Yobe Journal of Language, Literature and Culture (YOJOLLAC), Department of African

Languages and Linguistics, Yobe State University Damaturu, Yobe State-Nigeria; ISSN:
2449-0660, Vol. 7 No. 1 Pp. 214-220

MORAL DEVELOPMENT IN HAUSA EPIC THEATRE

Ibrahim Lamido
Department of Languages, Federal University Kashere, Gombe State
lamidoibrahim52@gmail.com
+2347060777144
&
Saleh AHMAD Abdullahi
School of General Studies,
Gombe State University of Science and Technology, Kumo
salehmadbiri24@gmail.com
https://orcid.org/0000-0002-2221-083X

Abstract
There are several works that dealt with Hausa films and drama. Most of these works are critical
analysis and overviews. This paper dwelt on Hausa home videos where forms and contents were
examined and critically analyzed. The paper proposes the need for Hausa playwrights and movie
producers to evolve a new approach in the making of their film for the purpose of moral
development in the Hausa society a cause they always claimed as the purpose of their
production. The paper proposes the use of Brecht‘s Epic theatre model to achieve this purpose.
Some tenets advanced by the model are employed and critically examined to alien Hausa drama
and films to the model in order to promote morality in their form and contents. The outcome of
the analysis revealed Hausa epic theatre and or film as a model divorced from attitudes that are
found not in conformity with the revered Hausa culture and their replacement with acceptable
values and norms of the Hausa traditions.

Key words: Epic, Theatre, Drama, Film, Moral development

Introduction
It is evident from Gusau (1995) that there is insufficient work by scholars on Hausa drama in
comparison with prose and poetry. This probably might have emanate from the fact that there but
a few number of playwrights that produce written drama or theatre (Yahya, 1988:207-239)
The Hausa home videos and or films are by extension emerged from Hausa traditional plays
(Abbas, 2005:23). In this regard, a brief on the history of traditional drama need to be advanced

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here. The history of Hausa traditional drama can be trace as far back to the history of Hausa
people before their contact with Islam and the west. Investigation shows that Wasan Gauta a
drama played by concubines in the emir’s palace and sometimes by youth in the street, is the
earliest traditional drama in the Hausa society. This drama is categorized into two: one played by
males known as Kalankuwa and the other ‘Yar tsana played by the females. The two are the
earliest drama in Hausa land (‘Yar’Aduwa, 2007: 8- 10). As for the written drama, history shows
although traditional plays and sage drama continue to exist during the advent of Islam in the
Hausa society, there was no play found during the jihad period as most of the Hausa literature
produced then largely concentrates on prose and poetry aimed at preaching Islam. According to
‘Yar’Aduwa (2007:11), the beginning of modern drama/play came about after the coming of
Europeans and to the establishment of schools for the purpose of instilling western education
popularly known as Ilmin Boko in Hausa land. Research revealed that the first written play was
the Hausa dramatic literature written by Dr. Rudolf Pristze in 1902. The drama was composed of
traditional drama which the author compiled with the support of a native Haji Ahmed. That was
followed by six Hausa plays written by Dr. R.M. East in 1930. Thereafter a considerable number
of books were produced on drama by indigene scholars (Yahaya, 1988:233-34).
By implication both the traditional drama and the written are one in purpose as both inculcate the
values and norms of Hausa among the people (Dangambo: 2008-26).
Background of the Study
It is evident that theoretical models for the analysis of drama/theatre in the true academic sense is
quite insufficient compared to prose and poetry, Gusau (1995). Notable among the few scholars
that contributed in this direction are Abbas (2005), Dangambo (2008) and ‘Yar’Aduwa (2007)
etc. These scholars categorized drama into stage drama/theatre, television/radio drama and the
Hausa films. According to ‘Yar’Aduwa (2007:42-43), Hausa drama can be analyse by looking at
the format, actor, condition, time, language style and theme. The latter is comprised of two:, to
educate and correct.
Xangambo (2008:27) analysed drama /theatre thematically as follow:
a. For the purpose of reproval and correction as in Uwar Gulma by Muhammad Sada and
Matar Mutum Kabarinsa by Bashari Faruk.
b. For the purpose of enlightenment as in Wasan Marafa by Abubakar Tunau.
c. For comedy purpose as in Tabarmar kunya by Dangoggo and Daudu Kano.

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 d. For the purpose of promoting Hausa culture, history and values as in Shaihu Umar by
Umaru Ladan and Dr Lyndersey.
e. For the purpose of demonstrating social problems bedeviling the Hausa society. i.e force
marriage, embezzlement, bribery, wickedness, selfishness etc.
There is sufficient evidence to prove that the present Hausa films prevalent in the market are not
in consonance with the objectives of Hausa drama advanced by the scholars above. This requires
measures to curb these unhealthy situations that are hell-bent on crippling our most revered
norms and values.
Objectives of the Study
Looking at the structure and style of Hausa drama and its social implications for the society, the
primary objective of this study is an attempt to examine Hausa films and radio/television drama
based on their themes using Bertolt Brecht’s epic theatre for the purpose of moral development.
However, the paper has the following other objectives to meet:
a. Examine the roles of Hausa film actors and suggest how the roles can be aligned to adopt
the mode of epic theatre.
b. Examine sub themes that deviate from the Hausa tradition and suggest how they should
be corrected to suit Hausa culture by applying the relevant tenet of Brecht’epic.
c. Examine other actions that are alien to Hausa people in the specific scenes and by the use
of epic model suggest what needs to be done to surmount the problem.
d. Suggest otherwise how stories can be reshaped to agree with the Hausa culture and
traditions.
Epic Theatre as Model for the Study
Epic theatre is a theatre movement that emerged in 1926. It is a term used by its founder to refer
to modern theatre. It is called epic in the sense that it contains series of loosely connected scenes
most often interrupted to avoid creating illusions to the audience. The founder a German
playright in the person of Eugene Bertolt Brecht introduced the model to create balance between
the characters played by the actors and showing the audience that truly the character is being
played. It is therefore a move that totally deviate from the heightened actions of melodrama and
metaphysical actions. This study found the tenets of the model as useful in repositioning the
Hausa films to the manner compatible to Hausa cultural norms and values.
The following are observations made by Brecht which gave rise to his model:

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1. Projection and mechanization which are parts of the theatre equipments, hinders
demonstration of the most important transaction between the actors and the spectators by
personifying the motive forces or subjecting the characters to invisible metaphysical
powers. To make this transaction more intelligible, the environment in which the people
lived which of course has been shown in the existing theatre/drama should not be seen
from the central figure’s point of view or by hero’s reaction to it. On the contrary, it
should bear in a big significant ways which common sense can accommodate.
The above view suggests action that depicts reality outside. The performance of the
actors should represent true life outside. Actions like flying in the air or the use of energy
beyond human understanding should be discouraged. That is saying the films equipments
which are use to enact actions beyond the understanding of the audience shouldn’t be the
focus of the producers and directors, although it is sometimes sensational and thrilling.
But should depict what common sense can understand.
2. The background adopts an attitude to the events on the stage whose sense was quite
unclear, this is so because the actors too much carried away from their roles, remained
detached from the characters they are playing and therefore invite criticism of him.
This view translates into roles played by some actors beyond the characters they are
imitating. In the other way, The results lead to overacting whose consequence attracts
criticisms from the audience.
3. The spectators were no longer allowed to submit to an experience uncritical by the way
production took them away from the subject matter and put them through what Brecht
termed a process of alienation.
Brecht argument above is hinged on the fact that certain roles played by some actors is
totally out of context. This happens where film stories from the actors performances
digress from their actual purpose. One hears sometimes disagreement from the film
producer and the director as a result of this.
To ameliorate these factors Brecht ‘epic theatre proposes the following as most suitable
in the making of films:
a. Acting in epic requires actors to play character believably to prove the claim that they
are demonstrating the reality outside.

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 b. The audience should be aware that it is watching a play/drama. Brecht dislikes
heightened emotions of melodrama.
c. Each scene and each section of a scene must be perfected and played with much
discipline as if it were a short play complete in itself without any smudges. Actors
should not go outside the roles assigned to them by the authors, and directors should
stick to scripts to imitate their stories perfectly.
d. It is important that the choices the characters made were explicit and tried to develop
a style of acting. This is not a case with regular actors although a case of overacting is
common with some films.
e. Epic approach to drama or film production utilizes a montage technique of
fragmentation and contrast (Brecht 1926). This is a common practice with Hausa
films. There is sharp contrast between environment where there is light and dark
places. The seasons and climate are also respected in the course of shooting.
Relevance of Epic Theatre to Hausa Film/Drama
Although theatre specifically is a lively art in which the audience watch play live being perform
by actors as against television drama, home video or films in which the audience only look at
moving images performing their play but scholar look at the two as one in structure and purpose
(Wilson & Goldfarb 2002:4).
According to Wilson & Goldfarb (2002:5) are of the opinion that drama presented in theatre and
those in films or television are alike in many ways. “Both offer a story in dramatic and enactment
of scenes by performers who speak and act as if they were the people they represent and films
and television can give us many of the same feelings and experiences that we have when
watching a theatre performance”.
‘Yar’Aduwa (2007:11) also incorporates traditional play performed lively on one one hand and
television/radio drama, films and written play/drama on the other hand as altogether drama.
Resulting from these similarities one will agree that there is justification of applying epic theatre
on Hausa films and drama.
Research Methodology
A research of this sort is one which involves visuals and non visual materials (Ezenwanebe,
2014:153). The research uses both pictorial and literary materials comprising of Hausa Radio and
Television drama, Hausa films and scholarly text books and journal papers. The selected films

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have been watched several times along with short radio and television drama to source data
needed for the analysis. As rightly pointed out, the data is employed using Brecht’s epic model
for the analysis.
Application of Epic Theatre to Hausa Films/Plays and Drama
Scholars are unanimous with Dangambo (2008:26) that a given drama be it theatre, film or
written play is a mimic performance done by imitating people and their lifestyle with a view to
enlighten and educate members of the society. The following implies the basic functions of
play/drama according to Dangambo (2008:26):
a. “Alamta wata manufa ko tsara ta a cikin raha mai kama da yakini
b. Yin kamar/irin yadda wasu suka yi wani abun nishaxi a aikau ko a wani fanni na
rayuwar al’umma cikin raha da nishaxi a aikau ko a rubuce.
c. Kwaikwayon wani fanni ko wata halayyar rayuwa ta al’umma don fito da wani darasi ta
hanyar nishaxantarwa”
Translation:
a. Demonstrating a specific objective in form of imitation through entertainment.
b. Doing as others do in their day to day life practically in a written form by the use of
humour or any other form of entertainment.
c. Imitation of lifestyle of a society to inculcate a lesson through entertainment.
From the above, it can be said with justification that the radio/television drama such as
Duniya Budurwar Wawa by Usman Baba Pategi. Taskira Asirin Mai Xaki by Mustapha
Dan haki, Karanbana by Kasimu Yero, Na Yalli by Arma Ya’u Liti conform to the said
functions above. On the other hand, most of the present day Hausa films and drama
demonstrate contrary. Thus the moral upbringing in drama from what we see and learn in
the films is absence in most films. To be able to restore these values there is need to
review the production process of the Hausa films to conform to the values and norms of
the Hausa society as rightly pointed out in c above. To achieve that, the following
principles of Brecht’s epic theatre are here by proposed:
Actors Should Play Characters Believably
According to epic theatre the actors should play characters believably without convincing the
audience that they are something else. In this respect we will convincingly submit to traditional
drama of actors like Kasimu Yero in Qarya ta qare, Umar Abubakar in Idon Matambayi, Usman

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Baba Pategi in Samanja mazan fama and Duniya Budurwar wawa and so on demonstrate a clear
picture of the activities taking place in Hausa society. Their action depicts the characters they are
playing and reflect the reality outside. It is however a matter of contest that what is found in most
of the Hausa home videos is not an exact reflection of Hausa culture. Indeed there are prevalence
of attitudes in the roles of the actors which disagree with the Hausa culture claimed to be the
focus of the films by the playwrights and producers. A clear case is the dancing and singings
perform by young men and women together in the name of love. One wonders what kind
character in the Hausa society being imitated and what Hausa culture conforms to that. In the
history of the Hausa culture there are wasan motsa jiki da waqa played by children, gaxa another
act of physical demonstration of body hands and legs with songs by the females (Gusau
2003:14). There also exists wasan asauwara played by both males and females youth. None of
these three is applicable to what is seen in Hausa films and home videos not even the asauwara
which comprises of both sexes. This is so because the attires use by the actors which are
characterized by T-Shirt, jeans, belts and posing caps and the display of almost naked bodies is
uncultured and that is not playing the characters believably. The playwright or producer probably
intends to demonstrate Hausa culture in every respect, but the director too absorbed in his
determination to satisfy consumers refrained from the actual plan and makes his actors detached
from their actual role. Resulting from this, most producers of Hausa films and home videos,
anxious to see their production attracts market accept the attitude. While the songs performed by
the actors are acceptable, the appearance should be improved so that it will agree with the
revered Hausa culture being imitated as done in the films like Sangaya, Sartse, Ki Yarda Da Ni,
Mati da Lado and so on and so forth. One can appreciate the display of real Hausa traditions
devoid of anything alien. From mode of dressing to traditional leadership, housing, norms and
values etc. On the contrary, films like Jarida, Furuci, and so on cannot be accommodated. For
example the role played by mother in-law seducing a son in-law in return for access to immense
wealth is totally out of Hausa culture. The young spectators watching such films may adopt a
new attitude whose adverse implication will affect the revered culture of a Hausa man. It is also a
totally unacceptable behavior for a servant to offer his unborn child to the wife of his boss just
for the purpose of saving her marriage. To this end the scenario post to the audience in which the
major actor offered his unborn child to his boss’ wife so that it will look like the child to be born,
belongs to the latter is something peculiar to Hausa traditions. Hausa people do not go to this

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extent of charity no matter the deviation of the societal norm. This is saying for the moral
upbringing, especially to our young ones who consider such films as entertaining, there is need
for producers and actors to demonstrate what common sense will absorb as real Hausa life in the
interest of promoting morality among the Hausa society. Just as epic promotes the spectators
should be made to always believe what they are watching is drama/play.
Play Should Not Detach Audience from its Purpose
According to Brecht some drama/play presented took the spectators away from the subject
matter, drawing away their minds from the initial purpose of the play subjecting them to
unnecessary roles that are mostly not in conformity with the central theme of the play. In this
regard some of the home videos/films misdirect the audience from the initial purpose of the films
by manner of subjecting the actors into unnecessary roles that do not conform to the typical life
of a Hausa man. For example one wonders what the audience emulates from the fighting scenes
in films like Furuci, Jarumin maza and Wata rana. The primary aim of each can be conveyed
without involving serious fights and maiming with knives and cutlasses. The actions of the
principal actors and villains in Jarumin maza, and Wata rana, engaging enemies in Chinese
fighting are very much irrelevant to Hausa society. These sorts of actions and melodrama divert
the young spectators from the actual theme of the films and dangerously teach bad behaviors
among children.
On another hand beside dancing and singing, films like Al’ajabi and Nagari and Sartse produced
actions that are relevant to epic. With justification films like Zakaran Gwajin Dafi and Ki yarda
da Ni are all in agreement with epic style in every respect.
Each Scene and Each Section of a Scene must be Perfected and Played with much
Discipline
According to epic theatre each scene must be perfected and played with competence and
efficiency to achieve their primary purpose. Characters should act and play each scene with
perfection and not to end up derogating themselves as a result of poor acting and or over acting
in most cases. There exist cases of poor acting and over acting in some Hausa home videos. A
glaring example is in Camama films which are Hausa comedies perform by notable Hausa
comedians. The roles perform by some actors are evident cases of over acting. Notable among
them are Teburin Mai shayi, Xan Malam nad Zinaru. For example the role of Zinaru’s uncle in-
law as irresponsible elder is way out of the reality in Hausa society. Zinaru who also appeared as

8
village girl possessed by evils was found over acting in a number of scenes. Some
demonstrations observed are not playing the village girl attitude perfectly. These few scenes of
over acting affect the rest scenes perfected well thus attracting unnecessary criticisms of it by the
public.
The choices of characters should be explicit and must develop a style of acting.
There are instances in which new actor introduced into films demonstrate action that are not
explicit to the task assigned them. While this is acceptable because they are new, it is
unacceptable in the case of the regular actors. It is observed that roles played by some characters
underscore the task expected of them. The role assigned to young men and women as parents to
the central characters is not playing the characters explicitly. A young lady that can give birth to
not more than a 15 year son at maximum is captured playing the role of a mother of 25 year old
boy vis a vis the men. Despite the application of heavy make ups to turn her into a 50 year old or
60 in the case of men, there exist a natural feature that always give them away in the eyes of the
spectators. A typical example is the role given to some actors as parents to the major characters
like Dauda in Namamajo film. Likewise the actors assigned the role of parents to Nura and Sadiq
in Ruxani film is not explicit enough as the both the father and mother are not old enough to go
beyond brothers and sisters to the characters. Perhaps in a village society it is possible but no in
the city where the action took place. Both the two films posts characters that are not old enough
to serve as parents to the major actors in the films, and that is short of style of acting. Directors
and producers should select actors that are adequate enough for the role of parenthood.
Conclusions
In conclusion the paper surveyed Hausa films and brought to lime lights areas of inadequacies in
the primary tasks. Using the Bertolt Brecht’s model the paper outline the major problems and
suggested how each can be ameliorated by adopting the tenets advanced by Brecht’s epic theatre.
This is done to promote morality in the films which is the claim of the producers as central theme
to their productions. Areas discussed are roles assigned actors, the themes and characterization.
Although the tenets are five, only four are used in the analysis. The paper revealed how epic
theatre model can be used to promote moral development in Hausa films.
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