The masquerades of Kannywood have spoken. Their message is clear: creativity alone is no longer enough. In an age of algorithms and global platforms, reputation and digitalisation are no longer optional — they are existential. If Kannywood must continue to dominate its space and earn respect beyond it, the industry must look beyond the camera, listen to its unseen architects, and finally embrace the future they are already imagining.
Many movie lovers celebrate actors and actresses whose faces dominate the screen, yet rarely pause to acknowledge the unseen hands that actually give life to a film. Behind every successful production are the masquerades of the industry — the faceless men and women who shape the scripts, mould the characters, secure locations, organise production, manage marketing, and ensure distribution. Without them, even the most talented actors would be shadows without substance.
I am not a fanatical follower of Nigerian movies — whether Nollywood or Kannywood — but I have watched countless productions over the years, some with admiration, others with disappointment. Still, one truth is undeniable: Nigeria’s film industry has carved a visible space on the global cultural map. Conversations with non-Nigerians often drift toward our films, actors, food, customs, and storytelling traditions. While Nollywood enjoys widespread acclaim in the West, Kannywood — powered by the Hausa language — reigns supreme across much of the Sahel and parts of the Middle East.
|
|
That is why the “Kannywood Roundtable on Reputation Management and Digital Advancement,” hosted in Kano by Image Merchants Promotion Limited (IMPR), the publishers of PRNigeria in collaboration with the National Information Technology Development Agency (NITDA), felt both timely and symbolic. It was not a parade of red carpets or celebrity poses. Instead, it was a rare convergence of the industry’s true masquerades—the thinkers, writers, directors, producers, and strategists who quietly keep Kannywood alive.
For the first time, I encountered in one room people whose influence far outweighs their screen time: Zuwairiyyah Adamu Girei, the celebrated Hausa novelist and lead writer of Kwana Casa’in on Arewa 24; Prince Daniel (popularly known as ABOKI), director of Mai Martaba, Nigeria’s official entry for the 2025 Oscars; Hassan Bin Isah, producer of Wata Shida; Nasiru B. Muhammad, President of the Professional Film Directors Association (PROFDA) and Hafizu Bello (an Africa Magic Viewers’ Choice Award recipient), Aminu M. Awwal of Battle of the Northern Kitchen,
|
|
|
|---|
There were also Aliyu Sabo Bakin Zuwo of Abnur Entertainment, producers of Manyan Mata and Kundin Kannywood; Abdullahi Yunusa Yusuf, Documentarian of the Bandits Warlords of Zamfara; Umar Gombe, a renowned actor/producer; Mansur Umar Kurugu, an industry communication expert and Mikhail Gidigo, a Cinemographer, among other veterans.
What unfolded was not nostalgia, but honest introspection.
The roundtable which was chaired by an associate professor of strategic communication, Dr Sule Yau Sule with keynote address delivered by Engr Mohammed Kabir Salihu who represented Director General of NITDA, Mallam Kashifu Inuwa provided a high-level platform for stakeholders across the Kannywood value chain—actors, producers, directors, regulators, scholars, technology partners, and media professionals — to interrogate where the industry truly stands. Against the backdrop of rapid technological change, shifting audience expectations, regulatory pressures, and reputational challenges, participants spoke candidly about Kannywood’s strengths and its uncomfortable weaknesses.
Stay Ahead with Premium Times
Follow us on Google News and never miss breaking stories, investigations, and in-depth reporting.
Add as a preferred source on Google
A recurring concern was the industry’s slow embrace of digital transformation. While global cinema is already experimenting with artificial intelligence, data-driven distribution, and advanced post-production workflows, Kannywood still underutilises these tools. This digital lag limits its competitiveness beyond traditional markets. Closely linked to this is a glaring skills deficit, particularly in animation, sound engineering, and AI-assisted editing. Even storytelling came under scrutiny, with participants admitting that repetitive, romance-heavy narratives often dominate due to a shortage of skilled writers.
Beyond creativity, structural issues surfaced. Regulatory friction, weak collaboration with government agencies, internal guild fragmentation, and unresolved disputes continue to slow reform. Poor welfare, low remuneration, and rampant piracy discourage investment, while gender imbalance keeps women largely excluded from technical and leadership roles. These are not cosmetic flaws; they strike at the industry’s sustainability.
Yet the tone was not defeatist. Participants proposed a practical roadmap for renewal. Central to this was deeper partnership with technology institutions like NITDA to integrate AI and digital workflows, alongside the establishment of specialised film schools and mentorship schemes for writers and post-production professionals. They called for structured engagement with regulators, alignment with national digital economy policies, and stronger marketing and public relations strategies rooted in responsible digital citizenship.
They further called for an inter‑agency communication framework that brings NEMA, NOA, VON and key media and civil society actors into a coordinated system for risk communication and national orientation, ensuring clearer messaging, shared narratives, and timely public engagement. They noted that this is another area where the Minister of Information, Mallam Mohammed Idris Malagi and that of Creative Economy, Ms. Hannatu Musawa, could play strategic roles.
Equally important were recommendations to reform business models — transitioning from passion-driven productions to business-oriented frameworks, introducing insurance schemes, strengthening intellectual property protection, reviving cinema culture, and expanding streaming partnerships to boost revenue.
What struck me most was the shared understanding that Kannywood is more than entertainment. It is a cultural asset, a source of youth employment, a tool of social cohesion, and a soft-power instrument for Nigeria. Its reputation, therefore, is not a private affair; it is a public responsibility.
The masquerades of Kannywood have spoken. Their message is clear: creativity alone is no longer enough. In an age of algorithms and global platforms, reputation and digitalisation are no longer optional — they are existential. If Kannywood must continue to dominate its space and earn respect beyond it, the industry must look beyond the camera, listen to its unseen architects, and finally embrace the future they are already imagining.
Yushau A. Shuaib is the author of “Award-Winning Crisis Communication Strategies” and “Encounter with the Spymaster. [email protected]
Discover more from Premium Times Nigeria
Subscribe to get the latest posts sent to your email.
More News
