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Piracy and Envy as the Hausa Film Major Setbacks

Published

4 years ago

on

WUf Episode

 

 

We have recently seen something baffling in the Hausa film industry known as Kannywood. I have confirmed that it has been an industry among others that suffers a lot of setbacks from different spheres of (know-how) its the making in the movie language. Being a part of the narrative or simply storytelling, many Hausa and literary scholars criticize the makers for vitiating the culture and religion in place of dissemination and or mirroring them to outer culture or, other worlds. They are being criticized by their meandering in limited theme often promoting immorality. To some extent, they evolved into music video makers using vulgar words in their lyrical composure and lewd dances which is indeed a threat to the sane, orthodox Islamic culture (and should not be called conservative as the entire society believes in safeguarding their norms and values).

 

In the light of the above, it is an irony they claim promoting the Hausa culture, which is inseparable from the Islamic one. They maintained criticizing their critics in defense, urging them to come and join the activities, as if they sincerely welcome new members. Hashim Abdallah reasoned with them and wrote a book, Ilimin Rubutun Labari: Turbar Addini Da Al’ada) using the Hausa language simply for the benefit of the storytellers (film scriptwriters, Hausa novella writers, let say, their concept bringers, etc.) those which he finds the basic and the backbones indeed in the film making activity. He later produced a web series film using the modern equipment cum average crew members, new but talented artists. The team titled their experimental film, ‘WUF.’

 

Etymologically, the Hausa word, ‘wuf’ means grabbing something hurriedly by taking others unawares, especially in anticipation of any imminent odds. It is also a word of onomatopoeia, ie the sound of that agility to grab. That is why it can carry an exclamation mark. It also means ‘using opportunity at once’ with which the word developed into a marriage between young and elderly persons when they surprise people. It specifically means ‘marriage,’ especially when it is between young and older people, or rich and poor or even between any social class differences, as promoted mainly on social media.

 

The film is Hausa but an English subtitled series film that features the modern life in northern Nigeria, the life of Sugar-mummy and her lover which unfortunately happens to be her son’s bosom friend, both of them are unaware of who the lover is. They decided to go on their relationship even when it dawned on them who they are dating. The 1st conflict is the son’s inclination, the 2nd is how the culture and/or religion may manifest. Is the love itself sincere, marital, platonic or illicit? Unfolded all these only if the movie must be watched.

 

When they finished writing it, they had reviewed and they finally did a lot of brainstorming exercises with a lot of trained and talented young scriptwriters under Hashim Abdallah’s supervision. He then swiftly forwarded the script to a friend and established scriptwriter for observation, corrections, and inputs using the Hausa informal and polite (intimacy) request, “a sa mana albarka”.

 

Although that friend of him had seen it, as Hashim lamented to us, he neither replied nor commented for months as though he had not seen it.

Kannywood star, Nuhu unboxes LaLiga’s official ball for 2021-22 season

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Because of their intimacy with him, this friend of Hashim who he innocently initially demanded that they collaborate to produce the film (because of the friend capacity of being a patron of an association full of young writers under him who fondly respect him) turned down the associating offer pretexting being too busy. He further ignored their invitation to the location telling another lie.

 

After more than 4 months which was after team Hashim produced enviable and commendable episodes 1 up to 3, the same friend collaborated with other pompous filmmakers who paraded themselves as owners of the Hausa films or the industry itself and shamelessly unveiled a poster with ‘wuff’ the title which is exactly the same with Hashim Abdallah’s and co film, including the concept. Everybody who is on social media platforms knows how far their film promotion and poster have gone due to the popularity of the title in the Hausa land especially on social media. The advert featured from print newspapers to online ones including this blessed NIGERIAN TRACKER, recall that. Hashim’s team members said they could not regret unveiling the poster and giving the film wide advert now that even the pirates intentionally stole the concept and the title deliberately. Even then, they still did not neglect to draw the pirates’ attention to the title that has already been taken since they could not discover their script/story than to find out whether the concept too was stolen from us. Besides those issues with some film industry makers, PIRACY is monstrous cancer as an evil that might live after them as in the words of Shakespeare. Especially, now that none speaks up to draw their attention but us the only victims. The most disgusting thing is when they ignorantly claimed WUF and WUFF as different things, not knowing they are pronounced the same, meaning the same, and meant the same in both films just as provided in the above synopsis. Unfortunately, they only messed up and missed it that their spelling, compared to Hashim Abdallah’s, is disastrous and too erratic in the Hausa orthographic rules and grammar. The second additional ‘f’ has no place in grammar.

 

The concept is identical too when they started releasing the film, hence it is confirmed the full idea stealth of Hashim’s. Their other WUFF though with double ‘f’ is about the same elderly woman who murdered her husband and later dating young men in an illicit relationship. No doubt it is the same concept besides the sameness of the titles.

 

These people (pirates) went ahead to our channel to shower insults and threat that Hashim’s channel should stop claiming their film has been pirated since there is an additional ‘f’ to their spelling. It is unfortunate they have a gut to warn in such a shameless way.

 

The most disappointing thing is when that friend of Hashim went ahead to report lies against the producer Hashim Abdallah to the one so-called top actor (too arrogant) who crowned himself a title so that he could turn down Hashim’s planned to offer to feature in his film. That is where I discovered disrespect of one’s profession and ultimate hypocrisy and arrogance, especially when that actor crazily spitted venomous words against the victim producer without knowing who they really are and without investigation – whence, they said they experienced a diabolical handiwork of ignorance and too devilish to condone. They cleared him to doubt indeed when they produced without him or his any help.

 

The film studies scholars too that are respects (though very few we have here in the north, almost none considering how less in-depth they cover and some never ever produced a single clip in the name of the film) did nothing to this at least to help in sanitizing or promoting the industry. But those few we have turned a blind eye to the original WUF film, even went ahead promoting those idea thieves’ film on social media. There is one of them too who Hashim submitted the film trailer, the YouTube link, and the channel’s link, who never got back to him to date though promised to get back to.

 

This is to unveil the attitude of the filmmakers who daily pretend to invite more, welcoming corrections from people to invest or contribute their quota.

 

Hashim provided the channel link so that people can confirm many things claimed in the article:

https://youtube.com/channel/UCiF8_dhsEV_yinAUxBk-_jA

 

The producer, Hashim Abdallah is from Binyaminu Usman Polytechnic Hadejia, Jigawa State.

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Features

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

Published

4 months ago

on

August 28, 2025

By

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

Published

4 months ago

on

August 18, 2025

By

 

 

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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Features

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

Published

7 months ago

on

May 29, 2025

By

 

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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