The Power of Dubbing in Connecting Bollywood and Hausa Cultures

Cite this article as: Zaki, M. Z., Sani, A., & Maradun, L. U. (2025). Localising films: The power of dubbing in connecting Bollywood and Hausa cultures. Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 1(1),260–268. www.doi.org/10.36349/sojolics.2025.v01i01.031

THE POWER OF DUBBING IN CONNECTING BOLLYWOOD AND HAUSA CULTURES

By

Zaki, Muhammad Zayyanu

muhammad.zayyanu@udusok.edu.ng

Department of French, Usmanu Danfodiyo University, Sokoto, Nigeria

&

Atiku Sani

atiku.sani@ssu.edu.ng

Department of English Language and Linguistics,Sokoto State University, Sokoto – Nigeria

&

Lawal Umar Maradun

elmaradun1@gmail.com

Department of Mass Communication, Zamfara State University, Talata Mafara

Abstract

The research examines the complex processes and ethical considerations of dubbing and localising Bollywood films into Hausa, focusing on the adaptation of content to meet cultural and linguistic nuances. Dubbing involves re-recording the translated scripts using professional voice actors; above all, communication in translation is a process of translating a message from Hindi to Hausa language. There are processes involved in translating, and the concept of equivalence has often been a complex issue among translation experts and theorists due to the cultural dimension involved in the two languages, (Hausa and Hindi). The researchers note that managing, editing and replacing voice poses various difficulties to dubbingin Audio-visual translation. The researchers through an interpretive approach and Lederer’s theory of meaning addressed challenges such as cultural equivalence and translation fidelity, ensuring a respectful and accurate representation of both cultures. The research highlights the pertinence of cultural sensitivity, strategic planning, and the nuanced comprehension required in the Audio-visual translation process. The research underscores the role of dubbing in fostering cross-cultural communication, enhancing cultural appreciation, and supporting economic and social ties between distinct communities by analysing the intersecting influences of Hindi and Hausa languages and cultures. This research contributes to the broader dialogue on the ethics of translation and localisation, offering insights into the practices that facilitate meaningful cultural exchange and mutual understanding.

Keywords: Dubbing, localisation, Hausa, Hindi, Audiovisual translation (AVT)

1.  Introduction

Translation is widely regarded as a creative act rather than a mechanical process, as there are no fixed or universally applicable methods for transferring meaning from one language to another. It is shaped by the translator’s perspective, cultural awareness, and interpretive choices, and is often described by translation theorists as a mediated reproduction of an original text rather than a perfect duplicate. At its core, translation involves the transfer of meaning across languages through carefully selected linguistic and cultural strategies aimed at preserving the intended message. Within the domain of Audiovisual Translation (AVT), this process expands beyond written text to include sound and image, giving rise to related but distinct practices such as dubbing and localisation. While translation focuses primarily on language transfer, dubbing involves replacing the original audio track with a target language version, often requiring lip synchronisation and vocal naturalness, whereas localisation entails adapting content to align with the cultural, linguistic, and social expectations of a specific audience. AVT has emerged as a rapidly growing branch of Translation Studies, driven by technological advancement, media globalisation, and increased intercultural exchange. Scholars such as Chaume (2007), Carmen (2022), and Giselle (2022) have emphasised the importance of translation quality, vocal performance, and cultural adequacy in dubbing, while also questioning rigid assumptions about lip synchrony and isometric constraints. Despite the availability of quality assessment models for subtitling, comparable frameworks for dubbing remain limited, highlighting a significant research gap. In multilingual societies such as Nigeria, AVT plays a crucial role in cultural transmission and accessibility, particularly through the localisation of foreign films into indigenous languages such as Hausa. The Hausa language, widely spoken in Northern Nigeria, has become a major target for film localisation, especially through the dubbing of Bollywood productions. Studios such as Arewa24 Dubbing Studio and Algaita Dub Studio have been instrumental in adapting international audiovisual content for Hausa-speaking audiences by combining translation, dubbing, and cultural localisation. However, localising Bollywood films into Hausa presents considerable linguistic and cultural challenges, as differences in social values, emotional expression, humour, and worldview can result in translations that are linguistically accurate yet culturally ineffective. Existing studies largely address general issues in film localisation, with limited focus on the specific cultural and linguistic dynamics between Bollywood and Hausa cultures. Against this background, this study examines the localisation of Bollywood films for Hausa audiences through dubbing, with particular attention to cultural and linguistic differences, audience perception, and the strategies employed to preserve emotional and cultural meaning. By situating dubbing and localisation within the broader relationship between language and culture, the study underscores the need for culturally informed AVT practices that move beyond literal translation to achieve meaningful intercultural communication.

2.  Literature Review

Language and culture are fundamentally inseparable phenomena, a relationship that is critically important in the field of translation studies. This section establishes the basis for this connection, emphasising how it impacts the translator's role.Language is more than a simple set of sounds and symbols; it is a complex, dynamic, and multifaceted phenomenon that is deeply intertwined with human cognition, culture, and social interaction.It serves as the fundamental tool for inter-humanunderstanding (Ciobanu, 2018), enabling the conveyance of experiences and emotions through a structured system (Dzhukaeva et al., 2023). It is characterised by its communicative, referential, structured, and creative nature, involving complex processes of comprehension and production influenced by cognitive structures (Chun et al., 2021).As both a physiological and psychological phenomenon (Ciobanu, 2018), language plays a crucial role in higher cognitive functions, facilitating planning, narration of experiences, and creative expression (Jeon, 2023). This capacity is, in turn, continuously shaped by social existence and educational processes.

The essence of language is inherently socio-cultural. It is not only the main tool of communication but also a product of the culture in which it is situated.Language acts as a cultural mirror (Susianti et al., 2024), reflecting and shaping societal values, beliefs, and norms that are transmitted across generations. Cultural elements, such as traditions and social practices, are often embedded in linguistic structures (Putri et al., 2024), thereby facilitating cultural continuity and identity formation.The influence of culture manifests in concrete linguistic features, including lexical granularity (like the number of words for concepts like snow or rice), sentence structure, and conventions of politeness. These elements highlight how the social environment determines the words used and the manner in which they are communicated.

The deep integration of language and culture elevates the translator's function beyond mere linguistic equivalence. Since the phonetic and semantic elements of language vary across cultures (Dzhukaeva et al., 2023), achieving a truly “accurate” translation requires more than word-for-word substitution. The translator must choose words that not only carry the same denotative meaning but also evoke the same connotative feeling and possess cultural appropriateness. A skilled translator operates as a cultural mediator. They leverage their deep understanding of both the source language's structure and the underlying cultural context to produce a target text that is not only readable and technically accurate but also culturally resonant (Putri et al., 2024). This mediation ensures that the translated work is comprehensible and acceptable within the target culture's framework.

2.1  The Hindi and Hausa Languages versus Cultures

Language plays a vital role in preserving and transmitting culture, as seen in the influence of the Hausa language on the Hausa-speaking community in Nigeria, Yusuf, (2012). The Hindi and Hausa languages have had a significant impact on their respective cultures. In the case of the Muslim Hausa youth in northern Nigeria, Indian films have played a crucial role in shaping their cultural behaviour and social interaction, Abdallah, (2017). The popularity of Hindi films in this region has led to the adoption and adaptation of Indian pop culture, particularly through the onomatopoeic translation of Hindi film soundtracks into the Muslim Hausa entertainment space, Eludiora, (2021). However, the Hausa language is considered a low-resource language in Natural Language Processing (NLP) and highlighting the need for more resources and datasets to bridge the research gap, (Sada, 2019).

Furthermore, India is a country in South Asia chiefly comprising the modern-day countries of Pakistan, Bangladesh, Bhutan, Nepal, and Burma.On one hand, Hindi is a specific language spoken in India primarily in the northern regions.It is one of the official languages of India. It is the major and widely spoken language by millions of people in India, but there are other minor languages spoken in the country, such as Tamil, Telugu and Bengali. With a diversity of interests and development reaching some minor languages in India, they also engage in the business of the Bollywood industry. But this time around, not all understand their language, which is similar to Hindi. This is the reason behind translating these movies to different languages with a higher number of speakers for spread and acceptance like English and Hausa languages. On the other hand, Nigeria is a country with diverse cultures and languages. It has its dominant regions, the West, East and the North. Hausa is spoken as a dominant language in the northern part of Nigeria. Moreover, in the case of the Hausa language, it is not spoken only in northern Nigeria but in many African countries due to its widespread. It has many dialectsspoken, like Sakwwatanci, Zazzaganci, Katsinanci, and Kananci. Kananci is easier in its structure and arrangement which is close to the standard Hausa.

The integration of Hausa culture with Hindi culture can be observed in various aspects. The Hausa youth in northern Nigeria have developed a strong attachment to Indian films and culture, perceiving a convergence between Indian and Muslim Hausa culture, (Abdalla, 2017). This cultural convergence is facilitated by the popularity of Hindi films in the region, leading to the adoption and adaptation of Indian entertainment forms in the Muslim Hausa entertainment space, (Abdalla, 2010). Additionally, the influence of Bollywood can be seen in the Hausa film industry, with romantic movies incorporating Bollywood modalities and patterns, (Muhsin, 2022). The integration of these cultural elements is not limited to the film industry, as there are efforts to develop a Hindu-Arabic to-Hausa number transcription system, highlighting the influence of the Indian numeration system on Hausa language and pedagogy, (Abdulmumin, 2022). Overall, the integration of Hausa and Hindi cultures can be observed in various domains, including film, music, language, and entertainment.

2.2  Ethics, Metrics and Standardsof Dubbing

Voice in dubbing reflects the mood and atmosphere of a film’s situation. Film translation is one of the important branches of literary translation. A film is a recorded sequence of sounds and images displayed on a screen at a rate sufficiently fast to create the appearance of motion. A film is judged to be good and successful only when the images and sounds are synchronised (Zaki et al., 239). The dubbing process handles the alignment of the voice or lips synchronisation of the voice actor and original actor in the current localised film.

Dubbing is both expensive and time-consuming, (Tveit, 93). The dubbing process takes considerable time.An essential part of a character’s personality is their voice, which is closely linked to facial expressions, gestures and body language. It also underlines the significance of letting the audience have access to the original soundtrack. The situation in dubbing is rapidly changing as a choice between dubbing and subtitling is now available on satellite stations, since subtitling is the more cost-effective choice of the two.

There are other issues to consider, such as dialectal issues (Kananci), not enough professional translators, without considering the structure and culture of the two languages. Besides Hindi, other languages are translated into Hausa like Mandaras and Gujrat, which are like Hindi. Arewa24 and AlgaitaDub Studios translationsare the best in the game, which is close to the best message in translation with best voice actors and trying to overcome the unavailability of human resources and funds.

3.  Research Methodology

The researchers adopted a qualitative design grounded in an interpretative approach and Lederer’s theory of meaning. This methodology was selected to facilitate an in-depth examination of the complex cultural and linguistic factors involved in dubbing Bollywood films for the Hausa audience, specifically allowing for an exploration of both challenges and opportunities.

Data collection involved a content analysis of ten (10) recently dubbed Bollywood films across various genres. This is to ensure the sample represented the broader range of films dubbed for Hausa audiences, five (5) films were selected from Arewa24 Studio and five (5) from Algaita Dub Studio. Additionally, an online survey questionnaire was designed for one hundred (100) participants; these respondents were selected from universities to ensure they possessed relevant experience with Hausa culture. The collected data is presented in tabular form, followed by aninterpretation.

 

 

4.  Data Presentation and Analysis

The research used an online survey distributed over a period of onemonth for data collection. The respondents were geographically diverse, spanning various Nigerian zones, and primarily those with university-level education. The captured data is presented and analysed in the tabular form below:

Table 1

Survey Question	Yes	No
Gender of the respondents	76%	24%

The respondents demonstrated a clear gender imbalance, with 76% male and 24% female. Regardless of gender, all participants reported viewing localised films for both educational and entertainment purposes.

Table 2

Survey Question	Yes	No
Hausa speakers	76%	24%

The respondent pool was highly concentrated, with 76% identifying as Hausa native speakers. The remaining 24% were proficient in the language and affirmed their understanding of Hausa cultural values.

Table 3

Survey Question	Yes	No
Quality of the localised films	Relatively good	Less quality

The overall quality assessment of localised Bollywood films for the Hausa audience yields mixed responses. While some respondents viewed the quality as relatively good, others indicated it was of lesser quality, suggesting significant variability in execution. Furthermore, a specific subset of feedback highlighted the need for improvement in the visual aspects of the localised films.

Table 4

Survey Question	Yes	No
Cultural differences reflected in both films	76%	24%

A strong majority of respondents with 76% agreed that cultural differences are effectively reflected in the localised films, with only 24% disagreeing. This high degree of consensus indicates that the localisation process successfully highlights the distinctions between the source and target cultures.

Table 5

Survey Question	Yes	No
Emotional preservation of the original film	76%	24%

The survey data included an assessment of whether the emotional impact of the original films was preserved in the localised versions. A strong majority of respondents with 76% indicated that the emotional impact was preserved, while 24% felt it was lost. This suggests that the localisation process is largely successful in maintaining the core emotional tone and effect of the original Bollywood films.

 

Table 6

Survey Question	Yes	No
Easy comprehension of localised films	92%	8%

The survey data strongly suggests that the localised films are highly accessible to the audience. A combined total of 92% of respondents found the localised films easy to comprehend, indicating that the dubbing or subtitles are generally well-executed for understanding.

Table 7

Survey Question	Yes	No
Voice lip sync (matching voice)	91%	9%

The synchronisation of voice and video (lip sync) is a highly sensitive aspect of dubbing. Despite this challenge, the localisation process appears highly successful: 91% of the respondents believed that the voice and video were matching, with only 9% believing otherwise.

Table 8

Survey Question	Yes	No
Respect for Hausa culture and values	60%	40%

However, views were split regarding cultural sensitivity: 60% of the respondents believed that the localised films respect Hausa culture and values, while a notable 40% felt they did not.

Table 9

Survey Question	Yes	No
Adaptation of characters for Hausa audience	52%	48%

Regarding the localisation of proper nouns, responses were closely divided: 52% of the respondents believed that the characters’ names and places had been appropriately adapted for the Hausa audience, while 48% disagreed. This narrow margin suggests a lack of strong consensus on the effectiveness of these specific adaptations of characters.

Table 10

Survey Question	Yes	No
Audience satisfaction with localised Bollywood films	88%	12%

The survey shows a high level of satisfaction with the localised Bollywood films, with a strong majority of respondents with 88% expressing contentment.

Table 11

Survey Question	Yes	No
Accurate representation and the diversity of Hausa culture	40%	60%

Furthermore, only 40% of the respondents felt that localised films accurately represented the diversity of Hausa culture. The remaining 60% disagreed, indicating a significant gap in cultural representation efforts.

Table 12

Survey Question	Yes	No
Need for improvement in the localisation of Bollywood films	92%	8%

Specific areas for enhancement include the accurate representation and diversity of Hausaculture. Only 40% of respondents felt that the localised films provided an accurate cultural depiction. This low percentage suggests that the current localisation efforts could be significantly improved by better incorporating authentic Hausa cultural elements into the films.

Table 13

Survey Question	Yes	No
Appropriateness of the Hausa language in localised films	76%	24%

Furthermore, the use of the Hausa language was overwhelmingly supported, with 76% of the respondents believing it is appropriate and only 24% believing it is not. The significant margin by which the positive responses dominate suggests that the use of Hausa is a strong area of consensus within the surveyed population.

Table 14

Survey Question	Yes	No
Retaining humour and styles of the original Bollywood films to localised films	60%	40%

When asked about the retention of the humour and stylistic elements from the original Bollywood films, 60% of respondents felt that the localised films successfully retained these aspects. Conversely, the 40% who felt these elements were lost suggests that the localisation process may be failing to capture and preserve some of the key nuances and original flair of the films.

Table 15

Survey Question	Yes	No
Quality of dubbing for Hausa audience	80%	20%

However, the quality of current dubbing for the Hausa audience remains a contentious point, showing notable variability in responses: 24% rated the quality as excellent, 24% as good, 32% as okay, and 20% as poor. This balanced distribution of responses indicates a significant degree of disagreement or uncertainty regarding the technical aspects of the localisation process.

5.  Findings

Based on the survey conducted, the following are the research findings aligning with the survey questions:

        i.            Cultural and Linguistic Equivalence

Achieving cultural and linguistic equivalence must be a core consideration when translating between Hindi and Hausa, as many concepts are difficult to render directly. This often leads to the adoption of neologisms or semantic shifts in the dubbed films.For instance, the terms “Sheƙewa” and “Sheƙe” are now employed in the translated version to denote killing or eliminating someone. It is a usage that represents a departure from their original meanings related to actions like spraying dust in cereals in Hausa culture, or perhaps their conceptual link to practices like spraying ashes of the dead in Hindi culture.

Furthermore, specific Hausa vocabulary is introduced or repurposed for dramatic effect. “Kutu melesi” functions as a surprising interjection or exclamation. Action verbs include “Suburbuɗa” for beating or dealing with an individual, “Fecewa” for running, and “Musƙewa” or “musƙe” to refer to someone being overpowered or destroyed. Similarly, “Samago” and “hamago” are two terms used as insults to refer to a fool or idiot. These instances collectively illustrate how the dubbing process creates new linguistic usages within Hausa to bridge the cultural gap.

The finding is in line with the survey of confirming cultural differences reflected in both films, respect for Hausa culture and values, adaptation of characters for the Hausa audience, audience satisfaction with localised films and accurate representation and the diversity of Hausa culture.

      ii.            Cultural Translation: Gestureand Social Norms

Translating human interactions like kisses, dances, and hugs from Hindi to Hausa requires far more than finding equivalent words; it necessitates a complex process of cultural mediation due to the vastly different social and religious contexts of the two societies. The core challenge lies in conveying the original emotion and social meaning while adhering to Hausa cultural norms, which are heavily influenced by Islamic customs.

The social implications of physical contact often differ drastically:In Hindi cinema, a kiss can convey platonic affection, romantic intimacy, or respect, with varying levels of public acceptance. However, in a Hausa context, public displays of romantic affection, especially kissing, are generally less common and often deemed inappropriate. The translator cannot use a direct word-for-word equivalent.

Similarly, the translator must identify the reason for the hug in the Hindi context (comfort, greeting, celebration, intimacy) and substitute it with the most appropriate Hausa physical or verbal equivalent. This ensures the emotional core is preserved without violating norms concerning public interaction or inter-gender contact. The finding confirmed this through the survey through emotional preservation of the original Hindi film, appropriateness of the Hausa language in localised films, and retaining humour and style of its original Bollywood films in localised films.

    iii.            Change Pitch and Tone in Translation

Hausa and Hindi languages have very different pitch and tone patterns and this causes issues when translating between the two languages.  For instance, a phrase that is spoken with a high pitch in Hausa may have a completely different meaning when spoken with a low pitch in Hindi. Intonation is suggested to be a solution in this context. It involves translating the intonation patterns of the Hindi language into the Hausa language. This can help to preserve the meaning of the original phrase while still accounting for the differences in pitch and tone. It is a complex process that requires careful attention to detail. In this case, the two languages in question have different cultures and different ways of expressing ideas. This is achieved in the survey to explore the voice lip sync (matching voice) process in dubbing, amajor technical aspect. Lip sync is the critical process of matching the translation being spoken to the movement of the lips on the screen. When lip sync is noticeably inaccurate or "off," it creates a jarring and confusing viewing experience, compromising the overall clarity of the translation.

    iv.            Loss of Meaning in Translation

The term lumination refers to the reduction orloss of meaning,including context, nuance, and cultural understandingthat frequently occurs when content is translated from Hindi to Hausa. This is a common and critical issue within the field of Audio-Visual Translation (AVT), particularly during the process of dubbing. This is achieved through the survey by finding easy comprehension of localised films as well as the quality of dubbing for the Hausa audience.

      v.            Ensuring Clarity in the Dubbing Process

Clarity in translation is defined by the accuracy and completeness of the rendered content. In the technical and often time-constrained process of dubbing, achieving this clarity is a complex concern. To maintain clarity and overcome time limitations, several strategic measures are essential such as employing a well-trained and experienced dubbing team is crucial. The process is highly technical and requires different approaches based on the project. It relies on using high-quality audio equipment and paying close attention to the timing of the translated dialogue. This is confirmed through finding the quality of the localised films from the respondents and the need for improvement in the localised films.

5.1  Discussion

The main challenges that exist in the localisation of Bollywood films for the Hausa audience vary depending on the individual knowledge of culture and experience. Some respondents believed that some of the vocabulary used in localisation is tedious. Other views include clarity of the films, cross cultural representations, unmatched voicing and slight cultural differences. Indian culture is totally different from that of Hausa as there are a lot of borrowed cultures like weddings and other festivities.

Some respondents are of the view that immorality such as fighting, gangsterism, violence and strong practice of love stories are changing Hausa culture. Also, some aspects of cultures exhibited in the films are not the true culture of Hausas. There are coined words “neologism” used in the films that are socially attached to some category of people (youth) but not conventionally accepted by generality of the general populace. Another respondent believes that translations are not excellently done (by professionals) as the translators include their personal opinions. There is also the issue of translating aspects of religious beliefs, obscene language and other cultural matters that are not common to the Hausa people.

Furthermore, dubbing Bollywood films for Hausa audience is not simply about translating words. It is about building a bridge between two cultures. It allows Hausa audiences to experience the vibrant world of Bollywood without language being a barrier.Take dubbing as a cultural remix. The original story, music, and visuals become the foundation, but the dialogue is adapted to resonate with the Hausa audiences. Jokes might be adjusted, references might be localised, and even the delivery, style could be tailored to suit Hausa's cultural sensibilities. This creates a new experience, one that is both familiar and fresh.

Also, dubbing offers a platform for Hausa language and talent to flourish. Voice actors and translators become cultural ambassadors, breathing life into the characters and stories. This not only preserves the Hausa language but also allows for creative expression within the film industry.

Cross cultural experiences are powerful tools for bridging divides. By offering a window into Indian culture through dubbed films, Hausa audiences gain a deeper understanding of Indian traditions, values, and humour. This fosters tolerance, empathy, and a sense of connection between seemingly distant cultures. Dubbed Bollywood films can spark important conversations within the Hausa community. Social issues portrayed in the films might prompt discussions about similar issues faced locally. This can lead to critical thinking, reflection, and even social change.

6.  Conclusion

This study has demonstrated that dubbing and revoicing are effective audiovisual translation practices for bridging linguistic and cultural divides, particularly in the localisation of Bollywood films for Hausa-speaking audiences. However, their success depends largely on adherence to ethical principles and professional standards that safeguard the integrity of the original work while ensuring a satisfying audience experience. Maintaining fidelity to the original script’s meaning, intent, and artistic vision remains essential, as inaccurate or culturally insensitive adaptations can lead to misrepresentation and audience disengagement. Effective dubbing therefore requires translators and voice actors who are not only proficient in both source and target languages but also deeply knowledgeable about the cultural contexts involved. Respect for intellectual property through transparent crediting of original creators, translators, and voice actors further strengthens ethical practice and professional accountability. The findings also highlight the importance of rigorous evaluation of translation accuracy, fluency, and cultural appropriateness, alongside high-quality voice performances capable of conveying emotional depth and character authenticity. Technical excellence, particularly in audio clarity and synchronisation, is equally crucial in delivering a polished final product. Collaboration among translators, directors, voice actors, and cultural experts, supported by systematic quality control measures and adherence to established industry standards, enhances consistency and professionalism throughout the dubbing process. Overall, the dubbing of Bollywood films into Hausa emerges as a significant medium for cultural exchange, promoting mutual understanding while reinforcing the vitality of the Hausa language. By expanding access to global film content and fostering intercultural dialogue, dubbing contributes to a more inclusive audiovisual landscape and creates economic opportunities within local creative industries. The study therefore underscores the growing relevance of dubbing in intercultural communication and points to its considerable potential for further development within the field of Audiovisual Translation.

 

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