Muƙaddima
Dukkan yabo ya
tabbata ga Maɗaukakin Sarki Allah, Ubangijin talikai, wanda bai haihu
ba kuma ba a haife shi ba. Tsira da amincin Allah su dawwama ga shugabanmu
Annabi Muhammadu, da alayensa da matayensa da sahabbansa da ‘ya’yayensa da waɗanda suka
bi tafarkinsu har zuwa ranar tashin alƙiyama.
Tun kafin zuwan Turawa ƙasar Hausa, Hausawa suka mallaki
hanyar rubutu da karatu cikin sigar harshen Larabci. Wannan ya ba su damar naƙaltar adabin Larabci da lugga da
nahawu da balaga da tasarifi da furu’a da tarihi da falsafa da tafsiri da
sauran sassan ilimin addinin Musulunci. Mallakar waɗannan fannonin ya ba su damar sarrafa haruffan Larabci
wajen rubuta harshen Hausa. Wannan nau’in rubutu shi ake kira rubutun Ajamin
Hausa. Da irin wannan salon rubutun ne Hausawa suka taskace adabinsu na
gargajiya, musamman adabin baka wanda ya danganci waƙoƙin
baka na makaɗa. Sai dai ba abu ne da aka taskace ba
domin koyar da shi ga almajiran makarantun allo da na ilimin zaure. Hasali ma
masu sha’awa ne daga cikin almajirai kan rubuta ire-iren waɗannan
waƙoƙin
cikin sigar Ajamin Hausa domin su sami abokin hira yayin da suka nisanta da ƙasar Hausa a sakamakon tafiye-tafiyen
fatauci.
Daga ire-iren waɗannan
matafiya ne dangogin Turawa suka sami damar mallakar waƙoƙin
makaɗan baka na ƙasar Hausa. Daga bisani suka sarrafa
su cikin sigar rubutun Romanci. Akwai tabbacin cewa, dangogin Turawa sun koyi harshen Larabci da na Hausa a
mahaɗar alhazai da fatake a Tarabulus
(Libiya). Wasunsu ma a Ingila suka koyi harshen Larabci kafin su baro ƙasarsu domin ƙoƙarin
cimma muradansu na binciken Kogin Kwara.
Kundayen Bajamushen nan da ake kira
Dokta Prietze su ma wata shaida ce. Domin shi ma ya yi ƙoƙari
tattara ire-iren
waɗannan waƙoƙin
baka na makaɗan Hausa da ya same su a rubuce cikin
sigar rubutun Ajamin Hausa. An kuma wallafa su ne fiye da shekaru ɗari da suka shuɗe kafin su shiga hannunsa. Wannan ɗan taliki ya yi ƙoƙarin taskace abubuwa da dama da suka danganci
adabin Hausa, ciki kuwa har da waƙoƙin baka na makaɗan Hausa. Daga cikin ire-iren waƙoƙin
akwai waƙoƙin Sarkin Makaɗa
Ɗanmadugu, makaɗan Sarkin Damagaran Tanimu, wanda ya yi mulki daga
shekarar 1841 zuwa 1843 da kuma 1851 zuwa 1884. Wannan wata manuniya ce da ke
ishara da cewa, Hausawa ba wani baƙo
ne ya koya musu taskace dangogin adabinsu na gargajiya ba.
Idan ban yi kuskure ba, a iya sanina,
fara ƙoƙarin
samar da diwanin matanonin waƙoƙin baka na Hausa ya faru ne a ƙarshen ƙarni na ishirin (Ƙ20).
Wanda ya aza harsashin shi ne shaihin malamin nan da aka fi sani da Farfesa
Sa’idu Muhammad Gusau., wanda ya kasance ƙwararre
a fannin sassan adabi da al’adun Hausawa. Daga cikin aikin da ya aiwatar a
wannan fuskar sun haɗa da:
a. Waƙoƙin
Baka: Zaɓaɓɓun Matanoni Na Waƙoƙin
Baka Na Hausa, wanda ke ƙunshe
da waƙoƙin
fada 89 da waƙoƙin
gama-gari guda 54. Shaihin malamin ya wallafa aikin nasa a shekarar 2009.
b. A cikin shekarar
2014, ya sake wallafa juzu’i na biyu da aka kasa shi zuwa rukuni biyu. Rukuni
na ɗaya yana tattare da waƙoƙi
75, yayin da na biyu ke ɗauke da waƙoƙi
98. Wannan ne ya bayar
da jimillar matanonin waƙoƙin da suka kai 173 a diwanin.
c. A cikin shekara
ta 2018 kuma, ya wallafa juzu’i na uku
wanda aka taskace waƙoƙi Alhaji Dr. Mamman Shata Katsina.
Wannan diwanin yana ƙunshe da waƙoƙi
142, duk waɗanda mawaƙin
ya rera.
Sauƙin kan Farfesa Sa’idu Muhammad Gusau da tawali’unsa da
himmarsa wajen
horarar da na baya tare da nuna kishinsa ga fanninsa sun yi tasiri matuƙa musamman ga matasan malaman harshen Hausa
waɗanda ya koyar da waɗanda ɗalibansa suka koyar da su, har ma da waɗanda ɗaliban-ɗalibansa
suka koyar da su, tare ma da waɗanda suka yi hulɗa da shi. Saboda haka ba abin mamaki ba ne a cikin wannan ƙarni na 21 a sami jajirtattun ɗaliban-ɗalibansa su bi sahunsa ta hanyar ƙoƙarin
taskace waƙoƙin shahararriyar fasihiyar mawaƙiya Binta Labaran, Fati Nijar wadda ta shahara a fagen
waƙoƙin
zamani na ƙarni na 21.
Shahararta ba inda ba ta
kai ba a duk tarsashin
farfajiyar ƙasar Hausa. Abu
ne mawuyaci a tantance iyakar nahiyar da waƙoƙinta
suka kai. Saboda haka ba abin mamaki ba ne a ga malamai kamar: Malam Abu-Ubaida Sani da Malama Halima Daura
Kabir da Malam
Bashir Abdullahi, sun yi namijin ƙoƙarin gudanar da irin wannan aikin mai
wuyar lamari da cin
lokaci da uwa-uba masu gida rana a cikin irin yanayin da ake ciki na rashin
tsaro. Ko a cikin yanayin zaman lafiya, tattara waƙoƙinn mawaƙi tare da taskace su ba ƙaramin aiki ba ne, ballantana a a haɗa da tarihin mawaƙin. Ga shi kuwa diwanin ya ƙunshi kusan duk ilahirin fitattun waƙoƙin da ta aiwatar tun daga lokacin da ta soma waƙa har zuwa shekarar 2023. Babu
shakka sun yi abin a yaba. Allah ya saka musu da kyakkyawan sakamako duniya
da gobe ƙiyama. Allah ya
ba malamai da ɗaliban Hausa har ma da na wasu harsuna
damar cin moriyar wannan aikin. Amin.
Dr. Adamu Rabi’u
Bakura
Department of
Languages and Cultures,
Faculty of
Humanities,
Federal University
Gusau,
Zamfara State, Nigeria.
Sa
Albarka
Na fara haɗuwa da
Hajiya Binta Labaran (mai laƙabi da Fati
Nijar) a cikin 2007 lokacin ina Editan jaridar Leadership. A lokacin
wata 'yar hatsaniya ta tashi tsakaninta da wani makusancinta a da, wanda ya yi
mata gori, abin ya baƙanta mata rai.
Sai na shiga cikin lamarin, da yake ina da kusanci da shi, na yi ƙoƙarin kwantar mata
da hankali. A lokacin na fahimci cewa Fati mace ce mai tsananin haƙuri da basira, wadda ta san abin da take yi, kuma
jajirtacciya.
Tun daga wancan
lokacin na kasance makusancinta, kuma muka ci gaba da yin hulɗa mai
amfani. Haka kuma, na ci gaba da sha'awar sauraren waƙoƙinta waɗanda suke cike da basira, hangen nesa, da salo kala-kala
masu ratsa zukata.
Fati Nijar tana
daga cikin manyan zabiyoyin Hausa na zamani. Ta yi shuhura da waƙoƙi mabambanta,
masu jan hankali. Ta fara yin fice da waƙoƙin soyayya, kafin ta faɗaɗa zuwa na
bikin aure, siyasa, kamfanoni, da zamantakewar yau da kullum. Kusan duk irin waƙar da ake buƙata Fati ta yi,
to ta yi ɗin, kuma ta ciri tuta. Haka kuma ta yi waƙoƙin haɗin guiwa
tare da manyan mawaƙa a cikin
masana'antar finafinai da waƙoƙi na Kannywood, irin su Aminu ALAN Waƙa, Abubakar Sani (Ɗanhausa),
Ali Jita, Maryam A. Baba (Sangandale), da sauransu da dama.
Wani abu game da
ita shi ne tana da muryoyin zinari guda biyu a maƙogwaronta; idan ka saurara za ka ji su. Ita kaɗai ce a
mawaƙan Hausa na wannan zamanin take da muryoyi biyu da take
amfani da su a lokaci guda, a waƙa ɗaya, ɗaya na
sauka ɗaya na tashi. Wannan wata baiwa ce da Ubangiji ya ba ta.
Fati Nijar ta ci
moriyar sana'ar waƙa, domin kuwa ta
samu arzikin dukiya da ta jama'a da kuma sanayya. Ta je Makka. Ta taimaki
iyayenta da 'yan'uwanta da maƙwabta da sauran
jama'a.
Zan iya cewa a
fage ɗaya ne kaɗai ta kasa yin tasiri, wato fagen fitowa a fim a matsayin
jaruma. A nan, ta ɗan tsoma ƙafa, to kuma sai
ta janye ba ta ci gaba ba. A ganina, in da ta ci gaba to da ta yi fice a nan ɗin ma. To
amma kuma sai ta tsaya a inda Allah ya yi za ta fi cin abinci, wato fagen waƙa. A nan kam, sai dai ka kwatanta ta da Barmani Choge ko
Uwani Zakirai!
Rubuta wannan
littafi kan tarihin Fati Nijar da waƙoƙinta ya dace matuƙa. Ta
wannan littafin ne za a ƙara sanin wace ce
ita, da gwagwarmayar da ta sha, da irin ɗimbin basirar da
Allah ya ba ta, da ra'ayoyinta. Su kuma ɗaliban
adabi, sun samu abin karantawa. Don haka ina murna da ganin wannan
littafin. Allah ya sa jama'a su ci moriyarsa yadda ya kamata. Kuma Allah ya
albarkaci rayuwar marubutan littafin da wadda aka yi shi a kanta, wato Hajiya
Binta Labaran (Fati Nijar), amin.
Malam Ibrahim Sheme
National
Open University of Nigeria (NOUN), Abuja
Tsokaci
Game da GIMBIYAR
MAWAƘAN BARGU, Binta Labaran wacce aka fi sani da suna Fati
Niger, akwai batutuwa masu tarin yawa a fanni rayuwarta da kuma fannin da
duniya ta san ta a kai, wato fagen tsarawa da sadar da waƙoƙi a cikin al'umma a faɗin ƙasar Hausa da kasashen da Hausawa suka yi mazauni a
Afirka da kewaye.
Idan aka kalli
fannin mu'amala a mahangar addini kamar yadda Ma'aikin Allah (SAW) ya faɗa, Hajiya
Fati Niger ta ciri tuta a wannan sashe don ba a san abokin faɗanta ba a
wannan masana'anta ta Music Industry, a iyakacin sanina da ita. Ko ba a
faɗa ba, mu'amalarta da abokan aiki mata 'yan uwanta zai shaida haka, musamman
in aka yi la'akari da zumuncinta hannu da ƙafa. Daga cikin halayen Fati Niger bayan zumunci tana da kyauta. Abin
hannunta bai tsone mata ido ba. Sannan tana da wahalar samu a waya ko a zahiri,
amma in ka haɗu da ita za ka shaida ba ta da wulaƙanta mutane. Yana daga sirrin ɗaukakarta haziƙa ce mai
juriya da jajircewa. Don haka ne ma ta yi tsawon zamani fiye da na sauran
tsararrakinta.
A ɓangaren
aikin waƙa kuwa kamar yadda ita da kanta take faɗi a wani ɗan
wakarta cewa "Ni ko muryata, ita ce jarina"... Duk wanda ya ji salon
amon muryarta ya san zabiya ce da ta mori baiwar murya tsurarta daga kyautar
Allah. Bayan samun baiwar muryar kuma, Allah ya hore mata iya sarrafa muryar
cikin bin amon sautin kiɗa a yayin shirya ɗiyan waƙa a kan ma'aunansu a sitidiyo ko a yayin sadarwa a daɓe.
Mawaƙiya ce da ta ƙware a
wajen riƙe hankalin masu saurare a yayin gabatar da waƙa a bainar masu kallo da saurare. Sannan gwana ce ta
musamman a wajen ado da tsafta, ma'abociyar son ƙamshi. Duka waɗannan suna daga abubuwa da ka ɗarsa ƙauna da soyayya a bainar jama'a.
Matsayina a
wajenta ba abokin aiki ba ne kaɗai, har ta mai da ni matsayin yayanta kamar yadda ta
bayyana, duniya ta ji a cikin waƙarta mai taken Girma-Girma.
Wannan ya tabbata a aikace domin kuwa duk inda aka ga Sarkin Ɗiyan Gobir, za a ga Gimbiyar Bargu.
Muna godiya ga
Allah da muka riski wannan littafi da aka yi na Diwanin rayuwar Fati Niger a
halin muna raye ba mu ƙaura ba. Madallah da tunanin waɗanda duk
ke da hannu a wannan kyakkyawan yunƙuri na
wannan littafi da aka yi shi a bisa cancanta don amfani ga makaranta da ita
kanta Zabiyar Bargu.
Aminu Ladan Abubakar (ALAN Waƙa)
10/02/2024
EXECUTIVE SUMMARY
This
anthology unfolds the captivating narrative of Hajiya Binta Labaran, known by
her stage name, Fati Niger. The book is meticulously organized into ten
compelling chapters. Chapter One serves as the foundational exploration,
delving into the early years of Binta Labaran's life, from her moment of birth
through the transformative teenage period and into her pursuit of Islamic
education.
In
this chapter, the narrative skillfully weaves through the tapestry of her
formative years, providing an intimate portrayal of the artist's upbringing.
From the tender moments of her birth to the critical juncture of adolescence,
readers gain insights into the influences that shaped her character and
ambitions. A noteworthy aspect of Chapter One is its dedicated effort to
unravel the familial ties, offering a glimpse into the lives of her parents and
grandparents. This elucidation not only enriches the reader's understanding of
Fati's background but also underscores the profound impact of her cultural and
familial milieu on her artistic journey.
Chapter
Two delves into the pivotal phase of Fati Niger’s life, focusing on the myriad
struggles, challenges, and triumphs she faced in the realm of Hausa music. This
chapter methodically highlights her initial forays into the Hausa musical
industry, shedding light on her early works and the genesis of her musical
journey.
In
the early stages of this chapter, readers are introduced to her inaugural
compositions in Hausa music, marking the beginning of an illustrious career.
The narrative vividly captures the essence of her initial struggles, painting a
picture of the perseverance and dedication that defined her early career. This
exploration not only showcases her artistic development but also sets a
backdrop against which her future successes are magnified.
Further,
the chapter delves into the intricate process behind Fati Niger's song
preparation, offering a behind-the-scenes look at her creative process. This
insightful section provides a deeper understanding of her artistic methodology,
from conceptualization to the final execution of her music. It highlights the
meticulous attention to detail, cultural sensitivity, and creative ingenuity
that Fati Niger brings to her craft.
Additionally,
the chapter presents an evaluation of her standing and influence among her
peers in the music industry. It explores her interactions with fellow
musicians, her influence in shaping the genre, and the respect she garners
within the musical community. This section not only underscores her status as a
pivotal figure in Hausa music but also illustrates the impact of her work on
the industry and her contributions to the cultural tapestry.
3
through 10 serve as a captivating compilation of transcribed songs by the
prolific artist, Hajiya Binta Labaran, AKA Fati Niger. Each chapter commences
with a thoughtful introduction, designed to seamlessly guide readers into the
thematic essence of the upcoming collection, offering a curated journey through
the diverse realms of her musical prowess.
Chapter
3 opens the lyrical anthology, presenting a collection of Religious Songs.
The introductory passages provide readers with context, setting the stage for a
spiritual exploration of Fati Niger's musical expressions, capturing the
essence of her devotion and reverence in the realm of Islamic religious themes.
Chapter
4 unveils Enlightenment Songs, ushering readers into a world of
intellectual stimulation and thought-provoking narratives. The introduction to
this chapter prepares the audience for a musical experience that goes beyond
entertainment, delving into the artist's insightful perspectives on societal
and philosophical matters.
Love
takes center stage in Chapter 5, where readers are introduced to the realm of Love
Songs. The introduction artfully prepares the audience for a melodic
journey through the Fatis's expressions of love, heartache, and the myriad
emotions woven into the tapestry of romantic narratives.
Chapter
6 shifts the focus to the political landscape, with Political Songs that
reflect Fati Niger's engagement with contemporary issues. The introduction sets
the tone for a collection that not only entertains but also serves as a mirror
to societal and political realities.
Leisure
Songs come to life in
Chapter 7, offering a refreshing interlude with Binta Labaran's musical
renditions that celebrate moments of joy and leisure. The introductory passages
invite readers to indulge in the lighter side of her artistic repertoire.
Chapter
8 introduces Featured Songs, showcasing collaborations and featured
performances that highlight Fati Niger's versatility and ability to harmonize
with other artists. The introduction illuminates the collaborative spirit that
permeates this chapter, offering a unique perspective on her artistic
collaborations.
Songs
dedicated to individual persons unfold in Chapter 9, providing a personalized
and intimate experience. The introduction sets the stage for a heartfelt
exploration of Fati Niger's lyrical tributes and expressions tailored for
specific individuals.
Lastly,
Chapter 10 delves into Opinions, revealing Fati Niger's insights and commentary
on a diverse array of topics, especially “gender.” The introduction sparks
curiosity, inviting readers to engage with the artist's perspectives and
opinions, creating a space for contemplation and dialogue.
Together,
these chapters create a comprehensive anthology, capturing the essence of
Hajiya Binta Labaran's multifaceted talent and offering readers a rich and
varied musical experience.
Abu-Ubaida SANI
Dr. Halima Daura Kabir
Abdullahi Bashir
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HAUSA: Kuna iya rubuto mana tsokaci ko tambayoyi a ƙasa. Tsokacinku game da abubuwan da muke ɗorawa shi zai tabbatar mana cewa mutane suna amfana da wannan ƙoƙari da muke yi na tattaro muku ɗimbin ilimummuka a wannan kafar intanet.