KILAF 2024

By Muhsin Ibrahim

Talk about Kannywood and, often, some people who are scarcely literate or have little knowledge of film will dismiss the entire industry as a sanctuary for good-for-nothing folks. But that is not always true.

I first met the late Malam Umar Maikudi (also known as Cashman) at the 2019 Kano Indigenous Languages of Africa Film Market and Festival (KILAF) conference. We connected immediately, discussed various issues, and ultimately exchanged phone numbers.

Although Malam was old enough to be my father, we maintained a relatively cordial relationship. He would send me some of his writings, and I would send him mine in return. We also met a few more times during subsequent editions of the KILAF conference. I am sure Alhaji Abdulkarim, the CEO of Moving Image and the organiser of KILAF, will dearly miss Cashman.

He was among the few brilliant individuals blessed with the talent to blend theory and practice seamlessly, and he excelled in both. 

Malam was a lecturer at Nuhu Bamalli Polytechnic, Zaria, and President of the Motion Picture Practitioners Association of Nigeria (MOPPAN). 

Malam was a bridge between Kannywood and Nollywood, as he featured in films from both industries. Many Kannywood viewers may not be very familiar with him, though.

Cashman only recently started featuring in more mainstream Kannywood productions, such as Gidan Badamasi and Labarina. As a lawyer in the latter (Labarina), who is expected to code-switch and code-mix, you can tell this actor is definitely educated. He was.

His death is a significant loss to his family, of course, and to the Nigerian entertainment industry. May Allah forgive his shortcomings and grant his loved ones the fortitude to bear the loss, amin.

Muhsin Ibrahim, PhD, is an academic and writes about Nigerian films. He can be contacted via muhsin2008@gmail.com.

By Anwar Usman

Dr. Victor Okhai, a seasoned filmmaker and critic in Nigeria, decried that cultural imperialism has made people forget about Indigenous films, which has caused a significant setback in the local film industries.

This was made known during the Kano Indigenous Languages of Africa Film Market and Festival (KILAF) conference, which was held on Monday at the Faculty of Communications, Bayero University, Kano.

He explains that ” one thing about indigenous film is that it contains a variety of activities. One can see how a particular culture operates, their way of life, and other things contained within that particular culture that people cannot know without being portrayed in a local movie.”

Dr Okhai further added that people mainly rely heavily on American movies. As such, they ignore their own heritage and embrace the Western way of life, which later cultivates them and makes them behave in a particular way the filmmakers want.

He also asserts that “through local films, individuals within a particular culture can be able to know their roots, what their forefathers have done which they might not necessarily know.”

“Indigenous film serves as an important medium of explaining cultural heritage, an avenue for generating revenue and an important tool for entertainment,” Okhai stated.