vice and videos 131culture.” Rabee’u Bebeji’s (2003) detailed critique of the film, published
in Fim magazine, focuses on the three staple strands of critique common
at the time: the use of “song-and-dance sequences” (rawa da wa’ ka), the
“copying” of “foreign movies” (wanki) and therefore of alien customs,
and the predominance of “love” (soyayya) as a central element of the plot:
Like I have said many times before, song and dance is not part of our cul-
ture; it’s a custom of idolaters, and it does not fit in with our culture. For
that reason, I think it would be good to stop dancing and singing in our
films.... Again, I wish to caution A li Nuhu about the films he is making. It
would be truly appropriate if he started making films that show our pure
Hausa traditions, instead of contenting himself with imitating others or
the traditions of others. It would be great if A li and his kind began to make
films we could be proud of, films that could help us in the moral upbring-
ing of our younger brothers, children and wives, and even ourselves. I
would love to see [FK D Productions] abandon [their predilection for]
Hindu traditions and instead turn to our own, as they did [in Khusufi]
with those of the Fulbe and the Kanuri. (42; my translation)The sequence showing Hajjo in her rural home is actually the only scene
Bebeji finds remarkable. It seems to suit the critic just fine that the Fulbe
in this sequence have little in common with those living in present-day
rural Nigeria and are instead related to the noble savages staged in the
folkloristic performances of the Kano State History and Culture Bureau.
He goes on to demand that the filmmakers stop making movies about
love because such films “spoil children” and “teach them how to say ‘I love
you’” at much too early an age. Though he claims that “Khusufi has almost
no message,” he has to admit that “the film still teaches some things, such
as the importance of trustworthiness, friendship, and respect for elders.”
Bebeji (2003: 43) is quick to diminish this positive evaluation, however,
by adding wryly: “It also teaches dancing and singing and how to dress
up as a real ‘Nigga.’”
FILMMAKING AS PREACHINGDespite A li Nuhu’s statement a few months prior that he would not
“stop imitating Indian films,”^2 the constant critique from people like Be-