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Muslim Clerics Battle Hausa Producers
Thisday
Hausa films, though widely accepted as alternative to Indian and western films, have ironically received more harsh criticism of Muslim clerics on the aspect of singing and dancing. Yakubu Musa writes
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There is a big paradox about Hausa films. In the beginning they were hailed as alternative to their counterparts from US and India, which are generally blamed for the infiltration of the Hausa man's culture. Ironically, however, the attention has even been more focussed on the "alternative", especially by ulamas, Islamic scholars. Hausa Film industry, which has its headquarters in the ancient city of Kano was one of the early victims of Sharia despite that it has metarmophosed into a big employer of labour.
The industry, somewhat, has survived the sharia set back but it has yet to convince the ulamas and other critics that it is not doing more harm than good to the society.
Another paradox about the films is that their important commercial ingredient, songs, are seen as not only alien but unnecessary addition by many. Meanwhile, the truth is that the singing and dancing add a lot of values to the films. Many Hausa people appreciate Indian films more than the American ones and no doubt the songs and similarity of culture contributed to it. One of the famous lyrical writers and playback singers, however, believes the films would be boring without the songs.Yakubu Mohammed is the Mr. Prolific of Hausa films playback singers. He is also Mr. Creativity. Indeed any singer that composed over 3,500 beautiful songs from 1998 to date with all the lyrical lines caming from him, then he has an attribute of a genius. This is exactly what Mohammed is. One of the men behind the screen of the Hausa film industry, Mohammed has been entertaining millions of Hausa films viewers across west African countries, with his melodious voice in wisdom-laced songs. He is certainly the Nigerian version of Kumar Sanu, that reknown Indian singer that is popular in the North. Or call him Sonu Nigham or Udit Narayan. But Mohammed even posses what they don't have. he writes and sings while they only sing what somebody else prepared for them.
Speaking to THISDAY, the Bauchi-born singer *** producer said he was introduced to the industry by an ex-actress, Halisa Mohammed, as a script writer but later carved a niche for himself as a lyrical writer and play back singer even though he is also involved in other aspects of production expecially as producer.
"I did a lot of literature in school, especially during my degree program. So when I came to the industry and found that there is a lot of Music in every film I decided to use my knowledge to add beauty to the songs. The only difference now is that I now sing for entertainment not for academic purpose" he said.
But Mohammed didn't even have the intention of voicing the first song he wrote in the industry. He was only teaching the supposed singer at a studio how it should be done when a producer *** actor, Hamisu Iyantama noted that he could have done it better himself.
"Iyantama was responsible for everything because my initial intention was just to write for others to voice but now I am doing both".
Ironically, Mohammed could not pick a favorite among his numerous songs even though his fans love them. He would rather say all are his favourite because every thing he does, 'I put in my best" Sa a tafi Gata, Al'ajabi, Uquba, Mujadala Harsashi, Tangarda the list of these super hit is endless.
But if any one is in doubt about his exceptional gift from God, then think about this: The singer writes most of his songs in the studio at the time when the female co-singer and musical operators get set for business. Suprisingly, the songs always came up among the top hits in the market. And writing songs, especially Hausa songs that insist on matching rhyme, which no good singer, dares to break the rule, is not an easy task. Mohammed knows how to match rhymes them and according to him the lines come like watch rhymes inspiration.
In his words, "This is a God-given talent. Writing and singing is one aspect of film that is not for everybody. It is not for every Tom **** and Harry as it requires a lot of creativity and innovation and people always insist on something new so you cannot afford to give them the same thing you gave them yesterday."
But singing and dancing, though are adding not only commercial but aethetic values to the Hausa films they are one of the most criticized aspects of the Hausa Films.
These are the aspects of the films that are widely seen as alien to Hausa man culture and are only good enough for Indian films. Thus they should be left for Bollywood not Kaniwood as they always want to call the industry which has its strongest presence in Kano.
Besides, Muslim clerics have always expressed their opposition towards the industry. Not even the suspension of the industry's activities in Kano and later introduction of censorship board, satisfied the Ulamas. They always accused the film markers of promoting immorality and anti-Islamic culture.
Perhaps that is why many youths fear the stigma that is associated with the business. The Industry currently provides thousands of job opportunities to teaming unemployed youths in the North. However, the role of religion , particularly clerics have been in conflict with the creativity and the general growth of the industry.
Mohammed, lamenting the development said the film makers are not promoting immorality as insinuated in some quarters.
"We are not imitating Indians. we are just fortunate that they started before us. But singing and dancing has been part of our culture. It is not only Hausaman's culture alone but it is African to sing and dance in the moon light. In Hausaland it is done at Dandali so what is new here? he asked. He answers the question himself, "we are just modernizing it" pointing out that Hausa films without songs and dancing would be "like tea without sugar".
To him, the songs are the necessary flavour which attracts market to the industry. "Hausa films would not be interesting without songs. The songs add beauty and colour to them, and they also bring out the beauty of our culture".
However, this is the crux of the matter. Mohammed's opinion reflects the views of his other colleagues in the industry, but the scholars would not hear any of it. If they have their way, the likes of Mohammed who would have received several Grammy awards if he were operating in US, would start looking for a new way of earning his daily bread. How can they be thriving in a business that promotes mixing of men and women freely and even promoting it in home videos? Alien culture and immorality cannot be condoned. And to them {ulamas} they are the falcrum of the Hausa films.
But a young reknowned producer/director Hafizu Bello disagrees with the scholars. They should have supported us to catch up with our colleagues in the South, who use the same profession to propagate Christian values.
To him, the Ulamas should have done the same thing if their interest is to promote the religion.
Bello, who recently was crowned the Best Director of the year with his film "Karni", said he has always been worried with the way the Ulamas are bringing religious dimension into it.
In the same vein, he finds it baffling the negative perception the public have in them.
He, however, expressed satisfaction with what he described as the rapid growth of the industry.
We have achieved a lot so far. The quality of the films produced today have kept improving and even the quality of action by the artists.
In terms of facilities, Bello believes that it is no longer the same. It is now the era of computerized editing facilities and DV cameras unlike the Electronic News Gathering (ENG) in the past. But the filmmakers are not satisfied yet as according to Bello "we are working hard to expand our market and capture at least West Africa before moving forward," said Hafizu whose other film Mukkaddari was also the Best film some years ago.
The truth, however, is that the industry though short of investment is no doubt not short of talents.
The likes, of Ali Nuhu and his bother Ahmed S. Nuhu (The khans of the industry) Sani Danger and Ibrahim Maishinku have been successful so far, following the foot steps of the likes of Ibrahim Mandawari, arguably the most successful romantic actor.
In terms of comedy, ever- daring Rabilu Musa (Dan Ibro) has been widely accepted as undisputed successor of famous Kasimu Yero, who was hailed as the best actor ever from the region. From the female talent memories of the like of Fati Mohammed, Abida and host of others will continue to linger.
Indeed, Hauwa Ali Dodo, (Biba problem) cannot be left out as a great talent though age is no longer on the side of her favorite romantic sciripts. But the tragedy of the actress is that they cannot last in the industry as marriage is always snatching them from the hands of producers. And in the industry that is under "virulent" criticism of Ulama, married actresses have no business.
Thus which ever way one looks at the Hausa film Industry, it is obvious that its major Achilles heel is the Ulama factor. But can the industry successfully reach a compromise with the clerics without hurting the marketing of the films? Certainly this is where the big dilemma lies.
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