Entertainment

By Ahmad Deedat Zakari

The family of late Nigerian artiste, Olanrewaju Fasasi, popularly known as Sound Sultan, has released an album of the late artiste posthumously.

According to the family, he was working on the album before he passed away.

“We are having the one-year remembrance of Sound Sultan, iconic Nigerian singer and we are having his official listening party for the album, Reality CHQ. This was the album Sound Sultan was working on before he answered the call of the Almighty. This is a very special project.” The late artiste’s brother, Baba Dee, said in a video he posted.

Sound Sultan reportedly died of throat cancer in the United States of America on Sunday, July 11, 2021, and was buried there in line with Islamic teachings.

By Uzair Adam Imam 

The Kogi State Governor, Yahaya Bello, has joined millions of music fans to partake in the ‘Buga Challenge’, the development that took many by surprise. 

Bello was seen displaying several dance moves to the trending song of Nigerian Act, Kizz Daniel, after he alighted from a vehicle.

This was in a video he posted on his Twitter handle with the caption, “after a hard day’s work…. we buga,”

His dance had thrown his followers into wild jubilation as he danced in excitement.

The trending song is said to have been one of the most popular songs in Africa that continues to enjoy massive streaming from fans/followers at the moment.

By Sa’id Sa’ad

As a people of oral tradition such as folklores, stories and songs, modern poetry today – or what is otherwise called contemporary poetry – could still be traced back to the oral literary traditions which have, over centuries, served the purpose of cultural entertainment and preservation in Nigeria.

However, even with the consistent growth of poetry in some parts of Nigeria – mainly because of the existence of some of the most celebrated African literary giants in those parts: Wole Soyinka, Niyi Osundare, Gabriel Okara, Christopher Okigbo – poetry in northern Nigeria has continued to suffer significantly amongst the wanna-be-poets and growing poets, who are thirsty of platforms to put their arts out for the right audience. With no or few consistent literary communities, inaccessibility of literary mentors and workshops or festivals, this category of young people genuinely interested in the art has been in a dilemma between giving up their dream or continuing to breathe in water.

Six years ago, Poetic Wednesdays was built—a rescue mission run by young people for young people. Of course, they understood the challenges of their fellow youths so well. However, It is not surprising that a small team of young people from the under-represented communities in this part of the world would give birth to a literary community of sorts. But what is exciting is how – in six years – these young people Poetified most of Northern Nigeria. It was surprising how, in six years, they were able to achieve what will take others a decade-plus to achieve. This is a product of genuine passion for the course.

Thus, these are young people who – when they began – were never given a seat at any literary or poetry workshop, of any sort, as a way to propel or guide their growth as future literary stars. And this is, sadly, a coat-of-arm that Northern Nigeria, in almost all industries, has cursed itself with, which is ‘intentionally’ refusing to tap on the shoulders of their growing talents. Relatively, most of the young talents in this part who have grown to horn their talents were able to do that without mentorship. Accordingly, they are used to thorns.

However, against all odds, with Salim Yunusa, a young writer from the narrow streets of Zaria, to Nasiba Babale, a noble lab scientist with poetry all over her syringe and test tubes, to Abdulbasit Adamu, a passionate poet and spoken word artist wobbling on the highway between Kaduna and Kano, to Maryam Gatawa, a Kano poet turned entrepreneur, to Abduljalal Musa (AJ) and scores of others who pushed the lorry behind the camera, these passionate and talented people stood and birthed a poetry community run by young people – solely to promote literary arts, to give a platform to other young people especially the wanna-be-poets who are ‘only’ interested in seeing their forced-rhymed poems read by others, and the growing poets who have the dying needs to hear feedback about their art.

Excitedly, with fewer resources, Poetic Wednesdays has grown to do beyond a toddler literary organisation. Especially using digital media/social media platforms like Facebook, hundreds and thousands of young poets have access to sharing their poems with global audiences every Wednesday. With Poetic Wednesdays, in the last six years, one can say that the recent robust revitalisation of poetry, especially in parts of Northern Nigeria, can be directly attributed to literary organisations like Poetic Wednesdays. Now, the north is ‘poetified’ with excellent poets who have and are capable of creating some of the best poems in the country.

Accordingly, with these bold decisions, numerous literary communities have sprouted from some of the most unexpected parts of Northern Nigeria, which have continued to host literary functions and promote their local artistic prowess. From Borno Literary Society in Borno, Yobe Literary Society in Yobe, Sunshine Literary Society and in Adamawa State, literary communities in other northern states such as Taraba State, Sokoto State and Kebbi State sprouted as well. This occurs due to the hard work of a few young people who dared to take up the challenge and push beyond boundaries.

This doesn’t contextualise Nigerian literature based on geographical lines; I am solely a Pro-Nigerian-Literature irrespective of where it comes from. However, it is also essential to acknowledge the growth of particular people or at least point a green mark on an honest, passionate move. Moreover, Poetic Wednesdays or any literary community doesn’t only speak for the people of the north but speaks for every Nigerian artist. Whereas some are even growing to go beyond Nigeria to a broader African space, which is commendable in a way as well.

Today, northern Nigeria is Poetified. From Sabon Gari in Kano to Bulunkutu in Maiduguri, to Ribado Square in Adamawa, to Tudun Wada in Zaria, to Unguwan Dosa in Kaduna, Gidan Kaya in Sokoto, to Bunza in Kebbi, to Madobi in Jigawa, to Sardauna in Taraba, these and more thousands of streets in the north now breath poetry and are giving birth to the most talented literary giants in the country.

If they ask you about the north, tell them that the north is poetified.

Sa’id Sa’ad is a Nigerian writer and performance poet from Maiduguri. He won the Peace Panel Short Story Prize, 2018 and NFC Essay Prize, 2018.

By Muhammad Sabiu

Real Madrid have secured a place in the Champions League final. They will play against the English Premier League Giants, Liverpool, after crashing Manchester City out of the competition today, Wednesday.

City had their opener through Mahrez in the 73rd minute, while Madrid had their goals thanks to Rodrygo’s brace—the first one in the 90th minute and the second one in the 91st minute—and Benzema’s third penalty goal in the 95th minute. That made the match end 3-1.

The goal aggregate emerged 6-5 as Madrid made it to the final even after being beaten 4-3 by the City last week.

By Sumayya I. Ja’eh

Chorus/children: ‘Ka yi rawa kai mallam ka yi rawa.’

You’ve danced, oh! Mallam, you’ve danced

Mallam: ‘Ban yi ba’,

I didn’t

Chorus: ‘tsoho mai gemun banza.’

Old man with a useless beard

The call-and-response dialogue, accompanied by the beating of a drum, propped open my six-year-old eyes in my grandfather’s compound in a village in Katsina. It was one of those fuzzy moments when you wake up and don’t know where you are for a minute. I had slept off in the car, only to find myself in a dim room lit by a kerosene lamp. There was no electricity, and the young moon illuminated the compound. The young boys that woke me were beating a locally made drum from tins, nylon, and sticks. They looked like characters from the famous tale by moonlight series produced and aired by the national television station NTA, which I was obsessed with then. The main character, Mallam, had a costume: a babban riga, an old cap placed haphazardly, a white beard, attained by putting white cotton on a boy’s face, and his mimicry of an old Mallam thrilled me. It made me and their audience laugh. That was my first conscious experience of Tashe and one of the reasons I look forward to spending my fasting period with my grandparents in Katsina or Kaduna.

Tashe is an old-age traditional mimetic performance performed by children between 6 to 14. It is an annual cultural performance that takes place in the 9^th month of the Islamic calendar and is performed in the early hours of the morning or the evening before the pre-dawn meal or after the break of the fast. Tashe is a short play that challenges a social issue, accompanied by songs, dance, and mimicry.

Tashe can be traced as far back as the contact of the Hausawa with Islam. The word is derived from ‘tashi’, a Hausa word for wake up. Muslims are expected during the month of Ramadan (9^th) of the Islamic calendar to fast, and they are highly recommended to take the pre-dawn meal. So, some people feel the need to wake others up for Sahur, to replenish their empty stomachs and energy to see them through the rigours of the day’s work without much difficulty. So, a few community members took it upon themselves to wake people, to prepare and eat just before dawn. To lighten the frustration of struggling to keep awake with no alarms, these volunteers enact the games named wasannin Tashe. While the adults prepare the meals, children with nothing to do occupy themselves with games to help while away time. Another factor is the essence of Tashe, which is aimed at luring people away from un-Islamic leisure pastimes since the beginning of Ramadan.

Tashe is performed mainly by young children, who imitate adults. It is often satirical and full of humour but laden with moral lessons and socio-religious ethics of the Hausa community. Tashe is usually passed down orally from generation to generation. The characters fill the roles with costumes, makeup, and dialogues in call-and-response songs. It is social criticism and a mirror/lens to view the socio-religious ways of life in most Hausa communities.

The Almajirai also are volunteers that perform Tashe. The Almajiri’s source for their food, move from house to house, seeking food or alms. During Ramadan, the Almajiri sing a dirge in the late night hours, songs calling out to anyone with an extra plate to give them. Some musicians and drummers, along with young children, also began to imitate the activities engaged in by the adults. In time, these plays shifted to the early hours of the night. They sing, dance, dialogue, improvise and wear costumes. It is a comedy, but like all comedy, it is the presentation of serious matters in unserious ways.

One striking characteristic of Tashe is its didacticism; it doesn’t only entertain but emphasizes the Hausa cultural belief and tradition—Tashe projects social ethics. Therefore, many performances aim to ridicule those who deviate from correct social norms merrily.

One well-known Tashe passed down from generation to generation is that of naci na kasa tashi, meaning, ‘I’m so full, I can’t stand.” One of the young boys dressed as an older man puts cotton on his chin that looks like a beard and puts on some clothes to show his protruding stomach. When they are ready, they go from house to house. The lead character sings, and the other children chorus/reply.

Baba: na ci na kasa tashi!

Children: Baba zare gareka!

Baba: Tuwon da dadi yake!

Children: Baba zare gare ka!

Baba: kuma har da nama!

The above can be roughly translated as ‘I’m so full, I can’t stand’, and the children reply with ‘Baba, you’re greedy,’ while the Baba tries to justify his gluttony by saying the tuwo is sweet and there is meat.

For instance, Ga Mariama Ga Daudu, another Tashe, gives us a socio-historic glimpse of the Hausa laden with humour. It is a mimetic performance of the communal responsibilities/expectation of husband and wife, the type of staple food eaten by Hausas. Although a comic, the play is social criticism of the institute of marriage, which several people from both genders are desecrating. Girls stage the play. One of the girls puts on a costume, a long kaftan and a beard and tries to deepen her voice to sound like a man. It is a telltale that enlightens young women about what society expects from a married woman.

Due to the Hausa tradition that does not allow the two genders to mix freely, the girls and boys don’t mix to perform Tashe. Instead, each gender play switches roles with its unique performance type.

A very well-known Tashe is of Gwauro. It is a mime that consists of 5/6 boys. One of them is dressed in nothing but bante (a short nicker) Hausa traditional pants, a rope tied to his waist, a bundle of clothes with kitchen utensils like used tins, old, discarded radio, an old dirty kettle can be found in the bundle carried by the main character. The others hold on to the rope while the lead character tries to run and is being pulled by the rope, while they sing ‘gwauro gwauro, gwauro nuna mana yadda kake tsanawa’? Gwauro can be translated to as Divorcee or an old bachelor. ‘Show us how you cook?’ He goes on to put a tin can, wedged it between two stones, and mimics blowing air into the woods.

This is aimed at ridiculing the bachelor, and lessons deducted from this drama border on the irresponsible nature of the bachelor for trying to play the role of a woman, who in most Hausa communities is the one who cooks. Tying the rope around the waist of the lead actor is symbolic. The rope restraining the bachelor also portrays the image of someone in bondage. This shows that in Hausa society, marriage is given such importance that the bachelor/divorcee is considered a lesser being than the other community members.

One Tashe that has gone viral and is available on YouTube is the 2021 Ramadan Tashe ridiculing the state governor of Kano, who asked for 15 billion naira to tackle the issue of Covid 19, as well as a scandal video of him collecting kickback. The short clip shows a boy lying on the floor with a babban riga (an overflowing gown), a red cap, and a white beard. His friends, the crew call out, ‘Ganduje tashi,’ ‘Ganduje stand up,’ to which he replies, ‘sai an ba ni dollar Corona’ ‘not until I am giving dollars to fight Corona.’ The clip is a short comedy skit that not only cracks people up but also has an undertone that challenges corruption by government officials.

Though Tashe is basically performed to provide merriment, the reverse may occur. Sometimes, Tashe meant to ridicule certain personalities, which may not be acceptable to the person concerned. Here the object of ridicule will not find the performance funny, and it is pretty common to see the performers running helter-skelter, being chased by the target of the performance. At other times, the performance itself may be acceptable, but the attitude of the performers may be irritating to the target audience. To cap it up, these performers would taunt any house owner who refused to donate anything. Upon exiting, the actor would often sing, “mun taka tutu, maigidan nan ya yi shi.” “We have stepped on a heap of shit; the owner of this house must have excreted it”.  

Tashe emphasizes communal performance. My grandparents or parents always give out some loose change to the performers. This is the norm that the adults expected to give alms to the performers. These donations can be money or food items, primarily grains like millet and sorghum, the staple foods in any Hausa community. There is no fixed amount for alms, but donation largely depends on the social and financial status of the audience, as well as the extent of enjoyment of a performance.

The audience, primarily adults, also participates by correcting any misrepresentation in the texts, disguise, or dramatization. With globalization and urbanization happening worldwide, Tashe, as I used to know it, is fast becoming a relic of the past. The face of Tashe has evolved in urban cities. Few children or Almajirai go from house to house, entertaining people while seeking alms.

This long-old tradition of performance entertains and highlights the life of the Hausa folks and brings the fore societal expectation of a man/woman in Hausa society. Although it is a series of plays that comes only once a year as entertainment, it is full of dramatic content that reflects contemporary events. This mimetic performance encompasses most characteristics of a drama; costume, dialogue, improvisation, storyline, and purpose. These earliest Tashe performances are the precursor of modern Hausa drama.

Tashe tries to divert the community’s attention from the economic and political predicament. Tashe, like Macukule, which explores the Hausa stereotype of the Gwari man, is still dominant in contemporary Hausa movies. A renowned character Dan Gwari is not new to anyone familiar with Hausa movies.

Today, if you google Tashe on YouTube, a few children and young adults pop up on your white screen. The TV channel, Arewa24, created a short series of Tashe that they stream. While this is another means of preserving this long tradition, the thrill and euphoria experienced by the audience are reduced by the limited screen. Unfortunately, my children would most likely never experience this long communal tradition of Tashe as I did.

Sumayya I. Ja’eh wrote from Abuja via sumyjaeh@gmail.com.

By Muhammad Sabiu

Cristiano Ronaldo is one of eight Manchester United stars who could depart this summer, Danny Mills, a former Manchester City right-back, claimed.

According to Mills, Ronaldo, Paul Pogba, Eric Bailly, Victor Lindelof, Phil Jones, Jesse Lingard, Juan Mata, and Nemanja Matic might depart United at the end of the season.

Ronaldo has struggled since joining Manchester United from Juventus last summer, despite scoring 22 goals in all competitions for the Premier League giants.

Mills told Football Insider that making Ronaldo a part of the rebuilding process at Man United is pointless because Erik Ten Hag will take over from Ralf Rangnick.

“Ronaldo might be a difficult one, but I am sure somebody would take him. Remember, they didn’t pay too much for him. It’s not like they are going to take a huge hit in terms of a transfer fee.”

“Ronaldo still has something to offer, but if you are talking about a rebuilding process, and he’s only going to be there for one season, what’s the point? He becomes more of a hindrance than a help. Every time you lose, it is ‘Why is Ronaldo not playing?’ That is the difficulty that you have. If you’re going to start afresh, give yourself that opportunity to start fresh,” Mills was quoted as saying.

To borrow from Aditya Chopra in his short review of Hum Aapke Hain Koun (1994), “It’s a mind-blowing film, a complete entertainer [which] deserves all the success it gets”. This description is apt for the latest Indian Tollywood epic titled RRR.

Directed by S.S Rajamouli, the film is a large scale period action drama that outshines even his record-breaking Baahubali. Its seemingly strange title, RRR, originates from the director’s initials (Rajamouli) and the two protagonists (RamCharan and RamaRao). The three-letter title also stands for Roudram Ranam Rudhiram (Rage war Blood) and Rise Roar Revolt in the film’s Telugu and Hindi versions, respectively.

Firmly placed in Rajamouli’s style of high fantasy, elaborate set design and spectacular CGI, the film is visually stunning and exhilarating. The story is a historical fiction set in the 1920s British India, with Alluri Sitarama Raju (Played by Ram Charan) and Komaram Bheem (Played by N.T Rama Rao Jr.) as the leading characters. Two Indian revolutionary leaders who fought against the British colonial rule at the time inspired these characters.

Plot:

Sitarama Raju (Ram Charan) is an anti-British rebel leader disguised as a loyal police officer of the Crown. Komaram Bheem (N.T. Rama Rao Jr.), on another side, is a freedom fighter from the Gond tribe on a mission to attack the British colonial rulers and rescue a girl, Malli, who they enslave. Unfortunately, the British authorities get information about his mission, and their fearless cop, Raju, takes up the challenge to search and arrest him to get a promotion. However, Raju and Bheem become friends as they are unaware of each other’s true identities.

Later on, Bheem reveals his mission to Raju and goes on to attack the British. Raju chases him and succeeds in arresting him after a fierce face-off. Therefore, the British government promotes him to a senior officer, not knowing that he, too, is plotting against them. The story continues…

The film is indeed an exciting movie full of breathtaking adventures. It proves enthralling right from the beginning when it introduces Ram Charan in a crowd scene, where he bravely manhandles thousands of protesters to catch one of them. It then continues with the equally rousing NTR’s introduction scene showing his encounter with wild beasts. It keeps the magic with another thrilling sequence in which the two heroes team up to save a boy from a ghastly train accident. All these, even before the climax! Indeed, director S.S Rajamouli has shown his unrivalled directorial talent in this movie.

The efficient, exciting performance of the two musclebound leading actors (Ram Charan and Rama Rao) makes this film a huge success. They effortlessly excel in the skillfully choreographed action sequences throughout the action-packed movie.

Without mincing words, RRR is a fascinating, thoroughly entertaining movie that keeps the viewer hooked throughout. You will immensely enjoy it. Don’t miss out! Rating 4/5.

Reviewed by:

Habibu Maaruf Abdu

(Kano, Nigeria)

habibumaaruf11@gmail.com

By Ahmad Deedat Zakari

Popularly known as Rema, Nigerian singer, Devine Ikubor, has appealed to the Academic Staff Union of Universities, ASUU, to call off its two-month-old strike. 

The 21 years old Afrobeats singer made the appeal on Monday,  April 18, 2022, on Twitter. 

“ASUU, since dem give me admission I neva start school o, e don do nau “, Rema tweeted. 

Rema was reportedly admitted to the University of Lagos in January and has not been able to assume school before the strike’s commencement.

ASUU has been on strike since February 14, 2022. The Federal Government’s failure to implement the 2009 agreement and not accepting the University Transparency and Accountability Solution, UTAS, as a payment platform are among the main reasons cited by ASUU for the industrial action.

By MMuhammad Sabiu

Office of the Head of Service of the Federation has announced to civil servants that work would Tuesday be closed at 1:00 am so as “to mobilise support for the Nigerian Team [Super Eagles]” ahead of its World Cup Qualifier against Ghana.

This is contained in a circular signed by Dr. Ngozi Onwudiwe, Permanent Secretary (Service Welfare Office), on behalf of the Head of the Civil Service of the Federation.

The circular reads, “As you are aware, the Super Eagles of Nigeria will be meeting the Black Stars of Ghana in continuation of the 2022 FIFA World-Cup Qualifier, Playoff, (Return Leg).

“Consequently, I am directed to inform you that all offices will be closed at 1:00 pm on Tuesday, 29th March 2022.”

Dr. Ngozi also urged Permanent Secretaries to disseminate the information contained in the circular more widely.

By Muhammad Sabiu

Angel Di Maria, a winger for Paris-Saint-Germain, is scheduled to depart the French Ligue 1 club at the end of the season.

PSG will not give Di Maria a new contract in the summer, according to L’Equipe (as relayed by AS), allowing the Argentine to depart for free.

PSG’s current contract with Di Maria will expire at the end of the season.

PSG is yet to offer the former Manchester United player a new deal.

The 34-year-old moved to PSG from Manchester United in 2015 for a reported £56.7 million.

Di Maria’s playing time has been severely curtailed as his current manager, Mauricio Pochettino, continues to favour players like Neymar.