By:
Hashim Muhammad Suleiman, PhD
Originally, kiɗan Amada wasn't a "Hausa women mature music" as I read some people erroneously attributing it to be. Amada is the shortened form of Waƙen Amadu.
Initially, whenever Hausa women were engaged in any
celebration, they accompany such celebration with praises, in chorus to Prophet
Muhammad (SAW).
Gradually, as time went by, there came many a Zabiya that
would be invited to sing such songs of praises to the Prophet in any event, be
it naming ceremony, wedding ceremony or even celebration of local plastering
(Daɓe) of a new home.
The lines of those praise songs were all about extolling the virtues of Prophet
Muhammad (SAW).
Some of the popular lines of such praise were:
Ƙara bamu ye ya Allah, ƙara bamu Allah madogara.
Arrahamanu Allah, mai girma. Gafuru Rahimun, madogara. Ba
kamar ka Allah, mai girma.
Ga baƙin ku ye, ga baƙin gidan Muhammadu mai girma...
Subsequently, as time went by and with cultural
transmutation, the Amada music began to move away from praises and began
incorporating secular lines.
Then came late Barmani Choge of the Gidan Kashe Ahu fame.
Barmani Choge completely tuned Amada music into dance music. She introduced
mature or even adult themed lines into the music and introduced twerking into
it.
Of course, since she was using Amada music for commercial
purpose, she had to pep her music with luring lines and dance steps that'll
make people to pay her services.
What more, Barmani Choge not only secularized Amada music
but also subliminally and latently introduced feminists' thoughts and narrative
into the music.
For instance, in one of her popular songs, "Sakarai
bata da wayau" Barmani Choge killed the man of the family.
Throughout the song, though it was shown to be about a
polygamous family, the man was never socially shown to be relevant in the
family.
While the two women were shown to be engaged in various
businesses to take care of their daily needs, the third one, whom was shown to
be "sakarai bata da wayau" was also shown to be engaged in sourcing
and selling of firewood to survive.
Of course, there was no single line where their husband was
shown to be a worthy human....
Furthermore, in yet another of her popular songs, (Waƙar ɗuwaiwai) Barmani Choge sexually
objectified the female buttocks as something women should strive to have as it
enhanced their sexual appeal.
Some of the lines of the song include:
Naga malamalan cikin ɗuwaiwai.
Naga ciko marokon dake ɗuwaiwai...
The song was so repellant to the ultra conservative North
then that it didn't enjoy air play over Radio Kaduna and other radio stations
across the North.
Also, As a culture industrialist, Barmani Choge utilised her
gift of sonorous voice and body built to fully maximize her profit margin.
All over the North, the wives of the rich and mighty always
invited her to perform during their celebrations.
Whenever, she visited the elites, they lavished her with
gifts of money, cloth and even Hajj and Umra. To tell of how she was welcomed
by the rich, Barmani Choge once sang "na sha biredi da shayi, cha nake
ruwan famfo ne."
Whatever the case, society develops and transmutate. That's
why Barmani Choge was able to pick a religious artefact, polish it into secular
cultural music and enjoyed the fruits of her labour.
NB:
This was a 2020 post, though with some slight editing.
0 Comments
ENGLISH: You are warmly invited to share your comments or ask questions regarding this post or related topics of interest. Your feedback serves as evidence of your appreciation for our hard work and ongoing efforts to sustain this extensive and informative blog. We value your input and engagement.
HAUSA: Kuna iya rubuto mana tsokaci ko tambayoyi a ƙasa. Tsokacinku game da abubuwan da muke ɗorawa shi zai tabbatar mana cewa mutane suna amfana da wannan ƙoƙari da muke yi na tattaro muku ɗimbin ilimummuka a wannan kafar intanet.