Exploring the Economic Opportunities and Challenges in Documenting Hausa Oral Literature: Special Reference to Sa'idu Faru's Songs

Citation: Sani, A-U., Bakura, A.R., & Birnin Magaji, I.M. (2024). Exploring the Economic Opportunities and Challenges in Documenting Hausa Oral Literature: Special Reference to Sa'idu Faru's Songs. Four Decades of Hausa Royal Songs: Proceedings from the International Conference on the Life and Songs of Makaɗa Sa'idu Faru, 3(3), 403-414. www.doi.org/10.36349/tjllc.2024.v03i03.056.

Exploring the Economic Opportunities and Challenges in Documenting Hausa Oral Literature: Special Reference to Sa'idu Faru's Songs

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 

And

Adamu Rabi’u BAKURA

Department of Languages and Cultures,
Federal University, Gusau, Zamfara State, Nigeria
Email: adamubakura@fugusau.edu.ng,  arbakura62@gmail.com 

And

Ibrahim Muhammad Birnin Magaji
Ɗanmadamin Birnin Magaji
Email:  birninbagaji4040@gmail.com

Abstract

This paper delves into the documentation of Hausa oral literature in the digital era, focusing on the songs of Makaɗa Sa'idu Faru. It aims at a comprehensive exploration of the challenges and opportunities as well as understand the economic implications and ethical considerations inherent in this endeavor. By synthesizing findings from various methodologies, including literature review and case studies, the paper highlights the shift towards digital platforms and the utilization of online channels for preservation efforts. Findings of the article reveal diverse revenue streams and highlight the importance of collaborative approaches for sustainable preservation. Recommendations emphasize the need for training programs, policy development, and investment in digital archives to ensure the integrity and accessibility of Hausa oral literature in the digital age.

Keywords: Documentation, Digital Documentation, Hausa Oral Literature, Makaɗa Sa'idu Faru, Hausa Songs

1.0 Introduction

Oral literature, especially singing, is a significant aspect of Hausa literature and culture, reflecting the community's values, history, and social norms.[1] Many researchers have conducted studies on various facets of Hausa oral song traditions, highlighting their importance and richness.[2] This introduction sets the stage for a comprehensive exploration of Sa'idu Faru's life, music, and the broader implications of documenting Hausa oral literature.

Sa'idu Faru, affectionately known as "Malamin Waƙa"[3] (the Master of Songs), occupies a well-regarded position in the mosaic of Hausa musical heritage. His birth in 1916 in Faru Town, Maradun District, Zamfara State, Nigeria, marked the commencement of a journey so memorable in the narratives of Hausa literature and culture. Faru's contributions to Hausa music have left an ineffaceable mark, establishing him as a central figure in the tradition of Hausa oral literature, especially royal rongs.

This study aims to delve into the life and musical contributions of Makaɗa Sa'idu Faru, revisiting his early influences, apprenticeship, leadership role, and enduring legacy. Furthermore, it seeks to examine the challenges and benefits inherent in documenting Hausa oral literature, using Sa'idu Faru's songs as a focal point. By attempting to achieve these objectives, the study endeavors to shed light on the economic, ethical, and cultural dimensions of preserving indigenous oral literature.

1.1 Methodology

This article employs a multi-layered methodology approach to explore the life and musical legacy of Alhaji Sa'idu Faru and to examine the challenges and benefits of documenting Hausa oral literature. Primary research involves conducting interviews with individuals knowledgeable about Sa'idu Faru's songs and history, including scholars, musicians, and community members with direct experience of his performances. These interviews provide valuable insights into the Makaɗa’s cultural influence, thematic exploration of his songs, and the significance of his legacy within the Hausa musical tradition.

In addition to primary source, the researchers have utilized internet-based sources. Extensive surfing of the internet is conducted to observe firsthand the various forms of monetizing oral literature and the documentation processes prevalent in the digital era. This involves exploring online platforms such as YouTube (https://www.youtube.com), TikTok (https://www.tiktok.com/en), Vimeo (https://vimeo.com), and social media channels to analyze how oral literature is documented, shared, and monetized in contemporary contexts. By synthesizing insights from primary and secondary research, this article would provide a comprehensive analysis of Alhaji Sa'idu Faru's musical heritage and the evolving landscape of Hausa oral literature documentation and monetization in the digital era.

1.2 Literature Review

Oral literature has been a vital part of human existence, shaping cultures, soothing minds, educating people, and providing income for artists, particularly singers. Numerous research publications explore various aspects of oral literature.[4] In the 21st century, as digitalization becomes more prevalent, oral literature has emerged as a valuable asset on the internet. Many individuals now use various digital platforms to monetize their works, including oral songs. Recent research has examined the diverse issues related to the digital marketing of oral songs. Shinu Shinu Asmy & Nagaraj (2015) discussed the possibilities and challenges of documenting oral literature. Spacek (2016) highlighted the opportunities and legal implications involved in the monetization of oral literature.

Peter (2020) discusses the history of monetization from its inception to the digital age, which he refers to as the "streaming era." Eisman (2022) explains a new music monetization structure which allows artists to retain ownership of their work. Ailakhu (2023) explored the documentation of oral literature in the digital age and concluded: “It also involves protecting the oral information from becoming obsolete, implementing policies for safe use, and ensuring protection from ownership disputes, theft, and loss of information.” Hoang (2023 p. iii) investigates how technology influences the monetization of digital musical assets and emphasizes “how blockchain technology has the ability to allow musicians more freedom, transparency, and flexibility when it comes to monetizing their music with less involvement of a third party.”[5] Other research works that discuss digital documentation of oral literature include: Dahlman et al. (2012) and Ganyi (2016).

On the other hand, guidance on digital documentation and monetization of music is increasingly available on various blog posts. Kumari (2022) explains the concept of music monetization and discusses the top three ways to monetize music. First, he highlights the importance of earning streaming royalties through the use of a music distribution network. Second, he emphasizes the value of collaborating with brands and other musicians to expand reach and revenue opportunities. Lastly, he addresses the potential for collecting royalties from live performances as a significant income source for musicians. Davey (2024) outlines twenty-four (24) ways to make money from music online. Other texts that offer similar guidance include the works of Greene (2020), Hahn (2021), Majewski (2021), Neu (2021), Veen (2021), and Woodcock (2022).

2.0 Revisiting the History of Makaɗa Sa’idu Faru

Sa'idu Faru was born in the town of Faru in the Maradun district in 1916 (in the present Zamfara State, Nigeria). He acquired the nickname "Ɗan'umma" after his maternal uncle's wife, whom he referred to as Umma instead of mentioning her name. His father, Makaɗa Abubakar Ɗan Abdu, descended from a lineage of musicians, with his grandfather, Makaɗa Abdu Aliyu Mai Kurya, also being a musician who performed numerous songs during times of war.

Makaɗa Sa'idu Faru's mother, Halimatu, was born and raised in Banga. It is believed that his father, Abubakar Mai Kotso, married her from there. Growing up in this vibrant cultural hub, Sa'idu Faru was deep in the melodies of Hausa musical tradition from an early age. His formative years in Faru Town provided the fertile ground from which his musical talents emerged and flourished.

Sa'idu Faru was enrolled in a Qur'anic school and attained some level of education. However, his true passion lay in music. Despite his studies, his inclination and dedication were always towards the world of music. Sa'idu Faru learned music from his father, Makaɗa Abubakar, who was his mentor and guider in the art of singing. Raised in a household where music was revered, Sa'idu Faru inherited a deep appreciation for Hausa royal songs and the art of drumming and singing. His family's musical legacy served as the cornerstone of his own artistic journey, shaping his identity as a custodian of Hausa musical tradition.

At the tender age of 10, Sa'idu started accompanying his father to musical performances, gaining valuable experience and exposure. By the time he reached the age of 16, he had developed his skills to the point where he began singing as a backup vocalist. Sa'idu Faru's initiation into the world of Hausa royal songs began in his early years under the guidance of his father. As a member of his father's royal songs team, Sa'idu Faru embraced the opportunity to learn and master the intricacies of this esteemed musical tradition known as kiɗan sarauta or kiɗan fada (royal song).

During Sa'idu Faru's apprenticeship under his father, Abubakar Mai Kotso, who was known for his musical expertise, Sa'idu Faru participated as a chorister. One notable occasion was when his father sang for the Dagacin Banga/Sarkin Yaƙin Banga Abdu at the Ƙaura Namoda Palace of Zamfara in the 1920s or 1930s.

Jagora da Y/Amshi:

Yanzu anka yi Sarkin da ba ya ƙamnaw wargi,

Sa maza jin tsoro na Rwahi toron Ɓauna.

 

Lead Chorister and Choir:

We now have a king of unwavering commitment,

The man of Rhahi, a buffalo feared by warriors.

 

Jagora: In dai hwaɗan girma na…,

Y/Amshi: Ko ƙasa na ko bisa na,

Kana iyawa na Zagi.

 

Lead Chorister: If it comes to fighting for justice…

Choir: You can surely execute it flawlessly,

Whether on the ground or in the skies.

 

Jagora: In kwashi taƙama ta,

Y/Amshi: Banga ban da miji raggo ba,

Yanzu an ka yi Sarkin da ba ya ƙamnaw wargi,

Sa maza jin tsoro na Rwahi toron Ɓauna

Lead Chorister: With pride, I will stand tall, 

Choir: Our master at Banga is diligent above all,

We now have a king of unwavering commitment,

The man of Rhahi, a buffalo feared by warriors.[6]

 

Through dedicated practice and mentorship, he honed his skills as a drummer and vocalist, laying the groundwork for a future marked by artistic excellence and cultural preservation. His apprenticeship in Hausa royal songs was shaped by the mentorship of his father, Abubakar Mai Kotso. Under his father's guidance, Sa'idu Faru underwent rigorous training in drumming techniques, vocal expression, and the nuanced art of storytelling through music. The intimate mentor-disciple relationship between father and son fostered a deep connection to Hausa cultural traditions and instilled in Sa'idu Faru a profound sense of responsibility as a bearer of musical heritage.

One of the earliest songs performed by Makaɗa Sa'idu after assuming the role of lead chorister in their family band was dedicated to the Late Sarkin Yamman Faru, Alhaji Ibrahim Abubakar (his Village King), also known as Mai Abu Faru, in the 1940s. Here are excerpts from the song:

Jagora: Ruwa da Kada…

Y/Amshi: Ɗibgau na Magaji,

Sai tsofon wawa ka shigas su.

 

Lead Chorister: If the waters teem with crocodiles,

Choir: Oh, great man of Magaji,

Only a fool would dare to enter.

 

Jagora: Kai ak ko yau ko gobe Maradun

Y/Amshi: Kai ak ko yau ko gobe Maradun,

Turawa sun ba da wasiƙa.

 

Lead Chorister: You exude confidence always (to be the new district head),

Choir: You exude confidence always (to be the new district head)

The White Men have issued a decree letter.

This song has documented a lot of history. An example is where he mentioned:

"Iro Magajin Shehu da Bello”

English Translation:

Iro is a descendant of Shehu and Bello

It is noteworthy that in the aforementioned musical verse, he meticulously traced the lineage of Iro, connecting him to Mujaddadi Shehu Usman Danfodiyo (may Allah grant him eternal bliss), and his song, "Amirul Muminina" (the Leader of the Believers) Muhammadu Bello. This lineage tracing was significant because the individual he was singing for had ancestral roots that traced back to Shehu Usman Danfodiyo as follows:

Sarkin Ƙayan Maradun Abubakar/Bubakar è Sarkin Ƙayan Maradun Alhaji è Sarkin Ƙayan Maradun Muhammadu Mu'alliyeɗi  è Sarkin Musulmi Muhammadu Bello  è Sarkin Musulmi Muhammadu Bello è Mujaddadi Shehu Usman Ɗanfodio (may Allah grant him eternal bliss)

On the contrary, it is speculated that the Sarkin Yamman Faru held the position of Sarkin Kaya at that time. This assumption arises from the fact that during that period, his father, Abubakar/Bubakar, served as the District Head of Maradun. When the British colonizers established their rule in Sokoto, they decreed that any Village Head of Faru had the potential to become the District Head of Maradun. This historical context is also reflected in the song, where he mentions:

Kai ak ko yau ko gobe Maradun,

Turawa sun ba da wasiƙa.

 

English Translation:

 

You exude confidence always (to be the new district head)

The White Men have issued a decree letter.

Unfortunately, his reign on the throne was short-lived. This was due to his father's removal from the position of District Head of Kayan Maradun in 1960, and Muhammadu Bello Tambari, the son of Amadu and descendant of Sarki, was crowned as the new district head. Additionally, during that period, Alhaji Ibrahim was also ousted from his position as Village Head of Faru.

In another verse of the song, he references the historical lineage of Sarkin Kayan Maradun, Attahiru/Atto. He says:

Babu mazan da ka ja maka,

Jikan Atto bani bani Usumanu Atiku.[7]

English translation:

No one can confront you,

The grand descendant of Atto and the great-grand descendant of Usmanu Atiku.

In line with the above, he also metaphorically explains that even royal individuals do not have the prestige of the Sarkin Yamman Faru, Ibrahim Abubakar. That is because, they do not have a historic lineage that traces to the Mujaddadi Shehu Usmanu Danfodiyo. He says:

Hasken fitila ba ɗai da wata ba,

Tamraro haskenka subahin,       

English translation:

A lamp can't match the brightness of the moon,

You are the star that shines brightest in the predawn gloom.

In the same song, he fervently prays for him to ascend to the position of District Head of Kayan Maradun and even to become the Sultan in the future. He says:

Sarkin Yamma inai maka fata,

Ya Allah ya yi ma tabaruka,

Don girman Lawali da Risala,

Don hasken Yassin da Muƙama

English translation:

I pray for you, dear Sarkin Yamma,

May God bless you abundantly,

For the sake of Lawali and Risala,

For the brightness of Yassin and Mukama.

Sa'idu Faru's emergence as a skilled performer within the realm of Hausa royal songs was marked by his ability to captivate audiences with his soulful renditions and profound storytelling. His performances transcended mere entertainment, serving as a conduit for the transmission of cultural narratives, historical chronicles, and societal reflections. Through his artistry, Sa'idu Faru carved a niche for himself as a revered master of Hausa musical tradition, earning accolades and admiration from both local communities and esteemed dignitaries.

Sa'idu Faru's journey in Hausa royal songs took a significant turn when he assumed leadership of his father's royal songs team. At the age of 30, Sa'idu Faru stepped into the role of leader with humility and determination. His talent and dedication earned him opportunities to sing for esteemed figures such as Ibrahim, the Sarkin Yamman Faru. He continued to showcase his musical prowess by entertaining princesses with his melodious tunes.

Eventually, he had the privilege of meeting the Sarkin Kudu Macciɗo, who held the prestigious title of Sarkin Gabas, symbolizing his role as the district head of Talatar Mafara.[8] Their encounter especially between 1953 and 1956, during the Sultan's tenure as the District Head of Talata Mafara in Zamfara State, Nigeria, marked a significant milestone in Sa'idu Faru's musical journey. The Sultan's appreciation for Sa'idu Faru's artistry further solidified his reputation as a respected performer within royal circles.

Throughout his musical career, he only sang royal songs. One of the songs he sang was dedicated to His Royal Highness, the Galadiman Kano, Alhaji Ahmad Tijjani Hashim.[9] Here is an excerpt from the song:

Jagora: Tsaye da kyawo, zanne da kyawo,

Y/Amshi: Amadu kamfaraƙin Sarkin Fada,

Karsanin Galadiman Kano,

Kurum kake mai ban tsoro,

Ɗan Hashim ƙanen sarkin Kano.

 

Lead Chorister: You exude magnificence both standing and sitting.

Choir: Oh, the illustrious Amadu of Sarkin Fada,

The esteemed man of the Galadiman Kano,

You are silence that instills awe,

Son of Hashim and younger brother to the King of Kano.

………….

 

Jagora: Sa'idu Faru ka waƙam mulki,

Y/Amshi: Komi kaj jiya ƙarya a kai.

 

Christer: Sa’idu Faru is indeed a royal singer,

Choir: Any contrary story you may hear is falsehood.

 

Jagora: Sa'idu Faru ka waƙar iko,

Y/Amshi: Komi kaj jiya ƙarya a kai.

 

Christer: Sa’idu Faru is indeed a singer of majesty,

Choir: Any contrary story you may hear is falsehood.

In this song, he explicitly emphasizes his position and status in the traditional music arena, asserting that he is a royal singer. Thus, he sings exclusively for kings and individuals from royal families. Among the songs he sang are:

1. Sarkin Yamman Faru Ibrahim
2. Sarkin Kiyawa Abubakar Ƙaura –Namoda
3. Sarkin Yaƙin Banga Sule da Abubakar
4. Sarkin Gabas na Mafara Muhammadu
5. Sarkin Musulmi Abubakar III
6. Sarkin Yawuri Alhaji Muhammadu Tukur
7. Sarkin Sudan na Wurno Alhaji Shehu
8. Sarkin Kano Ado Bayero
9. Turakin Kano Ahmadu
10. Sarkin Kudu Muhammadu Maccido (Sani & Bakura, 2023 p. 121-122 )

2.1 Principles and Legacy of Alhaji Sa'idu Faru

Sa'idu Faru was renowned not only for his musical talents but also for his unwavering commitment to principles of justice and integrity. Throughout his life, he stood as a beacon of moral righteousness, using his music as a tool for advocating against injustice and oppression. Sa'idu Faru's songs often carried messages of social consciousness and ethical responsibility, inspiring audiences to uphold principles of fairness and equity in their communities.

In a song he sang to his main master, the Late His Eminence Sultan Muhammadu Macciɗo Abubakar II (when he was Sarkin Kudun Sakkwato), he emphasized his principle of loyalty and trustworthiness towards the master. He says:

Jagora: Sa'idu Malamin Waƙa,

Y/Amshi: Mai kwana ɗumi na Mamman na Balaraba,

 

Jagora: Ban wuce gonata,

Y/Amshi: Gonata da irina ba,

In da Sarkin Kudu nitc tcaya

Chorister: Sa’idu is a teacher chorister 

Choir: The man of Mamman and Balaraba, who talks all night long, 

Chorister: I have not gone beyond where I should stay, 

Choir: I am cutting my coat according to my cloth.

In this song, he emphasizes his personality and principles of loyalty and steadfastness to his master, vowing never to betray him.

3.0 Challenges and Benefits of Documenting Hausa Oral Literature

The landscape of digital documentation has expanded beyond YouTube and TikTok to include a innumerable online platforms dedicated to preserving and sharing oral literature. Websites such as Vimeo (https://vimeo.com), Dailymotion (https://www.dailymotion.com/gb), and Instagram (https://www.instagram.com) provide alternative avenues for individuals and communities to showcase their cultural heritage through videos and multimedia content. Furthermore, audio-centric platforms like SoundCloud (https://soundcloud.com) and Spotify (https://www.spotify.com) offer opportunities for sharing oral songs and narratives in audio format, reaching audiences who prefer listening over watching. The emergence of podcasting platforms such as Apple Podcasts(https://www.apple.com/apple-podcasts), Google Podcasts (https://podcasts.google.com), and Spotify (https://www.spotify.com) also provides an avenue for long-form storytelling and discussions, allowing for in-depth exploration of oral literature traditions.

3.1 Utilization of Online Channels for Cultural Preservation

The accessibility and versatility of online channels have revolutionized cultural preservation efforts, empowering communities to document and share their oral traditions with a global audience. Blogs and websites dedicated to oral literature serve as digital repositories, housing recordings, transcriptions, and analyses of traditional songs and narratives. Social media platforms like Facebook (https://web.facebook.com), Twitter (https://x.com), and Instagram (https://www.instagram.com) facilitate community engagement and collaboration, enabling users to connect with like-minded individuals and organizations passionate about cultural preservation. Online forums and discussion groups provide spaces for dialogue and knowledge exchange, fostering a sense of community among practitioners and enthusiasts of oral literature.

4.0 Monetization Opportunities through Digital Documentation

Digital documentation opens up new avenues for monetization and financial sustainability in the preservation of oral literature. Content creators can leverage platforms like YouTube and TikTok to earn revenue through advertising partnerships, brand sponsorships, and viewer donations. Additionally, platforms like Patreon (https://www.patreon.com) and Ko-fi (https://ko-fi.com) allow supporters to contribute directly to creators, providing a steady stream of income to fund ongoing documentation efforts.

Furthermore, artists and communities can explore opportunities for licensing and royalties by collaborating with filmmakers, musicians, and other media producers interested in incorporating traditional oral songs and narratives into their projects. By capitalizing on the reach and monetization features of digital platforms, practitioners of oral literature can generate income while preserving and promoting their cultural heritage for future generations.

4.1 Revenue Streams from Digital Platforms

The shift towards digital documentation of oral literature has created diverse revenue streams for cultural practitioners and communities. Through platforms like YouTube, creators can earn revenue through advertising partnerships, where ads are displayed alongside their content, generating income based on views and engagements. Similarly, TikTok offers monetization opportunities through its Creator Fund, which compensates creators based on video views and engagement metrics. Additionally, platforms like Vimeo and Dailymotion provide options for creators to sell or rent their content directly to viewers, offering another source of income. Apart from supporting individual artists, these revenue streams also contribute to the economic empowerment of entire communities engaged in cultural preservation efforts.

4.2 Crowdfunding and Patronage Models

Crowdfunding platforms like Kickstarter (https://www.kickstarter.com), Indiegogo (https://www.indiegogo.com), and GoFundMe (https://www.gofundme.com) have emerged as powerful tools for financing cultural preservation projects. Artists and communities can leverage these platforms to raise funds for recording equipment, archival materials, and documentation initiatives. By tapping into the collective support of online communities and supporters worldwide, practitioners of oral literature can overcome financial barriers and bring their preservation projects to fruition. Additionally, patronage models, where individuals or organizations provide ongoing financial support to artists and cultural institutions, offer another avenue for sustaining cultural preservation efforts in the digital age.

4.3 Licensing and Royalties for Commercial Use

Digital documentation of oral literature opens up opportunities for licensing and royalties, allowing creators to generate income from commercial use of their content. Filmmakers, advertisers, and media producers may seek to license traditional songs and narratives for use in films, advertisements, and other creative projects. In Nigeria, the Nigerian Copyright Commission (NCC) (https://copyright.gov.ng) is tasked with this responsibility. There are also other organizations concerned with copyright issues from which Hausa content creators can benefit.[10] Creators can negotiate licensing agreements that stipulate usage terms and royalty payments, ensuring that they are fairly compensated for the commercial exploitation of their cultural heritage. Furthermore, platforms like Shutterstock (https://www.shutterstock.com) and Getty Images (https://www.gettyimages.com) offer marketplaces for licensing contents, providing additional opportunities for creators to monetize their work. By capitalizing on licensing and royalties, practitioners of oral literature can generate income while safeguarding the integrity and authenticity of their cultural heritage.

Sa'idu Faru himself has expressed concerns about not receiving royalties from individuals who benefit from his talents. People reproduce and utilize his songs in various ways without his consent or providing him with any royalties. He states:

Jagora: Sun yi gidan rediyo na…

Y/Amshi: Na banza ko sisin kwabo,

Ba su kowa,

Sai satam maroƙa ɗai su kai.

(Sa’idu Faru: Ana Shakkah Haye ma Amadu)[11]

English translation:

Chorister: They have launched a radio station, but... 

Choir: It is useless and doesn't give out a penny, 

They don't give a penny to anyone, 

They only infringe on the songs of traditional singers.

5.0 Ethical Considerations and Preservation Efforts

The successful digital documentation and monetization of Hausa oral literature relies on making informed decisions regarding legal implications and other strategic considerations. This section of the article summarizes them under items 5.1 to 5.3 below.

5.1 Respect for Cultural Integrity and Authenticity

In the digital age, it is crucial to uphold ethical standards that prioritize the integrity and authenticity of oral literature. Content creators must ensure that their documentation efforts are conducted with sensitivity and respect for the cultural traditions and values of the communities they represent. This includes obtaining informed consent from performers and stakeholders, respecting traditional protocols and customs, and refraining from altering or misrepresenting cultural materials for commercial gain. Practitioners of oral literature can uphold ethical standards and foster trust and collaboration within their communities through prioritizing cultural integrity and authenticity.

5.2 Consent and Ownership Rights

Obtaining consent and respecting ownership rights are paramount considerations in the digital documentation of oral literature. Creators must obtain explicit consent from performers and stakeholders before recording or sharing their cultural heritage. Additionally, it is essential to respect the intellectual property rights of artists and communities, ensuring that they retain ownership and control over their cultural materials. Clear agreements should be established regarding the use, distribution, and commercial exploitation of recorded contents, with fair compensation provided to creators for their contributions. Practitioners of oral literature can uphold ethical standards and empower communities to protect and preserve their cultural heritage by prioritizing consent and ownership rights.

5.3 Collaborative Approaches to Preservation

Collaboration is key to ethical and effective preservation efforts in the digital age. Content creators should strive to engage in collaborative partnerships with cultural practitioners, scholars, and community stakeholders, ensuring that documentation initiatives are guided by local knowledge and expertise. Through fostering collaborative relationships, Creators can gain valuable insights into cultural protocols, linguistic nuances, and historical contexts, enriching the authenticity and accuracy of their documentation efforts. Furthermore, collaborative approaches facilitate knowledge exchange and capacity building within communities, empowering them to take ownership of their cultural preservation initiatives. Practitioners of oral literature can foster ethical preservation practices that honor and respect the diverse cultural traditions of their communities through collaborative approaches.

6.0 Implications for Digital Documentation of Sa'idu Faru's Songs

In the context of Nigerian society and Hausa communities to be more specific, several challenges hinder the digital documentation and monetization of Hausa oral songs. Some of them are discussed below:

6.1 Licensing Challenges and Delays

One of the primary challenges in the digital documentation of Sa'idu Faru's songs is the process of obtaining licenses, which can often result in delays and complications. Negotiating licenses for the use and distribution of cultural content requires navigating complex legal frameworks and engaging with multiple stakeholders, including rights holders and regulatory authorities. These challenges can hinder the timely digitization and dissemination of Sa'idu Faru's songs, impacting the accessibility and reach of cultural heritage preservation efforts.

6.2 Limited Patronage and Profitability

Another significant challenge stems from the limited patronage of digital contents within the Hausa community, leading to potential profitability issues. Despite the shift towards digital platforms, many members of the Hausa community still prefer traditional modes of cultural consumption, such as live performances or physical recordings, if at all they matter to them. This reluctance to embrace digital content can result in reduced revenue streams for digital documentation initiatives, making it challenging to sustain ongoing digitization efforts and invest in quality content creation.[12]

6.3 Technical and Infrastructural Constraints

Technical and infrastructural constraints pose additional challenges to the digital documentation of Sa'idu Faru's songs, particularly in regions with unstable electricity and poor network connectivity. In Nigeria, where power outages and network disruptions are common, maintaining digital platforms and uploading high-quality content can be challenging tasks. Furthermore, the lack of adequate support from the government for digital preservation projects worsens these issues, hindering the development of sustainable solutions and impeding progress in cultural heritage preservation.

6.4 Financial Sustainability Challenges

Financial sustainability is a critical concern for digitization projects focused on Sa'idu Faru's songs, as they require ongoing investment to maintain websites, create digital content, and ensure accessibility for audiences. However, limited funding opportunities and competing priorities often make it difficult to secure the necessary resources for sustaining digital preservation efforts. Without adequate financial support, initiatives aimed at digitizing Sa'idu Faru's songs may struggle to overcome financial barriers and achieve long-term sustainability, jeopardizing the preservation of this valuable cultural heritage for future generations.

Specifically, areas that need funding when digitizing Alhaji Sa'idu Faru's songs include:

a. Copyright processing

b. Data collection (of his songs and history)

c. Transcription of the songs

d. Content creation in various digital forms

e. Website management

7.1 Findings and Suggestions

The exploration into the digital documentation and monetization of Hausa oral songs reveals several significant challenges facing Nigeria as a whole and specifically Hausa communities. Licensing complexities contribute to delays and obstacles in obtaining the necessary permissions for digitization efforts. Limited patronage of digital content within the Hausa community leads to profitability issues, impacting the sustainability of preservation initiatives. Technical and infrastructural challenges, such as unstable electricity and poor network connectivity, further hinder progress in digital documentation.

Additionally, the lack of adequate government support and financial sustainability adds to these challenges, discouraging initiatives for long-term preservation of Hausa cultural heritage. To address these issues, it is essential to streamline licensing processes (especially for individuals or groups with well-structured proposals for digital documentation that outline the cultural and financial benefits not only to themselves but also to other people, their communities, and the country at large), promote digital literacy and engagement within Hausa communities, invest in infrastructure development, and provide financial support for digital preservation projects.

7.2 Conclusion

The challenges surrounding the digital documentation and monetization of Hausa oral songs highlight the complexities affecting efforts of preserving cultural heritage in the digital age. Despite the potential benefits of digitization, including increased accessibility and reach, significant barriers hinder progress in this field. From licensing challenges to technical and infrastructural issues, Nigerian society as a whole and specifically Hausa communities face many challenges that require comprehensive solutions. By addressing these challenges and implementing suggested strategies, stakeholders can work towards ensuring the long-term preservation and sustainability of Hausa oral literature in the digital era, thereby gaining from cultural and financial benefits of the initiatives. The rich cultural heritage of Sa'idu Faru's songs can be honored, preserved, and utilized through collaboration, innovation, and investment.

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Dahlman, I., deWaard, A., & Fauteux, B. (2012). The cultural capital Project: Radical monetization of the music industry. Journal of the International Association for the Study of Popular Music, 3(1), 35–47. http://dx.doi.org/10.5429/2079-3871(2012)v3i1.4en

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Yahya, A. B., & Aliyah, A. A. (2020). Kukan kurciya cikin waƙoƙin Korona biyu. Amadu Bello University Press.

 

Websites

Amsoshi (https://www.amsoshi.com)

Apple Podcasts (https://www.apple.com/apple-podcasts)

Dailymotion (https://www.dailymotion.com/gb)

Facebook (https://web.facebook.com)

GoFundMe (https://www.gofundme.com)

Google Podcasts (https://podcasts.google.com)

Indiegogo (https://www.indiegogo.com)

Instagram (https://www.instagram.com)

Kickstarter (https://www.kickstarter.com)

Ko-fi (https://ko-fi.com)

Musical Copyright Society (MCSN) (https://www.mcsnnigeria.org)

Nigerian Copyright Commission (NCC) (https://copyright.gov.ng)

Patreon (https://www.patreon.com) 

SoundCloud (https://soundcloud.com)

Spotify (https://www.spotify.com)

TikTok (https://www.tiktok.com/en)

Twitter (https://x.com)

Vimeo (https://vimeo.com)

YouTube (https://www.youtube.com) 

 

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[1] See (Gummi, 2020 para. 1-6).

[2] They include Buba, 2016; Gobir & Sani, 2021; Maiyama, 2008; Musa, 2019; Sani & Bakura, 2023; Yahya, 2004; Yahya & Aliyah, 2020.

[3] Makaɗa Sa’idu Faru is addressed as malamin waƙa (the master of songs). See (Sani, 2024 para. 1).

[4] See Buba (2016); Gill (2017); Gobir & Sani (2021); Shinu Asmy & Nagaraj (2015).

[5] He concludes that "by enhancing openness, doing away with middlemen, and giving creators more control over their work, blockchain technology has the potential to revolutionize the music business." (Hoang, 2023 p. 41)

[6] This song was captured during an interview with Sa'idu Faru on the radio program titled "Waƙa a Bakin Mai Ita…" (A song's beauty shines brightest in the voice of its creator) at Kaduna State Media Corporation (KSMC) on the 15th of August 1970. During the interview, the journalist requested Sa'idu Faru to sing the song, and it was recorded for posterity.  The journalist was Malam Hamza Sanusi Funtuwa.

[7] The lineage follows this order: from Sarkin Kayan Maradun Attahiru/Atto, to Sarkin Kayan Maradun Muhammadu Mu’alliyeɗi, to Sarkin Musulmi Abubakar I/Abubakar Atiku/Abubakar Mai Katuru, and ultimately to the Mujaddadi Shehu Usmanu Bn Fodiyo (may Allah grant him eternal bliss).

[8] He later became the Sarkin Musulmi, Sultan Alhaji Muhammad Macciɗo Abubakar III (April 1996 to October 2006).

[9] At the time he sang this song, Alhaji Ahmad Tijjani Hashim held the title of Turakin Kano.

[10] “Since 1984, Musical Copyright Society (MCSN) has been committed to ensuring that the value of musical creation is recognized and fairly remunerated, in Nigeria and worldwide. Learn more about us!” (See: https://www.mcsnnigeria.org/aboutus).

[11] This verse is extracted from the song he dedicated to the late Galdiman Kano, Alhaji Ahmad Tijjani Hashim, during his tenure as Turakin Kano. The chorus of the song is: "Gindin waƙar shi ne: 'Tsakin tama na Abashe ana shakkah haye ma Amadu, Mai martaba na Wambai Ɗan Hashim ƙanen sarkin Kano.'" Translation: (The man of Abashe who holds sway, people fear to interfere with your affairs, Amadu. Your royal highness of Wambai, the son of Hashim, the younger brother to the King of Kano.)

[12] Even Amsoshi (https://www.amsoshi.com), the Hausa academic website with the largest collection of Hausa academic content, struggles to gain sufficient patronage and acceptance, and has not obtained any support or sponsorship.

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