Hausa Film Industry

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.

By Uzair Adam Imam

The Kannywood movies are widely loved by Hausa-speaking communities across Nigeria and beyond. They are known for depicting Hausa culture and life.

The plots of Kannywood movies often feature drama, romance, and comedy, which many viewers find an escape from the harsh reality of everyday life. 

The songs and dances featured in the movies have become a signature of Kannywood cinema and are popular with audiences.

However, the songs and dances have ceased to be featured in the present Kannywood movies due to the new dimensions that the movies have taken.

In an interview with The Daily Reality, some Kannywood producers explained their reasons for taking the new direction.

Songs are incompatible with present movies – Lawan Ahmad

Lawan Ahmad, the producer of and a leading actor in the popular Hausa TV series Izzar So, said the songs have been removed to accommodate the kinds of films produced nowadays.

Ahmad said the songs still possess their enormously powerful impact in conveying messages but added that the nature of the movies nowadays does not accommodate songs. 

He said, “The songs were removed to suit the kinds of most produced movies in the Kannywood industry today. However, they are still useful in those movies.

“The songs were not removed because they are insignificant – their immense impact is still relevant.”

Hausa movies re-create folktales, history 

Another director and actor in the industry, Ali Rabi`u Ali, popularly known as Daddy, said Hausa films in those days were primarily traditional and required songs and dances. 

He stated, “Most of the Hausa films in those days were a replica of tales (tatsuniyoyi) and history that needed to be accompanied with songs and dances of dandali (a stage).” 

“These songs contribute(d) to the advertising and selling of the films. That is why the songs used to be released even before the production of the movies.

“This was to let people know about the film, just like the way Indian movies did,” Daddy explained.

He added that film series now do not require songs and dances because people are after the theme of the film, not songs.

“Besides, song and dance scenes are very costly and time-consuming, forcing us to cease using them in our films,” he stated.

Removal of songs: An opportunity for singers

Asked whether this was a threat to the Hausa singers, Ahmad said this was a wonderfully exciting opportunity for singers to be known for their intellectual production.

He stated, “This has helped the Hausa musicians to be known by the people for their talented works, as they make and act videos of their songs – and there is a lot of creativity in their businesses nowadays as singers resort to dramatic songs, with sole independent themes. 

“Now, instead of saying Ali Nuhu or Adam A. Zango should be featured in the video of their songs, the singers have seized the opportunity to sell their faces while taking a new dimension,” he added.

He added that the dramatic songs have now taken a new dimension, a development which attracts many people in Hausa communities.

Songs, dances mere imitations of Bollywood – don 

A Department of Mass Communication lecturer at Bayero University, Kano, Malama Ummi Hassan, opined that songs and dances in Hausa movies are simulacrums of Bollywood movies. 

The lecturer, who has taught film over the years, stated that “Songs and dances in Kannywood movies are mere facsimiles of Bollywood movies. And now that Bollywood has stopped using them in their movies, particularly series, Kannywood also stops.

“Bollywood now uses only some musical interludes as background sounds in their series movies to establish settings or set moods, to mention a few. Sometimes, they use the songs of the already-produced films, say Kalhonaho.” 

She added that a movie can achieve a desired theme without songs and dances.

She stated, “You must not show an actor or actress dancing before your film sells.” 

Some songs out of context

The university lecturer argued that the songs and dances in most Kannywood movies are sometimes out of context but were used to meet the tradition of Kannywood movies.

She said, “It is like the Kannywood has made it a tradition to put songs in their movies. The songs, however, are sometimes out of context.”

Ummi, who sees films and songs as two different things, advocates that the duo remain independent, with each conveying different meanings.

She added that although songs and dances have ceased to be used, the Hausa movies have witnessed a steep increment in their viewership. 

“I personally see this as a new development. Films and music are two different things. Songs can be used in the background to set the mood,” she added.

Our business at risk – singer

A singer, Hafeez Umar Maikano, who spoke to the Daily Reality, said their business is at risk following the removal of songs in the Kannywood movies.

According to Maikano, although songs have preceded films, singers now rely on filmmakers to survive.

He added, “I see this as challenging for the Hausa singers. The removal of songs from movies has discouraged not only professional but also upcoming singers.

“Before, filmmakers contracted singers to sing for a particular movie, giving them all the required information, including the theme of the movie.

“However, there is no denying that the removal has become a stepping stone to many of the singers,” Maikano added.

By Aminu Mohammed

This article was inspired by a Facebook post by Dr Maryam T. Hamza, who urged northerners to stop casting aspersions on actors and practitioners of the Hausa language film industry, popularly known as Kannywood. The post got me thinking about my recent trip to Nigeria last year. I still recall how enthusiastic people at home were about the movie series Dadin Kowa shown on Arewa 24. I wondered what kept them glued to the TV while watching the Dadin Kowa drama.

It is a well-known fact that many families spend ample time at home watching movies from India, Korea, Turkey, the Philippines, and other countries. While in secondary school in the 1990s, I discovered that most of my friends were conversant with the names of famous Indian actors such as Amitabh Bachchan, Dharmendra, Jeetendra, Rajesh Khan, etc. We also became conversant with Indian culture, food and cities through the movies.

This reminds me of Funke Akindele’s recent movie A Tribe Called Judah, which has become the first Nollywood movie to hit one billion Naira from the cinemas in just three weeks of its release, marking a historic moment in the Nigerian movie industry. The film portrays the challenges bedevilling low-income families in their struggle for livelihood and survival. President Bola Tinubu congratulated Funke for the feat, and eulogies from former Vice President Atiku Abubakar and Peter Obi also followed this.

We Need to Tell Our Story

I have watched the movie Amina, which tells the story of Queen Amina of Zazzau, a 16th-century Hausa kingdom in what is now known as Zaria. Although the film was interesting and well-made, I was surprised to learn that the producers, Okechukwu Ogunjiofor and Izu Ojukwu, were not from Kannywood, despite casting Ali Nuhu, among other mainstream Hausa actors, in the film. I wondered why this was the case.

While I enjoyed the movie and praised the producers for their work, I couldn’t help but feel that something was missing. I felt uneasy that outsiders were telling the story of our traditional system while our people had overlooked or neglected to do so. It bothered me that we tend to criticise and demonise artists and icons in our society rather than promote them. Are we comfortable with outsiders telling stories about our culture and traditions? Are we okay with letting outsiders define who we are?

It’s concerning that people who watch American, Chinese, Korean, Indian, and Turkish movies are quick to condemn Kannywood actors and actresses, accusing them of spreading immorality. Why do we celebrate foreign celebrities and movie stars while looking down on our own simply because they speak the same Hausa language as us? How can we expect to progress as a society when we tear down our talents and icons?

During my undergraduate days at the Ahmadu Bello University, Zaria, American pop music and gangster rap were popular among students. However, things have changed over time, and many Nigerians now listen to our local music. Nigerian artists like Burna Boy, Davido, Wizkid, Tiwa Savage, Kizz Daniel, and others are now popular across the globe. Even former U.S. President Barack Obama listens to Nigerian music. Afrobeats singers like Burna Boy and Ayra Starr were on his 2023 summer playlist.

Kannywood Has Great Potential

Nollywood has become one of Nigeria’s biggest exports in the last decade, highlighting the immense talent of Nigerians. The creative and entertainment industry has seen tremendous growth over the years, improving the livelihoods of many practitioners. Similarly, Kannywood has created numerous job opportunities for people in the North, such as actors, producers, directors, costumiers, makeup artists, fashion designers, singers, dancers, scriptwriters, and bloggers.

We must support Kannywood and promote our own talents rather than criticise them. We must stop seeing the movie industry as a place for fostering immorality and social vices. Instead, we should harness Kannywood’s potential to generate foreign exchange and enhance economic growth and development in Kano state and the entire Northern region.

Film as Instrument of Positive Change

The movie industry has the potential to inspire diligence, hard work, honesty, and productivity among our youth. It can serve as a valuable tool to promote girl-child education, literacy, and women empowerment, generate employment opportunities for talented youths, as well as change the negative perception of the North as a place plagued by religious intolerance, banditry, and insurgency.

I enjoy watching Dadin Kowa and Kwana Casa’in on Arewa24 occasionally. I also listen to Hausa songs, especially those by Naziru Sarkin Waka, to stay connected to my culture and traditions as I live outside Nigeria. It is worth noting that Kannywood movies do not depict scenes of sex, kissing, hugging, or any other inappropriate content that could tarnish the industry’s reputation.

Promoting our culture and language through movies and home-grown creative efforts is essential. We can use movies to tell heroic stories about our forefathers and instil good values, family ethics, productivity, and religious morals in our youth. I firmly believe that harnessing Kannywood’s potential can bring about the desired change in our society and encourage us to hold our political leaders accountable for their stewardship. 

Aminu Mohammed wrote this article from Ingolstadt, Germany. He can be reached at gravity23n@gmail.com.

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.