By Prof. Abdalla Uba Adamu
A few comments about the ongoing Ramadan Tafsir at the Palace of the Emir of Kano conducted by Sheikh Qaribullah Nasir Kabara (translator, Qadriyyah) and Muhammad Hadi Gwani (reciter, Tijjaniyya) brought back nostalgic memories for many people. The conversation was started by Muhsin Ibrahim. Perhaps only those living or having lived in Kano may probably know of this Tafsir that has been consistently going on since about the 1940s, shifting location only once, from Chiranci to Kofar Kudu in Kano. On Sunday, 16 Ramadan/March 2025, I was part of a TV discussion on the Tafsir and its meaning to me. This was what promoted this sharing of memories.
Tafsir is the scholarly interpretation and explanation of the Quran. It helps to clarify the meanings of verses, their context, linguistic nuances, and the reasons for their revelation. The combo of Sheikh Qaribullah Kabara and Sheikh Hadi Gwani in Kano is one of the hundreds of Tafsirs conducted during Ramadan in Islamicate northern Nigeria.
Each individual has their preferences for the reciter/translator combo. Mine, inherited from my father, was for the Kabara Tafsir. The reason is up close and personal. I was born on 14th Ramadan 1375, or 25th April 1956. My father was informed of my arrival while he was at the Tafsir in the inner chambers of the Emir of Kano’s Palace near the reciters. My father was a Qadiriyya adherent and disciple of Malam Nasiru Kabara.
The nostalgia was ignited by Muhsin’s reflections of Surah Yusuf, which was recited on the 9th day of every Ramadan. Perhaps the Surah draws the largest crowd apart from the day of the ending of the Tafsir (Hattama). I have always marveled at why there is a surge of attendees on any day the Surah is being recited/translated. I remember being annoyed one year when I was slightly late and had to virtually push and shove through a huge crowd – often “standing room” only – to get to my reserved seat deep in the open space of the Place just before the door leading to the “Soron Isa” antechamber. All eager to listen to Surah Yusuf.
Significantly, the Juz’i containing the Surah ends on Ayat 52. But on Friday, 17th December 1999/9th Ramadan 1420, as I noted in my own copy of Yusuf Ali’s Translation of the Holy Qur’an, which I used as a guide in following the recitation, Sheikh Qaribullah suggested to complete the Surah to its 111 Ayats to maintain the narrative structure and continuity of its events. Thus, on the day, the Tafsir lasts longer than on other normal days, while the Tafsir on the following day, starting directly with Surah Al Ra’ad, always ends up being the shortest night of the Tafsir.
There are many reasons for the attachment of thousands of people – some who attend the Tafsīr on the Surah Yusuf day only. While this has many lessons, I will examine it from an ethnographic perspective. The story of the travails of Prophet Yusuf has one central cultural importance to the Hausa – “haƙuri can dafa dutse”/Patience is a virtue. This was indeed played out by the way Prophet Yusuf went through so many challenges in life – simply because of the stupendous natural beauty bestowed on him by Allah (SWT) to begin with.
But his trials centered around what I call “yan ubantaka,” sibling rivalry and jealousy inherent among siblings of different mothers. This is a theme in Hausa family structures where offspring sharing only a father seem almost always at each other’s throats. Of course, not all households are like this – I am sure you know some households with perfect harmony, despite different mothers (might even be your own particular circumstance). However, the general experience of many Hausa is precisely as described in Surah Yusuf – bitter rivalry towards the more outstanding brother – whether junior or senior. Attendees of the Tafsir, therefore, get solace at the spiritual formula and lesson of patience and perseverance and go home uplifted that, as for Prophet Yusuf, “komai nisan dare, gare zai waye”/there is light at the end of the dark tunnel.
Another significant historical moment in the Kabara Tafsir was what I called The Switch. On 29th March 1990,equivalent to 3rd Ramadan 1410, while reading Surah Al-Ma’idah, Ayat 20, Mal. Nasiru stopped the translation. With an emotionally charged voice, he prayed for the Emir Alhaji Ado Bayero (the host of the Tafsir). Then he informed the congregation that the Emir had given permission for Qaribullah Nasiru Kabara to continue the translations. The massive roar of Allahu Akbar takbir startled the mass of Swallows (Bilbilo) perching on the trees in the Emir’s mangrove area (Sheka), where they took off en mass. It was indeed an emotional moment. Right away, Mal. Qaribullah took over the translations, and in a well-synchronized manner, Mal. Hadi led him through the recitation, changing the tonalities of his recitation with Mal. Qaribullah matching him tone for tone. More Takbirs followed every hill and valley of their voices. It was a truly historic moment.
Finally, a massive controversy concerning filming the story of the Prophet Yusuf erupted in Kano in 2009. Luckily, it was not from Kannywood producers, who, aware of the prohibitions of depicting prophets of Allah in any visual form, dared not even attempt it. However, in 2009, a TV series, Yousuf-e-Payambar or Joseph, the Prophet, was screened at the 2009 Cannes Film festival. The 45-episode series was produced by Sima Film Productions, an affiliate of the Islamic Republic of Iran Broadcasting (IRIB).
Although the series’ dialogue was in Persian, soon enough, the Lebanese Al Manar TV station, owned by the Shi’a Hezbollah, started re-broadcasting the series with Arab dub-over voices of the Farsi dialogue, and became available through the Middle East satellite TV networks. It was a Shi’a TV show, since apparently in the Shi’a understanding of Islam, there was nothing wrong with depicting Prophets in any visual medium. Further, the story of Prophet Joseph had universal constants that made it appealing throughout the Muslim world, regardless of doctrinal inclination.
In the summer of 2009, a young Muslim Hausa student studying at the Al-Azhar University in Cairo somehow downloaded the entire Yousuf-e Payambar series with Arabic voice-over dubbing in his laptop and brought it to CD marketers in Kano, the biggest commercial centre in northern Nigeria. In Kano, somehow, it was dubbed over in the Hausa language. It was an instant hit. The marketers subsequently copied the series into eight-volume DVDs and released them to traffic light markets common in most African urban centers.
However, no sooner had the DVDs entered the market than two prominent Muslim clerics in the Shari’a State of Kano appeared on public radio and condemned the Series. These were Sheikh Amin Daurawa and Sheikh Ibrahim Khalil, the latter of whom was the Chairman of the powerful Kano State Council of Ulama. In their ‘fatwa’ – Islamic ruling – echoing the Al-Azhar proscription of visually representing a Prophet of Allah (SWT), they argued it is prohibited to depict any Prophet in any form visually. The basic problem was that while Shi’a filmmakers produced the Prophet Yusuf TV series, the consumers in Kano were Sunni and did not make the sublime distinction about the interdiction of prophetic images between Sunni and Shi’ite interpretations of Islam.
The fatwa resulted in the Kano State Censorship Board’s banning the sales of Joseph the Prophet DVDs and arresting and prosecuting marketers and vendors who sold the DVDs. However, while the series was banned in Kano, it became readily available in neighboring States, especially Kaduna and Bauchi, where Shari’a law was implemented more flexibly.
The Kabara Tafsir is available on the YouTube Channel I created specifically for it. So look for it if interested. If you want to know more about the controversies and censorship of the Prophet Yusuf CDs in Kano, read my article, “Controversies and restrictions of visual representation of prophets in northern Nigerian popular culture.” March 2017. Journal of African Media Studies 9(1):17-31. The journal publishers don’t want their articles on academic social media networks (ASMN),but they say nothing about personal sites! So, if you want to download the entire paper, it is Acibilistically available at this link.
For those old enough, there is also an Egyptian poster of the Prophet Yusuf/Zulaykha in the presence of her husband, al-Aziz (Potiphar) encounter (fully depicted in the TV series) which, together with other Prophets and saints, were also freely sold in Kano in the 1960s. This gives a historical perspective to how artists tried to portray this popular Islamic narrative in popular culture. The poster is in the article.
