HAUSA SONGS AND FILMS: THE ROLE OF HAUSA

SONGS IN THE MAKING OF HAUSA FILMS

BY

IBRAHIM LAMIDO
lamidoibrahim52@gmail.com
07060777144, 08026807531

DEPARTMENT OF LANGUAGES,
FEDERAL UNIVERSITY KASHERE
GOMBE STATE

A PAPER SUBMITTED TO
THE JOURNAL OF THE FACULTY OF ARTS AND
SOCIAL SCIENCES
YOBE STATE UNIVERSITY, DAMATURU

JULY, 2016.

Abstract
Since emergence of Hausa home videos and later films, the development is
welcome by the Hausa people with mixed feelings. While the cross section
of the society regard it as a positive development, another part of the
society considers it as unhealthy and phenomenon as unhealthy as it will
affects the revered norms and values of the Hausa people. Hausa songs
found in the films constitute the major issues objected by the latter. This
paper is not a study of Hausa films but a research committed to the songs
that go to together with film production. The paper has asserted that in spite
the social ills as alleged associated with the songs, they play a vital role in
the making of the films. There is enough evidence that shows the films
cannot survive without the songs. Thus the author is of the view that film
producers should find means of removing the unwanted parts that are
deemed as a threat to Hausa revered culture.

1.Introduction
Despite the ostracizing and the negative view society does on Hausa films and
characters, it appears, the films play a vital role in regulating norms and values in
Hausa society. In addition to this function, the films also serve as a pivot which
assists in the preservation of the Hausa cultural heritage. Usman et al (2013:237)
hold that film is a powerful tool for the transmission of cultural values. Likewise
the songs found in the films together are seen to have been playing a vital role in
the making of the films. In this study, attempt has been made to examine the role of
songs in the making of Hausa films. The study is deemed significant by the author
given the fact that it will bring to limelight the reasons for the necessity of the
songs in the Hausa films despite all the odds attached to them. it will probably
review part of the societys thought and stand on the songs, as there are a cross
section that regards films songs as social ills to the society since emergence. Some
scholars and public commentators even question the identity of those film makers,
the actors and the actresses, and generally, the entire people of the film making
industry. They believe that the kind of behavior portrayed in those malicious films
is not Hausa (YarAduwa,, 2007). (Ibrahim, 2013).

2. Poetry As A Genre In Hausa Literature

A number of scholars defined song (oral and written) in many ways, but all geared
to one direction. According to them an oral song is a rhythmic words structured
and composed through a technique of cadence that serve as verses and chorus,
sometimes with musical interludes that rhyme together with the song, and is
produced to entertain and /or convey a specific message to the people. A poetry on
another hand is a song composed through a written process using strict rules that
include stanzas, rhymes, and metres in order to convey a message to the society
(Dangambo, 2008), (Gusau, 2003), (Abba & Zulyadaini, 2000).
Based on this definition, an oral song found in Hausa film is a composed piece of
literary work built in the structure of verses and choruses, rhymes and interwoven
with music aimed at conveying messages contain in the film to the audience
watching and listening.
3. The Emergence Of Hausa Films In Brief
Abbas (2005) and YarAduwa (2007) defined film as a motion picture produce
using video camera and comprising of characters each having a specific role to
play through imitation of people and events in the real world. A film has a specific
time allocated for production and contains a message that may be reprove or
entertainment or a reflection of the past life of the people conveyed to the people
through televisions or projectors.
Hausa films emerged from traditional drama produced and played in theatre or
playground and disseminated in the media houses such as radio stations and
television stations (Abbas, 2005). Usman et al (2013:238) also hold that Hausa
movie began from Hausa oral performance which strictly depicts Hausa culture
and traditions.
There are contrasting views regarding he emergence of Hausa films: Chamo (2012)
holds that the first film produced in Hausa land was in 1955, while the first
commercial Hausa video Hausa film was Turmin Danya by Tumbin Giwa was in
1990. But according to Abbas (2005: 59-60), the Hausa people started producing
films in 1980 through 1984 at Kano, through Hausa films associations formed for
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the purpose of film production. The associations produced the first series of Hausa
films:
-

Hukumar maganin banza

Yan xaukar Amarya
Auren dole
Baqar Indiya

Investigation shows Baqar Indiya was the first Hausa film that in constitute in
its making, songs and dances. These led to proliferation of Hausa films
associations that continue to produce films like: Ma ji ma gani, and Jamila da
Jamilu in 1987. By 1999, Tumbin Giwa film association had produced quite a
number of films for marketing. Some of the films produced by the association
include:
-

Turmin danya 1990

Rikicin duniya 1991
Gimbiya Fatima 1 1992
Gimbiya Fatima 2 1993
Gimbiya Fatima 3 1994
Gimbiya Fatima 4 - 1995 (Abbas, 2005;60-61).

Since then, interested individuals continue to invest in Hausa film production

especially in Kano, Kaduna, Katsina, Zaria, and Sokoto. Different film production
companies emerged in these cities and continue to produce films for marketing
within and outside Northern Nigeria.
4. The Emergence of Songs In Hausa Films
Two different views emerged regarding the evolution of songs and music in Hausa
films. The first view holds that songs and music in Hausa films has its root from
Usshaqu1 poets. According to this view, Hausa film singers and poets like Mudassir
Kasim, Sani Yusuf Ayagi, and Danazumi Baba emerged from this group. It started
from as a from of contract, where directors and producers invite the poets and pay
them to compose songs for their films. Later, they metamorphosed into Hausa film
singers. Holders of this view claimed the song of Dausayin Soyayya film produced
in 1986 was the first Hausa song.

1.

Usshaqu refers to religious group of oral poets, singing in praise of God and his messenger

The second view holds that songs and music in Hausa film originate from the first
films produced by Hausa traditional drama groups, especially the Baqar Indiya
film produced by Gyaranya drama group. It was the pacesetter which gave out an
opening for the proliferation of songs and music in Hausa films. There and then,
producers continue to include songs and music in their film productions. According
to this view, an oral poet in the person of Sidi Musa from Kano was the first to
compose song played in Baqar Indiya film. He was followed by Sani Hamza a
member of Gyaranya drama group. Sani composed a number of songs for different
films. The holders of this view claimed song of Dausayin Soyayya film composed
and sang by the film star Ibrahim Mandawari to his beloved came up later (Abbas,
2005:67-70).
There and then different singers continue to emerge ad produced songs performed
in studios and mimed by the film characters. Notable among include: Misbahu
Ahmad, Hamisu Lamido Iyantama, Rabi Mustapha, Nasir Ishaq Gwale etc etc.
some of them composed the songs and pass it for someone else to sing. Others
composed and sing it themselves.
5. The Relationship Between Song And Film
Scholars are of the view that songs and films are closely related if one considers
the message both convey to the society. For one both the two convey their
messages to the society in the form entertainment. What differentiates the two is
the method of conveying the message (Abbas, 2005).
While the message is conveyed through a composition of rhythmic words arranged
in cadences with music in the case of song, film message is conveyed though
imitation of real life in the society for other people to watch in their television sets.
Both appears to be medium of enlightening the society and indirectly inculcate
norms and values of the society to the people, using different orature. One finds
themes such politics, patriotism, social issues, self reliance and discipline in both
the two. Usman et al (2013) film helps in shaping the perspectives on a peoples
culture. The impression which viewers develop about a people and their cultural
5

values, are greatly influenced by film portrayals. Yushau (2003) in Usman et al

(2013). Popular themes which recur are sex, infidelity, fraud, violence, intrigue,
conflict and other subjects which are designed to entertain, excite, provide
escapism and appeal to the emotions (Yushau, 2003 in Usman et al 2013:237). In
a related manner, sways that appeal to the reasoning of the people, songs among
other oral traditions are emotional, inspirational, and passionate ways that appeal to
the reasoning of the people, there by having the ability to induce positive
behavioural changes in the society (Usman et al 2013:239).
6. Songs as the soul of Hausa Films
Considering the role of songs in the making of Hausa films, one will conclude that
songs are to put it this way a soul mate to films, taking into account the following:
6.1 Song as a Facility for Theme Conveyance
A song helps in the conveyance of message contain in the film. Film producers
might have taken notice of the thematic similarities of both as discussed in their
relationship above and resolved to employ the songs to drive home the messages
contained in their films. This assumption might probably be true if we consider
how film audience particulary the youth understand the theme embedded in a film
if they songs therein carry the films objectives. For example: ki yarda da ni song
sang by Nasir Ishaq Gwale in the film Ki yarda da ni mimed by the film actor
Ibrahim Mohammed Mandawari had helped a lot in conveying the film message
which is talked of trust among married couples. The contents of the song clearly
deciphered the film message characterizing of issues relating to polygamy and the
need for a wife to trust husband when it comes to a decision of provision of
additional wife to partner with the existing one. The film actually addresses a
marital issue associated with tension in the family when a husband wants to add a
second, third or fourth wife. While some men appear to be unjust to the old wife,
the story is not the case with some God-fearing men. The song has brought to lime
light the theme, without which it could hardly be fathomed by some of the
audience.
6.2 Song as Object of Film Decoration

According to A.A.G.D (2004) in Abbas, (2005), songs play a major role in

decorating films. The songs, the music, and the dances altogether create market
value for a film, as customers moved by songs and dances, rush to get a copy once
the film is out. Likewise some films that lack these stimulants can hardly sales out
in the market. This is the more reason why the films songs are made available in
both audio CD and audio cassette. Almost every film has its songs audio recorded
CD and cassette in the market. Example that can be cited here is Sangaya song
composed by Misbahu Ahmad, and sang by Ali Nuhu and Fati Mohammed in the
film Sangaya. It is evident that the song was the reason behind the popularity of
the film. Most people today remember the film by the song.
6.3 Song as Tool for Film Advertisement
Film producers use songs to advertise their films. Some people rush to buy a film
because of the its songs part played in the advertisement. One cannot fail to notice
how So salo-salo song its music and dances in the film Sassala created attraction
of the film among the teeming audience. Most of the spectators are overwhelmed
by the singing, the dances by the film actors, Idris Lelesco and Mukhtari
Kwanzuma. The song has created a major sensation of the film right from
advertisement.
6.4 Song as techniques of preserving attention
One of the methods of driving a message into the spectators minds is to create a
situation where the audience will keep their eyes glued to their television watching
a film until the end. Realizing that, producers opt for the use of songs to make the
audience keep watching from beginning to end. If a scene or some scenes are
shown they will be followed by a song to entertain the audience. After all an adage
says a work without play makes Jack a dull boy. It is for the same reason that one
find a film containing four to five songs that keep the audience in joy mood while
watching a film. This way an audience attention is retain until the end.
7. Conclusion
Finally, the paper has examined the role played by songs in the making of Hausa
films. We have seen how the songs helps in conveying messages contained in the
film. How it decorates film, and serves as a tool for advertisement and a technique
7

for luring spectators attention. By these, the songs play a major role in the film
production. As Ibrahim (2013) rightly pointed out, The Hausa people are strict
followers of Islam, the religion, which, in a greater proportion conforms with their
culture, both the culture and Islam frown at the film as many of them contain
quasi- Euro-American and non Islamic ideas, practices and experience, and so do
not represent the culture and the religion of the people,. in view of this, it is
recommended that the film producers and the directors should have a means of
addressing some of the strange attitudes in the performance to cushion the effect of
the negative sentiments posited by the society on the songs and the films in
general.
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harshe a
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Hausa Culture in Kaduna Voice Magazine, (Online).

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