WAƘOƘIN HAUSA NA GARGAJIYA
By
Yakubu Aliyu Gobir
And
Abu-Ubaida Sani
Song is not a new concept among the Hausas. Scholars and researchers have long conducted studies and written extensively on it at various academic levels. This is because song is deeply intertwined with the daily life of the Hausa people and indeed with communities worldwide. The Hausa engage with song in almost all their everyday affairs, including politics, festivals, games, education, advertising, and even religious matters at times. This is due to song's powerful ability to penetrate the heart, capture emotions, and attract attention.
However, Hausa song is not a single, unchanging genre. Instead,
new styles and forms emerge over time. From the early era when the Hausa
performed songs orally, they eventually progressed to writing them down. This
development came after contact with foreign communities, particularly the Arabs
and Europeans, which provided them with literacy. As time went on, modernity
introduced new methods of composing songs using contemporary musical
instruments. These hybrid songs remain debated regarding their appropriate
classification, as they resemble both oral and written songs—like a bat,
neither fully bird nor fully animal. Regardless, it must be acknowledged that
modernity has brought this new song form.
On the other hand, the emergence of modern studio recordings and
various modern influences on traditional Hausa songs has caused traditional
songs to decline, to the point where they risk disappearing entirely. This
situation has created an urgent need to collect and preserve important
information about these traditional song forms in one place to prevent their
loss. Even if traditional songs cease to be performed, they will remain
documented in writing—until Judgment Day.
This book attempts to collect information on traditional Hausa
songs. It is divided into eight chapters:
Chapter One serves
as an introduction, presenting scholarly opinions on the origin of song. It
also discusses the importance and uses of traditional songs, including warning,
education, entertainment, teaching heroism, advertising, prayers for good, and
others. Additionally, following the Hausa saying "Every fabric has its
flaw," the chapter acknowledges the shortcomings of some traditional
songs, including the use of obscene language.
Chapter Two focuses
on games songs, a category of oral songs. Various songs are performed during
different games, with themes that vary depending on the time, location,
participants, and purpose of the game. The chapter provides examples of games
that feature songs, including boys' games, girls' games (including gaɗa games),
and tashe games.
Chapter Three focuses
on work songs, which primarily concern women directly. These are songs women
sing while performing various tasks, helping to ease their workload and
increase their energy. Such tasks include grinding, weaving, sewing, pounding,
spinning, and others.
Chapter Four presents
traditional songs related to marriage or escorting the bride. Hausa ceremonies
are generally intertwined with songs and chants, including weddings. During
wedding ceremonies, women and girls sing songs, especially while escorting the
bride to her room. The themes of these songs typically center on bidding
farewell to the bride, reminding her of the important task of marriage ahead,
and encouraging her. The chapter provides numerous examples of such songs.
Chapter Five provides
examples of songs found within folktales. Hausa folktales serve as a
significant vessel for traditional songs. These songs help convey themes such
as warning, education, heroism, and others. They also add flavor to the
folktales. The chapter presents examples of traditional songs from Hausa
folktales.
Chapter Six presents
examples of oral songs related to rain-seeking. This is another category of
Hausa oral songs, including songs of satire, Halilu, Allah
mun tuba (God, we have repented), and similar forms.
Chapter Seven presents
songs related to begging. Begging is a long-established practice in Hausa land.
Beggars use songs while carrying out their begging activities. Examples
include Saboda Manzon Allah (For the sake of God's
Messenger) and Mu Roƙi Allah Sarki (Let us beg God, the
King), among others.
Chapter Eight is the final chapter. It contains information on the characteristics of traditional Hausa songs, as illustrated by the examples provided in previous chapters. These characteristics include the absence of a fixed meter or rhyme scheme, the fact that they do not require musical instruments, and other distinguishing features.
0 Comments