Jamilu Abdussalam Hajaj is the founder of the first Hausa film streaming platform Northflix. In this interview, the entrepreneur and businessman talks about sundry issues concerning the entertainment industry, as well as the recent suspension of 22 Hausa films by the Kano State censorship board.
What is your view on Kannywood?
Kannywood was, at a time, the heartbeat of Northern Nigeria’s creative expression, but unfortunately it is slowly fading into silence. A once-vibrant industry that educated, entertained and empowered millions has now deteriorated into a cycle of bans, suspensions and ego-driven conflicts.
Sadly, the industry has been transformed to a shadow of itself. For many aspiring actresses, the height of ambition appears to be owning a GLK, or securing a trip to Makkah. For the men, it’s fleeting fame followed by a harsh descent into poverty, often after decades of dedication with little to show for it. The industry’s original purpose has been overshadowed by vanity, short-term gains and systemic neglect.
Don’t you think the current leadership of the Kano State censorship board is trying to redeem the lost glory of the industry?
The Kano State Censorship Board, under the leadership of Abba Al-Mustapha, has become more known for punitive actions than for progressive reforms. Bans are issued at intervals, actors and filmmakers are suspended without structured dialogue, and the tone from the Board remains largely authoritarian.
Since assuming office, the DG has failed to outline or implement any robust developmental plan for the industry. No training programs, no strategic partnerships, no industry grants or access to funding, no deliberate attempt to reposition Kano as a hub for moral, creative, and commercial filmmaking in Africa. The Board’s actions continue to erode trust, morale, and investment; turning creators into cautious survivors instead of bold storytellers.
What do you think the industry’s leading voices ought to have done?
You see, we must also ask hard questions of ourselves within the industry. Many of the leading voices in Kannywood today have not used their platforms to push for institutional reform or collective advancement.
Take for instance personalities like Ali Nuhu, a respected actor and producer who was recently appointed as the Managing Director of the Nigerian Film Corporation (NFC), a powerful position with the potential to influence policy and infrastructure development. Since his appointment, however, there has been no visible intervention, engagement, or support targeting the development of Kannywood, a space that made him who he is.
Similarly, Rahama Sadau – a prominent actress and one of the most internationally recognized faces from the industry, was appointed as a member of the technical committee for the IDICE (Investment in Digital and Creative Enterprises) program; a flagship federal initiative for boosting creative sectors. Yet again, no direct move has been made toward strengthening the very industry that gave her relevance. Instead, these appointments have so far served more as access points for international appearances than as instruments for real impact back home.
Therefore, you can see that the strong voices are not talking and what do you expect of the weak ones? It is unfortunate that the industry is going through a lot at a moment when it should be experiencing a robust development.
Can you tell us what really happened to Northflix?
In 2019, I founded Northflix, the first major digital streaming platform dedicated to Kannywood content. The vision was clear; to digitize, globalize and elevate the storytelling power of Northern Nigeria. Within months, we gained traction, attracted thousands of users, and created opportunities for filmmakers to monetize their work beyond DVDs and cinema halls.
However, rather than rally around a homegrown platform, many stakeholders saw Northflix as a threat, not an ally. There was little to no institutional support, no partnerships from within the industry, and no shared desire for digital transformation. We were treated as an outsider trying to disrupt the ‘old order’. Eventually, the resistance, silence and politics became too toxic to justify the energy and capital invested. After five years of pushing against the tide, we were forced to shut down; a painful but necessary decision.
What do you think is the future of Kannywood?
Today, thousands of young, passionate creative youths male and female across Northern Nigeria still look up to Kannywood as a source of inspiration and livelihood. But what awaits them is a broken system; a focusless gatekeeping board, a disconnected leadership, and a community divided by ego.
These youths do not need bans and press releases to really understand what the board is doing. They need skills, infrastructure, and access to capital. Mentorship, effective distribution channels as well as exposure to modern tools of storytelling. They need hope and more importantly, they need positive actions.
What do you think should have been done?
For Kannywood to survive, both the regulators and the practitioners must wake up. We need a leadership shift from censorship to creativity, from self-promotion to collective growth. We need a Censorship Board that develops as much as it regulates. We need industry leaders who see their roles as responsibilities, not red carpets or opportunities for vendetta.
Kannywood needs policy architects who craft opportunities, not gatekeepers of status quo and it needs a generation of creators ready to build a legacy, not just a fan base or fame.
Do you think the industry is in need of a saviour?
Kannywood does not need saviours. It needs reformers, builders, collaborators and others that can bring the needed development. The censorship board can still change its course and invest in the future of the industry. The industry icons can still rise above applause and contribute meaningfully to a space that gave them everything.
Let me state here that if we don’t act now, we won’t just lose an industry, we will lose a generation of voices, jobs, dreams, and identity. The main question will no longer be, who will save Kannywood? But those who can save it, will now watch it burn.
As a member, I wouldn’t want that to happen, not even in my dreams. Kannywood has taken a lot of youths off the streets and its demise may cause something different.
Provided by SyndiGate Media Inc. (
Syndigate.info
).
