Kannywood

By Prof. Abdalla Uba Adamu

An industry is a system made up of interconnecting parts that synchronise together to create a perfect dynamic and functional entity. However, there is a central creative focus. Thus, while no one can claim to have been the actual originator of commercial Kannywood since many people – and processes contributed to its development – nevertheless, the creative spark that lit the fire of Kannywood was the late novelist Aminu Hassan Yakasai. If one person can be credited with creating the industry, it was him and only him. 

In the late 1970s, the Nigerian film director Ola Balogun directed two successful Yoruba films. The first, “Ajani Ogun”, was co-produced with the actor Ade Love. The second, “Ija Ominira”, starred Ade Love. Hubert Ogunde, a famous Yoruba travelling theatre showman, decided to join the trend. He invited Ola Balogun to direct Aiye, which was hugely successful and led to a follow-up, Jaiyesinmi. 

These Yoruba films found their way to Kano’s bustling “stranger” (or, more appropriately, “guest settlers”) communities of Sabon Gari in the 1980s, where they were shown in cinemas and hotel bars. This attracted the attention of Hausa amateur TV soap opera stars and crew, such as Bashir Mudi Yakasai (cinematographer), Aminu Hassan Yakasai (scriptwriter) and Tijjani Ibrahim (director). Surprisingly, despite the massive popularity of Hausa drama in television houses and government financial muscle, the idea of full-scale commercial production of Hausa drama episodes by the television houses was never considered. Individuals wishing to own certain episodes simply go to the television station and pay the cost of the tape and a duplication fee, and that was it. There was no attempt to commercialise the process on a full scale. 

In the same period, the northern cities of Kano, Kaduna, and Jos benefitted immensely from the massive transfusion of modern media influences caused by not only a liberal society but also the tolerant interaction of diverse cultures and religions in the same public spaces. They were, undoubtedly, the creative hubs of northern Nigerian popular culture. Jos was famous for its vibrant nightclub and music scene. Kaduna also had a rich musical heritage, coupled with a TV culture. Kano was more muted and relied on music and club life inflows to Sabon Gari from other regions. 

However, one aspect of popular culture Kano had that was absent in Kaduna and Jos was prose fiction. While other cities were grooving the night away, residents of Kano were burning the midnight oil. The first published modern Hausa fiction was “So Aljannar Duniya” by Hafsat AbdulWaheed from Kano in 1980`. It opened the floodgates and led to hundreds of novelists creating a whole genre of African indigenous fiction referred to informally as Kano Market Literature. 

Also, at the same time, Kano had many drama groups that enjoyed stage plays that were often improvisational and not based on any script but with a general focus on social responsibility. These drama groups became spawning grounds for those who established the Kannywood film industry. These included Tumbin Giwa Drama Group (Auwalu Isma’ila Marshall, Shu’aibu Yawale, Ibrahim Mandawari, Adamu Muhammad, Ado Abubakar, Jamila Adamu. (Gimbiya Fatima), Hajara Usman, Ɗanlami Alhassan, etc.), Jigon Hausa Drama Club (Khalid Musa, Kamilu Muhammad, Fati Suleiman, Bala Anas Babinlata), Tauraruwa Drama & Modern Film Production (Abdullahi Zakari Fagge, Shehu Hassan Kano, Iliyasu Muhammad, Hajiya Rabi Sufi, Auwalu Ɗangata, Ado Ahmad G/Dabino, Asama’u Jama’are), and Hamdala Drama Wudil ( Its members include Rabilu Musa Ɗanlasan (lbro), Mallam Auwalu Dare, Ishaq Sidi Ishaq, Bappah Yautai, Bappah Ahmad Cinnaka, Haj. Hussaina Gombe (Tsigai), Shua’ibu Ɗanwamzam, Umar Katakore etc.) There were many more, of course, but these were foundational to Kannywood. 

The TV shows from then Radio Television Kaduna were gripping and inspiring to these drama groups. TV show stars that became role models to these Kano drama groups included Ƙasimu Yero, Usman Baba Pategi Samanja, Haruna Ɗanjuma, Harira Kachia, Hajara Ibrahim, Ashiru Bazanga (Sawun Keke) and others. 

Thus, it was that at the time of producing Bakan Gizo in Bagauda Lake Hotel 1983 to 1984 Aminu Hassan Yakasai, Ali “Kallamu” Muhammad Yakasai, Bashir Mudi Yakasai started strategising creating a drama for cinema settings (thus Kannywood was often seen as the creation of a ‘Yakasai Mafia’ as those from Yakasai dominated its creative direction!).

The tentative title of the film they were thinking of shooting was to be called Shigifa. It was a story of four unemployed graduates thinking about setting up a company – a departure from the romantic or comedic focus of then-then-popular TV shows. A script idea was floated, and Aminu Hassan Yakasai was to be the scriptwriter. However, before the idea matured, the group started getting contracts for video coverage of social events, etc. Actually, part of the coverage was also stored as footage, although the film was not eventually made. 

The precise decision to commercialise the Hausa video film, and thus create an industry, was made by Aminu Hassan Yakasai in 1986, with technical support of Bashir Mudi Yakasai, the leading cinematographer in Kano, and Tijjani Ibrahim, a producer with CTV 67. 

Aminu Hassan Yakasai was a member of the Tumbin Giwa Drama Group. He was also a writer and a member of the Raina Kama Writers Association, which spearheaded the development of what became known as Kano Market Literature in the 1980s. Thus, the idea of putting Hausa drama—and extending the concept later—on video films and selling it was a revolutionary insight, simply because no one had thought of it in the northern part of Nigeria. The project was initiated in 1986, and by 1989, a film, Turmin Danya, had been completed. It was released to the market in March 1990—giving birth to the Hausa video film industry. Salisu Galadanci was the producer, director, and cinematographer, while Bashir Mudi Yakasai provided technical advice. 

The moderate acceptance of Turmin Danya in Kano encouraged the Tumbin Giwa drama group to produce another video, Rikicin Duniya in 1991 and Gimbiya Fatima in 1992 — all with resounding success. By now, it was becoming clear to the pioneers that there seemed to be a viable Hausa video film market, and this viability laid the foundation of the fragmented nature of the Hausa video film industry. While organised groups formed to create the drama and film production units, individual members decided to stake out their territories and chart their future. Thus, Adamu Muhammad, the star of Gimbiya Fatima, decided to produce his own video film, independent of the Tumbin Giwa group in 1994. The video film was Kwabon Masoyi, based on his novel of the same name, and outlined the roadmap for the future of the Hausa video film. At the same time, it sounded the death knell of the drama groups. This was because Aminu Hassan Yakasai, who created the very concept of marketing Hausa video films—and thus created an industry—broke away from Tumbin Giwa and formed Nagarta Motion Pictures. Others followed suit.

Other organised drama groups in Kano did not fare too well either. For instance, Jigon Hausa, which released a genre-forming Munkar in 1995, broke up with the star of the video film, Bala Anas Babinlata, forming an independent Mazari Film Mirage production company (Salma Salma Duduf). Similarly, Ado Ahmad Gidan Dabino broke away from Tauraruwa Drama and Modern Films Production (which produced In Da So Da Ƙauna) and formed Gidan Dabino Video Production (Cinnaka, Mukhtar, Kowa Da Ranarsa). While Garun Malam Video Club produced Bakandamiyar Rikicin Duniya, written by Ɗan Azumi Baba, after the video film was released, Baba left the group and established RK Studios (Badaƙala). 

From field studies and interviews with the producers in Kano, most of these break-ups were not based on creative differences but on financial disagreements or personality clashes within the groups. The number of officially registered “film production” companies in Kano alone between 1995 and 2000 was more than 120. There were many others whose “studio heads” did not submit themselves to any form of registration and simply sprang into action whenever a contract to make a film was made available. 

Interestingly, Adamu Muhammad of Kwabon Masoyi Productions produced the first Hausa video film entirely in English. It was “House Boy”. Although it was an innovative experiment by a Hausa video filmmaker to enter into the English language video genre, it was a commercial disaster. Hausa audience refused to buy it because it seemed too much like a “Nigerian film”, associating it with southern Nigerian video films. When the producer took it to Onitsha—the main marketing centre for Nigerian films in the south-east part of the country—to sell to the Igbo marketers, they rebuffed him, indicating their surprise that a Hausa video producer could command enough English even to produce a video film in the language. Further, the video had no known “Nigerian film” actors and, therefore, was unacceptable to them. Thus, the Hausa audience rejected it because it looked too much like a “Nigerian film”, while non-Hausa left it because it used “unknown” Hausa actors, so it must be a Hausa film, even though the dialogue was in English!

Tragically, Aminu Hassan Yakasai died in an automobile accident on Saturday, June 16, 2001, on his way to Katsina to participate in a film, “Arziki da Tashin Hankali”.

• Director: Muhammad Galadima
• Producer: Ali Saidu Worthme
• Company: Jammaje Productions
• Language: English
• Release Date: 26th December, 2023
• Cast: Hajara Yusuf, Magaji Mijinyawa, Abba Zaki, Billy O, Tijjani Faraga, Mustapha Musty, and others.

The Princess of Galma is another ‘Kannywood film in English’ from the promoter of the genre, Malam Kabiru Musa Jammaje, who has produced a few others before. The film was screened during an annual event, ‘Jammaje Day’, attended by hundreds of English language enthusiasts. Jammaje seems to have made the event a new way for showing his English movies as the attendees clearly make the audience he targets.

Despite its glorious title, The Princess of Galma is neither a historical drama nor an epic adventure. It’s a regal fiction set in a contemporary, fictitious kingdom, Galma, where King Ahmadu (Magaji Mijinyawa) suffers from a serious illness. The film begins with King Ahmadu’s illness, which caused widespread concern in the kingdom. His only daughter, Princess Nafisa (Hajara Yusuf), is deeply worried about her father’s deteriorating health condition. 

Meanwhile, the kingdom’s cabinet deliberates on the succession dilemma, as tradition dictates that the one who marries the princess inherits the throne. This makes Waziri (Tijjani Faraga), a cabinet member, send his son Sahabi to propose to the Princess. But she promptly rejects him despite his being a royal son and the most handsome young man in the Kingdom. The ensuing drama unveils Waziri’s struggle, the princess’s personal choice, and more…

Although the plot has its share of clichés, it maintains a reasonable flow, ensuring no dull moments throughout the story. But the screenplay runs too fast to a hasty finish. It would have been better if it had more scope, especially for Waziri’s secret schemes and the Princess, who suffers magic afflictions.

Beyond its regal and romantic themes, the film emphasises the healing power of prayers. We see how the prayers heal the king after everyone has begun to despair. It also highlights the prevailing theme of good triumphing over evil, as depicted in Sahabi’s loss of the princess despite his father’s magical attempt to acquire her. Besides, it also subtly addresses big security challenges in northern Nigeria.

The film also tries to be brim-full of cultural showcase but falls short of capturing the intrinsic value it truly deserves. It lacks the seriousness and dramatic intensity expected in a movie of its genre. The technical aspects are also average. A film like this should be carefully produced with a considerable budget to get the required impact. 

However, the English usage is generally flawless. The dialogue is captivating, and the actors deliver their lines remarkably. A few scenes were rendered entirely in the Hausa language, with others having lots of code-switching and mixing to accentuate comical effects and cultural representation.

On the other hand, all the actors try to pull off a good performance, especially Hajara Yusuf, who perfectly fits the role of Princess Nafisa and delivers her lines effectively. Abba Zaki leaves an impression in a brief role as the man of Nafisa’s dream. The scenes where he expresses his love for her captivate the most. Also, Billy O. gives a very real performance, similar to Malam Abdulhadi. The comic gestures he portrays get the audience laughing throughout.

Finally, The Princess of Galma qualifies as a worthy addition to Kannywood’s archive of English movies. It has little novelty but offers much to keep you glued to the screen. I commend the efforts of the director (Muhammad Galadima) and all the cast and crew members. Rating: 3/5.

Reviewed by Habibu Maaruf Abdu

habibumaaruf11@gmail.com

Kannywood actress Aisha Humaira has pledged to clear all outstanding debts left behind by her late colleague, Aminu S. Bono, who passed away on Monday following a brief illness. 

Taking to her Instagram handle to convey her condolences, Ms Humaira called upon anyone with legitimate claims against the deceased to step forward, assuring them that she would take responsibility for settling his debts. 

“I call on everyone who is owing Aminu S. Bono money or has sold anything to him on credit and was yet to pay before his death to come forward,” she stated.

“By God’s grace, I will offset the debt so long as it is not beyond my power. If the person wants to get the money even before his funeral, I will relieve him of all the burdens as long as it is not beyond my power.” 

Reflecting on the amiable character of the late actor, she expressed fond memories of their friendship and urged forgiveness from those who may have been offended by him. 

As the Kannywood community mourns the loss of Aminu S. Bono, Aisha Humaira’s compassionate gesture stands as a testament to the solidarity and support within the industry.

By Prof. Abdalla Uba Adamu

I was tagged in a Facebook thread lamenting the perceptions of Hausa popular culture studies by Muhsin Ibrahim on how such a course of action is looked down upon. Indeed, he related personal bad experiences on his encounter with what one might call ‘culture purists’ who do not see anything worthwhile studying about contemporary popular culture. I feel that my response should be enlarged beyond the one I gave in order to reach wider audiences and stimulate debate.

‘So, what exactly is ‘popular culture’? Without being bogged down by technicalities, it is simply what people like. Often referred to also ‘mass culture’. Which differentiates from the ‘elite culture’ preferences of the high order of the society. Elite culture is often favoured because it is seen as cultural representative due to its historical purity. For instance, Shata is an elite culture, while Rarara is a popular culture. Both are singers. But while Shata was a griot whose lyrics represent the historical antecedents of his society and culture, Rarara is a singer whose lyrics represent his pocket.

Thus, everything people do can come under the purview of popular culture – fashion, food, literature, cyberculture, sports, architecture, theatre, drama, films, music, art, you name it, it is popular culture. It is the dominant culture. Some of the universities that teach popular culture in the world include Harvard, Cambridge, MIT, and Stanford, to name some of the top ones, plus thousands of others.

So, why study popular culture? There are many reasons, but one of the most compelling is social awareness. Such a study makes us aware of important social issues. You may not follow Hausa TV show operas, but they illuminate critical tensions within communities, and some reflect the ideals of the political culture; Ado Ahmad Gidan Dabino’s “Kwana Casa’in” is a case in point. Mediated popular culture gives creators opportunities to be creative.

Thus, popular culture can raise awareness about important social issues. TV shows, films, and music often address topics like discrimination, environmental concerns and mental health, sparking discussions and encouraging positive change. For instance, in Kano in early 2023, AA Rufai Bullgates [sic], an individual with mental health issues, became a popular culture media celebrity due to his delusions of grandeur; at one stage, he bought Kano State for ‘gangaliyan’ naira – his coinage. It took social media to make people aware of the extent of his illness – and stop exploiting his guile.

The contempt with which we approach studies of Hausa popular culture – or, let me modify, modern/contemporary culture – allowed a big room for others to be experts on us. In this way, researchers such as Mathias Krings, Carmen McCain, Novian Whitsitt, Brian Larkin and Graham Furniss came to dominate the documentation of Hausa popular culture.

In 2007, I was a visitor to Graham Furniss’s house in London for lunch, and I was blown away by a bookshelf covering a whole wall devoted to his documentation of Hausa romantic (soyayya) fiction containing over one thousand volumes. In Kano, we refused even to acknowledge such novels existed, and at one conference, I heard a University librarian describing them as ‘trash’. Now, if you want to study the earlier novels in the genre, you can only find them in the Library of the School of Oriental and African Studies, courtesy of Graham Furniss – while they are not available at Bayero University, Kano.

Novian Whitsitt, an American, became an expert on the feminist ideologies of Bilkisu Salisu Ahmed Funtuwa and Balaraba Ramat Yakubu – two wonderful and brilliant female writers we ignored. He made a name out of researching their novels – and he had to learn the Hausa language first before he could even read the novels. In Kano, where we speak Hausa, we looked down on these writers. Now, if you want any reference to the works of these ladies, you have to go to Amazon for his books, for he is considered an expert on Hausa feminist writers.

Matthias Krings collected more Hausa cinema tapes than any European researcher and established a vibrant Hausa film reference library at Johannes Gutenberg University, Mainz, Germany, where he is based. In Kano, we refused even to acknowledge that Hausa film is worth studying – until we gave the study a shove and held an international conference on Hausa films in 2003 – the first of its kind in the whole of Africa in studying an indigenous African language film industry. Even the practitioners – filmmakers, producers, directors – don’t see the value in studying their works, believing that such is done to denigrate them rather than a critical analysis of their art. When I established Yahoo! Groups social network in 2001 – long before Facebook – those who entered the group were constantly fighting us for studying their art.

In any event, it was Brian Larkin from New York who even opened up the doors in 1997 with his brilliant paper, “Indian Films and Nigerian Lovers: Media and the Creation of Parallel Modernities.” Soon enough, he became the only reference point on the emergence of modern-mediated Hausa popular culture. I could go on, but you get the point.

As for music, no one cared – until the Talibanic censorship regime from 2007 to 2013 in Kano favourably enabled the separation of Nanaye soundtrack music from Hausa films, creating an independent Hausa Afropop music genre. It also led to the emergence of Rap music among young Hausa lyricists in 2013 – the year of creative freedom for Hausa popular culture. Billy-O produced the biggest hit Hausa Afropop hit of the year with ‘Rainy Season’, producing a brilliant Engausa song accompanied by Maryam Fantimoti.

No attempt was made to internationalise the study of the emergent music genres by anyone. They were all obsessed with studies of the songs of griot acoustic musicians, believing that the Afropop genre was a passing fad. Seeing a room for documentation, I entered into the field. In any event, I was considered a loose cannon in the whole Hausa ‘adabi’ canon. Luckily for me, my foray into Hausa popular culture, or ’Adabin Hausa’ as they often call it (while I prefer ‘Nishaɗin Hululu as the Hausa term for popular culture), was from the prisms of Stuart Hall (Birmingham School) and Frankfurt School critical theory perspectives.

Most importantly, I was analysing popular culture as a mass-mediated communication, rooting myself firmly in communication theories. I was not interested in etymology, morphology, syntax, grammar, pragmatics, stylistics or other branches of the study of literature in my analysis (I profess ignorance of these branches). My focus was that something was happening; it was providing a stethoscope on the social awareness pulse. We need to document it. It was no longer acceptable to let others become experts on us.

Thus, studying or even debating mediated popular culture was definitely frowned upon in northern Nigeria. I believe I am one of the few flying the flag of the discipline – such that it has now crept its way into a university curriculum. Next semester (December 2022/23), I will be teaching M.Sc. Popular Culture in the Department of Mass Communication – one of the very few Departments in the country courageous and bold enough to do so. It’d be a fully interactive class, touching all aspects of what gives us social awareness through mediated popular culture.

Now, to the question of Murja Ibrahim Kunya, a TikTok influencer who speaks at more than 100 km per second. She is important enough to have a Wikipedia page. Dr. Muazu Hassan Muazu was one of the lecturers teaching the EEP 4201 – Venture Creation and Growth course in the School of General and Entrepreneurship Studies (SGES), Bayero University Kano. We once taught the course together. In the first semester (2022/2023) examination, question #5 went like this: “Murja Kunya and Me Wushirya are bloggers who trend by causing scandalous contents on their social media handles, for that reason, they are given advertisement jobs. If they do that, they become – (a) influencer marketers, (b) brand ambassadors, (c) trading agents, (d) marketing managers.” Students are to choose one which they believe was the correct answer.

What drew attention was the focus on the activities of TikTokers – activities not taken seriously, especially those of Murja Kunya, who elicited different reactions from different people. One posting on Facebook even labelled her a mental health patient. And yet, here, a university is asking academic questions about their activities. The entire 70-item question paper included references to various brands – KEDCO, Rufaidah, Salima Cake, A.A. Rano, L&Z Yoghourt, Sahad Stores, MTN, Chicken Republic, and so on. All these are marketing HUBS. Why not TikTokers?

Marketers are looking for audiences – notice how those silly and irritating videos pop up on news sites on your device to attract your attention. Dr. Mu’azu’s inclusion of cyber popular culture in his course – and Chicken Republic, dealing with food, IS part of popular culture – to me, is a brilliant acknowledgement of popular culture and its social relevance. Crazy, drugged, attention-seeker or not, people follow Murja Kunya. That means audiences, that means market – making her a perfect vehicle to advertise products. So, what’s wrong with that? If a woman frying ƙosai by the roadside has the same level of audience attraction, we should also acknowledge her as a marketing potential. That does not mean we endorse what they do – it means we are interested in reaching out to their audiences to buy our products.

Without pop culture, we wouldn’t be able to understand generations, so knowing gives us all a better understanding. Overall, a critical analysis of pop culture and media can help to shed light on the ways in which media interacts with society and can help to promote a more informed and nuanced understanding of media’s role in shaping our world.

Now, print Ale Rufa’is Bullgates gangaliyan note and purchase your village.

By Abdurrahman Muhammad

The former Super Eagles captain and philanthropist, Ahmed Musa, donated the sum of ₦5.5m to the embattled veteran Hausa actor Abdullahi Shu’aibu, alias Abdullahi Kano or Karkuzu.

In a viral social media video, the aged actor, who has also gone blind, pleaded with the general public for help.

He further spoke about his daily struggle to feed, adding that he had even been threatened with eviction. Thus, he wanted people to help him own a house before his death.

The Daily Reality has yet to be able to contact Karkuzu, his family in Jos, Plateau State, or Ahmed Musa during this report. However, sources and reports have confirmed the donation.

By Prof. Abdalla Uba Adamu

In an attempt to gauge the current popular culture market in Kano, I visited my old haunt at Kasuwar Ƙofar Wambai today, 2nd August 2023. It was the place where virtually all Hausa popular culture media products were distributed in the late 1990s to 2000s. It was simply the best in West Africa, as media products from this market – which took over from the Bata market – were distributed to other parts of Hausaphone West Africa.

I was shocked at the fact that there were only three shops selling CDs/DVDs and cassette tapes. The market had been taken over by plastic household items and blouses/football jerseys! It was so sad to see such a vibrant market – the best in West Africa – down on its luck. Discussions with three forlorn merchants reveal two main reasons for this sorry state of affairs of consumptive popular culture media in Kano.

The first was the proliferation of Download Centres. In these places, films were ripped off DVDs or CDs and with a reduced resolution to fit a Smartphone screen – and dozens were packed on a microSD card and sold for peanuts. This denies the content providers of profit from their hard labour. A licensing compromise was agreed between filmmakers and Downloaders to everyone’s satisfaction. Thus, no more CD purchases that require both a CD player, a TV and electricity to play. Downloaders often get their primary source directly from the producers – thus eliminating the media production processes.

Second was the rise of TV series, popularised massively by Arewa24’s Dadin Kowa (although it was not the first). Now almost every producer has jumped on the TV series bandwagon and using YouTube to distribute their programs. With data getting cheaper, it means viewership has migrated to YouTube series dramas – where more money is made with AdSense clicks. Rarely does a producer bother now with a feature film.

Sad as I was with these developments, I perked up when I visited the shop of Alhaji Muhammad Kalarawi. He is quite simply the best ethnomusicologist in the market. His nearest rival, Musa Nasale, passed away some time ago (and no one knows what has happed to his catalogue of unique and rare music field recordings).

Alhaji Muhammad Kalarawi got his name from being the recordist of the late Kano-based Islamic cleric, Alhaji Lawan Kalarawi (d. 1999). The term, “ƙala rawi” means ‘the narrator said’. Kalarawi established himself as a fearless, acerbic preacher in Kano – earning him numerous jail sentences. He was really telling it like it was – bringing his incredible interpretations on leaders (both modern and traditional) and commoners alike. Thanks to modern media technologies, there are hundreds of Lawan Kalarawi’s archival recordings on YouTube and MP3 trawler/caching sites.

Kalarawi’s popularity was enhanced by his street speech mode with jovial, often bawdy commentaries, which made him immensely popular. I personally count three Islamic preachers in Kano as those I avidly listen to: Lawan Kalarawi, Ibrahim Khalil and Aminu Daurawa. All down to earth. Just as it is, without any excess baggage or appendices.

The current Muhammad Kalarawi has almost every incidence of the late preacher’s recordings. That is a huge treasure trove. In addition, he still has stacks of tapes and CDs of traditional Hausa griots, which are simply not found anywhere. I was so elated to know he is still in the game, despite the suffocating pervasive influx of Hausa Afropop in Kano (which studiously avoided the Wambai market). I wish research institutes such as the History and Culture Bureau in Kano, or Arewa House in Kaduna, would license Kalarawi’s priceless catalogue and digitise them for posterity. Once they are lost, they will be gone with the wind.

By Uzair Adam Imam

Saudi Arabia, often described as the Middle East powerhouse, and Iran have summoned Swedish diplomats to denounce the Stockholm’s permission for protests that meant to desecrate Qur’an, the Muslims holy book, on free speech grounds.

The calls by the two majority-Muslim countries, which came separately, were in statements made available late Thursday.

This is coming amid heightened tensions between Sweden and Iraq over a Sweden-based Iraqi refugee, who last month burnt pages of Qur’an outside Stockholm’s main mosque.

The Daily Reality learned that, in the latest such incident on Thursday, the refugee, Salwan Momika, stepped on the Qur’an but did not burn it.

Monika’s action was considered to be the reason that triggered the renewed condemnations and calls for protest across the Muslim world.

According to a foreign ministry statement, Saudi Arabia, it would hand the Swedish charge d’affaires “a protest note that includes the kingdom’s request to the Swedish authorities to take all immediate and necessary measures to stop these disgraceful acts”

Nasser Kanani, the Iranian Foreign Ministry Spokesman, said Sweden’s ambassador to Tehran had been called in to censure the permit granted to Momika’s protest and to warn Stockholm of the consequences of such actions.

“We strongly condemn the repeated desecration of the holy Koran and Islamic sanctities in Sweden and hold the Swedish government fully responsible for the consequences of inciting the feelings of Muslims around the world,” Kanani said.

By Muhammad Sabiu

The famous Hausa film star, Ali Nuhu, states why he would allow his own children to choose the career of their choice.
 
He added that he would like his son to succeed him in the Kannywood film industry.
 
However, in an interview he granted to the Hausa Section of the BBC, he says his son is more interested in football, which is why he supports him so that he can achieve his goal.
 
Ali Nuhu was quoted as saying, “What the modern age has brought is that if you see your son or daughter wanting something, as long as it is not against religion, then support him and give him encouragement to achieve his goals.”
 

By Abdullahi Haruna Kandash

In my opinion, Mayan Mata is one of the best series, if not the best movie ever produced in Kannywood. The movie portrays the vicious circle of poverty, a retinue of marriages, the mutilation of pregnant women and how children in society are raised with no regard for their futures.

Sadik Sani Sadik thinks nothing a man should be ashamed of if he bullies his wife. In the series, his pregnant wife faces a crisis despite her pregnancy. Unfortunately, they lost the child by miscarriage. Jamila Nagudu experiences petty humiliation after her one and only child is taken to Almajiranci. Daso’s son is a nasty disciple, too, a spoiled one. He was taken to Almajiranci when he was a child. He follows the gang and gets spoiled.

The movie portrays what really sabotages relationships, couples and children’s futures. The best part of this movie tells us that there are people in society with more clout who show no concern for other children and other women whose lives have been shattered by the cruelty of their spouses. I became truly interested in the movie after I watched some episodes. And I have seen many things that happen in real life portrayed in the movie. The director has done a wonderful job.

Kannywood should continue to bring cultural identities into its movies. The director also depicts literature, art and culture in the movie, and all these can be vividly seen in the different scenes of the film. Literature, art and culture are not something we can simply despise. They are like the air we breathe. And If we cut them off, the whole world will suffer.

Literature has enormously helped so many movies to gather an audience because of its literariness. Manyan Mata pictures exactly what is happening in our communities nowadays. It shows how parents treat their children with contempt. The director shows us how our societies are sliding backwards and experiencing immaturity.

But the best part of it, however, is that it teaches us how to understand the beauty of humanity, that everyone’s life matters.

Fati Washa experiences a worst-case scenario with her deceased mother’s co-wife. After watching the scene where her mother’s co-wife was trying to burn her schoolbooks rudely, I sensed that the movie is trying to tell us that societies that achieve better prosperities are those where huge investments are made in education. These are societies where every child is allowed to go to school to learn. This part also attempts to show us that every child should have access to education so that just and egalitarian societies can be built.

I hope the director will continue to fight inequality and bring sameness because that is what brings safety, security and a sense of belonging among people.

By Aliyu Abubakar

Kannywood actors Ali Jita and Ali Nuhu recently took to the stage at Success Hall in London on Saturday, April 22, 2023, showcasing the talent and artistry of Northern Nigerian culture for the first time as part of the 2023 Eid celebration party. Their performance not only highlighted the cultural richness and diversity of the Hausa and Arewa people but also demonstrated Kannywood’s growing reach and influence beyond Nigeria’s borders.

As Ali Jita and Ali Nuhu performed in London, their fans watched in awe as they seamlessly blended music and dance to showcase the beauty of Hausa and Arewa culture. The audience was treated to a stunning performance that celebrated the talent and creativity of the actors and showcased the unique heritage of Northern Nigeria.

For those who may not be familiar with Kannywood, the film industry produces movies in the Hausa language in Northern Nigeria. It has been gaining popularity recently, with a growing following among Nigerians and beyond. The success of Ali Jita and Ali Nuhu’s performance in London is a testament to Kannywood’s increasingly global reach and influence.

This achievement is a proud moment for the actors, their fans, and the entire Kannywood industry. Moreover, it marks a significant milestone in the growth and development of Northern Nigerian culture, highlighting the resilience and creativity of its people.

Ali Jita and Ali Nuhu’s performance in London was significant for the Kannywood industry and the Hausa and Arewa communities in the diaspora. For many Northern Nigerians living outside their homeland, the performance reminded them of their culture and heritage, bringing a sense of pride and joy to their hearts. In addition, the event provided an opportunity for the diaspora community to come together, celebrate their traditions, and connect with their roots.

The success of Ali Jita and Ali Nuhu’s performance in London also reflects the power of culture in fostering cross-cultural understanding and promoting unity. The event brought together people from different backgrounds and cultures, providing a platform to showcase the beauty and diversity of Northern Nigerian culture. It also helped to break down stereotypes and promote a deeper appreciation of the vibrant cultures that exist in Nigeria and Africa as a whole. As Kannywood continues to grow and gain global recognition, it has the potential to serve as a bridge between different cultures, promoting understanding and fostering unity.

In conclusion, Ali Jita and Ali Nuhu’s triumphant performance at Success Hall in London as part of the 2023 Eid celebration party is a significant milestone for the Kannywood industry and a proud moment for the Hausa and Arewa people. It celebrates the beauty and richness of Northern Nigerian culture and showcases the talent and creativity of the region’s actors and filmmakers. Furthermore, the event has helped promote cross-cultural understanding and foster unity, highlighting Kannywood’s potential to serve as a bridge between different cultures. As the industry grows, we can look forward to more exceptional performances from Northern Nigeria’s talented actors and filmmakers.

Aliyu Abubakar is the MD. Rbm e-Tech and Digital Services, Hadejia, Jigawa State. He can be reached via aliuabubakar852@gmail.com.