Kannywood

By Ibrahim Uba Yusuf, PhD

Trends in the Hausa Film Industry often divide the industry sharply across socio-political lines. Interactions and production have also not been exclusive to the political dynamics of Northern Nigeria or Kano in particular. However, the recent development requires caution to avoid a relapse into conflict and violence.

On January 28th, 2024, I saw a short video clip of a popular actor-cum-politician, Mustapha Badamasi Naburaska. In the video of about two minutes, the actor announced his intention to release a film that would depict the aftermath of the 2023 Kano State Governorship Petition from the Tribunal to the Supreme Court. In the video, the actor further announced his intention to portray an ‘old man and a musician’ in a negative light.

To complement his pledge, the actor released a poster of the intended film called Igiyar Zato on his Facebook page and other social media platforms. The poster contains the name of the producer and the photograph of the lead fictional character adorned with artificial grey beards just to reinforce the political figure he intends to mock. Mocking a politician is not my problem. It is purely a political affair.

I am not a card-carrying member of any political party but rather a researcher and public affairs analyst interested in teaching and conducting research relating to the Hausa Home Video Industry. In fact, my PhD thesis focused on ‘Hausa Home Videos and Peacebuilding in Northern Parts of Nigeria’. These, I believe, provided me with an opportunity to understand some nitty-gritty and make informed remarks about trends in the industry. It is useful to point out that this write-up is not intended to support or discredit any political group. The essence is to draw the attention of regulatory bodies to a danger that needs their urgent attention.

Firstly, my concern is the use of grey beards in the name of mocking an individual. While the announcement and content of the film may sound pleasing to some of his comrades and supporters, it will hoist a red flag if such content could pass the rigorous screening at the Kano State Censorship Board.

The Beard Issue

The beard issue has been a subject of ridicule during the build-up to the 2023 Guber Election in Kano State. A section of the campaigners used the beard impression to ridicule a particular contestant during their public campaigns. After the pronouncement by the apex court affirming the victory of Engineer Abba Kabir Yusuf as the duly elected governor, members of his political party have been engaged in making skit performances in communities using the beard as a subject of emphasis. The skits were done in the name of celebration, to mimic the governorship candidate of the APC.

Igiyar Zato

Although the trailer of the film has not been released, if – at all – it is going to be produced and distributed, viewers and followers of Kano politics can easily predict scenes and the likely narrative it contains. From the different posters, viewers can deduce the direction, rationale and target group of the producer, Mustapha Nabraska. Of concern is the picture of Nabraska with a fictional grey beard. This depiction is a caricature of a recommended tradition of Prophet Muhammad (SAW). Muslims may find this satire offensive, an act of irresponsibility and tantamount to rupturing the peace beingenjoyed in Kano State. Making jest at the Prophetic tradition, consciously or unconsciously, is forbidden. Sufficient is verse 65 of Suratul Tauba. While other scenes of the film might be valuable sources of analysis in the field of political communication, indeed, this depiction can likely provoke and create preventable chaos.

What does the Kano State Censorship Board Law say?

The law establishing the Kano State Censorship Board (KSCB) as a statutory regulatory body is not silent on what should be portrayed in films and home videos. The intended production contravenes the religious beliefs of the people of Kano. The film glaringly incorporates a form of amusement and deliberately alters the creation of Almighty Allah to mock an individual, which is not approved in Islam. In fact, these are yardsticks that some religious scholars used to engender their position on the illegality of popular culture.

The law, as it is, frowns at depictions in films that are not in tandem with the culture and tradition of the Kano people. Even though the law mandates all producers to submit their films to the Board for censoring after the completion of production, there is a need to amend that clause and mandate producers to share their ideas at the level of conceptualisation with the Board to be appropriately guided. It is left for the Board to decide what to do with the film if the producer decides to submit a copy before release.

Abba Al-Mustapha should Act!!!

In the interest of peace, the KSCB, under the leadership of Abba Al-Mustapha, should discontinue the promotion and production of the film at all costs. This is given the potential damages it could cause to the volatile situation in Kano. The Muslim community in Kano and beyond are saddened by this irrational depiction and public display, which directly affects a cherished symbol of the Prophet of Islam Muhammad (SAW). In the same way, you thwarted the distribution and sales of Queen Primer in Kano. Please act fast now.

The KSCB remains the beacon of hope in preserving the culture and religion of the people of Kano, and we hope that it will continue to do so without fear or favour. The Board should avoid politicisation and preferential treatment of members loyal to the government and deliberately make Kano a difficult terrain for actors and musicians who align with the opposition.

I urge the Board to assess the film on the scale of cultural and religious values and their attendant consequences to Kano State’s peace. Already, people are aggrieved and have been registering their displeasure, specifically on the fictional beard, as a subject of ridicule in the post’s comment section on Facebook and other social media platforms. Some comments are inflammatory and may likely throw the State into chaos.

This is the time of political healing and concentration on fulfilling the myriad of campaign promises. Any distraction is uncalled for. As such, there is a need for the Board to provide policy direction to actors and musicians who have become stakeholders in political campaigns on how to produce content devoid of promoting hatred, public ridicule and rupture.

Ibrahim Uba Yusuf, PhD, lectures at the Department of Mass Communication, University of Maiduguri, and is the Director of Communications, Advocacy, and Outreach at the Centre for Media, Policy, and Accountability (CMPA). He can be reached at ibrahim.mcm@unimaid.edu.ng.

By Uzair Adam Imam

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

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

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

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

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

Songs are incompatible with present movies – Lawan Ahmad

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

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

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

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

Hausa movies re-create folktales, history 

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

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

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

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

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

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

Removal of songs: An opportunity for singers

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

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

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

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

Songs, dances mere imitations of Bollywood – don 

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

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

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

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

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

Some songs out of context

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

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

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

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

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

Our business at risk – singer

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

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

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

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

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

By Uzair Adam Imam 

The graduate role played by a well-known Kannywood actress, Momy Gombe, has raised serious social media concerns.

This is coming as Momy Gombe was cast in a full NYSC khaki in a new movie, Darasi. 

As soon as the pictures went viral, the actress came under attack, with some university graduates condemning the role. 

The graduates and other critics say they are disappointed in the actress since she cannot speak English. 

Others claimed that Momy Gombe did not complete her secondary school education, saying she has no moral right to wear NYSC khaki. 

One of those who condemned her for wearing the khaki, Aliyu Danladi, said, “The issue is that Momy Gombe wore this NYSC khaki at the wrong time when corp members had just passed out, and the struggles were fresh in their minds. 

“I sincerely feel sad, especially when I remember waking up early for morning meditations, SAED lectures, and the evening parade,” he added. 

Another one by the name of Bello Ahmad Rufa’i said, “I am pleading with the Nigerian government to introduce a law that will ban people from wearing this khaki anyhow because nowadays people just wear it and act (as graduates) in movies.” 

According to Sulaiman Rabi’u Ishaq, “This is terribly pathetic! We suffered a lot, and this woman just came from nowhere and wore the khaki. 

Musa Miraj Rumah said, “Whoever says or thinks that she is right (to wear the khaki) mustn’t have worn it before.” 

Expressing his worry, Manir Sani Wakil stated, “What worries me the most was the fact that she has not even completed her secondary school, let alone going to any tertiary institution.” 

However, film experts have posited that the arguments were unnecessary and baseless, as films are imitations of reality. 

They also said that even if Gombe was wrong, the blame should go to the crew, not the actress, who simply followed instructions. 

Films are meant to mimic reality—experts 

Dr Ashir T. Inuwa, a senior lecturer at the Department of Mass Communication, Bayero University, Kano, said films are mere imitations of reality and, therefore, must not be real. 

Inuwa stated that Gombe must not be a graduate before she was cast as a university graduate, let alone any other role. 

He said, “Film is a replication of reality, real events, vividly through characterisation, sceneries and actors or actresses.” 

“It is a film so she can act as a graduate, professor, police or any other role, just as we see in the Bollywood movies and the rest.  

“You may find someone who has never become a local government chairman acting as a president in a movie, and it is cool because it is not real.”   

A film critic, Dr Muhsin Ibrahim, who is also a university lecturer at the University of Cologne, Germany, said that casting the actress as a graduate was not wrong.

“When did casting become an issue for us? How many times do non-Muslim actors act as Muslims and vice-versa? Or Hausa as non-Hausa, etc.? Please, we don’t have to criticise everything related to Kannywood,” he stated. 

Crew to blame for Gombe’s blunder  

Dr Ibrahim opined, “If the scriptwriter, script supervisor, and director do their job well, she should be able to deliver her lines flawlessly.” 

He added that the crew should be held responsible for any grammatical errors Gombe made while acting in the movie.  

He was quoted as saying, “In other words, if she commits grammatical errors or mispronounces words, the crew are more to blame. For instance, I once acted as an Indian sage and spoke some Hindi on the stage in India! I believe I did well.  

“Yes, I want to see Kannywood actors correctly delivering their lines (in Hausa, English, or any language).” 

Dr Inuwa also associated the flaw with the director’s inability to do his job well, reiterating that the actress must not be blamed. 

He stated, “The director of the film should be held responsible for Gombe’s grammatical errors and failure to pronounce words correctly.  

“Because it is his duty to take care of all that, giving her good training to be able to deliver her lines flawlessly.” 

I don’t care what people say about me—Mommy Gombe 

In an interview with The Daily Reality, the well-loved actress, who has recently suffered torrents of criticism, said she was not bothered by the criticism. 

Gombe says she just does her work and always tries to do everything she is instructed to the best of her ability. 

She was quoted as saying, “I don’t care what people are saying about me because I am just doing my job. Besides, I try to ensure that I do everything related to my work to the best of my ability. 

“Also, I try to ensure that I do anything I am instructed to do. That is why I don’t bother myself about this at all.”

She further called on her fans not to be distracted but to continue to support her for more interesting scenes.  

Bitter truth: A reality Gombe’s critics must know 

Despite the fact that English is the official language in Nigeria, many graduates in the country cannot speak the language fluently, a bitter reality that Gomber’s critics must know. 

Dr Ibrahim associated the menace with the emphasis students place on written exams rather than trying to demystify the mystery of the language through practice before their graduation. 

He said, “Truth be told, countless graduates (in Nigeria) cannot speak English fluently. My wife was shocked when I told her some of them studied English.  

“How is this possible? Simple: one can graduate without speaking for a minute before the class. Our emphasis is mainly on the written exams. For that, one can memorise pages and write them during exams, and that is it.”

By Habibu Ma’aruf Abdu

An interesting incident at the Awgu NYSC orientation camp, Enugu State, revealed to me the far-reaching popularity of Ali Nuhu in 2018. 

It was the early evening glow at the camp. As we strolled back from the training ground, a young Ijaw lady approached me with a cool smile on her face;

“Brother, may I ask you a few questions, please?” she inquired. 

“Why not?” I responded politely.

“Your platoon member, Oluwaseun, told me you are a Hausa from the North…”

I nodded my head in agreement: “Yes.”

“So, do you know Ali Nuhu?” she asked, her curiosity evident.

“Yes, I know him very well,” I affirmed.

Her face lit up with joy upon hearing my answer, and she muttered to herself: “No wonder!”

Curious, she continued, “Is he a brother to you…?”

Surprised, I responded, “Why this question? I know him as a famous actor. Nothing more. After all, who doesn’t know Ali Nuhu in the North? “

“Please don’t take offence; it’s just that I noticed a resemblance in your looks and actions…

“He is my favourite star. I love watching his films,” she added with enthusiasm.

From there, our conversation delved into a discussion about Nigerian cinema. I then discovered that the young lady knew no actor from Northern Nigeria besides him!

Ali Nuhu is probably the only Nigerian actor whose popularity transcends regional boundaries. His exceptional achievements in both Northern Nigeria’s Kannywood and mainstream Nollywood firmly established him as a pan-Nigerian superstar. 

I once encountered a young man in a faraway village in Igbo land wearing a T-shirt adorned with Ali Nuhu’s image. Again, when I visited Kebbi state in 2013, their most frequent question was, “Have you ever met Ali Nuhu?”

I, therefore, deemed his recent appointment as the Managing Director of the Nigerian Film Corporation by President Bola Ahmad Tinubu to be well-deserved. It is a testament to his dedication and significant contributions to the Nigerian film industry. Wishing the King of Kannywood continued success in this new position!

Habibu Maaruf Abdu wrote from Kano via habibumaaruf11@gmail.com. 

By Aminu Mohammed

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

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

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

We Need to Tell Our Story

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

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

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

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

Kannywood Has Great Potential

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

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

Film as Instrument of Positive Change

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

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

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

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

By Prof. Abdalla Uba Adamu

An industry is a system made up of interconnecting parts that synchronise together to create a perfect dynamic and functional entity. However, there is a central creative focus. Thus, while no one can claim to have been the actual originator of commercial Kannywood since many people – and processes contributed to its development – nevertheless, the creative spark that lit the fire of Kannywood was the late novelist Aminu Hassan Yakasai. If one person can be credited with creating the industry, it was him and only him. 

In the late 1970s, the Nigerian film director Ola Balogun directed two successful Yoruba films. The first, “Ajani Ogun”, was co-produced with the actor Ade Love. The second, “Ija Ominira”, starred Ade Love. Hubert Ogunde, a famous Yoruba travelling theatre showman, decided to join the trend. He invited Ola Balogun to direct Aiye, which was hugely successful and led to a follow-up, Jaiyesinmi. 

These Yoruba films found their way to Kano’s bustling “stranger” (or, more appropriately, “guest settlers”) communities of Sabon Gari in the 1980s, where they were shown in cinemas and hotel bars. This attracted the attention of Hausa amateur TV soap opera stars and crew, such as Bashir Mudi Yakasai (cinematographer), Aminu Hassan Yakasai (scriptwriter) and Tijjani Ibrahim (director). Surprisingly, despite the massive popularity of Hausa drama in television houses and government financial muscle, the idea of full-scale commercial production of Hausa drama episodes by the television houses was never considered. Individuals wishing to own certain episodes simply go to the television station and pay the cost of the tape and a duplication fee, and that was it. There was no attempt to commercialise the process on a full scale. 

In the same period, the northern cities of Kano, Kaduna, and Jos benefitted immensely from the massive transfusion of modern media influences caused by not only a liberal society but also the tolerant interaction of diverse cultures and religions in the same public spaces. They were, undoubtedly, the creative hubs of northern Nigerian popular culture. Jos was famous for its vibrant nightclub and music scene. Kaduna also had a rich musical heritage, coupled with a TV culture. Kano was more muted and relied on music and club life inflows to Sabon Gari from other regions. 

However, one aspect of popular culture Kano had that was absent in Kaduna and Jos was prose fiction. While other cities were grooving the night away, residents of Kano were burning the midnight oil. The first published modern Hausa fiction was “So Aljannar Duniya” by Hafsat AbdulWaheed from Kano in 1980`. It opened the floodgates and led to hundreds of novelists creating a whole genre of African indigenous fiction referred to informally as Kano Market Literature. 

Also, at the same time, Kano had many drama groups that enjoyed stage plays that were often improvisational and not based on any script but with a general focus on social responsibility. These drama groups became spawning grounds for those who established the Kannywood film industry. These included Tumbin Giwa Drama Group (Auwalu Isma’ila Marshall, Shu’aibu Yawale, Ibrahim Mandawari, Adamu Muhammad, Ado Abubakar, Jamila Adamu. (Gimbiya Fatima), Hajara Usman, Ɗanlami Alhassan, etc.), Jigon Hausa Drama Club (Khalid Musa, Kamilu Muhammad, Fati Suleiman, Bala Anas Babinlata), Tauraruwa Drama & Modern Film Production (Abdullahi Zakari Fagge, Shehu Hassan Kano, Iliyasu Muhammad, Hajiya Rabi Sufi, Auwalu Ɗangata, Ado Ahmad G/Dabino, Asama’u Jama’are), and Hamdala Drama Wudil ( Its members include Rabilu Musa Ɗanlasan (lbro), Mallam Auwalu Dare, Ishaq Sidi Ishaq, Bappah Yautai, Bappah Ahmad Cinnaka, Haj. Hussaina Gombe (Tsigai), Shua’ibu Ɗanwamzam, Umar Katakore etc.) There were many more, of course, but these were foundational to Kannywood. 

The TV shows from then Radio Television Kaduna were gripping and inspiring to these drama groups. TV show stars that became role models to these Kano drama groups included Ƙasimu Yero, Usman Baba Pategi Samanja, Haruna Ɗanjuma, Harira Kachia, Hajara Ibrahim, Ashiru Bazanga (Sawun Keke) and others. 

Thus, it was that at the time of producing Bakan Gizo in Bagauda Lake Hotel 1983 to 1984 Aminu Hassan Yakasai, Ali “Kallamu” Muhammad Yakasai, Bashir Mudi Yakasai started strategising creating a drama for cinema settings (thus Kannywood was often seen as the creation of a ‘Yakasai Mafia’ as those from Yakasai dominated its creative direction!).

The tentative title of the film they were thinking of shooting was to be called Shigifa. It was a story of four unemployed graduates thinking about setting up a company – a departure from the romantic or comedic focus of then-then-popular TV shows. A script idea was floated, and Aminu Hassan Yakasai was to be the scriptwriter. However, before the idea matured, the group started getting contracts for video coverage of social events, etc. Actually, part of the coverage was also stored as footage, although the film was not eventually made. 

The precise decision to commercialise the Hausa video film, and thus create an industry, was made by Aminu Hassan Yakasai in 1986, with technical support of Bashir Mudi Yakasai, the leading cinematographer in Kano, and Tijjani Ibrahim, a producer with CTV 67. 

Aminu Hassan Yakasai was a member of the Tumbin Giwa Drama Group. He was also a writer and a member of the Raina Kama Writers Association, which spearheaded the development of what became known as Kano Market Literature in the 1980s. Thus, the idea of putting Hausa drama—and extending the concept later—on video films and selling it was a revolutionary insight, simply because no one had thought of it in the northern part of Nigeria. The project was initiated in 1986, and by 1989, a film, Turmin Danya, had been completed. It was released to the market in March 1990—giving birth to the Hausa video film industry. Salisu Galadanci was the producer, director, and cinematographer, while Bashir Mudi Yakasai provided technical advice. 

The moderate acceptance of Turmin Danya in Kano encouraged the Tumbin Giwa drama group to produce another video, Rikicin Duniya in 1991 and Gimbiya Fatima in 1992 — all with resounding success. By now, it was becoming clear to the pioneers that there seemed to be a viable Hausa video film market, and this viability laid the foundation of the fragmented nature of the Hausa video film industry. While organised groups formed to create the drama and film production units, individual members decided to stake out their territories and chart their future. Thus, Adamu Muhammad, the star of Gimbiya Fatima, decided to produce his own video film, independent of the Tumbin Giwa group in 1994. The video film was Kwabon Masoyi, based on his novel of the same name, and outlined the roadmap for the future of the Hausa video film. At the same time, it sounded the death knell of the drama groups. This was because Aminu Hassan Yakasai, who created the very concept of marketing Hausa video films—and thus created an industry—broke away from Tumbin Giwa and formed Nagarta Motion Pictures. Others followed suit.

Other organised drama groups in Kano did not fare too well either. For instance, Jigon Hausa, which released a genre-forming Munkar in 1995, broke up with the star of the video film, Bala Anas Babinlata, forming an independent Mazari Film Mirage production company (Salma Salma Duduf). Similarly, Ado Ahmad Gidan Dabino broke away from Tauraruwa Drama and Modern Films Production (which produced In Da So Da Ƙauna) and formed Gidan Dabino Video Production (Cinnaka, Mukhtar, Kowa Da Ranarsa). While Garun Malam Video Club produced Bakandamiyar Rikicin Duniya, written by Ɗan Azumi Baba, after the video film was released, Baba left the group and established RK Studios (Badaƙala). 

From field studies and interviews with the producers in Kano, most of these break-ups were not based on creative differences but on financial disagreements or personality clashes within the groups. The number of officially registered “film production” companies in Kano alone between 1995 and 2000 was more than 120. There were many others whose “studio heads” did not submit themselves to any form of registration and simply sprang into action whenever a contract to make a film was made available. 

Interestingly, Adamu Muhammad of Kwabon Masoyi Productions produced the first Hausa video film entirely in English. It was “House Boy”. Although it was an innovative experiment by a Hausa video filmmaker to enter into the English language video genre, it was a commercial disaster. Hausa audience refused to buy it because it seemed too much like a “Nigerian film”, associating it with southern Nigerian video films. When the producer took it to Onitsha—the main marketing centre for Nigerian films in the south-east part of the country—to sell to the Igbo marketers, they rebuffed him, indicating their surprise that a Hausa video producer could command enough English even to produce a video film in the language. Further, the video had no known “Nigerian film” actors and, therefore, was unacceptable to them. Thus, the Hausa audience rejected it because it looked too much like a “Nigerian film”, while non-Hausa left it because it used “unknown” Hausa actors, so it must be a Hausa film, even though the dialogue was in English!

Tragically, Aminu Hassan Yakasai died in an automobile accident on Saturday, June 16, 2001, on his way to Katsina to participate in a film, “Arziki da Tashin Hankali”.

• Director: Muhammad Galadima
• Producer: Ali Saidu Worthme
• Company: Jammaje Productions
• Language: English
• Release Date: 26th December, 2023
• Cast: Hajara Yusuf, Magaji Mijinyawa, Abba Zaki, Billy O, Tijjani Faraga, Mustapha Musty, and others.

The Princess of Galma is another ‘Kannywood film in English’ from the promoter of the genre, Malam Kabiru Musa Jammaje, who has produced a few others before. The film was screened during an annual event, ‘Jammaje Day’, attended by hundreds of English language enthusiasts. Jammaje seems to have made the event a new way for showing his English movies as the attendees clearly make the audience he targets.

Despite its glorious title, The Princess of Galma is neither a historical drama nor an epic adventure. It’s a regal fiction set in a contemporary, fictitious kingdom, Galma, where King Ahmadu (Magaji Mijinyawa) suffers from a serious illness. The film begins with King Ahmadu’s illness, which caused widespread concern in the kingdom. His only daughter, Princess Nafisa (Hajara Yusuf), is deeply worried about her father’s deteriorating health condition. 

Meanwhile, the kingdom’s cabinet deliberates on the succession dilemma, as tradition dictates that the one who marries the princess inherits the throne. This makes Waziri (Tijjani Faraga), a cabinet member, send his son Sahabi to propose to the Princess. But she promptly rejects him despite his being a royal son and the most handsome young man in the Kingdom. The ensuing drama unveils Waziri’s struggle, the princess’s personal choice, and more…

Although the plot has its share of clichés, it maintains a reasonable flow, ensuring no dull moments throughout the story. But the screenplay runs too fast to a hasty finish. It would have been better if it had more scope, especially for Waziri’s secret schemes and the Princess, who suffers magic afflictions.

Beyond its regal and romantic themes, the film emphasises the healing power of prayers. We see how the prayers heal the king after everyone has begun to despair. It also highlights the prevailing theme of good triumphing over evil, as depicted in Sahabi’s loss of the princess despite his father’s magical attempt to acquire her. Besides, it also subtly addresses big security challenges in northern Nigeria.

The film also tries to be brim-full of cultural showcase but falls short of capturing the intrinsic value it truly deserves. It lacks the seriousness and dramatic intensity expected in a movie of its genre. The technical aspects are also average. A film like this should be carefully produced with a considerable budget to get the required impact. 

However, the English usage is generally flawless. The dialogue is captivating, and the actors deliver their lines remarkably. A few scenes were rendered entirely in the Hausa language, with others having lots of code-switching and mixing to accentuate comical effects and cultural representation.

On the other hand, all the actors try to pull off a good performance, especially Hajara Yusuf, who perfectly fits the role of Princess Nafisa and delivers her lines effectively. Abba Zaki leaves an impression in a brief role as the man of Nafisa’s dream. The scenes where he expresses his love for her captivate the most. Also, Billy O. gives a very real performance, similar to Malam Abdulhadi. The comic gestures he portrays get the audience laughing throughout.

Finally, The Princess of Galma qualifies as a worthy addition to Kannywood’s archive of English movies. It has little novelty but offers much to keep you glued to the screen. I commend the efforts of the director (Muhammad Galadima) and all the cast and crew members. Rating: 3/5.

Reviewed by Habibu Maaruf Abdu

habibumaaruf11@gmail.com

By Prof. Abdalla Uba Adamu

In an attempt to gauge the current popular culture market in Kano, I visited my old haunt at Kasuwar Ƙofar Wambai today, 2nd August 2023. It was the place where virtually all Hausa popular culture media products were distributed in the late 1990s to 2000s. It was simply the best in West Africa, as media products from this market – which took over from the Bata market – were distributed to other parts of Hausaphone West Africa.

I was shocked at the fact that there were only three shops selling CDs/DVDs and cassette tapes. The market had been taken over by plastic household items and blouses/football jerseys! It was so sad to see such a vibrant market – the best in West Africa – down on its luck. Discussions with three forlorn merchants reveal two main reasons for this sorry state of affairs of consumptive popular culture media in Kano.

The first was the proliferation of Download Centres. In these places, films were ripped off DVDs or CDs and with a reduced resolution to fit a Smartphone screen – and dozens were packed on a microSD card and sold for peanuts. This denies the content providers of profit from their hard labour. A licensing compromise was agreed between filmmakers and Downloaders to everyone’s satisfaction. Thus, no more CD purchases that require both a CD player, a TV and electricity to play. Downloaders often get their primary source directly from the producers – thus eliminating the media production processes.

Second was the rise of TV series, popularised massively by Arewa24’s Dadin Kowa (although it was not the first). Now almost every producer has jumped on the TV series bandwagon and using YouTube to distribute their programs. With data getting cheaper, it means viewership has migrated to YouTube series dramas – where more money is made with AdSense clicks. Rarely does a producer bother now with a feature film.

Sad as I was with these developments, I perked up when I visited the shop of Alhaji Muhammad Kalarawi. He is quite simply the best ethnomusicologist in the market. His nearest rival, Musa Nasale, passed away some time ago (and no one knows what has happed to his catalogue of unique and rare music field recordings).

Alhaji Muhammad Kalarawi got his name from being the recordist of the late Kano-based Islamic cleric, Alhaji Lawan Kalarawi (d. 1999). The term, “ƙala rawi” means ‘the narrator said’. Kalarawi established himself as a fearless, acerbic preacher in Kano – earning him numerous jail sentences. He was really telling it like it was – bringing his incredible interpretations on leaders (both modern and traditional) and commoners alike. Thanks to modern media technologies, there are hundreds of Lawan Kalarawi’s archival recordings on YouTube and MP3 trawler/caching sites.

Kalarawi’s popularity was enhanced by his street speech mode with jovial, often bawdy commentaries, which made him immensely popular. I personally count three Islamic preachers in Kano as those I avidly listen to: Lawan Kalarawi, Ibrahim Khalil and Aminu Daurawa. All down to earth. Just as it is, without any excess baggage or appendices.

The current Muhammad Kalarawi has almost every incidence of the late preacher’s recordings. That is a huge treasure trove. In addition, he still has stacks of tapes and CDs of traditional Hausa griots, which are simply not found anywhere. I was so elated to know he is still in the game, despite the suffocating pervasive influx of Hausa Afropop in Kano (which studiously avoided the Wambai market). I wish research institutes such as the History and Culture Bureau in Kano, or Arewa House in Kaduna, would license Kalarawi’s priceless catalogue and digitise them for posterity. Once they are lost, they will be gone with the wind.

By Aliyu Abubakar

Kannywood actors Ali Jita and Ali Nuhu recently took to the stage at Success Hall in London on Saturday, April 22, 2023, showcasing the talent and artistry of Northern Nigerian culture for the first time as part of the 2023 Eid celebration party. Their performance not only highlighted the cultural richness and diversity of the Hausa and Arewa people but also demonstrated Kannywood’s growing reach and influence beyond Nigeria’s borders.

As Ali Jita and Ali Nuhu performed in London, their fans watched in awe as they seamlessly blended music and dance to showcase the beauty of Hausa and Arewa culture. The audience was treated to a stunning performance that celebrated the talent and creativity of the actors and showcased the unique heritage of Northern Nigeria.

For those who may not be familiar with Kannywood, the film industry produces movies in the Hausa language in Northern Nigeria. It has been gaining popularity recently, with a growing following among Nigerians and beyond. The success of Ali Jita and Ali Nuhu’s performance in London is a testament to Kannywood’s increasingly global reach and influence.

This achievement is a proud moment for the actors, their fans, and the entire Kannywood industry. Moreover, it marks a significant milestone in the growth and development of Northern Nigerian culture, highlighting the resilience and creativity of its people.

Ali Jita and Ali Nuhu’s performance in London was significant for the Kannywood industry and the Hausa and Arewa communities in the diaspora. For many Northern Nigerians living outside their homeland, the performance reminded them of their culture and heritage, bringing a sense of pride and joy to their hearts. In addition, the event provided an opportunity for the diaspora community to come together, celebrate their traditions, and connect with their roots.

The success of Ali Jita and Ali Nuhu’s performance in London also reflects the power of culture in fostering cross-cultural understanding and promoting unity. The event brought together people from different backgrounds and cultures, providing a platform to showcase the beauty and diversity of Northern Nigerian culture. It also helped to break down stereotypes and promote a deeper appreciation of the vibrant cultures that exist in Nigeria and Africa as a whole. As Kannywood continues to grow and gain global recognition, it has the potential to serve as a bridge between different cultures, promoting understanding and fostering unity.

In conclusion, Ali Jita and Ali Nuhu’s triumphant performance at Success Hall in London as part of the 2023 Eid celebration party is a significant milestone for the Kannywood industry and a proud moment for the Hausa and Arewa people. It celebrates the beauty and richness of Northern Nigerian culture and showcases the talent and creativity of the region’s actors and filmmakers. Furthermore, the event has helped promote cross-cultural understanding and foster unity, highlighting Kannywood’s potential to serve as a bridge between different cultures. As the industry grows, we can look forward to more exceptional performances from Northern Nigeria’s talented actors and filmmakers.

Aliyu Abubakar is the MD. Rbm e-Tech and Digital Services, Hadejia, Jigawa State. He can be reached via aliuabubakar852@gmail.com.

By Sa’id Sa’ad

Being a lover of reality shows, award nights, behind-the-scenes and documentary movies, I’d always dabbled from one interview to another, especially exclusive interview rooms that humanise celebrities from various industries. Something that often allows me to see these people beyond their screen-portrayed selves, beyond their polished English-speaking tongues in sets, and beyond their filtered pictures on Instagram.

From Steve Harvey’s show to Trevor Noah’s. From Coffee with Karan to dozens of international shows of the same make-up. Each of them has always fed me the dose of vitamins I needed to see different fantastic interviewees in their human form. Sometimes, I would wonder deeply how one person could have this widened, divergent existence.

However, in Nigeria, shows like #WithChude hosted by Chude Jideonwo have become relevant to Nigeria’s entertainment industry, bringing music artists and Actors – Nollywood – to live through personal exclusive discussions that spark varying conversations. Meanwhile, the advent of Ebuka Obi Uchendu’s Black Box Interviews has presented a new dimension for this art. Through bringing similar personalities as #WithChude’s, the Black Box interviews – geared by Ebuka’s mastery in media and moderation makes it more humane, deep – yet story-driven and intense conversations that would take about fast-phased 2-hour discussion that would leave you wanting more. Undoubtedly, these contents have been the source which news media and bloggers would often plug their ‘stories’ and ‘gossips’ from, giving more relevance to the celebrities and promoting their art. And above all, selling the stories of these people, majorly, using it to their career advantage.

As you might already predict, Northern Nigeria’s entertainment industry has lagged same platforms, except for a few interview programmes produced by media companies. BBC Hausa’s Daga Bakin Mai Ita and Arewa24’s Kundin Kannywood are a few examples of what it was for the industry. Perhaps – as perceived by many – as a lack of “capacity” or “interest” to pursue the same, especially from the industry players. Or rather, others believe that as a result of the notion that northerners do not appreciate northern content. The latter, as sad as it may sound, has continued to place a borderline between contents from the region and its market. However, a robust attempt – from the industry players as thus they benefit from it – would have been a Noah’s Ark to what northern Nigeria’s storytelling would become and even the industry market. Hence, Hadiza Gabon’s Room.

Since the advent of the show – as much as I hardly ever skipped Daga Bakin Mai Ita – I am one of those who’ve watched every episode of Hadiza Gabon’s Room since its inception. Being a household name in northern Nigeria, Hadiza Gabon’s Room, a personal show produced by the actress lately, has gained attraction in the region. This should raise an eyebrow as to how northerners react to northern content or stories specifically produced in Hausa. Prior to the production, the most likely, perhaps consistent programme that ‘tries’ to do this task of humanising the northern entertainment artists has been Daga Bakin Mai Ita which, of course, contributed, though very shallow.

Another close ally to that was what used to be Kundin Kannywood, produced by Arewa24 – the first indigenous Hausa-speaking TV channel – and hosted by ace Kannywood actor Aminu Sheriff Momo. With the wider reach and technical skills invested in producing them, the duo have proven to have a lighter foundation of sustainability as they are run, produced and aired by media organisations who might – at any moment – halt, pause or terminate the programme, especially if any of its episodes attempt to wobble with the organisation’s reputation. But one would never separate celebrities and trends. Or can we?

I agree that “northern Nigeria does not appreciate northern Nigerian content” due to my experiences with middle-class-elite Hausa-speaking northern Nigerians who find their faces wrapped in shame to consume anything northern or anything Hausa. Be it music, film or any form of art. But even more, sometimes you could drop your jaw at how much northerners “dismiss” what becomes of Hausa celebrities from the region. Many were caught “bragging” about how much they didn’t recognise a certain northern celebrity they bumped into at a shopping mall.

But this is not so much different from what the same generation of Yoruba and Igbo does to their indigenous language promoters and contents as well. Perhaps the only difference between the Hausa-consuming northern Nigerian population and the others is that the typical educated middle-class or elites half-baked exposed northerner consume Hausa-produced content with ‘shame’. While a Yoruba or Igbo population consumes these contents in their own languages with ‘pride’. Unless for few who are bold hit the table, some have made it a subject of mockery to their friends who listens to Hausa songs or watch Hausa movies. Making it a “measure of exposure”.

Ordinarily, I’d assume that only a few people like myself – who are interested in storytelling and care about northern stories – consume Hadiza Gabon’s Room until a few weeks ago when the host interviewed a Kannywood actress who’d broken down on the show over what people would describe as “poisonous love” with another unnamed artist. This brought numerous comments from different people in the industry and beyond. But most surprising, from the same “typical educated middle-class or elites half-baked exposed northerners” admitting to having “been watching” the show. Perhaps this can also reflect a hypocritical-denial and intentional lack of acknowledgement. So, it’s safe to say these two contributed to placing the region’s storytelling where it is. Maybe even moved it farther.

Now, self-made analysts on social media have been placing the show on a scale weighing Hadiza Gabon’s skills in media or journalism, and some even going to the extent of breaking bits and pieces of how the questions should be asked. In all honesty, it is not balanced to completely dismiss the fact that there is still more to do from the producer in terms of the technicalities of the show, but it is also imperative to understand that Shows like these grow, get better and improve, with time. This could be reflected in what Ebuka Obi Uchendu or Chude Jideonwo’s shows were ten years ago and what they are now.

However, as a writer and a communications specialist, I would rather than analyse, admit that Hadiza Gabon would have become one of the bravest from northern Nigeria’s entertainment industry to self-produce such funnel that would feed – good or bad – stories from what creatives do in northern Nigeria. At least, a good or bad story is better than no story. Or better still, if Ebuka’s Black Box Interview Show could tell deeply personal stories about the life, career journey and even growth of certain entertainment stars from other parts of Nigeria, then there is a likelihood that Hadiza Gabon could be to northern Nigeria celebrities what Ebuka Obi Uchendu is to Nigerian Celebrities.

Though balancing stories is an essential part of storytelling, it is also unimaginable to think that one day you would find Chude Jideonwo interviewing Hamisu Breaker or Ado Gwanja on his show. This is not to be dismissive about the possibility of that, but the prospect as of now is blurry. Therefore, these stories from these people from northern Nigeria have to come out from northern Nigeria. And that is why Hadiza Gabon should be commended for that.

On the other side, celebrities have soon produced multiple of these shows – using their popularity to sell their stories – while putting a spotlight on their artists, storytellers, entrepreneurs, writers, tech gurus and even educators. And like tomatoes spread out on the front line of an open market, these have been central to the stories they tell the world about themselves. Since we refused to do the same, we are left with our favourite duo, “Almajiri and poverty” narratives.

Imagine if Hadiza Gabon’s Room is a Live show where these guests will speak – without filters, editing or CUT!? Such that truth will be told as raw as it should be, and the eyes will communicate a lie? Imagine if other writers and journalists would consistently write about whatever in-creatives-sake is coming out from northern Nigeria in theatre, movie, and music, such as Muhsin Ibrahim? Imagine if there were multiple consistent shows produced by the industry players who would use their popularity to air their stories, such as what Hadiza Gabon does in her Room? Imagine if consuming these contents in local languages is seen as mere “interest” rather than as a “measure of exposure”? Imagine! Imagine! Imagine!

This is a crack created by Hadiza Gabon’s Wall. We have now seen the gap. And there is more to see. Storytelling does not rest on the edge of a singular art form. Rooms as well, have ways of speaking. They have walls that portray. They have a roof that reflects. They have floors that nurture. We can only humanise our stories when we hang them on the walls and paint them. But what will become of us if our walls continue to crack?

Sa’id Sa’ad is a Nigerian writer, poet and playwright from Maiduguri. He is the NFC Essay Award Winner 2018 and the Peace Panel Short Story Prize Winner 2018. He tweets at @saidsaadwrites and can be reached via saidsaadabubakar@gmail.com.