Nazarin Tubalan Salon Magana Cikin Wakokin Makada Sa’idu Faru

Citation: Rabeh, H. & Nalado, N. (2024). Nazarin Tubalan Salon Magana Cikin Waƙoƙin Makaɗa Sa’idu Faru. Four Decades of Hausa Royal Songs: Proceedings from the International Conference on the Life and Songs of Makaɗa Sa'idu Faru, 3(3), 98-102. www.doi.org/10.36349/tjllc.2024.v03i03.013.

NAZARIN TUBALAN SALON MAGANA CIKIN WAƘOƘIN MAKAƊA SA’IDU FARU

Daga

Hassan Rabeh
08069612112
rabehassan26@gmail.con 

Da 

Nuhu Nalado
Sashen Hausa na Tsangayar Ilimin Harsuna,
KwalejinIlimi ta Isa Kaita, Dutsinma, Jihar Katsina
08067762873
naladonuhu@gmail.com

Tsakure

Amfani da ƙarangiya a cikin waƙoƙin baka na Hausa wani salo ne na nuna gwanintar harshe. Makaɗa Sa’idu Faru yana daga cikin irin mawaƙan da suke yin amfani da irin wannan salo don haka ne wannan muƙalar ta yi nazarin yadda makaɗa Sa’idu Faru ya yi amfani da wannan salo a cikin waƙoƙinsa. Manufar wannan muƙala ita ce yin nazarin kalaman ƙarangiya a waƙoƙin Sa’idu Faru tare da bayyana sautukan da mawaƙin yake amfani da su domin ƙulla ƙarangiya a waƙoƙinsa. An yi amfani da dabarar sauraren waƙoƙimsa da nazarce-nazarcen masana a matsayin hanyoyin da aka bi domin tattara bayanan da aka yi amfani da su a wannan muƙala. A ƙoƙarin cimma manufa, an yi amfani da mazhabar Waƙar Baka Bahaushiya wacce ta bayyana hanyoyin da ake nazarin yadda ake nazarin waƙar baka bahaushiya. Wanda ya jagoranci wannan mazhaba shi ne Farfesa Sa’id Muhammad Gusau. Bayan kamala wannan muƙala, an an lura da da cewa Makaɗa Sa’idu yana amfani da ƙarangiya don nuna gwanintar harshe da kuma yin zambo a cikin waƙoƙinsa.

Fitilun Kalmomi: Ƙarangiya, Sautuka, Ƙalubale

1.0 Gabatarwa

Waƙar baka, zance ne shiryayye da ake aiwatarwa cikin hikima da azanci wanda yake zuwa bisa ƙa’idoji da tsari da daidaituwa kumaa rere cikin sautin murya da amsa-amon kari da kiɗa da amshi (Gusau, 2023:xix) da (Ɗangambo, 1982). Dangane da siga da zubi da tsarin aiwatarwa kuwa, Bahaushiyar waƙar baka ba ta zuwa a shimfiɗe ko gabaɗaya, sai dai, tana zuwa ne gutsure-gutsure da ake kira ɗa tare da maimaituwar gindinta a tsakaninsu. Ba a ƙayyade yawan layuka a ɗan waƙa a waƙar baka, musamman ga iri makaɗan da suke cikin ƙungiya, suna maimaita gindin waƙa a ƙarshen kowane ɗan waƙa.

Sanin haƙiƙanin asalin samuwar waƙar baka a ƙasar Hausa yana da wuya da kuma neman bincike mai zurfi. Akwai ra’ayoyi daban-daban game da asalin waƙar baka a rayuwar Hausawa. Ana kyautata zaton cewa ɗan’Adam ya ƙagi waƙa ne tun lokacin da ya fara neman abinci ta hanyar ‘farauta’. Daga baya da mutane suka sami fasahar noma sai waƙa ta ƙara inganta da kuma haɓaka. Wasu kuma suna ganin hanyar bauta ta gargajiya ta daɗa bayar da haske wajen kyautata sha’anin waƙa (Gusau, 2023:7).

Daga cikin ra’ayoyin da ake dangantawa da asalin waƙa a ƙasar Hausa, akwai ra’ayin da yake ganin waƙa ta samo asali ne daga wajen wani maroƙi da ake kira da suna ‘Sasana’ wanda ya rayu a ɓangaren nahiyar Asiya. Domin haka, a wannan ra’ayi ake jin makaɗan Hausa jikokin wannan mutum ne. Daga baya wasu daga cikin ‘ya’yansa suka yiwo ƙaura zuwa ƙasashen Hausa. Kalmar ‘Sasana’ tana nufin ‘maroƙi’ da harshen Faransanci (Gusau, 2023:7). Haka nan, (Gusau, 2023:7) ya bayyana Sasana a matsayin maroƙi na farko da aka yi tun a lokacin jahiliyyar duniya.

2.0 Sharar Fage

Daga cikin mayan rabe-raben makaɗa ko mawaƙa da masana suka yi, Gusau (2008:137) ya raba su zuwa makaɗan jama’a da na maza da kuma na fada. Makaɗan fada su ne makaɗa (ko mawaƙan) da ba su yi wa kowa waƙa sai jinin sarauta ko masu riƙe da muƙamai nasarauta. Sa’idu Faru yana daga cikin irin waɗannan mawaƙa, domina cikin waƙarsa ta Ɗan Hashimshi da kansa yana cewa:

Jagora: Sa’idu Faru ka waƙar iko,

Kami kaj jiya ƙarya akai,

Sa’idu Faru ka waƙam mulki,

Kami kaj jiya ƙarya akai.

(Sa’idu Faru: waƙar Ɗan Hashim).

Makaɗan fada suna yin tasiri ƙwarai a harkokin sarauta. Baya ga kasance warman sun samar da nishaɗi ga masu sarauta, sukan yaɗa manufofin sarakuna da bayyana salsalarsu. Haka nan kuma sukan zama wata garkuwa ga masauta da sarakuna.

Sa’idu Faru yana ɗaya daga cikin shahararrun mawaƙan fada da ƙasar Hausa ta samar. Daga cikin ƙunshiyar waƙoƙinsa akwai zuga da yabo da nuna salsala. da kuma gwanintar harshe, (Gusau, 2008:147). Ganin haka ne ya sanya wannan muƙala ta yi nazarin turakun da Sa’idu Faru ya yi amfani da su domin gina gwanintar harshea cikin waƙoƙinsa.

3.0 Manufa

Babbar manufar wannanmu ƙalaitace yin Nazari a kan tubalin ƙarangiya a cikin wasu waƙoƙin Makaɗa Sa’idu Faru. Don cimma wannan manufa za a bayyana ƙarangiya tare da kawo ɗiyan waƙar da aka yi amfani da ƙarangiya. Za a kawo sharhin kowane ɗa da aka kawo tare da yin sharhi a kan saututtukan da aka sarƙa a kowane ɗa.

4.0 Hanyoyin Gudanar da Bincike

Wannan muƙala ta yi nazarin turakun da Sa’idu Faru ya yi amfani da su a yayin gina ƙarangiya a cikin waƙoƙinsa. An yi amfani da hanyoyi biyu a yayin tattara bayanan da aka yi amfani da su. Hanya ta farko ita ce ta sauraron waƙoƙin makaɗa Sa’idu Faru tare da tattara wuraren da yake yin amfani da ƙarangiya a cikin waƙoƙin. Hanya ta biyu kuwa ita ce ta yin nazarin rubuce-rubucen masana masu nasaba da waƙoƙin baka na Hausa. An samo waɗannan bayanai daga wallafaffun littattafai da kundayen bincike da aka gudanar daga jami’o’i daban-daban da muƙalu da aka gabatar a tarurruka daban-daban na ƙara wa junasani. Haka nan an yi amfani da yanar gizo wajen tattara bayanan da aka yi amfani da su a yayin gudanar da wannan bincike. Duk da yake makaɗa Sa’idu Bazamfare ne kuma Karin harshensa yake amfani da shi, haka bai haifar da wani cikas ba ga fahimtar abin da yake faɗa a cikin waƙoƙinsa, musamman ganin masu nazarin Katsinawa ne.

5.0 Ra’i

An gina muƙalar a bias Mazhabar Waƙar Baka Bahaushiya. Mazhabar ce da ta samo asali a shekarun ‘1993’, a ƙarƙashin jagorancin Farfesa Sa’idu Muhammad Gusau. Daga cikin manufar mazhabar akwai bayyana tarihi da asali da salsalar waƙar baka ta Hausa. Haka ma akwai zurfafa bayani a kan turke da abubuwan da waƙa ta ƙunsa. Ita wannan mazhaba ta tarken waƙar baka Bahaushiya ta jinginu da wasura’o’in a wasu mazhabobin da suka haɗa da Mazhabar Gargajiya. Daga cikin ayyukan da aka samu sun ginu ta yin amfani da wannan mazhaba suna da yawa. Kaɗan daga cikinsu akwai aikin Garba, 1998 da Satatima, 2008 da Abubakar 2011 (Gusau, 2023:23). Dangantakar wannan Mazhabar da wannan muƙala itace aikin ya ginu ne a kan nazarin turakun waƙoƙi masu nasaba da zambo a waƙoƙin Sa’idu Faru. Mazhabar kuma tana magana ne a kan nazarin waƙar baka Bahaushiya. Wannan dalili ne sanya aka zaɓi gudanar da wannan muƙala a bias wannan Mazhaba.

6.0 Taƙaitaccen Tarihin Makaɗa Sa’idu Faru

Gusau (2005) ya bayyana an haifi Makaɗa Sa’idu Faru a garin Faru ta ƙasar Maradun a jihar Zamfara a shekarar 1932. Makaɗa Abubakar ɗan Abdul ɗan Alu mai kurya shi ne mahaifin makaɗa Sa’idu. Mahaifiyarsa kuwa mutuniyyar Banga ta ƙasar Ƙauran Namoda ce. Sa’idu ya yi rayuwar ƙuruciyarsa a garin mahaifiyarsa, Banga. Sa’idu bai yi karantun boko ba, haka nan ma bai yi karatun Muhammadiyya mai zurfi ba. Mahaifin Makaɗa Sa’idu makaɗin Kotso ne, kuma makaɗin sarauta ne. Ashe Makaɗa Sa’idu ya yi gadon kiɗan sarauta da kotso ne daga mahaifinsa Abubakar ɗan Abdu ɗan Alu. Makaɗa Sa’idu ya riƙa bin mahaifinsa yawon kiɗa inda daga nan ne ya koyi dabarar rerawaƙa, sannan kuma ya daɗa bunƙasa ne domin shi kansa Allah ya yi masa baiwa da fasaha ta yin waƙoƙi. Makaɗa Sa’idu yakan shirya waƙoƙinsa daga gida ne kafin ya je fagen rerawa, wannan kuwa baya rasa nasaba da cewar yana yin waƙoƙinsa suna tafiya da amshi da ƙari ne, kuma yakan binciki sunayen iyaye da kakannin da yake sakawa a cikin waƙoƙinsa. Kodayake wani lokaci waƙa takan zo masa nan take kuma ya rera ta.

Daga cikin yaran Sa’idu Faru waɗanda suke kama masa waƙa akwai Mu’azu watau ƙanensa kuma ɗan gadimansa da Daudu da kuma Ali. Daga cikin iyayen gidansa kuwa akwai Muhammadu Macciɗoɗan Sarkin Musulmi Abubakar na III da Abubakar Sarkin Ƙauran Namoda da Sarkin Yawuri, Alhaji Muhammadu Tukur da Ɗanmadamin Sakkwato Alhaji Usman Ɗangwaggo Bunguɗu.

6.1 Turkakkun Waƙoƙi

Sa’id da wasu (2006) sun bayyana ma’anar turke da cewa “Guntun ice ne wanda ake kafawa don ɗaure dabba a jikinsa” (sh 446). Ta fuskar nazarin waƙoƙin baka kuwa Gusau (2008:369) ya bayyana cewar turke yana nufin babban saƙon da mawaƙi yake isarwa a cikin waƙoƙinsa tun daga farko har zuwa ƙarshen waƙa.

6.2 Tubalin Ƙarangiya

Makaɗa Sa’idu Faru yana amfani da tubula iri daban-daban domin gina turakun waƙoƙinsa. Daga cikin waɗannan tubula akwai aiwatar da harshe. A ƙarƙashin wannan tubali akwai zaɓen kalmomi da ƙarangiya (Gusau, 2023:69-71). Wannan tubali na ƙarangiya kamar yadda Gusau, 2023:70-71) ya bayyana shi, shi ne dabara da ake amfani da ita ta hanyar yin luguden kalmomi ko gaɓoɓi ko sautuka masu kama ko kusanci da juna ta fuskar furucin sautukansau. Daga cikin mawaƙan Hausa da suka shahara a kan amfani da ƙarangiya a cikin waƙoƙinsu akwai Sa’idu Faru da Sani Sabulu.

6.2.1 Ƙarangiya a Waƙoƙin Sa’idu Faru

Kamar yadda aka bayyana a baya, Makaɗa Sa’idu Faru yana amfani da ƙarangiya a waƙoƙinsa. Ya raba yadda yake amfani da ƙarangiya (salon magana) a cikin waƙoƙinsa. Kashi na farko shi ne yana gabatar da salon maganar a matsayin ƙalubale ga mai iya faɗa. A irin wannan yanayi yakan fara da cewa ‘yaro ini taƙamar salon magana ag gare ka ko kaka yi ce kaza.

Jagora: Yaro in taƙamas salom magane ag gareka,

Ce Amadu ƙanƙalin ƙamalo na maƙalli ƙanƙara ba ki jiƙa,

Baran ƙamalon jirgin riƙon ruwa,

Ɗinki baka ka hidda ɗaki a hidikki zomo ruwan kaskon,

Karatun salon magana mukai,

Korau na kwararrame ka tashi mu koma Kware,

Ka samo mani koramin Kware kowaz zo Kware ka san in ba koramen Kware,

Kora tai akai,

Kowaz zo kasuwak Kware in ya iske Korau ya kore,

Ya kwarikke samun kuɗɗin Kware.

6.2.1.1 Nannagen Sautin /ts/ da /t/

Ɗaya daga cikin waƙoƙin da ya yi amfani da wannan dabara ita cewa ƙarsa mai gindin ‘Gwauron giwa buwayi gaba ɗan Amadu,’, inda ya sarƙasautin /ts/ da /t/ a cikin waƙarsa inda yake cewa:

Jagora: Yaro in taƙamas salon magana kaka yi,

Ce Tsari tsara,

Tahi tsantsamin tsantsara ka tsantsara tsari tsaf ga tsamiya,

Tunkuɗa tunku cikin tukar rukuɓu,

TukuɗinTumba yay tuɓus,

Tumba taho yau da ke da tab da Taɓo,

Da taɓus da ‘yat tuɓus.

A wannan ɗan waƙa misali na 6.2.1.1, mawaƙin ya sassarƙa sautin /ts/ da na /t/ inda ya jera su suna bin juna. Kalmomin da ya jera su ne: Tsare da tsara da tsantsami da tsantsara da tsantsara da tsari da tsaf da kuma tsamiya. Haka nan ya ci gaba da jero wasu sautukan /t/’ da sautin /ɓ/. A nan ma kalmomin da aka jero sune: Tunkuɗa da tunku da tukar da rukuɓu da tucuɗi da Tumba da tuɓus da Tumba da taɓ da Taɓo da taɓus da kuma tuɓus. Furucin waɗannan sautuka yana iya zama ƙalubale ga shi kansa Bahaushe. Don haka ne ma yakan ce, ‘in taƙamar salon magana kaka yi ce…’

6.2.1.2 Nannagen Sautin/g/ da kuma /gw/

A wani ɗan waƙar na gaba kuma yana jero wasu kalmomi masu ɗauke da nannagen sautin/g/ da kuma /gw /sautukan da furucinsu zai iya yin wahalar furtawa inda yake cewa:

Jagora: Na san samna ka gane samna,

Ɗanbanza shi ka haihuwaɗ ɗanbanza,

Na tabbata bana,

Duba mani gwabro da shi da gwabriƙi sun gane gwabruwa,

Gwabro mai goriba gidanai don gurin goro aw waje,

Gwabron gwauro da shi da gwabriƙi sun kai ma gwabruwa,

 Gwabro mai shekara guda ag gwabro,

Ba dai biyab ba swa,

Gwabro mai shekara bakwai shi wannan ya zama gwarangwami.

A wannan ɗan waƙa misali na 6.2.1.2, makaɗa Sa’idu ya yi nannagen sautin /gw/ a kalmomin Gwabro da gwabriƙi da gwabruwa da gwabro, da gwabron da gwauro da gwabriƙi da gwabruwa da gwabro da gwabro, da gwabro da kuma gwarangwami. Haka nan idan an lura an yi nannagen sautin /g/ a kalmomin gane da goriba da gurin da kuma goro,

6.2.1.3 Nannagen sautin /ƙ/ da /ɗ/ da kuma/kw/

A wani ɗan waƙar ‘Gwauron giwa, buwayi gaba ɗan Amadu’ yana yin nannagen sautin /ƙ/ da /ɗ/ da kuma /kw/. A wannan ɗan waƙar yakan fara da nannagen sautin /ƙ/ ne a saɗara ta biyu da ta uku, sai kuma ya yi nannagen sautin /ɗ/ a saɗara ta uku, kafin daga nan ya ɗauka har zuwa ƙarshen ɗan waƙar da nannagen sautin /k/ da kuma /kw/. Ga misali:

Jagora: Yaro in taƙamas salom magane ag gare ka,

Ce Amadu ƙanƙalin ƙamalo na maƙalli ƙanƙara ba ki jiƙa,

Baran ƙamalon jirgin riƙon ruwa,

Ɗinki baka ka hidda ɗaki a hidikki zomo rowan kaskon,

Karatun salon Magana Mukai,

Korau na kwararrame ka tashi mu koma Kware

Ka samo mani koramin Kware ko yaz zo Kware ka san in ba koramen Kware,

Kora tai akai,

Kowaz zo kasuwak Kware in ya iske Korau ya kore,

Ya kwarikke samun kuɗɗin Kware.

Idan aka lura da misalina 6.2.1.3, za a taras cewar an nannaga sautin /ƙ/ a kalmomin ƙanƙalin ƙamalo da maƙalli ƙanƙara da jiƙa da ƙamalon da kuma riƙon. Haka nan an nannagi sautin /ɗ/ a kalmomin ɗinki da ɗaki. Haka ma ya nannagi sautin /k/ a kalmomin kaskon da karatun da koramin da kassuwa da kora da Korau da kuma kuɗɗi. Daga ƙarshe yana nannagi sautin /kw/ a kalmomin kwararrame da Kware da kuma kwarikke.

6.2.1.4 Nannagen Sautin /s/ da kuma/ts/

Sautin /s/ da sautin /ts/ suna da kusanci a yayin farucinsu. Don haka nannagen sautukansu yana haifar da ƙarangiya (ko ƙalubale) a wajen furta su. Har wa yau Makaɗa Sa’idu Faru ya yi nannagen waɗannan sautuka a ɗaya daga cikin ɗiyan waƙarsa ta ‘Gwauron giwa, buwayi gaba ɗan Amadu’ inda yake cewa:

Jagora: Sussuka sunas sami gaton sansami sa samari su samo matsala,

Tsala bari ‘yat tswale na can ga tsalle ta tsane.

Shi Mamman ɗan hwari sakakke ne sakkuwa garai,

Kana sake garai ya ishe maka sakko an sako mai mai,

Sai yana sakam mashi hannu shina sakin sabbatu,

Kamas sakki Sakkwato yas sake.

A wannan misali na 6.2.1.4 makaɗa Sa’idu ya yi nannagen sautin /s/ a kalmomin Sussuka suna ssamida sa da samari da suda samo da sakakke da sakkuwa da sake da sakko da sa da sako da sakam da sakin sabbatu da sakki da Sakkwato da kuma sake. Haka nan ya yi nannagen sautin /ts/ a kalmomin tsala da tsalle da tsane da kuma tswale.

6.2.1.5 Nannagen Sautin /r/ da /g/ da/k/ da kuma /t/

A ɗayan ɓangaren kuma makaɗa Sa’idu ya yi amfani da ƙarangiya inda ya yi nannagen sautin /r/ da na /g/ da na /k/ da kuma na /t/. A nan ya yi amfani ƙarangiyar ne matsayin zambo. Za a iya samun haka a cikin waƙar Alƙali Mu’azu yana cewa:

Jagora: ‘Yan banza da ac cikin garin Maru,

‘Yam maidama nan suke ga Mamman,

Na ishe raggo da rangama da ragagge,

Garkam marar ragowa,

Katako da kattako da mai kanta da katanga da kanta karya.

A misali na 6.2.1.5 da ya gabata Sa’idu Faru ya yi nannagen kalmomi masu ɗauke da sautin /r/ haɗe da sautin /g/. kalmomin su ne; raggo da rangama da Garka da kuma ragowa. Haka kuma ya yi nannagen kalmomi masu ɗauke da sautin /k/ da na /t/ a cikinsu. Kalmomin su ne; Katako da kattako da kanta da Katanga da muna ta karya.

7.0 Kammalawa

Bayan kamala wannan Nazari an lura da cewa Makaɗa Sa’idu Faru ya yi amfani da ƙarangiya a cikin wasu ɗiyan waƙoƙinsa. Wasu daga cikin ɗiyan waƙoƙin yayi amfani da ƙarangiya ne don nuna gwanintar harshe. Wasu lokuta ma har yakan yi amfani da jimlar da take ƙalubalantar mai sauraronsa inda yakan ce, “yaro in taƙamar salon magana… ce…”.

A wasu lokutan kuma makaɗa Sa’idu yana amfani da ƙarangiya don yin zambo ga wani. Wannan ya nuna cewa Makaɗa Sa’idu gwanin ƙarangiya ne domin kuwa yana amfani da ita a duk yadda ya so a cikin waƙoƙinsa.

Manazarta

Dangambo, A. (1982). ‘Jigon Ban Dariya a Adabin Hausa’ Takardar da aka gabatar a taron ƙarawa juna sani, Kano: Sashen Koyar da Harsunan Nigeria, Jami’ar Bayero.

Gusau, S. M. (2008). Waƙoƙin Baka a Ƙasar Hausa: Yanaye-Yanayensu da Sigoginsu. Benchmark Publishers Limited.

Gusau, S.M (2015). Mazhabobin Ra’i da Tarke a Adabin da Al’adu na Hausa, Kano: Century Research and Publishing Limited.

Gusau, S. M. (2023). Jagoran Nazarin Waƙar Baka. Kano: WT Press & Publishing.

Sa’id, B. (2006). Ƙamusun Hausa. Cibiyar Nazarin Harsunan Nijeriya, Kano: Jami’ar Bayero.