HONOURED!

Here I am (on the right) receiving my Alumni Award from the vice-chancellor of Bayero University, Kano, Prof. Attahiru Jega. This photograph was published on p.4 of last Friday's issue of Leadership.

BUK Alumni Honours Leadership Editor

This was in today's LEADERSHIP newspaper. Emphasis mine!


BUK Alumni Honour Niger Gov, Finance Minister, Leadership Editor

From Mansur Sani Malam,
Kano

Niger State governor, Dr. Mu’azu Babangida Aliyu, finance minister, Dr.
Shamsudeen Usman, minister of state for education, Hajiya A'ishatu Jibril Dukku,
AND THE EDITOR OF LEADERSHIP NEWSPAPER, MALAM IBRAHIM SHEME, have been honoured
with merit awards by the National Steering Committee of the Bayero University,
Kano Alumni Association.

They were given the merit alongside other distinguished personalities and
private establishments.

Others who were honoured included former Zamfara State governor, Senator Ahmed
Sani Yeriman Bakura, vice chancellor of Usman Danfodio University, Sokoto, Prof.
Tijjani Bande; Prof. Rukayya Rufa'i, Brig. Gen. M.D. Yusuf; director-general of
NYSC, Brig. Gen. Bomai; Prof. Rufa'i Ahmed Alkali, Prof. Abdullahi Zuru, DIG Uba
Ringim and a member of the House of Representatives, Hon Faruk Lawan.

Others were Malam Garba Shehu, Senator Bala Adamu, Prof. Mohd Bulama, Hon Rabe
Nasir, Amb. Ibrahim Baraya, Amb. Yusuf Mamman, Abdulsalam Mohammad of the
Nigerian Ports Authority, Col. Dangiwa Umar (rtd) and the vice-chancellor of
Bayero University, Prof. Attahiru Jega.

The establishments honoured included the Vanguard newspaper, Intercontinental
Bank, Sterling Bank, UBA and Standard Bank.

In his address, the vice-chancellor of Bayero University, Kano, Prof. Attahiru
Jega, said the gesture was commendable. He assured that the university authority
will give the alumni all the necessary support and co-operation in developing a
very strong and vibrant association and urged the leaders and members to lend
their support to the association.

Speaking on behalf of the recipients of the award, Governor Babangida Aliyu
commended the excellent performance of the Bayero University and Usman Danfodio
Sokoto for academic performances which was recently confirmed by the National
Universities Commission (NUC).

Dr. Babangida explained that he was very delighted by the award and hoped that
it would be a continuous one because it would assist greatly in the growth of
humanity among the members of the association and provide more avenues for the
development of Bayero University with a view to always excel in its academic
records.

BUK Alumni: Karramawar har da ni!

A ranar Lahadi, 24 ga Fabrairu 2008 da safe ina checking out daga Zaranda Hotel, Bauchi, sai ga text daga Dr Yusuf Adamu mai dauke da kalma daya rak, "Congrats."

Na mayar masa da, "For what?" A rai na, ina jin wata tsokanar ce. To amma gaba na ya na faduwa: Ko an ba ni sadakar aure ne, ban sani ba?

Can sai ya maido da amsar cewa ban ga abin da aka buga a shafi na 7 na Sunday Trust ta ranar ba?

Na buga text, na ce wallahi ban gani ba. Me su ka rubuta ne? Nan ma a rai na ina ta wasiwasi. Kai, ko an nada ni Ministan Harkokin Fetur ne?! (Wai ma!!!)

Gaba na ya na ta faduwa, ina jiran amsa. Can sai Yusuf ya maido da amsar cewa ai ina daga cikin mutanen da ALUMNI (kungiyar tsofaffin daliban Jami'ar Bayero) za ta karrama a wurin gagarumin bikin saukar karatu da za a yi a mako mai zuwa. Malamin ya nanata cewa ina daga cikin MANYA irin su wane da wane da wane fa da za a karrama (har da tsofaffin gwamnoni).

To fa! To kuma ni me na yi da har za a karrama ni? Tambayar da na shiga yi wa kai na kenan lokacin da na bar otal din, ni da aboki na Badamasi Shu'aibu Burji (wanda ya raka ni birnin Bauchi don ganawa da Gwamna Malam Isa Yuguda, wanda mun gana da shi a daren ranar Asabar).

Mu ka shiga garin Bauchi, mu ka sayi jaridar Trust. A shafi na 7, mu ka ga sanarwa har shafi daya. An lissafa jiga-jigan kasar nan da su ka taba yin BUK har mutum 50; ni ne na 15 a jerin: ''Alhaji Ibrahim Sheme, Editor, Leadership Newspaper.'' To fa! Duk a jerin, babu yaro ko talaka kamar ni. Ana maka maganar jan wuya ne irin su:

- Alh. M.D. Yusufu (tsohon Sufeto Janar na 'yansanda)
- Col. Dangiwa Umar (tsohon Gwamnan Jihar Kaduna)
- Gwamnan Neja Dr Mu'azu Babangida
- Brig. Gen Yuuf Bomoi (shugaban hukumar NYSC ta kasa)
- Ambassador Usman Baraya (Ambasadan Nijeriya a Amurka na yanzu)
- Amb. Hassan Tukur (Fitaccen Jakada)
- Prof. Nuhu Yakub (VC, UniAbuja)
- Prof. Attahiru Jega (VC, BUK)
- Prof. Abdullahi Zuru
- Prof. Tijjani Bande (VC, UDU)
- Prof. Ruqayya Rufai (BUK)
- Senator Ahmed Sani Yarima (tsohon Gwamnan Zamfara)
- Hon. Farouk Lawan
- Haj. Aishatu Jibril Dukku (Ministar Ilimi)
- ds

Za a karrama mu a ranar 1 ga Maris, 2008 a Kano.

Har yanzun nan, idan na dubi gaggan manyan mutanen da ke cikin shafin jaridar nan, na kan yi tunanin: wace nasara na cimmawa a rayuwa da har na shiga kwaryar manya haka?

Babu shakka sai godiya ga Allah (SWT) mai kowa mai komai.

Shata ma ya fad'i:

"Ni ko yanzu kasuwa taw watse,
Dankoli da fura goran shi,
To shi ko kasuwa tai riba.."

Alhamdu lillah.

A KULA:
Shugaban kungiyar marubutan Nijeriya (ANA), reshen Abuja, Dr Emman Usman Shehu, shi ma ya na cikin jerin wadanda za a karrama!!!! Shi ne na 7 ma a jerin. Kai, mun gode Allah. Ni ban ma san BUK ya yi ba sai a ranar.

HIRA DA RAHMA A. MAJID

Ashe Mace Ma Mutum Ce?

HIRA DA RAHMA A. MAJID

Daga Ibrahim Sheme


Hajiya Rahama A. Majid ta na daga cikin fitattun marubutan Hausa na wannan zamanin. Ta rubuta litattafan hikaya masu damar gaske, kuma ta ci moriyar su, ciki kuwa har da littafin ta da ta fi so, wato ‘Za Ta Iya.’ A yanzu haka d'aliba ce a Jami’ar Al-Azhar ta k'asar Masar. To, kwanan nan ta yi wani hob'b'asa, inda ta fito da wani jibgegen littafin hikaya mai suna MACE MUTUM, wanda girman sa ya fi na kowane littafin Hausa da aka tab'a bugawa, domin kuwa ya haura shafi 520 ne. Kamfanin Gidan Dabino Publishers ne su ka wallafa littafin.


Shin wacece Rahma A. Majid? Menene tunanin ta game da rubuce-rubucen Hausa, da rayuwar mata a k'asar Hausa, da kuma makarantan littattafan Hausa? Rahma dai za a iya cewa mace ce mai kamar maza-kwari ne babu! Ta na da kazar-kazar da nuna k'wazo da bajin ta a duk harkar da ta sa kan ta. Idan aka ce maka za ta iya yin abu kaza na bajin ta, to kai da ganin ta ka san za ta iya.


Wannan hirar da za ku karanta, mun yi ta da Rahma ne tun a cikin shekarar 2005, a lokacin da ake ta yin kici-kicin buga littafin ‘Mace Mutum.’ An buga hirar a mujallar Fim ta Nuwamba da Disamba 2005. Kafin mu kawo muku sabuwar hira da marubuciyar, mun ga ya dace ku fara karyawa da wannan, domin kuwa ko me za ta fad'a a yanzu, bai dai wuce wanda ta fad'a a wannan hirar ba.

A sha karatu lafiya.

Hajiya Rahma Abdulmajid, mu fara da jin tak'aitaccen tarihin ki.

Assalamu alaikum. Suna na Rahma Abdulmajid. An haife ni a shekarar 1980 a Agege, Legas, kuma a can na yi makarantar firamare, na fara sakandare, amma daga bisani na k'arasa karatun sakandare d'i na a Zariya, bayan da aka yi mana canjin wurin aiki a shekara ta 1998. A Zariya ne na yi difiloma a Shari’a, k'ark'ashin Jama’atul Nasarul Islam.

A wace makaranta kenan?

A Jama’atu Institute ne na yi karatun difiloma daga shekarar 1999 zuwa 2000. Bayan nan ne na koma gida Legas, na yi kwasakwasai irin na komfuta har zuwa shekarar 2002, lokacin da mu ka fara cuku-cukun neman tallafin karatu zuwa k'asar Misra. A halin yanzu ina karatu a Jami’ar Al-Azhar, shekara ta 3 zuwa ta 4, ina b'angaren Tarihi da Al’adu. Wannan shi ne tak'aitaccen tarihi na.

Bari mu koma baya kad'an; ki gaya mana sunayen makarantun da ki ka yi na boko.

Da farko dai na yi makarantar firamare d'i na a K. K. Primary School da ke Agege d'in, kuma bayan kammalawa ta a dai nan Agege d'in na ci gaba a Dairy Farm Secondary School. Wannan kenan ta b'angaren boko. A b'angaren Arabiyya kuma na soma a makarantar gidan mu ne da ake ce wa Nubrasul Huda, wacce bayan mun yi sauka na sake shiga wata wadda ake ce mata Rahmatu Islamiyya wadda ta ke Ikeja. Bayan na kammala aji shida sai na wuce Danmarkazul Illumi Islami ta Sheikh Adam El-Uluriy na yi aji 3, lokacin ne kuma ya yi daidai da tafiyar mu Zariya.

A bayanin ki, kin ce an haife ki a Legas, to ko za ki iya bayyana asalin jihar ki?

Gaskiya idan aka cire Legas to sai dai a yi waje da ni, domin mahaifin mu mutumin Sudan ne, mahaifiyar mu kuma ’yar asalin Jihar Adamawa ce. Amma na tashi ne a matsayin cikakkiyar Bahaushiya ko in ce cikakkun Hausawa a gidan mu, domin ita ce al’adar da mahaifin mu ya karb'a tun zuwan sa a matsayin sa na Musulmi.

Ku nawa ne a gidan ku, kuma ke ta nawa ce?

Mu 22 ne, kuma ni ce ta cikon 22 d'in.

Idan mu ka koma b'angaren rubutun adabi, da yaushe ki ka fara yin rubutu?

Sanannen abu ne ga duk wanda ya yi makaranta a Kudu cewa yaren Nijeriya da zai iya d'auka zai zama Yarbanci ne. Ni dai Yarbanci na koya kuma shi na iya rubutawa, to amma a wannan lokutan da wasu littattafai ke tashe, akwai wasu gidajen rediyo a Legas d'in, Sashen Hausa, su na karanta littattafan Hausa, mu kuma mu kan d'an bi. To amma da yake ya na d'aukar sati kafin mutum ya ji ina aka kwana a wannan labarin, to bayan zuwan mu Kano wata ziyara, sai na sayi wasu littattafan na rik'a bi ina karantawa, wanda ta cikin su ne zan iya cewa na koyi Hausa. Kuma abin da ya ja hankali na wajen yin rubutun littafi shi ne wani littafi da na tab'a karantawa, wato ‘In Da So Da K'auna’ na Ado Ahmed. A wannan littafi da akwai wani babi na musamman wanda aka ce "Kishi Kumallon Mata." A gani na, wannan karin magana ta sab'a al’ada, ganin ba mata kad'ai ne su ke yin kishi ba. A wannan lokacin ne na fara rubuta duk wani labari da na ji, ko ya zo kai na, a kan kishin maza da na mata. To wannan sai ya zama kamar wani raddi ne a kan wancan karin magana, wanda a kan sa na fitar da littafi na na farko, ‘Wa Ya Fi Kishi?’

Daga wannan littafi zuwa yanzu, kin yi kamar littattafai nawa?

Bisa lissafin sunaye akwai ‘Wa Ya Fi Kishi?,’ ‘Tashin Hankali,’ ‘Menene So?’ ‘Ha’inci Ko K'auna,’ ‘Za Ta Iya,’ ‘Shekaru Ashirin,’ ‘Baya Yana Suka,’ ‘Tuwon K'aya,’ ‘Laifin Wani...’ ‘Ba Ita Ba Ce,’ sannan kuma sai ‘Hadari Sa Gaban Ka...’ Wad'annan littattafai na goma sha d'aya kenan, to amma da akwai masu zuwa da kuma na d'aya da na biyu.

Ko menene ya sa ki ke rubutu da Hausa kad'ai bayan kuma kamar yadda ki ka yi bayani, kin iya yaren Yarbanci da kuma Larabci?

Bahaushe dai mutum ne mai son k'aruwar ilimi da kuma abubuwan karatu, musamman na d'ebe kewa. To kuma sai ya zamanto ya rasa wad'anda za su yi masa wannan hidimar kamar yadda ya kamata, to wasu yarurruka gaskiya suna da shi. Domin akwai wasu da su ka tab'a kirawo ni in yi wani rubutu da harshen Larabci, sai na ga wannan wani abu ne wanda ba a buk'ata, domin su Larabawa su na da masu yi masu wannan d'in, to amma Bahaushe ya na da k'arancin wad'anda za su yi wa nasa yaren hidima, ya zamanto cewa ya amfana da shi. Wannan shi ne tunani na a kan cewa e, ana buk'atar wad'anda su ke ganin cewa su na da wani sak'o na a zo a gani, to su shigo cikin adabin Hausa su dawo wa da Bahaushe abin da ya ke so ta k'aruwar ilimi.

Ko wane marubuci ya na da lokacin da ya ke samu ya yi rubutu, to da alama dai abubuwa sun yi maki yawa saboda karatu da tafiye-tafiye. Ko da wane lokaci ki ke samu ki yi naki rubutun?

Kamar yadda kowa ya sani, rubutu na da alak'a da baiwa daga Allah (SWT), to amma na fi yin rubutu a lokacin da jarrabawa ta zo min, domin a lokacin ne na ke samun natsuwa, ba na tafiye-tafiye.

Daga cikin littattafan da ki ka rubuta, wanne ne ki ke jin ya fi kwanta maki a rai?

Littafin ‘Za Ta Iya’ ne ya fi kwanta mini a rai. Sannan kuma littafin da na ke ganin ya fi saurin tafiya da sak'on da ya dame ni shi ne littafi na na farko, wato ‘Wa Ya Fi Kishi?’

Menene ya sa kusan duk littattafan ki su na magana ne a kan zaman aure, ba kya tab'o wasu jigogin?

Ba duk littattafai na ne su ke da jigo a kan zaman aure ba. Kamar ‘Za Ta Iya’ da kuma ‘Tashin Hankali’ jigon su ba ya na magana ba ne a kan zaman aure.

Me ya sa ki ka fi yin rubutun zube, ba kya rubutun wak'a ko wasan kwaikwayo ko dai wani abu da ya shafi adabin Hausa?

Wato babban abin da ya kan kiyaye mutum daga jin kunya shi ne ya rik'e fagen sa, wannan shi ne dalili.

Daga cikin wad'annan littattafai, da akwai labarin da yake magana a kan rayuwar ki?

A’a, babu.


Ga shi kin yi sabon littafi, ‘Mace Mutum’; wanda kuma ba ma karin magana ba ne. Ko menene hikimar wannan suna?

E, to, shi ainahin sunan ‘Mace Mutum’ wani suna ne wanda ya na kira ne ga duniya da mu ka fuskanta yanzu, cewa kowacce halitta ta na da k'ima, sannan halitta mafi k'ima ita ce halittar d'an’adam. D'an’adam dai a wajen Bahaushe shi ne mutum, to mace ta kan ci sunan ta ne kawai ‘mace,’ amma ba ta cin gajiyar ‘mutum.’ To, sai na yi k'ok'arin had'a wannan littafin domin ya yi nuni da cewa mace ma mutum ce kuma ta na da hak'k'ok'i da k'ima kamar na kowane d'an’adam.

Kusan duk littattafan Hausa a yanzu babu littafin da ya kai yawan wannan. Shin sak'on ne yake da yawa ko kuwa domin ki burge ne?

Abu na farko dai shi ne, k'ananan littattafan da ake yi na yanzu na saka kasala ga masu karatu. Domin na san kafin zuwa na fagen rubutu, an samu masu k'alubalanta, su na ta yin kira a kan cewa ya kamata marubuta su juya su na yin rubutu mai yawa saboda a kawo canji a adabin Hausa, ya zamanto ya samu k'ima daidai da adabi na duniya. Sannan kuma abu na biyu, ya zamanto ya kawar da kasala ta karatu, to amma sai aka kasa samun wanda zai bugi k'irji har yau ya yi, kowa ya koma daga gefe ya na jiran wani ya yi tukunna. Sai na ga cewa a wannan lokaci ana buk'atar wani ya bugi k'irji ya ce bari in je in yi wannan.

Wasu na ganin idan su ka yi littafi mai yawa, wai ’yan kasuwa ba za su amince ba domin zai yi tsada. Ke ba ki yi tunanin haka ba ki ka rubuta wannan wagegen littafi?

Kasuwar littafi ta na da alak'a da kowace k'a’idar kasuwanci. K'a’idar kasuwanci ta na buk'atar ka kyautata abu, sannan ka tallata wa jama’a cewa lallai wannan abin mai kyau ne, sannan kuma ka sa ido kan ganin yaya za a yi su saya. To amma kasuwar littattafan mu na Hausa da ake ganin shin za ta tafi ko ba za ta tafi ba? Shin ina ta tsaya tukunna? Littafi zai fito a sati, amma babu wanda ya san zai fito sai marubucin. Watak'ila ma shi mai shagon da za a kai wa littafin domin ya sayar bai san da littafin ba sai a ranar, a wannan lokacin ake tunanin cewa za a iya tantance shin ko wannan littafin ya na da kasuwa ko kuma ba shi da shi? Bisa ga tsarin kasuwanci, littafin da ya zamo cewa na d'aya ko ka kyautata aikin sa, misali tafiyar ka ta baya ta nuna wa mutane cewa e, lallai wannan aikin da gaske ka ke. Ina k'ok'arin ganin na tallata littafi na tare da sanar da isowar wannan littafi da inganta aikin sa. Kuma wannan shi ne zai nuna wa mutum cewa e, na gama duk abin da zan iya. Abin da ya yi saura kuma shi ne k'addara da za ta biyo baya a kan me littafin ya k'unsa?


Menene labarin da ke cikin ‘Mace Mutum’?

Labarin ‘Mace Mutum,’ a tak'aice, labari ne na mata biyu, uwa da ’ya. Uwa ce wadda ta tashi a cikin rayuwa ta k'auye, sannan ta ga yadda mata su ke ci-baya a k'auyuka, yadda su ka yi daga rayuwar ta har da ma ta ’yan’uwan ta. Hakan ya sanya bisa yarinta su ke tsammanin cewa duk abubuwan da su ka yi kaca-kaca da rayuwar mata a k'auye kamar wasu dodanni ne da ya kamata a guje su. To sai ta yi yarinta ta gudu daga k'auyen zuwa birni, ta ga yadda lafiya ta ke a k'auye, mata na mutuwa wajen nak'uda, a ce an yi camfin mazan su ne ko kuma akwai wata cuta da za a iya magance ta, a ce a’a akwai wani macijin aljani ko menene da ya ke giftawa shi ne ya ke janyowa. To tunda a k'auyen su ya ke, sai ta yi tunanin ta gudu. Bayan ta gudu ka ga ta gudu daga matsalar mata da ke cikin k'auyen, sai ta ke tsammanin cewa mace mutum ce a cikin birni.

A yayin da ta shigo birni, shi kuma ya na da nau’in tasa matsalar ta daban. Idan mace a k'auye ba ta wuce daraja irin ta doki ba misali, wanda shi sai ranar Juma’a ake hawan sa, ita kuwa idan ta fita aiki tun da safe ba ta dawowa sai k'arfe 11 na dare, to sai ta zo ta samu ga mata nan a cikin birni wad'anda babbar matsalar su shi ne, idan za ka tafi asibitin k'auye ka same su a kwance su na fama da ciwon yoyon fitsari, to za ka zo asibitin birni ka samu mata na fama da ciwon zuciya domin su sun san ’yanci, an gaya musu akwai, amma kuma ba za su iya magance shi ba.

To wad'annan matsalolin da ta gani ya sa ta fara tunanin neman wani wurin zaman tsaka-tsaki wanda shi ba k'auye ba kuma ba birni ba, domin ta rayu. Daga nan sai ta fad'a wani waje wanda al’ada ce ta ke mulkin wajen ba k'auyanci ko birnanci ba. A irin wannan waje ne ta samu ta yi aure har ta haifi ’yar ta mace. Ita dai wannan ’ya kasancewar ta zo ne a gidan sarauta, sannan kuma gidan da ba a tab'a haihuwa ba. Ciroma ya ke buk'atar wanda zai gaji sarauta ba wadda za ta saci sarauta a matsayin ta na mace ta kai gidan wani ba. To wad'annan matsalolin da ta samu sun had'a da matsalolin da ake samu a k'asar nan, misali ta b'angaren kafa shari’a ko al’ada, ya zamanto cewa an hukunta mace. Hakan ne ya sanya ta gudu da ’yar ta sannan ta tafi wani sashen daban wanda a yanzu kuma ba nema ta ke ta zama mace mutum ba, nema ta ke ta zama mace, ta tsira, ta rayu domin ta san cewa tata ta k'are a wannan lokaci, domin duk abubuwan da ta samu a duniyar ta ta yi asarar sa, sai dai a kan hanyar yadda za ta raini ’yar ta duka-duka ba ta wuce shekara 2 ba. Ita kuma ta mutu a sakamakon wata wahala da ta sha.

To ita wannan ’yar ta samu kundin tarihin rayuwar ta, domin ita uwar ta shirya shi ne a matsayin ta san ba za ta raini wannan ’ya tata ba, saboda ta na buk'atar ta yi wani wanda zai zama shi ne ruhi na tayar da k'aimin ’yar ta, sannan kuma ta bayar da amanar cewa a taimake ta.

To wannan ’ya ta yi duk abin da ta ga ya dace wajen ganin mace ta cika mutum ta hanyar addini da al’ada, siyasa da kuma lafiya, har ma da wasu abubuwa wad'anda mata su ka rasa a halin yanzu, domin ganin ta tabbatar wa da mata hak'k'in su.

Tirk'ashi! Jigon littafin ya zama wani mataki na gwagwarmaya domin tabbatar da ’yancin matan Hausawa kenan?

E, haka ne. Ina magana ne a kan matan Hausawa ko matan Nijeriya ko kuma matan Afrika ta Yamma, to amma matan Hausawa su ne a kan gaba wajen tsintar kan su a irin wannan hali. Wannan ne ya sa na zab'i matan Hausawa su zama ‘characters’ na labarin.

Shin ko ki na da shirin wata rana ki fassara littattafan ki, musamman ‘Mace Mutum,’ zuwa wasu harsuna kamar Turanci, saboda mata su amfana da shawarwarin da su ke ciki maimakon a tak'aita a wani yare kad'ai?

E, ina da nufin fara rubuta na Turanci.

Da ki na daga cikin marubutan Hausa da ake suka, ana kiran ayyukan su "adabin kasuwar Kano." Shin wane k'ok'ari ki ke yi da wannan littafi ki fita daga cikin wannan k'angin?

E, to, "adabin kasuwar Kano" yadda na fuskance shi wani suna ne na alfahari, ya danganta da yadda kowa ya juya shi. Zai iya kasancewa kamar ana buk'atar mutum ne ya zamanto ya na zaune ne kan sa, ba ya na tsaye ne da abin da mutane su ka ce ba. Adabi ya na buk'atar masu k'alubalantar sa, kamar yadda "adabin kasuwar Kano" ya ke da masu k'alubalantar sa. Haka ma ya ke da wad'anda su ke son sa. To wannan ya nuna cewa ba k'ok'arin fita daga "adabin kasuwar Kano" ba ne, illa cewa ra’ayi na da tunani na shi ne ya yi mani wahayin wannan littafin.

Wacce irin alak'a ce tsakanin ki da masu karatu?

Alak'ar da ke tsakani na da masu karatu ta fi komai dad'i a wuri na. Na d'auki masu karatun littafi kamar wani k'ashin baya ne, kuma su ne za su iya gaya maka cewa abin da ka rubuta ya yi dad'i ko kuma an samu kuskure domin ka gyara a rubutun gaba. Hakan ya sa akwai alak'a mai kyau tsakani na da su.

Alak'ar ki da sauran marubuta fa, domin masu kula da harkokin marubuta na ganin babu alak'a mai kyau a tsakanin ku marubuta.

Alak'a tsakani na da mafi yawan marubuta alak'a ce mai kyau. Ko da yake ni ba a k'asar nan na ke zaune ba, to amma na samu an kafa k'ungiyoyi wanda kuma manufar kafa su shi ne wata ta yi gaba da wata, wanda hakan ko kad'an bai kamata ba. Amma ni ba na cikin kowace k'ungiya; kusan in ce ni marubuciya ce mai zaman kan ta.

Ga shi ke monita ce a wani zauren tattaunawa a intanet a kan rubuce-rubucen Hausa (Majalisar Marubuta). Ko za ki yi mana bayani a tak'aice kan yadda wannan zaure ya ke, da manufofin sa?

Wannan ya na da labari ne na shiga ta ita k'ungiyar. Kafin in shiga ban san cewa Hausa adabi ba ne wanda ya na da masu k'alubalantar wata kasuwa wadda saboda nisa na da ita, iyakaci na in yi littafi in ajiye, amma da shiga ta wannan k'ungiyar kafin ma in zama monita a ciki na ga wad'annan amfanonin da dama. A cikin wannan majalisar na samu sanin wasu littattafan Hausa da aka yi masu k'ima, da kuma abubuwan da ake k'alubalantar marubuta da su, sai in je in d'auka wanda zan gyara ya zamanto cewa na gyara. Sannan kusan zan iya cewa a da ina da d'an shakku wajen cewa yaya za a yi in yi littafin Hausa mai yawa ya tafi? To amma shiga ta wannan majalisa ya nuna min cewa lallai ashe ana iya yin, kuma zai iya tafiya. Misali, na tarar ana tattaunawa a kan ‘Ruwan Raina,’ wanda a lokacin ban san shi ba, da kuma ‘’Yartsana,’ wanda shi ma ban san shi ba sai a cikin wannan majalisar na samu cewa littattafai ne masu yawan shafuka, kuma aka yi masu kyakkyawan bugu. Sai ga shi ba su samu wata matsala ta kasuwa ba, sannan marubutan da su ka yi su sun cancanci yabo.

Saboda haka ina shawartar marubuta da su shiga cikin wannan k'ungiya ko majalisa domin akwai abubuwan k'aruwa masu tarin yawa; haka ma masu karatu, domin su samu damar k'alubalantar abin da marubuta su ke ciki. Wannan ita ce hanya ta had'uwa da ’yan’uwan su masu rubutu a tattauna da manazarta wad'anda su ka yi fice da fuskantar ina adabin ya dosa. Hakan a gani na zai taimaka wajen kawo ci-gaba ga ita wannan harka tamu.

Yaya ki ke ganin adabin Hausa zai iya kasancewa nan da wasu shekaru?

E, ai Juma’ar da za ta yi kyau tun daga Laraba ake ganewa. Daga cikin kashi biyu, wato marubuta da masu karatu yanzu ya zamanto su ne su ke canza adabin Hausa, wanda wannan kuma alamomi ne na nasara. Da farko idan na soma da masu karanta littafi a zamanin baya, kamar k'arshen k'arnin da ya wuce, littattafan Hausa su na samun suka domin babbar matsalar da na sha fad'i ita ce masu bayar da sak'on su na da wani sak'o da su ka ga cewa lallai ya damu Hausawa, ya kamata kuma a tashi a yi fama da matsalolin, kamar na auren dole da makamantan su, domin haka na da illolin sa na b'acin ’ya’ya, to amma sai su ka manta da wani abu guda d'aya, wato ba iyayen ba ne su ke karanta littafin za su iya kwafar b'acin da aka nuna a cikin littafin, maimakon iyayen wanda da aka yi wasu wannan salon. Hakan ya janyo ’yan matsaloli wad'anda littattafan baya su ka samu kan su a ciki. To amma masu karatun da ake samu a yanzu su ne ’ya’ya na wancan zamanin wad'anda su ka karanta kuma su ka k'aru da wani abu, su ne su ka zama iyaye, su ke karatu a yanzu. Adabin Hausa ya samu iyaye da ’ya’yan su su na iya karantawa, sab'anin zamanin baya.

Na biyu, masu karatu na da hanyoyin sabuwa ko huld'a da marubuta kamar ta wayar tafi-da-gdan-ka ko kuma ta intanet, domin yi masu gyare-gyare ko sharhi da makamantan su. Ta b'angaren marubuta kuma, ban da masu yin canjin shek'a ma da akwai wad'anda su ka ce adabi ko na menene ya na da amfani, don haka sun bayar da lokacin su wajen yi wa adabin Hausa hidima wacce ta cancanta za su rubuta da kan su, za kuma su yi kira ga marubuta su ce kuma ku rubuta abu kaza. Saboda haka adabin yanzu idan za mu lura da littattafan da ake rubutawa masu yawan shafuka da kyawu, zai nuna mana cewa duk wani littafi da yake kamar wata annoba ce a cikin adabin Hausa a baya kamar shekara goma, zai zamanto cewa ya kwanta dama.

Akwai wani kira da za ki yi ga su marubutan Hausa?

Kiran dai a kowane lokaci shi ne wad'ansu abubuwa ne wad'anda da zarar an same su komai zai daidaita. Marubuci ya kamata ya san cewa ga inda sak'on sa za shi. Na biyu, ana buk'atar marubuci ya san menene adabi. Na uku shi ne menene na sak'o wato adabin da na ke yi wa hidima? Sannan kuma bai kamata marubuci ya yi tsoro ba, ba wai ina nufin sai ranar da marubuci ya fito ya zagi wani babba ba, a’a, tsoron kasuwa ma bai kamata a ce marubuci ya ji shi ba, domin ba a tab'a yin masu yi wa adabi hidima iyakacin sa ya damu da kasuwar sa ba ko inda adabin za shi ba. Don haka ya kamata ya zamanto cewa wannan ya na kan gaba.

To menene zai biyo bayan ‘Mace Mutum’ daga alk'alamin ki?

Abin da zai biyo bayan ‘Mace Mutum’ shi ne ina so in ci gaba da yin rubutu a manyan shafuka mai ingantaccen bugu, kuma wanda zai zamanto ya na da sak'on da zamanin ya ke so. Wannan ya sanya ba zan iya sanin menene zai biyo bayan ‘Mace Mutum’ ba, domin ina so ne in kasance kowace shekara a ce da littafin da zai fito, ya zamanto cewa ainahin sak'on da ake buk'ata shi littafin ya taho da shi.

Yaushe ne za ki kammala karatun ki ki dawo Nijeriya da zama?

Shekara mai zuwa ne zan kammala karatu na, to amma da yake ina da buk'atar k'are digiri na na biyu shi ne ya sa ba ni da masaniyar lokacin da zan dawo.

A can Alk'ahiran ko kuwa?

E, ko a Alk'ahira ko kuma a gaba da ita.

A’a, to shikenan kin dinga karatu? Aure fa?

(ta yi dariya) Ai aure ba ya hana karatu.

To yaushe za a yi auren? Wasu za su so sanin haka daga gare ku.


To ai kada wanda ake so a yi da shi ya ji, kuma ya matsu ya ce an sa marad'a magana! (ta k'yalk'yace da dariya)

Hajiya Rahma, mun gode.

To, ni ma na gode.

-----

KARIN BAYANI: An sake buga wannan hirar a jaridar LEADERSHIP HAUSA ta ranar Juma'a da ta gabata, 15 ga Fabrairu 2008

KANO'S CENSORSHIP LAWS

PRESS BRIEFING BY DIRECTOR GENERAL KANO STATE CENSORSHIP BOARD, MAL. ABUBAKAR RABO ABDULKAREEM, ON THE EXPIRATION OF SIX MONTHS BAN ON FILM LOCATION ACTIVITIES HELD ON MONDAY 11TH FEBRUARY, 2008 AT THE CONFERENCE ROOM OF THE BOARD

Distinguished guests,
Gentlemen of the press.

1. Further to the unfortunate happenings in the film industry, His Excellency Executive Governor of Kano State, Malam Ibrahim Shekarau, has approved the appointment of a task force committee to sanitize, standardize and professionalize the film industry in the state.

2. This unfortunate incidence led to public outcry which resulted in the lost of public confidence in the film industry, followed by suspension of all location activities for three months by motion Picture Practitioners Association of Nigeria (MOPPAN) and subsequent endorsement by the Board.

3. To compliment stakeholders’ position, the Board extended the three-month suspension order to six months for the purpose of fulfilling certain Herculean challenges facing the industry, Board inclusive.

The suspension order was clearly on location activities unlike what was speculated that it was meant to jeopardize the film industry. Marketers, production and post-production companies, musical studios and other activities were not affected by the order. More so, the Board has responded to various appeals made by organizations that have a stake in its activities to revisit the issue of censoring films already completed before the unfortunate incidence.

4. Accordingly, this is not the first time filming activities were suspended in Kano State. In the year 2000 the then administration suspended filming activities without any exception, even cinema houses were affected. Another example is that of Lagos State where filming activities were suspended for two years in order to ensure ethical professionalism in the business.

It is professionally a tradition and globally accepted; sensitivities are never compromised in filming projects. Currently, China is a clear testimony where a prominent production company was duly punished and suspended from further filming.

5. Gentlemen of the press, I want make it categorically clear that religion, culture and public dignity cannot be compromised by any good Government in the name of economic interest persuaded by certain segment of the society, taking into cognizance the social responsibility being entrusted by our people to this administration which operates within the tenets of Shari’a legal system.

6. Special guests, gentlemen of the press, within this suspension period the Board through its open door policy has tried to bring stakeholders on board through various activities such as meetings, sensitisation seminar, consultations with other relevant government agencies and revalidation /registration exercise.

7. The ideal registration period of the Board is first two weeks of the month of January of every year. Therefore, we want to notify the public that, some of our stakeholders have responded positively e.g. cinema proprietors, soccer viewing center proprietors, CD sellers, and some production companies. But in order to be lenient to our teaming stakeholders the Board has magnanimously from last week extended the registration period to the end of first quarter of 2008. This extension is peculiar to the year 2008. Meanwhile, provisional license is under processing for those production companies that are about and are determined to fulfill requirements.

8. General requirements and guidelines for registration were reflected in the Board’s application Forms and didn't in any way undermine ethics, professionalism, Religion and culture of our people. Hitherto, in respect to this, I would like to make it abundantly clear that every individual operator MUST register and be issued with license to operate, be it an artiste, script writer, designer, director, producer and other related persons in the home video as provided by Section 8 sub-section 'B' of the Kano State Censorship Board Law 2001 (Guidelines attached).
Meanwhile, trade guilds must register with the Board after being recognised by the MOPICON code of ethics.

9. Registration of production companies as enshrined in the Kano State Censorship Board law is mandatory before operation or any transaction with them.

10. Scripts must be submitted by a certified and registered production company for the Board’s approval which will facilitate the document to be recognized by other authorities like Copyright Commission, etc.

Equally, approved script will not be filmed until location/outing schedules are endorsed by the Board. At this juncture I want to draw the attention of Hoteliers, agencies and individuals to note that, henceforth, no location activity will take place in their premises without clearance from the Board.

Gentlemen of the press, we are using this medium to warn that, it is a breach of law for any production company to embark on shooting/location activities without his script and schedule of outing being approved by the Board.

11. Important issues worth noting primarily to our teaming stakeholders are thus:¬

a. Submission of scripts will be through guild of script writers, MOPPAN or individuals as the case may be.

b. Submission of accomplished films will be through MOPPAN, Film Makers Associations or individuals as the case may be.

c. To facilitate the activities of the preview committee, the Board has decided to expand the membership of the committee by involving Kano State Film Makers Association as members to serve in the committee

d. All our stakeholders are equal in the eyes of the law provided they remain law abiding.

e. Stakeholders dealing with international organisations and corporate bodies should note that, Board has moral and legal status in that transactions as provided in Section 85 of Kano State Cinematography licensing Censorship regulations 2001.

At this juncture, I am happy to announce to our teaming stakeholders and the general public that the ban on location activities is hereby lifted with effect from Tuesday 12th February 2008 on the following conditions:

All film operators and related persons must register with the Board and be issued with license as enshrined in the Kano State Censorship Board Law 2001 Section 6 sub-section 1B to ensure maximum control:

a. All Film corporate bodies and companies/professional guilds and associations must register with the Board as provided by Kano State Censorship Board law 2001.

b. All production scripts and outing schedules must be approved by the Board before any location activities.

c. All production must not jeopardize the sensitivities of the general public thus religion, culture, law, state and ethics of the profession. Hitherto, public are rest assured of protecting their dignity in Hausa films.

d. Any film that features non-registered artiste/artistes by the Board will not be cleared.

e. The proliferation of Hausa musical albums has attracted the Board's attention, hence must be censored. Therefore lyricists and musicians are equally to register like the rest of our stakeholders.

These conditions go along with the law establishing the Board and the regulations conducting the affairs of the Board.

Thanks you and God bless.

BISSALAM

GENERAL GUIDELINES FOR GENERAL REGISTRATION OF FILM OPERATORS (INDIVIDUAL IN THE FILM PRODUCTION)

1. A film operative must possess "O" Level Certificate or its equivalent (Additional qualification is and added advantage)

2. Director/Producer must possess a Diploma or Certificate in the field of production from a recognized institution.

3. A film operative must avoid any act capable of polluting public morals.

4. A film operative must observed and respect religion, Culture and public interest.

5. A film operative must be a registered member of an appropriate guild.

6. A film operative must be a Nigerian as stipulated in the Constitution of the Federal Republic of Nigeria.

7. Female artiste, musician and lyricist must be under the care of her husband, parent or guardian (Not independent as the case may be)

8. Director/producer must ensure friendly atmosphere and should avoid roles/acts that will tarnish the image of his artistes.

9. Director must be guided by the approved script throughout his production

10. Producer must ensure that his script is endorsed by recognised consultant and approved by the Board.

11. A producer must ensure professional equipment are used (broadcasting standard) in his production.

12. Notice for location activities must be submitted to the Board 48 hours before the outing.

13. Singing and dancing has been cancelled in Hausa films.

14. Producer must discourage free mingling of opposite sexes for the whole night during production.

15. An artiste must be mentally and of sound moral behavior.

15. An artiste must not be below 18 years old, special artistes exclusive.

16. These guidelines are subject to review depending on prevailing circumstance.

GUIDELINES FOR THE REGISTRATION OF FILM PRODUCTION COMPANIES

1. Certificate of Incorporation (CAC)

2. Tax clearance for 3 years.

3. Letter of introduction from the Local Government Council where the production company is situated.

4. Production company shall employ the service of a film/video production consultant.

a) Such consultant shall be qualified from a recognised film institute within Nigeria or abroad.
b) Such consultant shall have a working experience of not less than 4 years in the field of production.
c) Employment: means part-time/retainership.

5. All film production companies shall furnish their studios with all the necessary facilities in accordance with the broadcasting standard or its equivalent, thus:

a) A set of computer
b) Pinnacle editing system
c) Monitors
d) A VCR player
e) HD camera with accessories or professional digital camera.
f) Two sets of earphone/microphone
g) Tripod/crane
h) Professional lights

6. Production company shall ensure that all technical production crew are registered members of a professional association of Nigeria (MOPP AN).

7. Production company shall have a clear office identification address.

8. Production company must have a permanent office secretary.

9. Production company must register with Ministry of Commerce, Industry and Co-operatives, Kano.

10. Production company must ensure crowd-free office environment.

11. Henceforth, no producer will go to location for activities without his script being vetted by a recognised consultant and approved by the Board.

12. All members of the production crew shall have a minimum qualification of a Diploma /Certificate or equivalent in a related field from a recognized institution.

13. Production company shall have a minimum of N2.5 million as working capital. Confirmation could be obtained from bank.

14. Henceforth, the Board has cancelled singing and dancing in Hausa film.

15. The aforementioned guidelines are subject to review, depending on monitoring circumstances.

MACE MUTUM!

A yau Alhamis (ko in ce jiya, tunda karfe 1 ta haura) na shiga kasuwar Wuse, Abuja, inda na samu sayen littafin Mace Mutum na Rahma A. Majid. N820 na saye shi. Littafin ya dan yi kwana biyu da fitowa ban gan shi ba, ga shi kuwa wai ni ma d'an gida ne (tunda "kanen" marubuciyar ne!). Hasali ma dai na aika wa da wasu littafin, ciki har da Amina Abdulmalik (mai 'Ruwan Raina'), wadda ta na Katsina yanzu, na sa Danjuma Katsina ya kai mata kwafe har gida, kuma ta karanta har ta gama cikin kankanin lokaci!

Na aje littafin a kan teburi na a ofis. Duk wanda ya shigo sai ya dauka, ya yi mamakin girman sa, har wasu na cewa, "Wannan tarihin waye?" Ba su ga hoton Yar'Adua ko Babangida a bangon ba! Sai na ke ce musu, "Ai novel ne."

"Novel? Da ma ana yin novel da Hausa haka?"

Mutane sun saba da ganin littafi mai shafi 40 zuwa 70 na Hausa. Shi Mace Mutum, shafi 520 ne. Wane yaro!?

Kai, lallai Rahma ta ciri tuta! Mace mai kamar maza, kwari ne babu! Matar soja kin fi karfin yaro!

Allah ya sa sauran marubuta za su dauki hannu, su yi koyi da ita. Ni da ma na shafe shekaru ina yekuwar cewa ya kamata marubutan mu su rika yin rubutu mai inganci, kuma su rika yin littafi mai kauri-kauri. Su yi kokarin ficewa daga kangin 'Adabin Kasuwar Kano.' To, Rahma dai ta fara. Allah ya k'ara mata basira, da kwarin gwiwa.

Gobe (ko kuwa dai a yau!) zan fara karanta shi insha Allahu.

Kuma na kudiri aniyar saya wa marubuciya Sa'adatu Baba Ahmad Fagge kwafe daya in kai mata a gidan su a nan Abuja (domin fa ta na gari yau mako biyu, kuma na ziyarce ta sau biyu, gobe ma zan koma). Zan ba ta mamaki da kyautar littafin, domin ita ma har yanzu labarin sa kawai ta ke ji. Za mu yi tseren gama shi kenan.

Sallaman ku!

Barmani Choge's Night of glory

Kai kun ji zan gaya maku yaran mata ai haihuwa malkar faru ce,
Ayye ran da ta kare sai warisa,
Kuma sai walkami dada sai sa hoda,
To kuma rigar mama salama alaikum.

Ayye ni idan na hwara sai nai dozin,
Ke Ladi, in na hwara sai nai dozin,
In yi Sa’a kuma in yi Sa’adu,
In yi Habi kuma in yi Habibu,
Sai nai Amiru sai in yi Hamza,
In yi Jamila, in yi Jamilu,
Na yi Basira na yi Basiru,
Saura Salamatu saura Saleh.

– Barmani Choge, in “Gwanne Ikon Allah,” urging young women to embrace reproduction

It was another night of rumbunctious gaiety. The diva who makes women to shake their bottoms was in town again, at the same venue and time. And the chain of events was almost the same, an uncanny replay of the 2006 outing - the rub-a-dubs of the water-filled calabash drums, Barmani Choge’s lilting voice, the academics intervening occasionally with background infos, the Q & A from the excited audience. Even the audience looked the same - women, men (young and young-at-heart), children; husbands and wives; the enthralled Britons who are trying to understand it all.

Outside the traditionally styled offices of the British Council, there was no parking space. Motor cars and cycles had filled up the place, watched by uniformed security guards. Passers-by would pause to ask what was going on here, Kano being a city of great spectacles. In that, it has no match in Hausa land. Ko da me ka zo, an fi ka. Hearing the amada music swinging in the air above the enclosed amphitheatre, the passers-by would wish to go inside and quench the thirst of their curiosity. Some would sneak into the place even though it was strictly by invitation.

The event’s poster called the night World Premier of Amada Rap as if it was the first time amada music was coming on stream!

As the show progressed, the amphitheatre continued to fill up to capacity; so many stood against the walls, their eyes focused on the old and young women on the stage beating the upturned calabash drums (kwarya) on their laps, creating a tune that was so unique, so original, so African. The leader of the musical group, Hajiya Barmani Choge, was easily Hausa land’s leading female traditional musician.

Born in 1945, she is old, of course. She had started singing about forty years ago, but her voice was surprisingly the same, keenly unaffected by age. The themes she dealt with were also timeless. They traversed topics from serious social issues like women’s education and importance of small-scale trading by women, all of which would empower women, to bawdy topics like co-wives as idle snobs, voluptuous women’s backsides, etc. These themes have been on her talented tongue since the late 60s, long before the Women’s Lib movement caught on in these parts of the world. Their core message is: women should get up and shine in this male-dominated world.

The audience in Kano last Saturday night, January 19, 2008 had heard all those songs before. As Barmani churned them out, their memory was only refreshed. But the difference was that this was live, Barmani in flesh. For those that had never seen her, it was a moment to relish forever. As she sang for her benefactors such as the ubiquitous Bala Waiman, Sa’in Katsina, Mairo Tafida, etc., their memories went back to the old days when traditional Hausa music was given more recognition, not today when it has been overtaken by Hausa movie lyrics and other attempts at modernisation.



The event was organised jointly by the British Council, Kano, and the Center for Hausa Cultural Studies, Kano. A generous endowment of the arts sponsored by Standard Chartered Bank, under the Empowering Hausa Traditional Artistes Initiative, a programme initiated by the CHCS and supported financially and otherwise by the Council and the bank, made the show possible. Professor Abdalla Uba Adamu, a culture activist who teaches at the Bayero University, Kano, and also chairs the CHCS, is the cultural affairs facilitator of the programme, selecting the artistes and bringing them to the stage at the Council.

I asked him what this event was all about.

The purpose, he answered was “to showcase Hausa traditional performance arts, to bring it to the attention of the world, to keep it alive, to show that it is alive and kicking and it’s real, and that it can never be substituted by any other form of music. But it can work with other forms of music.”

The programme was meant “to show that we are as modern as modern can be, we normally invite vocalists - not only musicians - who will be able to work with the traditional musicians. That is why you won’t see most our instrumentalists here but the vocalists, particularly rap and hip-hop are brought over to play with the traditional musicians.”

On why he brought Barmani to the stage again, having first presented her on Wednesday, March 8, 2006 on the International Women’s Day, he said, “She is a female, she is old and she is targeting herself at female private sphere, and that is what we are loking for. We are looking for women entertainer-artistes, particularly the older women who will appeal to older women themselves. Because older women don’t have any form of entertainment except by Barmani Choge. Other women - younger women - have other younger artistes to cater for them.”

A publicity flyer for the event explained Barmani’s art in the following words: “Barmani Choge popularized the mature Hausa women genre of music called Amada (although she had precedent in the late Hajiya Uwaliya Mai Amada (1934-83) which started as religious performance by women in their inner apartments, before later becoming secularized in public performances. Barmani Choge’s performances appeal typically to mature women in high society due to her daring – and often experimental – exploration of issues that other conventional women musicians avoid. Literally the last of her generation, she popularized the Amada genre of Hausa music which is centered around five upturned calabashes floating on water and played with the hands by rather elderly women.

“The thematic focus of her performances is on the sociology of the family as it affects the woman in a typical Muslim Hausa household. She uses her lyrical power to draw attention to issues dealing with inter-personal relationships among women and between women and men.


“A lot of her repertoire deals with female social and economic empowerment in a traditional setting. For instance, her song, ‘Sakarai Ba Ta Da Wayo’ (Silly, She’s Not Smart) is a direct attack on women who prefer to live on other women’s economic efforts rather than seek out their own means of living. This song is complemented by ‘A Kama Sana’a Mata’ (Women, Engage in Profitable Occupations) which urges women to be economically empowered by getting engaged in a whole series of economic activities outlined in the performance.

“Her other set-pieces include a song that celebrates birth, ‘Gwanne Ikon Allah’ (The Blessings of Multiple Births), in which she proudly celebrated having a dozen children; as well as occasional forays into a more adult-themed performance such as in ‘Wakar Duwaiwai’ (The Song of the Derriere) in which she celebrates a woman’s attraction to her matrimonial duties. However, her most successful song is about resistance to polygamous marriages as sung in ‘Dare Allah Magani’ (Allah, the Curer of Night Darkness). Although not original to her (other Amada musicians such as Uwaliya had earlier recorded the song), Barmani’s rendition carried with it a fresh perspective that appealed to more modern Hausa women who took umbrage at the idea of polygamous relationships.”

As usual with these outings, the organisers ensured that while Barmani was the main artiste, other performers were included. Tonight, a new artiste, a young woman musician by name Amal Yunusa, as well as popular Hausa rap musical groups, X-Man (a solo artiste with the ragga-hit, Corruption), Minor Mistake (made up of four young high school students with a good rap track record), accompanied Barmani. While Barmani and her Calabash Ensemble were the star artistes, the solo vocalist Amal was the second while the two American-style rap groups provided a tantalising mix.
The audience was treated to Barmani’s most famous numbers: ‘Sakarai Ba Ta Da Wayau,’ ‘Dare Allah Magani,’ ‘Duwaiwai Dole A Zauna Da Kai,’ ‘La Ilallah Choge,’ ‘Ahayayye Sama Ruwa Kasa Ruwa,’ ‘Gwanne Ikon Allah,’ ‘Ari!’, ‘Dare Alherin Allah’, ‘Lale Maraba Da Ke Zinariya,’ etc. Amal did a remix of some of these songs, bringing them on recorded piano tunes as well as on live amada beats. She was joined in her acts by Aisha Jamilu, a grand-daughter of Barmani’s. They took the previous day to rehearse the show.

In this outing, there was an obvious attempt to create inheritors for Barmani. Aisha Jamilu, a secondary school student, had been included in the band and was made to sing Barmani’s songs to the accompaniment of the calabash music. But by far the nearest perfection to getting an inheritor was presented in Amal, a pretty young woman who took to music purely out of interest. She holds a diploma in Nursing and is now pursuing a HND course at the School of Management, Kano.

Hitherto, the 25-year old Amal sang enlightenment rap numbers in studios, using pianos instead of local instruments. She had recorded some six songs in a studio, but they have not been released yet. This was her first public appearance as a musician. She was brought into duet with Barmani three weeks earlier by Abdalla, who has conducted such experiments with other artistes, much to the delight of those that see them. Prof. Abdalla has always wondered - and worked on - how it would sound like to mix traditional tunes with modern, Western-created sounds. He achieves his purpose at the British Council shows.

Some members of the audience wondered how a thoroughbred Hausa young lady was allowed by her parents to take part in this kind of show, music being regarded as a trivial vocation by most tradition-minded Northern Nigerian Muslims. Amal told me in an interview that she had been liking music since her childhood when she listened to lots of Indian music. She had no family background in music, though. As proof that her family was not averse to her perceived indulgence, she brought her mother to the show.

“I have no any challenges from my family. My mum is even here,” she said, adding quickly, however, that her mother, a lawyer, sees the whole thing as a passing hobby, nit a serious vocation. “She wants me to learn and learn; she doesn’t want me to be occupied with it.. She is a barrister, she wants me to be someone like her,” Amal said.

She is into music not for commercial reasons. It’s a hobby, then?

Smiling, she replied: “I don’t know. Whatever happens I would welcome it. I may continue, and I may drop it. I don’t know what will happen because, you know, I will soon get married. I don’t know how my husband will react to it, so it depends on what he feels. If he wants, I will continue, if he doesn’t want it, I’ll stop it.”
This attitude to music seems to be shared by the old guard, too. A member of the audience asked Barmani if she would like her grand-children to become musicians. No, was the answer. She would rather want them to go to school and become “educated.” The mother of twelve children out of a single marriage - something she is always proud of - emphasised the importance of education, especially to women. In her life time she had seen instances where education helped emancipate the women folk from the shackles of ignorance and male-induced subservience.

The great old woman of Hausa music was given her first award during this event. It was a dainty certificate of merit from the Center of Hausa Cultural Studies for Barmani’s “immense contribution to the development of Hausa performing arts for women.” It was presented to her by the former consul of Niger Republic in Kano, Hajiya Fatima, assisted by the British Council’s Rabi Isma. The certificate was in two versions - in Hausa and in English. No doubt, it was a well-deserved honour to the woman who made women to not only “shake it” but also to think about their status in the society.

The event recorded a resounding success. Reacting to my query whether this was part of a global programme, Prof. Abdalla Uba Adamu told me it was. “Yes, it is part of the programme of the British Council called Cultural Diplomacy. The whole idea behind it is to show that Britain is a friend of Nigeria and it supports cultural activities of Nigerians. British Council is the only agency that is supporting these kinds of activities now.”

Would this kind of thing have taken place in any other place but the British Council, considering the ban on musical performances in the state due to the state government’s restrictions based on the Sharia law?

“Yes. Sharia didn’t prevent people from having music. It would take place in Alliance Francais (in Kano) because something like this will take place there in a week or so from now.”

He hoped that the Kano State History and Culture Bureau would be able to take up the challenge of showcasing and sustainng traditional Hausa musicians, because that is their purview.

According to him, the next show is scheduled to take place “before April, by God’s grace.”

If it is not Barmani, be sure to see that it is another traditional musician who will take th audience down memory lane and induce a high sense of nostalgia. Already, the ever-active professor is working on it. In a telephone chat last night, he told me that a Fulani ensemble may be the next trick in his hat. After all, it is not only the Hausas that helped define what is known as Hausa culture.