I am not sentimental about film industries because I love the arts so, and I do not police my curiosity. I watch Bollywood and Hollywood blockbusters for pure entertainment, emotional thrills and out-of-the-box acts that usually sharpen my critical thinking abilities. Similarly, I engage Kannywood when it earns my attention, and “Wata Shida” was one of those rare selections that cut for my viewing pleasure and learning.
On Saturday, 20th December, we convened the First Kannywood Roundtable on Reputation Management and Digital Advancement in Kano. Hosted by Image Merchants Promotion Limited (IMPR), publishers of PRNigeria, in collaboration with the National Information Technology Development Agency (NITDA), we succeeded in bringing together a rare convergence of thinkers, writers, directors, producers, and strategists, whose crafts continue to keep the flailing Northern film industry afloat.
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Themed “Repositioning Kannywood for Growth, Creativity, and Global Relevance,” the convening brought together the who of who in the industry, including people who rarely share the same space. From Zuwairiyyah Adamu Girei, a legendary custodian of Hausa storytelling and brain behind the famous Arewa 24’s “Kwana Casa’in”, to Prince Daniel, ABOKI, whose “Mai Martaba” will carry Nigeria’s name to the Oscars, and Nasir B Mohammed, president of the Professional Film Directors Association (PROFDA), the conversations were deep, brutal and honest. Other participants include Hassan Bin Isah, producer of “Wata Shida,” Hafizu Bello, Aminu M. Awwal, Aliyu Sabo Bakin Zuwo, Abdullahi Yunusa Yusuf, Umar Gombe, Mansur Umar Kurugu, Mikhail Gidigo, and others whose presence quietly affirmed that the industry still has serious people thinking seriously about its future.
While I could not find specific valuation for Kannywood’s untapped potential in publicly available reports, the broader Nigerian film industry (Nollywood, which includes Kannywood) is a multi-billion dollar sector with significant growth opportunities. The untapped potential of Kannywood is estimated to be substantial, likely in the millions to billions of dollars, if key challenges are addressed.
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The industry, like Nollywood, suffers from an informal structure and a lack of formal investment. The entire Nigerian film industry needs an estimated $1–2 billion in annual funding to keep up with demand – a clear indication of a massive investment gap in a playing field where Nigeria’s creative industries, as a whole, have the capability to become the country’s largest export sector, with projections of adding $100 billion to Nigeria’s GDP by 2030. Kannywood, with its unique cultural narratives, could tap into a significant portion of this global market with strategic investment and professional development, particularly if the digital economy is seamlessly married to the creative economy. And this was our core job at the roundtable – to see to it that a fusion of both economies are achieved, as recommendations and action plan that will position the industry for more growth, relevance and global value.
It was in the afterglow of that intellectual and strategic engagement that I received an invitation to the success party bash of the now trending Hausa series film, “Wata Shida,” following its ranking as number eight among the top most searched film series on Google.
My relationship with “Wata Shida” began more from interruption rather than admiration. One evening, after watching a programme on YouTube with my wife, the next video simply rolled in and my wife began watching selectively, forwarding scenes, while I drifted towards my phone, only half-interested and distracted. Then I heard something dramatic with a commanding visual effect that was strong enough to draw me in, and I asked her to rewind.
What followed was a carefully layered narrative about business orientation, family ties, strategic manoeuvring, parenting, and the subtle but powerful influence of extended family; about marriages that are not just emotional unions but strategic arrangements; about extended family pressure, and the quiet power plays that define many northern homes. As the story expanded into banditry and kidnapping, it mirrored realities too familiar to ignore.
I am not sentimental about film industries because I love the arts so, and I do not police my curiosity. I watch Bollywood and Hollywood blockbusters for pure entertainment, emotional thrills and out-of-the-box acts that usually sharpen my critical thinking abilities. Similarly, I engage Kannywood when it earns my attention, and “Wata Shida” was one of those rare selections that cut for my viewing pleasure and learning.
I cannot but say that there are certain noticeable errors therein, in terms of character depth, storyline flow and script interpretation, even costume, etc., but that the film’s thematic itself, derailed from a boring and repetitive storyline, is worthy of celebration in itself.
So when I heard that it had climbed into the top ten most searched series on Google, I was not surprised, but what I did not expect was the atmosphere of celebration that greeted me immediately I arrived at the venue.
Among those present were the Executive Secretary of the Kano State Censorship Board, Abba Al-Mustapha, and Director Nasir B Mohammed of PROFDA (who directly mentored the “Wata Shida” filmmaker). Veterans like Shehu Hassan Kano, Ibrahim Mandawari, Ahmad Gidan Dabino and Tijjani Faraga (whom my wife and I fondly call “mai kudin Kannywood”), were present at the bash. Similarly, rising stars such as Namenj and Tijani Gadu, among others, also graced the occasion.
The lead actress, Fatima Hussein’s presence drew particular attention. Beyond her films, her public posturing has often attracted controversy, particularly where it appears to challenge Hausa cultural norms around marriage and tradition. This was one of the reasons that the jury of the Arewa Stars Award declined to confer on her the 2025 Entertainer of the Year title at the just concluded event, despite her nomination. The jury’s concern was that the award is rooted in northern values, and any conflation between public controversy and the award’s ethos could dilute its meaning.
Yet, watching her that night, modestly dressed, well veiled, moving around to greet her seniors before sitting, one was reminded that real people are often more complex than their online reputations.
While I have previously expressed reservations about how she sometimes allows elements of her real-life persona to bleed into her roles, I must score her performance in this series positively, even as my earlier observations remain valid. In her remarks, she thanked the director, Kamilu Ibrahim, professionally known as Dan Hausa, for giving her the space to be herself in the film.
Tijjani Faraga, in his speech, appreciated Director Nasir B. Mohammed, for mentoring Dan Hausa and called on other producers and directors to emulate such modest and intentional mentorship. During the viewers’ segment, Dan Makwayan Katagun, former deputy governorship candidate of the NNPP in Bauchi and a former aide to an Attorney General of the Federation, praised the filmmakers and donated a quarter of a million naira to the crew.
The Executive Secretary of the Kano Censorship Board recalled seeing the trailer even before the film’s release and sensing that the director was only just beginning. He described Dan Hausa as the real definition of a filmmaker and commended the entire cast and crew. He also acknowledged the mentorship role played by Director Nasir B Mohammed.
As the night deepened, it carried with at music and essence as Namenj’s performance of “Sunnanki Kullum” electrified the hall. Dabo Daprof delivered his iconic soundtrack to the movie with an energy that lifted the room. The arrival of Daddy Hikima, professionally known as Abbale, was greeted with pomp and genuine affection, as he moved humbly to greet everyone. Hussaini Danko also thrilled guests with his signature performance.
And then there was Dan Hausa himself. A very young man, probably in his early thirties, yet already spoken of across West Africa in filmmaking circles. Watching him absorb the night with quiet gratitude, one could sense that “Wata Shida” is not his peak but a beginning.
As I left the venue, I thought of the roundtable earlier that day. Of reputation. Of digital advancement. Of global relevance. “Wata Shida” did not feel like an accident. It felt like a response. A reminder that when story, discipline, mentorship, and audience trust align, Kannywood does not need to shout for relevance, it simply earns it.
Lawal Dahiru is an investigative journalist and factchecker based in Abuja. He writes via [email protected]
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