Poetry, Prose and Popular Culture in Hausa

Bridging the hiatus: Dramatic and poetic elements in Malalo’s kirari

“…The focus of the present article, however, is to show kirari as a poetic form that can only be fully realised through a dramatic display. This concern with poetics and performance can be seen in the works of Finnegan (1970) and Furniss (1997). While Finnegan (1970) sees kirari as a kind of praise poetry, Furniss (1997) views it as oral poetry that is not exclusively used as praise.…”

“…This concern with poetics and performance can be seen in the works of Finnegan (1970) and Furniss (1997). While Finnegan (1970) sees kirari as a kind of praise poetry, Furniss (1997) views it as oral poetry that is not exclusively used as praise. Both scholars, however, argue that kirari exploits poetic and dramatic elements.…”

“…Finnegan (1970) identifies kirari as poetic devices used to praise a particular subject, but argues that kirari can only be fully realised with the aid of performers, singing, drumming and an audience. Furniss (1997) also sees kirari as a poetic device, arguing that it requires some form of dramatisation; he also contrasts kirari with take, which is an introductory phrase in praise of subject-performers (hunter, traditional boxer, or a boori cult member) sung by another artist or a performer. It usually precedes a kirari and serves as a way of inciting the person it is intended for to deliver his kirari or, in the case of hunting and boxing, to demonstrate his paranormal powers.…”

“…In another important work, Akporobaro (2006) considers a kirari as an incantatory poetry which -with its dramatic features -oils the wheels of hunting culture, fuels gallant displays and enables hunterperformers to take on a larger-than-life image. Although Finnegan (1970), Furniss (1997) and Akporobaro (2006) locate the poetic and dramatic features in kirari, they fail to examine these elements using practical examples. Nor are they solely concerned with the Hausa hunting kirari.…”