Opinion
What, Exactly, is Kannywood? – Kannywood and Hausa Visual Counterculture
Prof. Abdalla Uba Adamu
I will begin with the end, and in the end, I will end with the beginning.
What is Kannywood?
A Wikipedian provided this perspective: “Kannywood is the sobriquet for Hausa-language cinema. It is a part of the larger Nigerian cinema, known as Nollywood, which includes other production centres producing films in many other Nigerian languages.”
The emphasis, according to this Wikipedian, is on language, and they provided this perspective to distinguish Kannywood from its ‘larger cousin’, Nollywood. This means, whether we like it or not, Kannywood will continuously be seen as part of Nollywood, until we change the narrative ourselves and stopped being awed by an industry that is definitely junior to our own. Let me share a personal experience.
I was privileged to be a Zuma Film Festival Jury in its 2010 edition, as well as the paper presenter. I was the only northerner in the Jury, but not the only Hausa. The team was led by Rahmatou Keïta a Nigeriène Hausa journalist and filmmaker based in Paris. Films were submitted from all over the world, including many from Kannywood, and of course, Nollywood. We sat down over croissants and coffee to decide the approach we should adopt in awarding categories to the films.
Right there and then it was decided that there was no way any Kannywood film will win the ‘Best’ of the categories – Picture, Actor, Actress, Script, Cinematography, etc. I argued that if we went by this reasoning—for which there was no rational basis—that would exclude indigenous language films from getting recognition, including those from Nollywood not in English language. A lot of arguments ensured about production values, storylines, meeting the Zuma Festival submission requirements, etc.
In the end, after two hours of back and forth, I was asked to suggest a category in which all local language films would fit in, even if from Nollywood. I suggested Indigenous Film category. This was accepted. If it was any consolation, foreign film entries were also lumped into “Best Foreign Film”. Meaning that ONLY Nollywood films will get all the glory of being the Best of the best in everything. Thus, for the Nigerian Film Corporation, Kannywood is just a subset of Nollywood. Begging the question, What is Kannywood?
The least NFC can do is to reimagine the festival according to film cultures. Let us say, for the sake of the argument, NFC recognizes Hausa, Yoruba and Igbo film cultures. A separate festival can be held for each of these cultures celebrating their ‘Best’ actors, actresses, cinematography, script, etc. As it is now, no matter how excellent, for instance, a Hausa actor is (or think he is), he will never be ‘Best Actor’ in the NFC festival. And good luck to him attempting to be the Best Actor in a ‘mainstream’ Nollywood film in which he merely appears as a token Aboki to attract audiences to a Nollywood film.
Now, let me address the other variable in this post. “Counterculture” refers to a cultural group whose values, norms, and practices are significantly different from and often in opposition to those of the mainstream society. These groups often challenge established societal norms and advocate for alternative lifestyles or beliefs. Counterculture is expressed in various forms, including popular culture.
Counterculture became critical in contemporary Hausa media anthropology because of the rapid rise and adoption of visual technologies through social media by Hausa youth of all shades—male, female and often transitioning or LGBT+. The visibility in social media provides Hausa youth with a paradoxical cloak of invisibility, in what I refer to as ‘invisible visibilities.’ They visually, boldly and unapologetically appear brash, aggressive, suggestive, sexual, assertive and insouciant. For the most part, we don’t know who they are, despite seeing them and applauding, hailing, hating or cursing them.
The rise and popularity of social media provided Hausa youth with a perfect visual counterculture template. Crude at the beginning, but getting sophisticated as time flies. Initially restricting themselves to the ‘big’ social media – YouTube, Instagram, Snapchat—the arrival of more flexible platforms, mainly TikTok, Reels, gave the freedom to let loose creative energies.
YouTube provided the first explicit platform. It led to the emergence of what I call ‘Hausa Adult Influencers’ They included Muneerat Abdulsalam, Yasmin Harka, Laure Jibiya, Ummi Zandar, Tani Harka 24, etc. They dispense raw explicit advice on heterosexual adult relationships; Laure Jibiya, possibly a pseudonym, was the only one who dispenses her advice from an Arabian face veil, making it difficult to identify her. Ummi Zinder uses a name that has possible connotation to nudity: Hausa zindir; but could also be a referent to Zinder, the Nigeriène city, locally called Damagaram. Falmati Chadi, again like others, without any other traceable history, would appear to come from Chad Republic.
Obviously, each approaches her broadcast—all in the Hausa language—with a script, a production schedule, and a series of technical and editing equipment, all put together by a person who acts as a director. The large numbers of views generated by these channels are completed by internet bots that rip the audios from the videos and make it easy for users to download the voices without having to log on to the video channel – which saves data, and at the same time, enable clandestine engagement with the contents of the channels without the videos.
Of course, they are countless other Hausa-centric YouTube uploads—ranging from music, to short films and comedy skits. Some audaciously affix ‘Kannywood’ to their channels—which is okay since no one owns ‘Kannywood’ as a label for anything. Are these YouTube uploads ‘films?’ Can they be referred to as Kannywood, even if they are NOT necessarily based in Kano or aimed specifically at the markets in Kano?
Enter TikTok and Reels. Millions of videos. Short attention-grabbing dialogues. Some with structured scripts and actors, shooting schedule, clear effective direction and editing, And messages; for it is not all pearls of fun and laughter.
Take Dan Bello. A professional cinematographer and scriptwriter. With world class video and editing equipment, storyline, excellent editing. With script no Hausa filmmaker dare to write or visualize: a critique of society and governance. A 30-second script unraveling over 30 years of spiral corruption and misgovernance. Are we still in Kannywood?
What of Yagamen? Or Murja Ibrahim Kunya. Love her. Hate her. You can’t ignore her. That’s for sure. Capable of evoking almost all emotional ranges: amusement, annoyance, irritation, exasperation, pity, adoration in virtual stand-up monologues. She expresses her thoughts explicitly and does not care whose ox is gored. She has made several allusions to being ‘Kannywood’. Cultural Kannywood will dispute this membership of their hallowed cult. So where do you put Eddie Murphy, Richard Prior, Tracy Morgan, Jamie Foxx, Whoopi Goldberg and other comedians who became some of the biggest names in Hollywood?
And G-Fresh Al-Amin. An excellent rapper whom I mentored once (listen to his ‘Kano to California Remix’). Can he lay claim to Kannywood? Or Hassan Makeup, Sadiqa (previously known as Sadiq) and other influencers with alternative sexualities. Daring to boldly go where no Kannywood producer will dare to go. I know. Purist will claim these are not Kannywood. These social media Hausa alterities lay claim to Kannywood – only that they provide a countercultural narrative. Each skit, monologue provides a story, completing with a marketing structure; for the money is made in the AdSense clicks some have activated. Bringing in few dollars. And no censorship.
If we debunk Hausa counterculture alterities as not being serious, not being ‘films’ in the accepted sense (whose accepted sense?) then how do we explain cinéma vérité? If you have a strong stance on a political or social issue, cinéma vérité is a vehicle to express and defend your opinions. All the Hausa counterculture videographers can be lumped as cinéma vérité—a perfectly valid form of cinematic expression. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.
This, of course, excluded religious or journalistic social media as these are focused on a particular topic often in a didactic and linear fashion. Counterculture social media is about rebellion to the established public culture, or teasing out things public culture would rather hide or gloss over in a ‘conventional’ cinematic expression.
TikTokers Khadijah Ibraheem and Anti Hussaina use this technique to criticize—as well as appreciate—boys (“kai, guy ɗin nan ya sha wanka”). And in case you label them something else for expression their frank views, they do so in full Muslim hijab, and all clean dialogue. Not a single swear or foul word. Contrast their dialogue with Murja Ibrahim Kunya – all about female sexuality, but in different delivery modes. Aminu J and Abis Fulani provide critical commentaries on news events. Bilal Villa is transnational in using local resident Lebanese in his dialogues, giving a unique dimension to commentary on Kano society. Still not Kannywood? How about this, then.
One of the craziest aspects of Kano is that even people with clearly mental health issues become celebrities in a process the literature refers to Celebrification. The last three years saw the emergence of Ale (a Kano specific corruption of the word, Alhaji) Rufa’i Bulgates (another corruption, of Bill Gates, the founder of Microsoft), the man who created new virtual currencies, ‘Gangalion’ and ‘Americallion’. He uses this currency to buy whole countries. His relatives reported his skit makers to the police and an order was issued banning making any videos of him taking advantage of his gullibility. They started regretting it later, because….
…no sooner had he disappeared from the scene, than another one emerged. Ale Umar Bush. A load-carrier in the Kwanar Singer segment of the Kano Sabon Gari Market. In a short period of time, he became stupendously rich because the way he amuses people with incredibly horrible foul language. I guarantee you, no language provides the most disgusting foul abuses like the Hausa language. This guy knew them all and utters them with relish and stern face. Like a circus performer, he gets invited to meet important people and foreigners, including Arabs and Indians, to be feted for their amusement, with videos taken and sent to their countries: “hey, look, a crazy African.” I once flew in the same plane with him to Abuja where he was invited to provide amusement to people who are presumably mentally healthy, but enjoy teasing a mental patient. Like kids holding a hapless insect in their hands and getting amused at ripping off each of its wings.
Now, he is a film star. Yes, he has just starred in his first 12-minute film, “Sallah Ram Deal in Kano”. It was produced by Abdulgafar Ahmad Oluwatoyin, aka Cuteabiola, a Nollywood comedian, who starred in it. Someone has found a way of weaving a script around a foul-mouthed mental patient and creating amusement for non-mental health people. Cute Abiola himself posted the story on his Facebook timeline. It generated 471 comments, hugely appreciative of this new dimension of Northern Nollywood, and 272 shares. Are we still in Kannywood?
Over the last five years, social media has enabled the creation of Hausa countercultural microcinema—short films, often created with low budgets and minimal equipment, which is a good fit for the brief, often amateur or semi-professional nature of social media videos—and cinéma verité that provide a countercultural narrative to life in both urban and rural Hausa societies. Cinema is multifaceted medium that combines art, technology, and industry to create and share moving images, offering a powerful means of storytelling and cultural expression. Nothing says how long it has to be. Or how expert the cinema maker has to be.
The whole point of my argument is that Hausa social media counterculture skitters, shorties, documentaries, comedies, the whole ball of wax, are increasingly claiming they are also Kannywood. The non-counterculture Kannywood leadership on the other hand struggle hard to create a dividing line. They faced this with the Hiyana incidence in 2007 where virtually every actress is seen as a Hiyana, derailing the image of Kannywood.
I will end with the beginning.
What, exactly, is Kannywood?
Adamu is a Professor of Media and Cultural Studies at Bayero University, Kano. This was first published on his Facebook account.
Mustapha Muhammad
As the 2027 general elections draw nearer, the signs pointing towards a possible victory for Alhaji Abba Kabir Yusuf in his bid for a second term as Executive Governor of Kano State are becoming clearer by the day. The road, once fraught with political obstacles, conflicts, and challenges, appears to be clearing rapidly. Victory is increasingly within sight, God willing.
The foundation of Governor Yusuf’s political momentum rests on his administration’s performance, astute political manoeuvring, successful consensus-building during party primaries, and proactive reconciliation efforts. By bringing key political figures from Kano’s three senatorial districts—South, North, and Central—under one umbrella, coupled with the perceived decline in the influence of the Kwankwasiyya movement following widespread defections to the All Progressives Congress (APC), Governor Yusuf has positioned himself favourably ahead of the forthcoming election.
He stands out among the contenders for the Kano governorship. His political resilience and strategic departure from what he considers the troubled waters of the New Nigeria Peoples Party (NNPP) demonstrate his ability to navigate complex political challenges in pursuit of victory.
Below are some of the key factors driving Governor Yusuf’s political momentum ahead of the 2027 general elections.
Transformative Governance and Administrative Scorecard
Over the past three years, Governor Abba Kabir Yusuf has implemented people-oriented projects and policies aimed at improving the lives of Kano residents across critical sectors.
Educational Revitalisation
Increased budgetary allocation: Funding for education rose from 29.5 per cent in 2024 to 30.5 per cent in 2025 and reached 31.5 per cent in 2026, out of a total state budget exceeding ₦1.47 trillion.
Massive recruitment: Nearly 20,000 teachers, including personnel recruited under the Kano State Better Education for All (BESDA) initiative, were employed to address critical teacher shortages in classrooms.
Infrastructure upgrades: Nearly 400 schools across the state’s 44 local government areas (LGAs) have undergone complete renovation, alongside ongoing construction projects.
Academic excellence: Kano State led national performance rankings in the National Examinations Council (NECO) examinations in 2025 and 2026. In 2026, the state produced 74,413 candidates who obtained at least five credits, including English Language and Mathematics, surpassing Lagos State, with 72,496 candidates, and Oyo State, with 55,543.
Healthcare Modernisation and Pension Delivery
Primary healthcare overhaul: More than 340 primary healthcare centres across the 44 LGAs have been renovated.
Hospital expansion: At least 10 new general hospitals have been constructed in underserved LGAs, while work is ongoing on six additional facilities to ensure that every LGA has a dedicated general hospital.
Modern equipment: Health facilities have been equipped with CT scanners, dialysis units, ultrasound machines, and automated laboratory analysers.
Settlement of pension arrears: Of the inherited ₦48 billion backlog of pension and gratuity liabilities, the administration has disbursed more than ₦32 billion to retirees.
Agricultural Development and Rural Infrastructure
Farm mechanisation and subsidies: The state procured 98 tractors and 48 combine harvesters while introducing a 50 per cent fertiliser subsidy programme across all LGAs.
Irrigation expansion: The rehabilitation of the Watari Irrigation Scheme expanded irrigation coverage by 1,000 hectares, with the aim of boosting year-round agricultural production.
Road networks and urban renewal: Eighteen of the 34 planned five-kilometre rural road projects have been completed, with solar streetlights installed. In addition, 12 of the 24 planned urban renewal road projects, covering approximately 76 kilometres, have been delivered.
Bridge reconstruction: The Kubaraci-Kura Bridge was restored, reopening important economic and transportation corridors.
Empowerment and Skills Acquisition
Social safety nets: Monthly stipends of ₦50,000 are provided to 5,200 women, while grants of ₦150,000 have been distributed to youths across the state.
Entrepreneurship: Twenty-six technical and entrepreneurship institutes have been revitalised to provide practical vocational training and equip beneficiaries with relevant skills.
Political Realignment and Party Unity
Governor Yusuf demonstrated political foresight by defecting to the All Progressives Congress (APC). His decision, in the view of his supporters, was timely and strategically informed by the need to secure his political future.
The subsequent defections from the NNPP by members of the Kwankwasiyya movement have, according to this argument, strengthened the case for his political realignment. The move also positioned him and his supporters within a political platform they consider more advantageous ahead of the 2027 elections.
Furthermore, as the state’s APC leader, Governor Yusuf successfully managed the consensus process during the party primaries, resulting in what supporters described as a “no victor, no vanquished” outcome.
His ongoing reconciliation efforts have also helped bring political stakeholders from Kano’s three senatorial districts together, strengthening the prospect of a united political front ahead of the 2027 polls.
With his administration’s reported achievements, political realignment, and reconciliation efforts, Governor Yusuf’s supporters believe he is well positioned to secure a second term in office.
No doubt, Alhaji Abba Kabir Yusuf, the Executive Governor of Kano State, is traversing the path to victory in the 2027 general elections.
Mustapha Muhammad is the Chief Press Secretary to the Executive Governor of Kano State, Alhaji Abba Kabir Yusuf. He writes from Kano.
Jamilu Uba Adamu
Some people come into our lives and leave an indelible mark that transcends blood relations. Through their honesty, humility, nobility, contentment and disregard for worldly ostentation, they become more than friends or acquaintances; they become second fathers whose wisdom and kindness shape our lives.
Late Alhaji Bashir Ahmed Maizare was one such rare individual. His death is not merely the loss of a respected sports administrator but the departure of a father figure, mentor and custodian of Kano’s sporting heritage.
A Bond Beyond Blood
My relationship with the late Maizare began through my elder brother, Abdullahi Bayero Uba Adamu, who worked under him at the Kano State Sports Commission. My passion for sports naturally brought me closer to him and strengthened the bond that would eventually develop into a father-and-son relationship.
I vividly remember the day my elder brother escorted me to Maizare’s residence at Kofar Wambai Quarters in Kano and introduced me to him. What began as a simple introduction blossomed into a lasting relationship. From that day, I became a regular visitor to his home, where I found not just a sports enthusiast and administrator but a father figure whose counsel and encouragement meant so much to me.
His home became a place where I could seek guidance, share my concerns and learn valuable lessons about sports and life. He welcomed my questions, listened patiently to my challenges and offered advice without hesitation. His humility made him approachable, while his wealth of experience made his counsel invaluable.
The Shocking News of His Death
I was attending a training course in Jos, Plateau State, when the news of his death reached me. We had just stepped out for a break after a rigorous and exhausting lecture. I switched on my mobile data to check my WhatsApp messages.
Although I belong to several WhatsApp groups, one platform I regularly follow is the Kano Sports Commission group, driven by my enduring passion for sports in Kano.
After attending to some personal messages, I opened the Commission’s group. Almost immediately, I came across a series of condolence messages announcing the death of Alhaji Bashir Ahmed Maizare.
I was stunned. For a moment, I struggled to comprehend what I was reading. Before I could fully process the devastating news, I received a phone call from Malam Haruna Sabga, one of his neighbours at Kofar Wambai Quarters, who confirmed that Maizare had passed away.
The confirmation plunged me into deep sorrow. I felt like crying, my mood changed instantly, and I completely lost my appetite.
It was difficult to accept that someone who had played such a significant role in my life was gone. Beyond the public figure known within Kano’s sporting circles was a man whose personal kindness, encouragement and fatherly affection had touched my life profoundly.
A Mentor Who Believed in My Potential
One of the qualities I will forever remember about Maizare was his unwavering encouragement. He consistently motivated me to participate actively in sporting activities and supported my efforts to contribute to sports development.
His influence and fatherly support recently contributed to my appointment as Team Manager of the Kano Pillars Amputee Football Team and Vice Chairman of the Kano State Tug of War Association.
These appointments represent more than personal achievements to me. They also remind me of the encouragement I received from a man who believed in nurturing others and helping them discover opportunities to serve.
Maizare understood that sports administration was not merely about organising competitions or managing teams. It was also about identifying talent, encouraging young people, sharing knowledge and creating opportunities for others to contribute meaningfully to society.
He was always willing to offer guidance whenever I encountered difficulties. Whenever I faced a challenging situation in sports, he was among the first people I contacted. He would listen attentively and offer practical solutions, never making me feel that my concerns were unimportant.
That willingness to help, even when there was nothing to gain personally, distinguished him as a genuine mentor.
His Contribution to Documenting Kano’s Football History
One of the most enduring aspects of my relationship with the late Maizare was his invaluable contribution to the successful writing of my book, *Takaitaccen Tarihin Wasan Kwallon Kafa a Kano* (A Brief History of Football in Kano).
Documenting the history of football in Kano required access to reliable information, historical accounts and the experiences of people who had witnessed the evolution of the game. Maizare proved to be an invaluable source of knowledge and guidance throughout the process.
He never grew tired of attending to me. He patiently answered my questions and shared insights that helped me navigate the challenges of documenting the history of football in the state.
His support went beyond the ordinary assistance of a friend or acquaintance. He understood the importance of preserving sporting history for future generations and willingly contributed to an effort that would help keep Kano’s football heritage alive.
Looking back, I realise that his contribution to the book was part of a much broader legacy. He was not simply sharing information; he was helping preserve the collective memory of Kano’s sporting community.
More Than a Sports Administrator
Late Alhaji Bashir Ahmed Maizare was more than a sports administrator. He was a school from which others could learn, an archive of sporting memories and an encyclopaedia of Kano’s sports history.
His knowledge, built on years of experience and close association with the sporting community, made him a valuable resource for anyone seeking to understand the development of sports in Kano.
Yet, his greatness was not defined by knowledge alone. His humility, generosity, patience and commitment to youth development made him an exceptional human being.
In a world where positions and titles sometimes create barriers between leaders and those they serve, Maizare remained accessible and approachable. He demonstrated that true leadership is not measured solely by the authority one possesses but also by the lives one touches and the opportunities one creates for others.
His life offers an important lesson to sports administrators and public servants: institutions become stronger when experienced individuals are willing to mentor younger people, preserve institutional memory and pass on knowledge rather than keep it to themselves.
For Kano State, his passing should serve as a reminder of the importance of documenting the experiences of veteran sports administrators and preserving the history of the state’s sporting achievements. When such individuals pass away without their knowledge and experiences being adequately documented, society risks losing an irreplaceable part of its heritage.
A Loss Beyond the Family
The death of Alhaji Bashir Ahmed Maizare is a profound loss not only to his immediate family but also to the sporting fraternity in Kano State and Nigeria at large.
For those who knew him professionally, he was a repository of sports knowledge and experience. For those who benefited from his mentorship, he was a source of guidance and encouragement. For me, he was a father figure whose support and kindness I will continue to cherish.
Although death has taken him away from us, the values he embodied and the lives he influenced remain part of his enduring legacy. His contributions to sports administration, youth development and the preservation of Kano’s football history will continue to inspire those who had the privilege of knowing him.
Personally, I will forever remember him with gratitude. I will remember his patience, his encouragement, his willingness to help and his unwavering belief in the value of sports. Above all, I will remember the fatherly relationship we shared, which was built not on blood ties but on mutual respect, kindness and genuine affection.
May Almighty Allah (SWT) forgive his shortcomings, accept his good deeds, illuminate his grave and grant him Jannatul Firdaus. May Allah also grant his family, friends, colleagues and the entire sporting community the strength and patience to bear this irreparable loss.
Alhaji Bashir Ahmed Maizare may be gone, but his legacy lives on in the people he mentored, the knowledge he shared and the sporting history he helped preserve.
Ameen.
Jamilu Uba Adamu is a sports writer based in Kano.
Safiyanu Bichi
When Abia State Governor Alex Otti recently pulled off his shoe and proudly declared, “This is Aba Made,” the gesture went beyond the shoe itself. It offered a simple but powerful demonstration of what deliberate government patronage can do for local industry.
The message for Kano is equally important: where is Made-in-Kano in government procurement?
This is a question Kano can no longer afford to ignore.
For decades, Kano has been one of Nigeria’s important commercial and industrial centres. The state has a long tradition of manufacturing, textile production, leatherwork, furniture making, tailoring, metalwork, food processing and a wide range of small and medium-scale enterprises.
Yet having businesses and skilled artisans is not enough. Local industries need markets, and government procurement is one of the largest markets available in any economy.
The Kano State Government spends billions of naira annually on infrastructure, furniture, uniforms, clothing, construction materials, office equipment, vehicles, signage and other goods and services. The critical question is how much of this expenditure remains within Kano and how much leaves the state.
This is where a deliberate Kano Local Content Policy becomes necessary.
Every major state government project and Bill of Quantities (BOQ) should, where technically and economically feasible, contain a clearly defined local-content component. A target of 40 per cent Kano content could provide a practical starting point.
The idea is not to sacrifice quality or value for money. Rather, it is to ensure that qualified Kano-based businesses are given a fair opportunity to compete for government patronage.
If the government buys furniture from Kano manufacturers, contracts uniforms from local textile and garment producers, procures locally manufactured footwear and leather products, and sources other goods and services from competent businesses within the state, public expenditure can generate a multiplier effect across the local economy.
The money does not simply disappear after a government contract is executed. It circulates.
A furniture company pays its workers. Workers spend their earnings in local markets. Manufacturers purchase materials from other businesses. Transporters earn income. Artisans receive more orders. Businesses expand and potentially employ more people.
In other words, government procurement can become an instrument of economic development.
This is particularly important at a time when Kano needs to create more productive opportunities for its growing population, especially young people.
The state does not have to begin from scratch. Kano already possesses the human capital, entrepreneurial culture and business networks required to support a stronger local-content regime.
What is needed is deliberate policy, transparent implementation and consistent monitoring.
The government could begin by identifying categories of goods and services that can realistically be sourced within Kano. It could establish a database of qualified local manufacturers, contractors, artisans and suppliers, while maintaining clear standards for quality, pricing and delivery.
There should also be safeguards against turning local-content policy into another avenue for patronage. The objective should not be to favour politically connected businesses. It should be to create opportunities for genuine Kano-based enterprises that can meet established standards.
That distinction matters.
A successful local-content policy must combine local patronage with competition, quality, transparency and accountability.
The experience highlighted by Governor Otti offers Kano an opportunity for reflection. A simple act of wearing a locally made product can draw attention to an entire ecosystem of producers, workers and entrepreneurs behind that product.
Kano can create its own version of that story.
Imagine a government school furnished by Kano manufacturers, public institutions using locally produced furniture, uniforms supplied by Kano garment producers, official events showcasing locally produced textiles and leather goods, and government projects deliberately creating opportunities for competent local suppliers.
That would make “Made-in-Kano” more than a slogan.
It would make it part of government’s economic strategy.
Kano has the people. Kano has the skills. Kano has the entrepreneurs. Kano has the markets.
What is required is a deliberate decision to connect government spending with the productive capacity of the state.
Let Kano Government buy Made-in-Kano.
A 40 per cent Kano Local Content target should not be treated as another political promise. It should be the beginning of a measurable procurement policy that keeps more public money within the Kano economy, strengthens local businesses, supports jobs and helps rebuild the productive foundation of the state.
The real question is no longer whether Kano can produce.
The question is whether Kano is ready to buy what Kano produces.
Safiyanu Bichi is a member of the Kano Budget Working Group.
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