Tantance Awon Baka A Matanin Wakoki Makada Sa’idu Maidaji Sabon Birni

Citation: Anas Sa’idu Muhammad (2017). Tantance Awon Baka A Matanin Waƙoƙin Makaɗa Sa’idu Maidaji Sabon Birni. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 5. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660

TANTANCE AWON BAKA A MATANIN WAƘOƘIN MAKAƊA SA’IDU MAIDAJI SABON BIRNI

Anas Sa’idu Muhammad

Abstract

The analysis in the repertoires of Hausa oral songs context, progressiɓely has derived the enthusiasm of researchers due to the logical manifestations embedded in the compositional teɗts. However, the reɓiew of literature in this study uncovered very limited studies were conducted on structural analysis goɓerning the performances and stanza flow in Hausa oral song’s composition. Thus, this study utilizes the theoretical premise of Waƙar Baka Bahaushiya (WBB) to depict the context of performance and the stanza flow embedded in the textual repertoires of Makaɗa Sa’idu Maidaji Sabon Birni. The method applied in this study is qualitative in nature and the analysis is subjective to the postmodernist narrative discourse interpretation technique. The findings indicated that Makaɗa Maidaji has the solid power to competently filter his message to the audience as he adorns WBB theoretical stanza patterning of +lead+chorus+encoding+increase+corollary+-reaction/mutational response+song’s base+rhythm. Moreoɓer, the findings showcase the singer’s structural performances are heavily guided by the WBB theoretical edicts of stanza construction in terms of clause structures, simple, compound, complex, and compound-complex sentences in the enjambment and run-on patterns of rising+extreme-high+fused+ falling+end-stopped.

Key words: awon baka, awon ɗiya, awon rerawa, matanin Makaɗa Maidaji, waƙar baka Bahaushiya (WBB)

1.0 GABATARWA

Duk da dai Abdulƙadir (1981) da Muhammad (1981) da Abba da Zulyadaini (2003) da kuma Finnegan (2012) sun yi hasashen cewa hanya ɗaya mafi muhimmanci wajen fahimtar yare ko al’umma ita ce ta kallon awon baka. Amman kawo yanzu, nazarin awon baka na ɗaya daga cikin muhimman fanni wanda da yawan manazarta suka bar babban giɓi a kai. Bisa fahimtar sauran manazarta, awo a fasahar baka na bayyana aikin fasihi wajen dangantakar da ke tsakanin matani da ma’ana da kuma manufar saƙo ta amfani da salo mai gamsarwa (Gusau, 2014; King, 1967).Yiyuwar hakan ya sa Gusau (2003^a) ya ayyana lallaimatani a waƙar baka a kowane “ɗan waƙa mai nazari zai iya kula da yadda makaɗi yake ƙulla carbin tunaninsa da saƙa kalmomi donisar da saƙonni cikin jimloli” (sh. 33-34). Shi kuwa Satatima (2009) ganin yake yi ana“fayyace ɗan waƙa a matsayinsa na ƙunshiyar saƙo ko manufar waƙa da ke auna yadda makaɗi ke shirya tunaninsa wajen ƙulla kalmomi su bayar da saƙon da yake burin isarwa ga al’umma” (sh. 127-128). Yayin da kuma Muhammad (2012) ke kallon awonbaka da“hanyar da makaɗi kan bi ya jera tunaninsa, tare da shirya shi domin ya isar da saƙonsa ga mai sauraro ta amfani da ɗiyan waƙa waɗanda suke tamkar rassa irin na itaciya da ake fara hawowa daga gindi a sauka ta kansa (Muhammad, 2012, sh. 147). Ke nan awon baka:

Fage ne na nazarin waƙar baka da ya shafi yadda makaɗi yake shirya waƙa a cikin zubin ɗiya da dabarun karin murya inda ake duba tsarin saɗara da adadin ɗiyan waƙa da tsarin rerawa da karin murya da amsa-amon kari da sauransu (Gusau, 2003, sh.32).

Domin haka, za a iya ayyanar da kowace al’umma da lokacin da ta soma nazarin awon baka a cikin fasaharta ta asali gwargwadon wayewarta da ci gabanta da saduwarta da wasu baƙin al’ummu.A waƙoƙin baka na Hausa, akan tsara ɗiya waɗanda ake amfani da su a gina waƙa (Abdulƙadir, 1975; Gusau, 2008). Domin kamar yadda aka bayyana makaɗa sukan yi amfani da zantuka ne su sarƙa zaren tunaninsu a waƙa don jawo hankali da saka karsashi da nuna zalaƙa tare da gwanincewar harshe (Gusau, 2002). Idan aka waiwayi ayyukan masana adabi irin su Muhammad (1981) da Gusau (2001) da Schuh (2002) da Olatunji (2005) da Gusau (2011) za a tarar sun nazarci hanyoyin awo da ma’auni da kuma tsari a waƙoƙin baka na Turawa da na Yarbawa da na Hausawa ta hanyoyi mabambanta.Ke nan awon baka hanya ce wadda ta ƙunshi karin murya ta fuskar hawa da saukada faɗuwar murya da amsa-amon karida tsarin layuka a ɗiya na waƙoƙin baka. A taƙaice wannan bincike yi yi ƙoƙarin amfani da dabarun nazarin awon baka daga ra’in WBB (Gusau, 2014) wajen ɗora matanin waƙoƙin Makaɗa Sa’idu Maidaji Sabon Birni[1] bisa masakin tarke. Duba da haka, wannan bincike ya yi amfani da dabarun ra’in Waƙar Baka Bahaushiya (WBB) wajen fito da tsarin awon baka a waƙoƙin Makaɗa Maidaji. Ke nan, sigar wannan binciken ya shafi matanin waƙoƙin Maidaji ne zalla bisa ra’in WBB inda yai ƙoƙarin amsa waɗannan tambayoyi: (a) Ta wace siga Makaɗa Maidaji ke auna ɗa mai sauƙi a matanin waƙoƙinsa? (b) Shin ko Makaɗa Maidaji kan tsarma awon ɗa mai tsauri da ke ƙunshe da harshen damo a matanin waƙoƙinsa? (c) Wace fitacciyar sifa ce Makaɗa Maidaji ke amfani da ita gina jimloli yayin rera waƙoƙinsa?

2.1 RA’IN WAƘAR BAKA BAHAUSHIYA (WBB)

Wani ɓangaren ra’in WBB ya fayyace tunaninsa ne dangane da wanzuwar awon baka a matanin waƙoƙin baka na Hausa. Dangane da awon baka, ra’in WBB ya fara kafa hujja ne da ayyukan Burton (1954) da Richards (1976) da Burgess (1964)da Gray (1975) da Muhammad (1978) da King (1986) da Schuh (2002) da Dunfawa (2003) inda yake kallon matanin waƙa dangane da tsari da ma’auni da ƙirgar ma’ana da kuma gidan dara na kari waɗanda fasihi kan yi amfani da su wajen isar da saƙo. Ra’in na nuni da sigar awon baka ta yadda fasihi ke nuna gwanintarsa tare da zalaƙar harshensa wajen isar da rauji tare da amsa-amon kari a cikin waƙoƙinsa. Hakan kan ba mazarci damar fahimtar daidaituwar kari a gaɓar saɗarun ɗiya (Gusau, 2014).Ta haka ne kuma ra’in WBB ya fito da hanyoyin awon baka a saɗarun ɗiyan waƙa ta lura da yadda ma’ana take hawa da sauka da yadda ake yi mata takidi da ajewa da saukar-sauka (Gusau, 2001).Ra’in ya fayyace yadda tsarin tarbe da rakiyada karɓeɓɓeniyada bayayyeniyake bayyana sigar dangantakar ɗiya a waƙoƙin bakana Hausa bisa manya da ƙananan saƙonnin turke. Ta hake ne ra’in WBB ke ganin, ana iya rarrabe ɗa da ɗa a waƙar baka ta maimaita rera gindin waƙa (a wajen makaɗi wanda = +ƙungiya +karɓi +Layi) ko sautin kiɗa(a wajen makaɗi wanda = –ƙungiya -karɓi -layi) ko tsarin rerawa. Domin hawa da sauka suna tabbatar da saƙo da makaɗa sukan cusa ba kara zube yake ba. Ta duban waɗannan bayanai, ra’in WBB ya bayyana hanyoyi guda biyu waɗanda ake amfani da su wajen fitar da awon baka da suka haɗa da:

Awon Baka na Ɗiyan Waƙa a WBB

Awon baka na ɗiyan waƙa kan fayyace matanin ma’ana ta hanyar fayyace ma’ana ne a ɗan waƙa mai nazari zai fito da matakai waɗanda makaɗi yake bi ta kansu wajen tsara ɗa a waƙarsa. Waɗannan matakai sun haɗa da:

Hawa: Na nufin inda aka fara furta ƙaramin saƙo; Jagora/Kaɗaita/Wakili.

Hauhawa: Na nufin inda aka ci gaba da furta ƙaramin saƙo; Jagora/Kaɗaita/Wakili.

Sauka: Na nufin ƙarasa furta ƙaramin saƙo da aka faro a hawa; ‘Y/Amshi+Layi, ko Kaɗaita –Layi.

Ajewa: Wuri ne da ake numfasawa kan gaɓar ƙaramin saƙo; ‘Yan Amshi/Kaɗaita.

Saukar-Sauka: Wato kacokan wurin da aka iyar da ƙarasa ƙaramin saƙo ‘Yan Amshi/Kaɗaita(Gusau, 2014).

Haka zalika, awon baka na ɗiyan waƙa na tafiya kafaɗa-da-kafaɗa da tantance ƙirgar ma’ana inda manazarci zai iya duba yawan ƙananan saƙonni ne da aka zuba a ɗa, za a yi amfani da haruffan Abacada Ɗa, b, c, d, e da sauransuɗ wajen ƙirga yawan ƙananan saƙonni da aka zuba a ɗa na waƙar baka. Sai kuma harafin Ɗɗɗ wajen nuna adadin layuka na gindin waƙa.

Awon Baka na Rerawa a WBB

Awon rerawa kuwa “tsari ne inda makaɗi yake amfani da karin murya cikin rauji mai ma’ana ya furta kalmomin da ya zuba a cikin waƙoƙinsa” (Gusau, 2003^b, sh.183). Ra’in WBB na kallon awon rerawa a matsayin hanyar da ake furta ƙwayoyin kalmomi cikin jumloli da tsara su saɗara-saɗara a cikin ɗiya tare da samar da rauji mai inganci da ake shiryawa da nufin isar da wani saƙo. Ra’in WBB ya fito da wasu dabaru waɗanda ake amfani da su wajen fito da awon baka na rerawa. Ra’in ya ayyana waɗannan dabaru na rerawa waɗanda ake ganin da wahala makaɗa da mawaƙan baka na Hausa su zarce wannan ƙa’ida ko da kuwa na kaɗaita ne ko kuma na ƙungiya ne. Ga yanayin afkuwar kamar haka:

i) Rerawa ta + Jagora + ‘Y/Amshi/ (‘Y/Karɓi) + Ƙulli + Tarbe (Ƙari) -/+ Karɓeɓɓeniya (Rakiya) + Gindin Waƙa -/+ Bayayyeniya + Kiɗa/Rauji.

ii) Rerawa ta + Jagora –‘Y/Amshi - Ƙulli –Ƙari – Gindin Waƙa + Kiɗa/Rauji.

iii)Rerawa ta + Jagora + ‘Y/Amshi/ (‘Y/Karɓi) + Ƙulli + Ƙari + Karɓeɓɓeniya + Gindin Waƙa – Bayayyeniya + Kiɗa/Rauji.

iɓ) Rerawa ta + Jagora -‘Y/Amshi - Ƙulli - Ƙari -Tarbe - Karɓaɓɓeniya (Rakiya ) + Gindin Waƙa + Kiɗa

(Gusau, 2002,sh. 44; Gusau, 2003^a, sh. 40).

Kashi na farko ya ƙunshi, jagora wanda ‘yan amshinsa suke ƙari da tarbe da karɓeɓɓeniya ko rakiya kamar Makaɗa Maidaji da Makaɗa Musa Ɗanƙwairo da Makaɗa Salihu Jankiɗi da Makaɗa Ibrahim Narambaɗa da sauransu. Kashi na biyu ya ƙunshi jagora da ‘yan amshinsa masu yin karɓi ta maimaita gindin waƙa zalla kamar Makaɗa Mamman Shata da Makaɗa Muhammadu Gawo Filinge da Makaɗa Audu Karen Gusau da makamantansu. Kashi na uku kuwa ya ƙunshi jagora da ‘yan amshinsa suna maimaita duk abin da ya furta ne ba tare da yi masa ƙari ba, kuma ba sa rera gindin waƙa domin waƙoƙinsu ba su da gindin waƙa. Wato masu ɗauke da tasirin bayyayyeniya ke nan. Kashi na huɗu kuwa ya haɗa da jagora wanda babu mai yi masa amshi ko karɓi, sannan babu mai yi musu ƙari, ba tarbe ba rakiya sannan kuma babu karɓeɓɓeniya ballantana bayayyeniya amma suna amfani da sautin kiɗa. Ire-iren waɗannan mawaƙa sun haɗa da Makaɗa Ɗanmaraya Jos da Makaɗa Babangida Kakadawa da sauransu.

3.0 FAYYACE AWON BAKA NA ƊIYA AWAƘOƘIN MAKAƊA MAIDAJI

Duba da ra’in WBB kamar yadda aka bayyana a baya, awon ɗa na iya zama mai sauƙi ko mai tsauri bisa tafarkin nazari kamar haka:

3.1 AWON ƊA MAI SAUƘIA WAƘOƘIN MAKAƊA MAIDAJI

Shi ne wanda zai ƙunshi ƙaramin saƙo ɗaya. Waƙoƙin Makaɗa Maidaji cunkushe suke da misalai,da suka shafi awon bakadomin kuwa yana gina waƙoƙinsa cikin tsarin rerawa mai armashi kuma karɓaɓɓe. Waƙoƙi ne da ke tattare da zalaƙar rerawa da gwanincewar harshe. Ga misalin tsarin ɗa mai sauƙi a waƙar Arzika ta noma ‘Sarki yai abin daka ya huta’:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Baba mijin Shibo mijin Maryama,

Sauka A² : Giwa maganin itacen daji,

Ɗ¹ : Sarki yai abin daka ya huta,

Ɗ² : Zaki ɗan Abubakar ɗan Buda.

(Muhammad, 2012, sh. 155)

Sannan a waƙar ‘kak ka yarda da raini uban Baraya’ ta Sarkin Zazzau, Alhaji Shehu Idris (1975-), Makaɗa Maidaji ya ƙara bayyana:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Ai ga ni na zaka Zazzau mu gai da sarki,

Sauka A² : Ban ga Habiba ba kuma ban ga Mariya ba,

Saukar Sauka A³ : Ai ko su Binta ba su da halin su daƙile ni,

Ɗ¹ : Kak ka yarda da raini uban Baraya,

Ɗ² : Shehu Alhaji Allah ya taimaka ma.

(Muhammad, 2012, sh. 157)

Har wa yau dai a waƙar ‘gagari gaba na Salihu’ ta Sarkin Gobir na Sabon Birni, Alhaji Ummaru ɗan Salihu (1957-1966),Makaɗa Maidaji ya ƙara fito da irin wannan batu:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Ga ni ina son ɓacin tcibilbila,

Sauka A² : Zaman zauri ɗai nika gudu,

Ajewa A³ : In zauri ya buwaya yanzu,

Saukar sauka A⁴ : Ko ga itace zama takai,

Ɗ¹ : Gagari gaba na Salihu,

Ɗ² : Mainasara ɗan Durumbu,

Ɗ³ : Ɗan Hayatu magajin gidan Kada.

(Muhammad, 2012, sh. 155)

A waƙar ‘ya kwan yana aikin mota’ ta Sarkin Tashar Motar Sabon Birni, Alhaji Idi ɗan Argiji, Makaɗa Maidaji ya isar da saƙo ta cikin kinaya tare da nuna zalaƙar harshe, ya yi amfani da wannan dama ya faɗi yadda ya taro aradu da ka domin ga shi yana so zai yi tafiya Zazzau ya amsa kiran Sarki amma babu wadatattun kuɗi a wajensa kuma ga shi da tarin yara masu yi masa amshi inda daga bisani sai sarkin tashar motar garin Sabon Birni ya shiga tsakani. Ga kaɗan daga cikin abun da ya rera:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Ga ni ina shirin tahiya Zazzau,

A² : Kuma ga ni ba ‘yan kuɗɗi,

Hauhawa A³ : Ina nuhin tahiya Zazzau,

A⁴ : Kuma ga ni ba ‘yan kuɗɗi,

Sauka A⁵ : Ga ni ina dibin mota ni ko suna kallo na,

A⁶ : ‘Yan Kamishon suna dibin mota,

A⁷ : Ni ko suna kallo na,

Ajewa A⁸ : Don sun gane ni da taron,

A⁹ : Yara zay yawa bayana,

Saukar Sauka A¹⁰ : Har an yi jinga na tada,

A¹¹ : Ba zan biyan kuɗɗi ba,

Ɗ¹ : Ya kwan yana aikin mota,

Ɗ² : Ɗan Argiji ɗan Shawai,

Ɗ³ : Sarkin tasha jikan Idi,

Ɗ⁴ : Jikan fulanin Ɓaure.

(Muhammad, 2012, sh. 156)

Ga kuma wani misalin ɗa mai sauƙi daga waƙar ‘Ya wuce tantama’ ta Alhaji Shu’aibu inda Makaɗa Maidaji ya bayyana cewa:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Ni da dai nas sauka Sabon Birni,

A² : To na sauka ko han na kwan,

A³ : Na ishe yara na wata waƙa,

Hauhawa A⁴ : To ko yara kau ko ‘yan mata,

Sauka A⁵ : Sun ce wanda yas sai nama,

A⁶ : Ya ɗara wanda yas sai kihi,

A⁷ : To, wanda yas sai anta,

A⁸ : Ya ɗara wanda yas sai hanji,

A ⁹ : To, kuma wanda yas sai doya,

A ¹⁰ : Ya ɗara wanda yas sai gwaza,

Ajewa A¹¹ : To, kuma wanda yas sai doki,

Saukar Sauka A¹² : Ya ɗara wanda yas sai jakki,

Ɗ¹     : Ya wuce tantama,

Ɗ²     : Shi Alhaji Shu’aibu zamani nai ya kai.

(Muhammad, 2012, sh. 158)

A waƙar ‘Ɗan Sidi amshi sandar mulki ƙasatai’ ta Sarkin Buza, Alhaji Muhammadu, Makaɗa Maidaji cewa ya yi:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Da na samu kurciya ko ko damisa ne,

A² : Ko ko tattabara uwat tsuntsaye na samu,

A³ : Da na ba da saƙo,

Hauhawa A⁴ : Saƙon da ba ni ba za ta zo ta kwana ba,

Sauka A⁵ : In tac ce gari da nisa in ba da taguwa,

A⁶ : In tac ce gari da yunwa in ba da gari,

A⁷ : In tac ce gari da ƙishirwa in ba da salka,

A⁸ : In tac ce gari da ɗari in ba da bargo,

Ajewa A⁹ : In taz zo tac ce matan Falgore ƙasatai,

Saukar Sauka A¹⁰ : Ga darnin da yab bari ya koma katanga,

Ɗ¹    : Ɗan Sidi amshi sandar mulki ƙasa tai,

Ɗ²    : Mai Buza ɗan Hassan mai taro hannu.

(Muhammad, 2012, sh. 157)

3.2 AWON ƊA MAI TSAURI A WAƘOƘIN MAKAƊA MAIDAJI

Shi ne ɗa mai harshen damo wanda ya ƙunshi ƙananan saƙonni biyu ko fiye da haka. Shaharar Makaɗa Maidaji a waƙar baka ta Hausa da gwanincewarsa wajen saƙa tunani don isar da saƙo cikin rauji mai karsashi ya ba shi damar watayawa cikin nishaɗi. Za a iya samun misalin ɗa mai tsauri a waƙar ‘Malam Alo na baraz zaki’ ta Alhaji Ali Marafa da ya ce:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Kura ba ta gasa da ɗan zaki,

Ajewa A² : Azamarsu ba ta zama ɗai ba,

Sauka A³ : Don azamar su wane ‘yar gajera ta,

Saukar Sauka A⁴ : Har yanzu ba ta yi tsawo ba,

Hawa B¹ : Ko can da shirin hwaɗa Ali yat tasa,

Hauhawa B² : Tun da ba a shira mai wuƙa ba,

Sauka B³ : Yanzu akwai wuƙa akwai mashi,

Saukar Sauka B⁴ : Don an shirya mai makami,

Hawa C¹ : Ko can dokin ƙwarai shi ka kama gudu,

Hauhawa C² : Shi daɗe shina hamidanci,

Sauka C³ : Shi kuma dokin su wane sai biɗar tsaba,

Saukar Sauka C⁴ : Tun ba a gwada mai ruwa ba,

Ɗ¹ : Malam Alo na baraz zaki,

Ɗ² : Jikan Kilo ɗan Marafa.

(Muhammad, 2012, sh. 159)

Sannan a waƙar ‘toya matsahwa baƙon dole’ ta Sarkin Gobir na Sabon Birni, Alhaji Salihu ɗan Umaru Shawai (1945-1956). Wannan tana ɗaya daga cikin waƙoƙin da Maidaji ya ɗani (Gusau, 2015) daga waƙoƙin yayansa Makaɗa Nadada. Makaɗa Nadada shi ne makaɗin Sarki Salihu, sai bayan rasuwar Sarki Salihu ne, Makaɗa Nadada ya koma harkar malanta, da ma yana da almajirai da yakan koyar, sai ya bar waƙa. Sannan ne Makaɗa Maidaji ya zama mawaƙin Masarautar Gobir ta Sabon Birni. Makaɗa Maidaji yana cewa cikin waƙar:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : An koma shiri na Ali na Gambai,

Hauhawa A² : Motsin duniya ya tashi,

Sauka A³ : Sarki za shi tarben Gwamna,

Ajewa A⁴ : Ke mota je ki ɗauki Baba,

Saukar Sauka A⁵ : Ki kai shi da lahiya don Allah,

Hawa B¹ : Taron shawara ne yaz zo,

B² : Mun yo rakkiya mun dawo,

Sauka B³ : An yit tambaya ba sarki,

Saukar Sauka B⁴ : Ban san inda zai kwana ba,

Hawa C¹ : Ni ban san inda zai kwana ba,

Hauhawa C² : Ko birnin Kabbi ko Dutse,

Sauka C³ : Sarki bai tsaya dun nan ba,

Saukar Sauka C⁴ : Amma ya wuce sai Wurno,

Hawa D¹ : In an kuma yin wani taro,

D² : Ko ni mai kiɗi sai na zo,

Ajewa D³ : Amma ban zuwa huntuna,

Sauka D⁴ : Sai an kuma ban wata riga,

Saukar Sauka D⁵ : Sai an kuma ban wani doki,

Ɗ¹ : Toya matsahwa baƙon dole,

Ɗ² : Jikan Sanda baban Yari.

(Muhammad, 2012, sh. 162)

A waƙar ‘na taho gai da babba gardaye’ wadda Makaɗa Maidaji ya rera wa Alhaji Ɗansanda Gangara, akwai inda yake cewa:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Na ishe tsamiya ta yi kyaun kunne,

Sauka A² : Ga makiyaya da ko gittocinsu,

Ajewa A³ : Ga tumakinsu mai takin oda,

Saukar Sauka A⁴ : Babu damar a sara sai dibi,

Hawa B¹ : Ina manoman ga ‘yan takin oda,

Sauka B² : Wanda ya iske gawo ya sare,

Saukar Sauka B³ : Ya yi kashi ne da kainai ya tasa,

Hawa C¹ : Ina makiyayan ga sun sukar mulki,

Sauka C² : Wanda ya iske gawo ya sare

Saukar Sauka C³ : Ya yi kashi da kainai ya tasa,

Hawa D¹ : Shin ina Lawwali shi da Zaƙoli,

Ajewa D² : Ku zo ku shaida wa babba gardaye,

Sauka D³ : Na taho in yi mai kukan yunwa,

Saukar Sauka D⁴ : Yau gidajenmu ba sauran tsaba,

Ɗ¹ : Na taho gai da babba gardaye,

Ɗ² : Babba ɗan Inna mai gandun daji.

(Muhammad, 2012, sh. 161)

A waƙar ‘kai ab bahagon gulbi’ ta Sarkin Gobir na Sabon Birni, Alhaji Muhammadu Bawa (1975-2003) Makaɗa Maidaji Sabon Birni yana cewa:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : To, sai an yi kadankarma,

Sauka A² : A san babba a san yaro,

Ajewa A³ : Kuma sai an yi karambatta,

Saukar Sauka A⁴ : A san wane a san wane,

Hawa B¹ : Ai ina da uba sulɗanin Gobir,

Hauhawa B² : Wanda ka hisshe ni,

Sauka B³ : Ni ba ni gudun hitinar Gobir,

Saukar Sauka B⁴ : Duw wada tat tashi,

Hawa C¹ : Ai ga taronmu na Sakkwato,

Hauhawa C² : Mun gama kaya ga hawan daba,

Sauka C³ : An shirya dawakayye,

Saukar Sauka C⁴ : Amma babu kaman namu,

Hawa D¹ : Doki ya hi dubu goma,

Hauhawa D² : Raƙumi ya hi dubu goma,

Sauka D³ : Duk an gamu an jera,

Saukar Sauka D⁴ : Uban Shantali ya canye,

Ɗ¹ : Kai ab bahagon gulbi,

Ɗ² : Uban Shantali ɗan Mamman,

Ɗ³ : Ɗan Inna Kilo Sarki,

Ɗ⁴ : Uban Bunu da baraz zaki.

(Muhammad, 2012, sh. 160)

A waƙar ‘Sarkin Gandu ubangijin gutsun gawo’ wadda aka rera wa Sarkin Gandu, Makaɗa Maidaji yana cewa:

Ma’ana Ƙirgar Ma’ana

Hawa A¹ : Bara na iske masassaƙa suna ɗibar hwaru,

Hauhawa A² : Su ko su ukku ne suna cajin hwaru,

Sauka A³ : Guda sai yac ce tsaya gabas ka yi saurare,

Ajewa A⁴ : Guda sai yac ce tsaya arewa ka yi saurare,

Saukar Sauka A⁵ : Guda sai yac ce tsaya gabas ka yi saurare,

Hawa B¹ : Tun ba su gama gardama ba ko sai ga Tsintau,

Sauka B³ : Su duka sun shirya shawara don su ɓace mai,

Saukar Sauka B⁴ : Yac ce duk wanda yag gusa kau zai harbai,

Ɗ¹    : Sarkin Gandu ubangijin gutsun gawo,

Ɗ²    : Iro mijin A’i gandu mai ɗakin Kande.

(Muhammad, 2012, sh. 160)

4.1 FAYYACE AWON BAKA NA RERAWA A WAƘOƘIN MAKAƊA MAIDAJI

Rerawa fitacciyar siga ce domin ana sadar da waƙar baka ne ta hanyar karin murya cikin rauji. Makaɗa Maidaji na ɗaya daga cikin makaɗa da mawaƙan baka na Hausa masu rera waƙa a cikin ƙungiya waɗanda ake yi wa ƙulli da ƙari. A wannan ƙungiya, Makaɗa Maidaji shi ne shugabanta, wato jagora, sannan yana da ‘yan amshi. Yawanci yakan rera ɗa ɗaya ko biyu ko fiye da haka gwargwadon yadda ya tsara a waƙarsa sannan masu yi masa amshi su furta sauran saɗaru. Wani abin tambaya game da wannan batu, yaya manazarta da masana adabin Hausa suke kallon tsarin rerewa a waƙar baka? Gusau (2003^a) yana da ra’ayin rerawa wata “hanya ce wadda ake furta kalmomi cikin jimloli da aka shirya a yanayi na waƙa domin a isar da wasu saƙonni ga jama’a. Rerawa ke nan ta shafi furuci da fatar baki inda ake fitar da ƙwayoyin sauti ta amfani da harshen da ake magana da shi cikin rauji da ya shafi yanayin hawa da saukar murya ko faɗuwarta mai ma’ana” (Gusau, 2002, sh. 42). Waɗannan dabaru a matanin waƙoƙin Makaɗa Maidaji Sabon Birni sun haɗa da:

4.1.1 AWON RERAWAR ƘULLI

Ƙulli dai shi ne fara furta ƙaramin saƙo a ɗa daga bakin jagora ko da na ƙungiya ne ko kuma na kaɗaita ne. Ƙulli “wuri ne inda ake fara furta ƙaramin saƙo a ɗan waƙa wanda yakan ƙunshi saɗara ɗaya ko biyu ko ma fiye da haka” (Gusau, 2003^a, sh. 38). Makaɗan kaɗaita idan suka fara ƙulla waƙa, babu mai yi masu karɓi, babu mai yi masu ƙari, sannan babu masu yi masu tarbe, su da kansu suke yi wa waƙoƙinsu takidi.Makaɗa Maidaji na da wata alkintacciyar sifa dangane da yadda yake fara ƙulla waƙarsa. Mafi akasari, Makaɗa Maidaji, yakan fara ƙulla waƙarsa ne da rera gindin waƙa, inda a mafi akasarin lokuta, yakan rera layin farko zuwa na biyu ne na ɗa a gindin waƙa sannan masu yi masa amshi su ƙarasa sauran za a iya tabbatar da haka idan aka saurari ‘waƙar ‘kai ab bahagon gulbi’ da ta ‘Jikan Jari ginshiƙi’ da ta‘gagari gaba na Salihu’da dai sauransu. Sannan, a wasu daga cikin waƙoƙinsa, sukan zamanto ya fara ƙulla ɗa wanda ba shi ne gindin waƙarsa ba. Misali a waƙar ‘na Ali ɗan Bajini’ ta Sarkin Gobir Alhaji Umaru Salihu (1957-1966), Makaɗa Maidaji ya fara ƙullin da:

Ƙulli : Na Ali ɗan Bajini,

: Jikan Shekara ka gama lahiya,

: Shi Nadabo ƙanin Buzuwa,

: Sarki uban Shamaki ɗan Kasau.

(Muhammad, 2012, sh. 165)

Sannan a wata rerawa ta waƙar ‘Uban Na’Allah uban Madauci’,ta Sarkin Zazzau, Alhaji Shehu Idris (1975-), Makaɗa Maidaji ya nuna fasaharsa da balagarsa ta juya saƙonninsa cikin harshe mai zalaƙa da karsashi. Wato, yawanci ɗiyan waƙoƙinsa ba su dogara da junansu ba. Yakan iya ɗauko ɗa na farko ya kai tsakiya ko ƙarshe. Makaɗa Maidaji ya fara ƙulla waƙar ne ta hanyar rera saɗaru uku sannan masu yi masa amshi su karɓa masa da rera gindin waƙar:

Ƙulli : Alhaji Mani ba shi ƙin kowa,

: Komi kac ce yanai ma,

: Shehu bai iya za’ida ba,

: Uban Na Allah uban Madauci,

: Shehu sannu da yau da gobe.

(Muhammad, 2012, sh. 167)

A waƙar ‘ya tara dame mai dama’ ta Alhaji Ɗanbawa, Makaɗa Maidaji Sabon Birni ya fara ne da ƙulli kamar haka:

Ƙulli : Ɗan Bawa Magajin Jimro,

: Na Badiga jikan Mana,

: Kai munka sani gun ƙwazo,

: Ya tara dame mai dama,

: Ɗan Bawa ƙanen mai gona.

(Muhammad, 2012, sh. 167)

4.1.2 AWON RERAWAR ƘARI

Ƙari na nufin ƙarasa furta ƙaramin saƙo a ɗa (‘Yan Amshi/ Kaɗaita), wato wuri ne inda yakan ƙunshi tarbe ko rakiya da gindin waƙa (Gusau, 2003^a, sh. 3). Masu yi ma Makaɗa Maidaji amshi yawanci sukan yi masa ƙari a waƙoƙinsa yayin da ya fara ƙulla waƙa. Bari mu kalli waƙar ‘na yi mamakin harkatai’ ta tsohon Shugaban Ƙasar Nijeriya, Alhaji Shehu Aliyu Shagari, Makaɗa Maidaji da yaransa sun tsara waƙar ne kamar haka:

Ƙulli : Shugaban ƙasa Allah kyauta mai,

Ƙari : Zaman mutane na murna tai,

Gindin waƙa : Na yi mamakin harkatai,

: Shehu mai daraja Shagari.

(Muhammad, 2012, sh. 168)

Sannan a waƙar ‘ka buwayi maza sai na zo’ ta Garkuwan Dutsi, Innar Gobir, Makaɗa Maidaji ya kawo wannan ɗan waƙar ne kamar haka:

Ƙulli : Kai nis sani ƙasas Sabon Birni,

Ƙari : Tun da kai ka wa ‘ya’yana toshi,

Gindin waƙa : Ka buwayi maza sai na,

: Mu gai da Garkuwa na ɗan Gardaye.

(Muhammad, 2012, sh. 168)

Idan aka kalli waƙar ‘Uban Makama uban Gardaye’ ta Sarkin Gobir na Sabon Birni, Alhaji Muhammadu Bawa (1975-2003), Makaɗa Maidaji ya kawo wannan ɗa ne da:

Ƙulli : Ina mazan suke?

Ƙari : Sarkin Gobir ina mazan suke duk sun ƙare,

Gindin Waƙa : Uban Makama uban Gardaye,

: Bawa sannu da kwanan yaƙi.

(Muhammad, 2012, sh. 169)

4.1.3 AWON RERAWAR TARBE

Furuci ne da ake tarbo abin da aka furta a ƙulli (‘Yan Amshi kawai), wuri ne inda ‘yan amshi suke ƙarasa ma’ana ƙarama wadda jagora ya faro ta a ɓangarensa na ƙulli. Ana yin wannan dabara ta tarbe a waƙoƙi waɗanda ake rerawa “ta hanyar jagora da ‘yan amshinsa, amma ban da a waƙoƙi waɗanda makaɗi ba shi da ‘yan karɓi” (Gusau, 2014, sh. 38). A waƙar ‘namijin daga uban Gardaye’ ta Sarkin Gabas na Gwaranyo, Alhaji Umaru, Makaɗa Maidaji da yaransa sun kawo wannan ɗan waƙa ne kamar haka:

Ƙulli : Ina ƙaunar mai kama maciji,

Ƙari : In dai bai shaƙu da ni ba,

Tarbe : Bari in kwanan mutum sun ƙare shi za ya kausai,

Gindin Waƙa : Namijin daga uban Gardaye,

: Sarkin Gwaranyo.

(Muhammad, 2012, sh. 170)

Idan aka kalli waƙar ‘Allah za ni roƙonka’ ta tsohon Gwaman Jihar Sakkwato, Alhaji Garba Nadama wanda ya yi shugabanci jihar Sakkwato tsakanin shekarar (1981-1983) za a iya fitar da wannan batu ta yadda Makaɗa Maidaji da yaransa suka tsara waƙar kamar haka:

Ƙulli : Ko can duniya haka tag gada inji mai tulu,

Ƙari : Ka san duniya daɗa,

Tarbe : Ba mai hurce iyakatai,

Gindin Waƙa : Allah za ni roƙonka,

: In yi biyag gwamna mai girma.

(Muhammad, 2012, sh. 170)

Har wa yau, a waƙar ‘dogo ɗan Abubakar na Malumfashi’ ta Alhaji Abubakar Malumfashi, Makaɗa Maidaji cewa ya yi:

Ƙulli : Gidan Mamman nit taho kiɗi sai na gaisai,

Ƙari : Sai ga Audu ɗan Bala ga Musa nan,

Tarbe : Komi nib biɗa ga yau sai an yo min,

Gindin Waƙa : Dogo ɗan Abubakar na Malumfashi,

: Jikan Dabo ɗan Kilo Gwamron giwa.

(Muhammad, 2012, sh. 170)

Sannan a waƙar ‘harka da ilmi mukai’ ta Makaɗa Maidaji wadda ya yi don nuna muhimmancin ilmi a tsakanin al’umma cewa ya yi:

Ƙulli : In dai mutum yaɓ ɓace,

: Maisai ga hanya mu kai,

Ƙari : In ko mutum yaƙ ƙiya,

Tarbe : Mu iza shi bayan gida,

Gindin Waƙa : Harka da ilmi mu kai,

: Allah ya gyara mana,

: Mu gama da ban-gaskiya.

(Muhammad, 2012, sh. 171)

4.1.4 AWON RERAWAR RAKIYA/ KARƁEƁƁENIYA

Rakiya ko karɓeɓɓeniya na nufin maimaita ƙari da ‘yan amshi sukeyi wa jagora, wato wuri ne inda ‘yan amshi suke maimaita ƙarin da suka yi wa jagora daga lokaci zuwa wani ɗan lokaci. Domin ita ma karɓeɓɓeniya furucin ƙari ne da nufin yi wa jagora rakiya. Tarbe da rakiya da karɓeɓɓeniya duk ana yin su ne a waƙoƙin da ake “rerawa ta hanyar ƙulli da ƙari daga jagora da ‘yan amshi” (Gusau, 2003, sh. 39; 2014, sh. 19).Ke nan, idan aka kalli fasalin waƙoƙin Makaɗa Maidaji, yakan yi amfani da tsarin karɓeɓɓeniya cikin nishaɗi da walwala. Yakan nuna fasaharsa ta naƙaltar kalmomi ta hanyar nuna godiya ko alhini ko tarihi da sauran hanyoyin da suke ginshiƙan rayuwa.

Haka zalika, idan an waiwayi wasu daga cikin waƙoƙinsa, Makaɗa Maidaji kan aiwatar da karɓeɓɓeniya a taƙaice domin faɗakarwa tare da fito da nasabar wanda yake yi wa waƙa kamar a waƙar ‘ga ni na zaka murna gare ka sarki gwarzo’ ta Sarkin Gobir na Sabon Birni, Alhaji Muhammadu Bawa (1975-2003).Domin fayyacewa, ga misali daga waƙar ‘kai ab bahagon gulbi’ ta Sarkin Gobir na Sabon Birni, Alhaji Muhammadu Bawa (1975-2003), Makaɗa Maidaji ya fito da wannan tsari:

Ƙulli : Kai aj Jari da Shawai,

Ƙari : Alhaji kai a Ibrahima,

: Kai ne Mainasarar mashi,

Tarbe : Ina wanda ka tambaba,

Ƙulli : Gohe ya buga tamburra,

Ƙari : Dum mun ji su ga tarihi.

Ƙulli : Gauɗe ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Tambai ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.  

Ƙulli : Yakuba ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Ibrahim ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Balarabe ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Jadi ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Jari Kada ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.  

Ƙulli : Shawai ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Salihu ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi.

Ƙulli : Ummaru ya buga tamburra,

Karɓeɓɓeniya : Dum mun ji su ga tarihi,          

Ƙulli : ‘Yan Gatawa da Yakubawa,

Ƙari : Kowane an sa shi ga tarihi,

: Haba sarki riƙe tarihin ga,

Tarbe : Da kowa ka biɗa jiddun,

Takidi + Ƙulli : Haba sarki riƙe tarihin ga,

: Da kowa ka biɗa jiddun,

Ƙari : Kai kag gane mahwarinai,

Tarbe :Kuma ka san wada yak ƙare,

Gindin Waƙa : Kai ab bahagon gulbi,

: Uban Shantali ɗan Mamman,

: Ɗan'inna Kilo sarki,

: Uban Bunu da Baraz Zaki.

(Muhammad, 2012, sh. 172)

Haka abun yake idan idan aka kalli sauran nau’o’in waƙoƙin Makaɗa Maidaji kamar waƙar ‘gaskiya da roƙon Allah ba ka fasawa’da waƙar‘Uban na Allah uban Madauci’duk waɗanda ya rerawa Sarkin Zazzau, Alhaji Shehu Idris (1975-).Har wa yau, za a iya kallon wani misali daga waƙar ‘Iro na Bawa baƙon dole’ wadda Makaɗa Maidaji yaiɗani daga Makaɗa Nadada ta Sarkin Gobir na Sabon Birni, Alhaji Salihu Shawai (1945-1956) inda ya kawo tsarin karɓeɓɓeniya ta:

Ƙulli : Ai koma shiri Magajin Mani,

Ƙari : Kogin duniya ya tashi.

Takidi + Ƙulli : Haba koma shiri Magajin Mani,

Ƙari : Kogin duniya ya tashi.

Takidi + Ƙulli : Kai dai koma shiri Magajin Mani,

Ƙari : Kogin duniya ya tashi.

Ƙulli : Ko wacce akwai dole Gobir,

Ƙari : Jagoran hwaɗa ya tashi.

Ƙulli : Jari da yai irin nashi ya yi,

Ƙari : Bai ɗau shawarak kowa ba.

Ƙulli : Almu da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Gohe da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Maso ɗan Danga da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Ko Baciri da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Sobe da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Mayaƙi da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Jangwarzo da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Ɗangwamci da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Ɗan mai Jadi da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Ko Jari Kada da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Ko Ummaru da yai irin nashi ya yi,

Karɓeɓɓeniya : Bai ɗau shawarak kowa ba.

Ƙulli : Kai ba ka jan wani sarki,

Karɓeɓɓeniya : Tsoro ba ya jan wani kaɗo.

Takidi + Ƙulli : Salihu ba ya jan wani sarki,

Karɓeɓɓeniya : Tsoro ba ya jan wani kaɗo.

Ƙulli : Kai ka ɗauki ragamar musulmi,

Ƙari : Wannan ba a hana ka na Malam,

Gindin Waƙa : Iro na Bawa baƙon dole,

: Jikan na Sanda baban Yari.

(Muhammad, 2012, sh. 175)

4.1.5 AWON RERAWAR TAKIDI A WAƘOƘIN MAKAƊA MAIDAJI

Takidi “tsari ne karɓaɓɓe a rera waƙoƙin baka na Hausa, ta hanyar takidi makaɗi yake maimaita rera wani zubi na ɗa a waƙa” (Gusau, 2003, sh. 44). Har wa yau, akwai nau’in takidi wanda ‘yan amshi suke yi wa jagora rakiya wanda ake kira da ‘Takidin Karɓeɓɓeniya’. Ban da wannan kuma akwai takidi na ‘Bayayyeniya’ inda ‘yan amshi suke rera duk abin da jagora ya furta a layi-layi na ɗiyan waƙa. Duk da yake:

Takidi ya saɓa wa dokar furuci ko rubutu na yau da kullum, makaɗa sukan yi takidi a layukan farko ko na tsakiya ko na ƙarshe na ɗa a waƙar baka. Wani lokaci akan yi takidi a rabin saɗara, kuma ana yi wa dukkan ɗa a waƙar baka takidi (Gusau, 2002, sh. 47).

Haka zalika, idan aka kalli waƙar ‘kak ka ɗau reni’ wadda Makaɗa Maidaji ya rera wa Sarkin Gobir na Sabon Birni, Alhaji Ibrahim (1970-1975) a cikin waƙarya yi amfani da takidi ta sigar fito da tsarin rerawa ta amfani da kalmomi a maimaice. Ga misali kamar haka:

Ƙulli : Zamanin akwai manya,

Ƙari : Tsuntsu ko da yaushe ba ya gudun Ɗantsara,

Taikidi + Ƙulli : Zamanin akwai Jadi,

Ƙari : Jadi ko da yaushe ba ya gudun Ɗantsara,

Taikidi + Ƙulli : Zamanin akwai manya,

Ƙari : Ai Kakanku bai yi ƙyamar kakana ba.

Ƙulli : Mamman na gode,

Ƙari : Don albarkacin Durumbu magajin Shawai.

Taikidi + Ƙulli : Mamman na gode,

Ƙari : Allah dai ya ƙara imani yai komi,

Taikidi + Ƙulli : Dango na gode,

Karɓeɓɓeniya + Ƙari : Allah dai ya ƙara imani yai komi,

Ƙulli : Dango ɗan Galadima,

Karɓeɓɓeniya + Ƙari : Allah dai ya ƙara imani yai komi,

Ƙulli : Salihu Marahwa na gode,

Karɓeɓɓeniya + Ƙari : Allah dai ya ƙara imani yai komi,

Taikidi + Ƙulli : Garba na gode,

Karɓeɓɓeniya + Ƙari : Allah dai ya ƙara imani yai komi,

Taikidi + Ƙulli : Malam Garba na gode,

Karɓeɓɓeniya + Ƙari : Allah dai ya ƙara imani yai komi.

Gindin Waƙa : Kak ka ɗau reni,

: Ɗandango Durumbu ɗan Inna ɗan Shawai.

(Muhammad, 2012, sh. 187)

Duba da haka, Makaɗa Maidaji yana da wata alkintacciyar sifa wadda yake amfani da ita wajen rera waƙoƙinsa ta hanyar amfani da takidi. Makaɗa Maidaji yana amfani da takidi a saɗarun farko ko na tsakiya ko kuma a saɗarar ƙarshe. Wani lokaci, Makaɗa Maidaji yakan yi takidi a rabin saɗara, kuma ya yi wa dukkan ɗa a waƙarsa takidi. A waƙar Makaɗa Maidaji ta ‘harka da ilmi mukai’ wadda ya rera domin tunatarwa tare da faɗakar da al’umma bisa muhimmancin ilmi cewa ya yi:

Ƙulli : Tun dak Kaduna haz Zariya had da manyan Kano,

Ƙari : Komi mutum za shi yi ya gama da ‘yan Sakkwato,

Takidi + Ƙulli : Lalle dak Kaduna haz Zariya had da manyan Kano,

Karɓeɓɓeniya + Ƙari : Komi mutum za shi yi ya gama da ‘yan Sakkwato,

Gindin Waƙa : Harka da ilmi mukai,

: Allah ya gyara mana,

   : Mu gama da ban-gaskiya.

(Muhammad, 2012, sh. 184)

Har wa yau a cikin waƙar Sarkin Tashar motar garin Sabon Birni, Alhaji Idi ɗan Argiji ta ‘Ya kwan yana aikin mota’ Makaɗa Maidaji ya rera wannan waƙa ne ta amfani da tsarin rerawar takidi a saɗarun tsakiya na ɗan waƙa kamar haka:

Ƙulli : Ga ni ina shirin tahiya Zazzau,

: Kuma ga ni ba ‘yan kuɗɗi,

Takidi : Ina nuhin tahiya Zazzau,

: Kuma ga ni ba ‘yan kuɗɗi,

: Ina dibin mota ni ko suna kallo na,

Takidi : ‘Yan kamishon suna dibin mota,

: Ni ko suna kallo na,

: Don sun gane ni da taron,

: Yara zay yawa bayana,

: Har an yi jinga na tada,

: Ba zan biyan kuɗɗi ba,

Gindin Waƙa + Ƙari : Ya kwan yana aikin mota,

: Ɗan Argiji ɗan Shawai,

: Sarkin tasha jikan Idi,

: Jikan fulanin Ɓaure.

(Muhammad, 2012, sh. 185)

A waƙar ‘Ɗangara jikan ɗan Lahiya” wadda ya rera wa Sarkin Maraɗi Ɗangara, Alhaji Bala ɗan Sani, Makaɗa Maidaji ya kawo fasalin takidi ne wanda makaɗa da mawaƙa suke aiwatarwa a farkon saɗara da nau’in fasalin takidi a rabin saɗara inda yake bayyana:

Ƙulli : Ɗangara kai as sinadari,

Ƙari : Ko da ɗai abin kallo, kallo nai akai,

Takidi + Ƙulli : Ɗangara kai am muzakkari,

Karɓeɓɓeniya + Ƙari : Ko da ɗai abin kallo, kallonai akai,

Gindin Waƙa : Ɗangara jikan ɗan lahiya,

: Bala ɗan Sani gaisai mu kai.

Ƙulli : Na Alhajiya Gwamma,

Ƙari : Wanga zamani ku am manyan duniya,

Takidi + Ƙulli : Ƙanin Hajiya Gwamma,

Karɓeɓɓeniya + Ƙari : Wanga zamani ku am manyan duniya,

Gindin Waƙa : Ɗangara jikan ɗan lahiya,

: Bala ɗan Sani gaisai mu kai.

(Muhammad, 2012, sh. 185)

5.0 KAMMALAWA

Wannan bincike yanazarciawo a matanin waƙoƙin Makaɗa Maidaji ne ta amfani da ra’in WBB wajen fito da hanyoyi ko dabarun da yake amfani da su yayin rera waƙoƙinsa. Kamar yadda wannan bincike ya gano, yana amfani da sigar + Jagora +‘Y/Amshi+Ƙulli+Ƙari+Tarbe+/-Rakiya/Karɓaɓɓeniya+Takidi+Gindin Waƙa+Rauji. Manufar a nan ita ce shi ne yake fara ƙulla waƙarsa a matsayinsa na jagora, sannan ‘yan amshi su karɓa suna yi masa ƙari. A wani ɗan waƙar kuma, ‘yan amshi za su iya yi masa tarbe, inda a wani ƙaulin suna haɗawa da rakiya ko karɓeɓeniya a tsakaninsu da jagora, daga bisani sai su rufe rerawar da gindin waƙa. A haɗe kuma cikin waƙar suna amfani ne da sauti na kiɗan gangar taushi. Sannan, takardar ta fito da awon ɗiya a waƙoƙin Makaɗa Maidaji inda aka bayyana yakan yi amfani da awon ɗa mai sauƙi ko awon ɗa mai tsauri wajen isar da saƙonni ko manufofi a cikin waƙoƙinsa. Har wa yau, yakan yi amfani da tsarin hawa+hauhawa+ajewa+sauka+saukar-sauka yayin tsara zaren tunaninsa. Daga bisani, wannan binciken ya fahimci lallai Makaɗa Maidaji a matsayinsa na jagoran ƙungiyarsa, shi ne yake da ikon juya rerawa daga wata waƙar zuwa ga wata. Sannan idan aka ji Makaɗa Maidaji yana ta rera ko maimaita gindin waƙa, to, waƙar ke nan ta ƙare zai juya zuwa ga wata. Duk da a wasu lokuta kuma, ‘yan amshinsa ne suke ɗaukar wannan nauyi na maimaita gindin waƙa sau biyu zuwa uku, daga nan kuma Makaɗa Maidaji yakan ɗora waƙar da yake tunanin ita za su rerawa. Binciken ke nan yana ƙara tabbatar da tagomashin karɓuwar waƙoƙin baka na Hausa musamman saboda zalaƙar harshe tare da fasihancin da matanin waƙoƙin ke tattare da su. Tabbas, duba da waɗannan hujjoji, ta amfani da ra’in WBB wannan bincike ya kafa hujja tare da ƙalailaice awon baka a waƙoƙin Makaɗa Maidaji. Hakan yai daidai da faɗar Hausawa da suke faɗar da na gaba akan gane zurfin ruwa, dalili kuwa shi ne, dangane da awon baka a waƙoƙin baka na Hausa, ra’in WBB na kallonsa a matsayin alkintacciyar sifar rerawa a bakin makaɗa.Domin haka, binciken ya gano Makaɗa Maidaji kan yi amfani da tsarin rerawa inda wani lokaci akan yi takidi a dukkan ɗa na waƙa. Har wa yau, wannan nau’in takidi ne wanda ‘yan amshi suke yi wa jagora rakiya wanda ra’in WBB ke kira da ‘takidin karɓeɓɓeniya’. Wannan na ɗaya daga cikin abin sha’awar da ke bayyana zalaƙa tare da balagar Makaɗa Maidaji dangane da iya wasa da harshe, sannan da saƙa zancensa cikin hikima ta amfani azanci da suka danganci habaici ko kirari ko yabo ko zuga. Sannan yakan yi amfani da sigar awon baka a rerawarsa wajen kinayar sakaya zance kamar isar da godiya tare da bayyana tarihi ko kuma sifar wasa da harshe kamar ƙarangiya da dai sauran nau’in salon magana.

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[1]Bisa tsarin bincike, tarihin Makaɗa Maidaji yanuna shahararsa wajen rera waƙoƙin baka na Hausa, kuma ya rayu daga shekarar 1938-2000. An haife shi ne a ƙasar Gobir, a garin Tara da ke a ƙauyen Rambaɗawa na ƙaramar hukumar Sabon Birni ta jihar Sakkwato (Muhammad, 2012). Kafin rasuwarsa, Makaɗa Maidaji manomi ne kuma malamin Makarantar Allo ne. Allah ya azurta shi da iyalai; matan aure guda uku (3) da kuma ‘ya’ya takwas (8). Bisa fasalin waƙoƙinsa, Makaɗa Maidaji yana ɓangaren makaɗan ƙungiya ne, sannan akasarin ‘yan ƙungiyarsa jininsa ne daga ‘ya’yansa na cikinsa, sai babban wansa, sai kuwa ƙannen mahaifinsa. Mahaifinsa bai yi nisa a harkar waƙa ba, amma ɗaya yayan nasa, wato Alhaji Musa Nadada ya yi waƙa (Muhammad, 2012).