In exploring Kano’s historic blend of commerce, faith and tradition, we shall excitingly explore the intricate intertwining relations that exist among Kano’s tripartite societal norms of commerce, faith and tradition.
Kano state is acknowledged to be in the Northwestern expanse of present-day Nigeria.
Kano state is renowned for its matchless aptitudes and multi-skill fitness on the trot of business accomplishments, commencing within and outside Africa.
The state is globally graded to be among the swiftly evolving states in the comportment of businesses.
This boundless side view record in businesses has greatly concerned investors, entrepreneurs and customers ever since the olden days of defunct transactions.
This has magnificently given rise to the birth of multiple activities such as innovative civilizations, cultures and beliefs of different people in the state.
Kano state is branded as a culturally subjective state, which profoundly depends on adjudicating and running deeds, based on their arts and convictions.
But the advent of the relationship between the Arabs that have been spreading goods and commodities to Africa, has increasingly led to the spread of Islam in the region.
Nevertheless, despite their outstanding record of accomplishment in businesses at both local, national and international provinces, Kano state should not just be limited to business activities.
There are other stimulating trends in which the state should be recognised, this includes politics, sport, and entertainment and another most alarming aspect is that it should be known as a likeable tourist destination.
Exploring Kano’s Historic Blend of Commerce, Faith and Tradition.
Entertainment is an integral part of the culture OF Kano state
The Kanawa are exclusively known for their cultural music and dancing, which significantly influenced cultures across Africa and beyond.
This earlier started as a result of what they called “Kirary” (admonition or Praises to their Emir).
It was enjoined to what they also called “kaki” (whistleblowing) and then to poem recitation in what they called “Yabo or Qasida”.
This gradually excelled in. music and “koroso” Hausa tribal dance.
The Kano State Cultural Troupe, a beacon of Hausa traditions and one of Nigeria’s foremost cultural ambassadors continues to thrive on both national and international stages despite numerous challenges.
Kano is renowned for its vibrant Koroso dance dramas, the troupe has showcased its cultural heritage at prestigious events, including the National Festival of Arts and Culture (NAFEST) and intercontinental in countries such as France, Türkiye, and Romania in 2023, and many more countries over the years.
The troupe is not only preserving the rich traditions of Kano and the Hausa people but also adapting and evolving to meet modern challenges.
Koroso dance has significantly thrived globally
This has greatly impacted positively on the Hausa culture and generated added recognition and respect for the Hausa people.
The Koroso cultural activities are exceedingly valued in Africa, and all the Hausa-speaking community accepted the dancing style. This has made Nigeria gain more respect from and African public.
The Koroso dancers engage in full-blown services of performance display in a team established in 1972.
The dancing troupe was established in 1972 by Mallam Umaru Kiru and Mallam Musa Lambu.
It is important to note that the troupe originated by merging traditional Fulani and Hausa dance movements to form the Koroso Cultural Dance Group.
The Koroso Dance is a colourful and rhythmic performance using implements such as the Serewa (flute), Yan Ganga, Kanzalgi, Duma, Kwarya (Calabash) and Maracas Lalajo, to captivate their audiences, locally, intercontinental, and internationally, since the 1980s.
Their early acknowledgement was augmented by participation in noteworthy events like the National Festival of Arts and Culture in Kaduna, and FESTAC ’77 in Lagos, which raised their profile on the global stage.
Photo Credit: Kano State Government
Nevertheless, once a major cultural highlight, the Koroso dance is now seeing reduced visibility and attention in contemporary settings.
This shift prompts inquiries into the factors leading to Koroso’s reduced presence in modern entertainment.
“On that, I discussed the Koroso dance’s visibility challenges at Gidan Dan Hausa in Kano, where the dance is well known, however, a former Koroso dancer, Alhaji Nura Ahmad Sa’ad, now retired and working as a librarian in the reference section of Gidan Dan Hausa, noted there are no media affiliations or contracts aimed at increasing awareness of the Koroso dance, which may contribute to its reduced visibility”.
Exploring Kano’s Historic Blend of Commerce, Faith and Tradition.
“He added that performances have stopped in theatres due to concerns about the free mixing of genders, which some argue is inconsistent with Islamic principles”.
“I was propelled to know about challenges faced by Koroso dancers, Sa’ad further mentioned that the significant issue was a security threat. During a performance trip, dancers were attacked by armed robbers, though fortunately, no lives were lost, and we are proactive to that by providing dancers with escorts or military personnel to ensure their safety during travelling”.
Another challenge the koroso dancers face is the lack of hospitality from certain audiences during the performance.
It brings them great disappointment to showcase their talent without getting adequate enthusiasm from their audience.
Despite challenges such as inadequate hospitality and security concerns during international tours, the troupe has seen gradual improvements.
Thus allowing them to maintain their commitment to cultural exchange and preservation.
The dancing troupe has enjoyed public support including sponsorship by the leadership of the Executive Secretary Ahmad Abba Yusuf as well as Government funding, which have been indispensable in supporting the troupe’s activities.
This has enabled them to sustain operations and undertake international engagements remains indispensable and supportive to the outshine of their activities.
Further Initiatives, like Alura da Zare programs, would be reintroduced this year, God’s willingness to further contribute to cultural preservation by educating younger generations about the significance of Hausa and Fulani traditions, affirmed by Gidan-Dan-Hausa.
In the face of modern challenges and evolving audience interests, the Kano State Cultural Troupe continues to thrive, driven by a commitment to showcasing Nigeria’s cultural legacy and is set to perform nationally and internationally.
This enduring spirit of joy and resilience ensures that the troupe’s legacy remains vibrant and influential on the world stage, and quite needs audience, public, financial and government support to outrival.
Exploring Kano’s Historic Blend of Commerce, Faith and Tradition
