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THE ORAL FOLKSINGER AS CRITIC OF SOCIO-CULTURAL REALITIES OF SOCIETY: THE CASE OF

DANMARAYA JOS.

By

DR. (MRS) ASABE KABIR USMAN

asabekabir @ yahoo.com.

08034044562

DEPARTMENT OF MODERN EUROPEAN LANGUAGES AND LINGUISTICS,

USMANU DANFODIYO UNIVERSITY,

SOKOTO, SOKOTO STATE, NIGERIA.


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INTRODUCTION

Much attention has been paid to folktales/narratives in the history of the study of folklore in Africa, but

it has become steadily clear that it is in the area of songs, dances and recitations that the best of any

communitys imaginative literature is to be found. Thus for various occasions songs and poetry feature

in their appropriate form and content in most African events ;When mothers sing lullabies to crying

babies though they do not understand the wording, the sounds and rhythms are soothing to the babies.

When a child is born and the compound rings with the voice of ululating women announcing the birth

and break into songs in praise of motherhood and announcing the birth, the wordings are interesting.

When a girl is getting married and she is taught by women what she is supposed to do or expected in

her husbands home, the teachings are in most cases given through songs. A song is thus a poetic

composition adapted to be set to music and sung. Songs have been of every type and subject(Emeaba,

1987,p. 192).

African societies have rich traditions of meaningful oral poetry and communities still exist where their

oral poetry are living traditions. Oral poets do not read from scripts, they perform in the given moments

and allow situations of the time and place to reflect in their songs. Obafemi is of the view that, Oral

singers are not memorizers per say they are creative artist who improvise on their songs in accordance

with the focus of their given performance (1994, p. 110). Also commenting on the poet, Olafioye (2000,

p. 11) also believes that the poet is a careful story teller who uses the nuances of his African culture to

place the history and settlement of his people in context.

The Hausa word for both poetry and song is Waka. Every Hausa poetry/song is in practice, set to

music, whether musical accompaniment in form of the talking drum (Kalangu), the stringed instrument

or simply clapping with hands. In one form or another it is a cultural heritage of almost all peoples,

whether or not they have a rational conception of it.


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Dan Maraya Jos: The People's Musician

Born in 1946 in Bukuru, Jos, Plateau State of Nigeria, and named Adamu Wayya, Dan Maraya lost his

father, Mallam Wayya, a court musician and his mother in quick successions as his father died almost

immediately after his birth and his mother while he was still an infant. However, with the death of the

young Dan Maraya's father, the Emir of Bukur, in whose court Dan Maraya's father played, took over

responsibility of looking after young Adamu after both his parents died, and first sent him to a Quranic

school. But as fate would have it, the emir also died a few years later, leaving Dan Maraya to fend for

himself at that tender age. Dan Maraya who is a well known soloist hugely credited with the invention

and popularization of the Kuntigi musical instrument in contemporary Nigerian music, is also a

composer poet. Like most professional musicians, the mainstay of Dan Maraya's repertoire is praise

singing and he is noted for being a social critic and commentary figure who employed music as a tool of

communication. On the traditional music scene, Dan Maraya has acquired the reputation of a custodian

of Hausa culture and tradition and in spite of modern technology; he still prefers the use of the local

violin to a more sophisticated instrument and also refused to expand his one-man band. This style has

earned him both national and international recognition in the music industry. With a musical career

spanning well over four decades, Dan Maraya Jos is a worthy musician who has represented Nigeria all

over the world and indeed contributed greatly to the development and growth of the music industry in

Nigeria. An objective study of the works of Dan Maraya, which are all in Hausa, has confirmed that they

go beyond mere entertainment, but were intended as social commentaries that address certain ills in

society (Andrew, 2008, p. 33). He is a living human treasure whose message of peace, unity and

development has been invaluable to his several admirers.


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You are not a good person at all

By nature man hates being criticized and instead of cautioning him, the next thing is to start a

conversation with the rumour monger. He in turn will feel so free that he would pretend to be your

friend. But once he leaves your place he moves to the assumed enemy and;

Today so and so is condemning you

It is surprising that so and so is condemning you

And like the first listener, the second listener would also be tempted to believe him and to encourage

him by way of reward he would give him a gift. This could be money or other material gift. The word

goro meaning kolanut is metaphorically used by the poet but what in essence the l istener is giving to the

rumour monger is bribe which would encourage him to tell him more stories. The Hausa society is

known culturally for such gifts or in other words tips. One is rewarded for every task done so that he

could do better next time. In essence what the rumour monger has done could be considered a task

which needs reward. The poet then goes on to list the repercussions of listening to the rumour monger.

Your wife will have no respect for you

You would be at loggerheads with your colleagues

Just as your children would have no respect for you

Once you get no respect as a member of the society and as a head of a family, then you are doomed.

Thus what the rumour monger has done is to destroy the good and cordial understanding you have had

with people over time. The poet sings these lines in such a way as if he is relieving a bitter experience he

has once experienced. The poet then goes on to group certain people who share the same character

traits as the rumour monger; these are the scoundrels and the cunning ones whom he also called on

God the almighty his creator to protect all good people from the deceits of these people. Ironically, the


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poet believes while one is brooding over the disharmony the rumour monger has caused, he would be

rejoicing over a job well done. These he call the companions of the devil because;

Once he does that, he becomes satisfied

The rumour monger is the companion of the devil

Dan maraya believes the rumour monger should not go scot free for all the crimes he has committed

thus;

It is advised that you investigate and find out the culprit

In the name of Allah find out who he is

In a gathering of over a thousand

Once there is a rumour monger

He destroys any understanding that might have existed in society

It is safe to find out who the culprit is

By so doing people will shy away from the rumour monger, his associates and deceitful innate

character. The society will then live in peace and the tribal, political and ethnic crises that have been

bedeviling the society would be a thing of the past.

MAN

The poet makes an exploration and vividly exposes the complexity and unpredictability of man. In this

song he reveals glaringly the complexity of mans nature. Dan Maraya reveals vividly that man is the

most complex being on earth; this trait makes understanding and dealing with him difficult. To relate

with man, extra care and caution have to be the watch word because your affairs become his business

even if he does not know you. Based on this analysis, Dan Maraya list some basic characteristic traits of

man whom he sees as malicious, nosy, ungrateful, and spiteful and no matter what effort is put at


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pleasing him; he is always dissatisfied. This complex and unpredictable nature has produced a being

that is negative in trait. Man has an avid habit of meddling into peoples affair even matters that do not

concern him. Dan Maraya comments thus about man;

O-o man! Of complex innate character

Mans nature frightens me

Mans nature startles me

Mans ways disturb me

Mans nature stirs my anger

These behaviours of man disturb the poet so much but he is baffled that this same man who makes you

angry today may turn out to gladden you the next day. The poet goes further to lament that, because of

mans complex nature, not even God his creator can satisfy him because;

When it rains, you complain it has rained

When it is cold, you complain it is cold

When it is sunny, you complain it is sunny

When it is hot, you complain it is hot.

Oh man! Of complex character

When it is sunny, you complain it is sunny

When it is rainy, you complain it is rainy

When it is cold, you complain it is cold

When it is hot, you complain it is hot

Not only is man dissatisfied with the bounties of his creator, he complains about everything even those

things that do not concern him. No wonder;


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If you buy a bicycle, he will say you have bought a bicycle

If you buy a machine he will say you have bought a machine

If you buy a car, he will say you bought a car

If you dont build a house, he will say you havent built a house

Because of his innate, spiteful and complex character, man complains not only of things he sees you

acquiring, but also the way you dress or present yourself for;

If you sew a trouser he will say you have sewn a trouser

If you dont marry, he will say you havent married

You see someone in good gown and trousers

A beautiful cap on his head

Then he gets into that car

And as you see him driving by

Then you say; thats a real wealthy man

How do you know the inside of his heart

Oh! Man of complex innate character

You meet this man who hasnt a kobo

He has no good dress on

Then you say this is a real poor man

The ways of men are unstable because what he may portray outwardly in his behavior may not reflect

his real personality. Dan Maraya draws our attention to the deceitful and dishonest traits that are

engraved in the character of man. He calls and proclaims that wealth is abstract just like abject poverty

which is not measured by the way one looks; and in a world-weary way he reveals that because;

You see someone in good gown and trousers

Then he gets into that car


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And you say thats a really a wealthy man

How do you know the inside of his heart?

Oh! Man whose character is hard to understand.

He therefore warns against judging a man by his outward display of character or his appearance

because man is very deceitful and crafty. Man is capable of covering his ill nature with unbelievable

show of wealth and flamboyant attires. With this song, the poet warns that all that glitters is not gold.

The poet concludes that;

Only God who created him

Can tolerate him

From the song and analysis we see that Dan Maraya operates within the vast and Hausa cultural setting

to express his vision and expectation of an ideal society, free from interference or meddling into

peoples affairs. This way people in society would be satisfied with what they have and be grateful to

God for giving them life.

YOU ARE ALL EQUAL

In this song the poet advocates for revolutionary changes from the religious perspective. Islam as a

religion affirms the oneness of God and his indivisible sovereignty over the universe. The poet thus

begins his song by projecting that;

Surely, both the have and have not

The same equality you all share

But to give weight to the assertion, he is also quick to add that;

God is saying so

It is not me saying so


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Thus the poet sees himself as a mere mortal who is not qualified to give an injunction like the one

given above. He then goes on to remind the rich who have been given wealth to be modest in whatever

they do. He therefore tells the rich about the realities of things lest they might have forgotten by saying;

You who have remember

If you build thirty houses

In one of them will you sleep

In one room will you sleep

On a single bed will you sleep

So also he who has nothing

In one house will he sleep

In one room will he sleep

In one side will he sleep

On one piece of mat

The examples given above goes on to prove the poets assertion of the equal status of all human beings

because he goes on to say;

Yet when day breaks

On equal grounds will you both stand

All these are evidences to show that all humans are equal so that those who are rich should not be

arrogant because they are wealthy. Even though the rich has everything in abundance he cannot use all

he has at the same time. Thus the poet buttresses his points in the following stanzas;

You never can wear ten caps

On your head alone

and

Never will you wear ten pairs of shoes


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The man with more than one cap or shoe can only wear one at a time; for if he wears more than one at

a time, everyone will exclaim and say;

Indeed this is a lunatic

Indeed this is a mad man

God almighty would not judge people according to their riches or poverty but by;

Your heart will you be judged.

In quick succession, the poet draws a comparison from varied life situations to give us a vivid account of

mans equal status. Dan Maraya says;

So Malam, from this point well you can reflect

On equal grounds will you both stand

Another instance will I give you

Wrists watch worth three hundred pounds

Wrist watch worth three hundred shillings

If this one tells the time correctly

And this one tells the time correctly

Both would be called the same name

Everybody call both wrist watch,

One more instance will I give you

Thirty shillings worth of milk

And thirty kobo worth of milk

Pour both in a bowl

And the same whiteness will you see

You who have should remember


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Dan Maraya goes further to stress that God the supreme would not judge people according to their

riches or poverty but ;

Your heart will you be judged.

Therefore if you do an atom weight of good you would be rewarded and if you do an atom weight of evil

you would be punished accordingly. The poet does not just stop at the physical realm he goes beyond to

the spiritual and to make every man humble, Dan Maraya reminded all about the ultimate end of man,

which is death! How ironic it sounds, when he describes the simple white cloth when it comes to divine

ordination. Whether you are rich or of poor status, on this day, the same rite is performed for all and

sundry. So as Muslims when we die;

Five-yards of pure white cloth,

In it will you be wrapped

Just one grave will they dig for you

Remember, not ten will be dug

Because you are wealthy

In there, will they dump you

So also he who has nothing

On the day he returns to God

Five-yards of pure white cloth

In it will he be wrapped

Just one grave will they dig

Remember not ten will be dug

Because he has nothing

This reminder is a very effective way of putting man in his place. This would no doubt make man

humble. When he visualizes himself in a debased form; a helpless corpse all wrapped up in an ordinary


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white cloth dumped in to a tiny and narrowly dug grave; no longer able to walk majestically into his

mansions dressed flamboyantly just as the same will apply to the poor. Therefore, these facts caution

man no matter his position to be weary of his end which is death and no doubt inevitable. Dan Maraya

goes further to exemplify the reward for the rich who do good and help the less privileged because;

The end will be peaceful

Satisfying and gratifying, because;

On the day of your return to God

By God! You will be happy

Your descendants will happy

But, on the other hand if you are rich, and your

Aim in life is always to do bad things

You give help to no one

If inhumanity is your goal

And betrayal your ambition

The end result will be terrible. The poet then laments in pity thus;

Mallam a day will come

Houses, as well as wives.

So also your cars

And children will all finish

Wives will all finish

Cars will all finish

Then the end will be an abode of regrets and torments because at that time and on the day you will

return to your lord when death comes calling, you will be equal to the one who does not have and with


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or without you life will go on. In concluding the song, Dan Maraya while praising God tried to reveal

the wisdom behind why God created men in races, tribes and countries. It was done deliberately

So, that we might recognize one another

And even though we come from different races and speak different languages, we all remain equal in

the sight of God our creator. Therefore man should not be arrogant

TALKS ON MARRIAGE

Dan Maraya is a satirist who uses light hearted music to lampoon social ills and behaviors but at the

same time suggesting acceptable ways of coping with problems when they arise. Marriage contract is

conceived by the Hausas who are predominantly Muslims as a logical commitment sanctioned by God

and acknowledged by society and because of this, both a man and woman command respect only if

they are married. This is because of the honour and prestige accorded marriage in the society. Thus Dan

Maraya as a Muslim who holds the institution of marriage as sacred, and believes it should not be

violated by anyone. But today in Hausa society there are several cases of divorce and separation. Dan

Maraya believes by singing talks of marriage the social ill divorce could be avoided or reduced if people

are sensitized about the shortcomings associated with divorce and strive for stable homes. He takes a

look at the level which the divine institution of marriage has gotten to as a result rampant cases of

divorce. Though God sanctioned marriage and approved of divorce after the fulfillment of certain

conditions but it has been grossly abused and debased. Clearly, the main theme of Jawabin Aure as

commented by Nyuidze is to discourage divorce and thereby encourage couples to strive for stable

homes (2003, p.86). In fact many critics believe the title of this song should have been ills of divorce

because of the subject matter.


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In this song as it is in many of his songs, Dan Maraya begins his song by invocating Allah and placing

him at the apex of everything. Next in hierarchy after him is the institution of marriage, followed by the

need and importance of marriage for if one refuses, then one,

Would be put to shame

He then sings on;

Dear husband and wife

Here is my candid advice to both of you

All the wrongs you might commit in this world

If you take time to reflect

The almighty God may accept your plea for forgiveness

But not the wrong you commit to your spouse

Dear husband and wife

If you have a misunderstanding for the prophets sake

For the Almighty Gods sake do not leave the house in a hurry (in anger)

For the Almighty Gods sake do not leave the house in a hurry (in anger)

Having established the sanctity of the institution of marriage, Dan Maraya goes on so early in his songs

to slam the evil act of hypocrites as the cause of most divorces. What is initially meant to be advice turns

into scolding for both parties because often times spouse are set on irreversible path of divorce without

caring to establish the facts about certain happenings. The set up of the Hausa family life is one which

suggest that once a woman is married she marries the whole family and not just the husband and vice

versa. These way extended family members automatically become each others keepers. Thus you find

insignificant people meddling into matrimonial affairs that do not concern them. These Dan Maraya call

the hypocrites, gossips and crafty slanders that get delight in seeing matrimonial upheavals.


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What the husband does behind the wifes back

They rush to tell the wife

Out of anger she would not bother to investigate

What the wife does behind the husbands back

They rush to tell the husband

Out of anger he would not bother to investigate

Believe me, within seven days mayhem would be let loose

From then on, the couple will opt to separate

The poet believes that what either the wife or husband does not know will not be a stumbling block to

them so the hypocrites should have let sleeping dogs lie. Ironically the poet goes on to assert that

though the separation is not entirely the wifes fault she suffers the most because;

Calling the cart pusher becomes your responsibility

You will have to pack everything that belongs to you

For onward transfer to your fathers house

You will have to pay the cart pusher

Where you would be given only a small part in a room

To keep all your possessions

Before you know it some of the things would be damaged

Some would be broken

Some would be disfigured

Some valuables would have been destroyed beyond repair

The loss is all yours

The poet therefore makes a passionate appeal to all lovers of peaceful marital bliss to;


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Let us all come together and heap curses at them

May they never do well in the sight of God

The poet then goes on to tell the wife to reflect the good times she had when she was in her husbands

house; this is because in Hausa traditional society, the husband takes responsibility for all his wifes

needs. These include feeding, providing shelter as well as clothing. Thus Dan Maraya reminds her that;

When you were in your husbands house

If it is guinea corn you want to eat

Your husband will provide

If it is maize flour you want to eat


If it is rice you want to eat


If it is yam flour you want to eat


If it is yam you want to eat


Now that you do not have a husband

You will have to make provision yourself

What great loss for the wife. He even goes further to comment thus;

Your husband provides your head tie

Your husband provides your wrappers

Your husband provides your shoes

Your husband provides your earrings


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Your husband provides your wristwatches

Not only does the husband care for the wife and her needs he also according to the poet;

In addition he would care for your parents materially

When the wife reflects and sees what she is missing, frustration sets in and instead of her to seek for

reconciliation with the husband, what does she do?

The only solution that comes to mind

Is to seek the help of the soothsayer

Patronage of soothsayers who are believed to be spiritual healers is one cultural belief still upheld and

practiced rampantly by the Hausa people especially the women. They believe these spiritual healers can

solve all their problems. The soothsayer would then think of how to win the womans confidence and he

will quickly tell her what she wants to hear;

This is the handwork of your co-wife

Even though she has no co-wife she will naively believe that actually she has an imagined co-wife who

wants to harm her or come between her and the husband. One thing most Hausa women hate is the

mere mention of a co-wife who would compete with them in getting the husbands attention. And in all

honesty she will ask;

What then do we do mallam?

And because the soothsayer always has a solution to every ones problems he has this to say;

Sure there is a way out


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You have to bring five white sheep

Five rolls of white cloth

You will also bring 100 shillings

Ironically, after the soothsayer has gathered all he has requested for he then says;

Alright go, God will provide us the remedy

What manner of exploitation is exhibited here? Definitely only God can provide solutions to problems,

but because the woman is so much blinded by her belief, she fails to understand the soothsayers

understatement. Thus instead of seeking solutions from soothsayers, the poet believes the solution lies

in respect and obedience for;

Whatever respect and good conduct does not give you

The soothsayer can never give to you

My dear women I warn you once again

Whatever respect does not give you

Disrespect will never give you

Respect is a great antidote

Do this, obey. Stop it, obey.

Yes that is a great antidote

Dan Maraya then goes on to draw the husbands attention to the importance of his wife in his life and

the entire good thing she does for him for no fee at all. Definitely the man cannot pay for the services.

Men my advice to you also

You know very well this is your wife

She cleans the house and makes it neat

She will cook delicious meals for you

Provide bathing water for you to feel refreshed and clean

She also takes good care of the children


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Now mallam, if you were to pay a house help to do all these

How much money would you spend?

CONCLUSION

As a poet Dan Maraya operates within the vast and rich Hausa cultural setting to express his vision and

expectation of an ideal society. His songs cover various themes borne out of reality but in essence his

main thematic thrust is social change of certain ills in society. In the whole of northern Nigeria, Umar

believes Dan Maraya is the only folksinger who criticizes happenings in society and advocate for social

change (1985, p.8) and just as Wathiongo observed about the role of a satirist in society, Dan maraya

sets himself certain standards and criticizes society when and where it departs from set norms..which

moves him to pour derision and ridicule on society painful sometimes malicious laughter(1972, p.27).

Therefore like most social critics, Dan maraya expresses his dissatisfaction over what is happening in his

society consequently, all that he sings about depicts what happens within his immediate environment.

We therefore believe that by translating into English and analyzing some selected songs aimed at social

change, the songs earlier restricted and confined to the hausa speaking people only due to language

barrier, the songs would be better understood and more reviews and critical works would be carried out

and the poet will no more be seen as a mere entertainer but as a social critic to be reckoned with

alongside other world critics.


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REFERENCES

Akporobora, F. B.O. (2004).Introduction to African Oral Literature: A Literary- Descriptive Approach.

Lagos: Princeton Publishing Company.

Andrew, A. J. (2008,Sept 7th). Dan Maraya Speaks: I See Myself as a Historian. SundayTrust,p.33.

Emeaba,E. O.(1987). Dictionaryof Literature. Aba: Inteks.

Finnegan, R. (1970).OralLiteraturein African. Nairobi: Oxford University Press.

Nyuidze, E.I.I.(2003). Songsof Dan Maraya Jos ThemesandStyle. Jos: Greenworld Publishing Company.

Obafemi, O, (Ed.).(1994). NewIntroductionto Literature. Ibadan: Y. Books.

Olafioye, T.(2000). The Poetryof Tenure Ojaide. A CriticalAppraisal. Lagos: Malthouse Press.

Sarbi, S.A. (2008).Studiesin Translation.Kano: Samarib Publishers.

Umar, B. M.(1985.) RukuninKowayashaKida. Dan Maraya Jos. Ibadan: University Press.

Wa Thiongo, N.(1972). Homecoming. London: Heinemann Educational Books.

Yahaya, I. Y.(1979). OralArtandtheSocialization Process. (Unpublished) PhD Thesis. ABU Zaria.

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