2027 general elections: Why Kannywood must remain politically insulated
By Mohammed Ismail
The decision by the movers of Kannywood film industry to openly associate themselves with the presidential campaign of the All Progressives Congress (APC) may ultimately prove to be one of the most consequential mistakes in the history of the Hausa-language entertainment industry.
While every Nigerian has an inalienable constitutional right to freedom of association and political participation, institutions that derive legitimacy from public trust must exercise greater restraint before identifying themselves with partisan politics.
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Actors, actresses, producers, musicians and directors are citizens first before they are entertainers. They have every constitutional right to support any political party of their choice, campaign for candidates, seek elective offices or even become government officials. That is perfectly legitimate in every democratic society.
However, the distinction between individual political rights and institutional neutrality is fundamental and must be exercised with caution and wisdom. Kannywood, an industry created by hardworking, resilient and varsatile actors and actresses should not be allowed to derail because of partisan interests.
In the past, the industry has serve as a beacon through which the North amplified it’s cultures and concerns. It has also created direct and indirect job opportunities and has opened doors of businesses for many entrepreneurs across the north.
An entertainment industry that has built a solid reputation over decades by dint of hardwork should avoid presenting itself as a collective political vehicle for any party. Once a professional body abandons neutrality, it risks sacrificing the confidence of the diverse audience upon which its relevance depends. In the case of Kannywood this concern is deeply fundamental.
Across the world, respected professional organisations consciously distance themselves from partisan politics. They understand that neutrality preserves institutional integrity and enables them to engage governments of different political persuasions without being viewed through partisan lenses.
The Nigerian entertainment industry, popularly known as Nollywood, has produced numerous actors and filmmakers who openly support different political parties. Some have held different political portfolios. Yet Nollywood as an industry has largely avoided formally becoming the campaign platform of a political party. The industry has recognized and respected individual choices and rights to join any political persuasions even though it has decisively remained apolitical.
Similarly, professional associations such as the Performing Musicians Employers’ Association of Nigeria (PMAN) have generally maintained organisational neutrality despite members expressing varying political opinions.
That institutional caution has helped preserve their credibility irrespective of which government occupies power. Kannywood should have borrowed a leaf from such discipline. This is because, the industry occupies a unique socio-economic and cultural position in Northern Nigeria.
For many of its ardent lovers, the industry is more than a movie industry; it is arguably one of the North’s most influential cultural institutions, shaping values, reforms and social conversations across millions of households. Its audience also cuts across political parties, ethnic groups and religious persuasions. The red flag here is by aligning with one political platform, the industry inevitably alienates a significant portion of that audience.
Even the critical stakeholders of the APC should appreciate this principle and allow the organization to maintain a neutral disposition for the sake of its future and the future of the region.
I want to sound a word of caution that an institution built over decades with sweat, commitment and dedication should not mortgage its long-term reputation for short-term political relevance. The controversy surrounding the industry’s recent political engagement demonstrates precisely why neutrality matters. The activities of a popular campaign support group christened the Triple R floated by ace Hausa political singer, Dauda Kahutu Rarara, has been generating intense public debate, particularly because of his long-established role as an APC political musician.
More significantly, reports of disagreements among some members and the emergence of dissenting voices suggest that partisan involvement has deepened internal fissures rather than strengthened institutional cohesion in the industry. The controversy illuminates the risks associated with collective political endorsements.
Professional associations flourish when members feel respected regardless of their political convictions. Any perception that political loyalty has become a condition for professional acceptance undermines the very essence and substance of these organizations. In the long run, the organisation risks losing not only its unity but also its moral authority as a pacesetter.
The reported controversy involving personalities such as Rabiu Rikadawa, Birniwa and Mansura Isa is a serious concern for the continued unity and the moral precepts Kannywood commands within its immediate foothold. Perhaps, the greatest concern is that the industry’s political activism appears disconnected from the realities confronting its primary audience, the North. Northern Nigeria continues to grapple with some of the gravest developmental and security challenges in the country.
As insurgency, banditry, food insecurity, kidnapping, youth unemployment, educational deprivation, displacement and widespread poverty remain pressing realities affecting millions of families, the failure of the industry to amplify these concerns and instead support a government whose inaction is seen as a fodder for these tragedies is itself a serious undoing. The challenges bedeviling the North are issues that need sustained advocacies from influential cultural institutions such as Kannywood.
Instead of becoming identified primarily with electoral campaigns, the industry could have invested greater creative energy in producing films that confront violent extremism, promote peaceful coexistence, encourage education, expose corruption and amplify the voices of communities affected by conflict. That intervention would have strengthened both its artistic relevance, legitimacy and social contract.
The North more than anytime needs storytellers capable of documenting its struggles and inspiring collective solutions. This is an opportunity that Kannywood has not fully utilised or totally missed.
Another distressing dimension to the saga are accusations of financial incentives, vehicles and other benefits accruing to the conveners of the Triple R. Those claims have generated significant public conversation and created a perception that the group is driven by material reward rather than conviction or service.
These claims have significantly battered the image and public perception of the group. This is perhaps, the most disturbing part of the drama because once viewers begin to perceive entertainers as political agents rather than societal champions, the emotional connection that sustains relationship and camaraderie built over the years will undoubtedly snap. When people start viewing the industry and it’s activities through partisan filters instead of artistic appreciation, the end may be near for the industry. That will be an unfortunate development for an industry that once unite audiences across divergent political divides. The long-term consequences may be dire.
Apart from the substantial lose of audience and face value, the industry’s bottom line may also be affected as investors often prefer industries that are stable, inclusive and commercially vibrant. If Kannywood increasingly acquires the reputation of being politically partisan, commercial opportunities may gradually diminish.
Future governments led by different political parties may equally find it difficult to engage with an industry already identified with their opponents.
History offers numerous examples of cultural institutions that lost public trust after becoming excessively entangled in political struggles. It is validated that when artistic independence is sacrificed, creative influence gradually declines. In Nigeria’s clime, artists like Fela Anikulapo Kuti have always played significant roles in democratic societies.
They have used their standing and platforms to criticise governments, mobilise voters, defend human rights and champion national development.
But those interventions carry greater credibility when they emerge from independent voices rather than institutional political endorsements.
The future of Kannywood depends on restoring that distinction. Its members should remain free to campaign, contest elections, endorse candidates and participate fully in democracy.
The industry itself, however, should be insulated from political tourism and must remain an umbrella capable of accommodating every political persuasion without discrimination.
Doing so would preserve its credibility, protect its commercial interests and reinforce its position as one of Northern Nigeria’s most important cultural institutions. It is apt to state that institutions endure only when they remain larger than politics.
For Kannywood, the wisest course is not to become the cultural department of any political party but to remain the independent artistic voice of the people whose stories it was created to tell.
History is always on the side of the oppressed.
Ismail, the editor-in-chief of FACTCHECKNEWS writes from Yola.
