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THERE IS A WAY” And The Question Unanswered

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Hashim Abdallah

IS A WAY” And The Question Unanswer

By Hashim Abdallah

Film is Literature if it is creativity, if it is imaginative, if it entertains, if it mirrors the real life, if it is written (it has to do with scripts), if it can be an adaptation, if it reveals culture, if it is fictious, if it is (has to do with) performance, if it is aesthetic and artistic that has artistry. Film has all these and more, suffice it to say, it conveys more reality and realism than other Realist fiction genres. It is a text to be studied literarily.

That is why, as a literary student, I am proud of There’s a Way from my dear North as the second English movie in this generation ( *Wasila* was the first) and a (more) well-dialogued ever produced by a Hausa movie Industry, the Kannywood (there were earlier English films in a category that I consider in the previous generation like *Magana Jari Ce* before the advent of Kannywood and the coinage itself.

As a text, There is a Way if seen from the perspectives of the most modern literary theory proponents particularly, the Deconstructionists’ views, has many conflicts though, the Deconstructionists’ complex views on any human narrative and utterance as text do not spare any meaning or, more clearly, they do not arrive at any meaning when they want understand a narrative.

 My stories usually coincide with people’s real-life stories – Fauziyya D Suleiman
Despite, I, however, do not mean to deny There’s a Way any meaning it meant to broadcast but, I will, subtly use these views to find out whether it has achieved its messages amidst meaning and didacticism oriented conservative northern Nigerian society. It could be sufficient for me to look at the film in accordance with the motive and claims of the executive producer, Kabiru Musa Jammaje, as I observed on a satellite Hausa popular television station, the Arewa24 during an interview, he rendered.

As claimed, Kabiru Musa Jammaje joins the movie industry (Kannywood) to clear the bad images the English film as media has been disseminating against Nigerian society as seen internationally. As according to him, international community discovers witchcraft, unchecked quest for riches and other immoralities as dominant issues and themes that are always being addressed in the Nigerian movies so, they interpret them as the only problems bedeviling a whole Nigerian diverse society, which he sees as misrepresentation of many by a few and by, indeed, a part as mostly those movies are southern Nigerian based. For example, as among other countries he visited being English speaking or dominated countries, as in South Africa, could not reach Hausa movies to discover other societies as long as the movies are made in Hausa, he hence decided to produce northern Nigerian English movie by moving both Hausa culture and Kannywood up beyond Hausa speaking societies.

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It has been a good decision and indeed a good attempt as the film, There’s a Way appears. It has a good composition of dialogue spoken in plain English almost, a standard pronunciation known as Received Pronunciation (RP). Always RP is expected in anything to be international, no doubt. The shots, sound, locations and acting(s) of the movie are adequately displayed, utilized and performed so also, commendable. Ironies are well created in the narrative of the film, as in universal thought, ironies make (good) stories so, in There’s a Way ironies made it especially, when the poor is hated hence, a spoke is put in Isham’s wheel who symbolizes the poor, yet Isham still rises to defend the poorer, more ironically, out of the rich’s wealth, just as the Moses rose under the care of Pharaoh or, what the Hausa people proverbially may consider, Zakaran da Allah ya nufa da cara… or Ana zaton wuta a makera…
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Notwithstanding, as according to how the meaning is made out of human mind, there are many silences, chasms, aporia(s), gaps, impasses of meanings that are unanswered and I will raise as questions, those that should have been answered in that attempt of culture display movie:

1) It would have been better if the protagonist, Isham’s study be to another part of the North lest it provokes interpretations that southern varsities are less corrupt or are of better products. It is an irony if the film is meant to suggest southern universities are the escape and/or option because, those southern movies, according to the producer, do not represent Nigerian people let alone the high morality oriented northern Nigeria.
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It would even be better if he triumphs over wicked lecturers and people and studied successfully despite all the odds in that northern university. The main way (out) as the title of the movie There is a Way is suggesting, and as shown in is the southern Nigeria. Southern university symbolizes ‘Escapism’. The film favours the south and clears their notoriety and mess in the university settings.

2) When Isham is framed committing examination malpractice so unfairly withdrawn as a result, even though his well-bred girlfriend from well-to-do family promises to sponsor him and she says he should sit afresh another JAMB, there must be some preparations especially, since the JAMB is annually conducted examination. It is not continuous.

Moreover, the degree in Law takes 5 years duration if there is no any strike which is not possible in the (real) Nigeria. Another issue is, for any Law degree holder to be a qualified lawyer, he/she should attend a bar school which lasts to a year or 2; then the issue of awaiting results, the NYSC programme, etc. in 6 years as in the film, seem not possible.

Isham’s study must take 8 or more years in the southern university, at least. The gap of his study is also too simple. There is need of, at least, a montage of the study (a multiple pictures show that sums up a whole issue or occurrence) perhaps, in this case, his departure, school life, school of law and a shot of a vehicle he boards to return. As he comes back, there is need of more jubilation (little dance) at least by his sister at home (since we culturally do not hug even if it is legal between brother and sister).

3) Since, we don’t know Alhaji Mahdi’s (the main antagonist) nature of business which is the common error in the movies of the industry, his financial crime would have better be known to the audience. It should be told to him or his family who ask inquisitively severally when he is arrested. It seems like the EFCC detectives have mistaken their target.

4) The whole idea of the movie is in the opening scene, during a case hearing in a court when it occurred to the protagonist, Isham, that he should be a lawyer to defend the poor. It was an unconcluded case meaning, it was never a ruled out case whence, injustice meted out but it is a simple allegation and denial followed by an adjournment throughout the hearing.

Then, if that is the case, why should Isham want revive the case after all these years, without any injustice provoked him in the first place?

5) Religion of Islam manifests appropriately but culture subtly or none, apart from the dressings which I also see are more of religious than cultural. We heard Salaams, Isham goes to prayer on time, the court looked like Sharia court when the judge wears turban, begging beggar in the name of Islam is discouraged, etc.

The actors try to their best if not because of my realization that they do not behave at home meaning, they do not behave as they normally do in the Hausa movies (perhaps, because I know the nature of their acting in the mentioned version of movies). Although There is a Way, is a fiction but, it is indeed a realist fiction that should be true to the observed facts of life, true to the nature, and true to experience.

This, as a critique that concerns gaps, is a call on the story writers, known as script/screenwriters, producers and directors to put more effort to improve.

Hashim Abdallah.

Features

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

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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.

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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.

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Features

Antenatal Care: Why some women misses several sessions

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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.”

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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

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

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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.

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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.

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