Kannywood’s Unlikely Rise: How Hausa Cinema Built an Empire Against All Odds

The Hausa film industry now known as Kannywood formally emerged in 1990 in Northern Nigeria’s largest city, predating the southern-based Nollywood industry by two years. The sector developed as the primary production hub for Hausa-language films in Nigeria, rooted in the region’s cultural and religious traditions.

The industry’s name originated from Kano, its city of origin. According to filmmaker Salisu Balarebe, the term “Kannywood” was conceived by Shehu Sanusi Daneji, publisher of the Hausa entertainment magazine Tauraruwa. Daneji introduced the name in 1999 through a gossip column, originally spelling it “Kanywood” as a reference to Hollywood. The name became widely adopted before the term “Nollywood” was coined by The New York Times in 2002 to describe Nigeria’s southern film industry.

Kannywood maintains distinct characteristics from its southern counterpart. While Nollywood produces films in English and various southern Nigerian languages, Kannywood focuses exclusively on Hausa-language productions. The industry’s content reflects Islamic principles and shows significant influence from Bollywood cinema, particularly through its incorporation of musical numbers and elaborate dance sequences.

Salisu T. Balarebe, a key figure in Kannywood’s development, clarifies the industry’s chronology: “Kano is where Kannywood started. I recall as far back as 1990 when the first Hausa movie, Kasko, was independently produced. Nollywood was established two years later, in 1992, with an Igbo film, Living in Bondage.”

The industry primarily serves Hausa-speaking audiences in Northern Nigeria and neighboring West African countries. Actress Wasila Ibrahim notes that despite its regional focus, Kannywood films have gained viewers beyond Hausa communities: “Our films are watched by Igbos, Yorubas, and other tribes, proving that Hausa cinema has widespread appeal.”

From its beginnings with VHS productions to its current digital era, Kannywood has grown into a significant cultural force while maintaining its distinctive Hausa identity within Nigeria’s broader film landscape.”

The Evolution of Film Distribution in Kannywood

Film distribution plays a pivotal role in the entertainment industry. It serves as the foundation of the business, ensuring that films reach their intended audiences and generate revenue. Without an effective distribution network, the entire industry would collapse, as this is where producers earn their returns.

Kannywood’s journey in film distribution dates back to its experimental phase when low-budget productions were recorded on VHS. Hausa artists initially captured dramatic performances on video, with some of these performances later broadcast on state television. As these TV shows gained popularity, marketers began selling VHS copies in local markets. However, economic challenges arising from structural adjustment programs strained state television networks, making it difficult for them to compensate artists adequately. In response, the Tumbin Giwa drama club ventured into independent commercial filmmaking, resulting in the first successful production, Turmin Danya, in 1990. Other notable films followed, including Gimbiya Fatima (1992) and In da So da Kauna, an adaptation of Ado Ahmad Gidan Dabino’s bestselling novel.

Balarebe recalls the early days of film distribution:  “A decade ago, independent marketers purchased Kannywood films and sent them to Lagos for mass production of DVDs and CDs. Back then, the only way to watch these movies was on a CD. Before that, films were distributed on VHS tapes. Eventually, DVDs replaced VHS, but this phase was short-lived due to changing consumer preferences. As satellite TV stations began airing Hausa movies, audiences shifted to these platforms, reducing DVD sales. Furthermore, piracy became rampant, with individuals illegally replicating DVDs and distributing them across Niger, Cameroon, and Côte d’Ivoire. Ten years ago, the primary way to access Hausa films was through market purchases.”

Overcoming Challenges 

Like many emerging film industries, Kannywood faced significant hurdles in its early years, particularly financial constraints. Many filmmakers relied on personal savings and loans to fund their productions, resulting in low-budget films that lacked the technical sophistication of their Western or even Southern Nigerian counterparts. Balarebe explains:

“The major challenge was financial. Wealthy individuals didn’t see filmmaking as a viable business. They preferred to invest in farming or other enterprises rather than movies. This made it difficult to access funds for quality productions. Our equipment was not professional-grade, so we had to manage with what we had. This can make it strenuous for filmmakers to produce high-quality films and to compete with other film industries; but things have changed.”

With the decline of CDs and DVDs, cinema culture re-emerged in Kano, revitalizing the film industry. In 2015, Filmhouse Cinema Limited opened a theatre at Ado Bayero Mall, with celebrated actor Ali Nuhu as its brand ambassador. This development reshaped public perception of cinemas, particularly among the youth, reinforcing their role as entertainment hubs rather than venues for social misconduct. However, fundamental challenges persist.

Actress Wasila Ibrahim highlights one major issue:  “Kannywood films struggle to make it to mainstream cinemas due to technical limitations. Many films lack the appropriate aspect ratio for theatre screens, as they are often shot with less sophisticated cameras. This results in lower picture quality that doesn’t align with high-resolution projectors. Additionally, the storytelling style of Kannywood films is tailored for home viewing rather than theatrical release. Genres like action, horror, and epics—favorites among cinema audiences—are rare in Kannywood due to the high costs associated with their production, requiring experienced crews and extensive post-production work.”

The Digital Shift and Streaming Revolution

Balarebe also notes the shift towards digital platforms, recalling the emergence of Northflix, a Hausa-language streaming application modeled after Netflix. This platform attracted numerous filmmakers, prompting them to transition from physical media to online distribution. However, its current status remains uncertain.

In response to evolving audience preferences, streaming services have transformed Kannywood’s distribution landscape. Balarebe explains:  “Arewa 24, a satellite TV station, launched in 2014 and changed the game entirely. With over 25 million viewers, it became the largest Hausa-language broadcaster. Their drama unit recruited skilled professionals, leading to the production of successful TV series like Dadin Kowa. This shift demonstrated that audiences preferred serialized content over feature films, leading to a decline in Kannywood’s feature film production.”

Kannywood’s Cultural Impact and Expanding Reach 

Despite its initial focus on Hausa-speaking audiences, Kannywood’s appeal extends beyond Northern Nigeria. Actress Wasila Ibrahim notes:

“When you look at countries like India, they have Bollywood and Tellywood coexisting. It’s not that we are not part of Nollywood—we are. But because we make films in Hausa and for our target audience, we identify as Kannywood. Our films are watched by Igbos, Yorubas, and other tribes, proving that Hausa cinema has widespread appeal.”

One of Kannywood’s most significant contributions is its role in preserving and promoting Hausa traditions. Through its films, audiences experience the language, customs, and values of the Hausa people. Additionally, the industry has provided employment opportunities for actors, directors, screenwriters, and other creative professionals, fostering a dynamic entertainment ecosystem in the North.

Furthermore, Kannywood films often address critical societal issues such as women’s rights, education, and governance. By blending entertainment with social commentary, these films challenge norms and spark conversations, proving that cinema is not just about storytelling but also about shaping perspectives. For Balarebe, who is currently a scriptwriter and director, filmmaking has a different focus:

“Filming is about entertainment; I hardly shoot a movie that passes a message. All my movies are basically entertainment.” This highlights how perspectives within the same industry can vary significantly, reflecting how narratives evolve based on individual experiences and exposure.

The Future of Kannywood 

As Kannywood continues to grow, it is increasingly embracing digital platforms and international collaborations. Streaming services and social media have opened up new avenues for filmmakers to reach wider audiences. With better resources and global recognition, the industry is poised for even greater success in the coming years.

Kannywood’s journey from a fledgling industry to a major player in African cinema is a testament to the resilience and creativity of its pioneers. As it stands today, it remains a powerful force in Nigerian cinema, proudly upholding the rich traditions of the Hausa people while adapting to modern filmmaking trends.

With the world’s eyes turning more toward African storytelling, Kannywood is ready to take its place on the global stage. Wasila Ibrahim shares her vision:

“I have the intention to produce a Kannywood film in both English and Hausa as a way to amplify our reach. I have tasted both, and I make it bold to say that we are getting ready to strike as we want to unify both into one.”

The Hausa-language film industry continues to expand rapidly, gaining prominence not only in northern Nigeria but also in Hausa-speaking communities across West Africa, including Niger, Ghana, Chad, Cameroon, and Sudan. With the advent of digital distribution and the resurgence of cinema culture, Kannywood stands at the threshold of a new era, blending tradition with modern technology to reach a broader audience than ever before.