Northern Film Industry: Manko And The Audio-Visual Chronicles Of Nupe History
By Jibrin B. Jibrin
Published: November 19, 2006
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Thirty years later he was included in the yearly slave tribute to Idah. When Attah saw A’amagi he recognized him as his son by the ring, the talisman and the fetters. A’amagi then lived with the father. The Attah loved him much because of the feat A’amagi performed for him when he was sick. When the Attah felt sick it was divined that one of his sons must hold a sack cloth tied to his neck for a bunch of palm fruit that was to be cut from the palm tree, it was not to touch the ground. It was only A’amagi who volunteered. In the process A’amagi got his lips split into two with seven palmfruit-edges lacerating the chin in deep gush. He survived after long illness. The name Tsoede was given to A’amagi after the incident. Some years later Attah sensing his impending death orders Tsoede to leave for his mother’s country. He was given a trumpet, a state drum fitted with fetters as a sign of authority, a chain and a bronze canoe, which he eventually sank when he was about being captured by his half brothers that envied him much. He landed at Nupeko, slain the chief and made himself the chief and unites the whole Nupe land under one political sway. This segment because of its demanding nature of interpretation was voiced over with visual pictures and actions.

The second segment was the coming of the main character “Manko”, a Fulani preacher and spiritualist whose real name is Muhammadu Bangana. The name “Manko” means big or great mallam. This was the main story. When he arrived Nupe land he headed to the then capital of Nupe kingdom where he was permitted to go round the kingdom to preach by Etsu Muazu, the king. Conflict set in when Etsu Muazu gave his throne to Jimada in trust for his son, Majiya, who was very young until the age of maturity. Meanwhile, Jimada was Etsu Muazu’s elder brother’s son who was Etsu before his death.

Consequently Jimada refused to allow Majya ascend the throne because of his acclaimed legitimacy to the throne. Majiya having come of age now sensing the reluctance of Jimada not to allow him his throne, aligned with the influential mallam “Manko” who is now powerful to defeat Jimada i in a war.

Majiya was enthroned as the new Etsu, and their friendship grew stronger and cordial with Manko even with Majiya fostering his son to the detriment of the King’s councillors. In time, majiya began to feel threatened by Manko’s growing influence. To eclipse Manko’s influence, Majiya made effort to take measures. Feeling his life is no longer safe under Majiya mallam eventually migrated to Ilorin with his followers. Majiya, having feeling he was the most powerful at that time marches on Ilorin where he was defeated the by forces loyal to Alimi of Ilorin, Mallam Baba, Haliru, Dauda Maza. Fulani Hegemony was establish in Nupe land after the defeat of arrogant Majiya.

Among the Major actors were veteran broadcaster Yahaya Alfa, Abdullahi Mohammed Bida, John Gana muwo Jibrin Yikangi and a host of other actors. They combined and gave this great Epic film a theatrical face and coloration.

The versatile C.E.O. of Leo-Shukrah, Alhaji Sagir Mohammed, realizing the magnanimity of this film project in times of logistics, technical inputs, artistic inputs and costumes pull all the strings necessary to make this historical films, which he was incidentally the producer and director, see the light of the day. Manko, being a human creation, is not without shortcomings. Shortcomings ranging from technical to artistic, plagued the project. But they were effectively tackled under the able direction of Alhaji Sagir Mohammed.

The positive impact of Manko is going to be felt for a long time to come. The film as a whole is the chronicle of Nupe history from the beginning till to date. Children and even adults who seldom know anything about the history of their people are now having a first hand opportunity.

The film as it is, is pillared on written works of Nardel, Sheshi.T. Sidi, interviews of chiefs of Nku and Egagi. The film, before its shooting, received royal blessings from his royal highness the Etsu Nupe Alhaji Yahaya Abubakar.

Incultating the right moral attitudes in the young ones should not be the duty of the parents and schools alone but the media, the film industry, who must need all the supports of the government, individuals and corporate organizations. Films should present to us a picture of real or mostly ideal moral attitudes in the past, present and future.

Jibrin Bala Jibrin is of ANA Niger

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