Kannywood

Director: Sufyan Lawal Kabo

Language: Hausa

Release date: 26-11-2021

Company: Islamic Film Empire

Cast: Musa Lawal, Ibrahim Hassan, Mahmoud Mukhtar, Fatima Lawal, Binta Miko, etc.

Most of the criticisms around Kannywood are rooted in its personnels’ attitude towards filmmaking. They seem to focus on irrelevant, modern love stories, neglecting serious topics. Their films are therefore accused of cultural aberration and promoting moral decadence. However, as the criticisms became louder, a production company, Islamic Film Empire, came to change the narrative with its movie titled Gari Guda.

Set in Northwestern Nigeria, Gari Guda explores social vices like banditry and kidnappings that bedevil the region. It commences with a scene of a bandit attack on a village, where they kidnap many people, including its Chief Imam, and take them to their hideout in Dunguru Forest.

There is Abdul (played by Musa Lawal) on another side. He is a family man who, after losing his job, becomes bankrupt and cannot cater for them. His fruitless search for another job gets him increasingly frustrated with life, and he decides to end it all. He goes far away to Dunguru for the execution but eventually finds himself in the bandits’ camp. However, after hearing his story, their kingpin, Jalo (played by Ibrahim Hassan), asks him to work as their cyber-man.

Would Abdul accept the offer or turn it down? Find out in the cinemas!

Gari Guda is, indeed, a powerful film, not only for dealing with a pressing issue but for doing that effectively. It is shot in suitable locations that perfectly capture Northern Nigeria’s ecology. This makes it a realistic portrayal of the region and its current condition.

The film is a socio-political critique of the Northern political elites. It depicts their abuse of power as the posits that as the primary cause of the terrible mess the region faces. This is suggested when Jalo tells Abdul that he holds an LL.B degree, and his inability to afford “Law School” makes him resort to kidnapping. The intention of Abdul to commit suicide also reiterates the misconducts unemployed citizens could engage in.

The film is, in addition, overtly didactic. Its portrayal of Abdul, who encounters troubles for throwing his parents away, clearly symbolizes the consequence of parental disobedience. There are also many instances where the director incorporates moral teaching into the dialogue. I salute him for the job well done, together with all the cast and crew members.

Nonetheless, the film’s plot progresses too slowly. And while some scenes are lengthy with unnecessary details, some important points are missed. For example, what transpired with the people kidnapped at the beginning remains unknown. The director also fails to strike a balance between education and entertainment. Except for Abdul’s comical father character, there is no comic relief – something to allow the audience to recover from the tensions and excessive gunshots – in the film.

In conclusion, Gari Guda enlightens and educates. It is typical of what you would expect from the “Islamic Film Empire”. Therefore, I recommend it for the serious-minded—rating 3/5.

Reviewer:

Habib Ma’aruf

habibumaaruf11@gmail.com

When an action movie has “Revenge” as its theme, the main focus is the “Avenger”. He is, at times, a lone survivor whose parents are brutally murdered, and his efforts to avenge their death often make the intriguing action scenes in such movies. As its title suggests, Avenger, the Kannywood English action film, is also not different. It’s a story of an avenger who vows revenge against the assassins of his family.

Jamal (M.M Haruna) is the last survivor of Alhaji Baffa Yaro’s family. He was in boarding school when his father, a gubernatorial candidate, was assassinated alongside his family members. His deceased father’s friend, Sani Mu’azu, provides refuge for him. Years later, Jamal grew into an Avenger, and Sani Mu’azu (his saviour who also trained him to be one) begins to give him the pictures of those who, according to him, are responsible for the assassination.

However, when the Avenger launches serial killings on them, he learns that they are innocent. Sani Mu’azu is the real antagonist but mischievously pulls the strings behind him. He is even the mastermind of the actual group behind the murder of the Avenger’s family. Avenger, therefore, shifts his target to the real perpetrators.

Having noticed the exposé of his true identity and that he is now the Avenger’s target, Sani Mu’azu hires professional hitmen to haunt the Avenger down and eliminate him. The Avenger’s encounter with them is conveyed in highly dramatic chases and choreographed action sequences. However, everything is not resolved when the film ends, and the phrase “to be continued” pops up on the screen.

Though a rehash of foreign films, Avenger opens on an engaging note. It begins with Sani Mu’azu, Abba El-Mustapha and Tijjani Faraga conspiring to kill the gubernatorial candidate. It then shifts to where the police are investigating the serial killings on prominent personalities by an unknown person, who is later found to be an Avenger, as he leaves similar transcription after each murder. But as the film expands, it slackens. The story proves contradictory. The narrative gets incoherent and somewhat confusing. Some unconnected scenes seem complementary as they are not serially arranged, and there are no proper techniques, not even intertitles, to clarify.

As an action film, its setting is also not fitting. So is the use of costumes and props, which is too poor. The cinematography is generally nothing to write home about. The action sequences are poorly crafted, and the editing is flawed. There are instances where dialogue is repeated, among other defects.

Compared with Kannywood’s previous attempts at action genre, like Aduniya (Dir. G. Galadima, 2014) and Gwaska (Dir. Falalu Dorayi, 2015), Avenger is much impoverished. It copies the storyline of Aduniya, while Gwaska has better production quality and a more effective setting than it has. Moreover, the English dialogue rendition is weaker than Jammaje’s “There is a way (2016)” and co.

Additionally, the portrayal of M.M Haruna as Avenger is unfit. He lacks the charisma of action heroes. The same goes with Ali Nuhu, who is portrayed as the boss of Ishaq Sidi Ishaq. The latter plays the role of the police officer in charge of the murder investigations. However, the reverse could have been better since Ali Nuhu is more agile and popular to make the required impact.

The ending is also outrageous. It shouldn’t have been inconclusive. Movies meant for the big screen shouldn’t be fragmented. But they are in Kannywood. The film in question and the previously released Sarki Goma Zamani Goma are typical examples. The filmmakers should either change or end up losing a large audience.

Finally, with all its negatives that clearly outweigh the positives, Avenger is still a watchable film for the suspense in its first few moments and Ali Nuhu and Sani Mu’azu’s eloquence in delivering English dialogue. I rate it 2/5.

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

By Muhammad Sabiu

In style similar to that of the popular Nigerian musician Davido, a Kannywood producer Lawal Ahmad also took to his Instagram and Facebook pages to announce his appeal for donations from his fans.

He said, “Today, I also want to be honoured by my fans courtesy of Prophet Muhammad (SAW),” He afterwards stated his account details, comprising the account number, account name and bank.

You may recall that Davido on Monday was able to raise more than one hundred million naira in less than 24 hours after asking, jovially, those whom he had given a “hit song” to send him money. As of the time of filing this report, money still hits his account.

The famous musician has been sharing his bank account dashboard screenshots, displaying his name and account balance, which significantly increases whenever he uploads a new screenshot.

This has become a new trend as many other social media users follow suit to appeal for money—though sometimes jokingly.

Lawan Ahmad could be the first person to have made such an appeal in the Kano-based Hausa film industry history.

Checks on the timeline of the producer carried out by the Daily Reality show that he has started receiving money, albeit much smaller amounts compared to Davido’s.

By Muhammad Sabiu

A famous Kannywood producer and former actress, Mansurah Isah, took to her social media accounts to lament how some southern Nigerian cinemas rejected the Hausa films.

She further complained about the government’s reluctance to support the films produced by the Kano-based Hausa film industry, Kannywood, and the inability to make the films as popular as those produced in other film industries in Nigeria.

Speaking in a 56-second video, she strongly questioned why Hausa movies are not popular all over Nigeria, except in just a section of the country, which, according to her, should not be like this.

“What did we Hausa producers do in Nigeria that our Hausa movies cannot be shown in cinemas all over Nigeria? But Yoruba movies will be all over; Igbo movies all over. Nigerian movies, too, are all over. So why is that we Hausa producers all left behind,” she questioned.

Though she didn’t mention anybody’s or agency’s name, Mansurah further solicited assistance, which she said should be by patronising films produced by the Kannywood film industry.

“Let us be assisted. You should make regulations. Display your language. Display your culture. You should love us. Make our films to be watched all over Nigeria. An English movie would be brought and shown in Kano, but a Hausa film wouldn’t be taken to Lagos and be displayed there. What is the reason?

Tacitly addressing people in power, she said, “We are the ones who support you. We neither insult nor defame you but we are still not developed. So what do you want us to do?

“I beg you in the name of God to help us and come up with regulations that will make Hausa films to be consumed everywhere in Nigeria.”

Kannywood is embattled with many tough challenges relating to cultural and religious issues, clichéd film content, monopoly of megastars, internal crises, among other problems critics and experts point out.

Masurah produced Fanan, a film whose songs have been trending on social media for several months. It recently showed in cinemas in Kano.

In recent months, no romantic Hausa song has captured the public attention as FANAN. However, the song’s movie was premiered on Friday, October 29, 2021, in Platinum Cinema (a newly inaugurated multiplex cinema in Kano).

The film opened to full halls across the new cinema and grossed approximately ₦1.25 million on its opening day, setting the record of being the first Hausa film to get this in one cinema. This remarkable success can undoubtedly be attributed to the popularity of the Fanan song and the distinctive marketing strategy adopted by its executive producer, Mansurah Isah, in promoting the film. But does it, on itself, merit this immense success? I watched it on Sunday, and here is my review.

Plot:

Fanan is a family drama that tells the story of an obedient wife, Fanan (Sabeera), and her husband, Kamilu (Yakubu Muhammad), a private company employee. The couple lives peacefully together with their only daughter Amira (Iman Sani Danja).

Later, their life is disrupted when Kamilu begins to maltreat Fanan and eventually divorces her after starting an affair with a wealthy woman, Madam Jessica (Rahama M.K). Jessica promises to marry him and facilitate his promotion to the rank of manager in another big company. However, she ditches him afterwards without fulfilling any of her promises.

Kamilu then tries to restore his marriage with Fanan, but his attempt proves in vain. Fanan is beyond his reach as she is now married to a business mogul, Alhaji Sammani (Sani Danja), whom she meets through his son, Fahad (Khalifa Sani Danja), a schoolmate of her daughter. Therefore, the jealous Kamilu filed a lawsuit against Fanan, seeking the return of his daughter (Amira) to him. However, he eventually drops the case after the girl narrates the insult he inflicted upon her and her mother while they were together during the court hearing.

Critique:

The film doesn’t entirely disappoint, but it’s not unique in any way. Both its artistic and technical aspects are only average. The story is predictable, and there are many gaps in the screenplay. For example, when Kamilu leaves his job, Madam Jessica doesn’t facilitate his new job application. Yet, he’s shown to have a connection with the company where she works. Again, Alhaji Sammani’s family background and how he ends up being single remains a mystery.

The interspersing of the title song also throws a spanner in the film. Fanan and Alhaji Sammani performed it before their marriage. Considering its lyrics, however, it would’ve had a better impact if performed after the wedding.

Regarding the cast, Yakubu Muhammad is the life of the movie because his performance stands out. Next to him are Rahama Mk and Sabeera. The latter is, particularly, for her good look. But while Sani Danja’s role deserves notice, his children, Iman and Khalifa, need to hone their skills as actors.

Finally, the fact that Fanan is a huge success doesn’t mean it succeeded on its own merits. It rides only on the popularity of its song and the hype around it. I rate it 2/5.

Habibu Maaruf Abdu wrote from Kano, Nigeria. He can be contacted via habibumaaruf11@gmail.com.

By Nasiru Tijjani

Doubtless, stealing is one of the social problems bedevilling the peace and stability of almost all human societies. Therefore, stealing means taking something away from a person, shop/store, etc., without permission and without intending to return or pay for it. The problem, needless to say, is known to every reasonable person who cares to look and discuss their societal issues. Quote me anywhere that no society can fully develop and excel in all spheres of life if its members are thieves, burglars or robbers. For clarity, thieves are persons who steal things, especially secretly and without using violence. Burglars usually get into a house, office, etc., especially by force, to steal stuff, while robbers steal property from a person or public place, especially using violence.

The rampant cases of stealing are gradually becoming a new normal in our society. The culprits are always employing different strategies to safeguard themselves against an unwarranted arrest by the security agencies and other community volunteers. The community members gradually become helpless and equally lose hope about when to live in peace and comfort with their property. I don’t need to justify anything here for you, or your brother might

Since time immemorial, stealing has been discouraged by Islam and Christianity. The duo has strongly warned their followers through a significant portion of scriptures that they should shun the attitude of taking someone’s property without the owner’s consent. Apparently, the act has been classified as taboo and unethical that can only be committed by the mannerless, heartless and idle good-for-nothing person whose faculty of reasoning is abysmal. The effects of their (thieves) actions negatively affect the peaceful co-existence of the entire society either by crippling the welfare of the people or creating an unresolved hatred and enmity.

What comes first on the list has to do with parents. To me, they should not be left blameless, for they have a role to play in the proper upbringing of their children. They have been saddled with the responsibility of meeting the needs of their children, right from appropriate education to marriage. Nowadays, children are left to stand on their own feet in all walks of life. Parents are gradually disowning the mandates of their children as enshrined in the religious and cultural provisions.

Coming next after the first is peer-group influence. Children usually commit crimes under the influence of friends. This is because they typically get to know the attitude of each other better during their friendship. Psychologists have identified imitation as one of the stages of cognitive development. Therefore, children effortlessly emulate the behaviour of their friends. A friendless child is safe for not associating with rotten eggs, for he is less likely to be influenced by peers.

It is a known fact that the care of children is being placed firmly within the domain of their parents. Therefore, they (parents) should ensure that they fulfil all the mandates saddled on them. They must be answerable for their children’s failure, either for poor upbringing or anything for that matter.

The influence of some films that are of no character-building is equally associated with the topic under discussion. For example, with the recent release of Kannywood seasons, youths learn different tactics of stealing and other unwanted behaviours. “A Duniya“, a new Hausa season produced by Tijjani Asase, is a classic example of such a film. Recently, the Kano State Censorship Board has cautioned its makers and asked them to reshape the season’s activities considering the negativity of some scenes.

The human being is a social animal that cannot live in isolation without associates. However, children/ youths should not be left under the control of friends. Instead, they need to be guided/assisted in choosing or deciding on whom to befriend/mingle with.

Besides, people should reduce their quest for materialism. For instance, youths should regulate their strong desire to possess smartphones, among other things. Parents and security personnel may begin to ask the owners to account for the source, originality and anything to do with the suspected phones or any other property.

In conclusion, stealing is a correctable problem like all other social vices. I can attest without any iota of hesitation that the above-stated recommendations will surely bring a lasting solution to the unwanted act if taken into consideration. Meanwhile, I fancy the idea of not forgiving the doers of the action, for they know not the purpose of being human.

Nasiru Tijjani, Gwaram Tsohuwa, Jigawa state. He can be contacted via tijjaninasiru@gmail.com.

Northern Nigeria’s Hausa film industry, Kannywood, has been at the centre of brainstorming discussions over the years. One of the most interesting is why film consumers are attracted to the industry and otherwise. So often, the analysis of such magnitude is drawn concerning the industry’s foreign and domestic rivals because they provide an alternative to what the industry produces, which directly affects its local market. And like in any other industrial conglomerate, the sustainable conduct and development of Kannywood as an industry thrive on the quality, affordability and viability of its products.

As the so-called king of the arrangement, it’s impossible to conquer any market without exploring the psychological drivers of consumer’s preferences. That said, the primary concern of the teeming film consumers who boycott Kannywood movies revolves around the appeal, quality and uniqueness of storylines and whether it connects with the inner cravings of a modern watcher. A film consumer demands an illusion, one that not only tells him “this is the movie he wants to watch” but also if “it’s the one he should be watching”. An illusion that challenges his status quo creates a reception for the new order and paves the way for a route to escapism. Arguably, many people watch films to escape from their core reality. This occurs either by consuming movies that aim to rediscover an old order. Such order seeks to reflect on the current order or ones that wish to rewrite the order itself in the forms of fantasy movies, futuristic science-fiction movies, historical fiction and nonfiction movies, among others.

In the case of Kannywood, it has done reasonably well in producing movies that reflect greatly on the dynamics of the current order. But then that’s an order of which its potential consumers happen to be physically part. In which case, most of the content would appear familiar and cheap, which will bore the consumers and hand them the warranty to look elsewhere. Meanwhile, Kannywood competitors have religiously developed the culture of challenging the essence of everything a watcher stands for. This makes them more viable, even if more costly than Kannywood, because they satisfy consumer’s utility.

Interestingly, Kannywood’s content has been profiled as the one that agrees with its watchers’ demand. This is indifferent to saying the industry produces only the content which its watchers want to consume. But if that’s any good, why has the industry been economically stagnating and remain vulnerable to its rivals’ invasion? To be fair, Kannywood and its competitors aren’t of the same financial muscle. This plays a vital role in the distinction of their products. However, it is equally valid to mention that all other industries rivalling Kannywood have, at some point, been where it is today. So the most crucial point is how did they move forward?

Revenue, which is the excuse of Kannywood in comparison to its rivals, in the context of production, is a bi-product of the initial measures that a producer put in place to ensure the success of his product. That’s to say, as far as the producer has the initial capital, what happens next is dependent on him. And start-up capital is hardly the problem of Kannywood producers. The actual problem is recouping the expenses and profiting from the venture.

If indeed, Kannywood produces only the films that’ll appeal to its watchers for fear of losing revenue, then it’s vivid that the industry perceives the film market as a consumer’s market rather than a producer’s market. This is perhaps why they produce movies that watchers ‘want rather than the ones the watchers’ think they want. And there’s a big difference between the two. Failure to dissect this difference creates a dilemma that’s so sensitive; it makes or breaks the possibility of any market dominance.

For instance, the romantic, singing and dancing genres that Kannywood produce at a more regular rate is what Hausa watchers want. But the more adventurous and dynamic content being delivered in other film industries are what Hausa watchers think they want – hence they rush to. And the ability to deviate the latter from the former ensures whether a consumer illusion is created or not. Illusion is vital in production because it makes people consume something believing that it’ll satisfy their utility when it won’t. But, instead, it’ll only make them crave for more. And the more is being craved, the better is the chance of getting addicted, and that’s the trap of every capitalist producer.

Hollywood and Bollywood industries come from well-equipped capitalist societies where consumer psychology is conquered. Down there, it’s a producer’s market. Hence, the curve of their revenue never stops rising. Their movies are regularly subjected to sequels and prequels, defending what the producer wants. In the build-up to the preface of his critically acclaimed novel, “The Godfather”, the great author Mario Puzo confessed that a producer’s girlfriend could demand a movie scene to be filtered out. And the consumers would watch nonetheless. In my opinion, there’s no bigger evidence of control. Which greatly unlocks creativity and unhindered filmmaking viscosity.

Kannywood, on the contrary, produces what annihilates the utility of the consumer instead of what’ll make him crave more. Capitalist experts assert that if a consumer gets what he asks for, he’ll be satisfied. And if he gets satisfied, he’ll not need the product again. That’s why a wise producer never allows consumers to ask for products. Instead, he creates the product questions for them. And in turn, answer the questions in a way that’ll make them even more curious. Kannywood does the opposite. Producers obeying the trend of narrowly imaginative consumers is why the watchers don’t find the films as unique as the foreign ones, which is also why the industry is painfully stagnating.

To clear doubts, how the dubbed versions of foreign movies are being consumed at an equal if not higher rate than Kannywood movies in its native domain should erase any iota of doubt on film market being producer’s market rather than consumer’s. For if it was consumer’s, who researched the interest of a villager in Kano before making a movie in Hyderabad, India, that enables him to watch the film with keen interest?

In the end, movie producers need to conquer the fear of losing the market. The film market is a producer’s market contrary to their belief. Agreeing with that would be a new phase for creative filmmaking. They should sharpen and unlock their imagination to produce what watchers would marvel at. Hausa-Fulani society is rich with contents that can create consumer illusion—ranging from history, culture, geography, economy, politics, anthropology, etc.

MA Iliasu writes from Kano State. He can be reached through his email: muhada102@gmail.com.

By Habibu Maaruf Abdu

Since its inception, the Hausa film industry, aka Kannywood, has not been cinema-oriented. This is primarily due to the filmmakers’ lack of technology to make cinema-compliant productions and the negative perceptions of the cinemas by the industry’s immediate/target audience (the Muslim Hausa populace). Therefore, video film media (i.e. cassettes and CDs) became the cinema equivalent in Kannywood and remained its sole market. However, the industry later crashed after the scourge of piracy and the emergence of online video-viewing platforms, like Youtube, forced those video film media out of business.

Subsequently, many reputable production companies had to close shop or remain practically inactive. In contrast, some low-class and Chamama (comedy) producers kept on as their films are mostly cheaply made and targeted the masses who are less conscious of modern viewing facilities. It was until the establishment of Filmhouse Cinema at the Kano Shoprite that the film business starts sprouting up again. Big budgeted Kannywood movies, made with state-of-the-art technology, began to overflow the only multiplex cinema.

Also, as people accept and patronise the cinema more, comes a realisation of the need to enhance film shows. Thus, the industry signed a deal with some cinema owners in Kano to show some selected films during the 2018 Eid festival. However, there is a more profound development recently. Platinum, another multiplex cinema for screening Kannywood movies, was opened in Kano.

The emergence of these multiplex cinemas is a welcome development for Kannywood. We all know that it’s on the cinemas that film industries stand. If the mighty Hollywood and Bollywood, for instance, still retain cinemas as the prime platforms for releasing their films, there is no other way for the embattled yet up-and-coming film industry. TV stations and online platforms (Netflix, Amazon Prime, iRokoTV, Northflix, etc.) should be more beneficial for the audience in Diaspora, as proposed by a Kannywood scholar, Muhsin Ibrahim.

In addition, it’s high time we disregarded our anachronistic views against cinemas. These newly opened cinemas are, after all, modern and standard for all and sundry. Nor is it for thugs and whores. There is no smoking and drugs. They are multiplex, with each room having stylishly arranged rows of comfortable padded seats. They are peaceful places to get entertained and have fun in a completely different way from the open-air, single-screens we had before.

Our religious clerics should stop denouncing these cinemas. They should, instead, promote Kannywood in general for more decent and educated people to join the industry. Their bashings, often based on unfounded rumours, will never help matters. Kannywood has come to stay, and it’s better to have them in Kano, a more Islamic state, for the government to regulate their activities than elsewhere.

Finally, I emphasise what Muhsin Ibrahim suggests to our big men: instead of building a state of the art filling stations all around Kano, why don’t they construct cinema(s)? The market is there. They should conduct some feasibility research and invest in this business.

Habibu Maaruf Abdu writes from Kano, Nigeria. He can be reached at habibumaaruf11@gmail.com.

By Bashir Shu’aibu Jammaje

Some people or newspapers apply a form of persuasion that is often used in media to further some agenda, such as a personal, political, or business, by evoking an emotional or obligable response from the audience. That is, ‘propaganda’, in layman’s terms. 

Today, various amounts of modern media can be used to supply propaganda to its intended audience, such as radio, television, films posters, handouts, music, to name a few. It is perplexing to see a well-known media like BBC Hausa doing that. I became overwhelmed when I see their post on the case of Sadiya Haruna and the Kano State Hisbah Corps – and not ‘Board’. Kwankwaso removed them from being a board, some say, to intentionally make them less powerful. Why?

I have never seen Sadiya Haruna in a Kannywood film. I then got to the comment section of the BBC Hausa post and read Abba Almustapha’s words, asking them to give him an example of a single film she has ever appeared in. I gave him a call to confirm if she has ever performed in a Kannywood film. His answer was a definite no. 

I only know Sadiya as a popular online sex counsellor for men and women via her social media pages. And, she makes Wakokin Yabo, ‘songs of praise’ videos along with Hafeez Abdullahi.

Since the birth of Kannywood in the early 1990s, it is purportedly founded as a reaction to the imported foreign films, mainly from India and America, that the society, in general, sees as culturally and religiously unsuitable for them. The filmmakers are being accused of so many bad things that they try a lot to hide other nasty things that happen in our society – and we all know that. I’m not, in any way, standing up for them, just that it is high time some people brought their intense hatred towards Kannywood down. And besides, Islam is a social religion – its very purpose is to intervene in human affairs.

Finally, I think BBC Hausa and others should tell Kannywood they are sorry for coming up with a chance to paint them in a bad light.

Bashir Shu’aibu Jammaje writes from Jammaje Academy. He can be reached via bashjam90@gmail.com.

By Daha Tijjani, PhD

Celebrity endorsement is a technique in advertising that possesses persuasive power to influence consumers’ decisions and target audiences. As a result, it remains a popular way for marketers to promote their brands, products, and services.

In political communication, it is one of the tools used to project the image of political parties and candidates in the minds of electorates and ultimately influence voters’ decisions.

However, numerous studies have found that several products have failed to attract customers’ attention despite being endorsed by celebrities.

Several researchers have investigated the effect of celebrity endorsement on products. However, few studies have looked at the impact of celebrity endorsement on political parties and their candidates. Also, little is known about the effects of celebrity endorsement and branding of political parties when it comes to developing economies.

Thus, knowing the effects of celebrity endorsement and branding of political parties and their candidates will give valuable insights to the party leadership on what strategy they should adopt when embracing a celebrity to help their brand.

As a result of this perceived lacuna, a group of researchers from universities in Nigeria, Ghana, Malaysia, and Germany examined the effects of celebrity endorsements of political parties using the Nigerian 2019 Presidential elections as a case study. The study report was published by Technium Social Science vol 22 (2021): A new decade for social change. 

The study investigated and discerned the factors motivating eligible voters in Nigeria to vote, using the predictors (Endorser Credibility, Political Brand Credibility, Political Brand Equity, and Voting Intention). The study also examined the mediating role of Political Brand Credibility (PBC) and Political Brand Equity (PBE) towards Voting Intention (VI).

The data for the study was collected in 2019 from 320 eligible respondents with Permanent Voters’ Cards (PVC) from the cluster of 6 geopolitical zones in Nigeria, including the Federal Capital Territory.

The study has found that the endorsement of celebrities alone does not necessarily influence electorates to vote for political candidates. Instead, the credibility of the party and its equity play a pivotal role in the voting intention of voters.

Despite being credible with attributes such as Attractiveness, Trustworthiness and Expertise, the study further revealed that the celebrity endorser is not a good predictor of positive voting intentions. Likewise, the findings revealed that a credible endorser would not have a positive and significant effect on a political party’s brand equity.

Taken collectively, the new empirical findings in this study would provide a new understanding of this new political marketing strategy in the Nigerian context. Furthermore, the insights gained from this study may assist the political parties to focus and invest more effort, resources, and energy in branding their parties with meaningful manifestos that would touch the lives of the electorates.

How to Cite: Abdurrahaman, D. T., Owusu, A., Bakare, A. S., Apejoye, A., Ibrahim, M. M., & Ahmad, T. H. (2021). Assessing the effects of Celebrity Endorsements of Political Parties: An empirical study of Nigerian 2019 Presidential Elections. Technium Social Sciences Journal, 22(1), 676–699.Retrieved from https://techniumscience.com/index.php/socialsciences/article/view/4266

Note: The corresponding author can be reached via dahatijjani@gamil.com or Twitter handle @dahatijjani.