Cite this article as: Abdurrahman, S. (2025). Music as a social tool: A stylistic investigation of the songs of Dauda Kahutu Rarara and Mamman Shata. Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 1(3), 240–251. https://www.doi.org/10.36349/sojolics.2025.v01i03.031
MUSIC AS A SOCIAL TOOL: A
STYLISTIC INVESTIGATION OF THE SONGS OF DAUDA KAHUTU RARARA AND MAMMAN SHATA
By
Abdurrahman Sulaiman
Department of Arts and Humanities
School of General and Remedial studies
Kano State Polytechnic
Abstract
This study investigates the stylistic and thematic dimensions of Hausa
musical art as a vehicle of social communication, focusing on the songs of
Dauda KahutuRarara and Alhaji Mamman Shata. It examines how both artists employ
language, proverbs, repetition, and slogans to convey moral, social, and
political messages. Adopting a qualitative stylistic approach, the research
analyzes six selected songs, Shata’s Alhaji Mai Kudi, Mutum Da Sana’a,
and Garin Allah; and Rarara’sAikin Gwamnati, Buhari YaDawo,
and Masu Gudu Su Gudu. The analysis draws on the Leech and Short (2007)
model of stylistic categories, exploring the linguistic and literary techniques
embedded in the artists’ works. Findings reveal that both musicians employ
distinct stylistic strategies to use music as a tool for instruction,
mobilization, and reform. Shata’s style is grounded in traditional wisdom and
moral reflection, characterized by the use of proverbs, repetition, and imagery
to promote ethical values and communal harmony. Rarara, on the other hand, employs
repetition, slogans, and political idioms to achieve persuasion, solidarity,
and ideological influence within the modern Nigerian political landscape.
Thematically, both artists address issues of morality, leadership, integrity,
and social responsibility, though from different generational and contextual perspectives.
The study concludes that Hausa music functions as an enduring medium for social
education, political commentary, and cultural preservation. By combining
artistry with advocacy, both Shata and Rarara exemplify how oral musical
traditions adapt to new social realities while retaining their communicative
power.
Keywords: Hausa music,
Mamman Shata, Rarara, social commentary, stylistics.
1. Introduction
Music has historically played a central role in African societies as a
medium for expressing communal identity, imparting moral instruction, and
articulating political opinion. In contemporary discourse, particularly on
social media, there has been considerable debate comparing Mamman Shata and
Dauda Kahutu Rarara, often driven by music enthusiasts and shaped by subjective
preferences or political leanings. Within Hausa culture, music extends beyond
mere entertainment; it functions as a tool for education, social mobilization,
and commentary on societal issues. Mamman Shata, renowned for his poetic
mastery and cultural depth, and Dauda Kahutu Rarara, a contemporary musician
addressing modern political realities, exemplify this tradition. A stylistic
investigation of their songs provides insight into how linguistic and
performative strategies are employed to shape social consciousness and
influence public discourse.
Despite the rich heritage of Hausa music, scholarly attention to the
stylistic strategies through which artists like Shata and Rarara convey social
and political meanings remains limited. Existing studies largely focus on
biographical accounts or popularity metrics rather than the linguistic and
stylistic elements that make their music an effective social tool. This study
seeks to fill that gap by examining the stylistic features in the songs of
Dauda Kahutu Rarara and Mamman Shata, identifying how linguistic and rhetorical
devices communicate social and political messages, comparing their thematic and
stylistic approaches, and evaluating the role of their music as a social and
communicative instrument in Hausa society.
The study is guided by the following research questions:
1.
What
stylistic devices characterize the songs of Rarara and Shata?
2.
How do both
artists use language to influence or reflect social realities?
3.
In what ways
do their songs serve as instruments of social and political expression?
4.
What
similarities and differences exist between their stylistic techniques?
2. Literature Review
In African societies, music transcends entertainment and functions as a
communicative system, education, and social cohesion. According to Nketia
(1992), African music serves as an instrument of social control and moral
instruction, reflecting communal values and everyday realities. Similarly,
Finnegan (2012) explains that in traditional African contexts, musicians
perform as social commentators who reinforce moral codes and critique
undesirable behavior.
In Hausa culture, music often conveys political, social, and moral
messages. Finnegan (2012), in Oral Literature in Africa, foregrounds the
oral performance context emphasizing the dynamic interaction between performer,
audience, and occasion as central to understanding meaning in African verbal
art. Her focus lies in the communicative and performative dimensions of oral
expression, where music and language serve as vehicles for social values and
collective identity.
In contrast, Nketia (1992), in The Music of Africa, gives primary
attention to the musical structure and compositional techniques underpinning
African music. His analysis delves into rhythm, melody, instrumentation, and
organization of sound, thereby approaching music as a system of structured art
forms rather than primarily as performance discourse.
Critically linking both, Finnegan’s perspective illuminates the social
and linguistic context of musical expression, while Nketia’s framework provides
insight into the technical andstructural organization of the music itself. For
the present study,Music as a Social Tool: A Stylistic Investigation of the
Songs of Dauda KahutuRarara and Mamman Shata,this synthesis is particularly
valuable: Finnegan’s lens helps unpack how the artists use performance and
language to engage their audiences, whereas Nketia’s focus aids in
understanding how musical structure reinforces stylistic and communicative
intentions. Thus, integrating both views provides a more holistic basis for
analyzing Hausa songs as socially functional and stylistically sophisticated
art forms.
Shuaibu (2018) notes that Hausa musicians use their songs to address
issues such as leadership, corruption, and social justice. The lyrical content
of such songs functions as a social mirror, allowing communities to evaluate
themselves and their leaders. Therefore, music operates as a social toola means
through which artists influence public opinion and reinforce cultural norms
(Adamu, 2020).
Stylistics and the Study of Music
Stylistics is the study of language use in texts, focusing on how
linguistic structures produce particular effects. Leech and Short (2007) define
stylistics as the bridge between linguistics and literary criticism, enabling
scholars to analyze the language of art systematically. When applied to song
lyrics, stylistics uncovers how rhythm, diction, and figurative expressions
create meaning and emotional resonance (Simpson, 2004).
In the context of African music, stylistic analysis helps to understand
how musicians employ repetition, metaphor, and proverb to enhance the
persuasive power of their messages. For instance, Yusuf (2021) observes that
Rarara’s political songs use linguistic repetition and slogans to mobilize
support for political figures, while Shata’s works employ metaphor and proverbs
to express cultural pride and moral instruction.
Hausa Music and Social Commentary
Hausa music has a long history of serving as a vehicle for praise,
satire, and education. Mamman Shata, one of the most celebrated Hausa
musicians, was known for his poetic mastery and ability to address societal
issues through song. Ibrahim (2015) asserts that Shata’s compositions reflect
deep moral and philosophical insight, using traditional praise poetry to convey
messages of honesty, respect, and social harmony.
Dauda Kahutu Rarara, on the other hand, represents a more contemporary
form of Hausa music. His songs often focus on political issues, serving as
tools of propaganda and mobilization. As noted by Umar (2019), Rarara’s
performances blend traditional praise singing with modern political discourse,
using language as a strategic weapon in shaping public opinion. Through these
techniques, Rarara continues the Hausa oral tradition but adapts it to modern
contexts where music intersects with politics and media influence.
3. Theoretical Framework
This study adopts Stylistics Theory (Leech & Short, 2007) and Oral
Performance Theory (Finnegan, 2012) as its theoretical bases.The integration of
Stylistics Theory and Oral Performance Theory provides a comprehensive
framework for analyzing Hausa music as both a linguistic and performative art
form. Stylistics Theory focuses on how language choicessuch as diction,
repetition, imagery, and rhythmcontribute to meaning, aesthetic effect, and the
artist’s communicative intent. It allows for the detailed examination of how
Dauda KahutuRarara and Mamman Shata craft their lyrics to achieve particular
rhetorical, emotional, and ideological effects.Conversely, Oral Performance
Theory, as advanced by scholars like Finnegan (2012), emphasizes the contextual
and performative dimensions of verbal art. It views meaning as emerging not
only from the text itself but also from the interaction between performer,
audience, and performance setting. This theory highlights how gestures, tone,
delivery, and audience participation shape interpretation and social impact.
When integrated, these theories complement each other by bridging the
gap between textual form and performative function. While Stylistics Theory
reveals the linguistic artistry within the songs, Oral Performance Theory
situates those stylistic features within their cultural and communicative
contexts. Together, they enable a holistic understanding of Hausa music as a
social toolwhere stylistic choices are not merely aesthetic but strategically
employed within performance to persuade, inform, entertain, and reinforce
communal values. This integrated approach thus provides a richer analytical
lens for examining how Rarara and Shata’s songs operate as both artistic
expressions and instruments of social discourse.
Empirical Studies on Hausa Musicians
Several studies have examined Hausa musicians’ role in society. Yusuf
(2021) analyzed Rarara’s songs and concluded that they function as political
discourse tools. Similarly, Adamu (2020) investigated the socio-political
relevance of Hausa music and found that it remains a central mediumfor mass
communication in Northern Nigeria.Bello (2017) compared Shata’s and other
traditional musicians’ works, noting that their use of Hausa proverbs, idioms,
and alliteration enriches their songs’ aesthetic and cultural value. These
studies collectively highlight how Hausa musicians use artistic expression to
comment on social realities, maintain cultural continuity, and engage audiences
in civic issues.
The reviewed literature reveals that both Dauda Kahutu Rarara and Mamman
Shata use music as a social and political instrument. While Shata’s style is
grounded in moral and cultural education, Rarara’s reflects contemporary
political activism. However, few studies have provided a comparative stylistic
analysis of their works. This study, therefore, fills that gap by examining how
each artist’s linguistic and performative techniques contribute to their
function as social commentators.
previous studies on Hausa music and its artists have largely focused on
thematic analysis, cultural significance, and moral or political functions,
with limited attention given to the stylistic features that shape how these
messages are constructed and communicated. While existing research has explored
the socio-political influence of musicians like Dauda KahutuRarara and Mamman
Shata, there remains a notable gap in examining how their linguistic choices,
rhetorical devices, and stylistic techniques function as social tools for
persuasion, mobilization, and social commentary. This study, therefore, is
justified as it bridges this gap by employing a stylistic approach to
investigate the artistic and linguistic strategies embedded in their songs.
Through this, the research seeks to deepen understanding of how language and
style in Hausa music operate not only as aesthetic expressions but also as
powerful instruments of social communication and influence.
4. Methodology
This study adopts a qualitative
descriptive design, which is appropriate for stylistic and interpretive
analyses of literary and musical texts. A qualitative research approach allows
for an in-depth exploration of how meaning, style, and social function are
constructed through language and performance rather than measuring or
quantifying variables. This approach facilitates a detailed, interpretive
examination of the linguistic, stylistic, and contextual features of the
selected songs, emphasizing nuances of expression, creativity, and audience
engagement. The design aligns with the objectives of stylistic analysis, which
requires careful textual interpretation to uncover how linguistic choices, such
as repetition, metaphor, parallelism, and tone, contribute to thematic and
communicative effects. It also accommodates the oral performance dimension of
the research, enabling consideration of cultural context, performer-audience
interaction, and the social meanings embedded in musical performances. A
qualitative framework provides the flexibility to integrate contextual
interpretation, discourse analysis, and commentary, capturing cultural
significance and lived realities that quantitative methods might overlook,
thereby revealing the interplay between language, culture, and social function
in the musical expressions of Dauda Kahutu Rarara and Mamman Shata.
The study employs a stylistic
approach supported by textual analysis. Stylistics, as defined by Leech and
Short (2007), focuses on the systematic study of language style in literary and
artistic discourse. The approach examines diction, figurative language,
repetition, rhythm, and other linguistic features in the selected songs to
uncover how style contributes to meaning and function, while performance
analysis explores how delivery, tone, and audience engagement enhance
communication.
The population of the study
comprises the songs of Dauda Kahutu Rarara and Mamman Shata, two of the most
influential Hausa musicians whose extensive repertoires reflect the social,
cultural, and political life of Northern Nigeria. A purposive sampling technique
was used to select three representative songs from each artist, chosen for
their social and political relevance, popularity, and availability of
recordings or transcriptions. The selected songs cover Mamman Shata’s focus on
moral values, social advice, and traditional praise, and Rarara’s emphasis on
political campaigns, governance, and social commentary. Data were drawn from
both primary and secondary sources, including recorded audio and video
materials, written transcriptions, and scholarly publications on Hausa music,
stylistics, and cultural communication.
The selected songs were accessed
through digital media platforms such as YouTube, radio archives, and compact
discs available in Kano and Katsina. Since the study focuses on publicly
available songs, there was no interaction with human participants. Ethical
considerations were maintained by acknowledging sources, respecting
intellectual property, and conducting interpretations with cultural sensitivity
and scholarly objectivity. Each song was transcribed from Hausa into English
for analysis, with transcriptions cross-checked by two independent native Hausa
speakers to verify linguistic accuracy, idiomatic expressions, and contextual
meaning. The English translations were back-translated into Hausa by a
different bilingual expert to ensure semantic precision and stylistic
integrity. Additional contextual information was obtained from documentary
reviews, including previous studies and interviews available in print and
online media.
Data analysis followed the
stylistic framework of Leech and Short (2007), focusing on four main linguistic
categories: lexical analysis, including proverbs, idioms, and repetition;
grammatical analysis, encompassing sentence structure, coordination, and rhetorical
emphasis; identification of figures of speech, such as metaphors, similes,
hyperbole, and symbolism; and interpretation of contextual and pragmatic
meaning, particularly the social and political implications of linguistic
choices. This model provides a systematic framework for examining how
linguistic features produce meaning, emotion, and effect in Hausa musical
texts. The framework captures the use of culturally rooted expressions, reveals
how syntactic and structural choices enhance rhythm and emphasis, and situates
these features within their social and political contexts.
The analysis was conducted line by
line, considering how stylistic features contribute to thematic meaning and
social commentary. Performance aspects, including tone, rhythm, and audience
response, were also evaluated through the lens of Oral Performance Theory
(Finnegan, 2012), which emphasizes the interaction between performer and
audience. This approach highlights the dual nature of Hausa songs as both
artistic and communicative performances, illustrating how linguistic artistry
functions as a social tool, reflecting cultural values and addressing
contemporary realities.
5. Data Presentation and Analysis
Six songs were
selected for analysis,three from each artist. The selection represents both
traditional and contemporary Hausa music forms.
|
Artist |
Song Title |
Theme |
Focus |
|
Mamman Shata |
Garin Allah |
Morality and divine justice |
Human behavior and moral restraint |
|
Mamman Shata |
Alhaji Mai Kudi |
Praise and satire |
Wealth and social responsibility |
|
Mamman Shata |
Mutum da Sana’a |
Dignity of labour |
The value of hard work |
|
Dauda Kahutu Rarara |
Buhari YaDawo |
Political praise |
Endorsement of leadership |
|
Dauda Kahutu Rarara |
Aikin Gwamnati |
Governance |
Accountability and civic duty |
|
Dauda Kahutu Rarara |
Masu GuduSuGudu |
Social commentary |
Political loyalty and rivalry |
Stylistic Analysis of Mamman Shata’s Songs
Diction and Lexical Choice
One of the most striking stylistic features of Mamman Shata’s musical
compositions is his extensive use of proverbs (karinmagana), which
serves both artistic and communicative functions. Proverbs occupy a central
place in Hausa oral tradition, often used to express complex moral, social, and
philosophical truths in concise and memorable forms (Finnegan, 2012). Shata’s
mastery of proverbs demonstrates his deep understanding of Hausa cultural
heritage and his ability to blend wisdom with entertainment.
Shata’s songs, such as Mutum Da Sana’a (A Person and His
Profession) and Alhaji Mai Kudi (The Alhaji with Money), are richly interwoven with proverbial expressions. For instance, inAlhaji
Mai Kudi, Shata uses proverbs to reflect on the transient nature of life
and the futility of greed, a common moral theme in Hausa proverbial wisdom.
Such proverbs carry lessons about humility, patience, and moral conduct,
aligning with the traditional function of oral poetry as a tool for social
instruction (Nketia, 1992).
Mamman Shata’s diction reflects traditional Hausa poetics. His language
is rich in proverbs, idioms, and metaphoric expressions. For instance, in Garin
Allah, he sings:
“Duniya garin Allah ce, kowayazoyatafi”
(“The world is God’s town; everyone comes and goes.”)
This expression conveys the transient nature of life and emphasizes
moral humility. Shata’s use of archaic and proverbial expressions strengthens
his moral message and aligns with Hausa oral tradition.The title Garin Allah
itself is proverbial. In Hausa, the phrase suggests that the world belongs to
God and that human beings are temporary occupants. Shata uses this idea to
remind listeners about the transience of life and the futility of pride or
material pursuit.
He reinforces this notion through proverbial statements such as:
“Duniya garin Allah ce; yaunaka, gobenawani.”
(“The world is God’s town; today it is yours, tomorrow it belongs to another.”)
This proverb encapsulates a core moral teaching in Hausa philosophy, that
worldly possessions and power are fleeting. According to Nketia (1992), such
proverbial usage in African music functions as a vehicle of moral instruction,
guiding listeners toward humility and submission to divine will.
Similarly, Alhaji Mamman
Shata’s song “Alhaji Mai Kudi” (translated as “The Wealthy Man”) is one
of his most socially critical and morally instructive compositions. In this
song, Shata employs Hausa proverbs to reflect on the relationship between
wealth, morality, and social responsibility. Through proverbial expression, he
explores the themes of greed,arrogance, generosity, and the moral use of
wealth, which remain central concerns in Hausa ethical discourse.
“Duniya tamkarruwace, yau a samagobe a ƙasa.”
(“The world is like water, today it is up, tomorrow it is down.”)
This proverb emphasizes the
instability of fortune and warns against pride or arrogance that may accompany
wealth. Shata uses this expression to caution wealthy individuals, reminding
them that material success is transient and that humility remains the true
measure of greatness.This aligns with Nketia’s (1992) view that African musical
forms are repositories of moral and philosophical wisdom.
As Finnegan (2012) explains,
African oral artists often use proverbs as didactic tools, enabling them to
pass moral judgment and social commentary in an indirect, culturally acceptable
manner. Shata does exactly this in Alhaji Mai Kudihe combines wit and wisdom to
remind the wealthy of their duties to the less privileged.
“Duk wanda bai ciyar da ‘yanuwansaba, arzikiyazama masa laifi.”
(“He who does not share his wealth with his kinsmen turns prosperity into
guilt.”)
Although framed proverbially, this statement functions as a social
critique,condemning
greed and social irresponsibility. It reminds the audience that in Hausa
culture, wealth carries with it a moral obligation to support one’s community.
According to Afolayan (2018), this type of proverbial criticism allows
musicians like Shata to reform behavior without open confrontation.
“Arziki na Allah ne, basai an cuta an samuba.”
(“Wealth belongs to God; it is not earned through injustice.”)
This reinforces the Islamic and cultural belief that wealth must be
acquired and used justly, and that greed or exploitation invites divine
punishment. Through such proverbs, Shata merges moral philosophy, Islamic
ethics, and Hausa traditional wisdom into a unified social message.
Shata’s use of proverbs in this song communicates a timeless social
lesson,wealth
without compassion is meaningless. His criticism of selfish rich men and praise
for generous benefactors encourage a culture of charity, empathy, and humility.
These values are central to Hausa communal life, where wealth is viewed as a
collective trust rather than individual achievement.Through Alhaji Mai Kudi,
Shata transforms moral philosophy into musical performance, confirming
Finnegan’s (2012) observation that African oral artists act as moral educators
and social commentators. His proverbs continue to resonate with contemporary
audiences, offering ethical guidance in a world still shaped by economic
inequality.
Repetition and Rhythm
Repetition is a defining stylistic device in Shata’s performance.
Phrases such as “Kai, kai!” and “Shata yace” (Shata says) create rhythm and
maintain audience engagement. According to Finnegan (2012), repetition in oral
performance serves both mnemonic and aesthetic functions. Shata’s rhythmic
repetition enhances participation and reinforces key messages.
Shata often repeats phrases or lines to underline moral or social
messages. In Alhaji Mai Kudi and Garin
Allah, repeated expressions like
“Mai kudi, ka ji tsoron Allah”
(“Wealthy man, fear God”)
serve to reinforce moral instruction. The continuous repetition ensures
that the audience not only understands the message but internalizes it as a
moral obligation. This repetitive emphasis transforms moral teaching into a
collective chant, merging music with communal consciousness.As Nketia (1992)
notes, African musicians use repetition to intensify the message and direct
listeners’ emotions toward the intended moral or spiritual meaning. Shata’s
approach aligns with this, particularly when addressing themes of greed,
humility, or justice.
Repetition also
functions as a musical anchor in Shata’s compositions. His use of refrains and
recurring phrases gives his songs melodic consistency and rhythmic balance.
For example, in Alhaji
da Kudi, he often repeats the chorus line after each stanza,
allowing the drummers and chorus to respond in call-and-response style. This
not only structures the performance but sustains the audience’s participation.
The repetitive rhythm mirrors the cyclical nature of Hausa traditional
drumming and enhances the aesthetic pleasure of the performance. It also
creates a collective musical identity, since the audience often joins in on
repeated lines, turning Shata’s music into a shared oral experience.
Thematic Concerns
Mamman Shata’s songs are deeply rooted in Hausa oral tradition and
reflect the social, moral, and spiritual realities of his community. His music
serves not only as entertainment but as social commentary, moral instruction,
and cultural preservation.The central theme in Alhaji Mai Kudi is the
moral use of wealth and the responsibility of the rich toward society. Shata
criticizes greed, arrogance, and the misuse of riches, while celebrating
generosity and humility.Through proverbial language and moral reflection, he
conveys the idea that wealth is a divine trust that must be used to uplift
others, not to oppress or boast.He reminds his listeners that riches are
transient, declaring in proverbial tone that “Duniya tamkarruwace, yau a
samagobe a ƙasa” (“The world is like water; today it is up, tomorrow it is
down”).This metaphor expresses the instability of fortune and the need for
moral restraint.
As Finnegan (2012)
notes, African oral poets often act as custodians of communal ethics, and Shata
embodies this role. He admonishes the wealthy to fear God (“Mai kudi ka ji
tsoron Allah”) and share their blessings. Thus, the thematic concern of Alhaji
Mai Kudi centers on wealth as a moral test where virtue, not affluence,
defines a person’s worth.
In Mutum da
Sana’a (“A Man and His Profession”), Shata explores the theme of dignity in
labour and the moral necessity of hard work. The song celebrates craftsmanship,
trade, and honest living as the foundation of individual and communal progress.
Shata emphasizes that every profession, whether manual or intellectual, has
value, and that laziness is both a social and moral vice.
He repeatedly
asserts that
“Mutumbayazamamutumsai da sana’a”
(“A man is not truly a man without a profession”),
highlighting the Hausa cultural belief that personal worth is tied to
productivity and skill.According to Nketia (1992), African music often
reinforces social order by affirming communal values such as work, cooperation,
and mutual support. Shata’s Mutum da Sana’a functions in this wayurging
listeners to engage in meaningful occupations and discouraging dependence or
idleness.
Stylistically, Shata uses repetition and rhythm to make the message
memorable, turning moral instruction into a song of motivation. The song thus
conveys a strong didactic theme: honest labour brings dignity, respect, and
divine blessing.In Garin Allah (“The City of God”), Shata turns from
social commentary to spiritual reflection, addressing the themes of divine
justice, human destiny, and moral humility.
The song reflects on the unpredictability of life and the belief that human
efforts are ultimately subject to God’s will. Shata observes that no matter
one’s power, wealth, or intelligence, God’s decree prevails:
“Komai nisan jifa, ƙasazaifaɗi”
(“No matter how far a stone is thrown, it will fall to the ground”).
This proverb underscores the inevitability of divine justice and the
limitation of human control.Shata’s thematic focus here aligns with Islamic and
Hausa moral philosophy, which stresses submission to God (Allah) and moral
accountability. The song also serves as a warning against pride, injustice, and
moral corruption.
As Afolayan (2018) argues, traditional African musicians often function
as philosophers of society, using art to interpret life’s mysteries and guide
behavior. In Garin Allah, Shata acts as a moral philosopher, teaching
that life’s trials and reversals are expressions of divine will and
opportunities for faith and patience.
Nevertheless, when viewed together, these three songs form a moral trilogy reflecting
Shata’s broader worldview:Alhaji Mai Kudi addresses economic morality;Mutum
da Sana’a emphasizes social productivity;Garin Allah explores
spiritual submission and justice.Each theme is grounded in Hausa and Islamic
ethics, stressing honesty, humility, and faith. Collectively, they reveal
Shata’s consistent effort to educate, moralize, and unify his society through
art.Finnegan (2012) describes this type of music as “didactic art”, a form that
entertains while preserving the moral fabric of the community. Shata’s thematic
choices confirm his role as both artist and moral educator, blending cultural
wisdom with poetic eloquence.
Shata’s themes revolve around morality, respect, and social ethics. He
addresses societal issues indirectly through parables and proverbs. His songs
act as social correctives, encouraging honesty and condemning greed and
laziness.
Stylistic Analysis
of Dauda KahutuRarara’s Songs
Diction and Tone
In Masu
GuduSuGudu (“Let Those Who Flee Keep Running”), Rarara uses proverbs as
tools of political satire and moral justification. The song was released in the
context of Nigeria’s political power transition, serving as both support for
the ruling government and criticism of political defectors.
“Wanda yatseredagayaƙi, ya bar wajarumiɗaukaka.”
(“He who runs away from battle leaves the glory for the brave.”)
This proverb
functions as a political metaphor, implying that those who abandon a cause out
of fear or selfishness lose the honour that comes from perseverance. Through
such proverbial expressions, Rarara justifies loyalty and mocks opportunism in
politics.As Yusuf (2021) observes, Rarara’s music often uses traditional
proverbs to legitimizepolitical authority and reinforce ideological loyalty.
The proverbs make his political messages sound culturally authentic and morally
grounded, even when serving partisan purposes.
In Buhari YaDawo
(“Buhari Has Returned”), Rarara celebrates the political comeback of President
Muhammadu Buhari. Proverbs in this song express resilience, destiny, and divine
justice, themes common in Hausa oral philosophy.
“Komai nisan dare, gari zaiwaye.”
(“No matter how long the night lasts, morning will
come.”)
This proverb
symbolizes hope after hardship, suggesting that patience and endurance lead to
success. Rarara uses it to describe Buhari’s political struggles and eventual
victory, equating political triumph with moral endurance.
The proverb thus
serves both aestheticandrhetorical functionsit beautifies the song while
embedding a culturally familiar moral narrative. Finnegan (2012) notes that in
African oral art, proverbs function as moral anchors that connect contemporary
experiences to traditional values. Rarara’s use of this proverb exemplifies how
modern musicians continue this oral heritage while addressing current
realities.
In Aikin
Gwamnati (“Government Work”), Rarara turns his attention to issues of
civilservice, accountability, and corruption. He employs proverbs to critique
laziness, inefficiency, and moral decay in public service.
“Wanda bai yi aikingwamnati da gaskiyaba, ya ci
amana.”
(“He who does not serve the government honestly has
betrayed trust.”)
This proverb
reinforces the value of integrity and diligence in public duty. Through it,
Rarara calls for transparency and sincerity among civil servants, aligning his
message with both religious ethics and traditional Hausa moral expectations.
“Ƙarya ta fi gudu, gaskiya ta fi ƙarfi.”
(“Falsehood runs faster, but truth is stronger.”)
o criticize
dishonest officials and praise honest workers who persevere despite challenges.
As Afolayan (2018)
points out, musicians in African societies often use proverbial expression as a
vehicle for civic education, encouraging ethical values through familiar
cultural wisdom. In Aikin Gwamnati, Rarara performs that exact
roleacting as a moral reformer through music.Rarara’s diction is more modern,
direct, and politically charged. His song Buhari YaDawo uses simple but
emphatic language to celebrate political leadership:
“Sai Buhari, muntashimuntsaya da shi.”
(“Only Buhari; we rise and stand with him.”)
The tone is
persuasive and assertive, designed to mobilize political support. Rarara’s
diction reflects his role as a political praise singer and social influencer.
Use of Repetition
and Slogans
Repetition in Rarara’s songs serves primarily to reinforce political
messages and enhance memorability. Like the oral bards before him, Rarara
repeats key lines, names, and phrases to emphasize loyalty, gratitude, or
warning.InBuhari YaDawo, he repeatedly chants:
“Sai Buhari, sai Baba!”
(“Only Buhari, only Baba!”)
This refrain appears throughout the song, functioning as a chant of
political endorsement. Its repetition transforms a personal expression of
support into a collective political slogan, inviting listeners to join the
chorus.As Finnegan (2012) observes, repetition in African oral performance not
only maintains rhythm but also strengthens communal solidarity and emotional
engagement.
Similarly, in Aikin Gwamnati, Rarara repeats moralistic lines
such as:“A yiaikingwamnati da gaskiya!” (“Let government work be done
honestly!”)The repetition underscores his call for sincerity and accountability
in public service. Through consistent recurrence, the message becomes a moral
refrain, urging civil servants toward integrity.
From a stylistic perspective, repetition provides rhythmic structure and
musical balance in Rarara’s compositions. Each song features recurring refrains
that create predictable patterns, allowing the audience to anticipate and
participate.In Masu Gudu Su Gudu,
Rarara’s chorus line
“Masugudu su gudu, ba su isaba!”
(“Let those who run, run:they cannot escape!”)
is repeated rhythmically after each verse. This cyclical repetition
gives the song its anthemic quality, making it catchy and memorable.As Afolayan
(2018) explains, repetition in African music serves both mnemonic and
participatory functions. It allows the audience to recall key lines easily
while joining in performance, transforming the song into a shared political
chant.
Rarara’s slogans function as compressed political statements,short,
memorable phrases that encapsulate his ideological stance.In Buhari YaDawo,
slogans like “Next Level!” and “Sai Baba!” operate as mobilizing
catchphrases associated with Buhari’s politicalcampaign. These slogans,
repeated rhythmically, merge music and political propaganda,transforming the
song into a vehicle for persuasion.
In Aikin Gwamnati, Rarara’s slogan “Gyaranmulkiya zo!”
(“Reform has arrived!”) expresses a sense of governmental renewal and progress.
It mirrors the official political rhetoric of reform and anti-corruption,
aligning his art with nationalistic discourse.
Slogans, unlike proverbs, are modern rhetorical inventions that appeal
to emotion rather than wisdom. By fusing slogans with Hausa idioms, Rarara
bridges traditional orality and modern political communication, making his
songs linguistically rich and socially relevant.Rarara frequently employs
repetition, slogans, and chants, a hallmark of political songs. In Masu Gudu Su Gudu, herepeats:
“Masu gudu su gudu, mu daimuntsaya!”
(“Let the runners run; we stand firm!”)
This repetition acts as a rhetorical strategy that evokes solidarity
among listeners and reinforces political identity (Yusuf, 2021).
Themes and Social Commentary
A dominant theme across Buhari YaDawo and Masu Gudu Su Gudu
is political loyalty. Rarara openly declares allegiance to President Muhammadu
Buhari and the ruling party, portraying Buhari as a symbol of integrity and
national renewal.In Buhari YaDawo, Rarara celebrates Buhari’s return to
power after his medical leave abroad, presenting it as a victory for the honest
and faithful. The song encourages Nigerians to remain steadfast and loyal to
the leadership, reflecting the singer’s personal identification with the
political movement.
Similarly, in Masu GuduSuGudu, Rarara uses the refrain “Masu
gudusugudu, basuisaba” (“Let those who run, run, they cannot escape”) to
mock political defectors who abandoned Buhari’s camp. This theme underlines
steadfastness and betrayal, contrasting loyalty with opportunism in political
affairs.According to Yusuf (2021), Rarara’s songs serve as tools of political
persuasion, reinforcing allegiance and collective identity among supporters.
The song Aikin Gwamnati focuses on good governance, discipline,
and honesty in public service. Rarara urges public officials to perform their
duties diligently and avoid corruption. Through the repeated call “A
yiaikingwamnati da gaskiya” (“Let government work be done with honesty”),
he emphasizes the moral foundation of service and the need for integrity in
leadership.
This theme aligns with the broader national discourse on anti-corruption
and transparency in government. Rarara positions himself as both a social
critic and moral commentator, calling for reforms within the public sector. His
message resonates with the values of accountability, patriotism, and civic
duty.As Finnegan (2012) notes, African artists often use oral forms to “comment
on leadership and social order,” making music a platform for moral and
political dialogue.
Another major theme, especially in Buhari YaDawo, is national
unity and patriotic solidarity. Rarara portrays Buhari as a unifying figure who
transcends ethnic and religious divisions. The song encourages Nigerians to
rally behind their leader and put aside political differences for national
progress.Through his slogans and refrains, Rarara fosters a sense of collective
national pride, presenting the president’s return as symbolic of Nigeria’s hope
and continuity. This reflects the traditional role of Hausa praise singers (mawak’a)
in promoting unity and legitimizing authority (Afolayan, 2018).
These songs focus on governance, loyalty, and political integrity. Unlike
Shata, whose moral messages are timeless, Rarara’s themes are situational and
politically motivated, addressing current events and government policies. His
music functions as a tool of propaganda and mobilization, giving voice to
political discourse in Northern Nigeria.
Comparative Discussion
|
Aspect |
Mamman Shata |
Dauda Kahutu Rarara |
|
Language |
Classical, poetic, proverb-laden |
Modern, simple, slogan-based |
|
Themes |
Moral, cultural, philosophical |
Political, social, contemporary |
|
Performance Style |
Live band with traditional instruments |
Digital production with modern beats |
|
Purpose |
Moral instruction and social harmony |
Political persuasion and mobilization |
|
Audience Engagement |
Call-and-response participation |
Media-driven mass appeal |
Music as an Instrument of Social Communication
The analysis reveals that both Rarara and Shata use music as a medium of
social communication. Their songs go beyond entertainment; they function as
channels for expressing moral, political, and social ideas. This finding aligns
with Nketia’s (1992) and Finnegan’s (2012) assertions that African music serves
communicative and didactic purposes.
Shata’s songs, such as Mutum da Sana’a and Garin Allah,
convey messages of morality, humility, and self-discipline. His emphasis on
cultural ethics and human conduct demonstrates music’s ability to instruct and
reform behavior. Rarara, on the other hand, uses songs like Buhari YaDawo
and Masu Gudu Su Gudu to mobilize political support and promote loyalty.
Both artists illustrate that music remains a powerful social tool, one that can
instruct, persuade, and influence collective behavior.
Stylistic Techniques and Their Social Functions
The stylistic analysis revealed significant differences and similarities
in the linguistic techniques employed by both artists. Shata’s diction is
marked by proverbs, idiomatic expressions, and metaphor, reflecting the
traditional aesthetics of Hausa oral poetry. His style corresponds with Leech
and Short’s (2007) concept of foregrounding, in which certain linguistic
elements are made prominent to draw attention to meaning.
In contrast, Rarara’s songs rely heavily on repetition, slogans, and
direct address, which serve rhetorical and persuasive purposes. As Yusuf (2021)
notes, repetition in political music reinforces group solidarity and recall
among listeners. Rarara’s use of simple, colloquial language also enhances
accessibility, allowing his political messages to resonate widely among the
populace.Both artists thus demonstrate the functional relationship between
style and purpose, where Shata’s artistry fosters moral reflection, Rarara’s
drives political mobilization.
Traditional and
Contemporary Contexts
A key finding from the analysis is that the two musicians represent
different eras and functions of Hausa music. Shata’s works belong to the
traditional context, rooted in praise singing, moral education, and community
values. His performances rely on live instruments, call-and-response patterns,
and audience participation. Finnegan’s (2012) Oral Performance Theory supports
this observation by emphasizing the interactive nature of oral art in
traditional societies.
Rarara’s music, conversely, reflects the modern digital age. His songs
are often disseminated through media platforms like radio, television, and
social media, thereby reaching a wider audience. His performances incorporate
contemporary instrumentation and political rhetoric, transforming traditional
praise poetry into a tool of modern political communication.
This evolution demonstrates how Hausa music has adapted to social and
technological changes while maintaining its communicative essence.
Social and Political Implications
The study found that Rarara’s and Shata’s songs mirror the social and
political realities of their times. Shata’s lyrics address themes of justice,
honesty, and communal values, while Rarara’s highlight issues of governance,
political loyalty, and public accountability.
Rarara’s engagement with politics suggests a growing intersection
between music and political propaganda in Northern Nigeria. His songs, while
artistic, serve strategic purposes in shaping public opinion. Shata’s songs,
though less overtly political, subtly critique social vices and advocate for
moral rectitude.Together, these findings confirm that Hausa music functions as
a socio-political text, capable of reflecting, reinforcing, or challenging
existing power structures and moral values.
Continuity and Change in Hausa Musical Tradition
The comparative analysis underscores the continuity and transformation
within Hausa musical traditions. Mamman Shata represents the foundation of
Hausa oral artistry, maintaining traditional aesthetics and moral didacticism.
Rarara builds upon this legacy but introduces contemporary themes and stylistic
innovations, such as the use of digital media, direct political commentary, and
simplified language.
This continuity and change exemplify how music, as a living art form,
evolves in response to societal needs. The stylistic adaptation from Shata to
Rarara demonstrates that Hausa music remains relevant as a cultural and
communicative force in both traditional and modern contexts.
Relationship Between Style and Function
A central argument of stylistics is that form and function are
inseparable (Leech & Short, 2007). The study confirms this by showing that
the linguistic style of each artist corresponds directly with the function of
their music.
Shata’s formal, poetic diction aligns with his goal of moral and
cultural preservation.
Rarara’s straightforward and slogan-filled expressions suit his purpose
of political persuasion and mass appeal.
Thus, the stylistic choices of both artists are intentional and
purposeful, designed to maximize communicative impact in their respective
social contexts.
The discussion highlights that both Dauda Kahutu Rarara and Mamman Shata
effectively use music as a social instrument for communication and cultural
expression. Despite generational and stylistic differences, their songs serve
similar social purposes, education, mobilization, and the preservation of
communal values.
Shata’s moral instruction and Rarara’s political commentary demonstrate
that Hausa music is not static; it continually adapts to new realities while
retaining its traditional communicative functions. Ultimately, the study
reaffirms that stylistic choices in music reflect broader social intentions,
validating the assertion that music is both an artistic and social act.
6. Conclusion
In conclusion, the study revealed that while Mamman Shata’s songs are
primarily moral and didactic, emphasizing social values, discipline, and
communal ethics through metaphor, repetition, and proverbial expressions, Dauda
KahutuRarara’s compositions are predominantly political and persuasive,
employing satire, slogans, and rhetorical devices to influence public opinion
and political behavior. These findings demonstrate that both artists
strategically use language and style as powerful social tools Shata to promote
moral consciousness and cultural continuity, and Rarara to engage with
contemporary political discourse.
Based on these insights, the study recommends that future research
should extend beyond textual stylistic analysis to incorporate multimodal
analysis of performance videos. This would allow for a deeper understanding of
how non-verbal elements such as gesture, facial expression, music, and audience
interaction, reinforce or transform the linguistic message. Such an approach
would provide a more holistic appreciation of Hausa musical performance as an
integrated form of artistic and social communication.
References
Afolayan, A. (2018). The language of African music:
A stylistic perspective. Ibadan University
Press.
Akwanya, A. N. (2014). Discourse analysis and
dramatic literature. University of Nigeria Press.
Ayele, T. (2019). The social functions of traditional
music in African societies. Journal of African Cultural Studies, 31(2), 210–224. https://doi.org/10.1080/13696815.2019.1594527
Babatunde, S. T. (2015). Stylistic analysis and
meaning in African oral poetry. Ilorin University Press.
Bamgbose, A. (2018). Language and the nation: The
language question in Sub-Saharan Africa.
Lagos University Press.
Danfulani, U. H. (2020). Music and social mobilization
in Northern Nigeria: A linguistic and cultural
appraisal. Sokoto Journal of Humanities, 8(1), 55–72.
Finnegan, R. (2012). Oral literature in Africa.
Open Book Publishers. https://doi.org/10.11647/OBP.0025
Hassan, I. (2020). The rhetoric of political songs in
Nigeria: A discourse analysis of Dauda KahutuRarara.
International Journal of Language and Communication Studies, 4(3), 33–47.
Okpewho, I. (1992). African oral literature:
Backgrounds, character, and continuity. Indiana University Press.
Leech, G. N., & Short, M. H. (2007). Style in
fiction: A linguistic introduction to English fictional prose (2nd ed.). Pearson
Education.
Nketia, J. H. K. (1992). The music of Africa. W.
W. Norton.
Ogunleye, F. (2016). The role of music in African
political communication. African Research Review, 10(1), 150–162. https://doi.org/10.4314/afrrev.v10i1.11
Oloruntoba-Oju, T. (2017). Music and social commentary
in Nigeria: A pragmatic-stylistic approach.
Journal of English and Communication Studies, 8(2), 41–57.
Ogunleye, T. (2013). Language and ideology in Nigerian
popular music: A discourse analysis. Journal
of African Cultural Studies, 25(1), 73–87. https://doi.org/10.1080/13696815.2013.776329
Rarara, D. K. (2018). Aikin Gwamnati(Recorded by
Dauda KahutuRarara). Kano, Nigeria: Rarara
Multimedia.
Rarara, D. K. (2019). Buhari YaDawo(Recorded by
Dauda KahutuRarara). Kano, Nigeria: Rarara
Multimedia.
Rarara, D. K. (2019). Masu GuduSuGudu(Recorded by
Dauda Kahutu Rarara). Kano, Nigeria: Rarara
Multimedia.
Shata, M. (1978). Alhaji Mai Kudi(Recorded by
Alhaji Mamman Shata). Kano, Nigeria: EMI Nigeria.
Shata, M. (1980). Mutum Da Sana’a(Recorded by
Alhaji Mamman Shata). Zaria, Nigeria: Shata Records.
Shata, M. (1982). Garin Allah(Recorded by
Alhaji Mamman Shata). Kaduna, Nigeria: Shata Productions.
Sani, M. (2018). Hausa traditional music and its social
relevance: A study of Mamman Shata’s
songs. Nigerian Journal of Cultural Studies, 6(2), 89–103.
Umar, A. M. (2021). Language, politics, and
performance: A study of Rarara’s musical discourse. Arewa Journal of Linguistics and
Cultural Studies, 3(1), 77–92.
Yakasai, A.
M. (2022). The role of musicians in Nigerian elections: A study of Rarara’s political
songs. African Studies Review, 65(1),
132–150. https://doi.org/10.1017/asr.2022.14
Yusuf, A. (2021). Hausa music and social mobilization:
A stylistic study of Rarara’s political songs.
Bayero Journal of Arts and Humanities, 12(2), 45–58.
Zubairu, A. (2019). The role of oral tradition in
contemporary Hausa music. Nigerian Journal of Cultural Studies, 14(1), 89–102
0 Comments