Nollywood

By Muhammad Sabiu

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Habibu Maaruf Abdu

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

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

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

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

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

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

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

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

By Daha Tijjani, PhD

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

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

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

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

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

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

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

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

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

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

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

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

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

By Muhammadu Sabiu

Barely thirty hours after The Daily Reality online newspaper published an article on the need to include Kannywood filmmakers in the Netflix Naija written by one of its editors, Muhsin Ibrahim, the streaming service has finally considered the adjuration made in the said article.

Muhsin Ibrahim, a PhD student at the University of Cologne, Germany and a teacher at the same institution, wrote an article titled “Dear Netflix Naija, there are films and filmmakers in northern Nigeria.” It was a reminder to the streaming service that Nigeria is of different cultures and religions. Therefore, according to him, it should not be treated in such a way that only films from a section of the country would be included in the streaming giant.

“Nigeria’s diversity cuts across many things, chiefly cultures, ethnicities, religions and regions. […] Due to these complexities, the country is a house to two significant film industries—Kannywood and Nollywood—with many smaller ones operating under these brands,” Ibrahim wrote.

Making his plea on behalf of the Kannywood filmmakers, the PhD candidate added, “I am not an agent of division, not at all. I am, instead, an advocate of fairness and inclusion of all, regardless of their culture, ethnicity, region, religion, among other diversities. Therefore, northern Nigerian filmmakers and their films should equally be aboard the ship Netflix captains in Nigeria.”

What were Kannywood filmmakers’ reactions?

A few hours after this newspaper published the article, Falalu A. Dorayi, a famous Kannywood member, took the entire article’s screenshots to his Instagram account, with the caption“A very good write up! Thank you very much for speaking on our behalf. @muhsin2008 Ibrahim”. The screenshots generated about 2.3k likes and over a hundred comments.

Also, Ali Nuhu, another prominent member of the Kannywood film industry, posted screenshots of the whole article with the same caption, under which several other members of the industry commented, including this:

@rahamasadau: “Hmmm, I wish I can [sic] add to this article…🤔👀”.

Acceptance of the Adjuration by Netflix Naija

Confirming the acceptance of the adjuration made in the article, Mr Ibrahim wrote on Facebook, “Sequel to the publication of my article on The Daily Reality last Saturday, Netflix Naija contacted a Kannywood director whose work they ignored for nearly a year. Thus, we shall soon watch a Kannywood production on Netflix. Nothing is more delightful to a budding writer.

“My informant, a Kannywood heavyweight, expressed his happiness, adding that “see the impact of writing”! He doesn’t know that I am probably happier. The Daily Reality is here to make a difference.

“May Allah help us, bring back peace to our region and country at large, amin.”

Kannywood, a predominantly Hausa-Muslim, Kano-based film industry, produces movies mainly in the Hausa language. The cinema has been facing tough challenges that revolve around its members’ handling of religion, culture and the likes.

By Muhsin Ibrahim

Nigeria’s diversity cuts across many things, chiefly cultures, ethnicities, religions and regions. Although several commentators consider the northern part more Islamic and the southern one more Christian, Muslims and Christians, followers of traditional belief systems and non-religious folks may be seen everywhere. Due to these complexities, the country is home to two significant film industries – Kannywood and Nollywood – with many smaller ones operating under these brands.

Kannywood, the name given to the “local” Hausa film industry with Kano State as its epicentre, is a distinct and autonomous film industry in northern Nigeria. Nollywood has its roots in the South, has mainly Christianity and Western-influenced motifs as themes and produces films primarily in English or other southern Nigerian languages. For Kannywood, however, Islam is arguably the trademark, and the East remains their vital source of influence and inspiration. Nonetheless, many people and institutions, including Netflix, see Nollywood as “the default” Nigerian film industry.

Lumping Kannywood and Nollywood or seeing the former as merely a Hausa branch of the latter is problematic. Hence, a prominent Kannywood scholar, Carmen McCain, points out that “In most scholarly discussions of Nollywood, Hausa films are footnoted as an ‘other’ to Nollywood.” The implication of this is enormous. It, among other things, leads audiences and potential investors like Netflix into failing to see and understand Kannywood films in their peculiar socio-cultural and religious contexts. But, yes, Kannywood operates differently from and is independent of Nollywood.

On the one hand, Nollywood, now the second-biggest film industry globally, succeeds because it faces little or no challenge from its audience or any censorship board. On the other hand, despite being arguably older than Nollywood, Kannywood struggles a lot. Kannywood was inaugurated in 1990 with a film entitled Turmin Danya(dir. Salisu Galadanci). Two years later, in 1992, Living in Bondage (dir. Chris Obi Rapu) began what became known as Nollywood.

Subsequently, the editor of Tauraruwamagazine, Sunusi Shehu, coined the name ‘Kanywood’ [with a single “n” before several authors later on added the second “n”, the version that is more recognised globally today]. It appeared in the magazine’s August 1999 issue. “Nollywood” appeared for the first time in a New York Timesarticle titled “Step aside, Los Angeles and Bombay, for Nollywood” by Norimitsu Onishi in September 2002. The Nigerian newspaper, The Guardian, republished the article a few days later. The rest, they say, is history.

Moreover, the “local” Hausa language has more users than any other West African language. The possible shortage of professionals in Kannywood is due to a lack of support from the government, other stakeholders, and investors. Despite all these and more challenges, the film industry stands on its feet, and I believe a little more push will catapult it to the promised land.

Delineating the glaring yet ignored differences between Kannywood and Nollywood is only part of the aim here. The primary objective is to remind Netflix Naija that for “Africans [to] take charge of African stories”, the message its parent Netflix emphasised when launching the local franchise, all Africans – and, of course, all Nigerians – deserve to be carried along.

Nigeria’s entertainment industry is a lot like India’s. Mumbai-originated Bollywood does not represent all films produced in the vast country. Netflix India understands this truth early on and thus accommodates that diversity so beautifully in its rich library collection of Indian films. There are arguably several exciting films from all India’s nooks and crannies on Netflix today. We earnestly wish the same to happen in Nigeria.

Of course, Netflix Naija may argue that Kannywood’s films are generally below their standard. No one can dispute that adequately. However, there are exceptions. Thus, they should get in touch with those exceptional productions. An anonymous top-notch Kannywood director told me some producers have already approached Netflix Naija. Quite regrettably, they have been, at best, told to go and fix this and that, which they did and, at worst, summarily snubbed.

Another way to embrace all is via commissioning movies. Netflix Naija can engage Kannywood filmmakers to see if it is possible to sponsor films or series. Northern Nigeria is rich with stories, perhaps more than other parts of Nigeria, thanks to its fantastic mixture and, admittedly, unfortunate incidents like the Boko Haram insurgency. The famous films Voiceless and The Milk Maid are only two examples based on a single event – Boko Haram’s abduction of Chibok schoolchildren in the northeast. Netflix can and should have originals from northern Nigeria. I bet that will be a commercial success.

Filming in the North is different from telling Northern stories. Thus, having films set in that region is not the same as having filmmakers from the area telling their stories. I am not an agent of division, not at all. Instead, I advocate fairness and inclusion of all, regardless of their culture, ethnicity, region, or religion, among other diversities. Therefore, northern Nigerian filmmakers and their films should equally be aboard the ship Netflix captains in Nigeria.

Muhsin Ibrahim is a PhD student and staff at the University of Cologne, Germany. He can be reached via muhsin2008@gmail.com.