Monthly Archives: February 2010

Here is an interview Bashir Yahuza Malumfashi of the Hausa language weekly Aminiya did with me in December while at the Indigenous Language Literature conference in Damagaram, Niger, December 2009. It was published in last week’s Aminiya, 5-11 February, on pages 20-21. Despite the awful pictures of me, I was quite pleased with how the interview turned out (and pleased with how he edited and corrected my Hausa!). To read the interview, you will probably have to download the photos and open them at 100%. (If the photos are showing up too big to read, try clicking on my home page link. It should allow you to access beyond the margins. UPDATE: 13 February 2010: Actually probably the best way to read the article(as pointed out by Desertgills) is to click on the photos–that should take you to my flickr page. After that click on the All sizes icon at the top of the photo and pick “original size”–that should make it big enough to read… UPDATE 7 April 2010, I actually just found an online version of the interview, so no need to go to all the trouble clicking on photos.)

There were several funny things I thought I should note. First of all, the headline on the front page of Aminiya is “Ta Karya Hannun Mijinta kan Kud’in Cefane”/”She broke her husband’s arm over cooking money.” Aminiya typically features sensational tabloid-style headlines to human interest stories like this. I laughed when I saw it though, because of all the photos on the front of the paper, mine is the only one of a woman. So, naturally, the reader might think that there is this crazy baturiya who broke her husband’s arm….

from Aminiya 5-11 February 2010, pages 20-21

The second cringe moment comes on the second page (page 21) when I am talking about 19th century writers who were writing about “love” in addition to other social issues. I was making a point about the dangers of judging novels as “merely” romance novels because they include elements of romance, and also pointing out that Jane Austen, the Bronte sisters, and other literary icons of the early 19th century were writing in a reading culture that was filled with the popular “Gothic romances,”  often called “trash” in their day. Jane Austen mocked these novels in her satirical Northanger Abbey, while Charlotte and Emily Bronte took the tropes of the Gothic Romance to the next level in Jane Eyre and Wuthering Heights. My point was that these writers were reacting to and building on this popular literature and a reading culture that is necessary for the emergence of any literature. I remember in the interview, talking about “Jane Austen” and the “Charlotte Bronte.” Unfortunately, that somehow got transcribed as “Jeane Austin” and “Sheldon.” Please note, that while Sidney Sheldon is a popular writer, he was not writing in the 1800s, and he was not whom I was referring to…

Here is a summary of the interview in English.

Malam Bashir asks me how I started to become interested in Hausa.

I tell him that I grew up in Jos, where my father is a professor at the University of Jos, and I started learning Hausa there. But when I started my MA degree at the University of Wisconsin, Madison, I was required to learn an African language and decided to continue with Hausa. I went to Sokoto, where my teacher Dr. Malami Buba brought me Hausa novels and films.  I had been planning to base my research on English language Nigerian literature, but when I started watching Hausa films and reading Hausa novels, I realized that there were a lot of people outside of Hausa speaking areas who had no idea it existed, even to the point where people often complain about the lack of reading culture in Nigeria. But I saw it was not the case in the North where people were reading Hausa.

He asked me what I could say about Hausa writers and filmmakers.

I said that they really impressed me. I said I had always been interested in writer’s movements and the history of literature [such as the Romantic poets etc]. When I came to Hausaland, I realized that the sort of literary/art movement I had always been interested in was happening here in Hausa. I said that I was impressed by how writers and filmmakers and singers often worked together. I mentioned Ibrahim Sheme’s novel ‘Yar Tsana as particularly impressive and said I also loved the novels of Balaraba Ramat Yakubu, Ado Ahmad Gidan Dabino, Nazir Adam Salih, etc.

He asked me about which films most impressed me. This was the most embarrassing part of the interview because there were films I wanted to talk about but I couldn’t remember their names. I mentioned Sani Mu’azu’s film Hafsat and the film Zazzab’i.

He asked me about the importance of the Hausa language in the world.

I said it was one of the most important languages in Africa, that some statistics show it has more speakers than Swahili, which means it is the largest language spoken in Africa after perhaps Arabic. I also thought that the proliferation of Hausa films and novels was helping the development of Hausa. I gave the example of those who were not of Hausa ethnicity but who enjoyed the films. I mentioned also that when visiting the office of VOA-Hausa earlier that year, one of the reporters showed me some Ghanaian Hausa films made in Accra.  I further mentioned the writer Ngugi wa Thiong’o who is always talking about the importance of writing in African languages. Also if we look at the history of literature in English, if writers like Shakespeare [Chaucer] etc had not chosen to write in their own languages, although English was not yet the language of power at the time, English would be a much poorer language and we would not have these great literary works with us.

He asked me if I was thinking about writing a book in Hausa.

I said that there were certainly writers who wrote in languages of their adopted countries, like the Polish-British writer Joseph Conrad and the Russian-American writer [Vladimir Nabokov]. However, I said that my Hausa was not strong enough to write a book yet, but maybe if I lived in Northern Nigeria for the next fifty years, my Hausa would be good enough to write creatively in it. Right now I write in English.

I’ll skip the next question and move on to the first question on page 21, where he asked me what I think about what happened between filmmakers, writers, and the Kano State Censorship Board.

I said that I had much to say about this but I would focus my comments on my own area of expertise. Since I know about literature and the history of literature in English, I would talk about the parallels between what I saw here and what happened then. I said that Jane Austen and the Bronte sisters [which somehow got transcribed as “Jean Austin and Sheldon”] were writing in England during the 1800s, and they were writing about love. They were writing during a time when there were lots of books floating around [Gothic romances etc] that people said were not great literature, that these novels were spoiling the upbringing of young girls etc (the same things that are being said now about Hausa literature). But I said that though the novels of Austin and the Brontes talked about love, they also talked about other social issues of the time, poverty, and class and injustice.  I said that we could draw a parallel between this English literature and contemporary Hausa literature. Although there are films and novels that focus on love, there are also a lot of other social issues that are caught up in these stories. During the conference in Niger, Malam Rabo (the head of the Kano State Censorship board) proclaimed that he would not read any more love stories for a year [he said that writers should focus on more “important” social problems like declaiming drug use, etc]. But I would ask him, if he says he will ban love stories, what will that do to Hausa literature and films? There is danger if there is someone sitting in the government saying that writers and filmmakers must write or make films about certain prescribed issues and not about others. There should be some amount of distance between creative artists and the government, because the writers and filmmakers are the voice of the ordinary people. They have the power to present problems that ordinary people suffer, so they shouldn’t be prevented from bringing these things out. Also, if Malam Rabo says that for a year he will refuse to read love stories at the censorship board, this is a way of suppressing the voice of women, because many of the stories classified as “littattafan soyayya”/love stories are those novels written by women. Also, these books might deal with romantic love but they are also about problems of the household and the relationships between husbands and wives. If you say that writers must write about the problems of drugs etc., it seems that you are saying that the problems on the street are more important than the problems of the household or the family. I believe it is very dangerous to say you are going to ban an entire theme in literature and only allow the themes you are interested in. Each writer should be allowed to write on those things that he or she wants to write about. If you want to send a message to the readers, then you can write your own book. If the readers like it, then they can read your book and leave behind the love stories, but one mustn’t prevent writers from writing about their lives. There are a lot of complaints about writers writing on adult themes that spoil the upbringing of children, but there are other avenues to address this beside issuing bans. For example, there could be a law passed [like that of the National Film and Video Censors Board] that books with adult themes cannot be sold to children–there can be a differentiation between books written for children and those written for adults.

Bashir Yahuza Malumfashi asks me about what I think about Malam Rabo’s statement at the writer’s conference about how the foreigners and Europeans who said they were interested in Hausa language and culture were not really interested  in it–that they were just tricking and deceiving people for ulterior motives.

I say that I can only talk about myself–that there is no way that I can know about the motivations of every other European or foreigner who comes here. But I said that I truly do love Hausa language, literature, and culture. I came here to this country to do research and I would love to stay and live here and continue to raise the interest of those outside in Hausa language and culture. I am certainly not lying about this. I truly love Hausa and Hausa people.

He finally asks me about my marital status and whether I could marry a Hausa man and live here.

I said that marriage is according to God’s will, and that I will follow whatever God has prepared for me.