Why imitating Indian, American films is dangerous – Dabino

Ado Mohammed Gidan Dabino is one of Kannywood’s founding fathers. In this interview, the movie star, writer and producer, talks about its early days, the declining market for Hausa films in the country, and more. Excerpts:   Weekend Magazine: You were among the founding members of the Hausa movie industry, Kannywood. How do you view […]

Ado Mohammed Gidan Dabino is one of Kannywood’s founding fathers. In this interview, the movie star, writer and producer, talks about its early days, the declining market for Hausa films in the country, and more. Excerpts:

 

Weekend Magazine: You were among the founding members of the Hausa movie industry, Kannywood. How do you view the industry presently?

Ado Mohammed Gidan Dabino: Between 1992/93 there was need to form an umbrella body for the Kano State Hausa film makers. So, I and some colleagues, including Dan’azumi Baba, Bala Annas, Ibrahim Mandawari, Awalu Mashal, Awalu Mohammed Sarauniya, Adamu Mohammed Kofar Masoya, late Aminu Hassan Yakasai, Tijjani Mohammed and many others had the first meeting in my office at Sabon Titi Mandawari at Dandago. Seven of us met and drafted the interim constitution of the association that later metamorphosed into Kannywood. That was how we started, even before Nollywood.

The name Kannywood preceded Nollywood. It’s just that because we were not driven, the latter became more pronounced. However, before this meeting, people like Ibrahim Madawari had their association called Tumbin Giwa under which they produced their own films like ‘Gimbiya Fatima’ and so on. Some books were also adapted to films. I produced ‘Inda so da Kauna’, Annas produced ‘Tsuntsu mai Yayo’, Adamu Mohammed Kofar masoyi produced ‘Kwaban Masoyi’. That was how we started. But the truth is that when we founded this film industry, we didn’t have a long-term strategic plan. We didn’t think it would grow this big because we got into it for the passion and love for our culture. Money wasn’t our focus.

At that time, we used standard Hausa generally acceptable for radio broadcast, but today because of the relationship with other dialectics, things have started falling apart. We have different cultural orientations. In Kannywood today there are practitioners from virtually everywhere and because of conflict in some cultures you find things that are alien to Hausa culture being portrayed in the films. In some parts the inclusion of non-Hausas in Kannywood is considered an expansion but to some it is backwardness because it has affected the standard of the culture we aim to portray in the films.

WM: Is it true that some of the Kannywood films are direct imitations of Indian films?

Dabino: Yes, it is very clear some of the films are direct imitations of either American or Indian films. In fact, for some of them, from the posters you can tell which Indian or American film they were lifted from. Professor Abdallah had done many comparative studies in that regard and had pointed out many films that were imitations, so it is very common in Kannywood. Even titles of some of the films are direct imitations. It is not a crime to do that but what we are saying is that you must do it with wisdom as Abubakar Imam did in his famous book ‘Magana Jari ce’. Many of them do not know how to go about it and end up plagiarizing.

WM: What is the implication of foreign films imitations on Hausa culture?

Dabino: It’s very simple. You will be exposed to things that are alien to your culture and beliefs. For instance, what do you intend to teach in a film showing a son in-law beating his father in-law? Anybody that knows the Hausa way of life will tell you that beating in-laws is not part of our culture, but these are the films they are producing today.

WM: You mentioned that the industry had its heydays in the year 2000 but lost recognition recently. What is responsible for that?

Dabino: Once a film is released, you hear fans saying they have seen the Indian or American version. I have watched its English version for three hours, but you bring it in forty minutes or an hour, where is the value for my money? As a result of this Hausa films have lost their market, hence the current challenges in the industry. Another thing that fuels this issue is that majority of the stories in Kannywood are not written by trained script writers. About 50 percent of those who write for them are scammers. What I mean here is that there is no originality. All they do is watch either Indian or American films and translate them, in most cases verbatim, for Hausa consumers.

Another issue is that very few film producers seek and accept advice about their films. All these are responsible for the crisis in the Hausa film market today. A film was once taken to Iran and immediately it was projected, there was an uproar that the film was not reflective of Hausa culture and that was the end of its screening.

WM: What effort are you making towards addressing the issue in your position as a writer and stakeholder in the industry?

Dabino: You must understand that I am not an authority. Yes, of course I am a writer, a producer and a director in the industry. But because I am not an authority, I only have control over the films I produce and not those produced by others. If I am to produce one, I try to ensure it reflects my culture, the Hausa culture and nothing less. I have established standards for myself and my work, so I can never compromise those standards as far as film production is concerned.  If you assign me a role in your film and it isn’t in line with my standards, I turn it down because I have my dignity to protect and I can’t take anything that will bring shame on me and my family. In a nutshell, it’s only the government and associations in the industry that can enforce compliance and not ordinary individuals like me.

It might interest you to know that since I started film production for almost 30 years now, I have not produced up to twenty films. I used to produce only one film in a year. But some will have over a hundred to their credit. Doing many films is not what stands you out, but quality. Do the good work and people will never get tired of watching your movie. Many films have gone that lane of oblivion because they lacked lessons, just sweet songs and dancing. On the bases of that I resolved to produce very few films so that anyone that watches them will pray for me.

WM: There is a move by Motion Pictures Practitioners Association of Nigeria (MOPPAN) to ban love stories in Kannywood? Do you consider that a wise move towards encouraging the production of culturally relevant films?

Dabino: You must understand that MOPPAN is not the only association in Kannywood. Is there any law that states that every Hausa filmmaker must belong to MOPPAN? To me it’s only the government who can enforce that through the censorship board who has the mandate to refuse to clear any film when it gets to their desk. Even the censorship board doesn’t have powers outside Kano State. What if I produce my film and say it’s not for sale in Kano State? This issue requires educating producers on the need to produce culturally relevant films without an autocratic approach.