Kannywood

By Muhsin Ibrahim

After nearly half a century of dedicated service, Professor Abdalla Uba Adamu has formally announced his retirement from Bayero University Kano, marking the end of an extraordinary academic journey defined by intellectual curiosity, resilience, and lasting impact. 

Born in Kano in 1956, Adamu began his studies in education sciences before shifting to media and communication, where he made his greatest impact. This change was key, forging a career linking pedagogy, culture, and media scholarship. Over time, he became a leading figure in Hausa media, popular culture, and communication with a unique interdisciplinary voice.

He joined the university system on 24 July 1980 as a young Graduate Assistant, rose through the ranks with distinction, and, in 2014, contributed to the conceptualisation of the Faculty of Communication. 

Prof. Adamu’s career, spanning forty-six uninterrupted years, reflects a rare blend of dedication and innovation. From the Department of Education to the Department of Information and Media Studies, his trajectory mirrors the evolution of media scholarship itself.

Beyond the classroom and research, Prof. Adamu has been a consistent voice in public discourse, including his longstanding contributions to The Daily Reality, a platform he has not only enriched intellectually but also supported materially. 

Prof. Adamu’s reflections on retirement, posted on Facebook, capture a life lived with purpose. Yet, true to form, he makes it clear that this is no final bow. With ongoing research and forthcoming book projects, the scholar remains as intellectually vibrant as ever.

For the first time in a while, I have come across a Kannywood series trailer so compelling that it instantly made me crave its release. Such is the effect of the newly released trailer for the upcoming series Kaddara, unveiled yesterday.

It is worth recalling that the series was announced a few months ago by Abnur Entertainment. It has since generated considerable buzz due to the reputation of the producers and its stellar cast, including the veteran Nafisa Abdullahi, who is making a comeback after a prolonged hiatus from the Kannywood film industry.

The compelling has further amplified the anticipation. The editing is deliberate, showing only fragments of conflict without revealing the full shape of the narrative. In other words, the trailer teases just enough to excite without giving away the complexity of the plot.

This restraint is commendable, as it avoids the common pitfall of overexposure that plagues many Kannywood teasers.

Equally significant is the assembly of the cast. Alongside Nafisa Abdullahi are Ibrahim Maishunku and Zahradden Sani, whose reduced visibility in recent years has made their presence here particularly noteworthy. They are complemented by the constant faces of Ali Nuhu, Adam Zango, and Falalu Dorayi, among others. Naturally, this is a cast designed to deliver.

However, trailers are just promises, not guarantees. Kannywood has, on several occasions, produced compelling previews that ultimately led to uneven final products. The real test for Kaddara will therefore lie in its narrative discipline.

Kaddara is scheduled for release on Sunday, April 12, 2026. We wait to see whether it can sustain tension, avoid melodramatic excess, and translate its visual appeal into a coherent and engaging story.

Habibu Maaruf Abdu 

habibumaaruf11@gmail.com

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.