in place of largely ineffectual Bernardo and Grealish. But do I think I know better than Pep Guardiola?
This game can still go either way. Expect that when you are playing against Real Madrid in the UCL. However, from the result of the first leg, Manchester City will be the happier side. They played largely well below their capabilities (thanks to Real Madrid’s game plan and management) and still came out of the mighty Santiago Bernabeu unscathed.
On for the second leg!
Aliyu Yakubu Yusuf wrote from Kano and can be reached via aliyuyy@gmail.com.
The transition process, as it is seen today in the Kano political culture, is something that can be squarely described as unprecedented if the nonchalant and lackadaisical attitude exhibited by the Kano state government is looked into properly. The transition chairman appointed by His Excellency, Governor-elect Engr. Abba Kabir Yusuf, Abdullahi Baffa Bichi, had decried the total absence of any cooperation, not even lack of it, from the Kano state government to form its own transition committee with a deliberate view to scuttling the smooth transition process.
Myriad of pictures going viral of one of the best social investments that the state has ever witnessed was initiated by Dr Rabi’u Musa Kwankwaso in his second spell as a governor, on which he spent 2.4 billion to empower the teeming youth in the state with employment opportunities across the 44 local government areas. Unfortunately, despite the suffocation of the process to make it work as planned for the public to benefit, now this invaluable treasure meant for the public good has been reduced to something like booty looted at the last minute to deprive the good people of Kano of the initial goals.
In addition to thousands of sewing machines that have been metaphorically remanded and cut off from the general public good, some reports of many mysterious disappearances of public properties should be thoroughly investigated when Engr. Abba assumes the number one seat in the state.
It is normal for any right-thinking person to believe that a leader should be a father figure so engrossed in compassion, sympathy and empathy. Still, here in Kano, despite all the wanton destruction and disruption they brought to drag Kano down, all they have is total apathy towards the awful loss they brought about to the state. It is unimaginable to expect what we see today from the people who should regard the Kano people as their sons and daughters with every sense of mercy and magnanimity.
It should not go in vain; all the perpetrators have to be brought to book. Impunity is the main motive behind the abuse of any public office in this country. The more it is welcome, the faster public institutions are utterly weakened. The ills and evils meted out by these people should be revisited judicially. I hope they will serve as a deterrent to others.
Anyone that seems to be conversant with the art of governance knows fully well that Engr. Abba Kabir, alias Abba Gida-Gida has a hefty mountain to move. One can say with a sense of certainty that the outgoing government has braced for the moment to meet out their concealed evil intent against the incoming administration. May he take off his Babba Riga and roll up his sleeves to make Kano breathe again. I hope people should learn to forbear some certain inconveniences. Most importantly, Abban Kanawa needs sincere prayers from the teeming Kano populace for success.
Auwal Umar writes from Kano and can be reached via: auwaluumar9@gmail.com.
A 56-year-old man recounted how he punched his wife, Atinuke, into a coma over a dispute in Akure, the Ondo State, a development many people have frowned at.
The man, who simply identified himself as Akure, was said to have been a famous Lagos state ex-boxer.
The man said he punched his wife because she was very stubborn and refused to give him a television remote control when he requested it.
The Daily Reality gathered that the ex-boxer has since been arrested and detained by the police detective in the state.
It was learned that the suspect, who is also a driver, returned home on a fateful day and wanted to watch a programme on the television, but the wife insisted on watching another programme.
According to a source, “The husband asked the wife to hand over the TV remote control to him, but she declined. The husband did not waste time as he descended on her with several punches on her face.
“It took the intervention of neighbours to rescue the woman from her husband after the children ran out screaming and crying for help.
“When the neighbours entered the house to rescue the woman, they met her on the floor lying unconscious, and they quickly rushed her to the nearest hospital,” the source added.
According to the victim’s sister, the woman was rushed to the hospital and has been responding to the medical treatment.
Mr Funni Odunlami, the state police spokesperson, couldn’t be reached for comment.
After accessing some social media posts about the 50th anniversary of the National Youth Service Corps (NYSC), I wish to share two of the numerous issues I had with the scheme.
Although I’ll try to avoid certain details, I must mention that an unpleasant encounter with a senior official of NYSC marked the third time I shed tears since reaching adulthood.
First issue
When I confirmed my mobilisation to serve under the National Youth Service Corps (NYSC) in 2018, I sought information about the registration process and requirements. I found that prospective Corps members could either get their call-up letters through their schools or pay about N3,000 to print the letters online. I went for the first option because I couldn’t afford the second one. Besides, I was about to go to Zaria for my statement of result, so I decided to pick up my call-up letter from Ahmadu Bello University (ABU), Zaria.
Everything went well, and I proceeded to the NYSC orientation camp in Fanisau, Jigawa State. However, the camp authorities insisted that I either pay the money and print the online version of the call-up letter or leave the camp and wait for the next stream (due in three months). They maintained their position despite acknowledging the authenticity of my call-up letter, which NYSC had sent to ABU. I had no option but to leave the camp for Kano (a short distance from the camp).
Fortunately, my arrival in Kano changed the story. I had no mobile phone, so I inserted my SIM card into someone’s phone. Within a few minutes, I received two different but connected calls, and I got the money I needed to print the call-up letter, hence my immediate return to the camp.
Second issue
My fellow Corps members received their allowance for December 2018 before the 25th of the month, but I didn’t get mine till after five months.
I started contacting relevant officials in the last week of December 2018, and by April 2019, I had submitted my bank statement of account, proof of clearance and about four letters. Surprisingly, I received a letter from my Local Government Inspector (LGI) titled “Query”, which demanded that I submit a handwritten reply to explain why I shouldn’t be punished for “refusing” to apply for my unpaid allowance. Well, I just replied as instructed, but I still didn’t receive the money (N19,800) until about a month later.
Two questions and answers
One, why did the camp officials force me to pay the N2,786.24? I believe they were keen on generating money for their organisation, and they felt letting me dodge the payment would lead to a fall in revenue in subsequent batches because I might communicate to other prospective Corps members whose closeness to their schools might make them opt for the free call-up letter.
Two, why did I receive a punishment threat for “refusing” to apply for my unpaid allowance? I feel it was the officials’ way of shifting the blame.
Conclusion
I had disliked NYSC long before my graduation from university, and my experiences during my service year only heightened the feeling.
However, I acknowledge the scheme’s contributions to national development. The interest of the majority supersedes that of an individual.
Ishaka Mohammed can be contacted via ishakamohammed39@gmail.com.
A terror struck on Kagarko area of southern Kaduna when bandits reportedly stormed the palace of the Emir of Kagarko and kidnapped nine of his children and his youngest wife.
Several reports from the state indicated that the bandits, who stormed the area around 11:15 pm, also took away the emir`s grand children and three other residents in the area.
An anonymous source revealed that no sooner had the bandits arrived at the area than they headed directly to the Emir`s residence.
He stated that, “They took away his youngest wife, nine children and grandchildren but the wife escaped and returned back home.
”The bandits also went ahead to kidnap a lady, three other young men and subsequently injured one Audu of Ungwan Pah.”
Meanwhile, The Daily Reality gathered that the victim has been taken to the hospital where he is receiving medical treatment.
“The bandits also killed one herdsman in Kuchimi village and looted seven shops in Janjala village (both in Kagarko LG) on their way back,” the source added.
DSP Muhammed Jalige, the Kaduna Police spokesman, could not be reached for a comment at of the time of filing this report.
At least 40 worshipers were on Sunday reportedly abducted by bandits while on congression at Bege Baptist Church, Madala, Chikun Local Government Area of Kaduna State.
The incident was reported on Monday by Rev. John Hayab, leader of the Christian Association of Nigeria’s Kaduna State branch.
According to Hayab, the incident took place at 9:30 a.m., during the worship time.
He was quoted as saying, “The worshippers were in the Sunday service in the Church when around 9:30 am they heard gunshots very close to the Church. The gunmen attacked the Church and went away with 40 worshippers.”
However, he added that 15 of the kidnapped worshippers managed to escape, leaving 25 others in the kidnappers’ hideout.
His name was Tijjani, and nicknamed Ma’aslam. He mainly lived in the Sabon Sara ward, Kano city, but was a common sight along the Mandawari junction to Kasuwar Kurmi corridor in the 1960s.
Everyone considered him nuts. Apparently, he built a single-storey building without stairs to access the upper floor. He did not think a door was necessary for any structure either, so the building had no doors. He simply jumped up to the upper floor at night and jumped down in the morning. It was enough for the ward head to report him to the Jakara magistrate for him to be locked up on insanity charges.
During the hearing, he was given a basket to fetch water. He simply laughed at the judge, informing him that only a madman would attempt to fetch water in a basket. The judge threw the case out, declaring him perfectly rational. He may be nuts – although eccentric was more apt to describe his behaviour. But then, it takes a certain amount of nuttiness to be an innovator. And he was an innovator.
As children – and I am talking 1960s inner city Kano – we simply referred to him as Ma’aslam. He, I would argue, planted the seeds of onomatopoeic intertextuality in Hausa popular culture, at least in Kano. This was the process of picking up an element of popular culture, say, a song, converting it side-by-side into a different language (intertextual), using ‘sound-alike’ of the original (which is onomatopoeia) into a new one. A quick example was the Bob Marley hook:
Get up, stand up,
Stand up for your rights
Sadi Sidi Sharifai, a Kano onomatopoeic superstar, converted this to:
Jallof, Jallof,
Jallop, sai da rice
Try singing both the original and Sadi’s interpretation, and you have become an onomatopoeic star yourself!
In 1967, the American super soul star James Brown & the Famous Flames recorded the stunning live double album of their concert at the Apollo Theatre in New York. It was, perhaps unimaginatively enough, titled, ‘Live at Apollo.’ A standout track on the album was ‘I Feel Alright’. Its choral hook was:
‘Hey, hey, I feel alright
One time, uh!’
The album of the concert was released on 16th August 1968. I was 12 years old then, and still now, totally wired in music, complete with a Ukulele guitar, given to me by David Hofstad (author of Tabarmar Kunya play). My Dad, an avid music lover, noting my attachment to the song which was played on the radio, simply bought the double album for me at Musa Zamani Record store in Fagge (are there any old codgers who remember this record store?). I played it to death on the old Grundig music player we had then.
Back to Tijjani Ma’aslam. With his eccentric behaviour categorising him as loony, Ma’aslam started reciting the ‘Dalailul Khairat’, a celebrated manual of salutations upon the Prophet Muhammad (SAW), written by Muhammad ibn Sulayman al-Jazuli in 15th century Morocco. What was unique about Ma’aslam’s open-air recitation, however, was that he adopted the James Brown meter in the song, ‘I Feel Alright’, as his chorus. His rendition of the hook for his recitation of the Dalai’lu was:
Mujibun, Mujabun,
Afiyan, Afuyan,
Rasulillahi
Ahlan wa Sahlan
Rasulillahi
This was accompanied by James Brown’s dance moves (shown on Television’s Soul Train, which was available in a few houses that he might have access to). Maybe he was not reciting the salutations in their structured order, but at least his verses were discernible, as the Dalai’lu itself was recited in a song form by many reciters in Kano. What he did, and did it differently, was using a foreign music meter to make it more accessible. This formula was to be adopted by the Ushaqu Indiya group of devotional singers in the city of Kano (actually along the same neighbourhood as Tijjani Ma’aslam). More of this in subsequent articles/posts.
Tijjani Ma’aslam’s delivery mode was intertextually onomatopoeic to ‘Hey, hey, I feel alright’. The chorus was ‘Rasulillahi’. Ma’aslam was usually followed by a gaggle of kids echoing the chorus while he merrily led the way, clapping his hands, dancing and reciting the names of the Prophet from the Dalai’lu. Elders were bemused at the spectacle and simply labelled Ma’aslam crazy. He might have been. He certainly was not following the sequencing of the Salawat from the book. But his performances opened a door.
Up the road from his haunt and covering the same zone was the Palace cinema. This was built and completed in 1951 and opened in 1952. Palace cinema became an instant hit with the youth, closeted in the city and without any visible means of night-time entertainment. Before its opening, and still a carryover from the World War II years (1939 to 1945), a curfew used to be imposed on city residents at 8.00 p.m. With the relaxation of the curfew, the few neighbourhood plazas (dandali) that offer games for youth (both boys and girls) were no match for the sheer spectacle of a massive screen accompanied by loud music. The predominant films shown in the cinema were cowboy or mainstream European films. However, after independence in October 1960, Indian films started to be shown from November 1960 in Kano cinemas. Early films screened included Cenghiz Khan, Jaal, Sangeeta, Raaste Ka Patthar, Waqt, Amar Deep, Rani Rupmati, Dharmatama, Dost, Nagin and thousands of others. The one that caught massive imagination in Kano’s inner city, however, was Rani Rupmati, originally released in India in 1957 but only found its way to Kano cinemas in the 1960s.
Like all Indian films, at least from what the industry refers to as Bollywood, Rani Rupmati had a lot of songs – in fact, its overall screenplay is based on two people united by their love of music. However, two songs from the film caught Kano’s inner city imagination, ‘Itihaas Agar Likhna Chaho’ and ‘Phool Bagiya Mein Bulbul Bole.’ Interestingly, there was no choreographic dancing in these two songs, unusual for general Bollywood films but typical of earlier, more historical and artistic ones.
The first, ‘Itihaas’, sung by Lata Mangeshkar, has a great hook that, thanks to Tijjani Ma’aslam, became domesticated by kids along his sphere of influence and Palace cinema zone. It goes something like this:
Itihaas agar likhana chaho /
Itihaas agar likhana chaho /
Azaadi ke mazmoon se /
…
To seencho apni dharti ko /
Veeroon tum upne khoon se /
Har har har Mahadev /
Allaho Akubar /
Har har har Mahadev /
Allaho Akubar /
Sung within the backdrop of a band of warriors getting ready to go into a battle, led by a woman (the titular Rani Rupmati), it certainly gave the picture of a woman more enlightening than what was both the Hausa and Indians are used to. The film itself endeared itself to Hausa through the modesty of the women – shy drooping kohl-enhanced eyes with long blinking lashes, fully clothed (even the swimming scene shows the singers fully clothed in the river), with sari that resembles Hausa wrapper (zani), lots of jewellery, and stunning beauty. A Hausa common saying of the period was, ‘Allah, kai ni Indiya ko a buhun barkono’/God, let me visit India even in a sack of pepper. That was how besotted Hausa youth were to the beautiful Indian women seen on the screen, giving a false impression that every single Indian woman is beautiful.
Hausa youth, inspired by Tijani Ma’aslam, quickly domesticated the chorus of the song as:
Ina su cibayyo ina sarki / where are the warriors, where the is king?
Ina su waziri abin banza / And the useless vizier?
Mun je yaƙi mun dawo / we have return from the war
Mun samo sandan girma / and we were victorious
Har har har Mahadi / hail, hail the reformer
Allahu Akbar / Allah is the Greatest
Har har har Mahadi / hail, hail the reformer
Allahu Akbar / Allah is the Greatest
In an interesting case of lyrical substitution, the Hausa intertextual transcription captured the scene of the song as shown in the film, if not the actual meaning of the words. Loosely translated, the original verse was urging warriors to defend their land with their lives and become part of history. The chorus translates as ‘Let each of us sacrifice ourselves to Mahadev’.
While Mahadev was a reference to the Indian deity, Shiva, this pantheistic line was followed by a monotheistic reference to Allah, the Supreme Being in Islam. Thus, two contrasting religious sentiments were expressed in the song. It was likely that S. N. Tripathi, who directed the film and composed the music, introduced the chorus to attract both Hindu and Muslim audiences. After all, while Rani was a Hindu, her love interest in the film, Baaz Bahadur, was a Muslim. The expression, however, has since then been used as a slogan of communal harmony between often warring Hindu and Muslim communities in India.
But more stunningly, the Hausa version substituted the word ‘Mahadev’ with ‘Mahadi’. The Hausa heard ‘Mahadi’ (guided one), not ‘’Mahadev’, which worked perfectly well. Substituting Mahadev for Mahadi Islamized the song, as it were. In Islamic eschatology, Mahdi is a messianic deliverer who will fill the earth with justice and equity, restore true religion, and usher in a short golden age lasting seven, eight, or nine years before the end of the world.
The second song from the film, ‘Phool Bagiya Mein Bulbul Bole’ (also sung by Lata Mangeshkar, with Mohammed Rafi), also inspired onomatopoeic intertextually but further afield from Kano and bizarrely entered into Hausa urban legend of the 1960s. Its first verse goes something like this:
Phul bagiya me bulbul bole /
Daal pe bole koyaliya
Pyaar karo /
Pyaar karo rut pyaar ki aayi re /
Bhanwaro se kahati hain kaliya /
Ho ji ho ho ji ho ho ji ho /
Ho ji ho /
What Hausa youth heard in the choral refrain was ‘Hotiho’, not ‘Hojiho’, and in the film Rani Rupmati, the lady (played by Nirupa Roy) came to be referred to as Hotiho. The Hausa griot, Mamman Shata (d. 1999) popularised the word (which has no particular meaning) in his song, Mallam Sidi, ‘Mijin Hotiho’/Mallam Sidi, Hotiho’s husband.
In the film, there was no marriage between Rani and Baaz Bahadur because she said she was ‘married to her music’, despite living with him after running away from home to avoid death from a chalice of poison given to her by her father to avoid the shame of her rejecting a chosen husband. In all their dialogues, Rupmati and Baaz Bahadur stress their shared love for music, not their love for each other. So, Shata did not accurately describe the relationship in the film. However, such deep film analysis is not important to the transnational interpretation of Shata of Baaz Bahadur as a signature tune for a hen-pecked husband. Shata’s interpretation of the actor who played Rani’s lover was certainly in order as he was effeminate and obsessed with music rather than empire building, despite being heir to a throne. It was even Rani who led their army into war. He was wounded in the battle and ran away.
Another Hausa griot, Ali Makaho (d. 1984), known famously for his anti-drug song, ‘Mandula’, briefly referenced Rani Rupmati in another of his songs.
Za ni Kano / I’m going to Kano
Za ni Kaduna / I’m going to Kaduna
Mu je Katsina lau za ni Ilori / Let’s go to Katsina and Ilorin
Na je Anacha / I will go Onitsha
Ni ban san kin zo ba / I didn’t know you had arrived
Da na san kin zo ne / If I had known you have arrived
Da na saya miki farfesu / I ‘d have bought you [pot of] pepper soup
Hitoho hotiho /
Hotiho hotiho /
With a comedy skit thrown in, Ali Makaho’s rendering uses Phoolbagiya’s meter to narrate a series of anticipated travels over northern Nigeria. As an intertextual comedy, it worked and remained of his most memorable skits.
A third Hausa griot to adapt a song from Rani Rupmati was Abdu Yaron Goge, who played the goge (a large fiddle played with a bow). Abdu picked ‘Raat Suhani’ from the film for his adaptation. Since, unlike the other griots who used the elements of the songs from the film, Abdul was a musician, he used two approaches – first was rendering the symphonic structure of the opening bars of the actual composition, Raat and playing it on his fiddle, then secondly, he onomatopoeically appropriated Mangeshkar’s lyrics as Hausa version. The original lyrics were as follows:
Raati Suhani /
djoome javani /
Dil hai deevana hai /
Tereliye /
Tereliye /
These lines were pure expressions of love the protagonist has for her lover, especially ‘in the beauty of the night’ [raati Suhani]. Abdu Yaron Goge’s rendition was as follows:
Mu gode Allah, Taro / We should thank Allah, people
Mu gode Allah, Taro / We should thank Allah, people
[These lines vocalized the opening bars of Raat]
Duniya da daɗi /This world is nice
Lahira da daɗi / The hereafter is nice
In da gaskiyar ka / If you are truthful
Lahira da daɗi / The hereafter remains nice
In babu gaskiyar ka / If you are untruthful
Lahira da zafi / The hereafter is blazing
Thus, in a single verse (which he kept repeating over and over till the end of the performance), Abdul Yaron Goge borrowed a popular musical motif from another culture and domesticated it to Hausa entertainment. At the same time, he delivered a message totally different from the original meaning.
There were, of course, many other onomatopoeic intertextual interpretations of Indian film songs, but the three songs from Rani Rupmati, predated by Tijjani Ma’aslam’s innovative use of foreign motifs, were the definitive pioneers in music. In Literature, look towards Abubakar Imam and Magana Jari Ce. The intertextual origins of Hausa arts, of course, started in the 1930s; but its migration to music was certainly in the 1960s. It spawned a Hausa Cinema industry which was labeled ‘Kanywood’ in 1999, a few years before the term ‘Nollywood’ to refer to the Nigerian English language cinema, was created.
On a final note, Nazeer Abdullahi Magoga, a Kano ‘Indian’ (who speaks the language fluently, to the shock of BBC Delhi, who sent a crew to interview him in Kano, in Hindi) composed a song for the Centre for Hausa Cultural Studies, Kano which I was heading, but which I had to pause due to lack of funding. He used the Raat Suhani meter and used both Hausa and Hindi lyrics in his wonderfully beautiful tribute to the Centre. A link to the song on YouTube is given below. To really appreciate Nazeeru’s performance, listen to the original Raat Suhani from the film Rani Rupmati, also provided in a link.
Cibiyar Nazarin Al’adun Hausa by Nazeer Magoga [Raat Suhani template]
