Kwankwaso’s policy on movies

When I met Governor Rabi’u Musa Kwankwaso for the first time last month, I was eager to ask him a question on the policy of his government on movie production. During the final three years of the regime preceding his, there had been a cat-and-mouse contest between stakeholders in the Hausa movie industry and the Kano state government. Many actors, producers, musicians, marketers, etc., were arrested, heavily fined, jailed and or had their offices locked up and their property confiscated through dubious legal processes. Many were forced into exile in neighbouring states. One Abubakar Rabo, notorious for his near-crazy loathing for the movie trade, was heading the state Censorship Board in a Gestapo manner. He committed himself to the emasculation of the industry, using false propaganda and coercive instruments of the state. Consequently, Kano’s huge army of unemployed swelled. (The industry had employed thousands of school leavers and other layabouts for whom government could not provide jobs).

The reason adduced for this reign of terror by Governor Ibrahim Shekarau was that Hausa movies were corrupting morals and that movie industry stakeholders were not practising what they preached. He also claimed, during the last presidential debate, that he was responding to the demand of members of the society for the industry to be chained. Truly, there is a fringe view in Hausa land which holds that movies are sinful and should be banned – the kind of view imposed against women education in Afghanistan under the Taliban.

One of the comical regulations imposed by Rabo was that movies should not be shot at night so that men and women would not use the opportunity to commit fornication – as if those who engage in illicit sex (including top government officials) do so only at night!

The government’s stance wasn’t tenable because it was hypocritical. Many of its top guns were known to be living double lives, morally speaking. Nollywood flicks, which are more explicit, and even smuggled x-rated movies, were on sale in many parts of Kano. Moreover, during the run-up to the 2007 general election, Shekarau himself had exploited the film stars’ popularity to canvass votes. He held a lavish movie awards ceremony in government house where he extolled the virtues of film-making and distributed gifts. In the following months, he courted the industry through all manner of tricks, including donating a new bus to the film-makers’ association and, later, receiving an industry award at Arewa House, Kaduna. But when the Hiyana sex scandal broke out in 2007 and the anti-movie lobby found a louder voice, Shekarau launched his crackdown on the stars. After all, he had won his re-election and reckoned that he did not really need them. The latter view proved suicidal because the industry played a key role in defeating his party in the April 2011 polls when its crowd-pulling members like Sani Danja and Ibro joined the campaign train of his arch-rival, Kwankwaso.

Today, there is a sea change. Dr Kwankwaso is building a bridge of understanding between government and the industry. In response to my question during our interview with him, published in Blueprint on September 26, he said: “The film industry in Kano is very important for obvious reasons. For one, it is capital-intensive and has the capacity to boost the state’s economy. Secondly, and this is very crucial, it has the potential to create mass employment opportunity to the youths - both male and female - and this is one of our objectives: to provide job opportunity to as many people as possible. So, I have made it clear that our administration would give all the needed support to make sure the film industry thrives like any other industry in the real sector.”

In spite of his positive outlook, however, the governor is not blind to the need for the regulation of the business. He explained, “But be that as it may, we also have our religious and cultural values to protect against adulteration in any way by the filmmakers or any group of people.” He is setting up a Kano Film Institute in Tiga “so that the industry will be sanitised.” This is clearly a purposive and focused leadership. There are no frenzied, false claims or pretences. There is simply a clear urge to reduce unemployment while firmly minding cultural preservation.

The movie practitioners should repay this gesture by producing qualitative movies that are also sensitive to culture and religion. They should do away with their Indian copycat impulses and be professional. Hausa movies should be made to appeal to a universal audience through originality even if they have to be modern in outlook. It doesn’t have to take a Malam Rabo to remind the practitioners about this.

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Published in BLUEPRINT yesterday

Censorship: Kano's smouldering cauldron (2)

The abject failure of the censorship regime in Kano State under Governor Ibrahim Shekarau was due to the lack of sincerity that dogged the whole project, as well as a deliberate policy of subjugation which aimed at throwing away the baby with the bathwater. The notion that the people appointed to administer the Kano State Censorship Board were on a pedestal where they could not be faulted was erroneous; just because the they were brandishing religious cards did not mean that they were unassailable. They were promoted as saints because doing so fitted snugly with the simple mentality of the common man, who is thought to be manipulatable by the false prophets in that government.

Had the censorship board wanted to promote Hausa film-making and make it amenable to the cultural and religious heritage of the people of northern Nigeria, it could have done any of the few of ways to go about it. It board would have formed a partnership with the right stakeholders in the industry in order to, first, put a stop to all the “undesirable elements” of movie content and, second, replace them with more wholesome productions. Instead, the chief censor, Rabo, adopted divide and rule tactics, selecting only yes-men though they could not help spearhead genuine changes. At the same time, he waged a brutal campaign against those he regarded as rebels, arresting and jailing them at will, as well as tarnishing the image of the industry in general. What followed was counter-attacks between him and his opponents; the war of attrition led to nowhere but the eventual failure of the board to sanitise the industry. At the end, Rabo himself was demystified, his holier-than-thou mien discredited.

Now, a new era appears to be on the horizon. Engineer Rabi’u Musa Kwankwaso was the one who created the censorship board in 2001, during his first tenure as governor. Under him, the board was said to be lax, thus giving way to all sorts of misdemeanours which critics linked to the deterioration of both the quality of Hausa movies and the moral rectitude of movie practitoners. Shekarau tolerated much of the lapses, probably because he needed a re-election in 2007. It took the Hiyana sex scandal of 2007 to startle him into action, with the view to pleasing the mullahs.

Now that Kwankwaso is back, expectations in the industry are high. Stakeholders see him as their won. Some of them want him to appoint one of them as DG of the censorship board. They are almost doubly sure he will not “betray” them. But will he? Or won’t he?

However, it would be foolhardy of anyone in the industry to suppose that the carefree days of the past will return in this dispensation. The films will be censored because they are a veritable weapon of commiunicating ideas that impact on the society, with overarching consequences. Kwankwaso is expected should a technocrat who knows the movie business and the relevant matters of censorship. It should be somebody who can midwife the industry towards a level of professionalism not usually seen in these parts. It should be someone who will make our films competitive not only on the national scene but also continentally, from where they will be uniquely attractive universally.

This task should have no name-calling, campaign of calumny and policies that could weaken the business. Remember that one of the serious challenges facing the new government in Kano, and by extension all governments in the North, is reducing the huge army of unemployed youths roaming the streets. Kano has the largest population of unemployed youth, many of whom are not indigenes of the state – or even Nigerians. The movie-making industry has sucked in thousands of such men and women, thus contributing to the economy of the state and to its wellbeing. Governor Kwankwaso should create ways of encouraging this entrepreneurship while ensuring that it conforms to the norms of the society. There are many competent hands in Kano who can do it. Any attempt to kill the film-making business would be counterproductive and futile, just as we saw during the last censorship regime in the state.

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Published in my column in the current issue of BLUEPRINT, the weekly newspaper