Entertainment

By our Reporter who is in Garoua

Hours ahead of Nigeria’s Group D opener against the Pharaohs of Egypt, many residents of Garoua have expressed their support for the Super Eagles and vowed to cheer the Nigerian national team to victory. 

After a grand opening ceremony, the twice-postponed Africa Cup of Nations finally kicked off on Sunday in Yaounde. The opening match ended with the hosts, Cameroon, beating Burkina Faso 2:1 to lead Group A.

Nigeria, playing in Group D alongside Egypt, Sudan and Guinea-Bissau, will get into action Tuesday evening against the Mohamed Salah-led Egyptians. All Group D matches will be played at the Roumde Adjia Stadium in Garoua.

Thousands of Super Eagles fans have stormed the Northern Cameroon town “to offer their maximum support” for Nigeria’s national team “to emerge victorious”. While many arrived by air, fans mostly from northern Nigerian states crossed the land and water borders between Nigeria and Cameroon through Adamawa state.

Garoua, a predominantly Fulani Muslim town, is wearing a new look with all major roads and streets adorned in Cameroon flags alongside flags of other participating countries. Nigerian flags can be sighted in many different locations, including on cars and motorbikes, signalling the level of support the Super Eagles have among Cameroonians as well as Nigerians residing in the country.

Many residents interviewed by TDR throw their weight behind the Super Eagles in the promising encounter against the North African opponents “in the spirit of good neighbourliness”, they said. 

“Though I like Salah (Liverpool star who is expected to lead the Egyptian onslaught against Nigeria), I will support Nigeria. When they play against Cameroon, I will support my country”, said a uniformed Cameroonian man who chose to remain anonymous. His position was echoed by Adamu (27) and Usman, a Cameroon-based Chadian.

This reporter caught up Tuesday morning with a group of vuvuzela blowing Cameroonian youths along one of the busiest roads in Garoua. “Nigeria is at home”, the over-excited youths told TDR as they chanted and waved Nigeria’s flag.

Meanwhile, the sale of tickets is ongoing at various locations in Garoua ahead of the crucial Group D tie expected to record a massive attendance.

Director: Sufyan Lawal Kabo

Language: Hausa

Release date: 26-11-2021

Company: Islamic Film Empire

Cast: Musa Lawal, Ibrahim Hassan, Mahmoud Mukhtar, Fatima Lawal, Binta Miko, etc.

Most of the criticisms around Kannywood are rooted in its personnels’ attitude towards filmmaking. They seem to focus on irrelevant, modern love stories, neglecting serious topics. Their films are therefore accused of cultural aberration and promoting moral decadence. However, as the criticisms became louder, a production company, Islamic Film Empire, came to change the narrative with its movie titled Gari Guda.

Set in Northwestern Nigeria, Gari Guda explores social vices like banditry and kidnappings that bedevil the region. It commences with a scene of a bandit attack on a village, where they kidnap many people, including its Chief Imam, and take them to their hideout in Dunguru Forest.

There is Abdul (played by Musa Lawal) on another side. He is a family man who, after losing his job, becomes bankrupt and cannot cater for them. His fruitless search for another job gets him increasingly frustrated with life, and he decides to end it all. He goes far away to Dunguru for the execution but eventually finds himself in the bandits’ camp. However, after hearing his story, their kingpin, Jalo (played by Ibrahim Hassan), asks him to work as their cyber-man.

Would Abdul accept the offer or turn it down? Find out in the cinemas!

Gari Guda is, indeed, a powerful film, not only for dealing with a pressing issue but for doing that effectively. It is shot in suitable locations that perfectly capture Northern Nigeria’s ecology. This makes it a realistic portrayal of the region and its current condition.

The film is a socio-political critique of the Northern political elites. It depicts their abuse of power as the posits that as the primary cause of the terrible mess the region faces. This is suggested when Jalo tells Abdul that he holds an LL.B degree, and his inability to afford “Law School” makes him resort to kidnapping. The intention of Abdul to commit suicide also reiterates the misconducts unemployed citizens could engage in.

The film is, in addition, overtly didactic. Its portrayal of Abdul, who encounters troubles for throwing his parents away, clearly symbolizes the consequence of parental disobedience. There are also many instances where the director incorporates moral teaching into the dialogue. I salute him for the job well done, together with all the cast and crew members.

Nonetheless, the film’s plot progresses too slowly. And while some scenes are lengthy with unnecessary details, some important points are missed. For example, what transpired with the people kidnapped at the beginning remains unknown. The director also fails to strike a balance between education and entertainment. Except for Abdul’s comical father character, there is no comic relief – something to allow the audience to recover from the tensions and excessive gunshots – in the film.

In conclusion, Gari Guda enlightens and educates. It is typical of what you would expect from the “Islamic Film Empire”. Therefore, I recommend it for the serious-minded—rating 3/5.

Reviewer:

Habib Ma’aruf

habibumaaruf11@gmail.com

When an action movie has “Revenge” as its theme, the main focus is the “Avenger”. He is, at times, a lone survivor whose parents are brutally murdered, and his efforts to avenge their death often make the intriguing action scenes in such movies. As its title suggests, Avenger, the Kannywood English action film, is also not different. It’s a story of an avenger who vows revenge against the assassins of his family.

Jamal (M.M Haruna) is the last survivor of Alhaji Baffa Yaro’s family. He was in boarding school when his father, a gubernatorial candidate, was assassinated alongside his family members. His deceased father’s friend, Sani Mu’azu, provides refuge for him. Years later, Jamal grew into an Avenger, and Sani Mu’azu (his saviour who also trained him to be one) begins to give him the pictures of those who, according to him, are responsible for the assassination.

However, when the Avenger launches serial killings on them, he learns that they are innocent. Sani Mu’azu is the real antagonist but mischievously pulls the strings behind him. He is even the mastermind of the actual group behind the murder of the Avenger’s family. Avenger, therefore, shifts his target to the real perpetrators.

Having noticed the exposé of his true identity and that he is now the Avenger’s target, Sani Mu’azu hires professional hitmen to haunt the Avenger down and eliminate him. The Avenger’s encounter with them is conveyed in highly dramatic chases and choreographed action sequences. However, everything is not resolved when the film ends, and the phrase “to be continued” pops up on the screen.

Though a rehash of foreign films, Avenger opens on an engaging note. It begins with Sani Mu’azu, Abba El-Mustapha and Tijjani Faraga conspiring to kill the gubernatorial candidate. It then shifts to where the police are investigating the serial killings on prominent personalities by an unknown person, who is later found to be an Avenger, as he leaves similar transcription after each murder. But as the film expands, it slackens. The story proves contradictory. The narrative gets incoherent and somewhat confusing. Some unconnected scenes seem complementary as they are not serially arranged, and there are no proper techniques, not even intertitles, to clarify.

As an action film, its setting is also not fitting. So is the use of costumes and props, which is too poor. The cinematography is generally nothing to write home about. The action sequences are poorly crafted, and the editing is flawed. There are instances where dialogue is repeated, among other defects.

Compared with Kannywood’s previous attempts at action genre, like Aduniya (Dir. G. Galadima, 2014) and Gwaska (Dir. Falalu Dorayi, 2015), Avenger is much impoverished. It copies the storyline of Aduniya, while Gwaska has better production quality and a more effective setting than it has. Moreover, the English dialogue rendition is weaker than Jammaje’s “There is a way (2016)” and co.

Additionally, the portrayal of M.M Haruna as Avenger is unfit. He lacks the charisma of action heroes. The same goes with Ali Nuhu, who is portrayed as the boss of Ishaq Sidi Ishaq. The latter plays the role of the police officer in charge of the murder investigations. However, the reverse could have been better since Ali Nuhu is more agile and popular to make the required impact.

The ending is also outrageous. It shouldn’t have been inconclusive. Movies meant for the big screen shouldn’t be fragmented. But they are in Kannywood. The film in question and the previously released Sarki Goma Zamani Goma are typical examples. The filmmakers should either change or end up losing a large audience.

Finally, with all its negatives that clearly outweigh the positives, Avenger is still a watchable film for the suspense in its first few moments and Ali Nuhu and Sani Mu’azu’s eloquence in delivering English dialogue. I rate it 2/5.

Habibu Maaruf Abdu wrote from Kano. He can be reached via habibumaaruf11@gmail.com.

By Muhammad Sabiu

In style similar to that of the popular Nigerian musician Davido, a Kannywood producer Lawal Ahmad also took to his Instagram and Facebook pages to announce his appeal for donations from his fans.

He said, “Today, I also want to be honoured by my fans courtesy of Prophet Muhammad (SAW),” He afterwards stated his account details, comprising the account number, account name and bank.

You may recall that Davido on Monday was able to raise more than one hundred million naira in less than 24 hours after asking, jovially, those whom he had given a “hit song” to send him money. As of the time of filing this report, money still hits his account.

The famous musician has been sharing his bank account dashboard screenshots, displaying his name and account balance, which significantly increases whenever he uploads a new screenshot.

This has become a new trend as many other social media users follow suit to appeal for money—though sometimes jokingly.

Lawan Ahmad could be the first person to have made such an appeal in the Kano-based Hausa film industry history.

Checks on the timeline of the producer carried out by the Daily Reality show that he has started receiving money, albeit much smaller amounts compared to Davido’s.

By Muhammad Sabiu

A famous Kannywood producer and former actress, Mansurah Isah, took to her social media accounts to lament how some southern Nigerian cinemas rejected the Hausa films.

She further complained about the government’s reluctance to support the films produced by the Kano-based Hausa film industry, Kannywood, and the inability to make the films as popular as those produced in other film industries in Nigeria.

Speaking in a 56-second video, she strongly questioned why Hausa movies are not popular all over Nigeria, except in just a section of the country, which, according to her, should not be like this.

“What did we Hausa producers do in Nigeria that our Hausa movies cannot be shown in cinemas all over Nigeria? But Yoruba movies will be all over; Igbo movies all over. Nigerian movies, too, are all over. So why is that we Hausa producers all left behind,” she questioned.

Though she didn’t mention anybody’s or agency’s name, Mansurah further solicited assistance, which she said should be by patronising films produced by the Kannywood film industry.

“Let us be assisted. You should make regulations. Display your language. Display your culture. You should love us. Make our films to be watched all over Nigeria. An English movie would be brought and shown in Kano, but a Hausa film wouldn’t be taken to Lagos and be displayed there. What is the reason?

Tacitly addressing people in power, she said, “We are the ones who support you. We neither insult nor defame you but we are still not developed. So what do you want us to do?

“I beg you in the name of God to help us and come up with regulations that will make Hausa films to be consumed everywhere in Nigeria.”

Kannywood is embattled with many tough challenges relating to cultural and religious issues, clichéd film content, monopoly of megastars, internal crises, among other problems critics and experts point out.

Masurah produced Fanan, a film whose songs have been trending on social media for several months. It recently showed in cinemas in Kano.

In recent months, no romantic Hausa song has captured the public attention as FANAN. However, the song’s movie was premiered on Friday, October 29, 2021, in Platinum Cinema (a newly inaugurated multiplex cinema in Kano).

The film opened to full halls across the new cinema and grossed approximately ₦1.25 million on its opening day, setting the record of being the first Hausa film to get this in one cinema. This remarkable success can undoubtedly be attributed to the popularity of the Fanan song and the distinctive marketing strategy adopted by its executive producer, Mansurah Isah, in promoting the film. But does it, on itself, merit this immense success? I watched it on Sunday, and here is my review.

Plot:

Fanan is a family drama that tells the story of an obedient wife, Fanan (Sabeera), and her husband, Kamilu (Yakubu Muhammad), a private company employee. The couple lives peacefully together with their only daughter Amira (Iman Sani Danja).

Later, their life is disrupted when Kamilu begins to maltreat Fanan and eventually divorces her after starting an affair with a wealthy woman, Madam Jessica (Rahama M.K). Jessica promises to marry him and facilitate his promotion to the rank of manager in another big company. However, she ditches him afterwards without fulfilling any of her promises.

Kamilu then tries to restore his marriage with Fanan, but his attempt proves in vain. Fanan is beyond his reach as she is now married to a business mogul, Alhaji Sammani (Sani Danja), whom she meets through his son, Fahad (Khalifa Sani Danja), a schoolmate of her daughter. Therefore, the jealous Kamilu filed a lawsuit against Fanan, seeking the return of his daughter (Amira) to him. However, he eventually drops the case after the girl narrates the insult he inflicted upon her and her mother while they were together during the court hearing.

Critique:

The film doesn’t entirely disappoint, but it’s not unique in any way. Both its artistic and technical aspects are only average. The story is predictable, and there are many gaps in the screenplay. For example, when Kamilu leaves his job, Madam Jessica doesn’t facilitate his new job application. Yet, he’s shown to have a connection with the company where she works. Again, Alhaji Sammani’s family background and how he ends up being single remains a mystery.

The interspersing of the title song also throws a spanner in the film. Fanan and Alhaji Sammani performed it before their marriage. Considering its lyrics, however, it would’ve had a better impact if performed after the wedding.

Regarding the cast, Yakubu Muhammad is the life of the movie because his performance stands out. Next to him are Rahama Mk and Sabeera. The latter is, particularly, for her good look. But while Sani Danja’s role deserves notice, his children, Iman and Khalifa, need to hone their skills as actors.

Finally, the fact that Fanan is a huge success doesn’t mean it succeeded on its own merits. It rides only on the popularity of its song and the hype around it. I rate it 2/5.

Habibu Maaruf Abdu wrote from Kano, Nigeria. He can be contacted via habibumaaruf11@gmail.com.

By Habibu Maaruf Abdu

Since its inception, the Hausa film industry, aka Kannywood, has not been cinema-oriented. This is primarily due to the filmmakers’ lack of technology to make cinema-compliant productions and the negative perceptions of the cinemas by the industry’s immediate/target audience (the Muslim Hausa populace). Therefore, video film media (i.e. cassettes and CDs) became the cinema equivalent in Kannywood and remained its sole market. However, the industry later crashed after the scourge of piracy and the emergence of online video-viewing platforms, like Youtube, forced those video film media out of business.

Subsequently, many reputable production companies had to close shop or remain practically inactive. In contrast, some low-class and Chamama (comedy) producers kept on as their films are mostly cheaply made and targeted the masses who are less conscious of modern viewing facilities. It was until the establishment of Filmhouse Cinema at the Kano Shoprite that the film business starts sprouting up again. Big budgeted Kannywood movies, made with state-of-the-art technology, began to overflow the only multiplex cinema.

Also, as people accept and patronise the cinema more, comes a realisation of the need to enhance film shows. Thus, the industry signed a deal with some cinema owners in Kano to show some selected films during the 2018 Eid festival. However, there is a more profound development recently. Platinum, another multiplex cinema for screening Kannywood movies, was opened in Kano.

The emergence of these multiplex cinemas is a welcome development for Kannywood. We all know that it’s on the cinemas that film industries stand. If the mighty Hollywood and Bollywood, for instance, still retain cinemas as the prime platforms for releasing their films, there is no other way for the embattled yet up-and-coming film industry. TV stations and online platforms (Netflix, Amazon Prime, iRokoTV, Northflix, etc.) should be more beneficial for the audience in Diaspora, as proposed by a Kannywood scholar, Muhsin Ibrahim.

In addition, it’s high time we disregarded our anachronistic views against cinemas. These newly opened cinemas are, after all, modern and standard for all and sundry. Nor is it for thugs and whores. There is no smoking and drugs. They are multiplex, with each room having stylishly arranged rows of comfortable padded seats. They are peaceful places to get entertained and have fun in a completely different way from the open-air, single-screens we had before.

Our religious clerics should stop denouncing these cinemas. They should, instead, promote Kannywood in general for more decent and educated people to join the industry. Their bashings, often based on unfounded rumours, will never help matters. Kannywood has come to stay, and it’s better to have them in Kano, a more Islamic state, for the government to regulate their activities than elsewhere.

Finally, I emphasise what Muhsin Ibrahim suggests to our big men: instead of building a state of the art filling stations all around Kano, why don’t they construct cinema(s)? The market is there. They should conduct some feasibility research and invest in this business.

Habibu Maaruf Abdu writes from Kano, Nigeria. He can be reached at habibumaaruf11@gmail.com.

By Bashir Shu’aibu Jammaje

Some people or newspapers apply a form of persuasion that is often used in media to further some agenda, such as a personal, political, or business, by evoking an emotional or obligable response from the audience. That is, ‘propaganda’, in layman’s terms. 

Today, various amounts of modern media can be used to supply propaganda to its intended audience, such as radio, television, films posters, handouts, music, to name a few. It is perplexing to see a well-known media like BBC Hausa doing that. I became overwhelmed when I see their post on the case of Sadiya Haruna and the Kano State Hisbah Corps – and not ‘Board’. Kwankwaso removed them from being a board, some say, to intentionally make them less powerful. Why?

I have never seen Sadiya Haruna in a Kannywood film. I then got to the comment section of the BBC Hausa post and read Abba Almustapha’s words, asking them to give him an example of a single film she has ever appeared in. I gave him a call to confirm if she has ever performed in a Kannywood film. His answer was a definite no. 

I only know Sadiya as a popular online sex counsellor for men and women via her social media pages. And, she makes Wakokin Yabo, ‘songs of praise’ videos along with Hafeez Abdullahi.

Since the birth of Kannywood in the early 1990s, it is purportedly founded as a reaction to the imported foreign films, mainly from India and America, that the society, in general, sees as culturally and religiously unsuitable for them. The filmmakers are being accused of so many bad things that they try a lot to hide other nasty things that happen in our society – and we all know that. I’m not, in any way, standing up for them, just that it is high time some people brought their intense hatred towards Kannywood down. And besides, Islam is a social religion – its very purpose is to intervene in human affairs.

Finally, I think BBC Hausa and others should tell Kannywood they are sorry for coming up with a chance to paint them in a bad light.

Bashir Shu’aibu Jammaje writes from Jammaje Academy. He can be reached via bashjam90@gmail.com.

By Muhammadu Sabiu

Barely thirty hours after The Daily Reality online newspaper published an article on the need to include Kannywood filmmakers in the Netflix Naija written by one of its editors, Muhsin Ibrahim, the streaming service has finally considered the adjuration made in the said article.

Muhsin Ibrahim, a PhD student at the University of Cologne, Germany and a teacher at the same institution, wrote an article titled “Dear Netflix Naija, there are films and filmmakers in northern Nigeria.” It was a reminder to the streaming service that Nigeria is of different cultures and religions. Therefore, according to him, it should not be treated in such a way that only films from a section of the country would be included in the streaming giant.

“Nigeria’s diversity cuts across many things, chiefly cultures, ethnicities, religions and regions. […] Due to these complexities, the country is a house to two significant film industries—Kannywood and Nollywood—with many smaller ones operating under these brands,” Ibrahim wrote.

Making his plea on behalf of the Kannywood filmmakers, the PhD candidate added, “I am not an agent of division, not at all. I am, instead, an advocate of fairness and inclusion of all, regardless of their culture, ethnicity, region, religion, among other diversities. Therefore, northern Nigerian filmmakers and their films should equally be aboard the ship Netflix captains in Nigeria.”

What were Kannywood filmmakers’ reactions?

A few hours after this newspaper published the article, Falalu A. Dorayi, a famous Kannywood member, took the entire article’s screenshots to his Instagram account, with the caption“A very good write up! Thank you very much for speaking on our behalf. @muhsin2008 Ibrahim”. The screenshots generated about 2.3k likes and over a hundred comments.

Also, Ali Nuhu, another prominent member of the Kannywood film industry, posted screenshots of the whole article with the same caption, under which several other members of the industry commented, including this:

@rahamasadau: “Hmmm, I wish I can [sic] add to this article…🤔👀”.

Acceptance of the Adjuration by Netflix Naija

Confirming the acceptance of the adjuration made in the article, Mr Ibrahim wrote on Facebook, “Sequel to the publication of my article on The Daily Reality last Saturday, Netflix Naija contacted a Kannywood director whose work they ignored for nearly a year. Thus, we shall soon watch a Kannywood production on Netflix. Nothing is more delightful to a budding writer.

“My informant, a Kannywood heavyweight, expressed his happiness, adding that “see the impact of writing”! He doesn’t know that I am probably happier. The Daily Reality is here to make a difference.

“May Allah help us, bring back peace to our region and country at large, amin.”

Kannywood, a predominantly Hausa-Muslim, Kano-based film industry, produces movies mainly in the Hausa language. The cinema has been facing tough challenges that revolve around its members’ handling of religion, culture and the likes.

By Muhsin Ibrahim

Nigeria’s diversity cuts across many things, chiefly cultures, ethnicities, religions and regions. Although several commentators consider the northern part more Islamic and the southern one more Christian, Muslims and Christians, followers of traditional belief systems and non-religious folks may be seen everywhere. Due to these complexities, the country is home to two significant film industries – Kannywood and Nollywood – with many smaller ones operating under these brands.

Kannywood, the name given to the “local” Hausa film industry with Kano State as its epicentre, is a distinct and autonomous film industry in northern Nigeria. Nollywood has its roots in the South, has mainly Christianity and Western-influenced motifs as themes and produces films primarily in English or other southern Nigerian languages. For Kannywood, however, Islam is arguably the trademark, and the East remains their vital source of influence and inspiration. Nonetheless, many people and institutions, including Netflix, see Nollywood as “the default” Nigerian film industry.

Lumping Kannywood and Nollywood or seeing the former as merely a Hausa branch of the latter is problematic. Hence, a prominent Kannywood scholar, Carmen McCain, points out that “In most scholarly discussions of Nollywood, Hausa films are footnoted as an ‘other’ to Nollywood.” The implication of this is enormous. It, among other things, leads audiences and potential investors like Netflix into failing to see and understand Kannywood films in their peculiar socio-cultural and religious contexts. But, yes, Kannywood operates differently from and is independent of Nollywood.

On the one hand, Nollywood, now the second-biggest film industry globally, succeeds because it faces little or no challenge from its audience or any censorship board. On the other hand, despite being arguably older than Nollywood, Kannywood struggles a lot. Kannywood was inaugurated in 1990 with a film entitled Turmin Danya(dir. Salisu Galadanci). Two years later, in 1992, Living in Bondage (dir. Chris Obi Rapu) began what became known as Nollywood.

Subsequently, the editor of Tauraruwamagazine, Sunusi Shehu, coined the name ‘Kanywood’ [with a single “n” before several authors later on added the second “n”, the version that is more recognised globally today]. It appeared in the magazine’s August 1999 issue. “Nollywood” appeared for the first time in a New York Timesarticle titled “Step aside, Los Angeles and Bombay, for Nollywood” by Norimitsu Onishi in September 2002. The Nigerian newspaper, The Guardian, republished the article a few days later. The rest, they say, is history.

Moreover, the “local” Hausa language has more users than any other West African language. The possible shortage of professionals in Kannywood is due to a lack of support from the government, other stakeholders, and investors. Despite all these and more challenges, the film industry stands on its feet, and I believe a little more push will catapult it to the promised land.

Delineating the glaring yet ignored differences between Kannywood and Nollywood is only part of the aim here. The primary objective is to remind Netflix Naija that for “Africans [to] take charge of African stories”, the message its parent Netflix emphasised when launching the local franchise, all Africans – and, of course, all Nigerians – deserve to be carried along.

Nigeria’s entertainment industry is a lot like India’s. Mumbai-originated Bollywood does not represent all films produced in the vast country. Netflix India understands this truth early on and thus accommodates that diversity so beautifully in its rich library collection of Indian films. There are arguably several exciting films from all India’s nooks and crannies on Netflix today. We earnestly wish the same to happen in Nigeria.

Of course, Netflix Naija may argue that Kannywood’s films are generally below their standard. No one can dispute that adequately. However, there are exceptions. Thus, they should get in touch with those exceptional productions. An anonymous top-notch Kannywood director told me some producers have already approached Netflix Naija. Quite regrettably, they have been, at best, told to go and fix this and that, which they did and, at worst, summarily snubbed.

Another way to embrace all is via commissioning movies. Netflix Naija can engage Kannywood filmmakers to see if it is possible to sponsor films or series. Northern Nigeria is rich with stories, perhaps more than other parts of Nigeria, thanks to its fantastic mixture and, admittedly, unfortunate incidents like the Boko Haram insurgency. The famous films Voiceless and The Milk Maid are only two examples based on a single event – Boko Haram’s abduction of Chibok schoolchildren in the northeast. Netflix can and should have originals from northern Nigeria. I bet that will be a commercial success.

Filming in the North is different from telling Northern stories. Thus, having films set in that region is not the same as having filmmakers from the area telling their stories. I am not an agent of division, not at all. Instead, I advocate fairness and inclusion of all, regardless of their culture, ethnicity, region, or religion, among other diversities. Therefore, northern Nigerian filmmakers and their films should equally be aboard the ship Netflix captains in Nigeria.

Muhsin Ibrahim is a PhD student and staff at the University of Cologne, Germany. He can be reached via muhsin2008@gmail.com.