Kano State

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 Abbas Datti

Following the Apex court’s ruling in favour of Eng Abba Kabir Yusuf as the legitimate elected governor of Kano State, there arises the compelling debates with regards to balkanization of Kano emirate, and potential return of Sunusi II to Gidan Dabo, as well as possible removal of the present emir, Alh. Aminu Ado Bayero.

Sunusi’s potential return to the throne is not without its challenges and complexities. Understanding the possibilities of post-Sunusi II and assessing the current political climate before making such a decision is paramount.

Considering Sunusi’s wide popularity and global influence, he may not necessarily obey Abba Kabir Yusuf as governor of Kano State. Sunusi’s tacit approval for women to confront their maltreating husbands in their matrimonial homes comes into play. Therefore, there’s a need for both Kwankwaso and Abba Kabir to ensure a delicate balance between addressing the fears that may arise from Sunusi’s reinstatement and charting a justifiable reason towards the dismounting of Ado Bayero’s biological son from the throne.

Supporters of Sunusi II passionately advocate for his reinstatement, citing his worldwide recognition and his radical approach to some social problems. Also, for opponents of the immediate past governor of Kano State, Sunusi’s enthronement is seen as a stab in the back to Eng Dr Abdullahi Umar Ganduje and the restoration of Kano’s kingdom dignity.

However, the broader implications of such a move require diligent, careful considerations. Both supporters of Aminu Ado Bayero and Sunusi are closely watching the unfolding events, with questions threatening the respect, dignity, and reverence enjoyed by the Kano emirate.

Balancing the expectations of various factions, addressing the concerns of opposing voices, and fostering an inclusive dialogue will be key to a successful solution to the emerging calls about removing Alh. Aminu Ado Bayero.

The possibility of enthroning back Sunusi is a multifaceted scenario with far-reaching possibilities. As the political stage sets for Sunusi’s potential return, the world observes with keen interest, eager to witness the unfolding of a narrative that could reshape the destiny of Kano State and redefine the dynamics of the leadership of Kano emirate.

Abbas Datti writes from Kano via abbasdatti448@gmail.com.

By Lawan Bukar Maigana

After watching a Hausa video from Kano State a few days ago on different social media platforms, I was deeply saddened to witness a young man confessing to security officials how he fatally stabbed and murdered his father. Saying he committed the act “out of love for him” forced tears out of my eyes.

The most heartbreaking part was when he acknowledged his father’s care, provision, education, and immense love towards him, expressing that he killed him to ensure his father’s peaceful rest in heaven.

When asked about his name by the interrogator, he confidently said, ” My name is Abu Kasim Bin Ya’u Bin Ibrahim Bin Abubakar.” Surprisingly, he doesn’t even know the crime he committed before his arrest by the staff of the Nigerian Civil Security and Defense Corps (NSCDC).

While reminding him that he killed his father, he unapologetically explained that whoever is killed goes to heaven—paradise—without any questions from angels. ”I killed him, and whoever kills someone will go to hellfire. I am a certified member of Hellfire, but my father is a dweller of paradise, and I don’t care about the situation I will find myself in. That is not my problem.”

When asked why he didn’t kill himself,  he replied, saying he loves his father more than himself. ”He paid my school fees, and I became a wayward person and killed him, qualifying me to be judged accordingly. We must tell the truth no matter what. I am in the know that I killed him, and I will not lie to you, Officer.”

These were the words of the young man from Nigeria who killed his hard-working and promising father after getting high on hard drugs, exposing the level of crime that a drug addict can commit if he or she is high.

Similarly, I overheard a story of a young man, 21, who forcefully slept with his 17-year-old sister after being high at night, leading to her pregnancy. He said he thought he was at a hotel where he spent the night.

Another case of drug addiction that got me thinking some months ago was a case of a man who threatened to kill his father if he cautioned him about his lifestyle.

Yesterday, I read a report by TheCable that the National Drug Law Enforcement Agency, NDLEA, has raised concerns over the abuse of psychoactive substances among Borno’s young people, outlining fermented human urine, lizard dung, camel urine, Lipton soaked in gin, and mentholated spirits mixed with soft drinks as the most abused substances in the state, which resulted in prostitution, extortion, and other social ill-practices.

This was contained in a statement by Iliyasu Mani, the Commander of the Narcotics of the NDLEA, Maiduguri, Borno State.

He explained that some youths are inhaling toilet fumes and gutter dirt to get high and commit different kinds of crimes to the detriment of the state, aside from the ongoing insurgency that has claimed thousands of lives and businesses, leaving people poor and helpless.

Mani went on to say, “Let me categorically state here that these new psychoactive substances that are commonly abused today include cannabis sativa, skunk, cough syrup with codeine, ice, tramadol, rRohypnol diazepam, pentazocine, rubber solution, and glue,” concluding that some use 10-year-old human urine to get high.

According to the United Nations Office on Drugs and Crime, a household survey conducted in 2018 and reviewed in 2021, the level of substance abuse in Nigeria is at 14.3 percent which was three times higher than the 5.6 percent global average. This alone calls for action to come up with realistic and achievable ways of tackling drug addiction in the country.

Recently, one of my relatives escaped death after a botched attack by terror drug addicts at his residence in Gwange Sabon Layi in Maiduguri. They went to his house at night, attacked him with knives, and snatched his cell phones, one among the many crimes they commit daily.

This is the situation of many young people today in the North. Their addiction to hard drug consumption has already taken a frightening dimension. That is why the government must do something to arrest the dangerous situation. 

Lawan Bukar Maigana writes from Borno State and can be reached via email lawanbukarmaigana@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”.

By Prof. Abdalla Uba Adamu

It is not every day that a series of coincidental events converge. Like the passage of Haley’s Comet, these events happen only once in one’s lifetime. I am eternally grateful to Allah (SWT) for enabling me to witness one of these coincidental events. 

While still in active service in the university, where I have been for the last 43 years, I feel fulfilled that three of my students who became my colleagues and friends in the Department of Education have now become Vice-Chancellors in the same period within three years of each other. These are Prof. Sagir Adamu Abbas (VC Bayero University Kano, 2020), Prof. Abdulrashid Garba (VC, Khalifa Isyaku Rabi’u University Kano, 2023) and the most recent, Prof. Muhammad Ibrahim Yakasai (VC Sule Lamido University, Kafin Hausa, Jigawa State, 2023). 

During their career development, I nicknamed them “The Three Musketeers” because of their closeness to each other, coupled with the almost military approach they adopted to their career. They started their doctoral studies at the same time, finished at the same time, rose and became professors at the same time! Each was highly focused with a target in mind. Each has proven his mettle scholastically – with each spending extended periods as a Visiting Professor in foreign universities. The research area of each of them was truly a contribution to knowledge in the discipline. 

The term I chose to describe them is based on characters in a novel by Alexandre Dumas in 1844 called “The Three Musketeers”, which describes the adventures of three-foot soldiers who were close pals. I consider myself part of them because they are individually my friends. And these three Vice-Chancellors are really close, not just as professional colleagues but their families are also close. 

Of course, besides myself, they had other tutors in the Faculty of Education (Bayero University Kano). Still, I am the only one remaining out of all those who tutored them since all the others have retired. I am, therefore, the Last of the Mohicans (another literary reference, this time to James F. Cooper, 1826) and had the unique opportunity of seeing his career convergence in December 2023 when Prof. Muhammad Ibrahim Yakasai was appointed the Vice-Chancellor of the Sule Lamido University, Kafin Hausa, Jigawa State. 

It is a rare opportunity to see a celebration of such success, humility and friendship in each of them. Allah Ya taya su riƙo, amin.

• 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 Amir Abdulazeez

Sometime in 2006, I walked into the famous Gidan Akida building, the then-Kano State headquarters of the Advanced Congress of Democrats (ACD), a new party formed by the breakaway PDP faction. I was there to inquire about how lowly-placed people like us can actively participate in the development of the party. The State Public Relations Officer told me that I have the option of choosing to belong to any of the four main houses within the party: Muhammad Abubakar Rimi, Malam Musa Gwadabe, Alhaji Gwadabe Satatima and Ghali Umar Na’Abba.

When the PRO heard that I cherished them all but wanted to work in the Na’Abba camp, he congratulated me for working under a disciplined, courageous and principled politician. Unknown to him, I had already known Ghali Na’Abba some ten years before, maybe earlier. Apart from being too young to know much about the other three political leaders practically, I have taken time to follow the stewardship of Ghali Na’Abba as the Speaker of Nigeria’s House of Representatives for the better part of 1999-2003. 

In that same year, 2006, Na’Abba was declared for the Kano State Governorship. I was genuinely convinced that if elected, he would make Kano one of Nigeria’s most disciplined and organised states. His discipline, confidence and organisation have often been misunderstood as arrogance. On this, he has cleared the air on many occasions. From what I know of him, he was a man of few words expressed only when necessary; he has a gentle and reserved personality, which makes him never delve into affairs that don’t concern him. 

I remember working with like-minds to engage in one of the best intellectual mobilisations any young undergraduates could do to garner support for Na’Abba to become Governor then. Unfortunately, he withdrew from the governorship race some weeks before the Action Congress (AC) primary elections. This new party was the product of a merger between ACD, Bola Tinubu’s Alliance for Democracy (AD) and other groups. Ghali’s withdrawal speech wasn’t detailed, but his arguments were that the process was too manipulated for any honest and disciplined aspirant to withstand. I think that was the last time Ghali contested for any position in his political career.

Ghali Umar Na’Abba was more than a political figure—a beacon of integrity, courage, and unwavering dedication to Nigeria. As a former Speaker of the House of Representatives, his legacy resonates far beyond his political tenure. Na’Abba’s commitment to democratic values and principles shaped the course of Nigeria’s political landscape. His leadership during a critical juncture in Nigeria’s history marked him as a staunch advocate for transparency and accountability.

Beyond politics, Ghali Na’Abba was a symbol of resilience and fearlessness, unafraid to challenge the status quo for the betterment of his nation. His vision for a prosperous, united Nigeria was evident in every action and word he spoke.

Na’Abba’s tenure as the Speaker of the House of Representatives marked a significant chapter in Nigeria’s political history. He was known for his principled stance and his assertive approach to upholding the legislature’s independence and separation of powers, particularly in the face of President Olusegun Obasanjo’s bullish administration.

The Fourth Republic in Nigeria was still in its infancy when Na’Abba assumed the role of Speaker. With the country transitioning from years of military rule to a democratic system, the political landscape was rife with challenges. However, Na’Abba brought to the forefront a blend of experience, political acumen, and a commitment to legislative oversight. He staunchly believed in the autonomy of the legislative arm of government and its pivotal role in checking the excesses of the executive. This belief set the stage for numerous clashes between the National Assembly, under Na’Abba’s leadership, and Obasanjo’s administration.

Obasanjo could not have the audacity to unleash his anti-democratic tendencies until Na’Abba left the Speakership in 2003. Every Nigerian who witnessed the two tenures of Obasanjo (1999-2007) will testify to this. During his tenure, Na’Abba led the House of Representatives with a firm hand, asserting the legislature’s independence and challenging executive actions deemed against the national interest. One of the notable confrontations arose from the legislature’s insistence on its oversight function. Na’Abba’s House of Representatives was resolute in investigating various issues, including allegations of corruption within the government, regardless of pressure from the executive arm.

Sadly, today’s many young political followers did not have the opportunity to witness and be inspired by the era of great and principled leaders like Ghali Na’Abba. They are unlucky and unfortunate to find themselves supporting reckless crooks and shameless greedy people who have turned them into sycophants, social media warriors and other roles that have kept them perpetually stupid. These are some of the reasons that have kept Na’Abba on the sidelines since 2007. 

Since 2007, whenever Ghali has attempted to reactivate his participation in Nigeria’s political landscape, he has immediately realised there is no space for disciplined people like him. Rather than adjust and follow the trend, he simply retreats and faces his private issues. He had always chosen integrity over selfishness. In 2011, his house was burned down in Kano by hooligans because he supported President Jonathan. I have never heard him complain publicly about this treatment meted out to him by his people. As always, he was calm, reserved and simply forged ahead. That was how he permanently minded his business away from the murky, dirty and irresponsible waters of Nigerian partisan politics.

Today, 27^th December 2023, we have lost Ghali Na’Abba, a few months after turning 65 and almost exactly one year apart from the death of his mother, another woman of trust, integrity and kindness. May Allah have mercy on them both. His legacy lives on as an inspiration to current and future leaders. Ghali’s contributions to Nigeria’s democratic journey will forever be remembered and cherished, a testament to the enduring power of principle-driven leadership.

At a point when Kano’s reputation soared by the Salisu Buhari Toronto certificate scandal, Ghali Na’Abba, his successor as Speaker, worked diligently to give the state a good name nationally and even globally. His active career was short-lived, but he managed to enter the comity of the political all-time greats in the history of Kano State. It now remains to see how the current custodians of the state will work to have his name honoured and legacies preserved. 

After surviving numerous blackmails, countless threats, and several impeachment attempts as Speaker, President Obasanjo later ganged up with his foot soldiers and garrison commanders in Kano to deny him a return to the National Assembly in 2003. First, they failed to stop him from getting the Kano Municipal PDP ticket, and then they later ganged up to work against him and their own party in the General Elections, and they succeeded. The fall of Ghali Na’Abba marked an abrupt end to the era of Legislative Independence and Political courage in Nigeria.

Twitter: @AmirAbdulazeez 

By Abbas Datti

In this political landscape, a legislator’s success is defined by the number of bills he sponsored and his contributions during plenary sessions within the hallowed chamber. Also, the impactful work he does in his community reveals the true character of a public servant. In this regard, the former Member of the House of Representatives, Fagge constituency, Rt Hon Aminu Suleiman Goro, stands tall as a shining example of dedication and selflessness as we compare his accomplishments to those of the incumbent Rep Member, Barr. Muhammad Bello Shehu.

Aminu Suleiman Goro served well as a Fagge Member of the House of Reps, and during his time, he left an indelible mark on our community. His commitment to the welfare and prosperity of Fagge’s constituents was unwavering, from improving infrastructure to advocating for better educational opportunities and carrying all constituents along when making decisions.

One of the most notable achievements during Aminu Goro’s tenure was the successful chairmanship of the House Committee of Tertiary Education and Services, which saw the establishment of numerous Universities, federal Colleges of education, and many more tertiary institutions. 

Goro’s massive empowerment programs supporting women and the vulnerable with small businesses, promoting job creation, and investing in infrastructure projects helped breathe new life into Fagge communities. Unemployment rates fell, and new businesses flourished, bringing economic stability to Fagge constituents.

Education was also a top priority for Aminu Suleiman Goro. He fought for increased funding for universities and tertiary institutions, ensuring our children had access to quality education. Fagge constituents benefitted immensely from the federal government scholarships and educational programs, providing opportunities for Fagge youth to thrive.

In a bewildering contrast, Barr. M.B Shehu has failed to carry the torch of progress set by his predecessor. Key initiatives initiated during Goro’s term have been left in limbo, and we have seen a noticeable lack of enthusiasm for addressing the issues that matter most to Fagge constituents.

Despite Aminu Suleiman’s legacy, M. B Shehu has not shown the same commitment to improving lives and schools or ensuring job opportunities. Constituents have felt the difference, and it’s time we reflect on what we’ve lost since the change in representation.

Goro served the Fagge constituency with dedication and a genuine desire to improve the lives of the people he represented. His legacy shines brightly when compared to Barr. Muhammad Bello has not been able to continue the trajectory of works that Goro established. 

Abbas Datti writes from Kano via abbasdatti448@gmail.com.

By Ahmad Deedat Zakari

The Nigeria Custom Service, NCS, has raked in the sum of N6.9 billion for the month of November in Kano State.

The Comptroller of the NCS in the State, Dauda Ibrahim Chana, made the disclosure to the press on Monday.

The Kano Area Command of the NCS covers both Jigawa and Kano State respectively.

Mr Chana also disclosed that the NCS had seized goods that were being smuggled into the country.

“We have also seized 2,817 bags of foreign rice, 1,428 pieces of used tyres, 250 Jerry cans of 25-litre vegetables oil and 690 cartoons of foreign soap.

“Other seized items are, 429 bales of second-hand cloths, 1,226 packages of royal tramadol, 470 blocks of compressed Indian hemp and 1,530 cartons of foreign spaghetti.” He said

The comptroller added that the command had introduced more sensitive security measures to prevent all forms of smuggling in the area.

“We have already positioned our officers at strategic locations to deal decisively with all those involved in illegal materials,” he told newsmen

He said that the area command had ordered the deployment of officers to border posts in Maigatari in Gumel Local Government area of Jigawa to intensify efforts at mitigating activities of smugglers.

The comptroller enjoined residents in the state to embrace local goods and shun all forms of illegality.