In a poignant new ballad, “Jan Hankali Game Da Halin Rashin Tsaro Da Ƙasa Ke Ciki,” released in 2024, Usman DanFodiyo University students Bello Shehu Alkaci and Abdullahi Isa Kantama confront the discord fracturing the Hausa and Fulani communities in Northern Nigeria. Through a melancholic melody, the duo laments the estrangement between these once-closely linked ethnic groups, urging a return to harmony.
Sung with evocative emotion, the song features Bello Shehu’s verses in Hausa, while Abdullahi Kantama offers a Fulfulde translation, creating a bilingual dialogue that emphasizes unity over division. The track’s mournful tone invokes nostalgia for an era when intermarriage and trade flourished between the communities, now marred by insecurity and ethnic strife.
Historicising Ethnic Divisions in Nigeria
Ethnic divisions have long been a source of conflict in Nigeria. Home to over 250 ethnic groups, Nigeria is marred by historical grievances and competition for resources and political power– culminating into violent clashes. The Hausa and Fulani, both predominantly Muslim ethnic groups, have traditionally coexisted in Northern Nigeria– sharing cultural and religious ties– now divided, no thanks to increasing competition over land and resources. This division if more evident in regions where agriculture and pastoralism intersect.
For instance, the city of Jos has witnessed repeated outbreaks of violence between the predominantly Christian Berom ethnic group and the Hausa-Fulani Muslims. These clashes have been fueled by disputes over land ownership, political representation, and religious differences, resulting in thousands of deaths and displacement of communities.
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In Kaduna State, ethnic and religious divisions have frequently ignited violence between the predominantly Muslim Hausa-Fulani and the Christian communities of Southern Kaduna. These conflicts often arise from competition over political power, access to land, and historical grievances, contributing to a cycle of revenge attacks and communal violence.
Across Nigeria, clashes between nomadic Fulani herders and settled farmers, often from different ethnic and religious backgrounds, have intensified. These conflicts, driven by competition over grazing land and water resources, have led to significant loss of life and property, particularly in the Middle Belt region.
This song is time; it evokes emotions to heal wounds. Musically, the song employs atmospheric soundscapes and minimalist beats, crafting a sorrowful yet soothing ambiance. This backdrop explains the song’s exploration of themes like regret, sorrow, and a glimmer of hope for reconciliation. The artists’ rhetorical questions, such as “Su wa ke cin kasuwa da riban raba kanmu,” challenge listeners to consider who benefits from their disunity, ultimately calling for a collective return to sensibility and peace with the line, “mu dawo bisa hayyacinmu shine magananmu.”
The composition is simple yet powerful. It transitions smoothly between languages to maintain the listener’s focus on the emotional weight of the lyrics. This structure heightens the song’s impact, making it a relatable anthem for those longing for the harmonious past.
Indeed, “Jan Hankali Game Da Halin Rashin Tsaro Da Ƙasa Ke Ciki” resonates deeply by capturing the nuanced complexity of human connection and the historical grievances fueling current tensions. Its call for unity is both a reflection on the past and a hopeful vision for the future, urging the Hausa and Fulani to reconcile and embrace their shared humanity once more.
