Introduction

In traditional Hausa society and indeed in virtually all societies in Africa, important leaders, men, professions, institutions are brought into the limelight in order to celebrate their contribution to the continued existence and progress of mankind or society. These celebrations are done in form or through praise songs or poems, which serve as reward and encouragement to the people or things praised.

In Hausa society, praise songs are characterized by being both long and oral. Their context includes occasions such as those of royalty (sarauta) ceremonies (bukukuwa) and the praise of skilled crafts men. These praise songs are in most cases accompanied by drumming (kida) and praise singers (Maroka). In fact, praise songs are devoted to all persons and institutions that are cherished by the community.

According to Skinner (1980:2): “The essential stylistic feature of a praise song is hyperbole, which is accomplished by such means as associating the individual’s name with that of a fierce animal, or referring to him as a good Muslim or Arab. They are shouted loudly in performance.” Hyperbole (exaggeration) is a common flattery, which often adds spice to the song and boosts the pride of those praised. Hyperbole is thus used in praise songs in Hausa land as a communicative tool to achieve effect and to stress important facts/points.

It is therefore the intention of this paper to analyse some selected Hausa praise songs from northern Nigeria Hausa society, in which hyperbole is used as an artistic communicative tool to establish facts and effect.

Approach

The songs are first given in their original texts which are followed closely by their translations, presented as literally as possible in order to maintain the original message; for in many cases, the original message a song intends to pass is lost in the process of translation. This translation method captures the original text in terms of context and meaning.

This is then followed by the analysis of the song which Cohen (1973:998) sees as “the essential meaning or main concept of a literary work.” It is also important to mention here that due to translation from Hausa to English some of the praise songs have lost their stylistic devices. It is, therefore, not the intention of the paper to include the stylistic devices found in the songs selected.

Praise songs and praise singing in Hausa Land

Praise songs variously called Eulogy, Encomium, Laudation or Panegyric are very popular among Africans. Finnegan (1970:111) says: “Panegyrics is a type of court poetry and is one of the best developed and elaborate poetic genres in Africa.”

The Hausa term for praise song is Kirari. Among the Hausa people, a praise song is associated with both power and nobility. Praise singing is a strong institution that aims at justifying the legitimacy of the ruling classes in the most dignified form of traditional musical performance. Among the people in Hausa land, rulers and rich men all have individual Maroka (praise singers). The official status of royal Maroko is emphasized by the fact that their patron gives them titles. Another thing to note is that the royal Maroka are more often than not hereditarily attached to particular ruling houses in Hausa land. Singing for traditional rulers is not restricted to only royal Maroka. Freelance singers in most cases compose songs for traditional rulers. Late Alhaji Mamman Shata, Alhaji Salihu Jankidi and Alhaji Musa Dan Kwairo are good examples of such freelance praise singers. In Hausa society, the praise singer must not only compose songs for his patron but must also create apt and variable rhythms for the songs. Not only must the song harmonize with the musical accompaniment but the singer and his group must also work with precision during the performance. Bichi (1992:162) believes “the folkloric performance of African praise singing is determined by their role and social status in the society.”

Royalty often maintain court praise singers, who place the attainment of a particular king within the context of the dynasty of which he is a part. The royal praise singers serve other purposes because they also “serve as a source for personal and community historic as they recall significant happenings.” (NTI 1994:4). Praise singers add colour to occasions, inspiring the king to great acts or helping to give the king’s subjects more confidence in their ruler.

Praise singing in Hausa land is not restricted only to the courts of kings. There are times when communities, professionals, dancers, mothers, fathers and benefactors receive praises from composers. In fact, praise songs are devoted to all persons and institutions that are cherished in society.

Hyperbole is a figure of speech, which means exaggeration. By exaggerating, it paints a picture in the mind of reader or listener. Exaggeration in praise songs has several effects on the person being praised. Praise singers use exaggeration to blow up the image of whomever they wish to get money or anything else from. Without exaggeration, the praise singers will not achieve their aim Since most of these praise singers sing for royalty, they try to show them that they are not only better than others but that they are also super human. According to Abba et al (2000:58), “praise singers use exaggeration to show others that those they are praising are better than others.” As the praise singers carry out their performance through exaggeration, those being praised become elated and try to reward those praise singers with gifts, money or even landed properties. Just as the praise singers exaggerate their praises, those being praised also exaggerate their rewards.

Wakar Sarkin Zazzau Mohammed Aminu
Na Salihu Jankidi
Na zo Tukur -Tukur mun ga gida,
Gida sai ka ce gidan Aljanna
Lanjeriya ga babu awa tai,
Duk ko ina batu nai akai.

Babban gado da kwaf din zinari,
Ishirin da hudu, ga Lu’uLu’u
Kuma ga murjani,
Ga wani sito nan uku da kaya,
Komi ba ka bida an aje.

Masallaci yai babu kusurwa,
Ya mulmule
Ai kofar shi guda uku ta,
Alkiblar shi da haske take
(Gusau S.M. 2002:127)

Translation
Emir Of Zazzau Mohammed Aminu’s Song
by Salihu Jankidi

I came to Tukur-Tukur and we saw a house,
The house looks just like paradise
There is no house compared to it in Nigeria,
Everywhere people talk about it.

A big bed and golden cups,
Twenty-four of them with pearls
And precious stones.
There are three stores with worldly things
you will find in them all need

He built a mosque without edges
it is rounded just like an egg
it has only three doors
its focal point is luminous.

Analysis:

This praise song by Jankidi seeks to exaggerate the way the emir of Zazzau Muhammadu Aminu’s house looks like. The house is compared to paradise, which every one seeks as a final abode. Hyperbolically he claims there is no house like it in Nigeria, though it seems unlikely that the praise singer has visited every part of Nigeria. To achieve effect he says every one is talking about the house because of its beauty.

In the second stanza, he talks about the big bed and golden cups, which are twenty four in number filled with pearls and precious stones. In order to make the king look magnificent and wealthy beyond imagination, he says that there are three stores in the house and “you will find in them everything you need.” Can anyone actually have everything he/she needs?

Hyperbolically, he describes the mosque without edges. This is really a special description of an oval-shaped building with three doors or outlets whose focal point is luminous. Thus Jankidi uses his praise song to show us the affluence of the Emir of Zauzau; for anyone who can own all the singer has described is really an important figure, who should be reckoned with.

Wakar Sardaunan Sokoto Sir Ahmadu Bello
Na Salihu Jankidi
Ga mai girman Jihar Arewa,
Ya taho London ku tare shi,
Sarauniya har ta rika murna,
Masu abin na ba su da gehe.
Ma’aikatar Ingila Ko’ina,
Ya shiga ya duba ta da kyawo,
Amurka sun murna da zuwan ka,
Habasha ya sauka ana murna tai

Ya taho Faris bisa sa’a,
Kudus waliyyai sun maka addu’a,
Sun wa’azi sun yarda batunka.

Zuwanka Makka ana munnarka,
Dagga jidda ana tarbe nai,
Ga takobi ga alkyabba,
To, ga agogo na zinari,
Mas’udu yai murnar sabkak ka,
A ja ma giwa shi a karya
Yara sai a rashin albarka.
(Gusau S.M. 2002:118).

Translation
Sardauna Of Sokoto’s Song
by Salihu Jankidi

The important man from the Northern region,
He has come to London welcome him,
The queen was very happy,
These are the true heroes, no doubt.
All ministries and establishments in England and everywhere,
He has entered and inspected it well,
Americans were happy with your visit,
He landed in Ethiopia and they were all happy

He came to Paris with Luck,
In Jerusalem saints prayed for you,
They preached and accepted your view

When you went to Mecca they were happy with you,
He was welcomed right from Jedda,
With a sword and a royal gown,
Then a golden wristwatch,
Mas’udu was happy at your arrival,
To challenge an elephant is impossible,
Only naughty people could do it,

Analysis

This praise song of four stanzas is sung by Jankidi for the late premier of Northern Nigeria, Alhaji Sir Ahmadu Bello, the Sardauna of Sokoto. To Jankidi, since the premier is an important figure in northern Nigeria, every one that matters in the world, including the queen of England, should welcome him and be happy about his visit.

Hyperbolically, the praise singer raises the status of Ahmadu Bello, when he says the premier was not only welcomed but because of his prestige, he was even allowed to inspect all establishments and ministries in England, failing to bear in mind that Nigeria was a colony of Britain. He was accepted and welcomed by Americans as well as Ethiopians who were elated on seeing him.

In Paris, he arrived with good luck and with style; and when he got to Jerusalem, saints not only prayed for him but preached and accepted all the views he presented. Thus, making the premier look important and learned.

In Saudi Arabia, the Premier was welcomed right from Jeddah and even the King of Mecca, Mas’ud, was elated at his arrival. The praise singer paints a picture of a well-respected and honourable citizen whom the whole world admires.

Metaphorically, he compares the premier with an elephant who is hardly challenged due to his size. Thus through the use of hyperbole, the honour and affluence of the premier whom no other person dares challenge is raised to the apex.

Wakar Musa Dan Malikin Gabake
Na Musa Dan Kwairo
Jikan Musa Danmaliki,
Baura jikan baura,
Muazu Allah sa ka gama lafiya,
To mu ma mu gama lafiya
Gwauron giwa mai ban tsoro,
DanMaliki yayi halin Ahmadu.

Ina mai karba ga mai badawa,
Ga baban Naira ya zaka,
Danmaliki kar ka ji tsoron Naira,
Naira har tsoro nai takai,
Shi baura ba ya tsoron Naira,
Naira har tsoro nai takai,
Ta san da ta shigo hannu nai,
Ba ta da zaunawa lafiya,
Abinka na Allah na baura,
Kullum Naira tai zubowa ta kai,
To shi ko ta kashewa ya kai,
Safe duk Naira tai tahowa ta kai,
To shi ko ta kashewa ya kai
Jikan Musa Danmaliki,

Halin Dan Maliki Kutunku,
To shi ne baura yar rike,
Duk Danmalikin da an kayi Gabake,
Dag gare ka sai kutunku,
Sunanku bai bacewa har
Tashin duniya,
Zuma ga zaki ga harbi.

Kana gaban maza Hajji Baura,
Sauran maza suna bayan ka
Don haka nan Allah Ya shiriya,
Jikan Musa Danmaliki.

Kashin bugun kashi uban Yahaya,
Jikan Yahaya kutunku na farko,
Kai aka jira, wa ka ka jira,
Alhaji Baura Danmaliki

Maigirma dan maigirma
Maidaraja dan maidaraja,
Dan Sarki Usumanu Nagwaggo
Ina mai karba ga mai badawa.

Ga mai hadarin Naira ya za ka,
Dan Maliki harda ruwan yai mana,
Jikan Musa Danmaliki.

Translation
Musa Dan Malikin Gabake’s Song
by Musa Dan Kwairo

The grandson of Musa Danmaliki,
Baura grandson of Baura,
May you fare well Muazu,
The Elephant who is fearful,
He has taken Ahmadu’s character.
Where is the receiver?
The one who gives, is here

The father of Naira has come,
Danmaliki, you should not be afraid of Naira,
It is Naira that is afraid of him,
It knows that when it enters his hand,
It will be in trouble,

Your things are from God,
Everyday Naira keeps on coming,
And he keeps spending it.
The grandson of Musa Danmaliki,
It is the habit of Danmaliki Kutunku,
That is the legacy you held to.

All those who reigned in Gabake,
It is only you and kutunku,
Your name would never be forgotten up to the end of the world,
You are the honey bee which is sweet but stings.
You are ahead of all males Hajji Baura,
All other males are behind you,
That is how God made it,
The grandson of Musa, Danmaliki.

The strong that heats the strong,
Father of Yahaya,
The grandson of Yahaya the first Kutunku,
People wait for you, you don’t wait
For anyone Alhaji Baura Danmaliki.

The big man and the son of a big man,
The Royal one and the son of a Royal one,
The son of Emir Usumanu Nagwaggo,
Where is the receiver, the one who gives is here.
The owner of Naira clouds has come,
Even Naira rains have fallen,
The grandson of Musa, Danmaliki.

Analysis

In this song, Musa Dankwairo uses hyperbole to praise the district head of Gabake Mu’azu Dan Maliki. He is not only referred to as a male elephant feared by all but also likened to the respected premier of northern Nigeria, Alhaji Sir Ahmadu Bello, the Sardauna of Sokoto. The praise singer depicts the district head as being wealthy and who is also known as the father of Naira, whom Naira is afraid of because he is generous. We are told that generosity flows in his blood and that is why he spends daily on people. Hyperbolically, he rates him as the most important person in Gabake, whose name would never be forgotten when he says:

“Among those who reigned in Gabake, it is only you and Kutunku whose name would never be forgotten up to the end of the world.”

This no doubt is an exaggeration, as there may be many people who would never be forgotten. In order to emphasize his importance the praise singer says, people wait for him, while he waits for no one.

Towards the end of the song, his wealth and abundance is also exaggerated when the praise singer claims: “The man with Naira clouds has come and these clouds turned into rains. For one to imagine Naira rains is really hyperbolic. Is there anything like “Naira rain”?
All through the song one sees the use of exaggeration to achieve effect.

Wakar Sarkin Muslumi Alhaji Abubakar Iii (1938-1988)
Na Salihu Jankidi

Katangar dutsi jikan Mu’azu,
Ta girku babu mai kaushe ta,
Ka buwaya babu mai ima Hausa,
Rukurkushe maza su san ba aja ma,
Gwada masu yanzu kai as sarki,
Kariniya maza su san ba a ja ma,
Gwada masu yanzu kai a sarki
(Gusau S.M. 2002:92)

Translation
The Song of Sarki Muslumi Alhaji Abubakar Iii (1938-1988)
by Salihu Jakikidi

The wall of stone, the grandson of Mu’azu,
it has been well fixed, no one can pull it down,
You are unbeatable nobody in Hausaland can beat you,
Beat up all the men, so that they can stop challenging you,
Show them that you are the Sultan as at now.
Break all men to step them from challenging you,
Show them that you are the Sultan as at now.

Analysis

In this song in honour of the late Alhaji Abubakar III, the 17th Sultan of Sokoto, Jankidi uses hyperbole to raise the status of the Sultan by referring to him as “the wall of stone” that no one can pull down. He is depicted as one whom no one can beat in the whole of Hausa land, but he (the Sultan) can beat and break all men to prevent them from trying to challenge him. Jankidi gives the Sultan a kind of power and prestige, which no man on earth can challenge.

Conclusion

From the songs and analysis given above, we see that hyperbole is a very important communicative tool in Hausa praise songs. Though not only are those royals praised, this paper focused on the praise of selected royalty. Through hyperbole, a singer is able to achieve an effect because the person being praised not only feels elated but also has the urge to reward the praise singer handsomely.

Conclusively, from the various stylistic devices employed by the praise singers, like simile, metaphor etc, hyperbole could be said to be the most important feature used by the singers because it tends to give a perfect exaggeration of the person being praised, thereby making it a communicative tool that guarantees the art of praise singing.

Bibliography

Cohen, B.B. (1973) Writing about Literature. Glenview, Illinois: Scot Foresman
Skinner, N. (1980). An Anthology of Hausa. Literature. Zaria: NNPC
Bichi, A., (1991/1992). “The study of praise songs in African Folklore”.
Harsunan Nigeria. XVI: Kano: Center for the Study of Nigerian Languages.
Finnegan, R. (1970), Oral Literature in Africa. Nairobi: University Press.
Abba M. & Zulyadaini, B. (2000). Nazari Kan Wakar Baka ta Hausa.
Zaria: Gaskiya Corporation Ltd.
Gusau, S.M. (2002) Salihu Jankidi: Sarkin Taushi. Kaduna: Baraka Publishers Ltd.
National Teachers’ Institute, Kaduna: NCE D.L.S Course book on English. Cycle 2. Kaduna N.T.I. 1994.

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