Kannywood

By Shamwil Ibrahim (Justice)

The news of Umar Ascon’s death arrived with a weight that words can barely carry. For many who knew him, it felt unreal, like a story told in error, a rumour that would soon be corrected. But it was true. Umar Ascon was gone. For those of us who shared a classroom with him, the loss feels even more personal.

I first met Umar Ascon in 2015 at Kano State Polytechnic. We were both admitted to study English and Applied Linguistics. Like many students starting a new academic journey, we were strangers brought together by the same course and the same campus. Yet it did not take long for Umar to become someone impossible to overlook.

He was one of the funniest people in our class and, arguably, in the entire department. Wherever Umar was, laughter followed. His humour was natural and effortless. He had a way of turning ordinary conversations into moments of joy. In lecture halls, corridors, or casual gatherings around campus, Umar had the rare ability to make people forget their worries, even if only for a moment.

Although he was older than me, Umar never allowed age to create distance between us. He treated everyone with openness and warmth. Over time, what began as a simple acquaintance developed into friendship. Across Kano State Polytechnic, Umar was already known by many students. Whenever he walked across campus, people would often point him out and whisper a familiar word: celebrity.

The reason was simple. Even during his years as a student, Umar Ascon was already appearing in Kannywood films. He was gradually building his presence in the Hausa film industry while still pursuing his education. For many students, seeing someone from their own classroom on television screens was both surprising and inspiring.

Yet what made Umar remarkable was not just his growing recognition in the film industry. It was his humility.

Despite the attention he received, Umar remained approachable and friendly. He never carried himself with arrogance. Instead, he used his position to encourage and uplift others.

For me, Umar did something that would shape my life. He introduced me to the Kannywood film industry. Through him, I found my own path into filmmaking, a voyage that continues to define my creative life today. Opportunities like that often come through people who believe in you before the world does. Umar was that person.

Even in recent times, Umar continued to think about the future of the industry he loved. The last conversation I had with him was about a film project he was planning. Umar spoke passionately about creating a production that could reach global standards, a film capable of standing proudly alongside international productions on platforms such as Netflix. He believed strongly that the Hausa film industry had the talent and stories needed to reach the world.

His dream was not only to entertain audiences but to elevate the industry. That dream now remains unfinished.

When the news of his death reached me, disbelief overwhelmed me. I felt compelled to confirm it myself. I called his phone. His wife answered. My voice shook as I asked, almost hoping the answer would dismiss the rumour. “Where is Umar?”

There was silence for a moment. Then, through tears, she spoke words that will remain with me forever. “Umar is no more.” She explained that he had passed away following complications related to liver illness. In that moment, reality settled with painful clarity.

Inna lillahi wa inna ilaihi raji’un.

Umar Ascon’s death represents a profound loss not only to his family and friends but also to the Kannywood film community. He was talented, vibrant, and deeply passionate about his craft. His presence brought laughter to classrooms, energy to film sets, and encouragement to those around him.

Some people leave behind fame. Others leave behind fortune. Umar left behind something far more enduring: memories, laughter, and inspiration.

For those who knew him, the echoes of his humour and kindness will remain long after this moment of grief passes.

May Allah forgive his shortcomings, grant him Aljannatul Firdaus, and give strength to all those mourning his loss.

Umar Ascon may be gone, but the stories, laughter, and dreams he shared will continue to live on. History will be so kind to you, Umar Ascon (Chairman).

Shamwil Ibrahim (Justice) wrote via ibrahimshamawilu@gmail.com.

A popular Kannywood actor, Sadiq Sani Sadiq, has apologised to Nigerians, especially those in the North, over his support for President Bola Tinubu, as he raised concerns about worsening insecurity and hardship in the region.

In a video message released amid rising violence across Northern states, the actor admitted that supporting the current administration was an error and urged voters to be cautious in future elections.

His remarks come at a time when insecurity has forced many farmers to abandon their farmlands due to attacks, kidnappings and killings in several parts of the North.

“We admit that we made a mistake in choosing this oppressive government of Tinubu. We are suffering because it is now very clear that he is not a lover of the people of the North; he does not care about the North,” Sadiq said.

He listed several states affected by insecurity, stressing that the situation has spread widely across the region.

“Just look at what is happening in Zamfara State. Look at what is happening in Katsina State. Look at what is happening in Kebbi, Sokoto, Niger, Kwara, Benue, Plateau, Borno, Yobe, and Gombe. Insecurity has taken over, and even the remaining Northern states that were once peaceful are now affected,” he stated.

Sadiq accused the administration of failing to protect lives and property, which he described as a key responsibility of any government.

“This oppressive government of Tinubu does not love us; it does not care about the people of the North. Therefore, we must not make the mistake of re-electing this oppressive government. If you hear this and ignore it, you will bear the consequences,” he warned.

He also said insecurity has disrupted farming activities, which are central to the region’s economy.

“If we make the mistake again of re-electing this oppressive government, then what we are currently experiencing — from heavy taxation to killings — will only continue. The North used to pride itself on farming, but now we cannot even go into our farms to cultivate food for ourselves. It has become impossible. We are being killed openly, and nothing is being done,” he lamented.

The actor further alleged that the policies of the current government are creating divisions in the country.

“Let me tell you something else. It is often said that the Igbo people want Nigeria to be divided. But in reality, this Tinubu government itself is the one pushing Nigeria toward division. Everything important —everything meant for development in the North — is being taken and moved to Lagos State,” he alleged.

He criticised what he described as uneven allocation of resources, claiming that the North is not receiving fair attention.

“Even in the national budget, look at what is allocated to Lagos compared to what is given to the North. It clearly shows that this Tinubu government neither loves nor understands the North. Why is it that we cannot even be given basic security so we can live, trade, and farm our food? Yet even that has failed,” he added.

Sadiq called on Nigerians to remain alert and make informed choices during elections.

“Therefore, we must be vigilant. We must ensure that we prepare and keep our voter cards ready to vote out this oppressive government,” he added.

By Prof. Abdalla Uba Adamu 

On Saturday, March 14, 2026, Dr Muhsin Ibrahim shared a newspaper report with me announcing the passing of Jürgen Habermas. The German philosopher died at the age of ninety-six in Starnberg, an affluent town in Upper Bavaria. Muhsin was well aware of how deeply I had drawn on Habermas’s theory of the structural transformation of the public sphere in my research on Muslim Hausa media cultures. 

His passing marks the end of an era in critical social theory. Habermas’s work on communication, rationality, and society made him one of the most influential philosophers of the late twentieth and early twenty-first centuries, as well as a major intellectual figure in postwar Germany.

Many Africanists did not initially read Habermas directly. Rather, they encountered his ideas through mediated theoretical engagements in the writings of scholars such as Brian Larkin. I myself first became aware of the public–private sphere debate as part of the broader Frankfurt School theoretical repertoire in Larkin’s studies of media culture in northern Nigeria. His work contributed significantly to later “post-public sphere” discussions by demonstrating how Habermasian insights could be adapted to different social, cultural, and technological environments.

Of Habermas’s many publications, the one that proved most decisive for me was The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Originally published in German in 1962 and translated into English by Thomas Burger (with the assistance of Frederick Lawrence) in 1989, it is an extraordinarily dense text. One often needs the guidance of someone already conversant with its arguments to appreciate its analytical elegance. 

I was fortunate to own a copy—purchased for me in the pre-digital era by Gillian Belben, then Director of the British Council in Kano. I read it several times before fully grasping how powerfully it provided a framework for understanding public reactions to Hausa films and the emergence of censorship debates.

Habermas’s study retraces the historical emergence of the bourgeois public sphere as a communicative domain distinct from the state, in which private individuals could assemble to discuss matters of common concern. By analysing the transformations of this sphere, he recovered a concept of enduring importance for social and political theory. In simplified terms, the argument draws attention to differentiated social spaces—those of the home and those of the wider public—and to the ways in which each structures particular forms of discussion and social interaction.

I relied heavily on this analytical distinction when I presented my first international seminar at the Institut für Afrikanistik, University of Cologne, on November 15, 2004. Titled “Enter the Dragon: Shari’a, Popular Culture and Film Censorship in Northern Nigeria,” the seminar explored how Hausa films often rendered visible aspects of domestic life traditionally regarded as private, thereby provoking moral anxieties and regulatory responses. By destabilising the boundary between the two spheres, Hausa cinema helped produce new forms of mediated public debate. A dramatic illustration of this dynamic emerged in the widely discussed Hiyana scandal of 2007, in which a private act became publicly circulated, with far-reaching cultural consequences.

The communicative arena that Habermas conceptualised as the bourgeois public sphere appears today in a historically transformed guise within the networked environments of social media. In Muslim societies such as those of northern Nigeria, digital platforms have intensified the long-standing negotiation between domestic moral order and public cultural expression. 

Conversations once confined to living rooms, mosque courtyards, or informal viewing gatherings now unfold in algorithmically structured yet widely accessible communicative spaces. These interactions do not reproduce Habermas’s ideal of rational-critical debate in any straightforward manner. Rather, they reveal plural, affective, and technologically mediated publics in which questions of religious legitimacy, gendered visibility, and cultural authority are continually contested. Social media, therefore, represent not the revival of the bourgeois public sphere but a new phase in its structural transformation — what might tentatively be described as a “third space.”

The world of critical social theory will undoubtedly feel the loss of Jürgen Habermas. Yet his conceptualisation of the public–private divide will continue to shape scholarly reflections on media, communication, and cultural change for years to come.

Readers interested in further discussions of the public–private debate in Islamic contexts may consult:

Kadivar, Mohsen. 2003. An Introduction to the Public and Private Debate in Islam. Social Research 70 (3): 659–680.

In governance, performance should naturally translate into greater responsibilities. Since his appointment as Special Adviser on Youth and Sports, Hon. Sani Musa Danja has demonstrated capacity, commitment, and a people-oriented approach that has delivered visible impacts on youth development and sports advancement in Kano State.

Within his first month in office, over 3,000 youths were empowered through food-related initiatives such as Nija Food. This early intervention reflected responsiveness to the economic realities facing young people and set the tone for a tenure driven by action rather than mere rhetoric.

One of Hon. Danja’s most commendable achievements is his grassroots engagement across all 44 Local Government Areas of Kano State. Through open consultations with the youths, he listened to concerns on welfare, unemployment, insecurity, and inclusion. This initiative brought governance closer to the people and helped rebuild trust between the government and youth.

To strengthen coordination and sustainability, he worked closely with Senior Special Assistants on Youth across the 44 LGAs, fostering cohesive leadership and unified strategies for youth development across the state.

Understanding the strong link between unemployment and insecurity, Hon. Danja adopted a preventive empowerment approach. Over 300 youths previously involved in thuggery and phone snatching were redirected into productive ventures, including popcorn-gurguru production, fast-food services, shawarma preparation, and baking. This intervention not only provided livelihoods but also contributed to crime reduction and social reintegration.

His tenure also saw institutional support for voluntary youth and security organisations, including the Nigerian Boy Scouts and other community-based groups such as the Civilian JTF Kano. Through the provision of working materials and encouragement, discipline, and volunteerism, community service among young people was strengthened.

In addition, a statewide Youth Symposium Day was organised to promote dialogue, leadership, and civic engagement, involving participants from all 44 LGAs. Hon. Danja also paid visits to youth training and skills acquisition centres across the state, encouraging trainees and reassuring them that government support remains within reach (kusa da gwamnati).

Beyond programs, compassion has remained a defining feature of his leadership. Financial assistance was extended to youths facing serious health challenges, including those with spinal cord-related disabilities, demonstrating an inclusive and humane approach to governance.

In sports development, Hon. Danja contributed to the revival of neglected sports such as volleyball, encouraging youth participation and talent development. Administratively, he reorganised and strengthened his office to ensure efficiency, transparency, and effective service delivery.

Currently, his office is coordinating a large-scale youth empowerment initiative under YEIDEP, targeting over 1.2 million youth participants in skills acquisition and entrepreneurship, reflecting executive-level vision and readiness.

Given his performance, statewide reach, and ability to connect with young people, Hon. Sani Musa Danja is well-positioned to deliver even greater impact.

A passionate appeal is therefore made to His Excellency, Engr. Abba Kabir Yusuf, to consider appointing Hon. Sani Musa Danja as the Commissioner for Youth and Sports and nominate him to the Kano State Executive Council. Such a decision would ensure continuity, consolidate gains, and further strengthen Kano State’s youth and sports development agenda.

Shamsuddeen Muazu (AbuMuhd) wrote from Kano State. He can be reached via abumuhdpress@gmail.com.

The new series, Bakan Gizo, is unique for departing from the usual Kannywood storytelling. It is much like a thriller, narrated with suspense and tension, while exploring the immoral lifestyle that is rampant among young people today.

Directed by Kamal S. Akali, the story follows Sharifa (Mommy Gombe), a young woman who leaves her home state, Gombe, to study at Bayero University, Kano. There, she is drawn into a new social circle through her free-spirited friends, Salma (Zahrah Aliyu) and Zee (Bilkisu Abdullahi). She also begins an affair with Abba (Yusuf Saseen), who is deeply in love with her but increasingly possessive.

Sharifa is not content with Abba as her partner. She, therefore, enters a new relationship with Sharif (Isah Adam Feroz Khan), a spoiled brat from a wealthy family. However, things take a violent turn when her two lovers discover each other, leading to Sharif being stabbed in the stomach.

Judging by its genre, which is well-suited for a series film format, Bakan Gizo promises to be a compelling and attention-grabbing production. Viewers are already left in suspense to see how the story unfolds, particularly how Sharif’s wealthy mother, a high-ranking police officer (played by Hauwa Farar Lema) who also sleeps with Abba, will investigate the unfortunate incident that befalls her son.

The series appears to draw stylistic inspiration from Indian cinema. This is unsurprising, given director Kamal S. Akali’s creative history, including adaptations of films like Velayudham (as Kanwar Dubarudu) and Drishyam (as Umar Sanda) for Kannywood audiences.

The narrative revolves around a single storyline with interrelated characters. However, while the characters are well connected, some scenes feel disjointed, making the transition between episodes one and two almost convoluted.

On the other hand, although the performances come across as slightly over-the-top, the stellar cast remains highly effective. Seeing Mommy Gombe and Zahrah Aliyu reunite their chemistry from Gidan Sarauta, alongside the rivalry of Isah Adam (Feroz Khan) and Yusuf Saseen (as seen in Labarina), makes for an enjoyable watch.

Finally, it is too early to pass judgment, but I recommend Bakan Gizo for its fresh storytelling approach in the Kannywood series.

Reviewed by:

Taqdeer (Divine Decree), a 2025 Nigerian Islamic film directed by Ruben Reng, is a captivating tale of love, fate, and cultural heritage. Starring Ibrahim, Sakina, Mustapha, and Zainab as leading characters, this film weaves a narrative that explores the intricacies of human relationships against the backdrop of Nigerian and Hausa traditions.

The film’s plot revolves around themes of destiny, faith, and choices, unfolding a story that keeps viewers engaged. The narrative delves into the lives of its characters, exploring their struggles and triumphs in a way that resonates deeply. 

Watching Taqdeer is a visually immersive experience. The cinematography captures the vibrant essence of Abuja, blending traditional and modern elements harmoniously. The film’s use of Hausa language and Islamic cultural references adds authenticity, making the story feel both personal and universal. The performances by the cast are compelling, bringing depth to their characters.

Taqdeer’s formal techniques, such as its cinematography and sound design, effectively enhance the narrative’s emotional impact. The film’s portrayal of Islamic moral themes and traditions provides a rich context for the story, making it relatable and thought-provoking. The blend of music and story-based sound adds to the film’s atmosphere, drawing viewers into the world it creates.

Analytically, while Taqdeer is strong in many areas, certain scenes linger longer than necessary, which can detract from the story’s overall momentum. Nevertheless, these moments are outweighed by the film’s strength, particularly its moral richness.

In conclusion, Taqdeer is worth watching for its engaging narrative, moral richness, and strong performances. It offers a glimpse into Nigerian Muslim culture and explores universal themes of love and fate, making it a compelling watch for audiences interested in diverse storytelling.  

Reviewed by

Rexford Asamoah Adu

radu@smail.uni-koeln.de

To Kannywood audiences, the TV series Gidan Badamasi needs no introduction. It is arguably the most successful comedy series since the industry’s migration to YouTube/TV series production. There have been other popular comedy series, such as Zafin Nema and Jikokin Maigari. However, none has matched the reach and longevity of Gidan Badamasi.

After six successful seasons, Gidan Badamasi now returned with Season 7. Only two episodes have been released so far, yet the new season already shows the potential to surpass its predecessors. This is due to its thematic preoccupation, which tackles the issue of insecurity in Northern Nigeria and the problematic framing of the Fulani ethnic group as terrorists without distinction. The new season rightly reinforces a crucial truth: that terrorism has no religion or ethnicity.

The first episode opens with Alhaji Badamasi (Magaji Mijinyawa) and his aide, Taska (Falalu Dorayi), being abducted by kidnappers. The kidnappers’ kingpin, Dan Tsito, is portrayed as Fulani.  However, the narrative shows that Dan Tsito’s criminal path begins within his own community (Rugga), before extending into the forest, where he operates alongside criminals from other ethnic groups. 

The series obviously avoids ethnic reductionism and offers a more balanced portrayal of terrorists and terrorism in Nigeria. It also dismantles the notion of selective victimhood by presenting Alhaji Badamasi, a Hausa Muslim, and his aide as victims. This challenges how the international community often wrongly assumes that terrorism in Nigeria targets only Christians, and how films like The Herd (2025) subtly reinforce that misleading narrative.

The director, Falalu Dorayi and the creative team deserve commendation for addressing this sensitive issue with courage and clarity. This is the kind of storytelling Northern filmmakers must prioritise – telling their own stories truthfully rather than allowing outsiders to define their realities.

The series is also technically solid. Both picture quality and sound design are commendable. However, based on the two episodes released so far, the makers need to be more restrained with unnecessary comic scenes. A more disciplined approach would allow the series to do full justice to the seriousness of its subject matter.

In conclusion, Gidan Badamasi Season 7 shows strong promise. It remains as entertaining as previous seasons while effectively blending important social issues into its narrative. I highly recommend it.

Reviewed by

By Hadiza Abdulkadir

Yunusa Mu’azu, a well-known actor and producer in the Kannywood film industry, has issued a public appeal for urgent financial support for popular actress Zee Diamond Talatuwa, fondly known by fans as Maman Bintalo from the hit television drama Labarina.

In a statement posted on his official Facebook page, Yunusa Mu’azu revealed that the actress is battling a serious and life-threatening medical condition involving blocked blood vessels and abnormally thick blood. According to medical reports shared in the post, the condition—linked to hereditary factors and allergies—has made even basic intravenous treatment difficult and places her at high risk of heart failure and kidney complications.

Doctors have reportedly advised that Zee Diamond must be taken abroad for specialized treatment, as the condition cannot be adequately managed locally. The total cost of the medical procedure and travel is estimated at ₦25 million.

Yunusa disclosed that members of the Kannywood community, alongside the actress’s relatives, have so far raised approximately ₦18 million, leaving a shortfall of ₦7 million. He added that medical experts have warned that the treatment must be carried out within the next two months, stressing that any delay could have fatal consequences.

The appeal has triggered renewed calls for support across social media, with colleagues, fans, and well-wishers urged to contribute toward closing the funding gap. The development has once again drawn attention to the health challenges faced by creative industry professionals and the strong culture of solidarity within the Hausa film industry.

In 2025, the Hausa film industry, popularly known as Kannywood, witnessed a clear shift, with series films completely overshadowing feature-length productions. Apart from Mansura Isa’s Faliha and Falisha, no major Kannywood movie was released in cinemas throughout the year. This is, of course, troubling, as series films alone do not define the strength and global reach of any serious film industry.

However, series films attract more audience commitment, offering extended runtimes, deeper character development, and closer engagement with social realities. They also give filmmakers and actors the room to explore complexity in ways feature-length films often cannot.

After following several Kannywood series throughout the year, six clearly stood out for viewership, audience engagement, and the level of conversation they generated. They are as follows:

1. Labarina (Season 14), 
2. Wata Shida, 
3. Garwashi, 
4. Jamilun Jidda, 
5. Zabi Biyu, and 
6. Taskar Kannywood (Da Na Sani)

The above series were considered for the year’s best performances. Nominees were first identified within each series, after which an overall winner was selected for each category based on consistency, depth of performance, narrative impact, and contribution to the series as a whole.

1. Best Actor of the Year 

Top Nominees:

1. Adam Garba (Abba Galadima in Labarina [season 14], and Sameer/Dahiru in Wata Shida)
2. Abubakar Waziri [Bado] (Malam Sani in Garwashi)
3. Ali Nuhu (Professor Nuri in Jamilun Jidda)
4. Yakubu Muhammad (Mudan in Garwashi)

Winner: Adam Garba (Abba Galadima in Labarina [S14], and Sameer/Dahiru in Wata Shida)

Adam Garba’s contributions to two of the top series clearly set him apart from other nominees. In Labarina (season 14), he delivers a calm, grounded performance as Prince Abba Galadima. However, his portrayal of Sameer/Dahiru in Wata Shida demands duality and emotional balance, all of which he handles with impressive control.

• Best Actress of the Year 

Top Nominees:

1. Fatima Abdulahi Washa (Sumayya in Labarina [Season 14])
2. Fatima Hussaini (Zahrah in Wata Shida, and Ruth/Fatima in Jamilun Jidda)
3. Fiddausi Yahaya (Ma’u in Garwashi, and Jidda in Jamilun Jidda)

Winner: Fatima Hussaini (Zahrah in Wata Shida, and Ruth/Fatima in Jamilun Jidda)

Although Fiddausi Yahaya left a strong impression as Ma’u in Garwashi and the title character in Jamilun Jidda, Fatima Hussaini maintains a stronger performance quality across different projects. The confidence she showed as Zahrah in Wata Shida, and her dual role in Jamilun Jidda prove her versatility, as she navigates contrasting identities effectively.

• Best Supporting Actor 

Top Nominees:

1. Rabi’u Rikadawa (Baba Dan Audu in Labarina [Season 14])
2. Kabiru Sani (Gaddafi in Garwashi)
3. Isah Feroz Khan (Kasim in Garwashi)

Winner: Kabiru Sani (Gaddafi in Garwashi)

Each of these actors delivered memorable supporting performances, but Kabiru Sani, alias International, stands out for the complexity and freshness he brought to the role of Gaddafi in Garwashi. The character is a blend of thuggery and humour. This combination could easily have messed up in less capable hands. However, Kabiru International plays it naturally. His performance felt confident and fully formed.

• Best Supporting Actress

Top Nominees:

1. Faiza Abdullahi (Lawisa in Garwashi)
2. Bikisu Safana (Shatty in Wata Shida)
3. Aisha Humaira (Samira in Garwashi)

Winner: Faiza Abdullahi (Lawisa in Garwashi)

The reason why Fa’iza Abdullahi wins is the way she adjusted her physicality, voice, and mannerisms to fit in the thuggish character of Lawisa in Garwashi. Her performance reminds you of Alia Bhatt’s finest performance in Gangubai Kathiawadi, which earned her the prestigious Indian National Film Award.

• Best Villain of the Year

Top Nominees:

1. Hauwa Farar Lema (Kilishi, Labarina [Season 14]) 
2. Balaraba Abdullahi (Baba Lami, Garwashi)
3. Magaji Mijinyawa (Kawu Nakowa, Wata Shida)

Winner: Hauwa Farar Lema (Kilishi, Labarina [S14])

Hauwa Farar Lema’s portrayal of Kilishi in Labarina (Season 14) stands out for her deep understanding of the character’s motivations and emotions. Her performance feels realistic. She looks fearsome and conveys the essence of her malicious character through threatening glances and expressions.

• Star of the Year

Winner: Fiddausi Yahaya (Ma’u in Garwashi and Jidda in Jamilun Jidda)

While some critics question her acting prowess, Fiddausi Yahaya is undoubtedly the star of the year. As a relatively new actress, she suddenly became a household name, gained a massive fan following, trended widely on social media, and began appearing in multiple big-budget projects such as Garwashi and Jamilun Jidda, among others. She is a subtle performer and has shown steady improvement in acting quality with every new role.

• Best Breakthrough Performance of the year

Winner: Amina Shehu [Lulu] (Samira in Da Na Sani)

A breakthrough performance is a role that elevates an actor’s visibility and reputation. This happens to Amina Shehu after delivering an intense and emotionally layered role of Samira, nicknamed Kwaila, in “Da Na Sani”, the seventh film from Taskar Kannywood collection. Da Na Sani became the most-reviewed film, and her performance in it was probably the most widely acclaimed of the year. 

• Most Promising Actor of the Year

Winner: Murtala Yahaya Musa Sarauta (Bello in Zabi Biyu)

Judging by how convincingly he handled the role of Bello in Zabi Biyu, only a few roles would truly challenge him. He may appear too mature and lack the conventional swagger of Kannywood heroes, but his acting skills are too solid to be overlooked. With the right story that suits his personality, Murtala is really an actor to watch.

• Most Promising Actress of the year

Winner: Hassana Ibrahim (Safiyya, Zabi Biyu)

The debutante Hassana Ibrahim demonstrates exceptional potential in her powerful lead performance in Zabi Biyu. She portrays emotional depth and control, particularly in scenes that require vulnerability and internal struggle. She has a commanding screen presence, delivers her dialogue effectively, and complements it with appropriate gestures

1.  Best Comic Performance

Winner: Isiyaka Jalingo (Zabi Biyu,and Garwashi)

Isiyaka Jalingo is not merely funny; he generates humour through behaviour and mannerisms while still serving the story. His roles are not designed solely for comic relief; instead, the humour emerges organically from the way he speaks and acts in every scene he features. His roles in Garwashi and Zabi Biyu, though small, leave a huge impact.

Written By

Habibu Maaruf Abdu

habibumaaruf11@gmail.com

By Garba Sidi

Kannywood, like other film industries worldwide, depends on the emergence of new talent who capture audiences’ hearts and help transform the industry into a powerhouse. These actors often deliver exactly what is needed because of their talent and fame. However, relying solely on a few well-known stars can threaten the industry’s sustainability. If these actors age or fade away, will the industry collapse with them?

Among those challenging this pattern is filmmaker Salisu T. Balarabe, whose vision goes beyond just telling stories—he is committed to discovering and promoting new actors to grow the industry and create job opportunities.

A VISIONARY PERSPECTIVE ON KANNYWOOD

Salisu T. Balarabe is a key figure among AREWA 24’s directors and plays a major role in giving aspiring talents a platform to shine in Kannywood. His work on the long-running series Kwana Casa’in is a clear example of his commitment to this goal. Rather than relying solely on already-famous actors, Balarabe introduces fresh faces to the audience by integrating them into the show’s narrative. Before Kwana Casa’in, no one knew Safiya Yusuf, now popularly known as Safara’u Kwana Casa’in. The show brought her to prominence, and she has since launched a music career as well.

Now, as he produces another long-running series, Zaɓi Biyu, Balarabe is sticking to his principle of working with new talents, giving them a platform to show their skills to the audience. This strategy is evident when compared to other popular Kannywood productions like Garwashi, Labarina, Jamilun Jiddan, Manyan Mata and Allurar Ruwa, which mostly rely on a small circle of already-famous actors such as Sadik Sani Sadi, Abubakar Waziri (Baba Rabe), Adam Garba (Raba Gardama), Amal Umar, Momy Gombe, Minal Ahmad (Ya Kaka), Ruky Alim, Hadiza Saima (Maman Saima) and Rabi’u Rikadawa.

There’s no denying the talent, skill, and fame of these actors. Their appearances often guarantee high viewership and profits for any film or series they’re part of. Still, Salisu T. Balarabe has chosen a different route—one that takes longer to become profitable but is ultimately more sustainable.

PERSEVERANCE DESPITE AUDIENCE PRESSURE.

In an industry where producers and directors often prioritise famous faces to ensure quick financial returns, Balarabe deserves praise for his dedication. He understands that for Kannywood to grow and flourish truly, it must constantly introduce new talent and provide them with training and opportunities. This approach is not just about development; it’s a crucial long-term investment in the industry’s future.

Balarabe’s work is reminiscent of internationally acclaimed filmmakers who have taken similar paths in other parts of the world. In Bollywood, directors like Anurag Kashyap, Zoya Akhtar and Karan Johar have introduced fresh talents such as Vicky Kaushal, Siddhant Chaturvedi and Alia Bhatt. Likewise, in Hollywood, directors such as Steven Spielberg, Martin Scorsese and Greta Gerwig have played key roles in discovering actors who went on to achieve global fame.

These directors are celebrated not just for their storytelling abilities but for their impact in nurturing talent. Salisu T. Balarabe is doing something similar in Kannywood—showing great courage and commitment despite the pressure he faces from audiences who demand familiar faces. His vision of discovering gifted individuals and helping them reach their potential through AREWA 24’s productions is commendable.

COMMITMENT TO QUALITY AND MEANINGFUL STORYTELLING.

Beyond introducing new faces, Balarabe also ensures that these actors deliver performances that resonate with audiences. His long-running series, Kwana Casa’in and Zaɓi Biyu, are not small projects. They are rich in culture, politics, and the real-life struggles of Hausa society. This provides new actors the chance to shine while also educating and entertaining the audience.

This approach enriches the stories and gives the new actors a strong foundation to grow. These emerging talents often give their absolute best, using all their abilities to tell stories that leave a lasting impact. Balarabe’s consistent effort to showcase new faces in his films reflects his dedication to prioritising art over fame—a trait that distinguishes true filmmakers from mere trend-followers.

A NEW ERA FOR THE KANNYWOOD INDUSTRY.

Salisu T. Balarabe is showing the Kannywood industry that growth is possible when directors aim higher and embrace innovation. By doing so, they not only enrich the industry with talented and committed actors but also ensure that more talented people can benefit from the opportunities it offers.

If Kannywood were to follow this model, it would continue to progress—not just by elevating individual stars, but by fostering a culture of talent discovery, hard work, and quality production that will earn it global respect. Just like Nollywood in southern Nigeria has proven, an industry does not have to rely solely on a handful of celebrities to grow. When talent becomes the main focus, true and lasting success follows.

CONCLUSION.

At a time when fame dominates the storytelling landscape, Salisu T. Balarabe stands out as a beacon of hope for sustainable development in the Kannywood film industry. His commitment to nurturing and promoting new talent, as seen in series like Kwana Casa’in and Zaɓi Biyu, reflects his deep passion and long-term vision.