Kannywood

By Mubarak Umar

There are television series you watch for entertainment, and there are those that remind you what storytelling is truly capable of.

Matan Gida, created by Abubakar Bashir Maishadda, is one of those rare productions.

For years, Hausa television has largely remained within the familiar territory of domestic disputes, predictable romances, and neatly resolved family conflicts. Audiences have become accustomed to stories that rarely challenge expectations. Matan Gida breaks away from that tradition with remarkable confidence.

The series is driven by a screenplay that feels fearless. I can sense that when Ibrahim Birniwa opened his PC to draft Matan Gidan, he wasn’t writing to satisfy convention; he was writing to provoke thought. The script explores uncomfortable realities, moral ambiguities, power dynamics, and the hidden complexities in our everyday lives, subjects that many filmmakers have hesitated to approach. Every episode feels intentional, with dialogue that carries weight and scenes that linger long after the credits roll.

The entire cast truly deserves equal praise. The ensemble is balanced, with each actor bringing a distinct personality and energy to the screen. There is no sense of characters competing for attention; instead, every performance contributes meaningfully to the larger narrative. It is this diversity of characterisation that gives Matan Gida its emotional richness and realism.

Abubakar Maishadda deserves credit for trusting a script that challenges Kannywood’s conventional cinema. Because producing a series like Matan Gida is a creative statement. It proves that audiences are ready for mature, thought-provoking stories.

And now comes the real test.

With Season Two premiering today, expectations are high. The first season didn’t just tell a complex story—it raised the standard in Kannywood. Audiences will be expecting deeper conflicts, higher emotional stakes, more character arcs, and answers to the questions deliberately left hanging. More importantly, viewers will expect the series to preserve the boldness that made the first season stand out rather than retreat into familiar territory.

If Ibrahim Birniwa’s pen remains as fearless as it was in Season One, and if the series continues on the pedestal that challenges both the industry and its audience, Matan Gida has every chance of becoming one of the defining works of modern Hausa television.

By Khalid Imam 

The Triple R Kannywood Renewed Hope Initiative, the highest body of elite Kannywood actors and other influential Arewa creatives, led by Alhaji Dauda Adamu Abdullahi Kahutu Rarara, organised a special prayer session to pray for peace, unity, and security in Nigeria on 22nd June 2026 at the Aminu Dantata Trade Fair Complex in Kano City.

Conceived by a high-powered 5-Man Committee of Special Prayer chaired by Nura Hussaini, a famous Hausa film actor, the session drew a massive turnout of notable Hausa film actors, directors, singers, scriptwriters, authors, and other creatives in the arts industry. TikTok influencers and dozens of group members were also in attendance, and all were united by their concern over Nigeria’s security situation.

The special prayers attracted enthusiastic attendees from the film and arts industry in Kano, Kaduna, Gombe, Niger, Sokoto, Borno, and other Northern regions. Starting around 11 am, members recited the Holy Qur’an. A big cow and a large ram were slaughtered, and the meat was shared among the public. The act sought Allah’s intervention for lasting peace and security, especially in troubled areas. 

Prayers were also faithfully offered for Almighty Allah to completely crush all those directly or indirectly profiting from the killing of innocent lives, especially bandits and other troublemakers. Members also prayed, asking God to bring a permanent end to terrorism, armed robbery, kidnapping, and every form of insecurity plaguing Nigeria, particularly the North.

To ensure a well-coordinated and sustained approach, the initiative is committed to establishing the said powerful standing committee under the chairmanship of Nura Hussaini, with Sharu Nagudu serving as Vice Chairman. All members of the Triple R Kannywood for Renewed Hope Initiative are automatic and committed members, working collectively to hold continuous prayers for peace, unity, security, and Nigeria’s overall development.

At the heart of the prayers was a collective plea for Allah’s immediate intervention in ending the violence still disrupting communities across Nigeria. The group also prayed for lasting peace, security, and stability across Nigeria, for unity, love, and mutual understanding among all citizens, and for wisdom and sound guidance for the country’s political leadership at the national and state levels as they strive harder to steer the nation toward achieving peace and socioeconomic transformation.

Speaking to journalists at the venue of the special prayers and sacrifices, Rarara, a preeminent Hausa song artist and leader of the converged creative minds under the Triple R Kannywood Renewed Hope Initiative, said, “The initiative recognises the daunting challenges security agents face daily in tackling insecurity across the country. This prayer session was organised to complement their efforts by seeking Allah’s intervention and urging the general public to join in praying for the success of the government and security personnel in combating this persistent menace.”

Khalid Imam, a multiple award-winning bilingual author based in Kano, attended the special prayer session and crafted this report.

By Prof. Ibrahim Bello-Kano

Writing any kind of text, narrative, or account of the career or the personal and professional achievements of Prof. Abdallah Uba Adamu is, and always will be, daunting for a number of reasons. One of them is the sheer intellectual energy of the man, his passion for the intellect, which would be hard to describe in a short account. Second, Prof Abdallah has the unusual distinction of being officially bestowed with the title of the “Double Professor”, which means that he has contributed to scholarship in two or more academic fields, namely science education, communication studies, and cultural studies— all three fields have a vast set of scholarly literature and other empirical studies that many may fear to attempt to master in a lifetime.

Thus, it is fair to call Abdallah Uba Adamu a polymath because his scholarly interests and publications have given a new twist to the term “intertextuality”; an academic polyglot because he is versed in the languages of science, education, communication studies, and cultural studies, perhaps even of Administration (since he served as the Vice Chancellor of the Nigerian Open University, where he has left behind the enduring legacy of tertiary education reform, syllabus engineering, and the astute management of money, men, and materials.

The preceding discussion should justify my calling him with the plural “Professors” AU Adamu. My pluralisation of his official, well-earned, and widely recognised by students, peers, and colleagues title of Professor needs to be elevated to a higher order of accolade and meritorious distinction by superlativising it with a transcendental “S”. 

Thus, he alone, at least for the moment, deserves to be described as the “Super Professor” among the professors. 

Adding another “s” to his academic designation is a gesture towards his current status as not just a BUK, University, or National Professor but also as an International Professor par excellence, a Professor with scholarly and academic range worthy of being, and comparable to, the most distinguished professors in the academic world. 

Adamu’s teaching outings in the media or at public lectures are supremely well attended; he’s probably the most-quoted source on media studies, Hausa-Fulani-Muslim cultural film and media studies, and a worthy creator and domesticator of the word/adjective (the) “Islamicate”. 

There is yet another side of this gifted Professor that should be mentioned: he is unusually generous, incredibly empathetic, and a walking example of humility. One cannot see or sense or detect the simplest, the faintest, or the most unconscious sign of academic or cultural arrogance in him. What is more, he is an avid reader, a book enthusiast, and a digital wizard, if not a positively maniacal digitaliser of knowledge production itself. 

Little surprise, then, that Professors AU Adamu has got a magnetic personality: everyone, even the other Professors, want to be “caught” in his passionate discussion of academic and mundane topics. 

In a sense, then, Profs Abdallah has paid his dues to the university system. In his early career, he was the envy of his senior colleagues, who did not help his career advancement; he was the object of many a colleague’s malice. He was also badly misunderstood by his peers, who mistook his enthusiasm or passion for academic excellence for personal arrogance. But, over time, his younger colleagues began to see his merits as a scholar, a compassionate person, as a model for younger colleagues across the university. 

His rising profile as an internationally sought-after scholar and researcher began to take hold in his colleagues’ imaginations. At one time, he offered to present a paper on a cultural studies topic at my department. Some colleagues felt that it was not his “field”, so to speak. I, as the HOD, then was not convinced of the argument. When the paper was presented, everyone could see that the presenter was not of the common mill of people but a deeply learned and imaginative scholar. 

Profossors Adamu is and would always be a worthy presence in any undergraduate or postgraduate teaching circuit. His inaugural lecture drew the largest crowd ever. This walking symbol of hardworking, scholarly acumen, and academic energy is a gift to Kano, his hometown, to BUK, and to the world academic community. 

I wish him continuing good health, more research energy, more scholarly output, and more academic-intellectual sparks.

Ibrahim Bello-Kano can be reached via ibrahimbellokano@gmail.com.

By Sabiu Abdullahi

Popular Kannywood actress Wasila Isma’il has passed away at the age of 46 after battling illness for a long period.

Her former husband, Al-Amin Chiroma, announced her death in a social media post on Sunday. According to him, the actress died at the FOMWAN Hospital in Kaduna.

Wasila, a Kaduna-born actress, earned recognition in the Hausa film industry through several movie roles. She became widely known after featuring in the 1999 movie Wasila, which Yakubu Lere directed alongside Ali Nuhu.

She started her acting career in 1998 when she appeared in the film Jinin Masoya.

In a previous interview, the late actress spoke about the decision to change the title of the movie Jamila to Wasila.

“I didn’t like the name Jamila because I feared it might tarnish my name, so I asked for it to be changed, and the director agreed,” she said.

Following the announcement of her death, many fans and colleagues shared tributes on social media. They described her as one of the notable figures in the Kannywood industry and praised her contribution to Hausa filmmaking.

By Ibrahim Aliyu

Over the past few decades, Kannywood has grown into one of the most influential cultural industries in Northern Nigeria. Rooted in the Hausa language, Islamic values, and local traditions, it has shaped entertainment, storytelling, and public discourse across millions of homes. For many families, Kannywood was never merely cinema; it became a reflection of identity, morality, family structure, and social values.

Yet despite its cultural importance, Kannywood continues to attract criticism from various sections of society. Some believe the industry has drifted from the moral and religious principles it once claimed to uphold. Others argue that society itself has become increasingly harsh, suspicious, and contradictory in its judgments of public morality.

Perhaps the deeper issue is not merely “bad behaviour” in the industry, but the growing tension among public morality, private intentions, and shifting social perceptions.

In Islam, unnecessary physical intimacy between non-Mahram men and women is generally discouraged, and Hausa society has historically taken such boundaries seriously and with respect. However, there was also a period in Northern Nigeria when families could sit together and watch classic Kannywood comedy scenes featuring actors such as Ibro and Tsigai without automatically interpreting every interaction through a sexual lens.

Parents watched alongside their children. Grandparents watched with their grandchildren. Communities laughed together. At the time, many viewers saw those scenes primarily as comedy, storytelling, and harmless entertainment within a familiar cultural context.

This raises an important question: What changed?

Part of the answer may lie in how modern society increasingly interprets many human interactions through suspicion and moral anxiety. The rapid expansion of social media, unrestricted internet access, celebrity culture, and exposure to explicit online content have reshaped how people perceive entertainment, gender interactions, and morality itself.

As a result, public discussions about morality sometimes become less about intentions, discipline, and character, and more about appearances and public performance. In such an environment, accusations of immorality can spread quickly, even when the cultural context or the intention is more complex.

Hausa society contains longstanding cultural traditions that show how social interaction has historically been understood within context and boundaries. Practices such as “wasan kanin miji” and “wasan kaka da jika” reflect playful social interactions that coexisted with strong family values and respect for marriage institutions. These interactions were not automatically deemed immoral because society recognised the importance of trust, intention, and communal understanding.

This does not mean boundaries should disappear, nor does it suggest that moral principles are unimportant. Rather, it highlights the need for balance, sincerity, and self-awareness when discussing morality in public life.

The danger arises when society becomes more concerned with appearing morally superior than with cultivating genuine ethical discipline. Excessive suspicion, constant public outrage, and the tendency to sexualise ordinary human behaviour can deepen social tension rather than achieve genuine moral reform.

In this sense, Kannywood is more than a film industry. It has become a mirror reflecting the wider struggles within Northern society — the struggle between tradition and modernity, religious values and entertainment culture, public expectations and private realities.

The debate surrounding Kannywood is therefore not only about actors, actresses, or films. It is also about how society defines morality, how communities respond to cultural change, and whether public conversations about ethics are guided by wisdom, balance, and sincerity rather than by fear, projection, or moral performance.

As Northern Nigeria continues to evolve socially and culturally, perhaps the challenge is not to destroy cultural institutions out of anxiety, but to engage them thoughtfully, critically, and honestly — while preserving the values that truly strengthen society.

Ibrahim Aliyu wrote via khalilnuradeen@gmail.com.

By Sabiu Abdullahi

The Kano State Censorship Board has suspended two Kannywood actors after their appearance in a video said to contain content considered inappropriate and against public morality in the state.

The decision was announced in a statement released on Sunday by the board. Officials said the measure is part of efforts to enforce discipline, protect societal values, and ensure adherence to regulations guiding film production in Kano State.

The statement, which Abdullahi Sulaiman signed on behalf of the board’s Executive Secretary, Abba El-Mustapha, named the affected actors as Amina Uba Hassan and Adam Garba.

According to the board, the actors appeared in a video that sparked criticism among many Kano residents over alleged indecent scenes.

“The two actors were suspended after appearing in a video that generated controversy among residents of Kano State over alleged indecent content,” the statement said.

The board stated that the suspension would prevent both actors from taking part in film-related activities in the state for one year.

“The suspension bars the actors from participating in any film-related activities in Kano State for one year,” it added.

The agency also said the law that established the board gives it authority to sanction Kannywood practitioners who violate its rules.

“The law establishing the board empowers it to suspend any Kannywood practitioner found violating its regulations, while defiance of the directive could attract stricter sanctions,” the statement noted.

Speaking on the issue, El-Mustapha advised actors and other industry players to avoid conduct that could damage their reputation or affect the image of Kannywood.

“Kannywood practitioners should avoid actions capable of tarnishing their image or bringing disrepute to the industry,” he said.

He further urged producers and directors in the industry to obey the directive issued by the board.

“Disregarding the suspension order will amount to a direct violation of the board’s regulations,” El-Mustapha added.

By Hadiza Abdulkadir

The Nigerian entertainment industry is in deep mourning following the news that beloved Nollywood actor and model, Alexx Ekubo, has passed away at the age of 40.

Reports emerged late Tuesday, May 12, indicating that the star died at a private medical facility in Lagos. While his family has yet to release an official statement regarding the cause of death, sources close to the actor suggest he had been quietly battling a long-term illness.

Ekubo’s passing comes after a prolonged and mysterious absence from the spotlight. Once a fixture of the Lagos social scene and a prolific presence on social media, the actor had not been seen publicly or posted online since late 2024, leading to months of mounting concern from his global fanbase.

Rising to fame as the first runner-up in the 2010 Mr. Nigeria contest, Ekubo transitioned into a powerhouse acting career. Known for his wit and charm, he became a household name through blockbuster hits like Weekend Getaway, Lagos Cougars, and Sugar Rush. Over his decade-long career, he earned numerous accolades, including the Best Supporting Actor trophy at the 2013 Best of Nollywood Awards.

Beyond the screen, Ekubo was a trained lawyer and a traditional chief, holding the title of Ikuku of Amumara Town.

Tributes have already begun pouring in from colleagues and fans, who remember him not just as a talented performer, but as a vibrant “breath of fresh air” in the African film industry.

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.