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:
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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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