In terms of storytelling, old films are much better – Musa

Khalil Musa is one of the veterans in the Kannywood film industry; in this interview with IBRAHIM HAMISU in Kano, he shares his biography and more.

Background/beginning

My name is Khalid Musa, although some people know me as Haladu Musa, especially during my school days and at work. I was born in 1962, as indicated on my birth certificate, in the town of Burum-Burum, Tudun Wada local government area, Dankadai. In those days, birth certificates were not common in rural areas, so it was difficult to keep track of one’s age. However, I estimate that my age is around 63 or 65. I pray to God to bless my life.

I attended primary school in Burum-Burum from 1969 to 1975, and then went to Rumfa College from 1975 to 1980. I briefly worked with Gaskiya Corporation in Bompai, Kano, for three months, from November 1980 to March 1981. On March 16, 1981, I started working with the Kano state government, where I spent about nine years.

I started working immediately after secondary school, which limited my education. Most of my education came from on-the-job training. I attended the School of Management in 1981, and later returned to the same school in 1986-87 for an Executive Officer’s Course. In 1989, I was sent for a course in Public Administration at Bayero University, which I completed in 1992.

At the time of my final exams, my father passed away. I am currently married with 14 children, four girls and ten boys.

When did you venture into the Hausa film industry?

I started writing while in secondary school. However, my first published work was in 1981, when I wrote a play called Rubutaccen Al’amari. Although it was not published, I submitted it to Gaskiya Corporation in Zaria in 1982. I think they still have a copy.

How did the Kannywood film industry originate?

I was part of the pioneering groups that started the industry. Theater groups were the foundation of Kannywood, and we were among the first to experiment with video technology to produce our plays. The Gyaranya group was the first to produce videos of their plays, but they didn’t intend to make a profit from them.

Initially, they produced films without expecting to make money from them. They would produce and watch the films themselves. The Gyaranya group split into two factions, and some members joined another group called Hausawa (O.M.C.) on Zoo Road, Kano, to form Jigon Hausa. Another group, JAN ZAKI, also emerged from Gyaranya. All these groups continued to produce films before the industry became professional.

For example, Jigon Hausa produced three films between 1985 and 1986, including Sanda Jan Namiji, Ganin Hadarin Nesa, and A SAN NA KAMAWA. The Tumbin Giwa group was the first to turn filmmaking into a profession. The DABO group also started producing films around the same time. Tumbin Giwa was the first to take their films to the market, but Jigon Hausa was the first to open up the Hausa film market.

They were the first to produce a film with a unique storyline titled MUNKAR. MUNKAR was the first film to commercialise the Hausa film industry. It was the starting point for the industry’s growth. Within two months, they sold over 1, 000 copies, which was unprecedented at the time. Therefore, these groups, especially Gyaranya, Tumbin Giwa, Jigon Hausa, and Dabo, are the pillars and foundation of the Kannywood film industry.

How do you compare the old films with the new ones in Kannywood?

In terms of storytelling, I think the old films are better. However, the new films have better production quality and equipment. The industry has made significant progress in terms of technology and production.