₦airaland Forum

This idiot is calling the tribe and people that produce the most richest men in africa beggars.. are you out of your senses? By the way dangote can buy all gwaris and their belongings if you monetize them..

havennie:
U must be a very useless monkey.
How do u hausa-fulanis surpass we middlebelters? in begging & almajiranchi? So because of Dahiru Awaisu Kuta u conclude that Gbagyi muslims outnumber the christians? then u must be an slowpoke. What about people like David Umaru and Shem Zagbayi?
David Umaru contested governorship and won if not for rigging in 2007 elections but today he is a senator while Zagbayi was an ex deputy governor now acting Senator. So u see that Gbagyi christians still surpass the muslims in the politics of Niger state.
stupid almajiri beggar.

mumu

I won't.. can't you see what he wrote

Freemanan:
Be civil mate

Mr op why not tell us from your own berom cannibals who were staying unclad in caves before europeans came.. how about that?

See this cannibals... whats is it worth to claim berom and gwari.. when I know I surpassed you guys in every indices... ibb is not hausa he is gwari for saying gwari are close to berom.. you should tell that to late senator dahiru awaisu kuta and millions of muslim gwari who outnumbered the Christians... fools

havennie:
Hey Mr Man, stop this trash.
I am a pure Gbagyi girl from Kubwaru, Karu, Nasarawa state. We were formerly part of Plateau state, so we and Plateau people are very related.
For ur info, IBB is not a gwari man, he is a hausa settler who claims Minna as his origin just as many hausas do in Minna.
They migrate from Sokoto, Zamfara or Katsina and come to Minna and start claiming indigeneship and because many of my Gwari brothers in Minna are muslims, they accept and intermarry these hausas.
But that doesn't change the fact that we Gwari christians are more than the Gbagyi muslims.
In Fct, in Nasarawa and Southern Kaduna, most of we the Gbagyis, Gbaris are christians. It is in Niger state where we share a 50/50 population.
We gbagyis share more in common with our fellow middlebelt tribes (Nupe, Igala, Eggon, Alago, Berom) more than any Hausa-fulani, pls never make that mistake!

Guy wetin be middlebelt? Despite this election your eyes never shine? I bet you hausas and gbagyi have more in common than you berom cannibals... whats the thing in common between an ibb a gbagyi and jonah jang a berom.. you guys are taken this middle belt thing toofar..middlebelt start and end with plateau benue parts of taraba,,..and lastly ladi kwali represents northern nigeria which she is proud of.. stop this attachee.. berom cannibals and gwari are not brothers

Omarbah:
I think Lamido Sanusi's great grandfather was a Dikko. I remember it from reading on him.

no his great grandfathers name is dabo I dont know whether it is a fula name... the ones bearing dikko are those from katsina royal family

Fulaman please how is the language situation in sudan for both fula and hausa.. am afraid the pressures from arabic is too much.. and also for cameroon I had there are some few hausa people there how is there population and how often is it spoken.. I had fula is doing well

Omarbah:
Humm , so there are a few fulanis that still speak fulfulde in Northwestern Nigeria?
By the way, are you Hausa?

yes am hausa

Omarbah:
Humm , so there are a few fulanis that still speak fulfulde in Northwestern Nigeria?
By the way, are you Hausa?

yes am hausa

Omarbah:
Who is he?

deputy governor of kano state

Current deputy governor of kano.. and apc gubernatorial candidate

His nickname is bandirawo.. he is one of the surviving pullo in kano state who have manage to keep the culture in addition to speaking fulfulde his hausa id not too fluent

I ganduje is the pullo

And there is a picture of salihu sagir takai you post on the other thread.. I think he is hausa not fula..

Fulaman I want to ask you some questions... do you have any beef with hausa's as a people?.. because most of the time you kind of always downgrading hausa people.. (not too sure just thinking by what you post).. and there is this guy fom yola who said fulani people feels more superior to hausa is it so? .. the funniest thing is he spoke hausa more fluent than fulfulde then why tge arrogance.. and whats you take on the issue of indigenous official language for nigeria? and west african unity do you think is possible? And lastly I want to make correction to what most people held to that it was fulani that brought islam to hausa people which is totally not true.. hausa have been muslim since 13th century in the reign of sarki aliyu yaji dan tsamiya it was mali traders people that brought islam to hausa people.hausa were one of the greatest traders across west africa which stands till date with likes of aliko dangote etc

Here in malam madori jigawa state accreditation going on smoothly no card reader problem

ghostofsparta:
even if it 500 years to come, it will become extinct given those pattern I described unless we change our mindset.
What if I tell you I failed Yoruba subject in school all the time because I usually skip the class. I think it's more to do with passion for what's ours, borne out of self-realization.
Nigeria as a country is anti ethnic cultural revival. Forget all those hired dancers performing various tribal dance on national TV, at Abuja during independence day festival.
You assume I'm a robotic pro-Nigerian like the rest. I'm a fvcking tribalist and a proud one, I'm as tribalistic as the English man who calls his country England (land of the Angles), the Finns who calls his fatherland Finland, Deutschland, Netherlands etc. Let me ask you, Yoruba as an ethnic group and Nigeria as an amalgamation crafted in 1914, which do you think is the eldest and should come first in respect to our human identity?
True fact^ but Arabic infiltration of Hausa language is eighty percent. Today, they call God 'Allah' instead of Ubangiji. Any one can conduct the test by asking any Hausa around your vicinity.
Hausa language is it spoken today is 80% diluted with Arabic (FACT). Those animals I gave have their native names in Yoruba except one, which I purposely put there to test, as I've used it in testing my Yoruba friends.
How does inferiority complex spells out my argument? Obviously you don't understand that term, it's typical of Nairalanders to hire big words for reply. FYI, I'm in one of them core villages doing my research on the supernatural (check my footnote), every local one way or the other endeavour to speak English here. From your Eze name, I'm assuming you're Igbo and you ought to agree to the fact most of you communicate in pidgin English hence you wouldn't grasp what I'm talking of.

no the horse tradition culture is not from arabs they use camels it has been in hausaland since the time if sarki gijimasau 10th century while islam came to haudaland in 13th century.. do you want to also say our mode of architecture is also arab? our tubali,,, also do you want to say our mode of government which since before the coming of britain is well organized is from arabs? Thats the reason britain ruled through indirect rule because we have all the offices..from matawalle , galadima sarkin dogarai etc... stop hating on hausa please

In memory of ancient tradition dating back centuries

Hawan daushe

Durbar festival

More pictures of hawan sallah

More pictures

Some pictures of hawan sallah.. hawan sallah is a royal horsemen procession which dates back to centuries.. it is a way of paying homage to the emir

[color=#000000]Wallah! Eid Mubarak. Da fatan an yi sallah lafiya.



In today’s column in Weekly Trust, I reviewed the documentary Equestrian Elegance, written, narrated, and produced by Professor Abdalla Uba Adamu and directed by Bala Anas Babinlata. To read the column on the Trust website, click on the link, to read the hard copy, click on the photo, or if you have slow internet, just read the piece below:

Equestrian Elegance at Sallah-time

Written by Carmen McCain Saturday, 12 November 2011 05:00

Before I moved to Kano in 2008, I had heard much about the Sallah celebrations as a “tourist attraction.” Expatriate acquaintances both in Nigeria and outside the country told me of travels to Kano to experience the colour and pageantry of the annual event. In 2008, I attended my first “Hawan Sallah” at the emir’s palace and two days later stood with a friend as the parade of horses and riders, hunters on foot and men on stilts, processed past her Fagge house on the outskirts of the old city. At the centre of it all was the magnificent emir Alhaji (Dr) Ado Bayero, who rode under a twirling silk umbrella. He was greeted with cries of blessing from the crowd, their fists upraised in salute. [For photos of the the “Hawan Nassarawa” during Eid el-Fitr I attended in 2010, click to my flickr album here or for the blog post about it, click here]
What most struck me as I stood with crowd on both days was the community feel of the festivities: onlookers calling out the names of the riders, riders shouting down greetings to friends, the genuine affection in the salutes to the emir. This sense of familiarity is captured beautifully in the 2009 documentary film, Equestrian Elegance: the Kano Sallah Pageantry Festival written, produced and narrated by Professor Abdalla Uba Adamu and directed by Bala Anas Babinlata. Professor Abdalla of Bayero University is one of the most grounded and prolific scholars of Hausa popular culture, with dozens of books and articles published both locally and internationally. His most important contributions, however, go beyond academic scholarship to actual interventions into popular culture: among which was his founding and moderation of the Finafinan Hausa and marubuta yahoogroups, important critical forums for dialogue about Hausa popular literature and film; the organizing of concerts and award shows for Hausa musicians, and his innovative creation of what he calls “Hausa classical music” by recording Hausa traditional instruments being played without singing. Professor Abdalla also spans the world of scholarship and art with the films put out by his production company Visually Ethnographic Productions.

The documentary Equestrian Elegance (1 hour 28 mins), which was shot in 2008 but has not yet been released for commercial distribution, covers the four days of parades through Kano city during Eid al-Fitr: “Hawan Sallah,” “Hawan Daushe,” “Hawan Nassarawa,” and “Hawan Dorayi,” and the additional day of pageantry “Hawan Fanisau” during Eid al-Adha. A narrative voiceover by Professor Abdalla, explains the events and an innovative animation traces along a map the parade route taken each day, but the film mostly celebrates the details of the festivities from the sunrise on the first day of Sallah to the sunset on the last day. Within this symbolic frame, the rhythm of Sallah is measured out by each procession out of and back towards the palace.

While I admittedly grew a bit weary about an hour into the film, I think the attention to detail here is important. Professor Abdalla told me that the unhurried pacing was intentional: he wanted the film to “unfold in very slow motion, so you can absorb the details.” The focus here was on capturing “the pageantry. Every horse is different. Every rider is different. People stay out there three hours watching and don’t get tired.” His goal was to show the “high level of refinement” in the Sallah parades and the “structural elegance of pageantry.”

Such elegance is captured in the beauty of the cinematography: the close-ups of the courtier crouching to perform the morning gun salute and his graceful almost balletic twirl through the gun smoke; the rich texture of both horse and rider being robed in layer after layer of damask in preparation for the parade; the hazy glow of Kano swathed in harmattan during the final day of “Hawan Fanisau.”

But beyond presenting the elegance of the event, Professor Abdalla told me that another goal was to present to a global audience that sense of community surrounding Sallah. Although Kano’s Sallah festivities are probably some of the most photographed annual events in Nigeria, the photographs taken by tourists are often formally beautiful but distancing. There is little knowledge or intimacy in them. Here, however, as Professor Abdalla points out you “can see the sense of community. It’s like carnival, a street party, with mom and dad and kids.” And it is this sense of community and lived tradition that I like most about the film. Kano is often either romanticized by the national and international media as a place of “timeless tradition,” an ancient exotic city of fairy tale, or denigrated as, what one foreign blogger termed, “an overgrown village,” a backwards northern outpost with a medieval mentality. Equestrian Elegance explodes both stereotypes, presenting the richness of tradition from insider’s perspective. One of the moments that best captures this delightful mix of light-heartedness and ceremony is in a shot where the dignified male space of the emir’s speech at the government house is playfully undermined by the little girl playing with a balloon directly behind him. As opposed to stereotypes about Kano under shari’a, women are not excluded from the celebration. While they may not be a part of the main spectacle, they take part in the larger community event. Girls and women hang off of balconies and push into the crowds to catch a glimpse of the horses and riders. As Professor Abdalla points out, Sallah is a family affair.

Part of what contributes to this “insider’s perspective” comes from the camera operators’ ability to get up close to their subjects, not the flattened close-up of a zoom camera but the intimate close-up of someone who is a part of the celebration. The subjects of the camera’s gaze sometimes seem to recognize the person behind the camera, and the film is often self-referential. While tourist photographs often attempt to capture the “timelessness” of the event, avoiding shots of other photographers or signs that situate their subjects in a particular modern moment, this film cheerfully revels in contemporary local knowledge of the event. The parade, as Professor Abdalla points out in his narrative commentary, is located in a very specific and recent history, including a route which began as part of the current emir’s Sallah visit to his mother.

There are multiple references to the w[/color]ay in which the event is viewed both through foreign and homegrown eyes. The tourists become part of the spectacle. They are depicted laughing on the palace balcony or lining up in front of the crowd with their zoom lenses. But more significant are the frequent moments of easy familiarity when local photographers and videographers enter the camera’s view. The camera repeatedly captures the parade processing past photography and video shops, a subtle tribute to the many Kano residents who use the camera to tell their own stories. Professor Abdalla himself makes a cameo appearance towards the end of the film.

The cosmopolitan mix that makes up Kano is also found in the soundtrack of the documentary. The most striking piece of music is Babangida Kakadawo’s praise song “Sarkin Kano Ado Bayero” to the accompaniment of the kuntigi, used to great effect in the moments where the emir appears. However, the soundtrack is also sprinkled with Malian musician Ali Farka Toure’s guitar pieces and another song featuring Egyptian musician Hassan Ramzy. (Professor Abdalla argues the inclusion of these tracks follows international standards of fair usage since the looped excerpts are less than one minute.) While I initially thought the use of non-Nigerian music detracted from the “authenticity” of the film, I find convincing Professor Abdalla’s argument that he wanted to expose people to music from other parts of Africa, a goal in keeping with Kano’s history as a cosmopolitan trade centre.

The borrowed music, along with the slow pace, could be an attraction or flaw depending on the taste of the viewer. I was not a fan of the digital effects in the transitions, which I thought distracted more than they added to the film. But these moments of imperfection are far outweighed by the strength in the completeness of the film, which moved beyond the picturesque palace durbar to cover the entire procession and its connection to the people of the city. Equestrian Elegance is an important historical resource that is valuable to outsiders trying to learn about the culture and traditions of Kano but perhaps even more so to those from Kano, who want to remember the richness of a lived tradition, Sallah as performed in the first decade of the 21st century.

Africa's oldest kurmi market which serves as the southern most end of trans saharan trade where european and northeast goods where exchange for kano famed indigo textile and kano leather which the morrocans like to claim and even went ahead to name it Morocco leather

So it was hausa people that gave the trans saharan trade route its distinct blue indigo colour..??

[b]Abdul Hamid, a dyer, shows an indigo blue cloth in Kano's famous Kofar Mata dye pits April 2, 2014. Kano is a dusty centuries-old Sahel belt metropolis that once offered gold, salt, slaves, leather and famed indigo-dyed textiles in its teeming markets at the end of an ancient caravan route linking Libya to black Africa south of the Sahara. Foreign souvenir-seekers are rare now at the five centuries old Kofar Mata indigo dye pits, famed for the distinctive blue cloth that was a feature of the trans-Sahara trade. Picture taken April 2, 2014. [/b]REUTERS/Pascal Fletcher (NIGERIA - Tags: BUSINESS SOCIETY EMPLOYMENT)
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Fulaman do you know that it is from these same dye pits that most tribes from the sahel and sahara got their blue indigo from.. through the trans saharan trade.. examples the tauregs,fulani,kanuri's,hausaetc like this pictures of the first hausa horse rider, second fula girls and third picture of the taureg people

KANO 14th CENTURY DYE PITS

Some of the gates

At the back of the wall is a trench which waste water from the city drains into.. making it impossible for invaders to pass in