Connect with us

Features

The new trend of Hausa film making in Nigeria

Published

on


By Muhsin Ibrahim

Introduction


It’s usually in the evening when CTV or NTA, Kano would show a TV series and serials of Hadarin Qasa, Zaman Duniya, Hana Wani Hana Kai and others in the early and the middle 1990s. Watching those dramas was usually a family affair—parents, their kids and often the children from the neighbourhoods would sit together and enthusiastically watch them. No one feels embarrassed for anything that would be shown, said, symbolized or implied in those dramas. It was, literally speaking, just fine for people of all ages and all classes. But that is no longer the case. We today have dramas whose actors are often only Hausa in language but not in character and dress. They are starkly unlike what we used to see those days. This is more so in the Hausa feature films, hence the context for this article. For the dramas, not everyone has the cable satellites and dish antennas that broadcast them on channels like Arewa24, Farin Wata, Dadin Kowa, Africa Magic Hausa, etc. But the films are far widespread and very popular.


Historical Antecedent


The Hausa video film was born in 1990. It began with Turmin Danya (The Draw) by Timbin Giwa Theatre Group, and later many more others such as Gimbiya Fatima, Abin Sirri Ne, Gagare, Simbiqa, etc. came forth. Their presentation style, except on extremely rare cases as in Alhaki Kwiykwiyo, Mutu Ka Raba and very few others, were still largely family-friendly. Even those exceptions generated downright censure and condemnation for their portrayal of what could, or should, only happen in private: a couple on the bed, a man holding a woman, etc. I believe those filmmakers and actors learned their lesson in a bitter way, hence never repeated it. The film is done for the public consumption, thus the need to produce what is acceptable in the culture and the religion of the public.

Alhaki Kwikwiyo


Things, however, fell apart in the later years of filmmaking in Kano, the epicentre of film production and consumption in northern Nigeria, hence their appellation: Kannywood. Culturally-wise, many observers cite the infiltration of several non-Hausa/Fulani in the film business as the genesis of what is perceived as the debasement of Hausa film. Watching films with a family became a big deal. In songs after songs, in particular, actresses began doing a big business with their assets, and that soon appealed to their teeming youth-majority audience. The actresses, who are mostly flat, competed for their mastery of break and hip-hop dance flair in curves revealing jeans, T-Shirts, and other Western wears, and not their ability to act well. The song and dance routine soon became the signature for a successful Hausa film (remember Guda?). Although several religious scholars and concerned individuals denounced such presentations, the trend continued unabated until the infamous (Maryam) Hiyana hiatus, as Prof. Abdulla Uba Adamu called it. That put a pause to that bothersome vogue. Film business was completely banned until much later.

Advert


The New Era


Kano state government has already established a censorship board and saddled it with the responsibility to monitor the relationship between films, imported or indigenous, and society in Kano. The Board was, following the Hiyana phone-porno scandal, empowered to approve or disapprove the release of any film by the Kannywood; and to ban any film released without its consent or in case of any foreign film found obscene or harmful in the market. Doubtless, this brought a drastic change in the film industry. One could not thus see the usual seductive song and dance sequence that used to characterize Hausa films. There were, though, a few cases of defiance, the ‘defaulting’ individuals were mostly tried and fined or jailed.


A New Trend


In his second tenure as the governor of Kano, Engr. Rabi’u Kwankwaso was chiefly viewed as pro-Kannywood for his tacit approval of their activities in the state. They, nay some of them, breathed the air of freedom and liberty. For instance, on 21 September 2013, the Censorship Board banned and prosecuted the makers of a film entitled Kara’in Ibro, but let its protagonist, whose name is even an appendage of the film’s title, went scot-free. The current government of Dr. Abdullahi Ganduje is basically the continuation of its predecessor’s. Therefore, more ‘defaulting’ filmmakers were, and continue to be, untouched in the fight against indecency in Kannywood, apparently due to their political ties. This has given the filmmakers an acquiescence to do what they wish.


No Longer a Family-Friendly Affair


Today, Hausa filmmakers are retrogressing in terms of decency and decorum. As I have noticed lately in a number of films such as Mijin Aro, Garbati, Gidan Kitso, Dillaliya, Duduwa among others, a newer trend of flouting cleavage by actresses is taking the centre stage. Several actresses unashamedly bare the upper part of their breasts to the world, taking no notice that their prime audience—Hausa people—are notoriously culturally prudish on one hand, and consider exposing one’s nakedness against Islam on the other. I particularly see this as an issue, for it started like that in other film industries and they are now where they are. As young as I am, I can recall the old good days we used to watch Indian films on Sundays. As an assault, the antagonist would often try to strip the protagonist’s wife, mother or sister but that was only inferred through pulling her dupatta. To the displeasure and discomfort of many in India—and I have firsthand information—much more than that is now shown in their films.

The retrogression is even more glaring in the language spoken in Hausa films. While watching the films with your younger ones, the best way to hide the embarrassment is to, time and again, pretend not listening to their foul language, or pick up a book, phone or anything besides and pretend reading. The films are becoming something else. Many of them are thematically empty (see NAS, etc), their stories fragmented and plotless (see Mijin Aro, etc), or are mere copycats of mostly Bollywood films (see Kudiri, Gwaska, etc), while others do contain little or nothing that bear similarity with the people they purportedly (re)present (see Mallakamin Dukiyar Ka, etc). Only a few others are worthy of any serious attention (see Wani Gari, Mati da Lado, Hindu, etc). Those, among other reasons, are why their films are largely disparaged, disdained and under-studied by scholars and lack attention in the global arena the way they ideally deserve.

Muhsin Ibrahim is a PhD candidate , University of Cologne Germany.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Features

Why I want To Rewrite Kannywood’s Playbook – Dan Hausa

Published

on

Kamilu Danhausa

 

By Saif Ibrahim, Kano

Who is Dan Hausa?

I am Kamilu Ibrahim born 31 years ago, but most people know me as Dan Hausa. I was born in Fagge, Kano State, and from the very beginning I knew I wanted to tell stories that reflect the realities of my people. I trained at the High Definition Film Academy in Abuja, SAE Institute, and also took part in the U.S. Embassy’s Filmmaking for Impact program. I join the fikm making industry and started directing in 2017 because I wanted full control over how my stories are told.

Can you tell us a bit about yourself and your journey into film directing?

My journey began with a love for storytelling—I started as a scriptwriter, then worked closely with experienced filmmakers before directing my first film. Over the years, I’ve learned that directing isn’t just about cameras and lights, but about understanding people, culture, and the power of narrative.

Growing up, I saw how films could educate and inspire people. In Arewa, cinema is more than entertainment—it’s a mirror of society. I wanted to use that mirror to reflect our values, challenges, and hopes. That desire to make meaningful films pushed me into directing.

What sets your work apart in today’s Kannywood?

For me, it’s about merging modern cinematic techniques with our Hausa cultural identity. I love bold visuals and tight storytelling, but I never want to lose that traditional heartbeat of my origin. My goal has always been to raise our production quality to international standards while staying true to our roots”, proof of that is clear in my current and biggest project, “Wata Shida.

How would you describe your directing style?

I like to call my style “realism with purpose.” I focus on authenticity—every scene, every performance, every frame must feel true to life. But I also ensure that there’s always a message, something the audience can take home and reflect on.

Can you highlight some of your notable works?

Sure, there is Wata Shida which is currently airing and has an overwhelming response from the public and the likes of Lulu Da Andalu a myth-inspired adventure series showing on AREWA24 and YouTube. YouTube pushed us to think bigger in terms of story and production. Mijin Hajiya earned me Best Director at the 2024 Kano Entertainment Awards, while Tataburza made waves at film festivals. Earlier films like Bakon Yanayi (2019) and my debut Kulba Na Barna (2017) helped me define my style. My latest project, Amaryar Lalle, starring Rahama Sadau, premieres August 2025 on Sadau Pictures TV. Each project is a step forward in showing what Kannywood can achieve.

What awards and recognitions have you earned?

I have also been recognized by the Arewa5050 Awards and Kaduna International Film Festival (KIFF) for Lulu Da Andalu, which even won Best Indigenous Hausa Film. There’s also an AMVCA nomination for best Africanindigenous language , which is exciting because it means Hausa stories are getting wider attention.”

Who are your key collaborators?

Filmmaking is teamwork; TY Shaba has been a creative partner on several projects, especially on Lulu Da Andalu. I have WORKED with Rahama Sadau on Amaryar Lalle has been fantastic; she brings so much energy to the screen.”

What themes do you explore in your films?

I like telling stories where modern life clashes with traditional values—family conflict, cultural identity, gender roles. These are real issues in our society, and I try to explore them honestly but cinematically. I believe film should make people feel and also think.”

What is your next project?

I am working on Wata Shida Season 2, a story about a woman who enters a six-month sham marriage to protect her inheritance. It’s socially meaningful but also very entertaining. I will also continue with season 2 of “Amaryar Lalle.”

Can you tell us a little about your latest project?

This project is very close to my heart. It follows a young girl fighting to get an education in a society full of obstacles. Through her eyes, we see how family, tradition, and resilience collide, and how hope can survive even in the harshest situations.”

What inspired you to make this story?

Growing up, I saw so many bright young girls whose dreams were cut short just because they were girls. I felt a responsibility to tell this story—not as fiction, but as a mirror of what is happening around us.

How do you balance tradition and modernity in your work?

A: It’s about respect. I respect our traditions, but I also embrace new technology and ideas. In my films, I make sure traditional values are represented truthfully, while using modern techniques to improve production quality.

 

What challenges do you face as a director in Kannywood?

Budgets are often limited, and resources can be scarce. But the biggest challenge is sometimes societal misunderstanding of what we do as filmmakers. People forget that film is also an art form and a tool for change, not just entertainment.

Can you tell us your favourite project

Every project has its own special memory, but I’m proudest when a film sparks conversation or impacts people’s lives. For example, one of my recent films about youth unemployment led to community discussions and even small initiatives to help young people. That’s when I feel film is doing its job.

What advice would you give to aspiring directors?

Learn the craft—don’t rush. Watch films, study scripts, spend time on set even if it’s just to observe. Most importantly, stay humble and focused. Filmmaking is about patience, teamwork, and vision.

What should audiences expect from your upcoming projects?

Expect more powerful stories rooted in our culture, with better technical quality. I’m working on projects that tackle real societal issues, and I believe they’ll resonate with audiences not just in Arewa, but globally.

Advert















Continue Reading

Features

Antenatal Care: Why some women misses several sessions

Published

on

 

 

By Aisha Muhammad Rabiu

 

In many parts of Northern Nigeria, antenatal care is a vital step in ensuring the health of both mother and the unborn child. Yet, an increasing number of women are neglecting this crucial stage of pregnancy, putting themselves and their babies at serious risk, hence the high infant, mother mortality rate.

 

Health experts have been warning that antenatal visits help detect pregnancy complications at its early stage, provide essential supplements for healthy mother/child development, and educate mothers on safe delivery practices. But for some women, they find antenatal care as a burden either due to poverty or lack of awareness based on cultural practices and beliefs. As such antenatal remains a neglected priority.

 

 

In Kadawa, Fatima Sani, a 28-year-old expectant mother, admits she has not attended a single session of antenatal since the start of her pregnancy. she said “It’s not that I don’t want to go, but the clinic is far from my house, and my husband says we should save the transport money for delivery day. I just pray Allah protects me and my baby.”

 

From Dan Bare, Shago Tara precisely, Khairat a mother of 4 shares her reasons for not attending antenatal session even though she is fully aware that the session is very important to pregnant women. She said “I feel healthy, so I don’t see the need to go for antenatal. My mother gave birth to all her children at home without any clinic visits, and they all survived.”

 

In Rijiyar Zaki, Hadiza Mukhtar recalls her previous pregnancy, where she skipped antenatal visits entirely. “The nurses were rude to me when I first went. I decided I would not return. This pregnancy, I haven’t gone at all,” she confesses.

 

For Usaina Muhammad of Kurna, the problem is financial. “I can’t afford the registration fee, and I also have other children to feed. I know antenatal is important, but survival comes first.”

 

Meanwhile, Maryam Lawan of Layi Kaji reveals that misinformation has influenced her decision. “Someone told me that the iron tablets they give at the clinic make the babies grow too big, making delivery harder. So, I decided to avoid it altogether.”

 

Medical professionals emphasize that skipping antenatal care increases the risk of complications such as anemia, high blood pressure, infections, and even maternal or infant death. Dr. Ibrahim Musa, a gynecologist in Kano, warns: “We see many emergencies that could have been avoided if the mother had attended antenatal. Most of these cases arrive late, making it harder for the doctors to save lives.”

 

Experts and community leaders agree that raising awareness is key in addressing the matter. Antenatal care should be made more affordable, accessible, and culturally acceptable for all women. Religious leaders, health workers, and family members all have a role to play in encouraging expectant mothers to attend regular check-ups.

 

Neglecting antenatal care is not just a personal choice; it’s a public health concern that affects families, communities, and the future of the nation. Ensuring that every mother has the knowledge, resources, and support to seek antenatal care is a step toward a healthier society.

 

Aisha Muhammad Rabiu writes from Bayero University Kano (BUK) and she can be reached at Email: aishatama2020@gmail.com

Phone no.08084273341

Advert















Continue Reading

Features

Rano’s Peaceful Legacy: More Than a Slogan, One Tragedy Won’t Define Us

Published

on

 

For decades, Rano Garin Autan Bawo has proudly stood as a symbol of peace and harmony in Kano State. It is a place where neighbors look out for one another, where disputes are settled through dialogue, and where diversity is met with respect—not resentment. In Rano, peace is not just a slogan—it is a way of life passed down through generations.

The tragic incident that recently occurred at the Divisional Police Station in Rano Local Government has deeply shaken our community. Known for generations as one of the most peaceful and united areas in Nigeria, Rano now faces the painful reality of an attack that led to the death of a Divisional Police Officer and the destruction of police property. This senseless act of violence goes against everything our community stands for and must not be seen as a reflection of who we are.

Rano has long been recognized for its peaceful spirit, tolerance, and respect for all. People from different backgrounds, religions, and cultures have lived side by side here in harmony. This didn’t happen by chance—it is the result of years of effort by our leaders, religious figures, and ordinary citizens who believe that our strength lies in our unity and diversity.

Our respect for law and order is deep-rooted. We understand the crucial role that security personnel play in keeping our community safe. The people of Rano have always appreciated the risks and sacrifices made by the police, military, and other agencies to protect lives and property.

Respect for the law here is not just about obeying rules—it’s about a shared belief in justice, fairness, and solving problems peacefully and legally. This belief has helped build a respectful and cooperative relationship between the police and the people.

What happened at the police station is completely out of character for our community. The individuals who carried out this attack do not represent us. Their actions go against the values that have shaped Rano. We strongly condemn what they did and make it clear that their behavior does not reflect who we are.

The loss of the Divisional Police Officer is not just a blow to the Nigeria Police Force or the Kano State Police Command—it is a loss for all of us. He wasn’t just doing his job; he was part of our extended family. His death is an attack on the peace and security that we all hold dear.

We send our deepest condolences to his family. No words can ease the pain of losing a loved one in such a brutal way. Our thoughts are also with his colleagues in the police force, who have lost a brother and a friend.

We also stand with the Kano State Police Command and the Nigeria Police Force as they face this heartbreaking loss. We understand how much this affects their morale, especially at a time when their work is more important than ever.

Destroying police buildings and equipment is not just an attack on law enforcement—it’s an attack on the very system that helps keep us safe. These facilities belong to the people and serve the entire community. Damaging them harms everyone, especially the most vulnerable among us.

We urge the government and relevant authorities to investigate this incident fully and fairly. Those responsible must be held accountable. Justice must be swift and uncompromised. Our community deserves to see the law upheld and the wrongdoers brought to book.

To our young people—the future of Rano—we ask for calm and reflection. We know that you may be frustrated or angry about many issues. But violence is never the answer. Taking the law into your own hands only brings more pain and setbacks for everyone.

Instead, we encourage our youth to focus on positive, constructive paths. There are peaceful, legal ways to raise your voices and push for change. Use those channels. Help move our community forward.

Rano must now focus on healing, rebuilding trust, and recommitting to the peaceful values that have always defined us. We must come together—young and old, leaders and citizens—to ensure that such violence never happens again.

We call on traditional leaders, religious figures, community elders, youth leaders, and all residents to stand united in promoting peace and respect for the law. Let’s strengthen our partnership with security agencies and support their efforts to keep us safe, while also holding them accountable to serve with respect and dignity.

How we respond to this tragedy will shape our future. Let us choose unity over division, peace over violence, and hope over despair. The actions of a few will not define us. We will protect the legacy of peace that Rano is known for and continue working together for a better tomorrow.

Buhari Abba wrote this piece from Unguwar Liman Rano.

Advert















Continue Reading

Trending