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concerns with folklore as a medium of communicating 
information, values, knowledge, believes within the group or 
society that share it. Thus, functionalism is feasible for   analyzing 
the song.

Key words:  Entertainment, hausa songs, farming songs, economic 
revolution, Sani Aliyu Dandawo

Introduction
 There is no doubt that song is a means of social 
commentary, a medium of communicating one's ideas, 
information, emotions, and in many cases, a tool for mobilization. 
It is mostly sung through a number of music apparatuses 
employed to attract various viewers and well-wishers. Thus, 
singers in most cases used music to attract the attention of the 
audience to listen to the songs, thereby, grasping the message 
embedded in them. That is to say, apart from the entertainment 
value of a song, a singer gives his view point about life in a song, 
and hopes that his words would achieve effective mobilization, 
education and enlightenment. It is worth noting that song serves as 
an important vehicle for alerting the general public on issues and 
happenings that are topical or new within the society, which might 
not necessarily be known to everybody. Thus, a singer invariably 
comments on the situation in the society, and as such his or her 
song could encompass the whole range of issues.

 Gusau (1993-xi postulates that song emerged from time 
immemorial and it continues to develop till date. He maintains that 
song constitutes some certain qualities as rhythm, rhyme, 
chanting, tone, sound, wittism, chorus, clapping, theme, language 
manipulation, music among others. 

 Gusau 	(1993;21 classifies Hausa songs that are 
accompanied by music as the universal songs. These songs have to 
do with wealthy individuals and public office holders. Singers of 

Beyond Entertainment Value: The Impact of Sani Aliyu 
Dandawo's Farming Song on Economic Revolution

Idris Hashim Haruna
idrishashimharuna@gmail.com

+2348164603625
Rabiu Musa Kwankwaso College of Advanced 

and Remedial Studies, Tudun Wada, Kano

Nafisat Umar Yabo
Federal College of Education (Technical) Gusau, Zamfara State.

nafisatyabo@gmail.com
+2348036188542

Abstract 
Song plays significant role in the life of every human society. It is a 
crucial vehicle for social commentary, a medium of mobilization, 
and as such a means of entertainment. A singer being a product of 
the society comments on issues and happenings within the society 
which directly or indirectly affects the humanity. Thus, a singer in 
most cases uses music as an instrument for arousing interest of the 
general populace to pass across his message embedded in the 
song, which might not necessarily be known to everyone. This is 
not an exception to Hausa Singers, as it is known that music plays 
pivotal role in arousing the interest ofHausa people to listen to a 
particular song, and grasp the message therein. It is on this basis 
that the paper delves into the theme and aesthetic qualities of Sani 
Aliyu Dandawo's farming song entitled; “A Mai DaHankali Wajen 
Noma Mutane A Kama Sana'o'i. A unique focus of this paper is its 
rendition to the role traditional music plays in arousing the interest 
of Nigerians to listen to the song, thereby uplifting their 
consciousness towards embarking on the economic 
diversification and transformation through agriculture. The paper 
however, relies on library in sourcing its materials. The 
researchers however, draw the song by listening to the song for 
literary analysis. The paper moreover, employs functionalism as a 
literary theory for analyzing the song, for the fact that the theory 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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mailto:idrishashimharuna@gmail.com
mailto:nafisatyabo@gmail.com


occupies central place in traditional society.

 According to some scholars, Hausa song evolved through 
a praise singer called “Sasana” who lived in Asia from where he 
migrated to Hausa land Ibrahim, (1983:Vii).- 

It is in the light of the aforementioned view that Mamman Shata 
Katsina is praised as a brother of Sasana due to his gift of 
composing and rendering songs. This is captured thus; 
 Duna na Balkin Sambo
 Kafiri kanen Sasana- (Ibrahim,1983:vii).

 It is imperative to note that traditionally, Hausa speaking 
people do praise an individual with words that look similar to 
reckless speech or unsavory language. Thus, on the surface they 
look foul but in reality, they are meant as praises. For instance, 
“Shege”,” mugu”,” matsiyaci”, amongst others. It is in the light of 
this that the praise-singer employs such words to praise Mamman 
Shata, because of his natural talent of composition and rendering 
songs.

 For some scholars, Hausa song evolved out of the oldest 
kingdoms of Songhai, Ghana and Mali of West Africa. This view 
claims that long time ago Mali, Ghana and Songhai were rich with 
singers, and these singers are directly related to Hausa singers-
Ibrahim,1983; vii.
Some assert that the emergence of Hausa singers could be traced 
back to worshipping fairies, gods and goddesses. Thus, a long time 
ago Hausa society did conduct celebrations, in which the people 
chanted and incanted such fairies, gods and goddesses. This is 
captured in the song of Barbushe who chanted in praise of   
Tsumburbura, a goddess thus; 
Jamuna a kasa , mun gama
Ga Tsumburbura kanawa 
Ga magajin Dala
Barbushe's chorus; ni ne magajin Dala,

this category are in large number. He however, continues to 
identify various categories of the Hausa songs that usually 
concern with the Hausa people traditional games and sports such 
as; wrestlers, boxers, knives charmers among others. Singers of 
this category includes; Kassu Zurmi, Muhammadu Gambu, Isa 
Dan Makaho, Muhammadu Bawa Dan'ance among others.

 In furtherance of classification of Hausa songs, Gusau 
maintains that there are songs that deal with royal people. Such 
songs are composed to praise the royal fathers. Thus, the singers of 
this category involved in praise-singing of the royal families 
within their palaces. The fourth category however, involved 
humorous singers who specialized in public entertainment, and 
are humorous in nature that always instigate pleasure within the 
society through their songs, especially at the moment of pressure 
within the society to minimize tension. 

  Moreover, Gusau identifies the fifth category as the 
occupational songs that are meant to praise people with traditional 
occupational career such as; weaving and dyeing, barbing, 
butchering, blacksmithing, farming among others. Singers of this 
category includes; Muhammadu Dan'anace. The sixth category 
has to do with nature. The singers of this category compose song to 
praise nature or any other things that astonish them. This category 
however, include; singers of all categories. Thus, every singer can 
compose a song based on nature, and or anything that astonishes 
that singer. 

Historical Development of Hausa Songs
 No one could claim the true origin and development of 
Hausa songs. There are many opinions with regards to the 
emergence and development of Hausa song. Some scholars opine 
that, the evolution of Hausa song is closely related to the man's 
struggle to make living through hunting. In its early form, the song 
was chanted during hunting. Some assert that Hausa song evolved 
out traditional religion. A point to note is that, the Hausa song 

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Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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Dandawo died at seventy-two, 72 years at his home Yawuri. He is 
survived by his aged mother, two wives, twenty-two 22 children 
and twenty-five, 25 grand children 

Classification of Hausa Singers, Thematic Concern and their 
Traditional Musical Instruments
 Ibrahim (1983 in a text titled; Abokin Hira; Kowa Ya Sha 
Kida Kudinsa, categorizes Hausa traditional singers into two; 
palace praise-singers and the universal singers. Palace praise-
singers permanently settled at palace sponsored by a chief. They 
are there to serve the chief at his palace through their talents of 
composing and rendering songs. When the chief is at his 
occasional official territory visit, they follow him while indulging 
into praise-singing, accompanied by musical instruments in 
praising him. Most of such singers inherit singing from their 
forefathers. They do not heavily rely on such praise-singing alone 
to make living; rather they cultivate land as their secondary means 
of livelihood. They praise the chief at his palace as their god-father 
every Friday-night or at every “sallah” festival (p.1.

 Having involved into palace praise-singing, does not mean 
that they would not sing for other people outside the palace. They 
do so at their wish without offending the chief. They even let the 
chief know a reward of return of their songs, to bless their 
benefactors -p.1. Both palace praise-singers and universal singers 
employ various musical instruments in their career, depending on 
the kind of musical tool inherited by a singer. Some singers use 
“ganga” “ tambari” “ taushi”  while others use “ kotso” “banga” “ 
kurya” “ jauje” “kuge da kurya”and so on (p.3.

 The second category however, involved singing for 
general public. Although, the palace praise-singers restrict their 
career to palace, they do sing outside the palace(p.1.Gusau-1993 
in a text titled; Jagoran Nazarin Wakar Baka maintains that 
universal singers do sing for the wealthy individuals and public 
office holders. This category occupies very large number of Hausa 

Da kunki da kun so,
Ku bini ba ra'ayiba (Ibrahim,1983; p. 10-11.

Brief Biography of Sani Aliyu Dandawo, the Renown and 
Prolific Traditional Hausa Singer  
 Alhaji Sani Aliyu Dandawo is one of the popular Hausa 
traditional musicians in Nigeria who was able to capture the 
interest of audiences with his natural talent of composing snd 
rendering songs. Dandawo born and raised in vibrant city of 
Argungu, Kebbi State, Nigeria. Dandawo started his music in 
1964, and devoted his entire musical career in preserving and 
promoting the rich culture and values of Hausa society.

 Dandawo is known to possess natural talent of language 
manipulation exhibited through his music. Dandawo's music took 
its origin from Hausa traditions through which he reflects the 
diverse cultural influences that have shaped the region over 
centuries. His songs are characterized by agitation of united 
Nigeria through patriotic duties in which he praises traditional 
rulers for their tireless effort towards uniting the country. 
Dandawo however, uses music to explore the challenges faces by 
Hausa people and the country at large and proffers lasting solution 
through his song. This really earns him respect throughout Hausa 
land, who is considered to be one of the ambassador of Hausa 
culture for the Hausa people.

 What make Dandawo unique in composing and rendering 
songs is the ability to touch the minds of his audiences through his 
music. His music however creates very powerful experiences 
influence to his viewers in which his music goes resonates.

 Dandawo's natural talent of composing and rendering 
songs coupled with his yearning for nurturing, inspiring, as well as 
passing knowledge and skills he acquired through his career to the 
young musicians earned him respect and beloved throughout the 
Hausa land. 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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in Narambada's song of self-pride and his god-father, Sarkin 
Gobir Ahmadu who claims that he supersedes all other singers, 
likewise the chief of Gobir, Ahmadu supersedes all other 
traditional rulers thus;

Bana Ahmadu Hausa ka yi rinjayi ni na yi,
an ce Isa ba ka jin an ce wani Sarki,
Ni ko duk Hausa ba ka jin waka bayan tau.

                                (Ibrahim,1983: p.19.

 However, the theme of politics can be derived from the 
song of Abdurrahman Galadiman Kotso who praises N.P.C Party 
in his song, with a view to mobilize the populace to have interest 
on the party. Not all times that such singers praise particular party 
directly, they sometimes praise the political office holders of the 
ruling party through various developmental projects they 
executed to instill interest of the party in the people's minds. This 
is captured in the song of Galadiman Kotso thus:

Salama tutar Shehu da Bello,
Babba da yaro ku ce salama,
Birni da kauye ku ce salama,

Sarki da Mallam ku ce salama,
  Wallahi kowa yace salama,

 Ko lahira za ya san salama(Ibrahim,1983;p.21.

 The theme of public enlightenment campaign and 
admonishment such as awareness about cultural subjugation and, 
the need for people cooperation on the Population Census, can be 
deduced in such Hausa singers as Sarkin Taushin Katsina, Sani 
Aliyu Dadawo, Alhaji Musa Dankwairo, Alhaji Adamu Dan-
Maraya Jos among others. As per stated by Ibrahim, most of such 
singers are instructed by political leaders to compose songs based 
on the topical issues to help government accomplish a particular 
policy. For instance, Sarkin Taushin Katsina composed song 
based on National Population Census in 1973 as captured 
accordingly in the song thus:

singers, and they can sing on any topic. They may include; Adamu 
Danmaraya Jos, Mamman Shata Katsina, Abdu Karen Gusau, 
Garba Supa, Shehu Ajilo, Sabo Saya-Saya, Musa Danba'u, 
Mammalo, Haruna Uji, Hassan Wayam, Sani Dan'indo amongst 
others. (p.21.

 Musa Dankwairo, Sani Aliyu Dandawo and the host of 
others fall under this category. Although they are categorized 
under palace praise-singers, Dankwairo composed and presented 
so many songs based on socio-political and economic issues. 
Similarly, Dandawo composed so many songs based on socio-
political and economic issues. For instance, Dankwairo composed 
songs titled; Aikin Dam Yafi Gaban Ayi Mai Wargi”, which is a 
song about irrigation agricultural economy, and the song titled; 
“Maitatsine Allah Tsinema”, which is a song about socio-political 
and religious crisis engulfing the Northern part of the country in 
the 1980s. Similarly, Dandawo composed a song based on 
economic revolution in the context of Nigerian society titled; “A 
Maida Hankali Wajen Noma Mutane a Kama Sana'o'i”, and the 
song titled; “Yaki da RashinTarbiyya”, which he composed and 
sung in 1980s based on the prevailing moral decadence within the 
Nigerian society, and the firm determination of the country to fight 
against such indiscipline.

 It is imperative to note that Hausa singers in general 
present as many themes as possible in their songs. They do 
compose and present songs based on admonishing, enlightenment 
campaign, education, politics, praise-singing, satire, begging, 
self-pride among others. Ibrahim(1983, p.10).

 The truth of the aforementioned claim can be deduced 
from the song of Narambada who composed a song in praise of his 
natural talent of composing and rendering songs. Sometimes such 
kind of singer's praise selves together with the chiefs they are 
inclined to, to show that they are unique in singing song like their 
chiefs who are unique in leadership. This is conveyed accordingly 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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songs. Ibrahim justifies this claim by saying that Dankwairo, 
Narambada among others, employ style that is very difficult to 
understand even if one is a native speaker. This is for the fact that 
they employ Sakkwatanci, which is a very rich Hausa dialect, 
especially those that employ “taushi and “kotso” musical 
instruments, and used Sakkwatanci dialect and its words. He 
further claims that, even amongst the palace praise-singers there 
are such words from Sakkwatanci, Arabic and English and so on 
((p.26.

Theoretical Framework
 This paper critically appraises the use of Dandawo's song from 
the perspective of functionalism. Thus, the paper analysis how 
Dandawo attempts to use song and music to uplift the consciousness of 
Nigerians to understand the effect of over dependence of oil resources to 
the Nigerian economy, and as such to educate Nigerians about the 
impact of agriculture in promoting the economy of the country. The 
theory was formulated by Bascom in 1965that concerns with the 
meaning, purpose, and role of folklore within the society of which it is 
part. It is quite relevant to this paper as it concerns with the performance 
and mode of presentation of folklore in particular situation and in a 
specific folk group within the society.

Methodology
 Research in literature always adopts qualitative 
methodological approach. This research however, collects its 
primary data through close listening and examination of the audio 
of the song of Sani Aliyu Dandawo. It also sources relevant library 
materials as secondary data

Analysis and interpretation of Sani Aliyu Dandawo's 
Farming Song and its Aesthetics Qualities

  Prior to the discovery of oil resources in Nigeria, the 
country depends largely on agricultural sector as its major source 
of revenue. It generates not only revenue but serves as an 
important sector that provides employment opportunities to the 

Jama'a ku yi kokari in kidaya ta zo,
   Ku ba Malam kidayarku  goyon baya

       Gwamnati tana so ta giggina makarantu,
  Inda duk ya dace.

Gwamnati tana so ta giggina rigogi,
   Inda duk ya dace.

Jama'a ku yi kokari in kidaya ta zo
             ku ba Malaman kidaya goyon baya  

(Ibrahim,1983;p.23.

 The theme of cultural protectionism can also be deduced in 
the song of such Hausa singers, especially palace praise-singers. 
Ibrahim claims that the theme of cultural promotion and 
preservation is usually found in the songs of palace praise-singers. 
This is not unconnected with the fact that their god-fathers are the 
custodians of Hausa culture, so they do compose songs in line with 
the wish and interest of their god-fathers, who are the traditional 
rulers (Ibrahim,1983;p.24). Alhaji Musa Dankwairo justifies such 
claim in his song of preservation of Hausa culture thus;

'Yan Arewa da an nan,
Wadanda ad diyan Musulmi,

Kwairo na gargadinku,
Ku zan azumi da sallah,
Ku zan kono da zakka,

    Ku matan kasarmu,
         Wadanda ad diyar Musulmi,

    Ku zan ka yin lullubi,
               Banda sayan suket da 'yak kanti,

 Abin gay a bad a kunya,
Abin gad a ban takaici,

 Moreover, Hausa singers like other singers across the 
globe, are known to possess natural talents of language 
manipulation. They do employ style in which one needs to look 
beneath the surface before grasping the message embedded in the 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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aspect of human endeavor. Thus, the citizens are blessed with 
unique talent and each citizen tries to display such talent in line 
with his unique experience in life coupled with the experiences of 
the other category of people within the country, with a view to give 
an immense contribution the development of the country. Every 
rational individual has important role to play within the society, 
and Hausa singers would not be an exception. 

 It is on this basis that Dandawo composes and sings a song 
titled; “A Mai da Hankali WajenNoma Mutane a Kama Sana'o'i”. 
The song concerns with social enlightenment based on the need 
for economic diversification. It is an attempt to uplift the 
consciousness of the Nigerian society to embark on the economic 
diversification through agriculture.
 Although Dandawo hails the discovery of the oil 
resources, and considers it as one of the important sectors, he 
warns the political leaders not to deem it as the heartbeat of 
Nigerian economy, for the fact that it might give birth to idleness 
to many Nigerians, and as such its value keeps on fluctuating in the 
world oil market.  

 Dandawo in the song hails agriculture as the poverty 
alleviation sector. He believes that when the country prioritizes 
the sector, its economy would be buoyant, as it is a powerful sector 
that provides employment opportunities to Nigerians, and a 
reliable source of income to citizenry. He believes that agriculture 
provides not only employment opportunities to the teeming youth 
but a reliable revenue generation to the country.

 While motivating the general populace to give their own 
quota towards feeding the nation, and to even promote exportation 
of agricultural products, he postulates that if one feels reluctant in 
partaking in farming activities, due to his economic status, such 
person is inconsiderate to be patriotic. He believes that one's 
involvement into the agricultural activities in small- or large-scale 
production contributes immensely towards providing 

citizenry, a vehicle for country's foreign exchange, and as such a 
means of livelihood to many Nigerians. But with the discovery of 
oil resources, Nigeria abandons agricultural sector and prioritizes 
oil sector as its main source of revenue generation. Thus, oil sector 
is even considered as the heartbeat of Nigerian economy. 
Although the oil sector plays significant role in the rapid economic 
growth of the country, it is reckless to abandons the rest of the 
economic sectors on its dependence. 

 Since change is the only factor that is permanent in life, it 
is imperative to make adjustment when there is rapid change 
within the society. The point to note here is that, the country's 
negligence of the agricultural sector with the evolution of oil 
sector becomes an impediment to its rapid economic growth and 
prosperity of its people. Thus, as the Nigerians abandon the sector 
and put eyes on the oil sector, most of citizens rely on government 
to provide employment to them, which is not possible. Prior to the 
country's attitudinal change with the evolution of oil, its currency 
which is stronger then, to the disadvantage of American Dollars 
and the United Kingdom Sterling Pound, keeps on devaluating. 
Nigeria's economy is buoyant then, and the citizenry live a 
prosperous live with a strong Gross Domestic Product and Foreign 
Reserve.

 However, Nigeria begins to experience its economic 
tragedy with the abandonment of agricultural sector, as the 
economy of the country is determined by the western world. Thus, 
the country relies heavily on the exportation of oil products to 
building the nation, as the oil price in the world market keeps on 
fluctuation. As a result of this, the value of our currency keeps on 
falling to the advantage of American Dollar and United Kingdom 
Sterling Pound.

 Apart from the endowed natural resources, Nigeria is 
blessed with human resources. Most of the Nigerian citizens are 
naturally talented and they keep on displaying such talent in every 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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to secure contracts which lead to the economic retrogressive and 
the general weakening of country's currencies as captured in the 
song thus;

Da a Najeriya mun dogara ne
gyada da auduga wajen noma,
Muna ciniki da kasashen waje
arzikinmu,bai lalace ba
Mun cimma ko'ina wajen girma.

Daga nan sai hada-hadar mai ta 
bullo sai muka dena noma sai kwangila,
Chorus; Mu ka bar noman gyada da
auduga kudinmu sunka zam ganyen banza

In the song Dandawo praises country's blessed resources when he 
maintains that with the abundant of agricultural land coupled with 
high population size, the country can go hand in hand with other 
developed countries in the world if, it prioritizes agricultural 
activities. He also recalls how commercial agriculture engulfs the 
Northern part of the country with particular reference to Kano 
where  groundnut  pyramid is  made as  a  symbol  of 
commercializing agricultural products in Kano of Northern part of 
Nigeria, and as such Gusau of Zamfara is rated as the centre for 
cotton marketing and processing. This conveyed accordingly in 
the song thus;

Sadda muna noman gyada da auduga
sannan Kano birnin Dabo
Idan ka hangi Dala kamar Tsauni,
Chorus; Ga na'urar goge auduga akwaisu
ko Gusau in kaje can.
Chorus; mutane a kama sana'o'I,
a maid a hankali wajen noma.

While acknowledging the discovery of the oil resources, 
Dandawo maintains that Nigeria is one of the luckiest countries to 
have discovered oil resources but should be very careful on 

employment opportunities to many Nigerians, thereby making 
their means of livelihood reality. This means that Dandawo finds it 
necessary for every citizen to partake in farming activities to feed 
the nation, and help in providing employment opportunities to 
many. He believes that partaking into agricultural activities in 
time of country's economic diversification is an important 
yardstick to measure one's patriotism. Thus, Dandawo believes 
that no matter how economically buoyant one is, he should be part 
in the farming activities within the country.  This is captured in the 
song thus; 

Amai da hankali wajen noma mutane akama 
sana'o'i
Yanke talauci kun san sai noma,
Repetition; Yanke talauci kun san sai noma,
Chorus; mutum ya kama noma har girma,
Repetition; Mutum ya kama noma har 
girma,
Wanda bai noma bai kyauta ba,
Chorus; yau wanda baya noma hantar mai,
Repetition; Yau wanda bai noma bai kyauta,
Ko mai kudinsa bayyi dibara ba,
Chorus; yau wanda baya noma hantar mai
Repetition; komai kudinsa bayyi dibara ba,

 While referring with the Nigeria's economic status in the 
past, when farming is the heartbeat of the country's economy, 
Dandawo enumerates some crops that the country cultivates that 
have positive impact on its economy as; cotton, grains, groundnut, 
cocoa among others. He maintains that with the aforementioned 
crops the country promotes its foreign exchange rate to the extent 
that its currency becomes stronger to the disadvantage of United 
States Dollars and the United Kingdom Sterling Pound in the 
foreign exchange market, likewise its economy is buoyant then. 
But with the discovery of oil resources, the country makes the 
people get involved into the oil marketing and rely on government 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 5, No. 1, 2025
Idris Hashim Haruna & Nafisat Umar Yabo - Beyond Entertainment Value:
The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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While mobilizing Nigerian populace to go into farming 
activities, Dandawo opines that the economy of the country would 
be favourable and prosperous, to the extent that the government 
would be able to generate revenue to execute capital projects as 
roads, reliable water supply, electricity supply, schools and other 
social amenities for infrastructural development if Nigerians 
embrace agriculture. Similarly, Dandawo urges Nigerians for 
unity in nation building, by saying that the country can only 
develop when there is unity in diversity among Nigerians. He 
believes that the country can reach its highest economic level 
when there is strong unity and patriotic among the citizens as 
captured in the song thus;

Idan kun ka kama noma sosai,
Da arzikinmu ya dawo sabo,
Gwamnati ta sami kudin aiki,
Ta bada magani da rowan sha,
Sannan ta kama gyaran hanyaoyi.
Gwamnati ba za ta iya ba,
Sai in ambata goyon baya,
Mun taimaka gaba daya duk munyi,

Dandawo in the song attempts to uplift the consciousness 
of Nigerians based on the needful commitment towards building 
the nation. He further urges Nigerians for unity in patriotic duties 
for the nation building. He also warns not allow things to go in 
vain, and believes that all hands must be on deck in commitment 
towards developing the nation with the abundant natural and 
human resources. He castigates the attitude of laziness, thereby 
encouraging hardworking and self-reliance as the vehicle for 
promoting the progress and development of the country. He also 
prays for the rapid growth and development of the country as 
conveyed accordingly in the song thus;

                Wanda yabar abinshi ya lalace,
                Bai tamaimaka ba kasan yai keta                                                                       
                Chorus; taimaka a gyara kasan nan,
               Har manya-manya suma sai sunyi.

relying upon it, as its world market keeps on fluctuation. He 
believes that the country should maintain its agricultural sector 
concurrently with the oil sector to avoid over reliance on oil sector. 
That would make the country's economy buoyant and prosperous 
as captured accordingly in the song thus;

Samun fetir garemu babbar sa'a ce,
amma kar mu dogara wajen shi,
Saboda kasuwa tai ta fadi
Chorus;  kowa ya huda hili yai gona
Chorus; amai da hankali wajen noma
mutane a kama sana'o'i.

However, Dandawo attempts to recalls Nigeria's 
experience on the declining in price of petroleum product in the 
world oil market, to warn the country not heavily relies on oil 
sector. This is for the fact that, its reliance on oil sector would have 
adverse effects on the economy of the country, as the country 
might not be able to execute capital projects for rapid development 
in time of fluctuation of petroleum products. It is on this basis that 
Dandawo raises question on the   country's economic dilemma, in 
which the chorus respond by saying that, there is needful 
commitment on the part of the Nigerians to transform the country 
through agricultural activities. He maintains that the country 
should go into commercial agriculture to promote exportation of 
agricultural products as; cassava, sweet potato, yam, cocoa, 
cotton, grains, rice, groundnut, beans among other as captured 
accordingly in the song; 

 Yanzu kasuwar ta fadi Gwamnati ba za 
ta sami kudin daukar jama'a ba kamar daure,
 Da kyautata jin dadin jama'a, 
yanzu ina dibara ku jama'a
 Chorus; mu shuka auduga da gyada,
masara, muyi shinkafa musa dawa,
 Sannan mu shuka gero har wake.

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singers always adopt repetition in rendering his songs. That is to 
say, Dandawo repeats almost all the verses of this song to 
emphasize the messages embedded in each verse.

It is however, noted that Dandawo is known to possess natural 
talent of language manipulation.

He deploys figurative devices such as; as hyperbole, 
simile, metaphor, allusion among others in almost all his songs. In 
this song Dandawo employs allusion in which he refers to 
thestatus of agriculture and the role it plays in the growth and 
development of the Nigeria's economy in the past, before the 
discovery of oil sector. He also employs simile in an attempt to 
compare the Nigeria's economic status in the past when the 
country prioritizes agriculture before the discovery of oil 
resources with the current economy of the nation, when it neglects 
agriculture. 

Conclusion
 On the final note, this paper delves into the impact of Sani 
Aliyu Dandawo's song based on the economic diversification 
through agriculture. A unique focus of this paper is its quiet 
rendition to Nigeria's favorable economic experience prior to the 
discovery of oil resources, in which the country lived a prosperous 
life with vibrant economy, and strong currency with prioritizing 
agriculture sector. The sector that generates huge revenue to the 
country,provides employment opportunities to the Nigerians, and 
promotes its foreign exchange. Similarly, Dandawo strives to 
justify how negligence of agricultural sector led the country sinks 
into the economic dilemma with the discovery of oil resources.
Therefore, the paper justifies how song and music is used by 
Dandawoto uplift the consciousness of Nigerians to diversify its 
economy by concurrently promotes its various economic sectors, 
with particular focus on agriculture being a vibrant sector of 
economy that provides employment opportunities to many 
Nigerians, revenue generation, and promotion of foreign 
exchange. The paper however justifies the reality of Dandawo's 

Dole mu tashi mui aiki tukuru,
Muci da kanmu muici da waje,
Kuma mui ciniki da kasashen waje.
Chorus; Najeriya  kasa mai albarka,
Allah ya taimaki Najeriya,
Garemu harda 'ya'ya, jikoki.

Dandawo however, recalls the formation of communities 
based developmental associations in the past in an effort to 
encourage people to cultivate attitude of unity in nation building 
through agricultural activities. Likewise, the students are 
encouraged to join hand in promoting agricultural activities in an 
effort to feed the nation, and as such to eradicate poverty within the 
society as captured accordingly in the song thus; 

             An kakkafa jam'iyyun hada kai,
Don kowa shi sami aikin yi,
Chorus; an karfafawa 'yan makaranta,
Suma su taimaka wajen noma.

Technique and Aesthetic Qualities of Sani Aliyu Dandawo's 
Song

There is no doubt that Dandawo follows the same street 
that most of Hausa singers embark upon in their singing career. 
Thus, Hausa singers stylistically employed chorus in their song 
accompanied by musical instruments to make their songs more 
pleasurable, and as such to attract the interest of the audience to 
grasp the messages embedded in their songs. Hausa singers are 
categorized into two. Those with chorus that repeat what the 
singer exactly sung, and those that come up with verses contrary to 
what the singer sings but aligned with the message that the singer 
wants to put across the audience.

Dandawo falls under the second category whose chorus 
sing verses contrary to the verses he pronounces but aligned with 
his message. Thus, the ideas pronounce always go in line with the 
responses of his chorus. Similarly, Dandawo like most of Hausa 

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The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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Sims, Martha C, and Martine Stephens. Living folklore; An 
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Introduction to Study of People and theirTraditions, 2  ed. 
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Tarihin Rayuwar Sani Aliyu Dandawo.' 7 Digital, 1 June 2023, 
united kingdom,www.7 digital. Com/(accessed 4 May 
2024).

philosophy through Nigeria's practical experience of prioritizing 
oil sector, and finds itself in economic dilemma, as the value of oil 
sector is determined by the western world.

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The Impact of Sani Aliyu Dandawo’s Farming Song on Economic Revolution

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