Kannywood

By Franziskus Kazimierz (Casmil)

The Al-Mubarak International Film Production LTD movie Mutuwar Aure (Hausa: Death of the Marriage), produced in 2018, tells a story set in a modern-day Hausa community by and large dealing with the common, or perhaps a rather notorious topic of divorce in the Hausa cultural context. Thus, set exclusively within a family context, the film’s plot tells a narrative between a family drama – or what it may be for “Hausa eyes” – and a love-triangle story. It also heavily proselytizes Islam and defends its values and proscriptions – especially prayer – and against sorcery – a generally well-pronounced motive within Northern Nigeria’s Kannywood. It is, arguably, also against the oppression of women being pronounced by critics outside and within the community. 

But beyond the mentioned main themes in the film, Mutuwar Aure develops a pretty interesting plot structure on its own, awaiting the spectators with unexpected turnarounds and slightly mixing genres, thereby making the plot’s twist even more curious.

To give an overview of the film’s plot – which primarily involves but a few characters only, making the film more understandable but maybe giving it too much “soberness”. It will certainly not be a spoiler to cheat about its beginning, when Abbas hands over a divorce letter to his wife, Rahma, containing the emotionally charged words “Náà-sàkee-ki” – I divorce you. By that, Abbas, a young man maybe in his early thirties, cuts one of the three possible ropes (igiyoyi) – with three cut ropes making reunification of the couple almost impossible. The twist of gloom on Abbas’ face makes the story’s plot seem predetermined, making him the “bloody antagonist” within the film – and Rahma, his victim, to be defended.

It is in this pattern the plot seems to be starting, but it is also precisely from this moment on that the story takes the unconventional twists mentioned above. In defence of Rahma, her family – in whose house Abbas is living – with a strong accent on its women seems to be ready to do everything for her – pronouncing it in a very hostile manner. By avoiding showing the strength of reconciliation, Mutuwar Aure heavily resembles Fuska Biyu (dir. Yaseen Auwal, 2018), a well-known Hausa movie containing similar features of adult women’s aggressiveness in order to fight for the interest of their own family. Throwing Abbas’ possessions out of the house, he also has to leave – having tried himself to send Rahma and their children away before. What is unknown to the spectators at this time is that the house where Abbas and Rahma had lived was granted to him by Rahma’s dad out of generosity. Therefore, by working heavily with fading-in back plots and visualized daydreams, the viewers may get the impression of Abbas being more than an antagonist while also being shameless and ungrateful.

Still, the movie contains more secrets to reveal. The more Abbas comes to Rahma, her dad and her family, the more it also becomes clear that there is something more to the divorce. Rahma was rude to him when she suspected that Abbas was having an affair with his secretary, Zainab – in this regard, we can observe a reversed love triangle.  

Thus, shortly before Abbas can marry his secretary, Zainab, they can reunite by the strength of Rahma’s prayers – while Zainab is being rejected for using sorcerers to conquer Abbas’ heart – finally, the superiority of prayer over magic is demonstratively portrayed.

It can, therefore – also looking at the whole film – not be underlined enough in what grade the film proselytizes the traditional Islamic way of life. Rahma and her family, whom some might surely cheer in their fight for women’s rights initially, drop to be full of naivety and false morals, constantly humiliating a righteous man asking for their forgiveness. Rahma’s father finally admits that he had called him names for nothing.

Abbas, on the other side, a poor teacher at primary school who seems to be doing nothing but exploiting Rahma and her family until they don’t seem to be profitable anymore and moralistically reciting the Qur’an, changes to a mistakenly humiliated, righteous character. Rahma, herself, finally asks for his forgiveness.

While dealing with a fascinating plot, the way of making it a film probably could be better. The setting resembles Risala (dir. Abubakar S. Shehu, 2015) – as it is set in a different time – than other films being set in the modern day  – by being quite sterile. There are hardly any scenes beside the Abbas’ house, making it appear like filmed theatre – the exact production environment for many, especially early, Kannywood movies. Though constantly in the background, music doesn’t play any role like in vocal numbers. By the combination of these circumstances, the film looks pretty puristic. It might be, therefore – although there are significant differences, why not (?) – a counterpart of Risala set in modern times portraying Abbas to be an innocent man being persecuted. Interestingly, though – of course – the place where Mutuwar Aure is set in – does contain modern equipment, the modernity is not really to feel, probably by missing liveliness.   Also, in the end – and somehow similarly to Risala – the happiness is again relativized by new – though unreasonable – suspicions of Rahma.

Still, the plot is full of exciting and probably unconventional twists opening a broad horizon for this kind of movie. Though it could have been livelier and more trenchant in its actions, it still has a powerful message and is, by that, fitting to be talked about, if not purely for entertainment.

Casmil wrote from Cologne, Germany, via kafrakize@aol.com.

By Muhammad Abubakar

Having watched this movie and seeing its lessons, I decided to review it. Doing so will, by God‘s will, will wake up those graduates—who are unknowingly killing, or more correctly, misleading themselves into believing that it’s shameful for graduates to get themselves engaged in a low-income business, let alone being a labourer.

The movie was released in 2018. It‘s directed by a veteran Kannywood director, Yaseen Auwal. The film is about the situation and the kind of life our nowadays students, particularly graduates, live.

Kamalu (Sadiq Sani Sadiq), the son of the lowest-income businessman (Rabi’u Rikadawa), happened to be a close friend to Bashir (Aminu Sharif Momoh), a brother to the husband of Jamila Nagudu. Their respectable, reasonable, deep-thinking friend, Lawal (Baballe Hayatu), always tries his best to advise not only Kamalu and Lawal but anyone too ambitious not to rely on the government job entirely. At least they should find something to do to improve their lives.

However—unfortunately for them, they always don’t see his advice as something important. One fateful day, Kamalu and Bashir came to the cafe where they almost every day buy stuff without payment. They lie to the tea seller (Ahmad Aliyu Tage) that when they become billionaires in the future, they will pay back everything he now gives them and give him more.

Unfortunately, the tea seller, Ahmad Aliyu Tage, rejected their request, complaining that he was tired of their ‘when-we-become-billionaires’. Luckily for them, Lawal came to buy something at the same cafe too. Although they undermined his sense recently, he surprised them by assigning the tea seller, Ahmad Aliyu Tage, to cook one packet of noodles alongside a whole roasted chicken for each of them. Sadly, this has not served them as a lesson.

One thing that inspired me is: Lawan never worried himself about a government job. He, in the end, made it, leaving them still suffering from poverty as usual.

The film is fascinating, indeed. We see how Lawal and Bashir suffer due to their laziness in going and refusing to hustle. As a result, they end up pushing a truck and teaching at primary school. In addition, the movie passes the message that: Whoever is not content with what God gives him will end up missing a lot in life.

The camera work and sound are up to the mark. And the subtitler has perfectly played his role. Even though he mixed with Hausa in some scenes, this is not an issue. Since the message is precisely delivered – this film was purposely made to call on the attention of graduates like Kamalu and Bashir.

It’s a must-watch film.

By Ahmad Deedat Zakari

Former senator representing Kaduna Central Senatorial District, Senator Shehu Sani, has reacted to the leaked nude video of Kannywood actress, Safia Yusuf famously known as Safara’u.

Safara’u granted BBC Pidgin English an interview on Tuesday August 30, 2022, where she narrated her ordeals when her friends leaked her nude video in 2020.

“Dat period when my nude video leak na di most depressing time for my life because I spend three months without nearing di gate of my house, I just dey indoors.

“And by di time I muster energy comot na so pipo just dey abuse me for road in fact e get one particular pesin wey stone me as I dey waka.” Safara’u disclosed to BBC Pidgin English

While commenting on the BBC Pidgin English interview of Safara’u on Facebook, Shehu Sani said he became unconscious when he saw the video.

By Muhammad Aminu

Directors in Kano-based Hausa film industry popularly known as Kannywood have reacted to the recent directive banning use of police kits in films by the NIgeria’s Inspector General of Police (IGP).

IGP Usman Baba, in a statement issued in Abuja earlier signed by the Police Spokesman, Olumuyiwa Adejobi, announced that filmmakers, comedians and skit makers have been banned from using police uniforms and other skits in their acts without explicit permission from the police as the law entails.

The Statement added that the actors stop portraying the Nigeria Police in badlight or ridiculing it in their activities.

A prominent director in Kannywood, Aminu Saira, told BBC Hausa that they will consider or study the directive if it is in line with the Nigeria’s laws they would comply with it.

Saira further said that if their findings reveal that they are not contravening any law of the land, they will join hands with Nollywood to challenge the directive in a court of law.

He said: “The Police and Filmmakers are all guided by NIgeria’s laws. All people residing in Nigeria must subject themselves to NIgeria’s laws.

“So, if NIgeria’s law prohibits use of police kits in films, we must abide by that, we must respect the law of the land. We have no alternative.

“But if the law doesn’t prohibit it, then we will do everything jointly with Nollywood to seek legal interpretation of the law whether or not police kits can be used.”

According to him, Kannywood has already been seeking permission on police-related scenes in their films from Kano State Commissioner of Police.

He said due to some incidents that happened in the past, they were ordered to seek for permission in any role relating to police in their films.

“Right now, there is a company that was certified by the Police which specializes in processing anything related to police such as guns, uniform etc. that would be used in films. You send the script to them and they will consider it and seek permission from the police,” the director added.

Another director, Aminu Bono, who said that there was little or no consultation from the IGP argued that it is globally not possible to restrict use of uniforms such as lawyers, soldiers or doctors’ by filmmakers because they are simply replicating realities of their respective societies.

He noted that in all their films, they acquire permit from the police.

“We in Kano State, there is a department that takes care of such things under Police Public Relations Officer (PPRO). The Police sometimes visit our shooting locations and guide us on how to do things related to police activities.

“We did films that affect the police directly where we used facilities of Kano Police Command Headquarters. In flms like ‘Kwana Casa’in and ‘Barazana’, we worked closely with the police.

He further revealed that the police have representation in Kano State Films Censorship Board where Kannywood films are sieved prior to their public debut.

He said that the IGP can still review this order with informed discussion with relevant stakeholders.

• Director: Hafizu Bello

• Producer: Abubakar Bashir Mai-Shadda

• Screenplay: Naziru Alkanawiy

• Language: Hausa

• Company: Mai-Shadda Global Resources Limited

• Release Date: 9/7/2022

• Cast: Amal Umar, Nura Hussaini, Adam A. Zango, Sani Danja, Shamsu Dan Iya, Sani Mu’azu, Kanayo O. Kanayo, Sadiya Umar, Abdurrazak Sultan, etc.

You can hardly see a ‘thriller’ or a ‘crime mystery film’ in Kannywood’s archive. Recently, however, the trend has begun to change, as the rare genre is being explored by the veteran director Hafizu Bello. After presenting the murder mystery film HIKIMA in 2021, he came again with another one entitled AISHA. It revolves around the eponymous character, a rape victim who eventually dies, and her parents’ struggle for justice.

Aisha (Amal Umar) is a university student from a low-income family. Her father, Malam Balarabe (Nura Hussaini), tries his best to see her success. However, one fateful day, she is found lying, raped and wounded on campus. The police soon arrive and take her to the hospital. Meanwhile, the university management is more concerned about the school’s reputation. They, therefore, conspire with the police officer in charge of the case, SP Audu Makera (Adam A. Zango) and the doctor (Abba El- Mustapha) to hide the embarrassing incident.

Aisha’s parents are upset and anxious to know the cause of their daughter’s critical condition, but the doctor refuses to tell them. Therefore, her father questions the official report issued after she dies and files a petition to get justice. The audience is then taken to the courtroom, where everything is unmasked at the end.

Typical of mystery films, the plot is uncommonly twisted. Many sequences are cut before they end and later continued as flashbacks, particularly when the suspects are interrogated. There are more flashbacks as the defendants and witnesses talk during the court sessions. But all are flawlessly pieced together. The credit should go to the director, Hafizu Bello, who handles the film with the finesse of a devoted artist. Other crew members also did remarkably well. The cinematography is top-notch, and the locations are beautiful. There is also good use of costumes and props.

The film exposes the grim reality in some higher institutions where the students commit serious misconduct. It can also be a wake-up call for parents to be extra cautious about their female children. We see how Aisha duped her father into believing she would spend her night in the hostel but ended up in her boyfriend’s room, where the tragedy later befalls her. The film also highlights how the elite plot against the masses to protect their selfish interests.

Indeed, Aisha is a decent, well-crafted movie with a strong message and realistic narrative. However, the University setting and courtroom dramas make it somewhat formulaic, resembling the director’s previous film Hikima. It would’ve also been more intriguing if it had begun from the scene where Aisha is shown lying on the ground.

The film has an all-star cast, and the actors fit their respective roles. But some of them, like Yakubu Muhammad and Baballe Hayatu, are wasted as minor characters. The eponymous heroine (Amal Umar), the prime suspect (Shamsu Dan Iya) and the security personnel (Sani Danja and Adam A. Zango) all try to pull off good performances. However, it’s Nura Hussaini that steals every scene he features. The courage and anguish he communicates as Aisha’s hapless father seem extremely real. The lawyers (Sani Mu’azu and Sadiya Umar) and the judge (Kanayo O. Kanayo) also play their part with remarkable capacity.

Although Aisha is not a masterpiece, it’s better than the fluffs Kannywood churn out regularly. I, therefore, strongly recommend it—rating 3.5/5.

Reviewed by:

Habibu Maaruf Abdu

Kano, Nigeria

habibumaaruf11@gmail.com

By Anna Mohr

The movie, There is a way, directed by Falalu A. Dorayi and produced by Abba El-Mustapha, is a simple but effective feel-good movie retelling popular tropes and stories in a predictable but heartwarming way. Following the recipe of Shakespearean dramatics and clichéd Disney movies in the 2000s, such as Cinderella Story or High School Musical, it easily can stand on its own while also covering issues of the Hausa society and giving insights into its culture – an entertaining and so sweet movie you can taste the sugar on your lips.

Isham is a middle-class university student with a pure heart who wants to get his degree through hard work. He falls high over heels for Fadilla, the daughter of a wealthy businessman. The two desperately want to be together but must face several problems threatening to destroy their relationship.

There is a Way was the first Hausa movie I watched, and although the story has already been told a thousand times, I easily became invested with it. Even though I rarely watch romantic movies, I have a soft spot for them. The quality of the film is fitting to the story itself: simple but refreshing. Please, do not expect finesse camerawork or outstanding dialogues – you will surely be disappointed. But the blunt storytelling is made up of dramatics that can easily compete with those of the Bollywood film industry.

The movie itself is certainly no piece of art. It is amateurishly made: the camera is wiggling, and the lighter colours in the scenes are sometimes glaring and unnatural. At the same time, the movie uses effects such as slow-motion, certain scenes are muted to create tension and dramatic music is played in between.

The story itself is predictable as typical for a romantic movie and has similarities to our Western fairy tales and Elizabethan or ancient love stories: Man meets a woman and falls in love at first sight, but their love is doomed, and they have to face challenges before being together. Also, the poor protagonist and his rich-born love interest are no rarity in this genre. Another aspect I recognized in the film is the flat characters: We have a pure-hearted hero who cannot do wrong. But instead, tragedy happens to him, and his pureness is challenged. I found that quite wasted because characters are made to make mistakes. They can only grow when they do wrong and when they fail. There is a sense of relatedness that I miss.

The characters themselves are introduced in simplicity. When Fadilla’s parents appear on screen, they are introduced with “Hello Mum” and “Hello Dad”, which is blunt and unimaginative to share the family ties with the viewer. The dialogues are just as direct. The movie is in English, and there is no dubbing involved, meaning that Hausa people speak a language that is not their own. That includes that the dialogues are often wooden and lacking finesse. “I will tell you the secret of …” is just one example of the movie’s very direct way of communication, and I daresay that it would have been more natural if the characters had spoken in their own language. The English script has some sentences that are generally not used, leading to many exaggerated dialogues. For example, “you harbour a criminal” when Isham is accused of cheating in an exam.

So, why do I like this movie?

Easy: Because it has charm. It is charming how Isham and Fadilla are swooning about each other. How they tell each other Shakespearean confessions of undyeable love as if they just teleported into one of his sonnets; how they are the embodiment of a Greek tragedy, a Hausa variant of Romeo and Juliet; how the world is joined against them, but they are still standing side by side.

Viewing the Hausa society and culture in the movie is also fascinating. When watching it, you may recognize that male and female characters are never touching each other – not mother and son, not father and daughter, nor the lovers. In addition, women are wearing scarves – hijabs – around their heads, so you cannot see their hair.

Another interesting fact is the mention of Allah instead of God, which I needed some time to get used to the first time I watched the movie. Also, certain issues are discussed: For example, the gap between poor and rich, the importance of education and the problem of corruption and blackmailing at university. These aspects convey the information I would not find out otherwise and give more insights than any textbook in school.

To put it all together, the movie is a people pleaser. You can easily be invested in the plot and follow the relationship between Isham and Fadilla, although the story itself is simple and predictable. At the same time, there are interesting aspects of culture and society. So, I recommend watching it!

Anna Mohr studies at the University of Cologne, Germany. She can be reached via amohr9@smail.uni-koeln.de.

By Habibu Maaruf Abdu

On Sunday, July 3, 2022, Kannywood lost a colossus and a rare talent, Nura Mustapha Waye. Thousands of condolences started pouring from all angles as soon as the news of his death broke. Waye was the director of Izzar So and many other series and feature films. His sudden death came as a tremendous shock and left the Kannywood members and millions of their audience with tears in their eyes.

“Waye’s death is a significant loss to Kannywood, for he’s, I believe, the most prolific director today.” So says the Kannywood leading scholar-cum-critic, Dr Muhsin Ibrahim, in his short tribute to the late director.

Nura Waye, or Malam Nura, as he was respectfully called, proved unique among his peers in the Hausa film industry. He neglected its favourite musical love stories to make topical Islamic compliant productions. His dream of educating the audience prompted him to incorporate Qur’anic verses and prophetical sayings into the dialogues of his most of his films.

“In filmmaking, there are messages you could send and get a divine reward from the Almighty Allah… I take film as a medium for propagating a particular policy or ideology. This is what primarily inspired me to venture into it,” he once told VOA Hausa in an interview.

Waye began his Kannywood journey in the late 1990s. He was an actor throughout his first five years in the industry. He, afterwards, switched to director to realize his ambition of making films with a didactic tone. His early films left no mark, and he remained unnoticed for over a decade. Kuru-Kuru (2018) was, perhaps, his first movie to get critical attention.

The movie, which deals with the issue of ‘incest’, revolves around a new bride whose husband finds to be pregnant. After a lengthy investigation, it’s discovered that her uncle is responsible for the pregnancy. The movie received positive reviews and was generally praised for its theme and steady plot. But Waye would never rest there.

He reached the pinnacle of his career in 2020 after creating the YouTube series IZZAR SO. It was a sensational hit, and it went on to become the most-watched Kannywood series on YouTube. Its remarkable success dictated the migration of the Hausa film business to the online platform. Muhsin describes it as a ‘game-changer’ and opines thus:

“There might be a few YouTube series before Izzar So, but many more emerged following its unprecedented success. This has inspired many filmmakers, both struggling and established, to resort to making series, serials and feature films for YouTube.”

For Waye, however, Izzar So was not just a success but a fulfilment. This is because it catapulted him to the top of his career, which was his ultimate goal. “I want Allah to elevate me to its top,” he said when asked about his dream in the filmmaking business.

Nonetheless, Waye’s films are only one aspect of his legacy. He, on another side, had a reputation for being a very gentle, peaceful man. He was also so decent that he hardly features an actress wearing a tight-fitting dress in his movies. These, together with his vivid love for the Prophet (S.A.W), endeared him to the Hausa-Muslim populace despite their hostility towards Kannywood members.

Finally, as a Kannywood movie reviewer, I affirm Nura Mustapha Waye’s rare creativity. I believe he will always be remembered as a socioreligiously-committed filmmaker who led to Kannywood’s migration to online space and, above all, ‘the genius behind Izzar So’.

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

The “Hausa films in English” have, since their debut, been as much praised as they have been criticised. However, while a large section of spectators welcomes the films, many others regard them as a threat to the development of the indigenous language. Others go further to describe them as “non-Kannywood” productions.

However, their initiator and promoter, Malam Kabiru Musa Jammaje, remains undaunted. He is all set to enthral the audience with another Kannywood film in English after the remarkable success of There is a way (2016), This is the way (2017), Light and darkness (2018) and In search of the king (2019).

The soon-to-be-released movie, entitled Nanjala, is the first of its kind in Kannywood. It features the industry’s heavyweights alongside top Nollywood actors like Enyinna Nwigwe, Nancy Isime, Segun Arinze, Sola Sabowale, among others. Moreover, it’s reportedly the most expensive Kannywood movie with a budget worth over N35 million.

The movie was directed by “whizkid” Ali Nuhu, co-produced by Abubakar Bashir Mai-Shadda and titled after its main character, Nanjala. I have only watched its two-minute-long teaser, but I could grasp that the eponymous heroine, Nanjala, is a journalist whose investigative reports would lead to the main conflicts. The film’s themes may include corruption, honesty, women empowerment, the menace of drug abuse, moral decadence, etc. The cinematography is terrific, and the cast seems to give an outstanding performance.

To be right is to describe the film as ‘pan-Nigerian’ due to its production quality, cast, English medium, and the resonance of its message in the country. It’s, of course, promising and will surely appeal to moviegoers from a wide range of backgrounds.

I, therefore, commend the trio of Jammaje, Ali Nuhu and Mai-Shadda for making a Kannywood film with the potential to catapult the overlooked film industry to the international stage. I do hope that it will not disappoint.

Habibu Maaruf Abdu

Kano, Nigeria

habibumaaruf11@gmail.com

27.5.2022

By Ahmad Deedat Zakari

Arewa movie producers, under the umbrella of the Motion Picture Practitioners Association of Nigeria (MOPPAN) and Arewa Filmmakers Association of Nigeria (AFMAN), have urged their members to boycott this year’s Zuma International Film Festival (ZUFF).

The reasons for the decision were stated in an undated open letter addressed to the Minister of Information and Culture, Lai Muhammad and jointly signed by the presidents of MOPPAN and AFMAN, Dr Ahmad Muhammad Sarari and Alhaji Sani Sule Katsina.

According to the two associations, marginalisation and infringement of their fundamental rights are the prevailing reasons that forced them out of participating in the government-sponsored ZUFF Festival. 

“The event was deliberately fixed on ‘Sallah’ day, which, apart from being a festive day for all Muslims in the world, it is also a public holiday meant to honour and celebrate the end of the holy month of ‘Ramadan.’ This singular act precludes all Muslims from participating and benefitting from the festival.”

The release, among other things, concludes that “[W]e doubt if any government agency can organise such national event on Christmas or New-year festive days.”

The coalition also implores the Minister of Information and Culture, Lai Muhammad, to step into the issue and address their grievances.

By Ishaq Habeeb

I’ve met Nafisa twice, first at Zoo Road, Kano, hanging out with a friend who’s in business with many Kannywood industry people. Second, when I escorted a friend who visited Kano, Nigeria, from Niamey, Niger Republic. He had been pen pals with Nafisa for some time. So they agreed to meet whenever she’s in Kano.

After my initial attempts to dodge being part of making this meeting happen, I grudgingly agreed to link them up. But, aside from that, I don’t know Nafisa enough as an actress to know whether I like her or her movies.

I mostly remember her from the one-time popular song, “Bankwana sai watarana“, sang by Nazifi Asnanic. But following this Almajiranci debate, I already like her as an activist and looking forward to liking her as – hopefully – a good actress.

As for Naziru, I’ve met him several times. Besides being best friends with his childhood friend Rabiu Uba, I’ve had business reasons to visit his T/Fulani residence last year with Usman G. Abubakar and spent time with the singer in his living room. That aside, I am no fan of his mostly-political music. Nothing personal, just not my genre.

Now back to the original reason behind this write-up; the Almajiranci debate. My stand; Nafisat Abdullahi is right, so is Naziru Sarkin Waka. For those of us that know people in the Kannywood industry and have lived in Kano (the headquarters of Almajiranci in the world) long enough to see the horror of Almajiranci at its peak, we are in a better position to say they’re both right.

Victims of inadequate parenting primarily dominate both Kannywood and Almajiranci systems. Therefore, inadequate parenting is the monster we need to kill. Given that, bearing more children than one can adequately cater for is hugely responsible for bad parenting. This fact proves Nafisa and Naziru right.

Conclusively, the major problem lies with the people that make it their life’s calling always to attack messengers to discredit a message that often serves the good of all – however factual and tangible the facts in the message may be.

First, it was Digital Imam, speaking truth to Presidency on the escalating level of insecurity. Then Nafisat, for speaking out against Almajiranci, a menace we all agree needs urgent addressing. Then almost concurrently, Naziru, for speaking out against the prevalent immoralities in Kannywood, which is being perpetrated chiefly by victims of inadequate parenting.

Now, one can only pray, as a people, may we learn to hate our problems more than we love judging who’s reminding us of their presence for us to FIX them.

Ishaq Habeeb wrote from Kano via simplyishaqhabeeb@gmail.com.