Exploring Dietary Habits through Hausa Royal Songs: A Study of Traditional Foods in Makada Sa’idu Faru’s Compositions

Citation: Gummi, M.F. & Sani, A-U. (2024). Exploring Dietary Habits through Hausa Royal Songs: A Study of Traditional Foods in Makaɗa Sa’idu Faru’s Compositions. Four Decades of Hausa Royal Songs: Proceedings from the International Conference on the Life and Songs of Makaɗa Sa'idu Faru, 3(3), 415-424. www.doi.org/10.36349/tjllc.2024.v03i03.057.

Exploring Dietary Habits through Hausa Royal Songs: A Study of Traditional Foods in Makaɗa Sa’idu Faru’s Compositions

By

Musa Fadama Gummi Ph.D.

Department of Languages and Cultures,
Federal University, Gusau, Zamfara State, Nigeria
Email: gfmusa24@gmail.com, mfadamaguumi@fugus.edu.ng
GSM No. +2347065635983

And

Abu-Ubaida SANI

Department of Languages and Cultures,
Federal University, Gusau, Zamfara State, Nigeria
Email: abu-ubaidallah@fugusau.edu.ng | abuubaidasani5@gmail.com
Site: www.abu-ubaida.com | www.amsoshi.com
WhatsApp: +2348133529736

Abstract

Hausa oral songs, particularly royal songs, serve as profound reflections of cultural practices and values among the Hausa people of Nigeria. This study explores the cultural representation of traditional Hausa foods within the compositions of Makaɗa Sa’idu Faru, a renowned Hausa royal singer. The research aims to highlight how these songs portray dietary habits and culinary preferences, offering insights into the socio-cultural significance of food in Hausa society. The methodology employed a qualitative approach integrating document analysis of Hausa oral songs and semi-structured interviews with experts in Hausa culture and oral literature. Primary data included a selection of oral songs meticulously analyzed for thematic content related to traditional foods like fura da nono (millet dumpling and sour milk), honey, garin kwaki (cassava flour), and kunu (pap). Interviews with cultural scholars provided additional perspectives on the symbolic meanings and social contexts associated with these food references. Findings reveal that Makaɗa Sa’idu Faru’s compositions not only praise traditional rulers but also vividly depict the significance of specific foods in Hausa culture. The study contributes to a deeper understanding of Hausa cultural identity through its culinary traditions as documented in oral songs, emphasizing the importance of literature as a mirror of cultural expression and continuity.

Keywords: Hausa, Dietary Habit, Royal Songs, Sa’idu Faru

1.0 Introduction

Hausa oral songs constitute a vital aspect of Hausa cultural heritage, encompassing various genres that serve to celebrate, reflect, and preserve the traditions and values of the Hausa people. Among these genres, royal songs hold a prominent position, dedicated exclusively to eulogizing Emirs, traditional rulers, and their associated dignitaries within the palace and chiefdoms. These oral compositions, performed by well-regarded singers known as royal singers, serve both as entertainment and as a repository of cultural knowledge and societal norms.

Makaɗa Sa’idu Faru emerges as a central figure in the lineage of Hausa royal singers, distinguished for his steadfast dedication to composing songs solely for royalty. His repertoire, rich in poetic imagery and metaphor, provides (among other things) invaluable insights into the dietary habits and cultural preferences of the Hausa people as depicted through traditional foods. Fura da nono (millet dumpling), tuwo da nama (swallow and beef), madara da zuma (milk and honey), gumba (millet gruel), and garin kwaki (cassava flour) are recurrent secondary themes in his songs, each carrying layers of cultural symbolism and significance reflective of Hausa culinary traditions.

The geographical and climatic conditions of the Hausa region, characterized by low rainfall and high humidity, greatly influence dietary choices. These environmental factors have historically shaped the types of foods consumed, emphasizing practicality, nutrition, and cultural symbolism. Through an examination of Makaɗa Sa’idu Faru's royal songs, this study endeavors to explore how these dietary practices are articulated, celebrated, and preserved within Hausa oral literature. The research aims to highlight the role of oral songs, particularly the songs of Makaɗa Sa’idu Faru, as a mirror that reflects and preserves the cultural identity and values of the Hausa people.

1.1 Methodology

This study employs a qualitative research approach to investigate the cultural representation of traditional Hausa foods in oral songs, focusing primarily on the compositions of Makaɗa Sa’idu Faru. The research design integrates document analysis of Hausa oral songs and semi-structured interviews with experts in Hausa culture and oral literature.

The primary data consists of a selection of oral songs collected from various sources, including audio recordings and transcriptions. These songs are meticulously analyzed thematically to discern recurring motifs and cultural significances associated with different types of foods mentioned by Makaɗa Sa’idu Faru, such as fura da nono, garin kwaki, and kunu.

Data analysis involves thematic coding of textual materials from oral songs and interview transcripts to uncover patterns in the depiction of foods and their cultural implications. Therefore, the research aims to illuminate the role of traditional foods in reflecting and preserving Hausa cultural heritage through oral traditions, by the means contextualizing these findings within broader cultural and historical frameworks

2.1 The concept of dietary habit

Dietary habit refers to the types of food that people usually eat. According to Krause and Roupas (2015), dietary habits reflect individual food preferences and are often related to culture, education, socioeconomic background, and health status. Dietary habits are considered to be the patterns and habitual practices of an individual or homogeneous group of people regarding food selection, which inherently forms the diet consumed by the individual or group.

The formation of dietary habits is continuous in nature because it may be influenced by certain factors, which, in essence, trigger changes over time. Likely reasons for such changes include shifts in financial or economic status, which undoubtedly bring a change in lifestyle. An individual’s health status often leads to changes in dietary intake. For a homogeneous group, contact with an alien culture is likely to introduce new foods that were not previously considered as part of the group's diet. The thrust of this paper, however, is to determine the diet of the Hausa people as portrayed in the songs of Makaɗa Sa’idu Faru and to expand the discussion on the position or status of the diet and the likely reasons why such food is traditionally consumed.

2.2 Makaɗa Sa’idu Faru: A short Biography

Makaɗa Sa’idu Faru was born in Faru town in the Maradun Local Government Area of Zamfara State. His father was Makaɗa Abubakar Kusu, and his mother came from Banga in the Ƙauran Namoda Local Government Area of Zamfara State, Nigeria. According to Gusau (1996: 177), Sa’idu was born in 1937. However, recent research suggests that he was born in 1916.[1] Sa’idu spent his formative years in Banga with his maternal grandparents. Before reaching puberty, he returned to his parents in Faru, where he began to learn the art of singing and drumming the kotso under the tutelage of his father, Makaɗa Abubakar. The kotso is a drum played with bare hands to make the beats rhyme with the lyrics. Sa’idu followed his father wherever he went to perform in the courts or palaces of traditional rulers in Maradun and elsewhere. When his father grew older and the shackles of age took hold, Makaɗa Sa’idu persuaded him to step down and allow the younger members of the musical group to continue his legacy. The mantle of leading the group ultimately fell on Sa’idu Faru, the eldest of the children.

As the leader, Sa’idu began his musical career with his maiden song composed in praise of Sarkin Yamman Faru, Alhaji Ibrahim Abubakar, who was the traditional ruler of Faru in the then Maradun district of Talata Mafara Local Government of the old Sokoto province in the 1950s. The song goes thus:

Gindin Waƙa: Bi da maza ɗan Joɗi na Rwahi,

  Iro magajin Shehu da Bello.

 

Jagora: Dawaya kora ɗimau na Wakili,

‘Y/Amshi: Dawaya kora ɗimau na wakili,

  Uban Sarkin gida Bello da Yari

 

Jagora: Ruwa da kada,

‘Y/Amshi: Ɗibgau na Magaji,

  Sai tsohon wawa ka shigas su.

Chorus: The commander of heros, the son of Joɗi of Rwari,

 Iro, the successor of Shehu and Bello.

 

Lead Chorister: The strong man of Wakili,

Choir: The strong man of Wakili,

 The father of Sarkin Gida Bello and Yari.

 

Lead Chorister: If the waters teem with crocodiles,

Choir: Oh, great man of Magaji,

Only a fool would dare to enter.

Since his debut in the Hausa musical arena, Makaɗa Sa’idu became an astute and prolific Hausa musician who sang several songs in praise of his master, Sarkin Kudun Sakkwato, Alhaji Muhammadu Macciɗo. He also eulogized other traditional rulers, such as Sarkin Gabas Shehu of Talata Mafara, Sarkin Fulanin Bungudu, and Ɗanmadamin Sakkwato, Alhaji Usman Ɗangwaggo Bungudu. The palaces of Ƙauran Namoda and Zurmi were not left out, as Sa’idu composed songs for both District Heads. Sarkin Yaƙin Banga, Alhaji Sale Abubakar, and Ɗan’alin Birnin Magaji, Alhaji Muhammadu Mode Usman, were village heads in Ƙauran Namoda districts who benefited from Sa’idu's musical talents and performances. During his lifetime, the Hausa singer also composed songs for several Emirs, including the Emir of Yawuri, Alhaji Tukur Abdullahi, the Emir of Zazzau, Alhaji Shehu Idris, and the Emir of Kano, Alhaji Ado Bayero. Sa’idu Faru also sang in praise of the mother of the Emir of Kano, Mai Babban Ɗaki, Hajiya Asiya Bayero. The eloquent traditional musician was a royal singer who performed only for the royals and palace stakeholders. Sa’idu Faru died quietly at the age of 97 in his village, Faru, in 1987. May his soul rest in peace!

3.0 Traces of Hausa Diet in the Songs of Sa’idu Faru

The Hausa dietary habits have had a fair share of mentions and have appeared in several royal songs of Makaɗa Sa’idu Faru. Below are the deduced views and mentions of Hausa traditional foods and dietary habits as they appear in his songs.

3.1  Fura da Nono (Porridge with Soar Milk)

Makaɗa Sa’idu Faru has succinctly highlighted the importance of fura da nono as a Hausa delicacy in his songs. This appears in the song composed for Sarkin Fulanin Bunguɗu, Alhaji Shehu, the district head of Bunguɗu in Zamfara State.

Gindin Waƙa: Koma shirin yaƙi,

: Jan damishin gidan Kure Shehu.

Jagora: Zaman kiɗi ga Alhaji Shehu, x2

‘Y/Amshi: Allah ya sa muna maimaitawa.

 

Jagora: Ga fura ta mai nono,

: Ga tuwo mai nama,

: Ga gidana ga matana,

‘Y/Amshi: Da ni da yarana,

: Kowa kag gani da ingarman doki.

(Gusau, 2009 p. 161)

Chorus: Prepare for battle yet again,

The mighty tiger of Kure Shehu.

 

Lead Chorister: We are here to sing for Alhaji Shehu, x2

Choir: May we return to sing again, by Allah's grace.

 

Lead Chorister: Here is my porridge and sour milk,

Here is my meal (tuwo) with beef,

Here is my home and my women.

 

Choir: My choir and I,

Each of us rides a powerful horse.

The stanza above shows that in Hausa tradition, fura da nono is a meal held in high esteem. When served to a guest, it signifies good hospitality. This is evident as even people in authority offer this food to their guests as a mark of respect and hospitality. Sa’idu expresses joy in mentioning that the Sarki he is praising has served him fura da nono.

Fura is a drink made from millet grain. It is a popular local Hausa delicacy enjoyed throughout Hausa-speaking areas of Africa. The fura balls are made from millet flour, boiled, and properly blended by pounding the cooked balls. It is then mixed with sour dairy milk. The grain balls and milk are crushed and blended thoroughly to make a thick paste. Sometimes, sugar is added if desired. It is best served chilled and is mostly consumed in the afternoon. This delicacy is a preferred choice for most Hausa people, irrespective of social or financial standing. It is often taken as a top-up after a meal, whether lunch or dinner. In Hausa society, serving fura to a guest is a sign of great hospitality, and a guest is deemed well-received and nicely cared for by their host if fura is served, regardless of status. This is likely due to its taste and appeal, soothing both the mouth and stomach, and cooling the body when taken on a hot, sunny afternoon or evening.

Due to the preference the Hausa people have for fura above other delicacies, Sa’idu Faru, in a song composed in praise of his master, Alhaji Muhammad Macciɗo, the Sarkin Kudun Sakkwato, proclaimed:

Gindin Waƙa: Farin cikin Musulmin duniya,

Mai martaba na Abubakar.

 

Jagora: Majalisa ɗunkin duniya x2

Ta yi ododi ga manoma,

A riƙa aiki na gaskiya,

A aje abinci na gaskiya,

A tar da gero, a tar da dawa,

A tar da gujjiya, a tar da kaɗa,

A aje gero sonai mukai,

Babban abu Nanjeriya,

Kan dawo in yash sha nono,

Ko Bature kab ba shi,

Ba shi girgizawa amsa shikai,

Ko da yash sha,

‘Y/Amshi: Sai ka ji,

Ya rwaɗa Ingilishi,

Kai nai ya hwashe,

Da yat tamni tsakin dawo

A sha hura a yi wasa,

Ɗantumba shan hura ba lahani ba ne.

 

Chorus: The joy of the global Muslim community,

His Royal Highness, the righteous man of Abubakar.

 

Lead Chorister: The United Nations, x2

Has instructed farmers,

To work with dedication,

To produce quality food,

So millet and sorghum are plentiful,

So bambara nut and groundnut are abundant,

Millet should be stored because we cherish it,

The greatest thing in Nigeria is,

Porridge, when it has sufficient sour milk,

Even when you offer it to a white man,

He will always accept it,

When he tastes it…

 

Choir: He will instantly,

Shout in English,

The intoxication makes his head spin,

When he has a bite of the porridge remnant.

Take the porridge and enjoy,

Oh Ɗantumba, having porridge does you no harm.

 

To the royal singer, fura is irresistible even to Europeans because of its comestible nature, enticing taste, and soothing appeal to the stomach. He believes that Europeans, overwhelmed by the delightful taste of fura, would murmur and speak English out of excitement.

In another song in praise of Sarkin Kiyawan Ƙauran Namoda of Zamfara State, Alhaji Garba Abubakar, Sa’idu Faru discusses the efficacy of fura in nourishing the human body, suggesting that fura can help restore a pale complexion. He sang:

Gindin Waƙa: Bajinin gidan Isau,

Shiryayye uban Magaji,

Garba ruwan kashin fari,

Baban Amadu gizago.

 

Jagora: Daudu Mu’azu babu komi,

Mai roƙon ruwa ya sha,

‘Y/Amshi: In ya sami kan dawo, x2

Nan yaka ta da molaƙatai, x2

 

Jagora: Kowash sha fura da nono,

Yash sha ɗatun zuma,

‘Y/Amshi: Mi yaka yi da maye-maye.

 

Chorus: The great figure of the Isau house,

The pious father of Magaji,

Garba, the rains that end drought,

The great father of Amadu.

 

Lead Chorister: All is well, Dauda Mu’azu,

The one who begs for drinking water,

Choir: If they get a millet dumpling, x2

They will instantly gain weight and no longer be gaunt. x2

 

Lead Chorister: Whoever takes millet dumpling with sour milk,

And enjoys porridge with honey,

Choir: What would they desire junk foods for?

 

The singer juxtaposes the preference for certain foods or drinks over others. One looking to quench their thirst will certainly not ignore fura when offered. Similarly, anyone with fura and honey to consume will most likely overlook the Hausa native corn porridge (maye-maye), as depicted in the song. This illustrates that some Hausa traditional foods are culturally preferred over others due to their esteemed status.

3.2 Tuwo Da Nama (Swallow with Beef)

 

Tuwo is a Hausa term for swallow food. Traditionally, Hausa swallow food is made from various types of guinea corn or millet. With the introduction of maize, believed to have been brought to Hausaland from Egypt, it became one of the staple foods of the Hausa people, processed to make tuwon masara. There is also tuwon shinkafa, made from rice. Tuwo is traditionally consumed during dinner and is served hot or steaming with miyar kuka (soup made from dried baobab leaves), miyar taushe (vegetable soup), miyar kuɓewa (fresh or dried okra soup), miyar karkashi (draw soup), and many other soups. Each of these soups is prepared with beef or other red meat from sheep or goats as one of the ingredients. Tuwo is a cherished Hausa traditional meal served to guests during dinner as a mark of hospitality. This is why Makaɗa Sa’idu Faru mentioned in one of his songs composed in praise of his master, Muhammadu Macciɗo, Sarkin Kudun Sakkwato:

Gindin Waƙa: Hattara bajinin gidan Bello ɗan Abdu,

Jikan Hassan maganin wargi.

 

Jagora: Na kwana Zazzau na kau ji daɗi nai,

Ga fura mai nono masabkina,

Ga tuwo mai nama masabkina.

‘Y/Amshi: Kana da swahe yab ba ni hwan goma,

Yas sa ni mato ta kyauta da barwaina.

 

Chorus: Salutation, oh great son of Abdul of Bello’s house,

The grand descendant of Hassan, the mighty intimidator.

 

Lead Chorister: I passed the night in Zazzau's embrace,

Feasting on millet dumplings with sour milk,

Swallow with beef graced my stay,

Choir: And come morning, ten pounds in my hand,

With free transport for me and my choir band.

 

Okra soup, miyar kuɓewa, is sometimes served with any type of tuwo. However, the preference and mode of preparation of okra soup by the Hausa people significantly differ from those of other cultures. This is explicitly expressed by Sa’idu Faru, the Hausa royal singer. In praise of Sarkin Gabas of Talata Mafara, Alhaji Shehu, Sa’idu Faru said:

 

Gindin Waƙa: Rinjayi maza jikan Hassan,

Bajinin Sarkin dogarrai,

Ɗan mai raba kaya na Shamaki, x2

Shehu na Sarkin Bauran Dange.

 

Jagora: Akushi in ba na tuwo ba na, x2

‘Y/Amshi: In ba kwanon nama ba na, x2

Mi ar rana akushin guro, x2

Yarbawa ab ba wayo, x2

Sun aza ko shi ɗai ci nai mukai, x2

Ga ‘yan neman baubayu.

 

Chorus: The conqueror of heroes, grand descendant of Hassan,

The great leader of palace guards,

Son of a benefactor, man of Shamaki,

The Shehu of Sarkin Bauran Dange.

 

Lead Chorister: A dish without swallow, x2

Choir: A dish without beef, x2

Of what use is an okra dish? x2

The Yoruba, unaware, x2

They think we eat it plain, x2

Uninformed in their way.

 

The Yoruba prepare okra alone and sometimes mix it with stew. In contrast, the Hausa people prepare okra soup mixed with other ingredients such as cooking oil, locust bean cake (daddawa), salt, seasonings, and other taste enhancers. To further attest to the fact that tuwo da nama and fura da nono are the favored foods of the Hausa people, which may not be palatable to people of other cultures, Makaɗa Sa’idu re-emphasized this notion in the same song:

Gindin Waƙa: Rinjayi maza jikan Hassan,

Bajinin Sarkin dogarrai,

Ɗan mai raba kaya na Shamaki, x2

Shehu na Sarkin Bauran Dange.

 

Jagora: Ɗan azne komi yaƙ ƙasura,

Ɗan azne komi yak kammala,

Ko baƙunci yaz zo maka,

Shi ba ka hura don ba ya sha,

Kuma ba ka tuwo don ba ya ci,

Sai dai a biɗo mai dankali,

‘Y/Amshi: A gama shi da ɗan mai don kwaɗo

A sawo kwalin mai basikur

A biɗo kwalbab barasa.

 

Chorus: The conqueror of heroes, grand descendant of Hassan,

The great leader of palace guards,

Son of a benefactor, man of Shamaki,

The Shehu of Sarkin Bauran Dange.

 

Lead Chorister: For a pagan, no matter how great he grows,

For a pagan, no matter how complete he shows,

Even when he visits you,

You can't offer him millet dumpling, he won't partake,

You can't offer him swallow, he won't embrace,

You only need to find him a simple potato,

Choir: With a touch of oil for flavor,

And buy him a pack of cigarettes,

And a bottle of alcohol to savor.

 

These lines not only show the hospitable culture of the Hausa people in welcoming and taking good care of their guests regardless of the guests’ religious inclinations but also highlight how sweet potato is cherished and prepared to the taste of non-Hausa people. Kwaɗo, in Hausa, is a delicacy prepared with various food substances. As depicted in the above lines, it can be made with boiled sweet potato mixed with groundnut paste and boiled leaves of some vegetables, with salt and spices added to taste. However, the singer also mentioned some substances whose consumption is abhorred by Hausa culture, such as cigarettes and beer, which are considered impermissible according to Hausa religious injunctions.

3.3 The Religiously Restricted Food

The Hausa people are known to be strong believers and adherents of the Islamic faith. Due to the Islamic religious injunctions prohibiting certain foods, the Hausa people traditionally abhor and desist from consuming religiously sanctioned food and drinks. The singer, being a Muslim, is aware of the prohibited consumables and has mentioned some in his songs. A clear example is the stanza above and the song below.

To further buttress the point that religious injunctions significantly determine the choice of food consumed by the Hausa people, Sa’idu Faru highlights this in a song he composed to eulogize the Sarkin Kudun Sokoto, Alhaji Muhammadu Macciɗo. The lines say:

Gindin Waƙa: Bajinin gidan Bello Mamman na Yari,

Sarkin Kudu Macciɗo ci maraya.

 

Jagora: Da biskit da minti da taba sigari, x2

Da lemu da soda da kwalbas sitawut,

Bai yarda aza su ko sau guda ba,

Ya ɗau wasiccin da Usmanu yace,

Ya ce abincinsu ba namu ne ba,

Yawancin abincinsu daɗi gare shi,

Kowam mami yay rashi ba ruwanai,

‘Y/Amshi: Wancan na shi an na ci bai ci can ba.

 

Chorus: The hero of Bello Mamman of Yari,

The Sarkin Kudu Macciɗo, conqueror of cities.

 

Lead Chorister: Biscuits, mint, and cigarettes,

Soft drinks, soda, and stout,

He forbade the use of any of them,

Holding fast to Usmanu's will,

He declares their food is not our own,

Though their foods are often tasty,

Macciɗo will not spare a dime for one who perishes at the bar,

Choir: Earthly pleasures are his alone, with nothing to enjoy on Judgment Day.

 

This verse indicates that the revered leader of the Islamic revivalist movement, who led an Islamic crusade over the entire Hausa territory and beyond, has rejected certain food and drinks of the heathen and urged Muslim faithful not to consume them. Whoever consumes the forbidden food will be exempted from enjoying the heavenly feast. The songster cites wine and tobacco as examples of the forbidden items that the Hausa Muslim population abhors and detests due to religious sanctions.

3.4 High Status Food

Certain foods and drinks are regarded as symbols of high status. Examples include milk and honey, which are traditionally seen as high-profile foods. Praise singers often refer to the individuals they eulogize as milk and honey to depict their high status and show the high regard their subjects have for their positions in society.

The astute singer Makaɗa Sa’idu Faru mentions high-status drinks that the Hausa people consume and view as the choice of nobility. These drinks are considered suitable for the noble and rich, possibly due to their expensive nature or rarity compared to other abundant foods and drinks readily available to the common man. Makaɗa Sa’idu Faru metaphorically refers to the Sarki he praises as milk and honey to illustrate his high status and esteemed position among his subjects. Makaɗa said:

Gindin Waƙa: Ƙi garaje uban Shamaki Shehu,

 Ɗan Muhamman sarkin riƙon taro.

 

Jagora: Madara da zuma na Jekadiya Shehu, x2

‘Y/Amshi: Madara da zuma na Jekadiya Shehu, x2

 Baba jikan Alu Babba Maisaje.

 

Chorus: The charismatic father of Shamaki Shehu,

The son of Mammam, the pillar of the people.

 

Lead Chorister: Milk and honey for Jekadiya Shehu, x2

Choir: Milk and honey for Jekadiya Shehu, x2

The benefactor, the grand descendant of Alu Babba Maisaje.

 

In a song for his sole master, the Sarkin Kudun Sakkwato Alhaji Muhammadu Macciɗo, Sa’idu Faru juxtaposes two sweet substances, zuma (honey) and maɗi (sugarcane juice), expressing that whoever tastes zuma will never choose maɗi over it. This points to the cultural preference for the former over the latter sweetener. He says:

Gindin Waƙa: Farin cikin Musulmin duniya,

 Mai martaba na Abubakar,

 Ci fansa Alhaji Macciɗo.

 

Jagora: Kuma in maganaz zaƙi a kai,

‘Y/Amshi: Kowa na kurɓa ruwan zuma,

 Ba ya koma tad da batun maɗi.

 

Chorus: Happiness of the global Muslim community,

His royal highness, the great man of Abubakar,

The winning hero Alhaji Macciɗo.

 

Lead Chorister: When speaking of sweetness,

Choir: Whoever tastes honey,

Would never speak of sugarcane drink again.

 

3.5 The Low Status Foods

Certain foods and drinks are regarded as low-profile and are often consumed by the less privileged or used as local remedies for certain ailments. Examples include processed cassava flour, originally from Nupe and Yoruba culture, peanut cake, and certain local fruits consumed for their sweetness and medicinal properties. On this, Makaɗa Sa’idu Faru emphatically said:

Gindin Waƙa: Ya yi sarki daidai wada mai yanzu yar riƙa

 Alhaji Macciɗo jikan Mamman mai dubun bara

 

Jagora: Hwarin maciji,

‘Y/Amshi: Cizonka ba dahi

 A yi gumba a sha a sami lahiya,

 Gumba ko ba cizon ƙwaro taimako ta kai x2

 

Chorus: He will lead the people as well as the current eminence,

The ever-victorious Alhaji Macciɗo, the noble descendant of Mamman.

 

Lead Chorister: The white snake,

Choir: Your bite lacks venom,

Millet gruel will be made and taken as a cure,

Millet gruel sustains even without any bite or sting. x2

 

Gumba is a gruel made from millet flour prepared with cold water instead of the usual boiled water. It is often made as a quick drink to stave off hunger. The singer succinctly expressed the benefits of consuming gumba as an antidote for a snake bite with less poisonous venom.

Makaɗa Sa’idu Faru also highlighted a traditional practice among Hausa butchers (rundawa) involving the drinking of gumba. The singer was sarcastic while referring to a prince who lowers himself to engage in the trade of hides and skins, considered demeaning for a Hausa prince. Makaɗa Sa’idu Faru teasingly said:

Gindin Waƙa: Ya riƙa da gaskiya Muhammadun Muhammadu,

 Karsanin gidan Maisaje shirinka ya yi kyau.

 

Jagora: Ɗan sarkin da ka sayen hwata,

 Kag ga nai cikin Rundawa suna ta gardama,

‘Y/Amshi: In ana rawat turu yaj jiya shiga yakai,

Jagora: In dai ana

‘Y/Amshi: Rawat turu yaj jiya shiga yakai,

Jagora: In ya ga an yi damun garin da za a ba su su sha,

‘Y/Amshi: Shi ka hwara cewa bari in jiya akwai suga! x2

 

Chorus: The judicious leader, Muhammadu son of Muhammadu,

The noble figure in Maisaje’s house, your plans are wise.

 

Lead Chorister: The prince who buys animal skins,

You'll find him amidst the butchers, arguing,

Choir: Whenever the butchers dance to their drumming, he joins them,

Lead Chorister: Whenever,

Choir: The butchers dance to their drumming, he joins them,

Lead Chorister: When the millet gruel is prepared for them to drink,

Choir: He is the first to taste it, checking for enough sugar! x2

 

Gruel or pap is one of the commonest watery diets of the Hausa people, made from millet grain paste mixed with boiled water. It is typically consumed during breakfast along with bean cake and is traditionally regarded as a meal for people with poor economic status. Makaɗa Sa’idu Faru, in a song praising the then Premier of the Northern Region of Nigeria and the Sardauna of Sokoto, Alhaji Sir Ahmadu Bello, metaphorically referred to taking a meal of pap as a euphemism for going to jail or a correctional home. He said:

Gindin Waƙa: Ya murɗe wuyan maza,

 Yanzu ba mai ƙara ja nai,

 Kai ab Bello kai ah Hassan,

 Kai ad da kowa.

Jagora: Gazagurun gidan Bello, x2

‘Y/Amshi: Amadu ɗan Muhammadu, x2

Jagora: Dum mai gaba da kai,

‘Y/Amshi: Dum mai gaba da kai,

 Bai bakwai bai sha kunu ba.

 

Chorus: He has triumphed over all heroes,

None will dare challenge him again,

You are Bello, you are Hassan,

All are answerable to you.

 

Lead Chorister: The noble figure of Bello’s house, x2

Choir: Amadu, the son of Muhammadu, x2

Lead Chorister: Whoever harbors enmity against you,

Will not last seven days without taking pap.

 

In a song praising the Emir of Yauri, the late Alhaji Muhammadu Tukur Abdullahi, who reigned from 1955 until his death in 1981, Makaɗa Sa’idu Faru mentioned certain traditional Hausa foods consumed only in distress or by the less privileged. These foods include cassava flour and other local fruits of lesser value, seldom eaten. Due to the traditional status of these foods, Sa’idu Faru sarcastically castigated certain emirs who fail to properly feed their servants and guards accompanying them to events. He says:

Gindin Waƙa: Koma shirin daga na Bubakar,

 Gamda’aren Alkali wan maza.

 

Jagora: Ga wani Sarki ba shi da zagi,

‘Y/Amshi: To kuma sannan bai da guzuri,

 Garin rogo ɗai sukai ta ci da guru,

 Kowane na aza ruwa.

Jagora: Garin rogo ɗai,

‘Y/Amshi: Su kai ta ci da guru,

 Kowane na aza ruwa.

 

Chorus: Be prepared for more challenges, noble man of Abubakar,

The great man of Alkali who triumphed over all heroes.

 

Lead Chorister: There is a king without a messenger,

Choir: And he has no provisions,

They were only eating cassava flour and groundnut cake,

Everyone washing it down with water.

 

Lead Chorister: It was only cassava flour,

Choir: They were consuming,

Everyone washing it down with water.

 

Due to the poverty-stricken state of the Sarki, his servants resorted to consuming gari (processed cassava flour) and peanut cake, with water. Gari is considered to be of minor status among the array of consumable foods in Hausa culture. In a different stanza of the same song, the singer further said:

Jagora: Ga wani gumboron uban ƙasa

‘Y/Amshi: Da yaranai wajjen guda huɗu,

Jagora: Ga wani samɓolun uban ƙasa,

‘Y/Amshi: Da yaranai wajjen guda huɗu.

 Ba ko mai suturat kwabo huɗu,

 Ya hita mota ya yi tagumi,

 Da kwandon ɗunya yay yi guzuri

 

Lead Chorister: Here stands a struggling district head,

Choir: With about four servants in tow,

Lead Chorister: Here stands a district head in a difficult situation,

Choir: Accompanied by his four servants,

None among them wears clothing worth even four kobos,

He steps out of a car, lost in thought,

Carrying a basket of African black plum as provisions.

 

The intake of ɗunya, fruits from the black plum tree (vitex doniana) is a tradition. The fruit is typically eaten as a snack for pleasure rather than to stave off hunger. However, in extreme hunger and need for food, it may be consumed to fill one's stomach, often resulting in constipation and difficulty in passing stool.

4.1 Research Findings

This research provides an insightful examination of the dietary preferences among the Hausa people, focusing on foods categorized as high-status and low-profile within their cultural context. The findings of the paper identified:

1. High-Status Foods: Fura da nono and tuwo da nama emerge as prominent examples of high-status foods in Hausa culture. Fura da nono, a millet dumpling served with sour milk, and tuwo da nama, a grain or cereal-based swallow accompanied by various soups with beef, are esteemed delicacies. They are both symbols of hospitality and reflect cultural pride and are traditionally served to guests in Hausa households.

2. Preference for Milk and Honey: Honey and milk hold a prestigious status among Hausa foods, often metaphorically referred to as "madara da zuma" (milk and honey). These beverages are not only enjoyed for their taste but also symbolize prosperity and goodness. They are highly favored choices among the Hausa, illustrating a cultural preference for sweetened and nourishing drinks.

3. Low-Profile Foods: Conversely, the study identifies certain traditional foods as low-profile within Hausa culinary practices. These include garin kwaki or garin rogo (cassava flour), gumba (non-hot grain flour gruel), and kunu (hot pap made from millet grain). These foods are more commonly consumed by the general populace due to their affordability and simplicity, serving as staple options for everyday meals.

4. Cultural Significance: Hausa oral singers such as Makaɗa Sa’idu Faru play a crucial role in preserving and transmitting cultural values through their songs, particularly in royal or court settings. These songs serve not only as entertainment but also as repositories of cultural knowledge and historical narratives. They contribute significantly to the preservation of Hausa cultural practices, ensuring their continuity across generations.

5. Cultural Preservation: The study emphasizes the importance of Hausa oral songs as invaluable sources for studying and safeguarding Hausa culture. By documenting practices, aspirations, and societal norms, these songs mitigate the risk of cultural erosion over time and geographical boundaries. The research highlights the intricate relationship between food, culture, and identity among the Hausa people. The findings emphasize the role of traditional foods in expressing hospitality, social status, and cultural heritage.

4.2 Conclusion

Makaɗa Sa’idu Faru, a revered oral singer known for his versatility and wit, dedicated much of his life to composing songs exclusively for royalty. His songs are renowned for their sarcasm and metaphors, sparing neither opponents nor antagonists of his patrons from castigation and mockery. He often disparaged them as princes who indulged in low-profile foods like kunu or gumba, and excessive consumption of less esteemed fruits, like ɗunya/ɗinya. In contrast, he lauded his patrons for their magnanimity, philanthropy, and hospitality, likening them to the delicious and esteemed drinks of milk and honey (dara da zuma). The singer highlighted the hospitable nature of his patrons, who generously served high-status foods like fura da nono, a refreshing choice often enjoyed in the afternoon to combat the region's temperate climate.

This study observes that many traditional local foods and delicacies have waned in popularity among contemporary Hausa households, except in rural areas and among marginalized communities. The paper advocates for rigorous exploration of traditional songs by astute Hausa artists to rediscover extinct foods that were natural, hygienic, and possessed medicinal value. By doing so, these cultural treasures can be preserved and transmitted to future generations, ensuring the continuity and appreciation of Hausa cultural heritage.

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[1] In a recent interview which Ɗanmadamin Birnin Magaji, Alhaji Ibrahim Muhmmad had with the family of the deceased Hausa musical guru, the heir to the musical group ascertained that his father was born in the year 1916. The Ɗanmadamin Birnin Magaji discussed this issue at length in a ‘Whatsupp group’ dedicated to the conference on Makaɗa Sa’idu Faru organized by the Department of Languages and Cultures, Faculty of Humanities, Federal University Gusau. It was shared on the group on 9/02/2024. 

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