The history of Africa is full of magic and supernatural activities. However, in all the sections of Hausa performing arts, oral songs are the most exalted arts that dominate many folkloric activities
and control very great significant aspects of religious, political and socio-cultural consciousness in the Hausa community. The singers employ different methods and techniques of injecting poetic ideas into the minds of audience. The songs are sung with either melancholic, charming, or tranquil expressions so that their content messages are of deep impact to listeners. Therefore, the songs are entertaining, charming, educating or touching. In the struggle to create an attractive method or style,the use of supernatural is traced, which this paper intends to demonstrate. It is discovered that
Yakubu Aliyu GOBIR (Ph. D.)1
Department of Nigerian Languages
Usmanu Danfodiyo University, Sokoto
08035605024, 07087765510
Email Address: yagobir@yahoo.co.uk
And
Abu-Ubaida SANI2
Department of Educational Foundations
Usmanu Danfodiyo University, Sokoto
Phone No. 08133529736
Abstract:
The history of Africa is full of
magic and supernatural activities. However, in all the sections of Hausa
performing arts, oral songs are the most exalted arts that dominate many
folkloric activities
and control very great significant aspects of religious, political and socio-cultural consciousness in the Hausa community. The singers employ different methods and techniques of injecting poetic ideas into the minds of audience. The songs are sung with either melancholic, charming, or tranquil expressions so that their content messages are of deep impact to listeners. Therefore, the songs are entertaining, charming, educating or touching. In the struggle to create an attractive method or style,the use of supernatural is traced, which this paper intends to demonstrate. It is discovered that most of popular oral singers, Mamman Shata inclusive, employ supernatural activities in demonstrating hyperbolism, heroism, medical or fetishism, and so on. Malam Baba Na Qofar Gabas, Sarkin Bori Sule and Hassan Sarkin Dogarai to mention but few of the masterpieces of the prominent Hausa oral singer (Shata) comprised of supernatural powers in thematic and stylistic structures. By employing any one of these adornments in any oral songs, the zenith of stylistics is being reached, as per as Hausa culture is concerned. This paper therefore traces instances of use of supernatural in Shata’s songs.
and control very great significant aspects of religious, political and socio-cultural consciousness in the Hausa community. The singers employ different methods and techniques of injecting poetic ideas into the minds of audience. The songs are sung with either melancholic, charming, or tranquil expressions so that their content messages are of deep impact to listeners. Therefore, the songs are entertaining, charming, educating or touching. In the struggle to create an attractive method or style,the use of supernatural is traced, which this paper intends to demonstrate. It is discovered that most of popular oral singers, Mamman Shata inclusive, employ supernatural activities in demonstrating hyperbolism, heroism, medical or fetishism, and so on. Malam Baba Na Qofar Gabas, Sarkin Bori Sule and Hassan Sarkin Dogarai to mention but few of the masterpieces of the prominent Hausa oral singer (Shata) comprised of supernatural powers in thematic and stylistic structures. By employing any one of these adornments in any oral songs, the zenith of stylistics is being reached, as per as Hausa culture is concerned. This paper therefore traces instances of use of supernatural in Shata’s songs.
Keywords: Supernatural,
Hyperbolism, Heroism, Medical, Fetishism
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