Kannywood

Academic, MOPPAN president Maikuɗi Cashman passes away

By Abdullahi Mukhtar Algasgaini

Mallam Umar Maikuɗi (popularly known as Cashman), a lecturer at Nuhu Bamalli Polytechnic, Zaria, and President of the Motion Picture Practitioners Association of Nigeria (MOPPAN), has passed away after a prolonged illness. He died this evening at the Ahmadu Bello University Teaching Hospital (ABUTH).

Colleagues, associates, and the entertainment industry mourn his passing, praying for Allah’s forgiveness and for him to be granted Al-Jannah al-Firdaws.

Until his death, Maikuɗi was an active academic and a key figure in Nigeria’s motion picture industry.

Funeral arrangements will be announced by the family.

The fans made you: A wake-up call for Kannywood stars

By Habibu Maaruf Abdu 

The social media in Northern Nigeria was recently abuzz with reports that Kannywood actress Fati Washa allegedly ignored and embarrassed some of her fans. This incident mirrors the infamy of certain Kannywood stars who are generally known for disrespecting their supporters. And that’s truly unfortunate!

Fans are the backbone of every entertainer’s success. Without their support, applause, and attention, there would be no fame, no endorsement deals, and no screen presence. So why do some Kannywood stars treat them with such indifference, even disdain?

Take a look at how global celebrities carry themselves. When Lionel Messi visited a restaurant in Argentina, he didn’t ignore the crowd of fans gathered outside. Despite being with his family, he waved, smiled, and acknowledged their love. 

In Bollywood, big stars like Salman Khan often stop for quick selfies or a simple wave to appreciate their fans. Even Hollywood legends like Keanu Reeves are celebrated not just for their talent but for their humility and approachability.

So, if celebrities from such massive industries, with far greater global fame on a scale Kannywood can only dream of, still find it important to respect their fans, what excuse do the local stars have?

I know for sure that not all Kannywood actors are like that. I met many of the industry’s A-listers, and my interactions with them have been nothing short of respectful. Perhaps it’s because I know how to read the room; when I sense a dismissive attitude, I simply stay away. But I’ve had some memorable encounters worth sharing.

Back in 2012, shortly after graduating from secondary school, a friend of mine wrote a film script. I suggested we visit Shy Plaza in Gadon Kaya, where, at that time, Kannywood filmmakers had a significant presence, to discuss it with a renowned producer. I was familiar with the area, having lived nearby.

We went there full of hope. The producer wasn’t around, so we waited. Then we saw Sadiq Sani Sadiq walk by. We decided not to approach him. But he came over and greeted us. He smiled, shook our hands, and made us feel seen. We were both under 20 at the time, nobodies, really, yet he showed us respect. From that day on, he earned my admiration and loyalty as a fan.

Over the years, my interest in Kannywood deepened. I attended many of their events and premieres. When Filmhouse Cinema opened at ShopRite in Kano, I was a regular attendee. I saw many Kannywood personnel there during movie promotions. Still, I rarely approached anyone—except Falalu Dorayi and Nazifi Asnanic, both of whom responded warmly and even posed for pictures with me.

There was also Aisha Humaira, the recent bride. I once saw her being approached by a young girl at the cinema premises asking for a photo. I was seated nearby when she turned to me and said, “If you don’t mind, please snap us.” I was amazed at her subtle show of humility.

Later, when I gained a bit of recognition as a film reviewer, I made the conscious decision to stop attending premieres, just to avoid being compromised by familiarity with filmmakers. I even turned down invites to special screenings, keeping my professional distance. At festivals and award events, I would often avoid conversations with actors altogether.

But something remarkable happened recently. It was at a UNICEF function, and thanks to our mentor Malam Habibu Aminu Lawan, I attended alongside Amina Bako and other social media influencers. We were seated right next to Kannywood veterans like Rabi’u Rikadawa, Umma Shehu, Umar M. Sharif, and others.

Because of actors’ reputation for snobbery, we decided to “maintain our steeze,” acting like we didn’t care. Interestingly, we ended up sharing laughs and engaging in light-hearted conversations. I even had an insightful discussion with Rikadawa about his acting prowess and the industry at large.

Therefore, based on my experience, I can confidently say that there are truly humble and grounded personalities in Kannywood, especially among the educated and veteran actors. The problem primarily lies with the naive, up-and-coming actors who mistakenly believe that arrogance equates to importance. And sadly, it doesn’t. It only exposes their insecurity.

In conclusion, Kannywood actors need a serious reality check. Fame is fleeting. The same fans you ignore today can forget you tomorrow. You have to respect your fans. They made you who you are.

Habibu Maaruf Abdu wrote from Kano via habibumaaruf11@gmail.com.

Kano censorship board suspends Manyan Mata, Dakin Amarya, Labarina, 19 others for violating guidelines

By Uzair Adam 

The Kano State Censorship Board has suspended 22 Hausa film series, including Dakin Amarya, Labarina, Gwarwashi, Dadin Kowa, Gidan Sarauta, and Manyan Mata, for allegedly violating the Board’s censorship regulations.

The suspension was announced by the Executive Secretary of the Board, Abba El-Mustapha, following a management meeting and internal consultations. 

According to a statement issued by the Board’s Information Officer, Abdullahi Sani Sulaiman, the action is part of a strategic effort to ensure that all films are subjected to censorship before public release, in line with existing laws.

The Board warned all producers and owners of the affected series to halt further streaming or broadcasting of the content via television or online platforms. 

It directed them to submit their films for censorship approval within one week, starting from Monday, May 19, 2025, or risk facing legal consequences.

Sulaiman further called on television stations and the Nigerian Broadcasting Commission (NBC) to support the Board’s enforcement efforts and help safeguard the integrity of the local film industry.

According to Sulaiman, the affected film series include:

1. Dakin Amarya  

2. Mashahuri  

3. Gidan Sarauta  

4. Wasiyya  

5. Tawakkaltu  

6. Mijina  

7. Wani Zamani  

8. Labarina  

9. Mallaka  

10. Kudin Ruwa  

11. Boka Ko Malam  

12. Wayasan Gobe  

13. Rana Dubu  

14. Manyan Mata  

15. Fatake  

16. Gwarwashi  

17. Jamilun Jiddan  

18. Shahadar Nabila  

19. Dadin Kowa  

20. Tabarmar  

21. Kishiyata

22. Rigar Aro

Nigerian professor unveils groundbreaking study on Hausa cinema

By Hadiza Abdulkadir

Nigerian scholar Professor Abdalla Uba Adamu has officially announced the publication of his new book, Hausa Cinema of Northern Nigeria: Cultural Imperialism and Censorship, a landmark work that explores the development, politics, and aesthetics of Hausa-language film across West Africa.

Published by Bloomsbury, the book is the product of over twenty years of research spanning multiple countries and academic disciplines. Rather than focusing solely on the popular commercial industry known as “Kannywood,” Adamu takes a broader approach, examining Hausa cinema in its many forms—including diaspora productions, documentaries, art films, and digital series.

“This is not just about Kannywood,” Adamu explained. “It’s about Hausa cultural expression wherever it exists, rooted in Islamicate values and media flows across the Global South.”

Completed in 2010, the manuscript faced delays and was almost shelved. However, a 2023 conference presentation and a meal hosted by Dr. Muhsin Ibrahim, where Adamu jokingly called the large waina “one terabyte,” in Cologne, Germany, reignited interest, leading to its acceptance and revision. 

The final version, praised by scholars such as Graham Furniss and Brian Larkin, will be released in July 2025.

Though priced at $130, Adamu plans to publish a locally accessible companion book titled Kannywood: A Brief Introduction later this year in Kano. It will be tailored for readers interested in a concise, less theoretical overview.

With this announcement, Hausa cinema gains its most comprehensive and scholarly treatment, firmly placing it in the global conversation about media and culture.

Veteran Kannywood actor Baba Karkuzu passes away  

By Habibu Maaruf Abdu!

The Kannywood film industry has lost one of its most beloved pioneers. Veteran actor Abdullahi Shuaibu, widely known as ‘Baba Karkuzu,’ breathed his last on Tuesday, March 25, 2025, the 25th of Ramadan 1446.

He reportedly died at the University of Jos Teaching Hospital after a prolonged battle with illness. 

His demise comes nearly a year after the passing of the celebrated Kannywood actress Saratu Daso, who died on the 30th of Ramadan, 1445. 

A respected figure in the Hausa entertainment industry, Baba Karkuzu made his debut in the 1980s with his iconic drama ‘Karkuzu na Bodara,’ which earned him the stage name by which he became widely known. His unique acting style and contributions to the industry played a crucial role in shaping the early days of Kannywood.

However, Karkuzu had struggled with health complications for several years, which led to blindness before his death. Reports indicate that he had been facing significant hardship since 2018, prompting renowned Nigerian footballer Ahmed Musa to extend a helping hand by donating ₦5 million and gifting him a house.  

His funeral took place according to Islamic rites today, Wednesday, March 26, 2025, at his residence on Haruna Hadeija Street in Jos, Plateau State.

Karkuzu’s death signifies the end of an era in Kannywood, leaving a legacy that future generations will remember.

Tribute to the late Abdu Kano, Karkuzu

By Sani Mu’azu

Inna lillahi wa inna ilaihir rajiun.

It is with a heavy heart that I mourn the passing of my dear elder colleague, friend, and legendary actor Abdu Kano, famously known as Karkuzu.

I had the privilege of knowing Karkuzu for over 40 years, and I can confidently attest that he was an exceptional talent who left an indelible mark on the Nigerian film industry. His versatility as an actor was unmatched, effortlessly transitioning between comedic and serious roles with ease.

One of my most cherished memories of working with Karkuzu was on the hit Radio Drama, Karambana – a dawo lafiya. Paired alongside the iconic Kasimu Yero and the legendary Hausa Pop Singer Sani Dan Indo, Karkuzu, who played the role of Liba, brought his unique energy to the project, which became an instant sensation among truck drivers and freelance workers. Before then and even after, we worked together on several film projects, including the early version of the movie Amina, where he played the role of Sankira along with Pete Edochie, shot around 1998.

What struck me most about Karkuzu was his resilience and dedication to his craft. Despite facing numerous life challenges, including health issues, he continued to act well into his old age, inspiring countless young actors and actresses along the way.

As we bid farewell to this Nigerian film icon, I pray that Allah SWT grants his soul eternal rest in Jannat Firdausi. May his family, friends, and the entire Nigerian film industry find the strength and fortitude to bear this immense loss. Ameen.

Rest in peace, Mallam Karkuzu. Your legacy will live on through the countless lives you touched and the unforgettable characters you brought to life.

Mai Martaba director debunks claims of Nollywood, Kannywood rejection

By Uzair Adam

Nigerian filmmaker Prince Daniel, popularly known as Aboki, has dismissed reports claiming he was rejected by Kannywood due to his religion and by Nollywood because of his regional background.

Aboki, the director of Mai Martaba, a film that has gained widespread recognition within and beyond Nigeria, described the reports as a misinterpretation of his remarks during a recent event in Los Angeles, California.

The epic Hausa film was among the entries at the just-concluded 97th Academy Awards, having been meritoriously selected by the Nigerian Official Selection Committee for the Best International Feature Film category.

In a statement issued on Tuesday, Aboki clarified that he never granted any interview making such claims.

“My attention has been drawn to publications suggesting that Kannywood rejected me because of my religion and Nollywood because of my region. First and foremost, I never made such statements in any interview,” he said.

He explained that while speaking during a question-and-answer session at Nollywood in Hollywood earlier this month, he discussed the challenges encountered while producing Mai Martaba and the journey to the Oscars.

Among the challenges he highlighted were security concerns while filming in the Northwest and financial constraints, particularly as a new director working with emerging actors.

He noted that during this discussion, he mentioned how the industry at times seemed divided in its perception of him and his work.

“At some point, the Kannywood segment of the industry seemed to view us as Nollywood, while Nollywood also saw us as Kannywood, simply because I am from the North,” he said.

However, he emphasized that this was misinterpreted and reaffirmed his deep connection with Kannywood.

“For clarity, Kannywood has never rejected me on the basis of ethnicity or religion. In fact, it has been my greatest pillar of support as a filmmaker,” he stated.

He further expressed gratitude for the overwhelming support he received from audiences during the film’s cinema release, as well as from industry professionals, both veterans and newcomers.

“I say with every sense of responsibility that I am a Nigerian filmmaker, though of northern extraction. I reside in Kano, where I practice my craft, springboarding from Kannywood. I have enjoyed immense support here, with no prejudice whatsoever,” he affirmed.

Aboki also reiterated his commitment to the growth of the industry and changing narratives about the North.

“I remain dedicated to working with my colleagues and the founding fathers of Kannywood to elevate our industry—telling our stories to the world and creating employment opportunities for our youth, far from the stereotypical portrayal of the North as a region of conflict and banditry,” he added.

Kannywood actor Nabraska dumps NNPP for APC

By Hadiza Abdulkadir

Popular Kannywood actor Mustapha Badamasi Nabraska has defected from the New Nigeria People’s Party (NNPP) and the Kwankwasiyya Movement to the All Progressives Congress (APC).

Senator Barau Jibril, representing Kano North, announced the defection on social media, revealing that Nabraska visited his residence in Abuja, where he symbolically discarded his red cap—an emblem of the Kwankwasiyya Movement. Senator Ibrahim Lamido (Sokoto East) and Political Adviser Hon. Yusuf Tumfafi were also present to receive him.

Nabraska, known for his shifting political allegiances, previously worked under the APC-led government of former Kano governor Dr. Abdullahi Umar Ganduje. However, after the NNPP’s victory in the 2023 Kano governorship election, he switched sides, only to return to APC now.

The actor’s latest move has drawn mixed reactions. Many social media users mock his frequent party changes, suggesting they are motivated by personal gain rather than ideology.

Misguided Feminism: A call for thoughtful leadership in Northern Nigeria

By Isah Dahiru

The recent interview with popular Kannywood actress Nafisa Abdullahi has ignited a heated debate across the social landscape of northern Nigeria, capturing the attention of various commentators, particularly on social media. In her comments, Nafisa made a bold assertion, claiming she is in complete control of her body and mind, and no external pressure will sway her from dressing or presenting herself as she chooses. While many regard Nafisa as a rising icon in the realm of feminism, others view her stance as a challenge to societal norms, often overlooking moral values and even biological realities that define the differences between men and women.

However, I firmly believe that Nafisa and those who share her views are fundamentally misguided. Our bodies are not commodities to be paraded for public admiration. We are not here merely to fulfil some visual pleasure or as adornments for others’ gaze. Instead, we are human beings endowed with dignity and deserving of respect. As the saying goes, “Modesty is the garment of wisdom,” and our attire should reflect the strength of our character, not just the shapes of our bodies.

Some may view Nafisa’s perspective as a rallying cry for women’s rights, but we must question: at what cost? Feminism, when reduced to a struggle for the right to dress indecently or act without moral constraints, becomes an empty movement. True feminism should not undermine the fundamental principles of respect, but rather empower women to pursue their dreams, shape their futures, and contribute meaningfully to society. Yet, today, far too many feminists have turned their movement into a celebration of physicality and superficiality, often at the expense of deeper issues that affect women—such as access to education, healthcare, and opportunities for economic advancement.

“Not all that glitters is gold,” and the so-called “empowerment” that comes from making oneself a spectacle for public approval is fleeting at best. Our communities need leaders who inspire change through actions that address real problems, not through empty displays of vanity. Nafisa and her supporters must realise that feminism was never about endorsing self-destructive behaviours but advancing equality and opportunity for women, especially in the most critical areas—health, education, and justice.

Moreover, the widespread glorification of such behaviours leads to a dangerous distortion of the feminist narrative. In the pursuit of gender equality, many have lost sight of the core values that have guided humanity for centuries. As the Yoruba proverb says, “A child whose mother does not discipline will be disciplined by the world.” While Nafisa may feel empowered by her choices, she must ask herself whether these choices empower women or diminish their potential. Are they fostering respect, or are they merely setting up an unrealistic, unsustainable standard that undermines the integrity of the feminist movement?

The case of Nafisa is also emblematic of a broader issue in modern-day feminism: the movement has become entangled with other societal problems, including the normalisation of self-objectification. This is particularly damaging in northern Nigeria, where the pressures of social norms and expectations are often at odds with personal freedoms. It is one thing to advocate for women’s rights but another to ignore the vital cultural and moral fabric that holds communities together. The old adage, “When you are in Rome, do as the Romans do,” speaks to the importance of understanding context and respecting traditions that shape our societies.

Furthermore, it is essential to note that the modern feminist movement has, in many ways, become an outlet for personal grievances—whether stemming from personal insecurity or trauma. In some cases, it’s a response to physical abuse, neglect, or toxic home environments. Unfortunately, this mindset often distorts the movement into focusing on external appearance and aggressive defiance rather than internal healing and social harmony. Feminists like Nafisa who endorse such ideologies must ask themselves: Are we fighting for the right to make healthy, empowered choices, or are we simply reacting to our wounds?

“Empty vessels make the most noise,” the proverb warns. Feminism, when misdirected, can become just that: an empty echo of ideals without true substance or lasting impact. Instead of dwelling on appearances, activists should channel their energy into solving tangible issues affecting women daily. Why not focus on creating innovative solutions for women in business, technology, or healthcare? Why not work toward making pregnancy and childbirth safer for women in rural areas? Let’s think about addressing the millions of girls who are denied an education or the thousands of children living on the streets of cities like Jos and Kano. These are the real battles feminists should be fighting.

The world has always advanced through the cooperation of men and women, and both genders have vital roles to play in society’s development. Nafisa and her followers should consider taking a more constructive approach. Instead of focusing on outward appearances and ideological battles, they could use their platforms to bring about meaningful change. 

Let Nafisa invest her energy into projects to help women access technology, provide better healthcare, or champion the cause of good governance. As the saying goes, “A man with a good wife is like a man with a treasure chest”. True success comes not from looking beautiful for the world but from making contributions that endure long after physical beauty has faded.

Time waits for no one. The years spent in idle pursuits are years lost. Like all of us, Nafisa is in her prime, and it is her responsibility to use this time wisely. Rather than spending it on fleeting concerns like hair and makeup, let her invest in causes that uplift women and contribute to the collective well-being of society. Her legacy can be more than just a pretty face—it can be one of deep, transformative impact. “He who does not cultivate his own field, let him not expect to reap the harvest.”

The choice is hers—will she become a true role model, not just for how she dresses, but for the change she brings to the world?

By focusing on true empowerment and social progress, Nafisa can transcend the superficiality of celebrity culture and contribute to a more meaningful, lasting legacy for herself and the women who look up to her.

Isah Dahiru is a pharmacist who wrote via easerdahiru@gmail.com.

A frank review of the Pandora Award 2024 winners

By Sulaiman Ibrahim Lala

The Pandora Awards is an annual event organised by Mama’s Boy Entertainment that aims to recognise outstanding contributions from public figures in northern Nigeria across various fields. The latest edition, held in Kano on Wednesday, January 15, 2025, honoured several notable figures, including footballer Abdullahi Shehu, celebrated Kannywood scriptwriters Fauziyya D. Sulaiman (Uwar Marayu) and Yakubu M. Kumo, social media personality Abba Pantami, among others.

Upon closer examination of the awards ceremony, it becomes apparent that the Kannywood/entertainment industry categories, encompassing music and film, favour familiarity and personal connections over genuine merit. This raises concerns that deserving artists may have been overlooked in favour of those with closer ties to the organisers.

I wholeheartedly agree with some awards, particularly MANYAN MATA, as Best Web Series. Similarly, DJ AB as Best Hip-hop Artist and Sadiq Sani Sadiq’s honour as Best Actor of the Year are also well-deserved.

However, I have reservations about the remaining awards. Some other projects and individuals demonstrated exceptional work and dedication, making them more deserving of recognition.

I am surprised by some of the award outcomes. For instance, Hamisu Breaker took home an award despite not releasing any notable hits in 2024. Meanwhile, Sadiq Saleh’s impressive ‘Da Ransu’ album featuring the standout track ‘Mai Kishina,’ arguably one of the most impactful Hausa songs of 2024, was overlooked.

I also believe the Best Music Video award should have gone to ‘BANI’ by Ado Gwanja, skillfully directed by Jafs, rather than ‘Zuciya’ by Auta Waziri.

The award results were met with surprise and disappointment. NGULDE took home the Best Comedian of the Year award despite Jok3r (Anty Maina) having a more impactful year. Abale’s win for Best Villain Artist over Sultan Abdurrazak, who consistently delivered strong performances last year, was also unexpected.

DEEZELL’s Best Collaboration win raised eyebrows given their lack of notable collaborations in 2024 since the release of ‘NAMIJI’ in 2023. Other nominees like ‘TAWAN’ by Nazifi Asnanic ft Naziru Sarki Waka, ‘Daga Ke’ by Lilin Baba, and ‘Aure remix’ by Boyskiddo seemed more deserving.

Additionally, Mummy Gombe’s Best Female Artist win over Firdausi Yahaya, who excelled in ‘Garwashi’ and ‘Labarina,’ was also surprising. MAISHADDA’s Producer of the Year win for ‘Gidan Sarauta’ over Umar Uk’s outstanding work on ‘Garwashi’ felt like a missed opportunity.

The Queen of the North award went to Fati Kinal despite intense competition from Hadiza Gabon, Rahama Sadau, and Nafisa Abdullahi, leaving some questioning the award’s credibility.

The Pandora Awards’ geographical bias is concerning due to a disproportionate focus on artists from Kano and Kaduna. Despite their significant contributions to the northern entertainment scene, talented artists from Jos, Kogi, and Benue were overlooked.

This regional disparity raises questions about the awards’ inclusivity and representation. The fact that the organisers are primarily from the North-West may have contributed to this bias, undermining the credibility of the awards and their ability to showcase the diversity of northern talent.

Note: These are my personal views as a dedicated fan and keen observer of the Arewa film and music industry.

Sulaiman Ibrahim Lala wrote via sulaimanibrahimlala@gmail.com.