Hausa da Hausanci a Karni na 21 – Kalubale da Madosa

Daga Abdalla Uba Adamu (auadamu@gmail. com)
Chairman, Center for Hausa Cultural Studies, Kano



Being a paper presented at one-day sensitization meeting of Hausa Motion Arts Stakeholders on Wakilcin Al’adu da Addini a Finafinan Hausa, held on Saturday 2nd April 2005 at the Murtala Muhammad Library, and organized by the Directorate of A Daidata Sahu, Kano



Gabatarwa

A duk fadin kasar nan, babu al’ummar da ta fi ta Hausawa samun kalubale a kan salsalarta da rayuwarta. Ba wani abu ne ya janyo haka ba illa albarkar da Allah Ya yi wa Hausa da Hausanci, ya zamanto ko kaka mutum wanda ba Bahaushe ne ba ya yi gogayya da Hausawa, ya iya Hausa, to shi kam zai dauki kansa ne a matsayin Bahaushe. Wannan ya saba da yadda shi Bahaushen ya kan dauki kansa, domin komai jimawar da ya yi a wani wuri, to shi har abada a matsayin Bahaushe zai dauki kansa, ba dan mazauna wurin ba. Abin da ya janyo haka kuwa shine ganin yadda kasar Hausa ta zama dadaddiyar cibiyar ciniki tsakanin bakaken fatan Afrika na Sudan da kuma Larabawa, wanda ya sa kasar Hausa ta zama wajen zaman mutane da kabilu da yawa domin cinikayya. Su kansu Hausawan ba mazauna waje daya bane; daga Kano zuwa Gwanja, zuwa Salo da Kamaru da Kwango, duk babu inda Hausawa basu ratsa sun kafa sansani ba. Amma tushen su kasar Hausa domin nan suke dawowa, komai dogon zangon su. A dawowar ne suka dawowa da sababban abubuwa na dabi’u da tadodin al’ummatan da suka hadu da su, suke narkar da wadannan su zama nasu, har ma ta kai a dinga kokwanton ko a kwai Bahaushe na asali.

Sannan kuma Hausa (yaren), Hausawa (masu yaren) da kuma Hausanci (akidar masu yaren) sun samu wani babban kalubale a wannan karni na 21 da muka shigo, ba don komai ba sai don ganin yadda igiyar sauyin halayen al’umma suka shafi gundarin rayuwar Bahaushe. Wannan igiyar kuwa ta taho ne da hanyoyin sadarwa na zamani wanda sukan kawo mana salo da yanayin rayuwar wadansu al’ummatai na duniya wadanda wani lokaci muka ga kamar akwai kamanceceniya a salon rayuwarsu da namu. A kokarin kwaikwayon wadannan al’ummatan ne ake samun babban kalubale a rayuwar Bahause ta zamani ta hanyar finafinai, domin wannan ita ce babbar hanyar da ake haskaka rayuwar al’ummatai kuma a`ke wakiltarsu.

Bugu da kari, nazarin Hausanci sai ya bambanata da nazarin rayuwar al’ummatai (Anthropology) ta yadda kusan kullum an fi karkata ga yaren Bahaushe, maimakon sauran fannonin na rayuwarsa. Sannan kuma ko a nazarin zamantakewarsa, an fi damuwa da haihuwa, rayuwa, mutuwa da bukukuwansa, watau tadodinsa, amma ba akidarsa, watau al’adarsa ba.

A wannan jagoran bayanin, zan yi kokarin in fayyace salsalar Bahaushe da kuma fito da gundarin akidarsa domin fahimtar yadda Bahause yake, da kuma yadda yakamata a wakilce shi ta kowacce hanya in ana son a yi masa adalci.

Bahaushe, Daga Ina Haka?

Babban abin da za a fara tambaya a nan shine, wai shin wanene Bahaushe? Wannan tambayar tana da ban mamaki domin ganin cewa babu wata kabila da ake tantamar salsalarta a Nijeriya. Misali, idan aka ce Yarabawa, an san wadanda a ke nufi. Amma da zarar ka ce Hausawa, sai a fara musu domin ana ganin yawan gaurayar al’ummatai, da kuma iya yaren Hausa na mutane da yawa ya sa bama za a iya cewa ga Bahaushe ba. Wannan tunani ya karfafu a bisa nazarin wani mai nazarin Harshe da ake kira Joseph Greenberg, wanda ya rasu a Amirka ranar 7 ga Mayu, 2001 yana dan shekara 85. A turbar nazarin da ya gina, Greenberg ya jagoranci ra’ayin cewa babu wata kabila Hausawa, domin su kansu Hausawan, a wajensu kalmar “Hausa” tana nufin yare – misali zaka ji mutum ya ce “bana jin Hausar wancan mutumin” – watau a nan, Hausa yare ce kenan.

Sannan kuma kusan kowannen Bahaushe zaka ji ya ce da kai ai shi ainihin iyayensa Fulani ne, Buzayene, Barebari ne, da dai sauransu. Amma kuma in ka tambaye shi ko yana jin wancan yaren na wadannan mutanen, sai ya ce da kai baya ji. Wannan shi ke dada dagula Hausa da Hausanci, a rasa ma wai shin wanene Bahaushen.

A wani hasashen an danganta samun kabilar Hausawa da auratayyar al’ummatai daga Afrika ta Arewa inda zaunannun wadannan wurare suka gauraya da buzaye, sannan aka samu Hausawa. Wannan kuwa ya faru ne a tsakanin 1050 da 1100.[1] Amma kuma wani manzarcin ya kalubalanci wannan hasahen inda ya ce babu wata tabbatacciyar hujja da ta nuna samun Hausawa bisa wannan auratayyar al’ummatan. A ganin wannan manazarcin, in an ce “Kasar Hausa” to ana nufin yankin da ake magana da yaren “Hausa”, ba wai wata kabila ba.[2] Sauran ra’ayin manazarta suma sun ginu ne a kan wannan ra’ayin. Ta haka, misali, Niven ya ce kalmar “Hausa” asalinta ta Buzaye ce, domin da wannan sunan suke kiran duk wanda ya fito daga arewancin kogin Kwara.[3] A wannan nazarin, Hausa kalma ce wadda Buzaye ke kiran duk bakar fatar da ke inda Larabawa ke kira Sudan . Abin mamaki, ita wannan kalmar ma tana nufin mutanen Abyssinia, watau Habasha, wanda wannan ya kawo hasashen cewa Hausawa daga Habasha suke; yanzu kam mun gane cewa kiran Hausawa da Hausa, da kuma kiran Habashawa da Hausa, duk aikin Buzaye ne.[4] Sannan kuma yin amfani da kalmar ma kaskanci ne na wariyar launin fatan da Buzaye ke yi wa duk wani baKi. Misali, tunda Hausa tana nufin Bahaushe da kuma Bahabashe, sai a ka samu wata danganta ta yadda a harshen Habashanci, “habshi” na nufin haushin kare. Saboda haka a wajen Buzayen wancan lokacin, duk wanda ke magana da wadannan yarurrikan to Bahabshi ko Bahaushe ne.[5] A takaice dai an daidata furucin Hausa da haushin kare, wanda kuma su Hausawa suna yin haka ga wadansu kabilun inda in mutum baya jin Hausa, sai su ce, “bagware ne”.

Skinner kuwa cewa yayi kalmar “Hausa” ta fito daga mutanen Songhai (inda Mali take yanzu) ne, domin sune suke kiran duk kauyukan da ke gabas da su hausa ko aussa, daga nan ne su “Hausawan” suka ari wannan kalmar suke kiran kansu da ita[6] – watau kafin wannan basu da wani suna da suke kiran kansu!

Sannan kuma manzartan tarihin kasashen Larabawa sun ziyarci kasar Hausa amma duk a rubutunsu, basu ambaci kalmar “Hausa ba” a matsayi sunan kabilun da suka hadu da su. Marubuta kamar su Leo Africanus wanda ya ziyarci kasar Hausa wajen karni daga 1513 zuwa 1515, bai ambaci mutanen da sunan Hausawa ba, sai dai ya ce “Mutanen Kano ”, “Mutanen Katsina”, da sauransu. Yarensu kuma sai ya ce suna magana da yaren “Mutanen Gobir”.

Wannan ya nuna cewa jimlar kalmar “Hausa” a matsayin nuni ga wata kabila sabon abu ne wanda bai wuce shekaru 400 ba. Amma kuma akwai daulolin Hausawa da masarautun Hausawa da ake magana da harshen Hausa fiye da shekaru 1000 da suka wuce. Idan haka ne, ashe Hausanci ba a yaren ya tsaya ba, akwai kabila wacce take da salsala. Makala suna “Hausawa” a matayin masu magana da yaren “Hausa” abu ne wanda wadansu suka yi wa Hausawan, amma basu Hausawan da kansu ba, kamar yadda Hausawa ke cewa da kabilar Igbo, “Inyamurai”, wanda kuma ba haka su Igbo suka kiran kansu ba.

Saboda haka ko da lokacin da Leo Africanus ya zo Kano , daular Kano ta yi fiye da shekaru 500 da kafuwa, kuma da Hausa ake tafiyar da ita. Ashe Hausanci ba yare ne ba, akwai kabila Hausa. A nan nafi karkata ga Muhammad Sani Ibrahim inda ya ce, Hausa suna ne da yake da ma’anar Harshe, da mutanen da suke magana da shi, da kuma kasar da ake magana da shi.[7]

Saboda haka sai mu koma tambayar farko, shin wanene Bahaushe? Amsar a nan ita ce duk wanda salsalarsa babu wani yaren iyaye sai Hausa, to shi ne Bahaushe. Idan a jerin iyaye da kakanni akwai wanda ba Bahaushe bane, to kai ma ba Bahaushe bane. Na aro wannan ma’aunin bisa cewa Hausanci kirar halitta ce, ba lafazi ba. Misali, a kasar Turawa, in a cikin iyaye da kakanninka akwai bakar fata, to ko kafi madara fari a matsayin bakar fata kake.

A wannan ma’aunin, babu maganar zama a wata al’umma da kuma sanin yarenta, domin ka zama dan wannan al’ummar (a nan, kabilar). Misali, duk iya larabcin bakar fatan da ya zauna a garin Maka, ba za a taba kiransa Balarabe ba, ba wai kawai don akwai banbancin tsakakin fatar Balarabe na aihini da bakar fata, ba, a’a, kawai ba Balarabe bane, kuma shi ma ya san haka. Haka duk iya Turancin bakar fata a Ingila ba za kira shi Ingilishi ba, sai dai dan kasar Ingila, domin Ingilishi (English) kabilace a Ingila tare da Sikotawa (Scottish), Irishawa (Irish) da kuma Welshawa (Welsh), kuma duk wadannan Turawa ne, farar fata; babu baki a cikinsu. Su kansu a Ingila din, zaka ji mutum na alfahari da kabilarsa – misali, duk da cewa shi fari ne, amma zai ce maka shi Ba’Irishe ne, ba Ingilishi ba. Saboda haka kamar Hausa, in ka ce English to ana nufin yaren da kuma Kabilar. Ta haka za a bambanta cewa “wannan mutumin British ne, amma fa dan kabilar Welshawa ne”

Bari in dawo gida. Idan, misali wani Bayarabe da matarsa suka bar kasar Yarabawa fiye da shekaru 100 da suka wuce, suka yada zango a wata unguwa a Kano suka yi zuri’a, to komai nisan zuri’ar da wadannan iyayen zuri’a, duk a Yarabawa suke. Halin zamantakewar su zai iya sa wadanda aka haifa daga baya basu ma san yaren iyayen nasu na asali ba, sai Hausa. Duk da haka, Yarabawa ne, domin salsalarsu ce. Idan dole sai an dangantasu da Hausa, to a iya kiransu abin da na kirkiro da Hausawan Zamantakewa. Amma ba Hausawa bane, domin Hausa ta wuce yare, kabila ce, tare da al’adunta na musamman, da kuma dabi’o’inta. Mutum zai iya rungumar wadannan domin ya zama Bahaushen Zamantakewa, amma ba zai zama Bahaushe ba, kamar yadda mutum zai iya karbar rayuwar Larabawa domin ya zama dan, misali, Dubai , amma ba zai taba zama Balarabe ba in ba shi ba ne.

Idan iyayen salsar sun ki su koyawa zuri’ar su yaren su domin suna son su bace su zama Hausawa (ko kuma mazaunan inda suka sami kansu), wannan ruwansu, amma wannan ba zai kankare musu Yarabancin ba. Mu danganta da cewa komai dadewar Bahaushe a Shagamu, ba zai taba tsammanin shi Bayarabe ne ba. Ta haka za a ga Hausawan Kamaru da Gana da Kwango, misali, wadansu basa jin Hausar sosai, ko kuma suna yin Hausar wata iri, amma kowanne daga cikinsu zai danganta salsalarsa da wani gari a kasar Hausa.

Wannan yana daga cikin ban mamakin albarkar da Allah ya yi wa Hausa da Hausawa – kullum wadanda ba Hausawa sai so suke a dauke su a matsayin Hausawa, duk da cewa suna da tasu kabilar – da akidodin – wacce ya kamata su daukaka.

Dabi’a, Tada (Gargajiya) da kuma Al’adar Bahaushe

Tari da yawa in an yi maganar “al’adar Bahaushe” ana maganar dabi’u da tadar Bahaushe ne. Babban abin da ke kawo wannan muhawar shine ganin yadda kusan duk nazarin da ake yi wa Hausawa, ana yi ne daga turbar harshe, ba daga turbar mu’amala da tarbiyya ba. Wannan ya saba da yadda manazartar rayuwar al’umma ke nazarin sauran al’ummatan. Kuma kasancewa masu nazarin Hausawa na farko-farko sun yi daga wannan kusurwar ta nazarin harshe, sai aka ci gaba da wannan turbar. Ina mai fatan bude wata hanyar nazarin rayuwar Bahause a bisa alkiblar nazarin rayuwar dan Adam ba kawai ta harshe ba.

Hanya ta farko ta barin waccan kusurwar nazarin ita ce bambanta dabi’ar Hausawa, tada (ko gargajiyar) Hausawa, da kuma al’adar Hausawa. Wadannan rukunayen rayuwa dole a bambantasu kamar yadda masu nazarin salsalar al’umma (Anthropologists) suke yi wa sauran al’ummatan. Domin a samu kyakkyawar fahimta, dabi’a dai ita ce, social behavior; tada ko gargajiya kuma, customs and traditions; sannan al’ada kuma mores and midsets.

A bisa wannan ma’unin, dabi’a tana nufin yanayin zaman mutum, tada da gargajiya kuma na nufin yanayin da aka gada kaka da kakanni, wanda zai iya bambanta da yanayin zaman mutum a yanzu, ko kuma halin da mutum ya samu kansa. Al’ada kuma tana nufin sinadarin mu’amalar mutum, ko kuma tarbiyyarsa. Al’ada a gaba take da dabi’a, kuma zata iya jagoranta. Idan an ce mutum ba shi da al’ada mai kyau, ana nufin bashi da tarbiyya mai kyau, domin al’adar ko tarbiyyar sune suke gina shi a kan fasalin mutumin kirki, ko kuma “dan asali”.

Za a iya aron dabi’a da ma gargajiya, amma ba za a iya aron al’ada ba, domin ita al’ada tana tattare da ruhin mai ita; bayan dabi’a kuwa ta kan canza bisa yadda yanayin zama yakama; kai har ma aron ta ake yi, amma ba za a taba aron al’ada ba. Saboda haka za iya aron abubuwan sarrafa dabi’a, a gyarasu, a canza su, in kuma an gaji da su a zubar da su. Amma ba a aron al’ada domin ita al’ada tana like ne da ruhin mai ita a matsayin sinadari.

A duk inda ake nazarin zamantakewar Bahaushe, dole sai ka ji ana ta cakuda wadanan rukunayen zaman mutum -- dabi’a, tada, da kuma al’ada. Wani lokaci in an ce al’ada, to ana nufin dabi’a; sannan kuma in an yi maganar dabi’a, saka ji lallai ba al’ada ake magana ba, ana maganar tada ne. Ya zama wajibi a bambanta kowanne da kawo bayanai da hujjoji domin su tallafawa bayanin.


Dabi’a da Zamanancin Bahaushe

Duk da na ganin kamar Bahaushe bagidaje ne, bana jin akwai kabilar da ta fi Bahaushe rungumar zamanin da ya sami kansa. Wannan ba zai zama abin mamaki ba domin kasar Hausa dadaddiyar matattara al’ummatai ce. Su kansu Hausawan ba mazauna ne ba, akwai su da yaron kasuwanci da fatauci. Ta haka sukan ci karo da abubuwa baki da yawa, daga yare da are-aren kalmomi, zuwa ire-iren abinci da kuma tufafi, kai har da ma sigar gine-gine. A duk lokacin da Bahaushe ya ci karo da wani abu sabo, dan-da-nan yake karbarsa, in har ya yi daidai da abin da saba da shi. Idan kuwa bai daidata sahu da rayuwarsa ba, to bijire masa yake yi, komai kyaun sa. A bisa wannan tarihi na Bahaushe, babu wanda ya fi Bahaushe karbar zamani.

Ta wannan hanyar, da yawa daga cikin abubuwan da muke amfani da su, wadanda ake ganin kamar aro ne, duk na sarrafa dabi’a ne, kuma da yawa na aron ne. Misali, Bahaushe bai san ya yi gini da kusurwa hudu ba, sai da ya hadu da Larabawa. Kafin wannan lokacin Bahaushe bai san tubali ba, a wajen Larabawan ya gani. Amma ya karbi gini da tubali, daga baya da sauyin zamani ya zo, ya ke amfani da bulo, da farko da na kasa, daga baya ya koma na siminti. Wannan canjin yana nuna canjin dabi’ar Bahause ta gini, wanda dama da aro ya fara shi.

Haka kafin haduwar Bahaushe da Larabawa, abincinsa kusan kayyadadde ne – dambu, tuwo, zogale, dan wake, da sauransu. Haduwa da Larabawa ya canza dabi’ar cin abinsa ya fara cin gurasa, alkubus, algaragis, da sauransu. Yau in ya ce ya daina cin dambu – ra’ayi ne, ba Hausanci ba, domin takan yiwu a haifi Bahaushe a kasar da babu dambu ko kuma kayan sarrafa shi, kamar a ce Australiya – shike nan kuma sai a ce ba Bahaushe bane don ba ya cin dambu?

Sannan kuma babban abin da ya kawo ake ganin kamar ma babu wata kabila Hausawa, kuma Hausanci ai yarene, ba wani abu bane illa ganin yadda tabbas kam Bahaushe na da saurin aron abubuwa. Kusan duk abin da aka ga Bahaushe ya ara, to yayi ne a matsayin makami domin hulda da wadanda ya ara daga wajensu; kuma in abin bai yi masa ba, zubar da shi zai yi; in kuma ya yi masa, zai narkar da shi ya zama nasa, ta yadda ko shi kansa wanda ya bawa Bahaushe aron abin, ba zai iya gane shi ba. Amma duk abin da ya ara, abin sarrafawa ne – daga tufafi, zuwa dabarun dafa abinci, zuwa ire-iren abinci, kuma zuwa kalmomi. Duk wadannan an aro su, ana kuma amfani da su, kuma in basu dace da al’ada ba, to zubar da su ake yi ta yin Allah-wadai da su.

Babu inda Bahause ya nuna gwanintarsa ta aron abubuwa suka zama masarrafai gare shi kamar harshe. Bincike ya nuna cewa har ya zuwa 1960 kusan kashi 20 daga 100 na kalmomin Hausa da Fulanci daga Larabci suke.[8] Sannan kuma daga 1960 zuwa yanzu, an samu karin wadansu kalmomin da Bahaushe ya ara a cikin Larabci yadda abin zai kai kusan kashi 40 ko fiye daga cikin dari daga kalmomin da aka ara.

Sannan sauran yararraki sun shigo cikin Hausa sosai ta yadda Bahaushe ya ari abubuwansu ya mayar nasa. Amma kusan duk abin da aka ga Bahaushe ya ara, to kamar yadda na ce, abin sarrafawa ne, ba tsarin mu’amala ba. Misalai daga cikin yararrakin da Bahaushe ya ci karo da su, sannan kuma ya ari kalmominsu sun hada da Azbinanci, Fullatanci, Barbanci, da Nufanci. Ga jadawalin da ya nuna misalai daga cikin wadannan are-aren kalmomin daga wadansu yararrakin cikin Hausa:

Jadawali na 1: Are-Aren Kalmomi a Cikin Hausa[9]



Azbinanci Fullatanci

Ayaran ayari Allah seini alasaini (pl)
takarde takarda All reini alaraini (pr)
takoba takobi Allah sabbi nane alasubbinani (h)
cokal cokali kindirmu kindirmo
kanwa kanwa bukkaro bukka
ejaq jaki burtol burtali
aurak auraki jalloru jallo
akala akala burugal burugali
azurf azurfa baff baffa
mamaki mamaki kawu kawu
ashiq ice goggo gwaggo
tindi turmi ndottijo dattijo
sabro sauro ndottaku dattaku
teku teku mura mura


Barbanci Yarbanci Nufanci
kasugu / kasuwa paki / Kwaki gulu / ungulu
tubo / turba pano / kwano gbamgba / agwagwa
sango / sango agogo / agogo kplaba / kwalba
fure / fure apoti / akwati iyelye / alele
tambari / tambari gele / gyale bente / bante
algaita / algaita fshana / ashana ganga / ganga
ganga / ganga dokita / likita
birni / birni patapata / kwata-kwata
goyi / gwani pali / kwali
yarima / yarima gangan / ganga

Shi kansa Turanci da ake ganin kamar yaren wadansu kebabbu ne, bai samu ci gaba ba sai da ya ari kalmomi da yawa daga cikin yaren al’ummatan da Turawa suke hulda da su; domin Turawa, kamar Hausawa, ba zaune suke ba, a kwai su da yawo da kuma karbar sabon abu. Misali daga cikin al’ummatan da Turawa suka ari kalmominsu domin gina Turanci na jadawali na kasa.

Jadawali na 2: Are-Aren Cikin Turanci



Turkish Egypt Arab Indian
Mammoth Pharaoh Alcohol Bungalow
Turkey Gum Hazard Dam (n)
Vampire Ebony Cable
Coach Oasis Sugar Malaysian
Kiosk Ivory Racket Amok
Girl Ammonia Mattress Ketchup
Beer Embark Magazine Launch
Book Algebra Gong
King Alcove

Saboda haka ashe aro ba wani bakon abu ne a cikin dabi’ar Bahaushe, kuma tunda aron da yake yi yana tafiya da yadda ya samu kansa, dole a yarda Bahaushe na tafiya da zamani, ba wai bagidaje ne ba. Misali, cin abinci da hannun hagu da cokali mai yatsu, dabi’ar Banasare ce. Cin abinci da tsinkaye guda biyu dabi’ar Canis ce. Duk wadannan da kyar zaka raba su da wadannan dabi’un. Amma zaman Bahaushe a Hon Kon zai iya sa ya ari dabi’ar cin abinci da tsinkaye, domin yana ganin zai iya, ko kuma yana sha’awa. Wannan ba zai sa ya zama Canis ba, amma za a iya cewa ya bar tasa dabi’ar (ta cin abinci da hannu, domin ko cin abinci da cokali ma ba dabi’ar Bahaushe ba ne, don cokalin aro shi ya yi daga wajen Azbinawa), ya ari ta Canis, domin a wannan aron, babu yadda zai nasabanta shi da rayuwarsa. Amma kuma a wani misalin, babbar riga ba tufafin Bahaushe bane, amma yanzu babu Bahaushen da zai yarda babbar riga ba tasa ba ce saboda yadda ta dace da tsarin dabi’ar rayuwarsa.

Tada ko Gargajiya da Zamanancin Bahaushe

Tada, gargajiya, ko kuma customs and practices, tsare-tsaren rayuwar Bahaushe ne da ya gada kaka da kakanni. Da Musulunci ya zo, sai ya kawar da wadansu, kamar tsafi da bautar gumaka, da shan giya da zina, da sauransu, ya kuma kyale wadansu domin basu yi karo da addini ba, kamar tsare-tsaren haihuwa da sauran bukukuwan da suka hada da haihuwa. Duk da cewa rayuwa wacce aka gada shekara da shekaru, ba dole ne mutum ya yarda da ita ba, domin akwai ra’ayi a wajen inganta tada. Misali, matan Turawa basa wankan jego. Wannan sai matan Hausawa. Amma shi ma yanayi ne da kuma ra’ayi. Bahaushiyar da ke zaune a Ingila ba zata yi wankan jego ba, domin yin haka zai keta ka’idar kiwon lafiyar dan Adam a kasar. Saboda haka idan wannan Bahaushiyar ta ce ba za ta yi wankan jego ba, ba wai ta yar da tadar ta bane, kawai yanayin zamanta ba zai kyale ta ta ci gaba da wannan tadar bane. Sannan wadansu matan basu da karfin halin da zasu dinga shekawa kansu ruwan zafi, ko saboda rashin lafiya ba zasu iya wannan wankan jegon ba. Wannan ba zai fitar da su daga rukunin Hausawa ba, domin haka abin ya dauro musu.

Duk da haka, wadannan tadodin suma an yi musu kwaskwarima, tare da hadowa da na wadansu al’ummatan, a shigar da su cikin Hausa. Misali, matar da ta yi haihuwar fari tana zuwa gidansu ta ci gaba da wankan jego daga ranar suna ne. Amma Hausawa sun ari tadar Fulani ta wannan fannin na tafiya gida goyon ciki daga ciki na wata bakwai.

Yin haka ya yi daidai, domin abin duk za a ce kana da zabi a kai, ko dabi’a, ko tada, to kana da hakkin juya shi ta yadda zaka iya aiwatar da shi ta yadda kake so, ko da ya batar da surarsa ta ainihi, to dalilin yinsa na nan. Misali, kaurin jego na daga cikin tadodin Hausawa. A surarsa ta farko da kafuwan sa ake yi, a yi ganda, sannan a hada da kunun kanwa a aikawa makwabta da abokan arziki. Da tafiya ta yi tafiya, sai wannan ya canza, a ka koma yi da naman karamar dabba, daga baya a ka koma yi dabino da kuma alewa. Sigar ta canza, amma makasudin, ko kuma manufar yin kaurin, bata canza ba.

Saboda haka in akwai wata tada ta ta sabawa Musulunci, to wannan bai kamata a daukakata ba. In kuwa bata sabawa Musulunci ba, to in dai zata amfana jama’a ta ko samar da aiki, ko karfafa zumunci, a iya daukakata, ko da an canza mata siga. A wannan, tadodin Bahaushe sun hada da tsare-tsaren rayuwarsa daga haihuwa zuwa aure, zuwa mutuwa. Kowacce kabila a duniya tana da abin da ta tanada na sarrafa wadannan nau’o’in na rayuwa.



Al’ada da Hausanci

Saboda haka da yawa daga cikin karon da a ke yi na ma’anar al’ada, ana nufin ko dabi’a, ko kuma tada. Da yawa daga masu nazarin rayuwar Bahaushe suna musayan ma’anar al’ada da kuma tada ko kuma dabi’a. Domin tunatarwa, na fassara al’ada a matsayin sindarin mu’amalar mutum, ko kuma mores and mindsets, da Turanci.

Wannan sindarin mu’amalar shi kan fitar da abin da za kira mutumin kirki, wanda kuma halayyace, ko kuma tarbiyya. A takaice, al’ada hali ne, ba sarrafi ba. Wannan ma’aunin ya fito daga hannun masana da suka nazarci rayuwar Bahause a zamanin da ake ganin babu yawan cudanya tsakanin Hausawa da wadansu hanyoyin sadarwa da za ce sun zama rariyar daukan wadannan halayen. Kuma tun kafin zuwan Musulunci, Hausawa na da wadannan halayen – da Musulunci ya zo, ya inganta su ne.

A binciken da manazarta suka yi, an gano cewa al’adar Bahause, a bisa wannan ma’aunin na ma’anar al’ada, na tattare a sinadaran mu’ala guda 21. Wadannan sun hada da:

Hausanci Fulatanci (Pulaaku)

1. Adalci 1. Ne'ddaku (Jan Aji)
2. Amana 2. Daraja
3. Dattako 3. Ardungal (Shugabanci)
4. Gaskiya 4. Marugo Na'i (Mallakar Shanu)
5. Hakuri 5. Endam (Kirki)
6. Hankali
7. Hikima
8. Juriya da jarumta
9. Kama sana’a
10.Karamci
11. Kawaici
12. Kunya/Kara
13. Ladabi
14. Mua’amala
15. Mutumci
16. Rashin tsegumi
17. Rikon addini
18. Zumunta

Wadannan ba sune kadai ba. Dole za a iya samun wadansu sinadiran; amma dai a wadannan masana kamar su Kirk-Greene[10] da kuma Zarruk[11] suka gina sinadarin al’adar Bahaushe da kuma Bafillace, tunda yanzu an zama daya. Saboda da haka a wannan ma’auni na su, al’adar Bahaushe ita ce al’adar mutumin kirki a cikin al’ummar Hausawa. Takan yiwu sauran kabilun suma suna da ire-iren wadannan, amma abin da ya fi damun mu a nan, shine yadda rayuwar Hausawa take, domin da mutum ya yi abu zaka ji an kwabe shi ana cewa, “haba, sai kace ba Bahaushe ba?” Wannan ya nuna ashe akwai ma’aunin Hausanci, ba wai kawai a tada ko dabi’a ba.

In an lura duk wadannan sinadirayen sun dogara ne a zuciyar mutum, amma suna amfani da dabi’a domin a aiwatar da su – shi yasa a ke ganin dabi’a da al’ada kamar daya ne. Misali, mutumci ne mutum ya sa tufafi masu kyau. Amma a dabi’ance, zai iya sa tufafin da suka dace da yadda ya sami kansa. Amma kuma ko da a haka ne, saka tufafin zai dogara ga shekaranusa – wanda kuma an jawo dattaku ciki. Misali, idan mutum dan shekara 50 mai sha’awar kallon wasan kwallon kafa, ya saka wandon jins da T-shat ta wani dan bal, da kuma hula hana-sallah, to gani za a yi ya karya dokokin al’adar Bahause ta hanyar zubar da mutumcinsa, da kuma rashin nuna dattaku, duk da cewa babu wata illa ga kayan da ya sa, domin sun kare tsiracinsa, sun dace da sha’awarsa ta kallon bal, kuma duk da cewa a wata alkaryar ta Musulumi (misali, Masar), za a iya samun takwararsa ya saka wadannan kayan, kuma ya samu karbuwa.

Saboda haka al’adar Bahaushe ba wai gine-ginen da ko na zamani ba ne. Ba wai iya dafa wani abincin da ko na yanzu ba ne; ba kuma saka tufafin da ko na yanzu bane. Al’adar Bahaushe yanayin hali ne wanda ya fitar da shi dabam da sauran jama’a, ya zama duk inda yake yana wakilitar duk wani mutum da za a kira Bahaushe, kuma ta wani fannin, ko da Bamaguje ne. Misali, Bahaushen da ke zaune a Ingila ba dole ne ya sa manyan kaya irin wadanda zai sa a kasar Hausa ba. Amma yana da halayyar Bahaushen da komai jimawa a kasar da yayi, za a san lallai Bahaushe ne. Saboda haka don bai sa manyan kaya ba, wannan halin zaman wurin ne ya kama haka, amma sinadarin halayensa na Bahaushe suna tare da shi, sai dai ya bijire musu, ko kuma ya dakatar da su saboda wadansu dalilai.

Bari in ba da misalina na karshe wanda yake da dangantaka da dalilin taruwarmu a yau. Babu abin da aka fi yawan sakashi a cikin kwandon da ba nasa ba kamar rawa da waka. Kusan duk mai yin magana a kan rawa da waka zaka ji ya ce ai al’adar Bahaushe ce. Ina da ja a nan. Rawa da waka ba al’adar Bahaushe ba ce, domin ba ta zama tilas a kan kowanne Bahaushe ba, sabanin halayyar al’ada, wadanda suka wajaba a kan duk wanda ke da ikirarin shi Bahaushe ne.

Idan aka bi ma’aunin gwajin al’ada, to tabbas rawa da waka ba al’dar Bahaushe bane. Hasali ma dai yinsu na runa kusan rashin duk jerin ayoyin tarbiyyar da aka gina al’adar Bahaushe da su. Rawa da waka sana’a ne, saboda haka tadodi ne. Kuma ko a sana’ance, suna da da muhallinsu; ta wani fannin ma gadonsu ake yi, ba shigege ba. Bugu da kari a rayuwar Bahaushe, mawaka da makada an dauke su a matsayin maroka. Su kansu mawakan, kamar Sani Dan Indo, suna nuna cewa basa fatan ‘ya’yansu su gaje su a wannan sana’ar ta su, duk da sun yi kudi, kuma sun yi tashe a cikinta.[12] Ganin haka ne yasa a ke nisanta al’adar Bahaushe ta tarbiyya, da rawa da waka.[13]

A wannan ruwayar, rawa da waka ba su da matsayin rayuwar yau da kullum, kamar al’ada, saboda basu zama dole ba. Akwai rayuwar da za a iya yi babu rawa da waka, kuma a zauna lafiya, domin wani ma baya sonsu ko kadan. Amma babu yadda za a yi rayuwa babu, misali, ladabi, dattaku, karamci, amana, da sauransu. Ashe saboda haka rawa da waka tunda basu zama tilas a rayuwar Bahaushe ba, ba za a kirasu al’adar Bahaushe ba.

Saboda haka in ka nuna mutum ya shiga bala’i, sai ya bigire da rawa da waka, to wannan ya keta al’adar Bahaushe, domin a al’adance, zai yi tawakkali ne. Haka kuma komai farin cikin da zai samu ga mutum, ba za kaga yaje wajen mahaifiyarsa yana yi mata rawa da waka ba; zai durkusa ne ya sanar da ita abin da rayuwarsa ke ciki, in har ta kai sai ya fada mata. Kuma komai soyayyar da mutum yake yiwa matarsa, babu yadda zaka ce al’adar Bahaushe ce ya dinga rera mata waka, ko don wa’azi ko don nishadi. Ita kanta in ya fara ma zata dauka ko ya haukace ne!

Amma a tadance, lokacin biki, suna ko wani taro, in mutum yana so, zai iya tara makada da mawaka a cashe har gari ya waye. Wannan shi ya so. Amma a sigar zaman yau da kullum, ko su kansu da sana’arsu ce rawa da waka ba haka suke yinta ba, domin su ma ba al’adarsu ba ce.

Saboda haka daukaka al’adar Bahaushe, daukaka addinin Musulunci ne, domin al’adar Bahaushe gaba dayanta na cikin Musulunci.


Wakilcin Bahaushe a Hanyoyin Sadarwa na Zamani

Bari in rufe wannan dan gajeren jawabin nawa da waigen jigon wannan taron – wakilincin al’adun Hausawa da addini a Finafinan Hausa, ko da yake masana zasu yi magana a kan wannan nan ba da dadewa ba.

Fim wata hanya ce ta haskaka al’umma a da ko kuma a yanzu. Babban makasudin yin fim shine jawo hankalin jama’a ga wadansu abubuwa da ke gudana a rayuwar zahiri, da yin kalubale ga dorewar wadannan abubuwan. A takaice, idan mutum ya ce zai yi fim, yana da niyya ya wayar da kan jama ta yadda zai isar a sakonsa ta hanyar jawo hankalinsu ga lura da muhimancin sakonninsa. Wannan shine manufar yin fim daga wadanda suka kirkiro sana’ar, ba wai manufar fim daga yadda ‘yan sana’ar na kasar Hausa suka dauka ba – domin sau da yawa a cikin hira da ake yi da ‘yan san’ar finafinan Hausa sun ce ba don fadakarwa suke yin fim ba, sai don neman kudi.[14]

Wannan babu aibu, domin in dai za a bi inganttacciyar hanya a nemi kudi, yana da kyau. Amma babban sabani a nan shi ne makasudin neman kudin. Rini, misali, shi ma sana’a ce, kamar fim. Amma babu marinin da zai ce da kai yana rini ne domin ya wakilci Hausawa. Haka ma duk makeri, ko manomi, ko mai sayar da yaduka, da sauransu. Inda fim ya bambanta, kuma a ka saka ido a kai, shine ikirarin wakilcin rayuwar wadansu mutane da a ke yi ta hanyarsa. Idan da fim bai zamanto hanyar wakiltar Hausawa ba ne, to da babu wanda zai damu da sana’ar, kamar yadda a yanzu ba zaka taba jin an yi wata bita a kan sayar da tsire ba!

Tari da yawa in ana takaddama tsakanin jama’ar gari, manazarta da ‘yan fim, kowa maganar wakilcin al’adar Hausawa yake yi. Abin da ya kawo wannan kuwa saboda kowa na fassara al’ada yadda ya fahimce ta. Ina fata daga yau an sami wani abin kalubale a kan rabe-raben da ke tsakanin dabi’a, tada, da kuma al’ada.

Babban abin da ya jawo dalilin damuwa da wakilcin Bahaushe a sigar finafinan ba wani abu bane illa ganin cewa da harshen Hausa a ke wadannan finafinan. Yin amfani da harshen Hausa ya nunawa mai kallo cewa rayuwar Hausawa a ke haskakawa, kuma a ke wakilta. Ganin haka ya sa dole masu harshen su nuna damuwarsu in su a ganinsu ba a wakilce su daidai a wani fim ba. Tari da yawa kalubalen ba ya ga dabi’a, ko canja sigar tada; yana ga al’ada, wanda ya shafi tarbiyya. Ba za a samu ci gaba ba dole sai an zauna an yarda da ma’anar al’ada ta yadda kowa zai gamsu. Abin mamakin shine sauran al’ummatan da ke haskaka rayuwarsu ta hanyar fim, kamar Yarabawa da Ibo, basu da wannan takaddarmar; hasali ma yaba musu a ke yi a kan yadda kullum a finafinansu suke daukaka tadodinsu da al’adunsu.

Kamar yadda na ce, kalubalen ba ya ga canjin dabi’a ko tada. Idan mutum ya zauna a tebur ya ci abinci, ba wai ya bar rayuwar Bahaushe bane, shi kansa a zauna a gini mai kusurwa hudu ba na Bahaushe bane, ara ya yi daga wajen Larabawa. Idan Bahaushe ya ci cek a fim ba wai ya nuna Turanci ba ne, ai yana da gireba, wacce ita ma cek ce, amma daga wajen Larabawa ya aro, sai dai kawai a ce yin amfani da girebar ya fi a yi amfani da cek din, domin a inganta ita girebar, tun ma ba ga wadanda basu santa ba.

Idan an ce babban mutum a fim bai sa babbar riga ba, ai wannan ba aibu bane, ita kanta babbar rigar ba ta Bauhaushe ba ce, aro ta a ka yi daga wajen mutanen kasar da yanzu a ke kira Western Sahara (wani yanayi na Buzaye). Idan an ce Bahaushe na cin abinci da cokali, wannan ba wani abu bane; da da hannu yake cin abinci, da ya samu cokali daga wajen Azbinawa ya ga ya fi tsabta ya ci abinsa da wannan cokalin. Kazalika nuna mutane a manyan motoci ba wai nuna bijirewar Bahaushe bane – da jaki da mota duk daya ne a rayuwar Bahaushe domin duk abubuwar hawa ne da aka aro su, amfani da kowanne ya danganta ga tatttalin arzikin mutum.

Duk wadannan ba sune tushen kalubalen wakilcin al’adar Bahaushe ba. Bari mu ga wadansu misalan keta wakilcin al’adar Bahaushe bisa wannan ma’aunin. Misali, mutum ya mari sarikinsa. A wannan babu ladabi, biyayya, kara, karamci, dattaku, ko da kuwa shi sirikin shi ya jawo a mare shi. Keta al’ada ne ‘ya ta ce da mahaifinta, “kayi kukan jini ma”, saboda an nuna rashin ladabi. Keta al’ada ne a nuna mutum da iyayensa suna zaune duk a kujera, sabanin shi ya zauna a kasa, domin in ya yi sahu da su ba a lokacin sallah ba, to ya nuna rashin ladabin Bahaushe. Idan a ka nuna basarake da rawaninsa yana rawa a cikin mata, wannan ya keta al’adar Bahaushe, domin ya nuna wannan basaraken ya zubar da mutuncinsa, ko da yana haka a cikin gidansa tsakanin shi da matansa, wannan ba haka yake a cikin jama’ar da sarautarsa ke wakilta ba.

A wannan babu maganar wani zamani, ci gaba, rage duhun kai na Bahaushe da sauransu domin wai a canja al’adar Bahaushe a zamanantar da shi. Rashin nuna kyakkyawar tarbiyar basa daga cikin al’adar Bahaushe. Za a iya nuna rashin al’ada a gidan kara (wanda shine orijina na Bahaushe), sannan kuma a nuna tsabagen al’ada a katafaren gidan zamani. Saboda haka keta al’ada ko kuma nuna al’ada bai tsaya ga gine-gine, abinci, tufafi, motoci, kayan zamani da sauransu ba. Inganta sinadarin mu’amala na tarbiyya shine al’ada. In a fim a inganta wadannan, to an wakili Hausa da Musulunci. In kuwa ba a yi ta, to a wakilci Hausa da Musulunci ba. A wannan ne babban kalubalen ke gaban mu – yadda za a kiyaye al’adun da muke tinkaho da su a zamanance.

[1] H.A.S. Johnson, The Fulani Empire of Sokoto, London , 1967, p. 4-6. Sannan kuma a duba Abdullahi Mahdi, The Hausa Factor in West African History. ABU Press, 1978.

[2] Abdullahi Smith, “Some consideration relating to the formation of States in Hausa-land”. Journal of the Historical Society of Nigeria , Vol V No 1, December 1970, p. 331.

[3] G.R. Niven, A Short History of Nigeria . Longman , Nigeria , 1971, p. 39.

[4] H. R. Palmer, Sudanese Memoirs, London , Frank Cass, 1928, p. 95.

[5] Ibid.

[6] Neil S. Skinner, “The Origin of the name Hausa”, Africa , 1968,Vol XXXVII, No 3, p. 256.

[7] Muhammad Sani Ibrahim, Muhammad Sani Ibrahim, Dangantakar Al’ada da Addini: Tasirin Musulunci Kan Rayuwar Hausawa Ta Gargajya. M.A. Thesis, Department of Nigerian Languages, April 1982, p. 94.

[8] Aliyu Abubakar, Al Thakafatul Arabiyyati Fi Naijiriya: Min Aam 1750 ilaa 1960. Arabic Literature in Nigeria : From 1750 to 1960. PhD thesis, ABU Zaria, 1972. pp 371-469; wanda a ka sarrafa a mtsayin Aliyu Abubakar, The Arabic Culture in Nigeria, Beirut, Lebanon, AbdulHafiz Al-Bassid, 1972.

[9] Domin karin bayani, a duba Muhammad Sani Ibrahim, “Are-aren kalmomi cikin Hausa”, in Yahaya, I.Y. and Rufa’i, A. (eds) Studies in Hausa Language, Literature and Culture, The First Hausa International Conference. Center for the Study of Nigerian Languages, Bayero University , Kano , 1978, pp 94-116; Neil Skinner, “Loans in Hausa and Pre-Hausa: Some Etymologies” Berliner Afrikanistische Vortrage 21 (1980) 169-202; Joseph Greenberg, “Linguistic Evidence for the Influence of Kanuri on the Hausa”, Journal of African History 1:2 (1960).

[10] Kirk-Greene, A.H.M. Mutumin Kirki: The Concept of the Good Man in Hausa. The Third Annual Hans Wolff Memorial Lecture, prepared by the African Studies Program, Indian university, Bloomington, Indiana, 1974. The lecture itself was delivered on April 11 1973.

[11] Habib Alhassan, Usman Ibrahim Musa, Rabi’u Mohammed Zarruk, Zaman Hausawa. Kano , Islamic Publications Bureau, 1982, 1988.

[12] Duba hira da a ka yi da Sani Dan Indo, mai kidan kuntigi, a cikin, Annur, Vol 1, August 2001, shafi na 48.

[13] Don samun karin bayani a kan matsayin maroka a kasar Hausa kafin ‘yanci daga mulkin mallaka na Turawan Ingila, a dubi makalar M.G. Smith, “The Social Functions and Meaning of hausa Praise-Singing”, a Africa , Vol 27, 1957, shafuka na 26-44.

[14] Misali, a dubi hirar da a ka yi da Najja’atu Abubakar, ‘yar jihar Kogi, tauraruwar fim din Zabari, a mujallar FIM, Afrilu, 2005, shafi na 17, “ Neman kudi na zo, ba fadakarwa ba”.

Abubakar Imam: My Personal Odyssey

This piece was written last night on the occasion of the one-day colloquim being organised today in Kaduna by the Association of Nigerian Authors (ANA)

In 2008, Alhaji Abubakar Imam’s best known literary work, Magana Jari Ce, clocked 80 years of publication. That year (Thursday, June 19 to be exact) the sage himself clocked 27 years in death. At that time, all one could hear among the Nigerian literati was the well-deserved hubbub over the 50th anniversary of the publication of Chinua Achebe’s Things Fall Apart. Just as I savoured the joy of having one of Africa’s leading works clocking 50 years in print, moreso with its writer being well and alive, I also agonised over the sad neglect of Imam’s attainment on the literary field even by those who should be holding his banner aloft.

This kind of neglect had pained me for ages. On a Saturday in 2004, I had published an opinion in my literary column in the Weekly Trust, ‘Bookshelf,’ which was a rework of a piece I had earlier written in Majalisar Marubuta (Writers’ Forum), a listserve in Yahoogroups. In it, I lamented that the late Imam had not been suffiently honoured by the northern intelligentsia in terms of doing things that could immortalise him. My hunch was that with the modern information technologies, especially the internet, a lot could be done to sell this unique genius to the world and put him permanently on the global map of information dissemination.

To prove the point, I told of a story about my attempt to compare my own humble exposure to the worldwide web to that of Imam, using Google. I had typed and clicked on the words “Abubakar Imam” in order to see the number of entries available on the grandfather of modern Hausa literature on the net’s most popular and reliable search engine. I then entered my names. Disappointingly, I beat Imam by a ratio of 9:1. And who was I, a mere shrub, on the field of Hausa literature compared to a poplar like Imam? There are quite a number of other yardsticks one could use, of course, in gauging Imam’s pre-eminence on our collective psyche. But the truth was that Imam wasn’t on the map.

Imam should have been celebrated by writers, academics, journalists, politicians, businessmen and the commoners, especially those of northern extraction, because he had worked for all of them during his lifetime. Others were, indeed, members of his family.

Imam was born in Kagara in the present day Niger State in 1911. Nigerlites could claim him as their own, but Imam was a man of many climes. His roots were in Borno. His great-grandfather had migrated to Sokoto during the Jihad era. I could claim him to be mine, because he was raised by his elder brother in Katsina. The brother, Alhaji Bello Kagara, was a member of the Katsina royalty, having served as the Wali of Katsina. Imam was educated in Katsina and grew up there. Imam was a school teacher there. He was also discovered there by the Briton, Rupert M. East, following the first Hausa literary competition in 1933, which Imam won.

The people of Zaria could claim him as their own, and they did so more than anyone else. Imam spent the longest period of his life in Zaria. He first went there in order to write books under Dr East’s tutelage. Subsequently he continued to live there - writing books, working as editor of Gaskiya Ta Fi Kwabo newspaper, engaging in politics and religious activities, and raising family. By the time of his death on Friday, June 19, 1981 in Zaria, he had become a complete Zaria man. He was survived by a wife, 14 children and 42 grandchildren.

His impact on Hausa literature is still felt today. Many a writer aspires to write like him. There have been many attempts to be like him, in terms of linguistic craftsmanship and title output, but none has successfully worked. Reasons abound: we live in a different world, under a different intellectual and moral clime. Politics, the economy, exposure to values, everything, have changed. Nonetheless, many of the attempts to be like Imam were heroic. They have ensured that Hausa remains the most fecund indigenous language in our country. Its culture is strong. Its communication channels have been modernised, but they are yet to lose their pristine colorations completely.

This morning, Imam is going to be celebrated in Kaduna, courtsey of the Association of Nigerian Authors under the able leadership of Dr Wale Okediran. The ANA executive council has said that the campaign I waged in the media and on the internet was responsible for its decision to organise this colloquim. It’s not only an honour for Imam, therefore, but the honour is also mine.

Imam’s family have done their best to help immortalise their father and grandfather. A few years ago I was involved with their efforts to establish the Abubakar Imam Centre in Zaria, a kind of personal museum of his work. Dr Haroun Adamu also funded the setting up of one of my proposals - the Imam website: www.abubakarimam.com. Malam Dalhat has just completed a Hausa translation of Abubakar Imam Memoirs. But a lot needs to be done.

Sadly, today’s event is coming just when some pretenders to a certain moral crusade are jailing writers, moviemakers and other artistes in Kano. This morning, a Hausa novelist, Aminuddeen Ladan Abubakar (ALA) has been in jail for two days, having been sent there by a mobile court working for the Kano State Censorship Board. His offence: the alleged release of a song (one of the best Hausa songs this century!) which lampoons the evil regime of censorship in Kano. (More on this later)

All persons of conscience should use the occasion of this colloquiem to not only celebrate Imam’s incredible attainments but also to ruminate on the war against the arts going on in Kano. This event would be worthless if in celebrating our grandfather we forget or refuse to lament the persecution of his grandsons and grand-daughters.

•This piece was published today in LEADERSHIP under the heading: "Abubakar Imam: My Personal Odyssey"

Kano Censorship: Aminu Ala Arrested, Jailed

It has been two days now since a popular Hausa novelist and singer, Aminuddeen Ladan Abubakar (ALA), was sent to prison by a mobile court which works for the Kano State Censorship Board, in Kano. The writer/singer best known simply as Ala (after his initials) was arrested by the police on Saturday night in Kano after he had closed from work at Hikima Multimedia. He was, however, released on bail at the police station, on the pldege that he would attend court on Monday. He was not told what his offence was, but not everybody was left guessing.

Ala had composed a song, "Hasbunallah," with four other singers, in which they lampoon the regime of censorship in Kano. Moviemakers, singers and writers must submit their works to the censorship board for vetting. Though Ala had not released the "offensive" song, it had found its way into people's GSM handsets and computers, from where it was replicated into other forms of media.

Recently, the police and opratives of the censors board had swooped on Hikima Multimedia, looking for evidence that would link Ala to the release of the song. Consequently, Ala went into hiding; he was said to have gone to the neighbouring states. Two weeks ago, he returned home. And the censors attacked.

During the sitting in court, Ala pleaded not guilty. He was promptly sent to jail by a magistrate, Mukhtar Ahmed, notorious for jailing and or fining anyone that was brought before him under any kind of charge.

Writers and moviemakers, as well as millions of their admirers are livid with rage. Many view the arrest and detention of Ala as an attack against freedom of expression as guaranteed by the Nigerian constitution. It is felt by a wide spectrum of the populace that Ala is innocent. Like Hamisu Iyan-Tama, an actor/producer jailed for months by the same court, he did not release the song. Even if he did, it does not contain anything negative as to warrant an arrest. The case is gaining a lot of attention in the media, in internet chatgroups, and other fora.

Ala is due to be returned to court today to hear his application for bail. But I was told by a close associate of his that the prison authorities in Kano have revealed that a separate order from the court had said that the accused would be held till Tuesday next week. That would be against the pronouncement of the judge in the open court on Tuesday.

Yesterday, the Association of Nigerian Authors (ANA), Kano State branch, issued a statement on the matter. It goes like this:


Press Release

At an emergency meeting held at the Bayero University Kano, today, July 8, 2009, the Association of Nigerian Authors Kano State Branch frowns at the arrest of one of its members Alhaji Aminuddeen Ladan Abubakar (ALA) over the alleged release of a song that has not been censored by the Kano State Censorship Board.

The Association is seriously looking at the implication of the arrest which is seen as an attack on liberty and freedom of expression. The Association has observed that the authorities in Kano are hostile to art and literature. This action and other past actions of the authorities are seriously undermining the position of Kano State as the leading centre of learning, art and literature.

The Association wishes to advise the authority to be cautious on the way it handles the matters of authors and other producers of art. Art and literature are part and parcel of every society and no society can do without it.

Yours faithfully,

Dr. Yusuf M Adamu
Branch Chairman

Alh. Balarabe Sango II
Public Relations Officer

July 8, 2009

GASAR RUBUTU DON TUNAWA DA BASHIR KARAYE

Malamai,

Tare da sallama. Ga wata gajeriyar sanarwa kan bikin gasar rubutun Hausa don tunawa da marigayi Injiniya Bashir Karaye, kashi na biyu.

Za a yi bikin fidda gwani na gasar ta bana a ranar 22 ga wannan watan na Oktoba, 2008a birnin tarayya, Abuja.

Majiya ta shaida mani cewa kwanan nan za a bayyana sunayen zakaru uku da su ka kai matakin karshe a gasar inda daga cikin su za a fidda gwani na gwanaye da bi masa/mata da kuma na uku.

Idan kun tuna, a bara, gogan naku ne ya zo na daya da littafin sa mai suna "'Yartsana," yayin da Balaraba Ramat Yakubu ta zo ta biyu, sannan Maje El-Hajeej Hotoro ya zo na uku.

Majiyar ta kara shaida mani cewa Dakta Ibrahim Malumfashi na Jami'ar Usmanu Danfodio shi ne Alkalin Alkalan gasar ta bana, wadda ita ma littattafan hikaya ne su ka shiga.

Idan ba a mance ba, maidakin marigayi Injiniya Karaye, wato Mrs Bilkisu A. Bashir, ita ce ta dauki nauyin gudanar da gasar.

Duk littafin da ya zo na daya za a ba shi N150,000; na biyu kuma N100,000, sannan na uku N50,000.

To, Allah Ya ba mai rabo sa'a.

To, kaka tsara kaka!! In ta bi ta daga-daga, na kurya ka sha kashi! Allah Ya nuna mana ranar, amin.

Kano Censorship - ANA National wades in

Here's a piece of curious news out of Kano. This Monday, August 25, the President of Association of Nigerian Authors (ANA), Dr Wale Okediran, and National Publicity Secretary (South), Mr Hycinth Obunseh, were in Kano in order to dialogue with the Kano State Censorship Board on its plans to censor literary works in the state. The matter had caused quite a stir in the last few weeks.

I had spoken with Dr Okediran in the morning while he was already on the road to Kano (he had texted me when I was asleep, asking me to call). He wanted to know my views about the dialogue he was going to attend in Kano. And I told him.

The meeting was attended by the Kano censors and ANA members from Katsina, Zamfara, Sokoto and, of course, Kano. (They're all in the photograph above). The director-general of the censors board, Malam Abubakar Rabo Abdulkarim, headed his board's team. A few speeches were made, with speakers agreeing that there had been a misunderstanding or a break in communcation. At the end, a truce was arrived at, which appeared to have been deliberately designed to read like a no-winner-no-vanquished artwork. All to no avail, for you could easily sift out the winner and the vanquished from the proceedings. The whole thing was captured in a communique. Below is the text of the communique:

An interactive meeting between Kano State Censorship Board and Association of Nigerian Authors (National, Kano, Katsina, Sokoto and Zamfara branches) was held on 25th August 2008 at the Board and resolved as follows:

1. List of membership as well as books already in circulation should be forwarded to the Board through the literary associations (Authors, publishers, marketers) within 60 days from today 25/08/2008.

2. Subsequently, ANA and KSCB have agreed to look into other grey areas of the (KSCB) Law.

3. Kano State Censorship Board and Association of Nigerian Authors will henceforth collaborate on relevant workshop/symposia in the area of censorship.

4. The dialogue agrees that Publishers, Marketers and other Distributors of literary works should register their businesses with Kano State Censorship Board.

SIGNED

Abubakar Rabo Abdulkarim
DIRECTOR GENERAL
Kano State Censorship Board

Dr Wale Okediran
ANA NATIONAL PRESIDENT

Wrong Censorship

Editorial on p.1 of the Wednesday, July 30 issue of LEADERSHIP newspaper, Abuja

Wrong Censorship

After bullying the flourishing Hausa movie industry into near-extinction, jailing actors, producers and marketers, the Kano State Censorship Board has announced a plan to punish authors that refuse to register with it, beginning from August 1. The move, under the state government's controversial morality programme, is full of contradictions. It is clearly aimed at emasculating creativity and freedom of expression.

The battle against moviemaking has created massive unemployment in a state that has since lost its lead in local industry, and the new theatre of war opened against writers would create more joblessness, discontent and cripple scholarship, all of which are dangerous to public peace. This is a painful irony for a government full of authors and scholars.

Governor Ibrahim Shekarau should stop the slide towards madness. His minders such as those censors would achieve nothing but further odium at a time other societies are keen to honour their home-grown thinkers.

Kano Writers Vow To Fight Censorship

* Begin a 3-week ‘warning strike’


From Mansur Sani Malam, Kano

Due to apprehension about the intentions of the Kano State Censorship Board in its decision to censor individual authors and literary works, creative writers in the state have embarked on a three-week warning strike with effect from yesterday, in which they have suspended all production of literary works and decided to use their pens to protect their liberty and freedom of expression.

This was disclosed in a communique signed by the leaders of the Coalition of Authors' Associations in the state shortly after an emergency meeting held yesterday in Kano.

This followed an extensive discussion and review of the state of arts and literature in Kano in the context of the crisis between the authors and the censorship board.

The board recently unveiled plans to begin the registration of all authors and the vetting of literary works.

Those who signed the statement yesterday were the chairman of Association of Nigerian Authors (ANA), Kano chapter, Malam Ado Ahmad Gidan Dabino; chairman of Hausa Authors Forum (HAF), Malam Aminuddeen Ladan Abubakar (a.k.a. Ala), and chairman of Brigade Authors Forum (BAF), Malam Abdullahi Muktar Yaron Malam.

Others are chairperson of the main women writers' group, Kallabi Writers Association, Hajiya Balaraba Ramat Yakubu, and chairman of Hausa Writers Association of Nigeria (HAWAN), Malam Ibrahim Ahmed Daurawa.

As a way of confronting the challenges that seem to lie ahead of them, the various writers groups have also resolved to work under the umbrella of the state chapter of ANA. All engagements, commitments and correspondence of the associations, which had hitherto promoted divergent views, are now to be handled by ANA, said the communique.

This was done apparently because ANA has a national spread and an international network.

A source within ANA Kano told LEADRSHIP yesterday that the authors are considering legal action against the censorship board.

The writers enjoined the Kano State Government to call the Director-General of the censorship board to order, saying his actions would have damaging consequences on the good image of the state and its leadership, as well as undermine the literary prowess enjoyed by the state.

The censorship board had early this month ordered the authors to register with it from August 1 or expect sanctions.

The warning was issued to the writers by the Director-General of the board, Malam Abubakar Rabo Abdulkarim, during and after a meeting he had with the writers at his office.

At the time, he explained that his board could have begun the registration exercise immediately, but relented by giving a month's deadline.

"We see it as very merciful, we see it very lenient of us to at least relent any enforcement effort until the next one month given to them, in addition to the first six months that have already lapsed that they did not formalize, which now we are expecting them to do so in the next one month", he had declared.

The director-general also revealed that the essence of the registration was to check the influx of obscene materials into the state.

"We have designed this in near future and we see it very viable. We see it very good of us if we establish what we call pro-activeness, so that the stakeholders in the literary works can be enlightened and be guided in order for them to be perfect and to make necessary corrections in form of preventive measures," he added.

Rabo revealed that the board had received complaints from the general public, and that some people were using the mass media against some aspects of the creative works, especially the Hausa romance books or novellas in circulation, adding the board intends to help guide the authors through their potentialities of using their creativity for the benefit of society.

Contrary to what he told the authors at the stakeholders' meeting, he explained that the registration exercise would not be on an individual basis, but through writers' associations, emphasising that there is no any process of registration that can be undertaken individually unless if an individual author is operating outside any professional association.

He requested the respective associations to forward members of their associations for the board's processing and registration.

He pointed out that the registration processes would be carried out because the law mandated the board to do so, adding that registration of authors is normal everywhere in the world.

"The National Film and Video Censors does register its stakeholders, so also guilds," he said.

Malam Rabo said whoever does not accept what the board is doing should challenge it in court.

He said: "We are determined to enforce the law because we are law agents. We are established by the law and we must abide by the law because it is the primary yardstick, the primary tool binding the board and the stakeholders together. Anything contrary to the law is not condonable and it is very unbecoming of a law or agency like us to outrage or to operate or to breach the law."

The censors board had waged a long-drawn battle against filmmakers in the state after the sudden appearance of the Hiyana sex clip last year, banning the movie industry for six months and sending leading artistes and producers to jail.

Its current decision to register authors has opened a new theatre of war against the creative arts in the state, a decision the authors seem to be committed to fight in any way they can.

--

Published in LEADERSHIP on Monday, July 28, 2008

Saadou “Bori” Abdullahi – Pioneering Innovator of Hausa Disco Music

By Prof. Abdalla Uba Adamu
Chairman, Center for Hausa Cultural Studies,
Kano, Nigeria



It was with absolute shock and sadness that I learnt of the death of Saadou, the Nigeriene modern Hausa musician along Maiduguri road on Thursday 26th June 2008. He was returning from a concert which he gave in Maiduguri.

Saadou, born in 1966 in Niger Republic was best known as Saadou Bori, after his best selling solo album, Bori, released on tape in Nigeria in 1990. I learnt of the tape, and subsequently the musician, after I returned from US where I rediscovered African music. On returning to Kano, I made a direct beeline for the Bata roundabout where a series of Nigerienes keep shops selling music and video items from Francophone Africa. Amidst the tapes of Ami Koita, Nodibo Kone, Zoni Diabate, Salif Keita, Ali Farka Toure, Oumou Sangare, Djenba Seck, Kandia Kouyate, and Inna Baba Coulibaly, there sits Saadou’s Bori – standing as the one out of the mélange of Malian wassolou singers and African blues guitarists.

Bori turned out to be the biggest selling tape-album of 1990 in Kano and other parts of Hausa northern Nigeria. It came at a time when there was simply no Hausa modern music. And the traditional music was relegated to the background of aristocratic palaces and the elegant edifices of the fabulously wealthy merchant class.

Modern music in northern Nigeria was introduced by non-Hausa artistes such as I.K. Dairo and His Blue Spots (Tuwo Da Miya, Mu Tafi Damaturu) in the 1960s. In The Sudan, the Hausa diva, Aisha Fallatiya, demonstrated the power of women in modern Hausa music with Muna Maraba da Sardauna Sakkwato, a welcome song composed for the then Premier of Northern Nigeria, Alhaji (Sir) Ahmadu Bello, the Sardauna of Sokoto on a State Visit to the country. Backed by the “sound of Sudan”—predominantly string quartet of sorts with an accordion, and as popularized by Sudanese male singers such as Hamza Kalas—Fallatiya’s lyrics—sung in Hausa, found a ready niche in the radio plays and urban clubs of northern Nigeria. Some musicians merely use Islamic iconography to appeal to Muslim Hausa club punters. For instance, Ofo & The Black Company’s Allah Wakbarr (sic) as well as I.K. Dairo’s Hungry for Love endeared themselves to Hausa Muslim listeners due to their use of religious expressions. Ofo’s composition consists of repeated chanting of “Allah Akbar” accompanied by a scintillating funk guitar rhythm, while Dairo’s more sober high-life approach was captured in the initial start of Hungry for Love with the lyrics, “Wayyo Allah (Hau. Oh my God), I feel hungry, not for food, but for love” repeated over and over.

The 1970s brought more Hausa modern music principally from Ghana and Niger Republic. In Ghana Sidiku Buari—trained as a professional musician in the U.S.—pioneered the Hausa disco sound as in his debut album Buari—a composition straight out of Kool and the Gang, Ohio Players, The Fatback Band, Earth Wind and Fire, Chic and Brass Construction disco sound of the 1970s. This was sustained much later by Maurice Maiga with Kudan Gida (Hau. housefly) employing disco and highlife sound of Ghana and Togo.

In northern Nigeria modern Hausa music was pioneered by Hausa Christian entertainers such as Bala Miller & The Great Pirameeds of Africa and Sony Lionheart – both from Zaria. With extensive Church training in the use of guitars and the organ, their preferred musical language was Hausa, if only to indicate that not all Hausa are Muslim and not all Hausa musical entertainment is based on Hausa indigenous instruments. Bala Miller’s compositions such as Sardauna Macecinmu (Sardauna our Savior), Karya Ba ta Ta Shi (The lie does not last), Ikon Allah (The will of God) and Sony Lionheart’s Zaman Duniya (This life) became club anthems particularly in Kano, Kaduna and Jos. These modern Hausa musical traditions were sustained in clubs by small bands around Jos and Kaduna such as The Elcados and Super Ants who although predominantly singing in English, nevertheless forayed into Hausa lyrics—all using what can be called domesticated Hausa soul music, with not a single indigenous instrument – kalangu, sarewa, kukuma, kakaki, kwarya, shantu, etc – in sight. The mainstream Hausa youth soon became consumers to these globalizing currents, preferring them, in most part over “the real” music from African American stars. I remember our attempts to copy the Elcados sounds at the Kano State College of Advanced Studies Auditorium in the early 1970s with Yusuf AbdulLateef, trying to create a “Kano modern” sound – which did not work out at all!

In the late 1970s and early 1980s, Funmi Adams caused a massive sensation in uniquely adapting a Hausa folktale – Labarin Gizo da Koki (Story of the Gizo the Spider and his wife) – to modern music. What made it more enchanting was a video clip that accompanied the audio tape, giving a rich background to the simple tale of morality for young children.

This fusion music, interestingly enough, was not wholly embraced as an entertainment form by mainstream Hausa youth. This was caused by two factors. The first was the religious and cultural divide. The modernized “Hausa” music of non-ethnic Hausa was seen predominantly as “Christian” and “southern” Nigerian (kade-kaden ‘yan kudu). Secondly, such musical adaptation appealed basically to club circuit patrons—an exclusive class of civil servants far removed from the street level reality of urban youth.

Hausa traditional musicians had always occupied a lowbrow status as maroka (praise-singers) and this had the effect of discouraging the musicians from either training their own children into the craft—for it is considered an occupational craft—or even encouraging “students” to learn the craft and sustain it (rarely do Hausa occupational and craft guilds accept outsiders, are referred to as “shigege”_. A typical example is this response by Alhaji Sani Dan Indo, a kuntigi musician who responded to a question on whether he wanted his children to succeed him:

Unless it is absolutely necessary. I definitely don’t want my son to become a musician. I have seen enough as a musician to determine that my son will really suffer if he becomes a praise-singer. You only do praise-singing music to a level-headed client, and it is only those who know the value of praise-sing that will patronize you. Those times have passed. I certainly would not want my own son to inherit this business. I would prefer he goes to school and get good education, so that even after I die, he can sustain himself, but I don’t want him to follow my footsteps, because I really suffered in this business. Therefore I am praying to Allah to enable all my children to get education, because I don’t want them to become musicians like me. (Interview with Sani Dan Indo, a Hausa popular culture kuntigi musician, Annur, Vol 1, August 2001, p. 48).

However, Saadou changed this perception with the release of the tape-album, Bori (Hau. Spirit possession ceremony of the traditional Hausa) in around 1991, earning him a nickname, as he subsequently became known as Saadou Bori.

The tape-album was a mega hit in northern Nigeria. Filled with heavy disco funk and Jazz rhythms, and with tracks sung almost entirely in Hausa language, it proved for Hausa musicians on both sides of the postcolonial divide that Hausa music can be “modernized”, indeed evidenced by the fact that in 1994 Saadou teamed up with Moussa Poussy and released an extended version of Bori as Niamey Twice.

Saadou’s Bori – The New Age Hausa Disco Sound

Bori redefined Hausa dance music and provided a paradigm shift in the evolution of modern Hausa music. Not only does it provide a dance floor series of numbers, it also neatly meshed modern with traditional in its lyrical forms. Maintaining a heavy disco beat in all the compositions, it uses elements of Hausa call-and-response mechanism in many of the lyrical renditions, where a choir of female (‘yan amshi) echo a specific refrain.

The tape-album version of Bori had eight tracks: Side 1 – Dango, Yelleru, Badossa, and Boudje; Side 2 – Hadiza, Bori, Soyeyya, Maidawa.
Of these eight tracks, two became Saadou Bori’s “bakandamiya” (defining masterpiece) and ultimately signature tune. These were Yelleru (from Side 1), and Hadiza (Side 2). Both were well composed with tight horns and musical arrangement. Yelleru offered a new perspective to Hausa fusion music because it contained lyrics in pulaa (Fulfulde language of the Fulbe). Simple and catchy, it tells the story of a how the economic hardships befell the Fulbe who may have to give up their cattle and nomadic lifestyles for a settled farm life. A pure dance floor composition, it contain at least three midsections that provided the backing musicians opportunities to display their skills with drums and horns.

Hadiza hit the spot more directly with Hausa women. It tells the story of a new bride (amarya) in a two-wife household. The song extols the virtues of the amarya thus:

Kai mata, Oh, women
A rike darajar aure da kyau Hold fast to the values of marriage
A bar hushi da ikon Allah Stop being annoyed with Allah’s will
Dan ikon Allah ya wuce hushi For all that Allah wills is beyond your anger

Zama da kishiya tilas ne Living with a co-wife is inevitable
Ba don Uwargida na so ba And not because the Senior wife wants it

Gyara gida, Hadiza Look after the house
Duk na ki ne It is all with your purview
Gyara wuri, Hadiza Fix the places in the house
Duk na ki ne It is all with your purview
Gyara wurin ki, Hadiza Fix your own apartment
Duk na ki ne It is all with your purview
To ladabi biyayya With respect and obedience
Duk na ki ne It is all with your purview

Ki ba ni ruwa, Hadiza, Fetch water for me, Hadiza
Sai ta durkusa She brings it and courtesies
Ki ba ni hwura, Hadiza, My porridge, Hadiza
Sai ta durkusa She brings it and courtesies
Ki ba ni tuwo, Hadiza Bring my dinner, Hadiza
Sai ta durkusa She brings it and courtesies
Ruwan wanka, Hadiza, Fix my bath, Hadiza
Sai ta durkusa She brings it and courtesies

This song created three mixed reactions. The feminists hated it because it was a reaffirmation of what some of the more militant amongst them perceived as the servitude of women in a male dominated society. Similarly, Senior wives were not too keen on it because it is like rubbing salt in the wound – first being told they have to live with a co-wife, and second the beautiful virtues of the co-wife are being extolled; as if they were the opposites of their own behavioral patterns. A third reaction was from young male husbands who took to playing the song with glee (and I am speaking from an ethnographic experience!) whenever the Senior wife and their amarya are together.

The title track from the tape-album, Bori, is a celebration of the Hausa bori cult medicine. However, it was very clear from the lyrics that Saadou perceived bori not as a form of worship, but as pure entertainment – a process more related to its actual function.

Mace kucaka ba ta bori, A woman of easy virtue does not do the bori
Mace kazama ba ta bori A slovenly woman does not do the bori

Iya bori abin (wa) tsoro Bori is truly frightening
Aljani abin (wa) tsoro Sprits are frightening

Kai bori manyan sarakai Bori really is for important people
Yara kanana ba su yi nai Children cannot do it
Ali aboki na na da bori Ali my friend does it
Kai Bello aboki na na da bori Bello, my friend does it
Ee, Madu aboki na na da bori Yes, Madu my friend does it
Ee, ni na sa kai na bori Yes, I have the bori

In these lyrics – which appeared in a different sequence in the song from here – the stereotypes of bori amongst the Hausa are being reversed. Suddenly, it is glamorous to be a “bori” – evidenced by singer himself. Even album cover photo of the singer – wearing a headband made from cowry shells, one of the many unknown hallmarks of bori practitioners – speaks volumes about bori as an entertainment, rather than a serious religious advocacy of the traditional Hausa cultural anthropology.

Saadou subsequently released other tape-albums, but none had the stunning success of Bori, which even won an award in Niger republic during a festival of Hausa modern music (although I can’t recall the year). In place of the tape-albums — which were easy targets for pirates anyway – he spent the last few years working on what I call the “ceremony circuit”, putting shows for “big” people (politicians and other rich people) during the wedding ceremonies of their children.

Saadou was an innovative songwriter, arranger and vocalist. His creative works appeared in the slack transition period between the when Christian and mainly southern Nigerian musicians used the Hausa language to appeal to the Muslim Hausa (from the 1960s to end of 1980s), and when the video film soundtrack genre (called Nanaye – term for female children’s playground songs – because of its predominant gender base and call-and-response structure must use female voices) emerged from mid 1990s.

With the death of Bala Miller in February 2003, Saadou indeed represented the last breed of truly innovative Hausa musicians and composers with a focus on using real instruments to present their craft. In the mid 1990s, the Yamaha synthesizer became available to the young Hausa filmmakers interested in reproducing the multi-instrument sound similar to that of Hindi films which Hausa filmmakers avidly and religiously appropriate into Hausa language versions. With neither skills to compose music, nor understanding of the relationship between the different musical instruments and sounds, the new breed of musicians rely heavily on sound samples stored in the synthesizers, and the sequencing facility provided to arrange tunes to produce a melody.

In this respect, and without any formal music curricula in the schools for the teeming Hausa Nanaye composers, Saadou Bori remained the last of the great composers of Hausa modern music on World Music level. He practiced music with the true attention to detail of a professional composer and arranger – aware of the relationships between tune and harmony; and inter-twining Hausa mindsets and world views in his lyrics.

Saadou “Bori” Abdullahi was born in Maradi, Niger Republic in 1966. He died in June 2008 in Maiduguri, Nigeria. He is survived by one wife and five children. He will be surely missed as an innovator in modern Hausa disco music.

Brief report on the state of film industry in Kano State, Nigeria

Monday 18 February 2008

By
DR. AHMAD M. SARARI
National Vice President
Motion Picture Practitioners Association of Nigeria (MOPPAN),
Kano, Nigeria


Preamble

Motion picture industry in Northern Nigeria popularly known as Kannywood was founded in 1990 when the first Hausa home video titled "Turmin Danya" was produced. The industry was brought into being and nurtured to the present level by the practitioners themselves. Today, the industry employs the services of more than fifty thousand people and supplies 35% of Nollywood movies. It generates over N20 million to the Federal Government annually through National Film and Video Censorship Board (NFVCB). In Nigeria it’s been argued that our film industry alone generates over N30 billion worth of economic activities. This implies that Hausa Film industry generates about N9 billion (about 35% of 30 billion) worth of economic activities.

The following are the existing guilds and associations recognized by Motion Picture Practitioners Association of Nigeria (MOPPAN) in every state:

1. MOPPAN State chapter

2. Film makers Association

3. Film Producers Association

4. Guild of Directors

5. Guild of Artistes

6. Guild of Cinematographers

7. Guild of Script writers

8. Guild of Editors

9. Guild of Production designers

10. Distributors/Marketers Association

11. Association of Film Exhibitors

12. Association of Musicians and Lyricists


Aims and objectives

a) To promote and encourage the interest and advancement of its members in all manners affecting them, as professional Motion Picture Practitioners’.

b) To promote and encourage any activity whereby members will be held qualified in their particular field within the Motion Picture industry in Nigeria.

c) To regulate the relationship between its members and the public based on professional ethics and the Associations code of conduct as may be regulated and modified from time to time.

d) To facilitate professional growth in the art, practice and techniques of the Motion Picture industry by holding seminars, conferences, workshops and film festivals, at national and international levels.

e) To collate and tabulate statistics and publish information useful to its members, and to issue suitable literature and publications, including an official journal to assist in attaining the objectives of the Association.

f) To advance by any legal means deemed fit the standard of technical work in the Motion Picture industry, thereby improving the knowledge, skills and experience of the Associations members generally or individually.

g) To, on behalf of it’s members, liaise with the Nigerian film cooperation for the purpose of patronizing and putting in to effect, usage the technical infrastructure already available in Nigeria i.e. colour film processing laboratory, sound dubbing studio, production and editing facilities and also negotiate rates and credits for the usage of those technical infrastructure in favour of its members in order to boost Motion Picture production In Nigeria.

h) To acknowledge and also reward professional merits and achievements made by Motion Picture Practitioners in Nigeria who have distinguished themselves in their respective fields, and related creative arts.

i) To work towards the promotion of, distribution, exhibition and utilization of Motion Picture throughout Nigeria, African continent and the world at large.

j) To offer its services in resolving any differences that may arise between its members and to defend their various interest as part of the promotion of Motion Picture production.

k) To promote the welfare of the members of the Association in such a manner, as shall be deemed conductive and expedient, but subject to the overall interest of the general public.

l) To cooperate and associate with, or be a member of or to affiliate the Association to any organization nationally or internationally having similar objectives, or whose interest in anyway connected with the aims and objectives of the Association.

m) To undertake all other things as may be considered incidental to or conductive to the attainment of all or any of the objectives of the Association.


Report on cell-phone pornographic clip involving a popular Hausa film actress

Background

Six months ago, there had been several media reports both locally and internationally regarding the above subject matter. Therefore, it had become extremely necessary for MOTION PICTURE PRACTIONERS ASSOCIASTION OF NIGERIA (MOPPAN) to provide a clarification on the subject matter. Following the massive dissemination of this immoral content which was started by some disgruntled elements within the Hausa film industry, MOPPAN instituted investigation to find out the truth of the matter. The Association was interested in the followings:

1 Whether the said incident really occurred.

2 Who are the people involved and their level of involvement?

3 To establish the extent of the spread of the issue within and outside the industry.

Some of the executive members of the Association were assigned to investigate these issues and report to the Association.

Findings

After careful investigation the Association was able to establish the following facts;

1 The said incident really occurred some time in early 2006 in Lagos involving a (Yet to be) Hausa film star.

2 The artist involved, Maryam Usman was actually in Lagos on a private trip to Lagos, to meet a male friend, who turned out to be the one who used his cell-phone to record their private sexual activity.

3 That though this incident occurred some 21 months earlier, it did not become a public content until late July 2007 when Maryam Usman acted and become a notable star in a film titled ‘Hiyana’ a year ago, through one of the artist’s female friends within the industry, substantially out of envy.

The Issues

The Association established that this content was massively distributed on cell-phones, CDS, Video cassette, Internet, and Computer flash disk throughout Kano state and possibly beyond. The extent of the spread of this content generated serious controversy within the Kano community especially taken cognizance of the state’s Shari`a policy and the apparent popularity of the film star involved. Prior to this, a Lagos based magazine early this year had published this information. This resulted in the misconception that;

A A pornographic film was made.

B Filmmaking is immoral

C All artistes engage in immoral acts and as such are negative role models on the society.

D Appeals for Government to ban filmmaking.

E Calls for the head of Maryam and others suspected of engaging in acts of immorality.

F Active media discourse on the issues above especially in Kano.

Decision / Resolution

As a result of these developments, especially the way and manner some members of the general public started expressing their concern and disapproval over the clip, stake holders from the film industry convened an emergency meeting of all the Guilds and Associations under MOPPAN. The meeting took stock on activities within the industry and the following decisions were taken in the interest of filmmaking as a reputable profession.

1 The Actress involved, Maryam Usman, was suspended for a period of five years for causing disrepute to the profession.

2 17 other members identified by an investigative panel with different unethical conducts (Not related with Sex) capable of bringing the film profession to disrepute were also suspended for different periods of time.

3 The Kano State Government, through the Kano Censorship Board endorsed the ban on the affected practitioners and call on all production companies/studios to register or revalidate their registration status with the Board immediately.

4 The National office of MOPPAN here endorsed the resolutions of the Kano Censorship Board in tandem with other Guilds and Associations in the state.

5 The National office also resolved that film production practice be suspended for a period of three months during which codes of practice for different guilds shall be distributed and explained to members.

6 MOPPAN will also update its membership register during this period.

Above is for your information, support and assistance please. Be assured of our total commitment to the development of filmmaking in Nigeria and beyond while we remain truly yours.

Banning of all location activities and imposing of new guidelines

The state censorship board broadcasted and distributed a press release in which film activities were further banned for the period of six months and new guidelines for the film practitioners were as circulated without our consent. The Board also urged all the film makers in the state to go and register with them which is the sole responsibility of the guilds and associations. We as well challenged the banning and thought for clarification of the new guidelines which the Board depended in line with the Shari’a system. We lay our complains to the bodies concerned but all in vain. Below is the translated version of the guidelines under which we must practice when the ban is lifted

Guidelines for film censorship in Kano State films must comply with the following guidelines to conform to Islamic Shari’a

1 Singing and Dancing is prohibited.

2 Actresses are prohibited from appearing in trousers, skirts or short tops.

3 Dressing in see-through or tight costumes that expose body features is prohibited.

4 Male Actors are prohibited from appearing in tight fitted clothes that expose their features or haircuts that do not fit with our culture.

5 Actresses are prohibited from combing or exposing their hair.

6 Indecent utterances and seductive actions or immoral dialogue are prohibited.

7 Ridiculing of any religion, tribe or a section of the community is prohibited.

8 It is prohibited to use children in films that are prohibited.

9 Re-inserting expunged scenes from an already censored film, and taking such film into the market is a major crime.

10 Fetish activities and the wrong use of weapons are prohibited.

11 Producers are prohibited from releasing posters and trailers without the permission of the board.

12 Films must have a clear meaning (message) with appropriate names.

13 No films can be produced in Kano, or brought in for sales or exhibition without the permission of the board.

14 All Actors or Actresses and other filmmakers are prohibited from doing film business without obtaining license from the board.

15 Sleeping overnight at film locations with males and females are prohibited.

16 No films shall be made without censorship of its script.

There is a mobile court attached to the board to arrest, harass, detain and prosecute members of the motion picture practitioners’ association of Nigeria including all its 12 affiliate guilds and associations in kano. The Board is also making a serious media campaign misleading the public by making inflammatory utterances portraying filmmakers as anti-Islamic dissident and declaring that hausa filmmakers are pornographic filmmakers. The association organized end of year stakeholders’ forum the communiqué of which is below:

Communique

The Kano Film Industry Stakeholders Forum was held on Sunday 30th December 2007 at Mambayya House. Major stakeholders were invited to the meeting. They include all the professional guilds and associations operating in the industry, MOPPAN, national head quarters, the State Censorship Board, The Nigerian Film Corporation, National Film and Video Censors board, the Nigerian police, Office of the Advisor on NGOs, State Ministry of Justice, the State Ministry of Information, Nigerian Copyright Commission, National and international media organizations and some Local and international Human rights organizations. The objective of the meeting is to review the issues and events which affected the industry over the last twelve months with a view to moving the industry forward.

Four papers were presented at the forum covering several areas of great significance to the operations of the industry. Based on the presentations, and after careful deliberations on the issues rose, the meeting took the following resolutions:

1 the Forum agrees to continue respecting and abiding by all the laws and regulations (both state and national) relating to the operations of the industry and encourage practitioners to demonstrate their commitment to this pledge.

2 that there is the need to Islamize film making such that its content conforms with the Islamic heritage and need to our good cultural values

3 that film can be an effective medium for shari’ah advocacy programs,

4 that there is a need to hold an interactive forum between shari’ah bodies and the Industry stakeholders with a view to allowing the practitioners benefit from the abundant resources available in such organizations

5 that relevant governmental organizations should be more concern with educating the public concerning the type of film content they should watch.

6 that the industry was not accorded it’s right status due to the Government failure to hold audience with them as was the case with other organizations of lesser importance to the state economy and social development,

7 that never was a pornographic film produced in this Film Industry,

8 that the forum demand the state government to explain to the stakeholders reason behind the suspension of film activities for a period of six months in the state,

9 that the forum decried the state censorship board’s deceptive attitude, prior to this day the Executive Secretary pledged to stop his insinuating media campaigns against the industry but only to dishonor his pledge. This is quite embarrassing to the government he represents.

10 That the suspension order resulted to about 8.5bn Naira loss in the industry. If Government could pay compensation to the bird flue victim which is a natural disaster, we equally demand compensation from the state government to the industry as to alleviate the suffering caused by Government’s suspension order.

11 The forum also calls for government’s consideration to include stakeholders in any policy formulation in all issues of concern. The previous action where Government constitutes a task force committee on the film industry without our representation was bitterly decried.

12 The forum also notes the need for the state government to come up with means of empowering the industry in conformity with SEEDS policy.

13 That the forum demands that Government should stop the draconian tribunal; instead a disciplinary committee by the professional bodies should be formed, lest we forget that this is a democratic dispensation.

14 The forum calls the state censorship Board to reconsider their position of censoring films already produced prior to the new regulation.

Conclusion

We would like the world to know that our fundamental human right is seriously tempered with as our members (especially marketers and producers) are being arrested, harassed, detained and prosecuted. Most of the practicing artistes, producers, directors etc have fled Kano to other states to exercise their right of earning a living. The local media is restricted from broadcasting or writing our own version of the case. In fact, our lives are in danger as any attempt by us to challenge the Government is termed un-Islamic which exposes us to stigma and even attack from the public.

Thank you very much.

HIRA DA HAFSATU ABDULWAHEED

Gwagwarmayar jikanyar Mujaddadi a fagen rubutu

HIRA DA HAFSATU ABDULWAHEED

Macen da ta fara rubuta littafin hikaya a Arewa, wato HAJIYA HAFSATU AHMAD ABDULWAHEED, ta samu karramawa ta musamman daga {ungiyar Marubuta ta Nijeriya. Shin yaya ta ji a ran ta? Kuma ina ta sa gaba yanzu?


Daga IBRAHIM SHEME

HAJIYA Hafsatu Ahmad Abdulwaheed ita ce mace ta farko da ta rubuta littafi aka wallafa shi a Arewacin Nijeriya kwata. Littafin ta na farko, So Aljannar Duniya, ya fito cikin a 1972 lokacin da aka yi gasar marubutan Hausa, har ta zo ta biyu. Marubuciyar ta rubuta littattafai da dama wad'anda ba su fito ba, kuma ta dad'e ta na fad'i-tashin ganin yadda littattafan ta za su fito, amma rashin kud'i ya hana.

Kwanan nan, abubuwa biyu sun faru ga Hajiyar. Na farko, ana nan ana shirin fito da wasu daga cikin littattafan ta, ciki har da wani na gajerun k'irk'irarrun labarai. Na biyu, lokacin da aka yi wani gagarumin bikin karrama marubutan Arewa a Minna, Jihar neja, Hajiya Hafsatu ta na daga cikin marubutan Hausa da aka karrama da kyautar lambar girma.

Ba wannan ba ne karo na farko da na yi hira da Hajiyar, domin idan kun tuna a ‘yan shekarun baya mun tab'a kawo muku wata hira da ita. A wannan karon, mun tattauna ne kan wad'annan abubuwa biyu da su ka faru gare ta, wad'anda duk na alheri ne.

Wani abu da ya kamata ku sani shi ne, Hajiya Hafsatu ta na daga cikin manyan mutanen k'asar nan. Na farko, ita jinin Mujaddadi Shehu Usmanu D'anfodiyo ce. A Jihar Zamfara kuma, fitacciyar ‘yar siyasa ce, domin a zab'en 2003 da aka yi, ta yi takarar zama Gwamnar jihar. Ta na da ‘ya’ya maza da mata; d'aya daga cikin ‘ya’yan ta, Hajiya K'adiria Ahmad, ta tab'a aiki a gidan rediyon BBC a London, yanzu kuma babbar ma’aikaciya ce a wani kamfanin kula da filayen jiragen sama a Legas. Haka kuma wata d'iyar ta Hajiya Hafsatu, wato Hajiya Asiya, ta na auren tsohon Ministan Abuja, Malam Nasir El-Rufa’i. Hasali ma dai, mun yi wannan tattaunawar ne da ita a gidan shi Malam Nasir da ke unguwar Jabi, a Abuja, kwana d'aya bayan an karrama ta. To bugu da k'ari kuma Hajiya Hafsatu ta kafa tarihin kasancewa mace ta farko da ta wallafa littafin hikaya a Arewa.

Ran ki ya dad'e, ki na daga cikin marubuta na Arewa wad'anda aka karrama su da lambar girma a Minna. Yaya ki ka ji a kan wannan karramawa da aka yi maki?
Alhamdu lillahi, na ji dad'i sosai. Sai dai bak'in ciki na kawai shi ne, uba na da uwa ta da miji na ba su da rai, balle su san abin da na samu. Amma murna kam na yi murna k'warai da gaske. Alhamdu lillahi.

Wannan shi ne karo na farko da aka tab'a karrama ki a kan harkar rubutu?
E, an tab'a yi a Kano, har su ka ba ni kamar lambar girma haka. Amma gaskiya na manta lokacin. Ina jin bara ne ko bara waccan.

Su waye su ka yi waccan karramawar?
Wata k'ungiya ce ta matasa marubuta.

Yaya ki ke ganin batun karrama marubuta, wanda ba a cika yi ba, yanzu ga shi ana yi? A farkon shekerar nan an yi a Abuja, sai kuma ga shi an yi a Minna. Shin wannan ya fara sauya tunanin mutane ne game da marubuta?
Ina ganin ’yan Arewa sun fara gane muhimmancin marubutan su. Ka san a da mutanen mu ba su damu da marubuta ba, musamman ma dai mata, ba a cika gane muhimmancin mu sosai ba, saboda an d'auka rubuce-rubucen mu shirme ne; na soyayya kawai. To, ina ji yanzu lokaci ya zo da aka soma gane muhimmancin mu. Saboda haka aka k'irk'iro wannan. Ya yi daidai kuma ya kamata a ci gaba da yin haka d'in.

A wurin bikin wannan karramawar a Minna, lokacin da ake karanta tak'aitaccen tarihin ki, an nuna cewa ke jikanya ce ko jinin Mujaddadi Shehu Usman D'anfodiyo ce. Mutane za su so ki yi k'arin bayani a kan wannan salsala taki.
To, ni dai sunan uba na Alhaji Abubakar Garba, sunan baban sa Sa’idu. Sa’idu kuma Hayatu ne ya haife shi. Hayatu kuma Sa’idu ne ya haife shi. To, shi kuma Sa’idu Muhamman Bello ne ya haife shi. Muhamman Bello kuma d'an Shehu Usmanu D'anfodiyo ne. Saboda haka ya zamana ni jikanyar jikanyar Shehu ce.

To, ko daga nan za ki ba mu tak'aitaccen tarihin ki?
An haife ni a 1952 a Kano, cikin unguwar K'ofar Mata, kuma na yi karatu a Shahuci da Provincial Girls School da Shekara Secondry School. Bayan nan na yi aure, inda miji na da shi ne manajan John Holt a Kano, daga baya aka mayar da shi Gusau. Bayan nan na yi ‘enrolling’ a Beneth Correspondence College, Landan, inda na d'an k'ok'arta na sami difloma. To, bayan nan dai na ci gaba da rubuce-rubuce. Na yi d'an aiki tak'aitacce a Kano, kamar part-time haka a gidan Rediyon Kano, amma ban dad'e ba, saboda ban dad'e da somawa ba na koma Gusau d'in. To, bayan nan dai sai rubuce-rubuce kawai da na ci gaba da yi a gida.

A bincike da na yi na fahimci cewa ke ce mace ta farko a Arewa da ta fara wallafa littafin k'irk'ira, wato littafin ki So Aljannar Duniya. Shin ki na da masaniyar cewa mata sun yi rubutu kafin ke ko kuwa a iyakar sanin ki ke ce ki ka fara d'in?
To, gaskiya ni dai ban tab'a ganin littafin wata ba ko da a jarida ko a wani guri da aka ce ta yi rubutu, sai da nawa ya fito tukunna. To, kuma bayan nawa ya fito - ina ji da kusan shekara 12 ma - na Zaynab Alk'ali ya fito. Koda ya ke akwai bambanci tsakanin nawa da ita, don ita na Turanci ta yi, ni kuwa da Hausa na yi.

Ko za ki gaya mana tarihin rubuta So Aljannar Duniya? Na farko ma dai menene ya fara ba ki tunanin rubuta littafi a lokacin da mata ba sa yi?
To, gaskiya a makarantar da na yi an d'an ba mu k'arfin gwiwar rubuta ’yan labarai a aji, har mu kan karb'i ’yan kyautuka a kai. A lokacin da na rubuta wannan ma da Turanci na soma rubuta shi duk da cewa Turancin nawa bai nuna ba, saboda yaya ta da ta auri Balaraben Libya ta sami ’yan tangard'od'i wajen dangi, haka da iyaye, wad'anda ba su so ta auri wani bak'o ba. To, daga baya kuma bayan na rubuta wannan sai na zo na auri wani Balaraben Yemen. To, sai labarin ya zamo kusan iri d'aya ne. To, da na rubuta shi da Turanci ban sami bugawa ba har lokacin da kamfanin NNPC Zaria ta yi gasa d'in nan, sai na fassara shi da Hausa na shiga gasar. A 1970 kenan. Na sami zuwa ta biyu a matsayi na na mace kad'ai da ta shiga wannan takara. To, bayan nan ne aka buga shi a 1972.

Tunda da Turanci ki ka fara rubuta shi, da yaya sunan sa?
Wallahi a lokacin ban sanya ma sa suna ba, don d'aya daga cikin abin da su ka hana ita yayar tawa a buga littafin shi ne mu na ta k'ok'arin mu ga wanne irin suna ya kamata a sanya masa. Saboda haka a lokacin ban sanya masa suna ba. (Murmushi) Amma dai Malam Sheme ya sanya masa suna a jarida (Weekly Trust); na gani. To, ina jin idan za mu yi shi da Turanci abin da za mu kira shi kenan.

Akwai yiwuwar za a fassara shi ne nan gaba?
E. An ma fassara shi da Turanci da Filatanci, kuma Jami’ar Usmanu D'anfodiyo, Sokoto, sun yi shi da Arabiyya. To, amma dai duk da haka har yanzu babu wanda aka rubuta a ciki.

Me ya tsayar da aikin bugun?
Gaskiya rashin kud'i ne a lokacin. Amma shi na Arabiyyar na sami wani mutumin Saudiyya da ya ce zai buga. To, amma abin bak'in ciki na yi gobara a 1995, saboda haka wannan kwafin na Arabiyya d'in ya k'one, kuma na yi k'ok'arin samun kwafi a hannun jami’ar ta Sokoto, don in kwafa, ban samu ba. Amma yanzu wani yaro ya sake buga shi da Larabci d'in. Saboda haka yanzu ina da rubutun hannu na Larabci d'in.

Labarin So Aljannar Duniya labari ne na Fulani, ku kuma ga shi a gari ku ke zaune. Me ya ba ki tunanin ki rubuta labarin Fulani maimakon labarin Hausawa wanda ki ka fi sabawa da shi?
To, ai ni Bafillatana ce, kuma duk da yake mu na cikin Hausawa, gidan mu ba mu zubar da yawancin al’adun mu na Fulani ba, domin ba a ma Hausa a gidan mu. Idan yaro ya tashi ba ya yin Hausa sai ya kai irin shekara bakwai d'in nan; sannan ya soma fita waje, ya koyi Hausa. Saboda haka ba wai wani abin a zo a gani ba ne don na rubuta al’adun mu.

Bayan wannan littafi sai aka d'auki tsawon lokaci ba ki yi wani littafin ba har zuwa lokacin da ki ka yi ’Yar Dubu Mai Tambotsai. Me ya sa aka sami wannan tsawon lokaci, kuma shekara nawa aka yi a wannan tsakanin?
Gaskiya ban san yawan shekarun ba, amma ina da littattafan da ma a rubuce; bugawa ne kawai ba a yi ba, saboda yanayin yadda babu kud'in da mutum zai buga d'in.

Wani abu da mu ka yi la’akari da shi shi ne, a matsayin ki na wacce ta soma rubuta littafin k'irk'ira a Arewa, sai ya kasance k'waya biyu kad'ai ki ka rubuta, ban da littattafan addini da mu ka san kin rubuta daga baya. Me ya sa ba ki rubuta littattafai da yawa ba kamar yadda sauran marubuta su kan yi?
(Murmushi) A’a! don littattafai ina da littattafai da dama; matsalar dai yadda na gaya maka ita ce bugawa. Domin ni ina ganin in buga su da k'ark'o sosai, wato abin da Bature ya ke cewa da quality, ya fi in buga su irin yadda sauran mutanen mu su ke yi da araha d'in nan su shiga kasuwa. To, shi ne kawai matsalar da ta hana ni bugawa da yawa, su fito. Amma akwai su nan a ajiye.

Ki na ta kukan rashin kud'i, amma wasu za su kalle ki a matsayin attajira, saboda ’ya’yan ki manya ne; an san su na auren manyan mutane da sauran su, kuma ke d'in ma dai babba ce. Anya za a yarda da maganar rashin kud'in nan, na dai a buga littafi?
A’a, to ai kamar nawa da na ke yi su na da tsada da yawa. Ka ga kamar wanda za a fitar wannan watan - Saba D'an Sababi - na k'irk'irarrun k'ananan labarai, abin da na biya mai bugawar shi ne N200,000 a kan kwafi 1,000 kacal. To, ka ga kuwa kud'in ba kad'an ba ne kenan. Kuma yara su na yin iyakar gwargwadon iyawar su, amma kowa ya na da iyali na kan su; ba za ka d'auki nauyin da ya fi k'arfin mutum ka d'ora masa ba, ballantana tun da baban su ya rasu. Kuma duk ba su dad'e da kawo k'arfi ba ai, saboda ba su dad'e da gama makaranta da kama aiki ba. To, ka ga akwai matsaloli da yawa a irin wannan.

Sannan kuma kallon kud'i da ake yi min, to alhamdu lillahi, sai in ce Allah ya k'ara min! Amma dai suna ne. Sarakuta kuma da masu kud'i, wannan ba hujja ba ce ta mutum ya na da shi. Domin sai surukin ya bayar sannan za ka karb'a. To, saboda haka ana dai k'ok'artawa. Yanzu dai mun yi da su za a tara duk ’yan rubuce-rubucen a tsinci wanda za a tsinta, su had'a kud'i su buga, wanda su ka ga ya dace da wanda za su iya.

Yanzu kin nuna mana cewa a a aiki a kan sabon littafin ki. Shi ma na k'irk'ira ne kenan?
E, na k'irk'ira ne. Wato na rubuta k'ananan labarai guda 46, wad'anda mu ka ce za mu kasa su kamar kashi uku ko hud'u. Ya danganta da dai yadda abin ya ke. To, kashi na farko ne zai fito; ya kamata ma a ce tun bara ya fito. To, harkar masu bugawa d'in ce…, sai dai ya yi min alk'awari, ya ce k'arshen watan nan idan Allah ya yarda zai fito. To, akwai kuma da yawa littattafan ai. Akwai biyu ma da Hukumar A Daidaita Sahu ta Jihar Kano su ka d'auka za su buga, wanda na yi a kan mu’ujizojin Alk'ur’ani mai girma. Sannan akwai d'aya da na yi kan wani labari na gaskiya da na k'irk'iro na rubuta, na sanya masa suna Aibin Doka. To, sun d'auki wad'annan biyun za su buga.

Akwai yiwuwar ki rubuta wak'ok'i ko wasan kwaikwayo?
E to, biyu daga cikin k'ananan labaran nawa na mayar da su wasan kwaikwayo, sannan kuma ina da rubutattun wak'ok'i - amma na Turanci - da yawa, domin gaskiya na gwada rubutawa da Hausar, na kasa!

Ashe ki kan yi rubutu da Turanci? Amma har yanzu ba a ga ko guda d'aya ba!
Wallahi ina yi, amma duk dai harkar idan aka juya ta batun dai bugawa d'in ce. Har yanzu ban sami wanda zai d'auki nauyin bugawar ba. Ni kud'in ba su dame ni ba, amma dai a ce aikin ya fito, shi ne muhimmanci a wuri na, amma har yanzu ban sami wanda zai d'auki nauyin ba. Amma na Turancin dai a kwanan nan mu ka zauna da yara mu ka tsinci wad'anda za a buga d'in. To, ban san dai abin da su ke ciki ba dai yanzu, amma sun yi min alk'awarin za su buga, to amma ban san lokacin ba.

Me ya sa kamfanin Gaskiya Corporation ko NNPC Zaria ba su buga littattafan ki da yawa ba, musamman tunda a wancan lokacin su na cikin aikin buga littattafai da yawa, ba kamar yadda daga baya su ka durk'ushe ba?
Wallahi ni dai abin da su ka gaya min shi ne ba su da kud'i. Duk dai magana guda ce a lokacin da na kai musu nawa guda biyu, wad'anda har da ma na ‘Dare Dubu Da D'aya’ da na rubuta yadda yara za su iya karantawa, saboda na farkon nan bai kamata yara k'ananan su karanta shi ba. To, na rubuta daga na 1 zuwa na 5 kamar yadda aka yi shi na Hausa d'in nan. Har yanzu ma kwafin ya na hannun su, ba su dawo min da shi ba, don sun ce min yanzu su na ‘yan shirye-shiryen soma buge-bugen littattafai.

Yaya ki ke ganin harkar wallafa a Arewa?
To, gaskiya abin ya na da ciwo. Kuma duk a wasu taruka da aka yi na marubuta na kan bayar da shawarar cewa su kan su marubutan su na da laifi, saboda za a iya had'in gwiwa, a saka ‘yan kud'ad'e; kowa ya bayar da gudunmuwar sa, a had'a kud'in nan a ajiye. Idan marubuci ya rubuta littafi a duba, idan ya cancanta a buga shi, sai a d'auki nauyin bugawar. In ya so bayan an buga, an sayar ko an k'addamar, abin da aka sayar, sai a mayar a ajiye. Kuma nan gaba sai a sake samun wani ya yi. Amma duk shawarwarori na da na ke bayarwa, har yanzu babu wacce ta sami shiga.

Ita gwamnati da masu hannu da shuni fa?
To, gwamnati dai ba ta san da zaman marubuta ba, sai dai kwanan nan da ake ta abubuwan nan na ga gwamnatin Neja ta d'auki nauyi. To, kuma gwamnatin mu ma ta Jihar Zamfara ta yi alk'awarin za ta bud'e mana wani asusu wanda idan an yi littafi, a bincika shi a gani; idan ya cancanta, a buga. Sai mu yi fatan sauran gwamnoni za su yi koyi da su.

Wane kira za ki yi ga marubuta wad'anda ke kasa fito da littattafan su, har ma wani sai ya yi fushi ya daina?
Bai kamata mutum ya yi fushi ya daina ba, domin idan Allah ya ba ka basira, ka daina amfani da ita, kamar ka yi masa butulci ne. Shi kuma rubutu ko da mutum ba shi da rai ya na da amfani. Kamar yadda mu ka ga littattafan Shehu da Asma’u d'aruruwan shekaru ga su nan yanzu ana morar su. Saboda haka kada mutum ya bari. Kada rashin bugawar nan ta karya masa gwiwa; ya yi ta rubutun ya na ajiyewa har Allah ya kawo wanda zai zo ya buga masa. Saboda komai ya na da lokaci. Idan lokacin abu bai yi ba, babu yadda za a yi ka tilasta lokacin ya yi.

To, Hajiya mun gode, k'warai.
To, madalla. Ni ma na gode.

(An ciro daga mujallar Fim ta watan Yuni 2008)