Hajiya Bilkisu S. Ahmed Funtua - An Interview

I had this interview with one of the leading Hausa novelists, Bilkisu Salisu Ahmed Funtua (a.k.a. Anty Bilki), many years ago when I was working at the New Nigerian Newspapers in Kaduna. I interviewed her at her home in Funtua, Katsina State, in the Hausa language and translated it for the benefit of a wider audience. The interview was published in the New Nigerian Weekly at that time. I have just fished out of my archive.



NNW: One would like to know when you began to write and why.

Bilkisu: I started in 1983 with the publication of the novel Allura Cikin Ruwa (A Needle in the Water), though was not the first book I wrote, Wa Ya San Gobe? (Who Knows the Future?) was my first novel, but the other one was published earlier due to certain problems.

NNW: In what volumes is "Allura"?

Bilkisu: It is in three volumes - books one to three.

NNW: So, what motivated you to become a writer?

Bilkisu: There were many reasons: I think I was motivated by three main reasons, all of them based on my feelings for the North. The first is the way girls in the North are having their rights denied. You find a brilliant girl with the urge to further her education but as soon as she gets married the husband prevents her from going further. I know that marriage can not be a hindrance to a woman wanting to further her education. In this regard, Southerners are more progressive than us. As such, I realized that through the medium of writing using the little talent God gave me, I could put into the heads of girls ideas-through entertainment and enlightenment-to appreciate the importance of education.

Secondly, you find that once a Hausa girl gets married even if it is one based on love without the imposition of he parents, the marriage eventually collapses. In the past when our own parents and grandparents got marred, it was difficult to find two or three divorcees in the community. Bu nowadays it would be a lie for one to say there is no divorcee in one's family; in the community there are divorcees a] over the place, you hardly distinguish between the unmarried ladies and the ax-married ones.

The main cause for this is lack of understanding an! awareness on the way to live in marriage. That's how our children are: they don't know how to live together as couples. It is possible that other tribes are more realistic than u in teaching their children perseverance and attitudes in staying with their husbands. We the Hausa parents are too shy to do that; only the educated or enlightened ones among us would sit down with their daughters and teach them the way to do things that would improve their marriage. Parent only try to teach by example, in a sort of insinuatory manner which the daughters may not understand.

As a result of marrying off unenlightened girls, they soon lose interest in the marriage. Also, the husband himself might not have grown up enlightened, so he is quick to anger an~ so says he would not go on with the marriage. And a crisis would ensue. That is despite the fact that and love each other, they are materially comfortable, but the marriage collapses.

Thirdly, there is the issue of forced marriage. There is the need for children to take the advice of their parents. It is no always that parents, aim to marry off their daughters to rich people; sometimes, a girl would choose the wrong person and a partner whom her parents might oppose, and the girl's position would harden. I had observed that when the (present crop of) novelists started writing, they seemed to indicate that a marriage based on soyayya (love) is compulsory, the so-called auren dole (forced marriage), which your parents forced you into, would never work.

In my understanding, I observed that our own parents got married under such circumstance whereby a girl would not have ever met the prospective husband before the union was consummated; she would see him only after she had been taken to his house. It's their parents that would arrange everything, and it worked. Those were my three reasons for wanting to write, with the hope that girls in the North could progress in terms of marriage and education.

NNW: Did you read other people's books in order to pick up styles and other insight?

Bilkisu: I have been interested in reading quite a lot. I love to read more than you can imagine. But whenever I read the Hausa novels, before I began to write mine, I used to feel bad. I would begin to say only if so and so were was written or said, the story would have been more enlightening to people, instead of overemphasizing the romance aspect. I do not mean to say that I dislike the romance as I also incorporate it in my stories, but there is more enlightenment in my novels. There hadn't a novel I found impressive after reading it.

NNW: How many novels have you published so far?

Bilkisu: I've published nine so far.

NNW: Why are all these prose fiction? You don't seem to delve into drama or poetry.

Bilkisu: I have considered prose as the best medium of reaching out to women and men with my messages. Prose is the ideal way of teaching through entertainment.

NNW: I'd like you to respond to the charges critics make against contemporary Hausa novelists in general. For example, it is said that the novels are mere Western stereotypes, that they are based, on Indian movies without consideration to Hausa culture.

Bilkisu: If the critics are talking about me in particular, they are wrong. Other novelists may reflect those charges. Though I am not defending myself I know that all the books I wrote were not based on any film or Western life style. I write totally on Hausa way of life. However, I would like you to go and conduct an opinion poll on which novels the readers best like and the reason why they like them. I know they would first mention culture as a reason for liking them; there's a preponderance of local life style in a Hausa community, then we move on to the urban center. Therefore, the cultures I reflect in my novels are those of the Hausa man.

NNW: Let's be specific. Recently, a literary critic writing on the new Hausa writing in the Weekly Trust and cited you as one of her examples. She said that in "Sirrin Boye" (The Hidden Secret), when Asma'u is about to meet her father for the first time, having been begotten out of wedlock, she falls into the arms of Faruk, her fiancé, out of apprehension on the encounter. The critic says that's not a Hausa cultural trait, that Asma'u should have burst into tears or something like that. Secondly, in the same book, you are charged for allowing a woman to go to her former suitor's house when her husband sends her packing at midnight instead of going to stay with the neighbours until daybreak.

Bilkisu: No, that is all truly Hausa culture. There is nothing confusion and apprehension could not cause, either to a Hausa, a white man or an Indian. Asma'u could have even collapsed on the ground then and faint in front of Faruk. The girl has spent twenty years of her life without ever knowing that she has a father and look at the way the father himself comes. Then she, suddenly finds herself in an exotic place where she may not even be accepted. Hence her utter bewilderment. As such whatever anyone does in such a circumstance, especially since she has been considering Faruk as her elder brother is excusable.

Secondly, the critic mentioned the issue of Abu, the mother of Asma'u, who leaves her husband's house and goes to her former boyfriend's house. I think she is right in going to that house because whenever she goes to her father's house he used to beat her and chase her out. She had been going to take refuge in the houses of his friends without getting the necessary succor; they send her back. She therefore goes to her boyfriend's house in order to persuade him to elope together.

NNW: In Hausa culture, there may be other alternatives. Abu could have gone to her own relatives' houses no matter how far away. Didn't you consider that?

Bilkisu: Abu had done all that, without getting relief. She therefore goes to her boyfriend for relief as all her travails are due to her insistence on him.

NNW: You are also charged with encouraging the use of black magic in Sa'adatu Sa'ar Mata (Sa'adatu the Lucky Woman). When Sa'adatu and her suitor Junaid fall apart, she takes up the advice of her mother and her friends and goes to a seer who gives them a love potion. This purportedly helps in cementing the relationship eventually leading in which they beget children and live happily ever after. You seem to teach that what the malam does is scientifically and morally correct.

Bilkisu: Everybody knows there is the concept of istihara (giving God the choice', a prayerful divination through heavenly intervention) in Islam, isn't it? Asma'u believes in istihara. It is her parents and friends that advice on going to a boka (shaman). Now, it would be an illusion (for us) to assume that our parents and grandparents (the older generation) would not seek for the intervention of apothecaries; it's an age-old tradition.

My aim was to enlighten the younger generation about the superiority of istihara and prayers over the traditional method. I have only made comparisons and showed that it is difficult for children to reject their parents' insistence on soliciting for the intervention of Malams in private affairs. Opposing parents would hurt them, it's better to even pretend to obey them in that regard

Asma'u has obeyed her parents because they have suffered a lot before they could convince her to take that decision. Even in the Qur'an there is the concept of the efficacy of sorcery and the need for its prevention. Now, all the medicines I mentioned were used by Asma'u none was not used by the holy Prophet Muhammad: milk, honey, meat and dates. These are medicants that you are recommended to use even if you are healthy. They are the ones Sa'adatu uses, not the ones the apothecary gave her. It is Sa'adatu's co-wife who believes in black magic but who pays dearly for it and is eventually divorced.

NNW: As a writer, why did you delve into film production?

Bilkisu: I did so because of old folks non-literates, who would like to read the stories but cannot. I realized that through home videos l could render another great help. Whoever cannot read can watch the video.

Also these days men used to say to women, "Oh, why are you immersed in that book? The woman told her husband "Whatever change you see in me, like stopping visiting to many people, I learnt it from this book. Therefore, Aunty Bilki's book is (like) the Hadith (saying of Prophet Muhammad). The husband was so glad. Suddenly, one day (my film) Ki Yarda Da Ni arrived and he sat down and watched it. And he was so impressed that he and his wife came all the way from Bauchi to Funtua just to see me. At that time they had a problem of polygamy, which I often write about: (advising that) women should live with their co-wives; a co-wife is your sister in all respects, so don't get unnecessarily worked up. I preach that, and we've progressed (in enlightenment) a lot.

NNW: Does that mean you will produce more films?

Bilkisu: Yes. By God's grace all my books, whether I am alive or not - I have put it in my will, my relatives and children know it - will be filmed.

NNW: Do you envisage a time when you will retire from writing?

Bilkisu: As long as there are problems in the world, I will write till die or I am not well. Everyday one confronts one problem or the other which needs to be critically examined.

NNW: Where do you get your themes?

Bilkisu: Even though I am secluded I used to go out once in a while and receive. visitors. In fact this writing business has made it possible for me to know problems more than before. People always phone me, visitors come, in a day even if I receive a hundred visitors I don't see it as too many. Some bring along a piece of advise which I find to be another form of problem requiring creative attention.


NNW: Don't you feel mobbed by these visits?

Bilkisu: Honestly, I do. For instance yesterday I wasn't feeling well and my sisters had come to discuss the wedding we are having today (my sister's). But then so many visitors came over. I felt somehow disturbed by people. However, I realized that it was entirely my fault, for I was the one that attracted them to me, so I have nothing to do about it. In any case I love people, so I feel okay with them.

NNW: What is your relationship with other writers? Are you a member of any writers' association?

Bilkisu: I am not a member of any association but I relate well with my fellow writers. As of associations, my husband wouldn't tolerate my trips to meetings. Moreover, there are certain things that make it hard for me to be in a writers' associations.

NNW: Like what?

Bilkisu: For example the (critics') idea that I transform foreign movies into book annoys me. If one reads my book dispassionately one would see that the story realistic and not copied from films. One would feel like one even knows the characters in real life. As such it's the Hausa culture that I write about. I am not happy that writers pick up stories from films and make them theirs. Our cultures are different.

NNW: What do you feel can become the future of the contemporary Hausa novel?

Bilkisu: We are developing. At the moment, people learn lesson from the stories.

NNW: Do you, on your own, react to criticism in order to enlighten your readers on your motives?

Bilkisu: It is only God that can satisfy people. Each reader has a different way of seeing things. Look at my intention for writing (about the character) Asma'u: to show that a good child could be begotten through fornication; God knows we shouldn't throw such a child away, because no one surpasses anyone in the eyes of God except those that tear Him most. Asma'u was begotten through bad way but God made her very devoted to God, very modest. And her mother, it is extremism in religious and cultural views that forced her to go astray. In my view, people can learn from this.

NNW: What type of problems did face in the early days of your writing?

Bilkisu: Well, they were mainly those of lack of funds; one is a secluded house-wife with no helper in terms of who would go out and pursue the publishing. But I've got a husband who is deeply interested in seeing that I was published, so he helped with the funds to the best of his ability.

NNW: What advice do you have for upcoming, unpublished writers?

Bilkisu: My advice is to write what readers can pick moral lesson' from, not things that can teach only immorality especially those transforming films into their books. How could you pick Indian culture and bring it here without attracting negative attention? For instance, there was one writer who wrote about a girl who fell into a well to protest a marriage she was being forced into by her parents. I don't think this is a good way of teaching morals; there are other ways that that girl could show her protest: (And) if it is her destiny to marry the man, she would marry him. Another writer told the story of a girl who, because of her infatuation to a boy, put poison in her grandmother's food who ate it and died, just because she wanted to marry the boy. Why should you commit murder in order to marry someone? This is a bad moral which shouldn't be put in a literary work. In my view, such stories shouldn't be told or written.

As for me, anyone that says there no local culture in my books hasn't really lead them or hasn't understood them. I really give our culture priority. I also give priority to our religion; in fact, I was the first writer to be reproducing useful prayers and infusing them into my stories to the extent that people ask if they are genuine. Any of my female characters that finds herself in a crisis would be found praying.

NNW: Yes, some critics see positive morals in your stories. For example, in Sirrin Boye, Asma'u, Zubaida and Bilkisu, who are female, are doctors; in Sa'adatu Sa'ar Mata, Sa'adatu is a journalist educated in England, and in Wa Ya San Gobe? Fatima is a school teacher who eventually becomes a federal minister of education. These show that you encourage female education.

Bilkisu: That is right. Fatima is from a very poor background but grew to that level.

NNW: Hajiya, thank you very much.

Bilkisu: You are welcome.

Bashir Tofa Wins Karaye Literary Award

SPEECH DELIVERED BY CHIEF DANJUMA A. RANDONG, HEAD PUBLIC RELATIONS, FEDERAL JUDICIAL SERVICE COMMISSION, ABUJA, ON BEHALF OF HAJIYA BILKISU ABDULMALIK BASHIR, FOUNDER AND FINANCIER OF THE ENGINEER MOHAMMED BASHIR KARAYE PRIZE FOR HAUSA WRITING ON THE OCCASION OF THE 28TH INTERNATIONAL CONVENTION OF THE ASSOCIATION OF NIGERIAN AUTHORS (ANA) HELD IN MINNA, NIGER STATE, FROM THURSDAY, OCTOBER 29, TO NOVEMBER 1, 2009.

Let me begin by conveying the apology of my boss, Hajiya Bilkisu Bashir, founder of the Engineer Mohammed Bashir Karaye Prize for Hausa Writing on whose behalf I am here today to address you. She would have loved to be here with you physically to savour these beautiful moments in the midst of you all. Unfortunately, she could not make it as a result of official work. I wish to convey her regards to all of you. I can assure you that she is here with us in spirit.

Next, I would like to thank you for this opportunity to address you. It is really a great honour to be in the midst of writers.

Before proceeding to announce the winners of the 2009 edition of the Engineer Mohammed Bashir Karaye Prize in Hausa for Hausa Writing, I would once again like to convey the Hajiya’s apology for the inability of the Organizing Committee to hold the 3rd Grand Award Ceremony in the month of October, which has become the tradition.

Let me use this opportunity to formally confirm an earlier statement made by ANA Abuja that this year’s edition of the Karaye Award will now take place in Kano. The reason behind this change is to enable greater participation by Hausa writers and readers, most of whom are based in Kano. In addition, Kano is the home state of the man after whom the Karaye Prize is named. He also lived and worked in that city for the greater part of his life. Holding this year’s edition in Kano is also a way of honoring his memory.

Distinguished writers, let me use this opportunity to thank the leadership of ANA and the entire writers’ community for a most wonderful relationship over these past three years. We look forward to a warmer and better relationship that will push Nigerian literature to greater heights. Literature is the mirror through which the society sees itself. It is also a very powerful tool for promoting national integration and unity. I urge all of you to use this beautiful trade to re-brand Nigeria by fighting corruption and other social ills through literary works and to foster better relationship for the good of all of us.

Further, writing in indigenous Nigerian language will keep our language alive and thereby help to preserve our identity as a people of unique culture. I am highly delighted to be associated with ANA, the umbrella body of Nigerian writers’ community who are committed to using their trade to create a better society.

The Engineer Mohammed Bashir Karaye Foundation shall continue to support creative writing and writers in Nigeria as much as. It is in the light of the above that I am happy to announce as follows:

Arrangements have been concluded by the Engineer Mohammed Bashir Karaye Foundation to organize workshops for Hausa writers. This is a follow-up to the observations and recommendations of the literary judges of the three editions of the prize. We believe that this workshop for Hausa writers would help improve the quality of Hausa writing. This workshop will take place, God willing, in the near future. Attendants shall include writers who have sent entries for the three previous editions of the prize and others in accordance with the capacity of the Foundation’s little fund. Details of the programme will be published soon by the Karaye Foundation. The proposed workshop is part of the Foundation’s contributions to improving the quality of writing in Hausa language in particular and the development of Nigerian literature in general.

As you are aware, we have added the Drama category this year, and although the entries were low, it is our hope that it will improve in the subsequent editions both in quality and in quantity.

Furthermore, in line with our determination to promote all genres of literature, I am happy to announce that the 2009 edition of the Prize will now feature Hausa poetry. We urge Hausa writers to get their works ready for this competition.

RESULT OF THE 2009 EDITION OF THE ENGINEER MOHAMMED BASHIR KARAYE PRIZE IN HAUSA WRITING.

I will now announce the result of the 2009 edition of the Engineer Mohammed Bashir Karaye Prize for Hausa Writing as submitted by the literary judges and ratified by the EXCO of the Association of Nigerian Authors (ANA) Abuja Chapter (the administrators of the prize) beginning with the Prose category.

The second runner-up is ‘Saba Dan Sababi’ by Hafsat M. Abdulwaheed. The first runner-up is ‘Walkiya’ by Mohammed Barista.

The winner is ‘Mu Sha Dariya’ by Alhaji Bashir Othman Tofa.

I will now move on to the Drama category. The 2nd runner-up is ‘Sodangi’ by Khalid Imam, the first runner up is ‘Kowa Yayi Da Kyau’ by Kabiru Yusuf Anka. The winner of the maiden edition of the Drama Category of the Engineer Mohammed Bashir Karaye Prize for Hausa Writing is ‘Malam Zalimu’ by Ahmad Gidan Dabino.

May I on behalf of Hajiya Bilkisu Bashir, the founder and financier of this Prize, congratulate the winners and the runners-up. To those of you who did not win, I urge you to keep writing. Thank you immensely for identifying with our cause. Our esteem thanks also goes to the judges for a most meticulous job. We are also grateful to the leadership of ANA Abuja for their cooperation. May God bless all of you.

Finally, the Prize money totaling N600, 000.00 shall be given to the winners at Kano at the Grand Award Ceremony. You are all invited. The particular date and venue shall be announced shortly.

It has been a great pleasure seeing you and being in your company. While looking forward to more fruitful relationship with ANA, I thank you for this wonderful opportunity to address you.

Nollywood Sans Kannywood

I think when the world (or even Nigerian federal officials) talk about Nollywood, they are not thinking about the Hausa film industry, a.k.a. Kannywood. Nollywood is simply the Nigerian movie industry WITHOUT its Hausa component. Surprisingly, Nollywood includes the Igbo and Yoruba productions. The question is: why are Hausa movies not included? In my view, it has to do with the fact that federal officials working in the culture sector - Ministry of Information and its parastatals such as the National Film and Videos Censors Board and the Nigerian Film Corporation - hardly remember Kannywood when they are designing policies. Until in recent years, they scarcely included Kannywood stakeholders in their programmes.

Of course, things have been changing in recent years. Kannywood stakeholders have been making an in-road into the federal culture sector - participating in film festivals, awards and meetings. Nevertheless, there is still a long way to go before we get THERE, largely due to the dominance of non-Northerners in the sector and in the mainstream mass media. If you take a look at the entertainment pages of Nigerian newspapers where news and gossip about the Nigerian movie world are told, you will hardly see anything being said about Kannywood. That is, with the exception of northern papers like Leadership, Trust, New Nigerian and Triumph.

The senseless attacks on Kannywood operators by officials of the Kano State Censorship Board in the bogus name of sanitising the industry appears to have taken Kannywood back in reckoning. That's the actual target of the censors. But theirs is a futile exercise because only a dimwit will presuppose that a censorship regime can destroy the progress of the new information technologies, of which movies are a significant part.

This is more so in a democracy, which has a preset tenure. As the Hausa say, "Zalunci ba ya karewa!"

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

DEATH THREAT FROM KANO CENSORS

Religion aside, We respect ur person. We see u as patriotic Nigerian who also has d intrst of d North in his heart, hence ds call to put a stop to d activities of ur editor Sheme. His personal attack d censorship board in Kano is attack on Islamic moral values which d Board is protecting and it is doing a good job of it. We don't want to believe u hv a hand in ds, hence ds call to put a stop to it. We don't know what will happen if u do not, but we do know tht d u're putting d Leadership nwsppr on line as well as ur othr invstmnts. We don't know wht indvdl members of d Coalition will do, but I do know tht we've been restraining thm with effort. And these youth are very restive. A stitch in time...

------

MY COMMENT: My boss, Mr Sam Nda-Isaiah, the Chairman/Editor-in-Chief of Leadership newspaper, Abuja, which I edit, received this threat today. Later, I got a similar threat. Such threats were received by me since last Friday. One was also sent to Mr Nda-Isaiah before his present trip abroad. Apparently, someone is not happy with the paper's coverage of the activities of the Kano State Censorship Board, headed by Malam Abubakar Rabo Abdulkarim. Whoever it is thinks that the best way to stop or influence the coverage is to issue an anonymous death threat, waving the religion card. Honestly, I never realised that the coverage was having such a big impact on some fellow(s) as to attract such a commentary. I also do not believe that apart from keeping the issues of censorship in the news the coverage was unfair. For example, we always made efforts to get the two sides of the story at any time. Mal Rabo was interviewed, at my behest, by all the media in which I have interest. His actions and utterences were always reported very well. We may have disagreed with some aspects of his methods, but not the idea of sanitising society. So why all the fuss? A friend has asked me the question today: "Don't you think Rabo was the one behind the text message?" I do not know how to answer the question very well except to say: But who gives life? Allah. Who takes it? Allah.

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.

Censorship in Kano

Some Preliminary Thoughts





I have restrained myself from commenting on the new regime of censorship in Kano (the latest I mean, which affects writers) because I had wanted to study the trend of opinion among the writers themselves. Being an author, my first reaction was one of anger, anger against those that work to emasculate intellectualism in Hausa land.

Kano is too important to ignore when it comes to intellectualism and creativity. It is the hub of intellectualism in Hausa land - an enviable position it seized from my native Katsina State. It is as the saying goes - when Kano sneezes, other Hausa cities catch cold immediately. Little surprise, then, that when movie making was banned for six months last year, the ripples were felt all over Northern Nigeria.

I have found myself caught between the extremes of the two stages of censorship unfurled by the Kano State Censorship Board. As a filmmaker myself, and publisher of the leading Hausa movie magazine, I was directly affected by the ban on moviemaking and the subsequent measures that were announced with the clear (though hidden) motive of emasculating the young, albeit vibrant film industry. Many of my close friends were affected; they were thrown out of work. I knew that most of them depended on the movie market to fend for themselves and even feed their kith and kin. They thus added to the army of the unemployed in Kano State. The government of Governor Ibrahim Shekarau (pictured above) has done little to reduce poverty through job-creation for the youths. I was told it employed many driving the A Daidaita Sahu motor-scooters and others in serving the quasi-police agency Hisba. But by banning filmmaking, it created a big market of unemployed youths, this time with young girls as half of the number of victims.

The level of discontent among the populace is unquantifiable.

Now that the censors are preparing to punish unregistered authors, I am caught in the centre again. Being a Hausa author myself (NB: I won the biggest Hausa writers' award with my novel "'Yartsana'), I felt doubly certain that part of the new legislation was directed at me! Of course, I am not the sole target. Everyone else is a target. In fact, I could even be considered a distant target, having not depend on book writing for a living. But the truth is that any writer worth his salt on the globe is a victim of the attack on creativity by a regime anywhere on earth.

The censors have no moral standing to prescribe a moral yardstick for authors because if they were to be judged using the same yardstick, many of them would be sent to jail first. The kind of stories one gets to hear about government officials in Kano, many of them verifiable, you would be at your wit's end trying to decipher the purpose of the current onslaught. Here are people who have failed to provide basic amenities for the common people, but they are using religion to attack others.

Can't those victimised use religion to fight back? This question is important in settling scores in the matter. No government official should consider himself holier than the next person just because he has money to employ hungry malams as radio propagandists. For, religious sentiments were used copiously to overcome filmmakers. The same sentiments have begun to be used by Malam Abubakar Rabo, the Director-General of the Censorship Board, against the authors. In the coming weeks and months, be sure to hear him on radio and TV using moral dogma to belittle and tar the authors.

The Hausa writers should not fear to fight this war. They should assemble their own Qur'anic surahs and the Prophetic hadiths against the unjust rulers and pretenders in order to defend themselves. They should visit radio and TV stations to speak out. They may be gagged there because government happens to be the biggest advertiser, but then they should use the independent media all over the world to expose the hypocrisy embedded in the ongoing war against intellectualism. Their war should be waged against the avalanche of intolerance and insensitivity which seems to be increasingly cultivated by some minority elements within the Kano State government.

They may not be rich enough in material resources to fight, but their ideas and their tenacity of purpose will be of great benefit to them. They are going to be supported by all persons of conscience. They should watch out against fifth columnists among themselves who shall be easily bought with cheap porridge by the censors.

Above all, they should be consoled by the knowledge that power is transient. Shekarau and all those book burners will not be in power forever. By 2011 there shall be a general election and Shekarau will not only go away but also fade away like an old tale. Even if he manages to plant a lackey/stooge as the next state governor, he would not have the guarantee that his interests would be safeguarded perpetually. It happened in Zamfara and many other states of the federation. And even if his stooge remains loyal to him, that stooge would one day leave. Remember that Dr Rabi'u Musa Kwankwaso, whom he defeated in 2003, was the most powerful governor Kano ever had, but where is he now? Is he not in the Siberia of political power even though he had been rewarded with a ministerial post by Obasanjo?

How I wish I could join this war. But I will not. I have only expressed my mind - for the records. My weapons shall remain in their armoury because I have friends in the Kano government. My heart will, however, remain with my friends the authors and the filmmakers. If the war degenerates, I shall fight. But on a different pitch from where both the dog the monkey shall be bloodied.

I have spoken. Ma'assalam.

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

Bayan Shekara 27: Me Ya Sa Aka Manta Da Abubakar Imam?

A bana, littafin Magana Jari Ce, wanda Alhaji Abubakar Imam ya rubuta, ya cika shekara 80 cif da wallafawa. Sannan a jiya Alhamis, 19 ga Yuni, 2008 Imam, wanda shi ne kakan marubutan Hausa, ya cika shekara 27 da rasuwa. Wannan sharhin ya na yi mana hannun-ka-mai-sanda kan yadda mutane su ka yi watsi da juyayin Imam da ayyukan sa, ciki kuwa har da wad'anda nauyin yin ayyukan tunawa da Imam da karrama shi ya fi rataya a wuyan su.

Daga Ibrahim Sheme

A wata ranar Asabar a cikin shekara ta 2004, na yi wani sharhi kan marigayi Alhaji Abubakar Imam, ya fito a filn adabi na jaridar Weekly Trust, wanda na ke gabatarwa a lokacin. Sharhin, kwaskwarima ne na wani sharhin da na tab'a yi a Majalisar Marubuta ta Intanet, inda na nuna cewa ba a yi wa Alhaji Imam adalci ba wajen ayyukan tunawa da shi, musamman a hanyoyin sadarwa na zamani. Na yi nuni da cewa idan mutum ya yi amfani da na’urar Google ta intanet, zai gano cewa babu wurare da dama da aka ambaci wannan hazik'i, fasihi, kakan marubutan Hausa a intanet. Har na ce idan a misali ka kwatanta Imam da ni d'in nan Ibrahim Sheme, za ka taras da cewa an ambace ni a intanet sau ninkin baninkin fiye da Imam - ga shi kuwa ni ba kowan kowa ba ne a fagen adabin Hausa, idan ana maganar gagarau irin su Imam!
Na d'ora laifin a kan mutanen da ya kamata a ce sun karrama Imam, sun tabbatar da cewa ya na da cikakken wakilci a yanar gizo da duk wani dandali da ya kamata a ji amon sunan sa. Wad'annan mutane sun had'a da marubutan Hausa, da malaman makarantu tun daga firamare har zuwa jami’a, da su kan su iyalan marigayin.

Shi dai Imam, haifaffen Kagara ne a Jihar Neja. An haife shi a 1911. Asalin asalin sa Babarbare ne, amma kakan kakan sa ya yi hijira zuwa k'asar Kwantagora, daga nan ya tafi Sakkwato a zamanin Shehu Usmanu D'anfodiyo, ya zauna a k'ark'ashin Shehu. A can aka haifi mahaifin Imam, wato Malam Shehu Usman, wanda daga baya ya dawo Kagara bayan ya yi yawon malanta a k'asar Katsina da ta Kano.

Imam ya yi makaranta a Katsina, inda daga bisani ya zama malamin makaranta. A nan ne ya had'u da Dakta R.M. East, Baturen nan jami’in ilmi wanda ya jagorance shi wajen rubuta wasu daga cikin littattafan sa, ciki har da Magana Jari Ce da kuma K'aramin Sani K'uk'umi. Har ila yau Imam shi ne editan Hausa na farko na jaridar Gaskiya Ta Fi Kwabo. Ya rasu a ranar Juma’a, 19 ga Yuni, 1981 a Zariya, ya na da shekara 70 a duniya. Ya bar matar sa d'aya, da ’ya’ya 14, da kuma jikoki 42.

Imam ya kasance jagaba a harkar rubuce-rubucen hikaya na Hausa, ta yadda a yau da wuya a ce ga wanda ya fi shi. To amma ban da rubutu, ya na daga cikin ’yan kishin k'asa na farko da su ka nemi mulkin kan Nijeriya daga hannun Turawa ’yan mulkin mallaka. Haka kuma ya taka rawa k'warai a harkokin addinin Musulunci.

Rasuwar Imam ta gigita jama’a, musamman saboda gagarumar gudunmawar da ya bayar a fagage da dama na rayuwar jama’ar Arewa. Tun daga lokacin da ya mutu ake ta tunanin hanyoyin da za a bi a karrama shi, a rik'a tunawa da shi a kai a kai. Abin mamaki, har yanzu ba a gama tunanin ba, don haka ba a yi wani abin kirki a kan haka d'in ba - shekaru 27 bayan rasuwar sa!

Sakamakon rubutun da na yi a Weekly Trust, wanda babban k'alubale ne a gare mu duka mu masu hank'oron son Imam, an samu yunk'uri mai alfanu daga wasu sassa. A Jami’ar Bayero ta Kano, Farfesa Abdalla Uba Adamu ya yi wuf ya k'irk'iri dandalin tattaunawa (chat group) kan Imam a intanet, wanda ya sa wa suna www.abubakarimam@yahoogroups.com. An samu membobi a wannan dandali, to amma yawan su bai taka kara ya karya ba.

Yunk'uri mafi girma da aka samu na karrama Imam ya fito ne daga iyalan sa. Sun kira mutanen da abin ya shafa, ciki har da Farfesa Abdalla da Dakta Ibrahim Malumfashi na Jami’ar Usmanu D'anfodiyo da kuma ni. Shi Malumfashi, ya yi digirin sa na dakta ne a kan rubuce-rubucen Imam kuma tun tuni ya nad'a kan sa Sarkin Yak'in Imam a fagage da dama. To amma a yayin da mu ka amsa gayyatar iyalan Imam mu ka je Zariya wurin taro na farko don tattauna hanyoyin da za a bi a karrama Imam, a ranar 29 ga Agusta, 2004, Malumfashi k'in zuwa ya yi. Bai kuma aika da sak'on uzuri ba. Zargin da mu ke da shi shi ne, adawar da ya ke yi da wasu daga cikin mu ce ta hana shi zuwa. A gani na, ya na ganin cewa tun da ba shawarar sa ba ce tun farko, ba zai shiga ciki ba. Ka ji halin Bahaushe – mai ban haushi, na Tanko mai kan bashi!

Duk da haka, taron ya yi albarka. Akwai dattawa da dama a taron, kuma yawancin ’ya’yan Imam maza, da wasu jikokin sa, duk sun halarta. An tattauna kan hanyoyin da za a bi a karrama marubucin, musamman ma yadda za a sa a rik'a jin amon sunan sa a k'asar nan kwatankwacin yadda ake jin na gwaraza irin su Janar Murtala da Janar Yar’Adua.

Bayan wannan taron, an sake yin wasu tarurrukan a wasu ranakun. A k'arshe, an yi abubuwa biyu. Na d'aya, an gina gidan yana a intanet mai suna www.abubakarimam.com, wanda Dakta Haroun Adamu, mamallakin makarantar nan Zaria Academy, ya d'auki nauyin gina shi. Wani masanin intanet da bai dad'e da dawowa daga Amerika ba inda ya yi tsawon shekaru, wato Malam Salisu U. D'anyaro, shi ya yi gidan yanar kuma ya ke gudanar da ita. Na biyu, an kafa cibiyar tunawa da Imam, wadda a Turance za a iya kiran ta Abubakar Imam Documentation Centre. Ta na cikin wani gidan sama da ke kallon randabawul na Babban Dodo a Zariya.

A yayin da gidan yanar ya ke d'auke da tarihin Imam da rubuce-rubucen sa, a ita cibiyar kuma an adana wasu kayan tarihi da su ka jib'inci marubucin, ciki har da samfurin rubutun sa na hannu, da takardun sa, da littattafan sa, da lambon girma da ya samu, da hotunan sa, kai har ma da rigunan sa!

Wad'annan abubuwa uku, babu shakka, manyan hanyoyi ne na karrama Imam. To amma a yau, idan na waiwaya baya, sai in ga ai ba su isa ba. Kuma ma tuni an yi watsi da su. Na farko, dandalin tattaunawar da Malam Abdalla ya bud'e a intanet, bai hab'aka ba. Mutane k'alilan ne a ciki. Kuma babu sak'wanni a kai a kai a ciki. Don haka dandalin bai cimma nasarar bud'e shi. Mai yiwuwa dalilin shi ne saboda Malam Abdalla ya gina wani dandalin tun da fari mai suna www.marubuta@yahoogroups.com wanda ya shafe na Imam d'in. Yawancin marubuta ma ba su san da dandalin Imam d'in ba.
Ta b'angaren gidan yanar da Malam Salisu D'anyaro ke gudanarwa kuwa, ya yi kyau k'warai, domin hatta littattafan Imam za ka iya sauko da su kyauta. Sai ai ya kamata a ce ana saka sababbin abubuwa a cikin sa, kamar labaran marubuta da mak'aloli kan harkar rubutun Hausa. Kafin a yi hakan tilas sai an samu ’yan rahoto ko marubuta da za su rik'a aikawa da sak'wannin da za a rubuta.

Haka kuma ya dace a ga hotuna da bayanai daban-daban a ciki wad'anda su ka danganci Imam da iyalan sa har da mu ’yan amshi.

Ban da haka, shin har an k'ure tunani kan Imam daga yin ’yan wad'annan abubuwan kenan? To ai ba a ma fara yak'in ba! Dalili shi ne har yanzu ba a yi wa Imam karramawar da ta dace da mutum irin sa ba, wanda ya bauta wa k'asa ta hanyoyin da Allah ya hore masa - kama daga kaifin alk'amin sa har zuwa fagen siyasa inda ya taimaka wajen k'wato wa Nijeriya ’yanci daga hannun ’yan mallaka. Domin fa Imam ba marubuci kad'ai ba ne, a’a d'an siyasa ne na sahun gaba, kuma malamin addini ne wanda ya taimaka gaya wajen fito da al’umma daga duhun jahilci. Kuma d'an jarida ne wanda ya gina dandamalin da mu jikokin sa mu ke cin abinci a kai a yau.

Akwai hanyoyi da dama da za a bi don inganta tunanin mu kan wannan bawan Allah. Na d'aya, a fitar da rana d'aya a kowace shekara don yin laccoci kan rayuwar Imam da ayyukan sa. Wato dai kamar yadda ake yi kan su Murtala da Yar’adua da ire-iren su. A taron, za a dubi ayyukan da ya yi, a d'ora su bisa jigo ko sikelin da aka zab'a a shekarar da ake laccar; misali: rubutun hikaya, aikin hajji, siyasa, karatun boko da na addini, aikin jarida, wallafa, ds. Wannan hak'k'i ne na iyalan sa da sauran masoyan sa; idan sun yi jagora, sai abin ya yiwu.

Na biyu, ya kamata a rik'a shirya laccoci kan rubuce-rubucen Imam, wanda su kan su marubutan Hausa ya dace su yi. Misali, a yau d'in nan a K'ungiyar Marubuta ta Nijeriya (ANA) ta Turanci, babu b'ab'atun da ake yi sai na karrama marubucin nan d'an k'abilar Ibo, Farfesa Chinua Achebe, wanda a bana gwarzon littafin sa Things Fall Apart ya cika shekara 50 cur da bugawa. To, mu mu na ina Magana Jari Ce littafi na 1 ya cika shekara 69 da bugawa a cikin 2007? Ko ‘ihn’ ban ce su Malumfashi sun furta ba, ballantana Allah-maimaita-mana! To, ba a makara ba, domin littafi na 2 da na 3 na Magana Jari Ce an buga su ne a cikin 1938 - wato shekara 70 cur a yau. A cewar Dakta R.M. East, wanda ya jagoranci wallafa littafin, an buga littafin ne a wajajen watan Satumba 1938. Kun ga kenan akwai damar a yi wani abu, ko da na rana d'aya ne, don tunawa da wallafar littafin da aka yi.

Na uku, ya kamata a gina gida na musamman wanda zai d'auki Cibiyar Tunawa da Abubakar Imam kamar yadda ake da Shehu Musa Yar’Adua Centre a Abuja ko Murtala Muhammed Foundation a Legas da Abuja. Idan iyalan Imam sun ga cewa ba su da halin yin hakan, to su rungumi gwamnati, ko da ta Kaduna ce, domin a taru a san yadda za a fitar da jaki daga duma. A tunani na, wannan ba abu ba ne da zai gagare su.
Na hud'u, a fito da babbar gasa ta rubutun littattafan hikaya masu ma’ana na Hausa ta shekara-shekara da sunan Imam. A rik'a kafa kwamiti da zai duba littattafan da su ka shiga gasar don fidda zakarun da su ka cika k'a’idojin da gasar ta tanada. Yin haka zai k'ara saka juyayin Imam a zukatan marubuta da manazarta. Idan an tuna, babbar gasar rubutun littattafan Hausa a yau ita ce ta tunawa da Injiniya Bashir K'araye wadda maid'akin sa Hajiya Bilkisu ta sa. Gasar ta samu nasara. An yi ta farko a bara, kuma har an fara ta bana a yanzu. Wannan gasa ta Imam za a iya bai wa k'ungiyar ANA ta k'asa ita domin ta rik'a gudanarwa.

Na biyar, a inganta gidan yanar www.abubakarimam.com, ta yadda zai k'unshi abubuwan da bai da su a yanzu.

Na shida, ina labarin littafin tarihin rayuwar Imam na Hausa da Malumfashi ya ce ya na yi ya kwana? Shekaru kamar biyar da su ka wuce, Malumfashi ya fad'a mani cewa har ya k'are aikin, wai “zai fito kwanan nan.” To, amma shiru ka ke ji, wai malam ya cinye shirwa! Ya zuwa yanzu, tarihin Imam a littafi guda d'aya ne, wato Abubakar Imam Memoirs wanda surukin sa marigayi Dakta Abdurrahman Mora ya fito da shi a cikin 1989. Wannan littafi shi kad'ai ne madgora wajen samun ingantaccen tarihin Imam, amma da Turanci aka yi shi! Kuma ba “kammalalle” ba ne, domin babu bayanai kan iyalan Imam a ciki, da ya ke shi Imam d'in ne ya rubuta shi, kuma ya fi maida hankali kan ayyukan sa na harkokin addini da na siyasa fiye da na adabi. In dai ba Malumfashi ya lak'ume shirwa ba ne, to don Allah ya fito mana da wancan littafin da ya ke magana. Mun gaji da gafara sa, ba mu ga k'aho ba. Idan kuma shi ba zai iya ba, to ya ba yara wuri, su su yi!

Na bakwai, malamai masu sha’awar Imam tare da nazarin ayyukan sa su cire gasa/kishi//hassada/gaba da ke cikin ran su, su had'a kai, su taru su fito da hanyoyin karrama Imam da su ka dace. Al’ummomi daban-daban a duk duniya su kan yi wasu ayyuka na musamman don tunawa da gwarazan su, to amma mu “ninanci” (kamar yadda Malam Abdalla ke cewa) ya yi mana tarnak'i. “In ba ni na yi abu ba, babu wanda ya isa ya yi shi,” ko kuma “Wane ai ba fagen nazarin sa ba ne wannan, da har zai zo ya na yi mana shiga-sharo-ba-shanu.”

Mu sani cewa idan fa ba mu karrama gwarzayen mu da kan mu ba, babu wanda zai karrama ma mana su. Su dai sun taka rawar su sun tafi, sun bar mu a fagen. Don haka, hak'k'in tunawa da su ya rataya a wuyan mu, ba a wuyan kowa ba. Kamar yadda marigayi Sir Ahmadu Bello Sardaunan Sakkwato ya tab'a fad'a, idan har ba mu buga tambarin kirakin kan mu ba, babu wani bare da zai zo ya buga mana shi. Kukan kurciya jawabi ne, mai hankali ke ganewa!

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An buga wannan sharhin a jaridar LEADERSHIP HAUSA ta ranar Juma'a, 20 ga Yuni 2008 makon jiya

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)

Sannu da zuwa, Talatu Danny!

A makon jiya na samu wasikar i-mel daga Malama Talatu Danny, inda ta gaya mani (tare da sauran abokan ta a Nijeriya) cewa ta iso Nijeriya daga Amurka. Talatu ta ce a yanzu ta na hutawa a gidan mahaifin ta a Jos kafin ta fantsama zuwa Kano da sauran garuruwa.

Talatu dai k'awar mu ce 'yar kasar Amurka da ke koyon Hausa da al'adun Hausawa, musamman a bangaren littattafai da finafinai. Ta kan kira kan ta daliba (ko da yake mu a wurin mu malama mu ka dauke ta!) a wata jami'a a Amurka.

Ta na da fitaccen gidan yana a intanet mai sunan ta, inda ta kan bayyana tunanin ta kan al'amura daban-daban da su ka shafi al'adun Afrika kamar yadda ake nuna su a hanyoyin sadarwa na zamani. Ta kan kuma bayyana labarai da tunani a kan rayuwar ita kan ta.

Talatu, ina yi maki barka da zuwa (ko in ce barka da dawowa) Nijeriya. Tare da fatan za ki ji dad'in wannan zaman, kuma ya kasance kin ci moriyar wannan balaguro da ki ka yi.

Lale marhabin!

Daga 'Mace Mutum,' Sai Me?

Hira da Rahma A. Majid a mujallar Fim ta watan
Afrilu 2008, shafi na 60 - 61

Daga 'Mace Mutum,' Sai Me?

Daga IRO MAMMAN

Fitacciyar marubuciya Rahma A. Majid ta yi bayani kan sakamakon da ta gani bayan fitar jibgegen littafin ta a kasuwa. Ina ta sa gaba yanzu?

KWANAN nan ne fitacciyar marubuciyar nan Rahma A. Majid ta fitar da sabon littafin ta mai suna ‘Mace Mutum.’ K'aton littafi ne, domin rabon ka da ganin littafin hikaya mai yawan shafukan sa tun ‘K'arshen Alewa K'asa’ na marigayi Bature Gagare; shafi 520 ne, don haka ya ma fi ‘K'arshen Alewa’ yawa kenan.

Jigon littafin shi ne yadda ba a yi wa mata adalci a zamantakewar yau da kulluma a k'asar Hausa, saboda irin danniyar da maza ke yi musu.

Mun tattauna da marubuciyar kan littafin, da kuma inda ta sa gaba bayan fitar sa. Bismillan ku:


Kwanan nan littafin ki, ‘Mace Mutum,’ ya shiga duniya. Yaya ki ka ga karbuwar sa a wurin jama’a?

Alhamdulillah washukuralillah!!! Gaskiya batun karb'uwar wannan littafi sai godiya ga Maiduka, domin kamar yadda mu ka zata littafi mai yawan shafuka da yawan farashi kasuwar sa na tafiya ne a hankali, don haka ne ma a lokacin da na ke ganawa da wasu cikin dilolin mu na yi ta yi musu matashiya kan yadda za su jure wa wannan kasuwa mai tafiyar hawainiya. Amma cikin ikon Allah sai ga shi littafi a satin farko an soma neman sa a wasu guraren ya k'are. Sannan ina mai tabbatar maka da har yau bai gama karad'e inda ake neman sa ba saboda saurin tafiyar da ya yi a wasu wuraren da aka fara k'addamar da shi. Gaskiya makaranta sun yi rawar gani, sai godiya gare su da Ubangijin mu.

Ba a taba yin littafin hikaya na Hausa wanda farashin sa ya kai yawan na ‘Mace Mutum’ ba. To akwai tsoro a zukatun marubutan Hausa cewa wai idan marubuci ya "tsuga" kudi, ba za a saya ba. Ke ya abin ya shafe ki?

Kamar yadda na gaya maka a tambayar farko, ni da kai na ina cikin masu irin wannan tsoro, musamman ma da na lura da cewa mafiya yawan makaranta matan cikin gida ne sannan ga littafin ya yi kud'in wata atamfar biki, don haka na zaci kowa ya zo saye zai ce ya yi tsada, amma sai ga shi mafi yawa na cewa ai ma ya yi arha. Watak'ila wannan ne ya sanya wasu dilolin su ka dinga zabga kud'i bayan da su ka fahimci cewa za a saye shi a ko nawa ne. Don zan iya tunawa cewa an kawo min kukan an sayi littafin a Gombe kan farashi N1,500, sab'anin kud'in-bai-d'aya da ake sayar da shi N820.

Jigon littafin ya ta’allaka ne kan wahalhalun da mata ke sha a kauyuka da birane, ta yadda har akan ga cewa kamar mace ba bil’adama ba ce. Ki na ganin matan Hausawa sun shirya karbar wannan sakon?

Eh, daga yadda na ke hange ko fata, matan mu na Hausawa za su so karb'ar sak'on littafin, sai dai ba zan yi wa kai na alk'awarin cin karo da zafafan k'alubale ba, ba ma daga maza ba har matan da ake yi wa yak'in. Domin bayan na kammala rubutun ‘Mace Mutum,’ na lura da cewa akwai dubban mata da su ka fi gwammace wa rayuwar da mu ke yak'a fiye da wadda mu ke son ganin su a ciki. Wannan ba zai rasa nasaba da imanin su kan maganar nan mai cewa bayan wuya sai daK'i ba. Don haka ‘Mace Mutum’ na iya samun karb'uwa ko tirjiya daga waK'anda ake abin domin su.

Shin ki na ganin cewa kin fice daga kangin "adabin kasuwar Kano", ko har yanzu ki na ciki?

Da cewa ka yi na fita ko ina cikin adabin kasuwar Kano? da na ce ina ciki, domin ba na k'yamar adabin wanda shi ya haife ni ni da alk'alami na. Amma tun da k'angi ka ce, ina jin zan iya cewa na kama hanyar fita daga k'angin ci-baya da adabin namu ke fama da shi. Kamar yadda hasashe ya nuna, marubuta da dama sun yunk'uro don ficewa daga wannan k'angi. Kada ka manta, daga cikin littattafan da su ka ci gasar Abuja akwai adabin kasuwar Kano, wanda hakan ba k'aramin ci-gaba ba ne ga wannan adabi ba. Don haka ina jin wannan adabi da kan sa ya na jajibirin ficewa daga k'angin da ya sami kan sa ba ma mu ’ya’yan sa kawai ba.

Shin wannan littafi kirkira ne gaba daya ko kuwa akwai wasu sassa da ki ka dauko kai-tsaye daga rayuwar zahiri taki ko ta wasu mutane da ki ka yi bincike a kan su?

Labarin ‘Mace Mutum’ k'agagge ne, sai dai halin da mata ke ciki a wannan littafi gaskiya ne, don haka labarin na iya yin saurin kama da rayuwar wata ko wasu gungun mata.

Littafin ya fito da kurakurai na dab’i (printing) inda za ki ga wasu shafukan babu rubutu ko kuma wasu kwafen littafin ba a yanke gefe-gefen ba. Me ya faru?

Lallai an sami matsaloli wajen aikin wannan littafi. Ina ga wannan bai zai rasa nasaba da gaggawar da mu ka yi a kusan k'arshen aikin ba, domin a yayin da mu ka zak'u da mu biya hak'k'in masu jiran wannan littafi da su ke ta sauraro su na k'orafi kan daK'ewar sa bai je kasuwa ba. Amma cikin ikon Allah mun shawo kan kashi 90% na wannan matsala domin mun bi kasuwa mun karb'i mafi akasarin wannan littattafai da su ka sami matsala don a maida su kamfani a sake masu aiki. A halin yanzu akwai ak'alla kwafe 288 da aka dawo mana da su don mu sake maida su cikin mahaifiya.

Bayan ‘Mace Mutum,’ sai me kuma zai biyo baya? A wata hira da ki ka taba yi da mujallar Fim a cikin 2005 kin nuna cewa za ki rika fitar da littafi makamancin wannan akalla guda daya a shekara. To za mu sa ran ganin wani littafin nan da 2009 kenan?

Lallai zan iya tuna wannan alk'awari nawa a can baya, kuma ina da niyyar tabbatar da shi, sai dai kowa na nasa Allah na nasa. Dubi ‘Mace Mutum,’ tun 2005 ake fama da matsalar da ba ta fi k'arfin mu ba, amma har sai da ya kai 2008. Don haka in har na kasa cika wannan alk'awari sai na yi fatan samun uzuri daga makaranta don sanin ba da niyya ba ne.

Wane kira za ki yi ga marubuta kan batun yin littafi mai inganci, mai yawan shafuka, mai jigon da ba na soyayya ba, da sauran su?

A kullum kira na ga takwarori na kuma ’yan’uwa na marubuta, shi ne mu daina tunanin abin da za mu kashe da wanda za mu samu a wannan aiki, domin muddin za mu rik'e wannan tunani ba za mu iya yin aiki mai inganci ba. A k'asa irin tamu babu abu mai riba kamar abu mara inganci, don haka in fa mu ka zab'i inganci dole mu ajiye tunanin riba, ita ce kan sanya mu jin babu wani jigo ga labari sai wanda kwastamomin mu su ka zab'a. Sannan mu tuna iya zubi da salo wajen bayar da labari na iya jan hankalin makaranci ba sai jigo ba. Don haka kada mu ji tsoron zab'en jigo kowane iri muddin mun iya zubi da salo.

Sannan batun yawan shafuka, kada wani ya ga ‘Mace Mutum’ ya je ya takura kan sa da cewa sai ya had'a labari mai yawa ko da ba ma’ana sai surutu da maimaici. Kada mu manta, ingancin labari da ma’ana ya fi yawan shafuka amfani.

Don haka kira na a nan shi ne in za a yi littafi mai yawan shafukan a tabbatar yawan mai amfani ne ba haihuwar yuyuyu ba. Sannan mu sani, akwai bambanci tsakanin yawan labari mai amfani da k'arami mara amfani. Akwai wasu littattafai da mu ke yi da ba su fi shafi 40 ba, ba wai don labarin ba zai iya kaiwa shafi 200 ko 300 in an bud'a shi ba sai don tsoron yawan kud'in aiki da k'arancin riba. Mu tuna, bai wa labarin hak'k'in sa na cika shi shi ma wata riba ce. Allah ya sa mu dace.

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An taba buga cikakkiyar hira da Rahma A. Majid kan littafin ‘Mace Mutum’ a mujallar Fim ta Nuwamba da ta Disamba 2005.

Za a iya tuntubar marubuciyar ta i-mel:

Shu'aibu Makarfi - Grandfather of Hausa Drama

Today's issue of LEADERSHIP newspaper contains the following piece put together by yours sincely. Enjoy.


Shu’aibu Makarfi’s Last Interview

The leading playwright in Hausa land died last Sunday at the age of 90. In his last interview, published in 1997, he gives account of his life and explains the genesis of his writing

By Ibrahim Sheme

A few weeks ago the name of Alhaji Shu’abu Makarfi dropped suddenly into my mind. I had not seen him for decades and thought that it might be a good idea to go to his house on Calabar Road, Kaduna, and see if he could give me an interview. But then I told myself that the man might have died long ago. The last time I checked, Alhaji Shu’aibu had been battling with a debilitating illness that made him bedridden. However, I reckoned that a man of his status would not have passed away unannounced, without the story being broadcast. Well, maybe I had missed the story. As it turned out, I never made up my mind to find out if he was alive or not.

Last Sunday I was startled by a news bulletin on the FRCN radio, Kaduna, about the death of Alhaji Shu’aibu Makarfi. He had died at Jinya Specialist Hospital, Kaduna, that morning at the age of 90 after a protracted illness. On Monday, the New Nigerian reported that among the early callers at the deceased’s residence to condole his family were Kduna State governor, Architect Namadi Sambo, Senator Ahmed Mohammed Makarfi, former governors of Kaduna State - Brig-General Abba Kyari, Group Captain Usman Jibrin, Alhaji Balarabe Musa, and Alhaji Abba Musa Rimi - as well as members of the state Executive Council and House of Assembly.

I knew Alhaji Shu’aibu first as a writer and second as a journalist. In this we shared common interests. His two plays, Jatau Na Kyallau and Zamanin Nan Namu, were some of the most popular texts published in Hausa land. I heard that Makarfi did not set out as a writer but became a "writer of radio drama."

I first met him when he was a board member of Nationhouse Press Ltd., Kaduna, publishers of the defunct The Reporter newspaper where I was working as Assistant Editor way back in 1991. That was the first time I saw, in flesh, one of the pioneers of Hausa literature.

Makarfi was a pioneer in another field – journalism. In 1943, only four years after the hugely popular newspaper Gaskiya Ta Fi Kwabo was started, he became one of its staff. But an example of his being multi-talented was his foray into radio broadcasting. He worked in various capacities as a broadcaster with the then Nigerian Broadcasting Corporation (NBC). He retired from public service in August 1974.

The deceased was a director of the New Nigerian Newspapers Ltd (1974 -1980), chairman of the Kaduna State Broadcasting Corporation (1985), and board member, Northern Nigerian Broadcasting Corporation, now FRCN Kaduna.

Alhaji Shu’aibu Makarfi is survived by two wives,a daughter and many grandchildren. He left behind an unimpeachable record of public service, good character and hig values.

Even though he had held many positions in journalism, his biggest demonstrable legacy, in my view, was his books. Though many of those that associated with him would rather stick to his values, as far as I know it is his books that will remain his biggest intellectual relics. The question is: how did he write them? What motivated him?

We are lucky that eleven years ago Alhaji Shu’aibu granted an interview on his literary works to Dr Ahmed K. Babajo, formerly of the English Department, Ahmadu Bello University, Zaria (and now a lecturer at Kaduna State University, Kaduna). Malam Babajo walked to me some time in February 1997 at the New Nigerian and asked if I would like to publish an interview he had had a few days earlier with Alhaji Shu’aibu Makarfi. I was editor of the paper’s literary pages. Excitedly, I obliged, and the interview – a masterpiece – was published some days later. It could be the first and only such interview granted by Alhaji Shu’aibu Makarfi. Here it is reproduced for the records.

...The Godfather of Modern Hausa Drama

By A.K. Babajo

Alhaji Shu’aibu Makarfi, 79, had an active writing broadcasting career. His plays have been broadcast over the radio, many of which have been published as play texts and are studied in secondary schools and higher institutions, etc. Alhaji Shu’aibu Makarfi started his educational career in Zaria at primary school. He attended the famous Zaria Middle School and later on went to the Katsina and later Bauchi Teachers College.

As a trained teacher he taught a while at Zaria Middle School before joining the army in 1941 to 1943 as an English instructor. After the short military service he joined Northern Literature Agency (NORLA), which became Literature Bureau. After NORLA he worked with Post & Telecommunications (P&T) for five years. In 1948, he joined NBC and worked in various capacities as a producer/broadcaste r.

He has written extensively but fame knocked his door through his play texts, namely: Jatau Na Kyallu and Zamanin Nan Namu, published by Gaskiya Corporation in 1970. He now resides at home in Kaduna, an activist whose unbending opinions on creative arts, development, culture and leadership would be the bone of our discussion.

I contacted him on the appointed hour on Saturday, 22nd February, 1997 in his Calabar Road abode in Kaduna. He received me with warmth, but noted that I did not reach him on the appointed hour – 11:00a.m.

The interview was rendered bilingually but using sense transliteration I transcribed it into English.

BABAJO: When did you start writing and what were your motivations?

MAKARFI: I am a trained teacher but I was denied that career as I only taught for a few years before joining the Army.

It was after the war experience and in particular when I worked with NORLA, between 1943 to 1948, that I came into contact with the vocation of writing, printing and publishing. Then I was under the tutelage of late Dr. Abubakar Imam – that versatile, prolific and resourceful writer – and Alhaji Nuhu Bamalli. But it was my experience as a broadcaster and a programme coordinator that spearheaded my launch into script writing. So, to answer your question, I started writing as a broadcaster some times back in 1943.

What were your motives?

Well, come to think of it, was there any motive? I was only doing my job as a broadcaster! The main thrust was to captivate and moralise my audience – then city dwellers, and from where I made observations before writing my scripts. I was never into writing for fame such as a name or even for material acquisition. Besides, how would I have fended for myself and my family as a writer? Actually, writing as you see in Zamanin Nan Namu came about when I was approached by staff of Gaskiya Ta Fi Kwabo who persuaded me to surrender my radio scripts for publication as books.

So you were first and foremost a broadcaster than a writer?

Yes, sort of. My venturing into publishing or writing books came accidentally. My main concern was to write scripts to be read on radio for the listeners. My speciality was radio plays. I wrote so many, many of them. The tapes/reels could not be found, and the scripts have long disappeared.

What inspired you into writing? At what particular instance of your life did you discover your innate desire to write?

First and foremost, I was touched by the degree of degeneration of the Hausa culture. All my plays are centred in the city because they are by-product of the city. Look at my office – NBC. Its nearest neighbour is Rex Cinema and I made it a habit to wait after close of office to watch who came to the cinema and things like that. I was keen in watching how the Hausa people in the city dress, how they relate with one another, with the opposite sex, their attitude to constituted authority, etc, and in all these I saw the withering away of Hausa culture. And I cherish Hausa culture to a fault.

I can recollect this tradition in the past. For example, after each harvest season, our father would direct us to distribute bales of grains to the houses of the family malam, the barber, the blacksmiths, etc., before ours was then taken in to be kept in the rumbu (store).

Now selfishness, much more than the cohesive communal relationship, has overtaken such values. Therefore, I am – as I were – disgusted with these changes affecting my world, the Hausa culture. I was not a trained writer. I never read Arabic or European writers; my writings were a direct critique of that sordid social phenomenon. The changes, very negative, prompted me into writing, and then as a young man I could sit on a typewriter and fizzle through hours to produce a script.

Again, this ability came out grossly when I joined the broadcasting world.

Why did you choose to write plays in preference to other forms of literature?

Again, two factors are at play here. The first is the medium and second the content. You should remember, I never sat down to write a book or play. I was only writing scripts of radio plays for an audience out there waiting for them. Two, the subject matter must be immediate, relevant and somehow reflective or bear some semblance to the every day life of those listening to the programmes. So, my love for words was to be heard immediately by a large group of people at the same time.

At that time – those good old days – listening to the radio was in itself a vocation. People would gather around a box to listen; at that time the small transistors radios were not common. I was not cut like Sa’adu Zungur of Bauchi or Namangi of Zaria, my context was to reach out this audience immediately.

I chose plays because I loved to dramatise, reveal and expose ills. And by using characters I was able to convey and project these ills through role-playing. Besides, plays are more exciting in their imitations and make-beliefs. Thus, I chose plays because I was a radio man concerned with an anxious audience. Every week was a challenge as I had to improvise and scout for materials, characters and stories.

Why did you choose to write in your mother tongue (Hausa) than in Ajami or English?

Again, it was my career that determined the discourse and my choice of language. I am entirely a very conservative man. I detest the imposition of English language over Hausa language and have never had any reason to write in English. Look, even when I travelled to London in the late 1940s, I never allowed the beauty of their technological advancement to affect my attitude. I went there with two Kaftans and wore them throughout my stay. Indeed, for the weather, I bought some overcoats and boots, but I was always dressed in my local Hausa outfits.

So, I wrote in Hausa because it is my root, my language and I am not conversant with it than any other language. In another dimension, the radio programme was targeted at a Hausa audience in Kaduna and other Hausa settlements – most especially Hausa city settlers who have made radio another abokin hira (associate). I did not write in Ajami or Arabic because my focus was not religious. Besides, mine was more dealing with social matters as they occured currently. So, it was more a matter of current affairs.

How many books/plays have you written?

Scripts? Yes. I wrote so many. But in terms of publication, they are the ones you know: Jatau Na Kyallu and Zamanin Nan Namu; I should (really) have called the book Zamanin Can Na su instead of Na mu. The focus should not be ours because I was only an observer. Besides, there is a generation gap. Don’t worry . . .

How were these radio play scripts published? Were there no differences between the radio scripts with those of the books?

Gaskiya Corporation has a literature bureau. They were the ones who approached me to release many of the then popular radio plays for publication as books and I gave them. Differences? Well, very little. All we did was to shuffle this portion into that place. Invariably, they are one and the same.

Even though you never wrote these plays with the intention of staging them, did you ever witness any of them performed on stage?

No. But I have heard that some schools have attempted that.

What inspired you to write Jatau Na Kyallu and what was the central message?

See, I am basically an observer. While in Jos, I witnessed a spectacular marriage. I won’t mention names but my neighbour married a renown prostitute whom everybody knew. She was popular in Kano and just as famous in Jos. This wealthy neighbour of ours still went to marry her. Yes, I have no quarrel with that but Allah instructed or enjoined Muslims to select their children when selecting wives. Thus, you must appraise and examine the kind of woman you marry – her roots, upbringing and behaviour because she will be the one to train your children. Thus, I do not see any relevance for a man of his calibre to marry a social misfit like that. But my concern and commentary did not end there. I was appalled by the extravagant manner in which the wedding ceremony was consummated. So, to caution the youth, I dramatised that story, highlightening the ills of marrying people like the prostitute.

Is it true, then, as one researcher noted in a critique of your plays, that your plays dwell on social problems without proffering any solutions?

In a way that is correct. It is true. You see, writing scripts for the radio on a weekly basis is tasking and taxing. You must be fast, shrewd and innovative. Your audience will not appreciate repetition. They are always anxiously waiting for a new play. Often times, I had to submit a title or name for the play before I sat down to devise the play. For instance, there was one play I called Kasa (the python) Sarkin Barci. It was a biting story that became episodic. I thus wrote on things happening, e.g. corruption. A cheat in the office. At home. Wherever. Always satiric and biting because my purpose was to jolt people, enlighten them and shock them to change for the better. So, the criticism is correct. I never considered it my duty to provide solutions. You see, even when writing those radio play scripts I saw myself as a teacher – the profession I so revered but never had sufficient time on it. So, I would rather conscientise, raise awareness, teach and moralise than to solve the whole problem.

In what ways are ’Yar Masu Gida and Malam Mai Dala’ilu similar?

Both are contemporary. Both prefer to live in the city. ’Yar Masu Gida borders on how girls live in the urban areas in contrast to house helps whereas Malam Mai Dala’ilu exposes satirically the hoax of charlatans called Malams. Either way, they treat social matters as they affect the personality of Hausa people in this new world.

Is it a coincidence that all the plays were published in 1970?

No. All the scripts of the radio plays were handed over to Gaskiya Corporation Publishers. They are the only publishers I have ever dealt with.

Did you ever write with a particular audience in mind?

No. How do you mean? I write for my Hausa audience indeed. And yes, I am particularly worried for my Hausa brothers and sisters living in the city. And why not, I dread the plight of women whose material quest has pushed them into trouble.

Did you, like Abubakar Imam, adapt, borrow or copy from any European or Arabic stories/plays?

No. Unlike Abubakar Imam, I mainly relied on happenings around me. Often times, I reflected on folklore and some aspects of oral traditions to buttress some points. For instance, there is diverse use of proverbs, riddles, jokes, etc., in my radio plays and play texts.

Abubakar Imam was like yautai – a smart bird, full of ingenuity and resourcefulness. Give Imam your story, he would blend it, add materials, and before you know it, it has changed into something else. Besides, I am not an intellectual nor have I had any degree or extensive exposure on play writing to model after them.

Do you still write?

No.

Why?

The publishing industry frustrates writers. Since my relationship with Gaskiya my royalties come in trinkles . . . very meagre, I can’t sustain my family with such amounts. At times the feeling comes and whenever I make as if to write I will remember the technicalities and just stop.

What do you foresee as the future of creative writers in modern Hausa community?

To date writing cannot be a means of one’s sustenance. It cannot pay up bills for water and light, talk less of food, clothing, etc. The future is bleak. It is dark. Not very encouraging for upcoming creative writers.

In this regard, how do you see the trend in Kano where urban garage publishers have taken over publishing business and publish themselves?

Times are hard. I support their experiment but disagree with their focus. They talk about foreign etiquettes – kissing, hugging, etc. Very unlike the Hausa way of life. Really, these young publishers have their functions but their presence is a reaction to the hard publishers. Yes, they may be rebellious because they have to survive. Again, I see their manifestation as protest against neo-colonialism where they have to rely on European publishers.

Is there any relationship between oral traditions and drama – the type you wrote?

Yes. The drama is a by-product of Hausa language and culture. It is written in Hausa. It talks about Hausa and how the Hausa society conducts itself. I have said before, I used karin magana (proverbs), habaici (sarcasm) and many other features of Hausa oral arts as spoken by the people.

I relied on common expressions of the day and somehow endeavoured to incorporate them into the plays. Besides, my main appeal is the "oral dispensation" because my audience is always by the radio box awaiting for more experiences. The two relate. I collect from the larger society. Fashion it into speeches to be read by various "actors" in the studio and is relayed to the public via the transmitter.

Sir, who are your contemporaries and associates?

I am surrounded by many age-mates even though many have died. And I don’t really grasp what you mean by contemporaries. Do you mean my friends? Those I interact with?

Yes.

Well, I am close to Alhaji Yahaya Gusau and Malam Ahmed Talib. We belong to the same generation and understand one another.

What about late Abubakar Imam?

We once worked at NORLA, and then I know other writers like Aminu Kano, Sa’adu Zungur and the like.

In what ways have your plays played any role in Hausa literature, language and culture?

You said it yourself. It has raised people’s consciousness. It served much more than a mirror by cautioning people about their behaviour. Indeed, without necessarily beating my drum, I must confess that my plays are household names, very popular and still command respect. I even tried to persuade Gaskiya, my publishers, to reprint because of the high demand but they claim that they don’t have money to do so. I am the first and only person to write and publish Hausa plays in northern Nigeria, and the nation at large.

So to date, my plays are in the school syllabus. They are studied in universities. May the soul of Ibrahim Yaro Yahaya rest in peace. One day he and Professor Dandatti Abdulkadir, while chatting with me, requested that I give talks so that they can record, transcribe into English and other international language so as to capture the essence of my existence in print for posterity purposes. I am happy that you come to me to inquire about my work because of what impression you had. Truly, only you people in the university can help resuscitate this sordid position of creative writing in Northern Nigeria. I am against self-promotion or even propaganda. It is cheapening to go into that. Really, I am happy that you were prompted to come to me on merit. I have never known you and vise versa. So, written works, like the oral, influence people because they deal with words, which affect ideas and beliefs.

Sir,what is your pastime?

I still write but not for the public. I talk to people. I am doing just that with you. I am still the person I like I consider myself a teacher. My simple dictum or philosophical belief is: "It is not what I want to do, but what I can do."

I farm, I interact with others. See this letter, I was recently appointed as a member of Board of Trustees, Kaduna State Emergency Relief Fund.