Hausa Film Industry

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.

By Habibu Maaruf Abdu

For the Kannywood film industry, 2024 has been a remarkable year filled with unprecedented achievements and historic milestones. These include Ali Nuhu’s appointment as the Managing Director of the Nigerian Film Corporation and Rahama Sadau becoming part of the federal government’s Investment in Digital and Creative Enterprise Program (iDICE).

However, while the year was marred by the losses of veteran actress Saratu Gidado (Daso) and singer El-Muaz Birniwa, it also witnessed the emergence of fresh talent and a notable improvement in film quality. Big-budget productions like Nanjala and Mai Martaba achieved significant feats; Nanjala debuted in Turkey and the United States, and Mai Martabawas selected as Nigeria’s official entry for the 97th Academy Awards. Moreover, Sadau’s film Mamah was screened at the prestigious Red Sea Film Festival in Saudi Arabia.

Interestingly, despite the above-mentioned films’ successes, television and web series topped the charts in popularity throughout the year. Established series, such as Labarina and Manyan Mata, continue to reign supreme, with the latter’s instalment (Season 8, Episode 6) amassing over 1 million views on YouTube within 24 hours of its release in January. This success has paved the way for numerous new series. The following are the top 7 among them. Please note that the established series were not considered for this list.

1. Garwashi

Garwashi is arguably the most topical and stimulating series of the year. It confronts critical social issues such as widowhood, moral decay, reckless marriages and irresponsible parenting. The story mainly centres on Asmau/Ma’u (Fiddausi Yahaya), a widow who faces unrelenting adversity due to the cruelty of her in-laws. Her situation is further exacerbated by the greed and heartbreaking indifference of her father. The series is captivating and deserves praise for its engaging writing, intense drama, and realistic portrayal of everyday life. The actors deliver convincing performances, particularly Abubakar Waziri (alias Bado), who plays Asmau’s irresponsible father. His rendition of the Sokoto Hausa dialect is ultimately impressive. 

Additionally, the roles of Baba Lami (Balaraba Abdullahi), Gaddafi (Kabiru Sani), and Sameera (Aisha Humaira), among others, are outstanding. Co-produced by Umar UK and Fauziyya D. Sulaiman and directed by Yaseen Auwal, Garwashihas garnered widespread acclaim, generated buzz, and trended on social media. Other cast members include Yakubu Muhammad, Maryam Yahaya, Isa Adam, Hadiza Muhammad, Sabira Mukhtar, and Rukayya Sharada.

2. Gidan Sarauta

Premiered in 2023, Gidan Sarauta achieved greater popularity in 2024, becoming one of the year’s top series. This is because its episodes get no less than 600,000 views on YouTube weekly. The story follows a complicated love triangle involving two royal brothers, Prince Bello (Umar M. Shareef) and Prince Mu’azzam (Garzali Miko), and a poor daughter, Bintu (Mommy Gombe). Prince Bello initially hides his feelings for Bintu, treating her like a sister and even arranging her marriage to his brother Mu’azzam. Meanwhile, he marries Gimbiya Fa’iza (Aisha Najamu), his cousin whose father (also his uncle) holds the throne. The two couples live together in the royal household, where Bello and Bintu’s bond deepens despite being married to different partners. The drama escalates as Mu’azzam discovers their secret romantic exchanges, leading to intense confrontations and emotional fallout. The series features other compelling characters, such as Alhaji Mai Dala (Rabi’u Rikadawa), his wayward son Kaka (Daddy Hikima), and Tafida (Bashir Bala Ciroki), among others. It was produced by Abubakar Bashir Maishadda and directed by Ali Nuhu.

3. Allura Cikin Ruwa 

2 Effects Media’s Allura Cikin Ruwa revolves around Na’imatu (Ruky Alim), a charming young woman at the centre of attention with numerous men vying for her love. These include Maina (Yakubu Muhammad), Sadiq (Isah Feroz Khan), Dr Hashim (Adam A. Zango) and Alhaji Hadi Makama (Sani Danja). As the title suggests, Na’imatu is like a needle in a vast ocean, which Hausa wisdom says “only the fortunate can find”. Alhaji Hadi is that fortunate one, but he divorces her two days after marriage, adding complexity to the plot. Other characters in the series, such as Maina and his former wife (Fiddausi Yahaya), have interesting backstories that add depth to the narrative. The series features an ensemble cast, stunning visuals and evocative background music. It is also packed with twists and turns, which may hook the audience despite some minor flaws. Sani Danja produced the series, while Yakubu Muhammad directed it. Other casts include Aisha Najamu, Tijjani Faraga, Daddy Hikima, Amal Umar, Ramadan Booth, etc.

4. Darasi

Produced by Sadiq Shanawa and directed by Abubakar S. Shehu, Darasi stands out for its relatable themes, strong performances, and reasonable production quality. The series follows the lives of fresh graduates: Kabiru (Ibrahim Yamu Baba), Marwan (Shamsu Dan Iya), Sadiq (Sadik Shanawa), and Salma (Mommy Gombe), each navigating the challenges of life after graduation. However, Kabiru’s story turns dark after being heartbroken by his love interest, Rabi (Amal Umar), who leaves him for a wealthy son, Shehu Hutu (Abdul S. Tynkin). This betrayal drives him to join a secret cult, aligning himself with powerful influencers such as the corrupt politician Alhaji Audu Maye (Ali Nuhu) and the immoral tycoon Alhaji Maliya (Tanimu Akawu). As the story expands, events become intricately woven. The series is quite popular. It garnered widespread pre-release buzz thanks to promotional photos of Mommy Gombe and other cast members wearing NYSC attire.

5. Wata Rana a Kano 

Wata Rana A Kano is a 5-episode mini-series that addresses the pressing issues of thuggery and phone snatching, which have recently surged in certain areas of Kano State. It is exclusive to Arewa24 TV, unlike many other series that are also available on YouTube. The series exposes the heartlessness of corrupt politicians and their role in fuelling gang violence. It also explores the importance of community involvement in aiding security operatives in combating the problem. Besides its timely thematic relevance, Wata Rana A Kano stands out for its top-notch production quality. The cinematography is exceptional, with realistic portrayals of violence and bloodshed that leave a lasting emotional impact. Many viewers have confessed to crying during a particular scene where the character of Abba Jago (Daddy Hikima) kills Hassan (Adam A. Zango). Produced by Abubakar Bashir Mai Shadda and directed by Kamal S. Alkali, the series also features Mommy Gombe, Umar M. Shareef, Abdurrazak Sultan, Alhassan Kwalle, Abba El-Mustapha, Ali Nuhu, and others.

6. Zafin Nema

Sadik Sani Sadik and Tahir I. Tahir, known for their iconic roles in the Mati franchise as Mati and Lado, respectively, reunite in the topical comedy-drama titled Zafin Nema. The series explores themes of materialism and ambition through the story of two young men, Ilu (Sadik Sani Sadik) and Rabe (Tahir I. Tahir), from a poor background. The duo faces humiliation in their village, Tungan Barau, due to their poverty. Rabe’s father attempts to arrange his son’s marriage to Tala (Mommy Gombe), but her father rejects the proposal despite their familial ties. Similarly, Ilu loses his love, Saude (Maryam Yahaya), to the wealthy Alhaji Dangana (Shehu Hassan Kano). Driven by a desire for wealth, respect, and revenge, Ilu and Rabe embark on a journey to the city. Their misadventures unfold as they foolishly pursue get-rich-quick businesses. The series seamlessly weaves together humour and substance. The actors also deliver excellent performances. It was co-produced by Abdul Amart and Tahir I. Tahir and directed by Yaseen Auwal. Other casts include Al’amin Buhari, Jamila Nagudu, Minal Ahmad, Bello Mohammed Bello, Hajara Usman, Alhassan Kwalle, etc.

7. Umarni 

The series Umarni primarily deals with the issue of wife-mother-in-law relations in Hausaland. It explores the complex and often tense relationships, including jealousy and conflicts between them. In the series, Hajiya Binta (Saratu Daso) reveals her jealousy when her son Ahmad (Bilal Mustapha) prepares to marry his beloved Madina (Bilkisu Safana). She reduces the substantial trousseau he plans to take for the wedding and forbids him from living with his wife in their newly built home. Her intimidation continues while the couple lives with her in the family household. On the other hand, Salma (Sameera Sister) treats her mother-in-law (Asma’u Sani) poorly. Her husband, Sadik (Garzali Miko), initially sides with his mother but is eventually convinced to see her faults. The story evolves as new themes, characters, and conflicts are introduced. The series is generally enjoyable.

Umarni is likely the last film to feature the late veteran actress Saratu Daso. However, the rest of the cast comprises mostly rising stars who nonetheless deliver satisfactory performances. Seikh Isa Alolo directed it, while Naziru Dan Hajiya is the producer. Its second season, which runs during the writing of this review, was co-directed by Tijjani Mai jama’a.

By Habibu Maaruf Abdu

Kannywood actress and producer Rahama Sadau celebrated her birthday Saturday with an exciting announcement for her fans. She revealed on Instagram that her upcoming film, “Mamah,” will be screened at the prestigious Red Sea Film Festival in Saudi Arabia.

She writes: “Thrilled to announce that our film “MAMAH” will be screened at the Red Sea International Film Festival in Saudi Arabia! 🤭💃🏻 @redseafilm

“This is one great achievement as it marks the FIRST HAUSA MOVIE to be showcased at this prestigious international festival. A proud moment for us as producers and actors, and a huge leap forward for Kannywood as a whole. 🫶🏻🙌🏻”

Sadau, who recently appeared in a Bollywood film, is clearly inspired by Indian actors. These actors often use their birthdays to reveal exciting news to their fans, creating buzz and excitement around new projects. Sadau’s admiration for Indian cinema is evident, as she speaks fluent Hindi and cites Priyanka Chopra as her role model.

The actress also made history last year with her film Mati A Zazzau, which became the first Kannywood film to stream on Netflix.

The upcoming film, Mamah is co-produced by Abdul Amart and Rahama Sadau and directed by Toka Mcbaror.

It stars Adam Zango, Nafisa Abdullahi, Rahama Sadau, and Falalu Dorayi. 

The premiere is scheduled for December 9th, 2024, at 10:00 am at the Red Sea Culture Square, Cinema 4.

By Habibu Maaruf Abdu

Nigeria has selected the Kannywood film ‘Mai Martaba’ as its official submission for the Best International Feature Film (IIF) category at the 97th Academy Awards, also known as Oscars.

The 15-member Nigerian Official Selection Committee (NOSC) confirmed in its official statement that the selection was made after a rigorous voting session.

Mai Martaba is a historical epic featuring 500 actors that showcases northern Nigeria’s rich cultural heritage. It tells the story of the succession struggle between competing claimants for the throne of the fictitious Jallaba Kingdom.

Reacting to the selection, the film’s director, Prince Daniel Aboki, expressed his delight, adding, “It is a privilege to represent our country at this prestigious global event.” 

He added, “Mai Martaba is more than just a story; it’s a celebration of our culture, struggles, and triumphs as Nigerians. We’re bringing the voices and stories of our people to the global stage, sharing the heart of Nigeria with the world.” 

The film, which stands as the most expensive Kannywood production, was also selected for the Septimus Awards in Amsterdam before its theatrical release in Nigeria in July 2024.

The Academy of Motion Picture Arts and Sciences (AMPAS), which organises the Oscars, confers the IFF Award yearly to a feature-length film produced outside the US with at least 50% non-English dialogue.

A shortlist of 15 finalists will be revealed on December 17, 2024, followed by the announcement of the final five nominees on January 17, 2025.

This marks the second time a Hausa film has been selected for the Oscars, following The Milkmaid (directed by Ovbiagele, 2020).

However, unlike The Milkmaid, whose Kannywood identity is disputed, Mai Martaba is a bona fide Kannywood production, proudly representing the Hausa film industry’s cinematic talent.

The 97th Oscars will be held on March 2, 2025, at the Dolby Theatre in Ovation Hollywood, Los Angeles, and will be broadcast live to over 200 territories worldwide.

Company: Blackville Media

Director: Prince Daniel (Aboki)

Producers: Aliyu Ahmad, Egor Efiok, Bature Zambuk, Shehu Bala Kabara

Language: Hausa

Cast: Adam A. Zango, Ghali Abdallah DZ, Auwalu Isma’il Marshall, Fatima Muhammad, Maryam Usman Shuaibu, Mukhtar Aminu etc.

Release date (Nigeria): 19-7-2024

It’s no longer news that TV series have recently dominated the Kannywood filmmaking sphere. However, Prince Daniel Aboki produced an epic period film titled Mai Martaba in a bold move to revitalize the film industry. The film, roughly based on the popular Arewa Radio drama series Kasar Jallaba, has generated immense excitement among fans eager to see the gripping story come alive on screen.

Made on a sweeping budget of over ₦125 million, Mai Martaba surpassed Nanjala (which had a budget of over ₦65 million) to become Kannywood’s most expensive production. But does it justify this substantial investment? I watched it on Sunday, and here is my review.

Mai Martaba is an exciting tale of a succession struggle among competing claimants for the throne of the Jallaba kingdom. The storyline unfolds through an omniscient narrator, beginning with a few flashbacks of the kingdom under the previous reign of the Agadashawa dynasty. Now occupied by the Jallabawa clan, a sacred decree secures the throne.

Before death, each king must name a successor from within the clan, ensuring the Agadashawas would never return to power. King Mu’azu honoured this legacy by naming Sanaya (Auwal Ismail Marshall) his heir, with a written agreement that Sanaya would one day pass the crown to Mu’azu’s son, Magajin Gari (Ghali Abdallah DZ). But Sanaya breaches the agreement and crowns his daughter, Princess Sangaya (Fatima Muhammad), as his successor, setting the stage for an intense power struggle.

Will Magajin Gari reclaim his birthright? Who is the other claimant to the throne? Can a female monarch win over the hearts of the Jallaba people? Find out in the cinemas.

The movie is generally captivating. However, with a short runtime of less than 90 minutes, the screenplay fails to do complete justice to the compelling story. It features little action scenes and ends quickly when it is supposed to be at its climax. For instance, there is a brave bandit kingpin, Shugaba (Adam A. Zango), whose brother was killed in the kingdom. He is in alliance with Magajin Gari. Driven by revenge, the two could have been shown in a fierce battle against the Jallaba kingdom, adding a dramatic action sequence to the film.

Also, as an adaptation of the Kasar Jallaba radio serial, apart from the setting and select character names, Mai Martaba shares minimal similarity with the original sourcing material. It’s somewhat like the American TV series House of the Dragons, where King Viserys appointed his female child, Princess Rhaenyra, as heir to the throne. The theme of ‘succession war’ is also prominent in many other local and international movies.

However, Mai Martaba remains a satisfactory period drama, boasting a spectacular setting and near-authentic period costumes. It may not be the most engaging Kannywood epic, but it could be the best in general production quality. Its exceptional cinematography and technical excellence is a breakthrough in the Hausa film industry. I salute the director, executive producer, and all other crew members.

The cast should also not be forgotten. Though it consists of new actors, they deliver impressive performances with good dialogue rendition. Ghali Abdallah DZ stands out as the ambitious Magajin Gari, plotting political machinations to get the throne. As Princess Sangaya, Fatima Muhammad was not given much scope but showed confidence in every scene she featured. Adam A. Zango (Shugaba) and Auwal Ismail Marshall (Sarki Sanaya) also deliver solid performances, fitting their roles perfectly.

Overall, Mai Martaba sets a benchmark for cinematic excellence in the Kannywood film industry. It’s a lavish epic film that justifies its hefty price tag. I strongly recommend it. Rating: 3.5/5.

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

By Uzair Adam Imam 

The highly anticipated movie ‘Mai Martaba’ (Your Highness) premiered in Kano on Friday, drawing a large crowd of enthusiastic fans. 

The film, directed by Prince Daniel (Aboki), is a historical epic showcasing northern Nigeria’s rich cultural heritage.

Produced with a budget of over N25 million, ‘Mai Martaba’ features a cast of 500 actors, including Kannywood stars Adam A. Zango, Shugaba, Ghali Abdullah DZ, and Muktar Aminu Haruna. 

The movie tells the story of an ancient kingdom’s rise and fall, exploring themes of power, love, greed, and betrayal.

According to the producer, Prince Daniel Aboki, the movie aims to bridge the gap between Kannywood and global filmmaking standards. 

With 99.9% of the actors being new entrants, Aboki believes this move will expand the value chain of the creative industry in northern Nigeria.

‘Mai Martaba’ has already been nominated for international awards, including the Septimius Awards in Amsterdam. 

The movie’s success was believed to be a testament to the growing talent and innovation in the Kanywood film industry.

By Dr Musa Ibrahim

The popular Facebook user claiming intellectuals hardly watch Kannywood films and his supporters should understand 1) the need to ensure they conduct proper research on any subject matter or study the existing literature before speaking about it; 2) they could benefit from some guidance on critical engagement with terms, even if they are in our mother tongues, such as ‘wayewa.’ This would help them understand the concept from multifaceted perspectives and know how to use it when referring to ‘self’ and ‘other’ people’s ‘lifeworlds.’ 

When engaging with the Hausa terms ‘wayewa’ and ‘wayayyu’ (intellectualism and intellectuals, although the translations are subject to discussions), the critical questions we should ask about these terms in relation to Kannywood are: what is ‘wayewa’ (intellectualism)? Who exactly are ‘wayayyu’ (intellectuals)? Can we really know all ‘wayayyun mutane’ (intellectuals) and what they do in private and make sweeping statements about all of them without conducting thought research?

For me, it’s difficult to say who ‘wayayyu’ are because it’s subjective and varies from person to person. I mean, who someone regards as wayyaye might not be considered one by others and vice versa. Therefore, it appears to me that the person who made such a claim and their supporters may be ‘unintelligent/unintellectual’ (lacking in intelligence and intellectual approaches) or ignorant about the subjects they are referring to, especially since they ‘speculate’ about the so-called ‘wayyayun mutane’ without considering the diversity of the group. 

As a researcher of popular cultures in Africa, I can report as a fact that all categories of people in northern Nigeria and beyond watch Kannywood films. In the qualitative research we conducted, we interviewed academics, high-profile ‘ulama (Muslim clerics), lawyers, politicians, public workers (some of whom are highly placed decision-makers at various government levels), traders, and various categories of Western and/or Islamic-educated individuals who have been watching Kannywood films.

Ordinarily (if not because of our research), many of our interlocutors may not just openly admit to watching Kannywood films because of the unnecessary stereotypes associated with them. However, some of them go to the extent of referencing specific scenes from the movies they had watched to either illustrate their points or make comparisons with other films. Some influential people and their family members personally communicate with Kannywood stars they know from movies and spend millions to have them perform at their ceremonies. 

So, if we were to believe the claim that ‘intellectuals’ don’t watch Kannywood films, then we would have to say that all those who control the affairs of the region (in which the person making the claim probably lives) are not ‘wayyayu.’ However, regardless of the complexity of the terms wayewa and wayayyau, many would agree that people in the categories mentioned above, including our revered Muslim scholars who participated in the research, could fit into the ‘wayewa’ category or one of its categories (if there are many). Ba za mu ce dukkan su ba wayayyau bane.

So, the person making the claim and the bunch of uncritical minds who agreed with it have just succeeded in portraying themselves as lacking intelligence and critical thinking skills (which is synonymous to wayewa) to engage with the same concept, ‘wayewa,’ at least in this case. This is because they seem not to know ‘how’ and ‘when’ to speak for themselves and ‘how’ and ‘when’ to speak for others from an informed perspective (based on outcomes of scientific research). This also includes avoiding generalisations.

Despite politically motivated censorship from the 2000s to today, Kannywood has survived and thrived. This resilience is a testament to the support it receives from the silent majority, including highly influential individuals who appreciate its cultural significance and work behind the scenes to maintain its popularity and diffuse unnecessary tensions. This inspiring resilience assures us that Kannywood will continue to thrive in the face of differing opinions. 

To close my remarks, regardless of differing opinions about Kannywood, the cultural industry will continue to thrive in different forms. This sustained success should inspire confidence and optimism in the future of Kannywood and those who aspire to participate in the phenomenon, either indirectly as cultural studies scholars or directly as actors, directors, producers, scriptwriters, and associated roles.

Musa Ibrahim, PhD, can be reached via abbadanauta@gmail.com.

By Usman Abdullahi Koli, ANIPR

Adamu Abdullahi Zango, also known as Prince Zango, is a famous Kannywood figure. Adam has been acting in Hausa films for over 20 years. Zango is a multi-skilled individual who acts, sings, produces, and directs films while introducing new faces to the screens. However, despite his immense contributions, he has been a victim of accusations, controversies, and rumours, but they all turned out to be a bunch of false claims in the end. 

One of the major problems dragging the Hausa film industry back is enmity. No matter how talented an actor is, if he is not in the circle of those who consider themselves owners of the industry or if his stardom is at its peak, he is always regarded as worthless. An adage states that “united we stand, divided we fall.” The level of unity and support for one another in Kannywood is below expectations. 

Perhaps only in Kannywood do actors receive financial support when they come out crying in videos, exposing what they are going through. Such behaviour is contrary to other entertainment industries, where actors and actresses frequently check on colleagues and offer helping hands without disseminating the act on social media.   

Some years ago, in his philanthropic effort to give back to society, Zango promised to give out millions of Nairas to orphans in Kaduna. People from the industry and outside started saying he could only make promises without implementing them. This, among other factors, contributed immensely to the current reality Zango is facing in the industry. People don’t usually appreciate him or keep quiet about issues that affect him directly, turning his life into a topic of discussion every single time. 

Adam did not have the opportunity to attend higher education, but his zeal to actualise the ambitions of young people inspired him to sponsor a high number in Kaduna, Jos, and Kano States. The possession of assets, valuables, and material things by all those who work in WhiteHouse Family, an entertainment venture owned by Zango, is a testimony that he is full of kindness, selflessness, open-mindedness, and what he has never made him proud. 

What Zango is currently going through I don’t see it as depression, as claimed by many. There are people he wholeheartedly helped and trusted but turned against him. Additionally, he is facing a lot of trouble on social media from those who dislike him and are always fabricating lies about him. Yes, silence is not gold. He is supposed to speak up in his defence since no one is willing to stand up for him. The best one could do for the woman he loves is to marry and confide in her. What kills faster than a bullet is a betrayal from a life partner, and the bond of trust ends without a second thought. 

Many accused Zango of frequent marriages and serving his wives with hot breakfast (divorce) in short periods. As revealed by him, the truth of the matter is that most times, the failure of wives to be submissive, respectful, and faithful is glorified by our religion. Zango has been hiding the facts about what led him to divorce his wives from public space, but the ranting from near and far is unbecoming and unbearable. He has decided to let the hen out of the cage. Keeping some issues hidden is better, as exposing them is like adding salt to an injury. 

Furthermore, most of the films produced by Zango were created by local writers, not copies of Bollywood or Hollywood stories. The movie contributed to portraying real Hausa norms and values, cultures and traditions, dressings and foods, shelters and festivals while maintaining the religious injunctions. The languages used are authentic Hausa, along withidioms, styles, and proverbs, making it easier for children to learn. 

Despite dressing in Western attire in some movies, Zango still maintains the moral compass of Hausa and Islam. Factually, nobody can boldly point out where Adam is seen in a fantasy scene with women in films. Other characters have done worse than Zango in movies and feel that doing so is normal, without minding the repercussions on their families or people who took them as role models. By the way, who is morally upright in Kannywood? 

In summary, I have been an advocate for Kannywood, as I have written about misunderstandings between Rarara and former Governor Ganduje and the decision of MOPPAN to dismiss Rahama Sadau, among other topics in the Hausa entertainment industry. It should be noted that stakeholders and characters in Kannywood should see themselves as one family because commendation to one affects the rest and vice versa. People need to reciprocate kindness with kindness. Fans and mentees of artists should learn to respect each other by supporting themselves and resolving issues through dialogue. 

Adam Zango needs to control himself, especially in moments of anger, and stop making decisions at those times. He has faced worse situations before and stood firm. He can do it again. Let him consult relatives and trusted friends before taking any bold steps in his life. Finally, as a celebrity and a mirror to a limitless number of people, Adam Zango should ignore the negative comments, criticisms, and disrespectful and abusive words of followers on social media platforms. If he gives them no time to reply, they will have no choice but to stop. 

Kannywood has never had a gifted actor like Adam Zango in its history. He should cherish his God-given talent, be more focused and optimistic, and keep pouring out the best in him in both acting and music. Anything related to his personal life should be private, as antagonists always look for weak points or where he does wrong to attack him. He should remember that he is a son, father, and someone others admire. His words and actions, whether good or bad, would be replicated by them. 

Usman Abdullahi Koli wrote via mernoukoli@gmail.com.

By Habibu Ma’aruf Abdu

On Tuesday, April 9, 2024, the Kannywood community was shaken by the death of veteran actress Saratu Giɗaɗo, also known as Daso, at the age of 56. Her unexpected departure peacefully in her sleep on the final day of Ramadan plunged the Hausa film industry and the general public into a state of deep sorrow and disbelief.

Reflecting on the sudden death, a Kannywood scholar, Dr Muhsin Ibrahim, said: “The demise of Hajiya Saratu Giɗaɗo (Daso) really shocked me. In the beginning, I thought it was ‘fake news’. She was so alive a few hours ago.

“I have positive thoughts that she has received Allah’s mercy. She passed away while tirelessly soliciting help for orphans so that they too can celebrate Eid like other children…” he added.

Saratu Daso was undoubtedly one of the greatest, most successful and influential Hausa film stars of all time. When the news broke that she had died, a barrage of condolences instantly flooded the social media platforms. There was an unprecedented outpouring of grief from Kannywood personnel and the public alike. Thousands of people attended her funeral prayers, and many politicians paid homage to her, including the president of Nigeria, Bola Ahmed Tinubu

In a press release, the president describes the 56-year-old actress’s passing as saddening for the entire nation, which she honoured through her talent as a thespian.

The former governor of Kano state and presidential candidate Rabi’u Musa Kwankwaso also paid a condolence visit to console the family of the deceased actress.

Renowned for her captivating wit and acting prowess, the late Daso made her film debut in the year 2000 with the Sarauniya movie Linzami Da Wuta. She appeared in more than 100 films throughout her illustrious career, which spanned over two decades. Some of her notable works include Sansani, Mashi, Fil’azal, Daham, Dan Zaki, Gabar Cikin Gida, and Yar Mai Ganye.

Daso is famous for playing various roles in various film genres. She excelled in the portrayal of a dubious and aggressive elderly woman, which became her trademark. The fire she breathed in that role made her stand out among other elderly female actresses of her time.

“I’m often portrayed as a villain, and I know the nitty-gritty of villainous performances in films. I can act in various roles, but I enjoy villainous ones the most. Yet, I’m always ready to play any character if assigned to me,” she told BBC Hausa in an interview.

However, she was quite different in real life from the characters she depicted on screen. She was sweet and jovial. She once remarked, “I’m not aggressive. I’m very kind in real life. In fact, I’m such a taciturn.” Her kindness is one of the things that left a lasting impression on people within and outside the film industry. 

Actor Baballe Hayatu described her as “a good woman of great wit and charm”, while Alhassan Kwalle, chairman of the Kannywood Actors’ Guild, attested to her calm demeanour, stating, “We lived with her peacefully”.

Social media influencer and politician Maryam Shetty also wrote about her interactions with the late actress, saying, “…Daso was always a delight both on and off-screen. In 2016, I had the pleasure of meeting her at the Emir’s palace in Kano (where she was a constant face). We shared a lighthearted moment joking about our shared name.”

Similarly, another Facebook user, Hauwa Barde, affirmed Daso’s humility, noting that “…she would always reply if you commented under her post.”

An alumnus of Kaduna Polytechnic, Daso initially worked as a classroom teacher before joining the film industry. She could speak fluent English and was among the pioneering actors to star in Jammaje’s ‘Kannywood films in English.’ The genre’s promoter, Malam Kabiru Musa Jammaje, mourns the actress, reminiscing about their collaborations.

Jammaje explained: “I worked with her in our Jammaje Productions’ first film, There is a Way, as well as in Light and Darkness and In Search of the King. At one point, we even discussed the possibility of her teaching at Jammaje English Academy, although the plan never materialized”.

Saratu Daso’s legacy extended beyond her acting career; she served as Jakadiya (a traditional female protocol officer) for the 14th emir of Kano, Muhammadu Sanusi II.

She was also a dedicated philanthropist. Every Friday, she cooked food to share with orphans and her neighbours. The videos, where she gave iftar meals and advocated for orphans during the month of Ramadan, have been widely shared on social media as a tribute following her death.

Finally, as a Kannywood film reviewer, I believe that the history of the film industry would be incomplete without mentioning Daso’s contributions. Her departure leaves a void that will be difficult to fill. She will forever be remembered as a great actress of eminence who died during the blessed month of Ramadan while fasting, earning the praises of all and sundry. May Allah bestow His mercy upon her soul.

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

By Muhammad Abubakar

It has been a while since I wrote a Kannywood movie review. The last film I reviewed was Ruwan Dare, directed by the uniquely skilled Auwal Yaseen. In this review, I will discuss the same director’s new series release (Zafin Nema), which shares some similarities with the previous movie.

Zafin Nema is a romantic comedy-drama about two lovers, Ilu (played by Sadiq Sani Sadiq) and Saude (played by Maryam Yahaya), who face numerous challenges. Ilu comes from a poor background, and Saude’s family, especially her paternal grandmother (Hajara Usman), disapproves of their relationship. As a result, Ilu and his friend Rabe (played by Tahir I. Tahir) set off to the city in search of money to marry Saude.

Ilu and Rabe vow not to return home until they become five times richer than Alhaji Dangana (played by Shehu Hassan Kano), whom Saude is forced to marry. Ilu’s financial struggles cause his relationship with Saude to fall apart, and her family’s obsession with material possessions doesn’t make things easier.

The movie is entertaining and leaves you curious about what will happen in the next episode. The cast delivers good performances, but the camera work is poor and looks like it was shot with an ordinary Android camera. However, the natural background is quite appealing.

One issue with the movie is that it’s without subtitles, despite Kannywood’s growing audience across Africa and beyond. Additionally, the subtitles in some Kannywood films are poorly done.

Surprisingly, the industry still produces movies with terrible subtitles despite having (seemingly) educated individuals. Therefore, I suggest they employ people proficient in English to handle subtitles.

Overall, Zafin Nema is a must-watch movie that you shouldn’t miss. I, therefore, recommend it for all and sundry.

Muhammad Abubakar wrote via muhammadabubakarsulaiman070@gmail.com.