Gender Parity in Sa’idu Faru’s Song Wakar Mai Babban Daki

Citation: Umar, M.A. & Umar, A.D. (2024). Gender Parity in Sa’idu Faru’s Song ‘Waƙar Mai Babban Ɗaki. Four Decades of Hausa Royal Songs: Proceedings from the International Conference on the Life and Songs of Makaɗa Sa'idu Faru, 3(3), 437-442. www.doi.org/10.36349/tjllc.2024.v03i03.060.

Gender Parity in Sa’idu Faru’s Song ‘Waƙar Mai Babban Ɗaki’

 

Muhammad Arabi UMAR

Department of Languages and Cultures,

Federal University Gusau, Zamfara State, Nigeria

Email:arabiumar@fugusau.edu.ng, arabizulaiha@gmail.com

 

And

 

Abdullahi Dahiru Umar

Department of English and Literature

Federal University Gusau, Zamfara State, Nigeria

abdullahidumar@gmail.com

Abstract

This study examines the songs of Sa'idu Faru, a prominent Hausa court singer, to explore their potential for promoting gender parity. Focusing on Faru's compositions for Queen Mother Hajiya Asabe, particularly "Waƙar Mai Babban Ɗaki" (Song of the Queen Mother), the research utilizes Feminist Theory to explore how the song challenges the patriarchal power structure and advocates for gender equality. Through close reading and thematic analysis of the lyrics, the focus is on the Queen Mother's portrayal and how it disrupts traditional gender norms. The paper argues that Faru's songs challenge traditional gender roles by celebrating the Queen Mother's power and authority. By portraying her as a wise leader and philanthropist, Faru subtly subverts expectations of masculinity and proposes an alternative based on respect and collaboration. This analysis highlights the potential of music to promote social change and contribute to a more equitable gender dynamic within Hausa society.

Keywords: Gender parity, songs, gender equality, feminism, Queen Mother

Introduction

Hausa societies, primarily concentrated in northern Nigeria and southern Niger, are traditionally characterized by a patriarchal system where women hold subordinate roles to men (Pittman, 1990). This patriarchal structure manifests in various aspects of Hausa life, including inheritance practices, division of labour, and social mobility (Hiskett, 1975). Women are often primarily responsible for domestic duties and childrearing, with limited access to formal education and participation in public spheres (Jega, 2009).

However, it is important to acknowledge the heterogeneity of women's experiences within Hausa societies. Social class, geographic location, and individual circumstances can influence the level of autonomy and agency women possess (Geschiere, 1985). Additionally, positions of power and influence within the household, such as the Queen Mother (Mai babban ɗaki), offer exceptions to the general pattern of female subordination.

This study focuses on the Hausa community within the Kano Emirate, where the role of women has traditionally been one of subordination. However, the Queen Mother stands as a unique exception. By analyzing the songs of Makaɗa Sa'idu Faru, a prominent Hausa court singer, this paper explores the potential of these compositions to promote gender parity within Kano society. Faru's works, particularly those dedicated to Queen Mother Hajiya Asabe, including "Waƙar Mai Babban Ɗaki" (Song of the Queen Mother), offer a fascinating case study.

Drawing on Feminist Theory, this paper examines how Faru's songs challenge the patriarchal structure of Hausa society and promote gender equality. Traditionally, Hausa society prioritizes male dominance. However, Faru's compositions disrupt this dynamic by celebrating the Queen Mother's power and authority. By highlighting her leadership, wisdom, and generosity, the songs advocate for a world where women can hold positions of power and influence, dismantling the notion of male dominance as the sole path to societal contribution.

By portraying her as a wise leader, advisor, and philanthropist, Faru challenges the notion of hegemonic masculinity and suggests an alternative form based on respect and collaboration. This analysis delves into the specific lyrics and themes within Faru's compositions to explore how they challenge traditional gender roles and potentially contribute to a more equitable gender dynamic within Kano society.

While limitations on women's roles in the Kano Emirate persist, Faru's songs offer a glimpse into a potential shift in societal perspectives. This research explores the potential of music as a catalyst for social change, promoting a vision where respect and collaboration, rather than dominance, define masculinity. Through a close reading of Faru's lyrics and examination of the historical context, this paper aims to illuminate the significance of his work in promoting gender parity within the Kano Emirate.

Research Methodology

This study employed a multi-pronged approach to analyze the potential of Sa'idu Faru's song. "Waƙar Mai Babban Ɗaki" (Song of the Queen Mother), a song dedicated to Queen Mother Hajiya Asabe, has promoted gender parity within the Kano Emirate. The research process began with the transcription of the Hausa song, paying particular attention to the Zamfanraci dialect used by Faru. To ensure an accurate understanding of the nuances within the dialect, an expert familiar with Zamfanraci was consulted. With this collaboration, the researcher was able to gain a clear and comprehensive translation of the song, which is included as an appendix for reference.

Following the transcription and translation, a close reading of the lyrics was conducted to identify recurring themes and concepts related to gender roles and the portrayal of the Queen Mother. Thematic analysis was then employed to categorize these themes and explore their potential challenge to traditional notions of masculinity within Hausa society. Additionally, relevant secondary sources on Hausa culture, the Kano Emirate, and Feminism Theory were consulted to contextualize the analysis and provide a deeper understanding of the social dynamics at play.

Beyond the Palace Walls: A Glimpse into the Life of Hajiya Hasiya

Hajiya Hasiya, also known as Queen Mother, has her roots in Kano City, specifically the Darma neighbourhood. Her father, Muhammadu Kabir, belonged to the esteemed Sallaman Kano family, known for their hereditary role as royal guards and weapons handlers for the Kano king. Her mother, Ummu Kaltume, was a Shuwa Arab from the Wadai region of Chad.

Hajiya Hasiya's life spanned the reigns of two Kano Emirs. Her father passed away during the rule of Emir Abbas Maje Nasarawa, while her mother witnessed the subsequent reign of Emir Abdullahi Bayero. She was the mother of the late Ado Bayero, who eventually became the 13th Emir of Kano.

In addition to her familial ties, Hajiya Hasiya was known by various titles. She was called "Asabe" based on the day of her birth and "Maiturare" or "Tadiye's daughter" to denote her lineage within the royal household.

Hajiya Hasiya was known for her organizational skills and generosity. She meticulously planned and executed tasks within the grand palace walls, while also offering assistance to those in need. Her compassion led her to support hungry children and struggling families by providing food, clothing, and even seed money.

Despite her position as Queen Mother, Hajiya Hasiya remained humble and treated everyone with respect. She found solace in religion and often studied the Quran alongside Hajiya Iya. Her interactions were imbued with quiet dignity, and her inner peace was evident in her calm demeanour.

Hajiya Hasiya also had a deep appreciation for Hausa culture, particularly the rich tradition of oral songs. She enjoyed the work of royal artists like Sa'idu Faru, further showcasing her connection to her cultural heritage.

Gender Parity in Sa’idu Faru’s Song “Waƙar Mai Babban Ɗaki”

After examining Faru's lyrics on Mai Babban Daki Hajiya Asabe, we realized that the best way to look at gender disparity is to view it through the lens of four key themes. The first theme depicts the Queen Mother as a leader who defies traditional gender expectations, potentially inspiring women to pursue leadership roles. The second theme showcases how Faru's shift towards praising women's strength challenges the notion that leadership is solely a male domain. The lyrics highlighting the Queen Mother's positive influence on the community, regardless of gender, promoting the idea that women's leadership can benefit society as a whole was rendered as the third theme. Finally, the analysis explores how the portrayal of the Queen Mother dismantles stereotypes about women being dependent or weak. By deconstructing these themes, we aim to understand how Faru utilizes music to advocate for gender equality.

Hajiya Asabe as a Role Model for Women

Sa’idu Faru's song presents Queen Mother Hajiya Asabe as a role model who shatters traditional gender expectations. This theme is central to promoting gender parity, as it showcases a woman defying limitations and achieving a position of immense power. The lyrics reveal how Faru portrays the Queen Mother's strength, wisdom, and leadership in a way that can inspire women to pursue paths where they can make a difference."

Matan nan duka ta fi maza duka

Don na san iko gare ta

Matan nan duka ta fi maza duka

Don san khairi gare ta.

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

 

Stronger than steel, her spirit bold,

Kindness flows, a heart of gold.

Men surpassed, her wisdom true,

Queen of compassion shines for you

 

Faru's lyrics portray how Queen Mother Hajiya Asabe superseded men by possessing two qualities “power” and “generosity”. "iko gare ta" emphasizes her power, surpassing traditional notions of female weakness. Her possession of strength is further solidified by his assertion, “…ta fi maza dukka," meaning, she outshines men, dismantling the idea of male intellectual dominance. Hajiya Asabe's authority is also evident in her title "Mai Babban Daki", highlighting her position of power. Also “khari gare ta” signifies generosity, demonstrating her use of power to benefit others. Through Hajiya Asabe, Faru presents a compelling image of a female leader who is both strong and compassionate, inspiring women to challenge limitations

Ke ɗara gwanati kowace iri,

Ke taimaki talakawa,

Talakawa sun taimake ki.

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

 

Ruling hand, all others surpassed,

For the poor, her kindness unsurpassed.

From them too, respect returned in full.

Faru reinforces Asabe's role model status by depicting her as a leader who shatters expectations. " Ke ɗara gwanati kowace iri" establishes her dominance, defying the notion that women hold less authority. However, this power isn't for personal gain, as in the verse, "Ke taimaki talakawa" but rather for the benefit of the less privileged around her. Moreover, this further highlights her generosity, a crucial quality in a leader. Her actions earn respect from her subjects as in the verse "Talakawa sun taimakeki," demonstrating that leadership is earned through actions, not solely gender. Hajiya Asabe embodies strength, authority, and compassion, proving that women can be exceptional leaders who uplift their communities. Faru presents her as a powerful role model, inspiring women to challenge limitations and pursue leadership roles where they can make a positive impact.

Women's Equality Through Achievement:

A stirring call for gender parity echoes through the music of Sa’idu Faru, particularly in his song dedicated to the legendary Queen Mother Hajiya Asabe. Faru dismantles the traditional social order with a clarion call: Women's Equality Through Achievement. His lyrics transcend mere praise, painting Asabe not just as a leader, but as a force exceeding the limitations historically imposed on women. By elevating her as a beacon of exceptional leadership and wisdom, Faru ignites a spark of inspiration within the hearts of Hausa women. This celebration of achievement illuminates a path towards a future where women's contributions are valued equally alongside men's, as will be explored below in lyrical lines.

Na shekata talatin daidai

Maza su niy yi ma waƙa

Yau mata ni ka wa waƙa

Na zo ‘yar malam Muhamman.

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

Thirty years my voice held strong,

Songs for men, where I belong.

Now for women, a joyful turn,

Hajiya's praise, my heart will burn.

Faru's lyrics cleverly champion Women's Equality Through Achievement through a pivotal shift. The line "Thirty years my voice held strong, Songs for men, where I belong. Now for women, a joyful turn, Hajiya's praise, my heart will burn" acknowledges the past norm of celebrating men's accomplishments. This sets the stage for a "joyful turn." Faru now dedicates his songs to women, specifically praising Queen Mother Asabe. This shift underscores the importance of recognizing women's contributions, often overlooked in society. The singer's burning passion for singing Hajiya Asabe's achievements elevates her as an exceptional role model. By showcasing her story and refocusing his artistic lens, Faru promotes the idea that women deserve equal recognition for their achievements, paving the way for a future where women's accomplishments are celebrated alongside men's.

Dan nan babban ɗakin Kano,

Ba wani mai iko kamar ta,

Dan nan har bisa ƙofar Legas,

Mai babban ɗaki guda ta

Dan nan har bisa ƙofar Ingila

Mai babban ɗaki gudata.

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

 

Kano's heart, her power untold,

None within her realm so bold

Lagos far, Kano vast and grand,

One Queen Mother rules the land.

England far, Kano vast and grand,

One Queen Mother rules the land.

Faru reinforces Women's Equality Through Achievement by depicting Asabe's unmatched power. "Kano's heart, her power untold, None within her realm so bold" establishes her dominance within Kano, traditionally a male domain. Her influence extends far beyond, as shown in "Lagos far, Kano vast and grand, One Queen Mother rules the land. England far, Kano vast and grand, One Queen Mother rules the land." The vast geographical reach of her power, surpassing even England, dismantles limitations placed on women's leadership potential. By showcasing a woman with such extensive authority, Faru challenges societal norms and promotes the idea that women can be equally successful leaders.

Hajiya Asabe's Impact on Gender Parity

The concept of gender parity is defined by the World Economic Forum (2023) as achieving a state where women and men have equal rights, opportunities, and outcomes. This encompasses social, political, economic, educational, and cultural spheres. This principle finds resonance in the music of Sa’idu Faru, particularly in his song dedicated to Queen Mother Hajiya Asabe. Faru's lyrics transcend mere praise, portraying Asabe not just as a powerful leader but as someone who defies limitations historically placed on women. This focus on her achievements and influence paves the way for a future where women in Hausa communities are seen as equal partners, contributing alongside men and achieving their full potential.

Na gaji da kiɗi na maza

Mata nika zuba ma waƙa

Na ƙoshi da kiɗi na maza

Mata muka zuba ma waƙa

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

No more for men my voice shall rise,

To women's strength, my songs shall turn their eyes.

Weary of praise that goes astray,

For women's power, we'll sing a brand-new day.

 

Faru's lyrics take a powerful stance for gender parity through Queen Mother Asabe's influence. "No more for men my voice shall rise, To women's strength, my songs shall turn their eyes" signifies a shift away from praising just men, a norm in Hausa society. "Weary of praise that goes astray, For women's power, we'll sing a brand new day" highlights the need to celebrate women's achievements. Asabe's exceptional status likely inspired this change. Her story becomes a catalyst, urging the community to recognize women's contributions and advocating for a future where women's strength is celebrated equally alongside men's, promoting a more balanced society.

Tun da dai maza na da iko,

Ko mata ma na da iko

Tun da maza na sarauta,

Ko mata na sarauta

Tun da maza na da ilmi

Ko mata na da ilmi

Tun da maza mulki gare su

Ko mata mulki gare su

Tun da maza noma sukai,

Sa.idu ko mata aiki gare su

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

Where men hold power, a woman's strength takes root,

Queens stand beside Kings, bearing equal fruit.

Learning's embrace for both, a guiding light,

Leaders they rise, banishing endless night.

From fertile fields where farmers sow their grain,

Saidu, we see, women share in the sun and rain.

Faru's lyrics challenge the status quo and promote gender parity through the image of a balanced society. The line "Where men hold power, a woman's strength takes root, Queens stand beside Kings, bearing equal fruit" rejects the traditional hierarchy, suggesting women deserve a rightful place alongside men in leadership. Education, a "guiding light" for both genders, empowers them to rise as leaders together. The agricultural imagery of "From fertile fields where farmers sow their grain, Saidu, we see, women share in the sun and rain" underscores the equal contributions of men and women. "Saidu" here serves as a call to action for the entire Hausa community to acknowledge this shared effort. Hajiya Asabe's story serves as a powerful inspiration for this vision. By depicting a world where women and men share power, education, and the fruits of their labour, Faru's lyrics envision a future shaped by Asabe's legacy of gender parity within Hausa society.

Breaking Gender Stereotypes:

Gender stereotypes, as defined by the American Psychological Association (2020), are limiting beliefs about traits and behaviours expected of men and women. Sa’idu Faru's music challenges these stereotypes in his songs about Queen Mother Hajiya Asabe. By portraying Asabe as a powerful leader with traditionally masculine qualities like strength and strategy, while also emphasizing her compassion, Faru breaks down expectations and paves the way for a future where women can be both strong leaders and nurturing figures

Ba a gwada maki ilimi

Asabe tun farko ilmi gare ki

Ba gwada miki yaƙi

Asabe tun farko ke gadi yaƙi

Ba gwada miki aiki

Asabe, tun farko kin gadi aiki

Ba a gwada miki kyauta,

Asabe tun farko hairi gare ki.

(Sa’idu Faru: Waƙar Mai Babban Ɗaƙi)

In wisdom's realm, you reign supreme,

Asabe, with knowledge, a flowing stream.

War's ways you grasp, a legacy bold,

Tactics of old, in your spirit unfold.

Power resides in your very name,

Asabe, a force, untamed by flame.

Generosity flows from your heart, so kind,

Asabe, a treasure, for all to find.

 

Faru's lyrics break Hausa's stereotypes through Asabe's portrayal. "In wisdom's realm...knowledge, a flowing stream" depicts her intellectual prowess, challenging the idea of women lacking knowledge. "War's ways you grasp...tactics unfold" shatters the stereotype of female fragility by showcasing her mastery of warfare. "Power resides in your very name" dismantles the association of power solely with men. By highlighting Asabe's wisdom, power, and generosity, Faru presents a new image of a Hausa woman, inspiring a future where women can excel beyond traditional limitations.

Research Findings

This study explores how Makaɗa Sa’idu Faru's songs about Queen Mother Hajiya Asabe utilize music to advocate for gender parity within Hausa society. Data analysis of the lyrics reveals four key themes:

1.      Hajiya Asabe as a Role Model for Women: Faru portrays Asabe as exceeding expectations for women. Her strength, wisdom, and leadership qualities are depicted as an inspiration for women to pursue similar paths.

2.      Shifting Focus Towards Women's Achievements: Faru's lyrics acknowledge the tradition of celebrating men's accomplishments. However, a significant shift occurs, with Faru dedicating his songs to women, particularly Asabe. This highlights the importance of recognizing women's contributions, often overlooked in society.

3.      Women's Equality Through Achievement: Asabe's unmatched power and influence are depicted throughout the songs. Her reign extends beyond geographical boundaries, shattering limitations placed on women's leadership potential.

4.      Breaking Gender Stereotypes: Faru challenges traditional beliefs by portraying Asabe as possessing qualities typically associated with men, such as knowledge of warfare and strategic thinking. Her generosity and compassion further redefine the image of a Hausa woman.

Conclusion

By analyzing Faru's lyrics about Queen Mother Asabe, this study demonstrates the power of music in promoting social change. Faru utilizes his music to challenge gender stereotypes and advocate for a future where women's achievements are celebrated. Women are seen as capable leaders who can significantly impact society. Asabe's story serves as a powerful role model, inspiring women to defy limitations and pursue leadership roles. The study highlights the potential of music to serve as a catalyst for conversations about gender parity within traditional communities.

References

1.      Geschiere, P. (1985). Village communities and the state in Africa: The dynamics of change in Ghana. University of California Press.

2.      Hill, R. (1998). Gender, caste, race, and nation: Essentialisms in Indian biography. Croom Helm.

3.      Hiskett, F. (1975). A social and political history of the Sokoto Caliphate. Cambridge University Press.

4.      Jega, A. M. (2009). Women, education, and development in northern Nigeria. Review of Educational Research, 79(1), 145-174.

5.      Pittman, P. (1990). Land tenure and women’s rights in patrilineal Hausaland.

6.      American Psychological Association. (2022). Publication manual of the American Psychological Association (7th ed.)¹https://apastyle.apa.org/

7.      World Economic Forum. (2023, March 14). Global Gender Gap Report 2023. Retrieved from https://www.weforum.org/publications/global-gender-gap-report-2023/ on 16th June, 2024.

8.      American Psychological Association. (2020, January). Gender Stereotypes. Retrieved from https://dictionary.apa.org/gender-stereotype on 16th J une, 2024.

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