Kano — Tashe or asure can simply be termed Ramadan carnival. When its history is written or how it is performed is described, the name of the famous 'bachelor hunter' of Kano, Nalako stands out. Sunday Trust had a revealing encounter with Nalako at home and on stage

Tashe is a sort of festival that takes place yearly. In traditional Hausa society, tashe begins on the 10th day of the holy month of Ramadan. Hausa experts believe that it is a form of entertainment that cushions the effects of fasting observed by Muslims during the month.

Once the 10th day of Ramadan comes, the sound of empty barrels, gallons and all other contraptions that can fit as musical instruments are used by men and young ones to play during the period.

The noisy instruments are laced with a pitching poem: Gwauro tashi gari ya waye... (Bachelor, it's high time you woke up from sleep). This is a sign that heralds the beginning of tashe all over the ancient city.

Once tashe is mentioned, Nalako's name comes to fore because of his unique style of tashe and his position as the father of all tashes. Every year, when Nalako flags off tashe at a small alley called 'Yantukurwa in the heart of the ancient city, the whole city will resonate into beehive of festivities.

Traditionally, 'Yantukurwa is an area where makara (a kind of simple Hausa coffin/stretcher) is sold. The reason for hoisting the flag at full mast there is, there is availability of long canes that are used in making makara. In the days of yore when tall buildings were few, a white flag on the long cane usually stood out.

There are so many types of tashes performed during the holy period. Basically, tashes are performed as an entertaining art, through which audience may be regaled by the hilarious, frightening or awesome effects. The strength of its effects determines the token reward the performers receive.

As is the convention nowadays, monetary reward is given in the city, while in the rural areas silos are opened for a few cups of grains. But even in the city, sometimes a grocer may opt to offer oranges or a slice or two of pineapple.

Before the festive cum holy period elapses, many young children fill their earthenware banks to the brim with coins. For many children, the money is used to buy Sallah articles like rubber glasses, toys, or rather be spent at the box office of museum or amusement park.

While many tashes are exclusive to children, others are exclusive to men. Also, while others are exclusive to boys, others are exclusive to girls. In some instances, there are a few tashes that are mainly performed by almajirai (the destitute), just as there are few that are performed mainly in the city. For almajirai, tashes like Kayi Rawa, Yaron Malam Karka Fadi, Dodo mai Idon Sakaina, 'Yar Bakara, among others are their exclusive art, just as Danbirekin, Gwaggon Biri, Macukule, Zanbige, are mainly performed in the urban areas.

But other tashes are performed by both young ones and men, just as a few others are performed both in the city and rural areas. Women are normally exempted from tashe.

Tashes like Maikiriniya, Yachi ya Kasa Tashi, Zani Garinmu da kai Dantsoho, Koda dan Hatsi, among others are, in the main, performed by young ones. Others like Danda Dokinkara, Danmaraki ya Sulle, Kura yaki Kura, Zoto-zotari are men's venture. But for girls, the famous Mairama (which is common in Hausa land), Ke ina Zaki da Kaya, Alhaji sai Kayi Rawa Anan, 'Yar Iska taki Zaman Aure, etcetera are mainly known to be performed by them.

Many more tashes are now evolving owing to a twist of modern life. Unlike before, a few tashes nowadays even depict an obscene scene. Until recently, most forms of masquerade tashes were not performed with the use of modern mask. In those days, a piece of calabash was chiseled out to form nose, eyes and mouth orifices, and its frame would be adorned with serrated rags. The serrated rags are now replaced with wig and very frightening masks of animals or monsters are co-opted into the carnival to give it some touch of modernity.

But why are some tashes gender-sensitive, or age sensitive? Of course, it is because the message may lack the stimuli, or appear offbeat. Tashe like Mairama may send empty message if it is performed by male instead of female. Or think of young girls performing Danda Dokin Kara or Macukule...It will certainly be an offbeat humour, just as it will appear like a dud circus.

But the mother of all the forgoing, which is exclusive to no other personality than Nalako, is tashen Nalako. No one but Nalako, otherwise known as Sarki, has the authority to nab bachelors. Although mimicry and imitation are done rampantly in tashe, Nalako's style is unique to him. He pulls the greatest crowd and he is the only one who is turbaned by the emir of Kano.

A source said that Nalako would have featured in the first Abuja carnival but for the state government's refusal to participate. "His performance was very remarkable and has qualified for our rigorous screening for the carnival," a seniour official of Kano State History and Culture Bureau (Gidan Dan Hausa) said.

He explained that tashen Nalako should be preserved and encouraged by government because of the role it plays towards preservation of Hausa culture. "It depicts the rich Hausa cultural heritage," he stated.

The Nalako title, according to Auwalu Sani Nalako, the first son of the late Alhaji Sani Nalako, has been in Kano for over 200 years. Others believe that tashen Nalako was started during the reign of Sarki Alu Mai Sango. From that time, the title cycled within within neighbourhoods that were almost contiguous to one another.

Sani Nalako told our reporter that the essence of tashen Nalako was to explain the virtues of marriage, especially during Ramadan sahur (a time of taking meal in the mid-night in preparation for fast). What this statement means is that a bachelor has to wake up in the night and prepare what to eat for himself.

Conversely, for a married man the task of preparing the food lies on the wife's shoulders. "Gwauro misses this privilege," Nalako revealed.

The title of Nalako first stayed at Jingau then later moved to Alfindiki. After this small neighbourhood enjoyed the exalted title for a while, it returned to Jingau, where Alhaji Kanyawo Nalako held held it for years before it came to Sheshe, where Sani Nalako held sway for decades until his death. But the succession battle for Nalako's throne was not fought among his children, perhaps because he left behind only three children, the eldest of whom was only 26 at that time. Other areas jostled in vain adorn the turban.

When Sani Nalako died some 19 years ago, his first son, Auwalu was considered too young to be the Nalako. Some people suggested that a regent should be appointed before the youthful Auwalu grew up, while others vied for the throne. Both sugestions were dropped as Auwalu, who followed his father to the stage since he was 10, proved his mettle. The muse in his late father reawakened in Auwal, who like his father, can toot a horn laboriously with masterly crescendo till dawn. He could sing brilliantly the Nalako's trademark song: Dare da yawa.... Haka ma rana da yawa 'yan samari... the way the late Alhaji Sani Dankwairo sang his father's praise poetry. He was, many people believed, a chip off old block.

But on the 10th day of Ramadan around 4:00pm, the white flag that was hoisted for a number of days will be removed and carried along the ancient city. Apart from the flag, the tethered black donkey would be freed from bondage for Nalako to ride through the tortuous alleys and herald the beginning of tashe.

After the performance of the flag-off day, Nalako would, in the subsequent day, perform in the night. Sitting comfortably astride his black donkey, clad in black saki cap, black gown and black trousers, Nalako was ready for "showdown" with bachelors. Also slung on his shoulder, was a special sword - ever hibernating in its sheath.

Our reporter learnt that he never took the sword out. Wrapped around his body like apron was warki (a kind of un-tanned hide), and lying discreetly underneath it was didare (a tanned hide) that was said to conceal a bunch of charms and a cluster of amulets. Also dangling on his neck was a very big amulet that looked like a goat head. In some outings, Nalako appeared in white attire, while in others he chose to leave the donkey at home.

For security reasons, a contingent of policemen joined Nalako's convoy as it went for bachelor (gwauro) hunt around the town. Sarki ya kama barayi... Nalako ya kama gwagware... "The emir arrests the thieves.... Nalako arrests the bachelors," Nalako had sung as he reined in his donkey to nab a bachelor. Here Nalako showed that the discretionary right to nab thieves (or any other miscreant) lied with the emir. On the other hand, Nalako showed that the authority to deal with the bachelors lied solely with him.

But whomever Nalako nabbed, he would swing the rope around his neck and force him to dance to the tune of his rock-like band. It was believed that the person, an avowed bachelor, would marry before the next Ramadan. Nalako believed that the rope was special because of the charms it bore. He explained that his father bequeathed the rope and other articles to him.

Not only bachelors do gyrate or at least hum to the tune of his music, even the audience do. The whole audience joined the band as they chorus in unison. Instruments in Nalako's band were composed of seven to eight pieces of tandu, 1 kuge, 1 talle, 1 garwa and 1 kaho. Tandu looks like a simple drum, at least in shape not in beat. Kuge is a hollow metal that looks like a bell. It is usually held with one hand and hit with drumstick with the other hand to give a sharp sound. Talle looks more of a timpani and it is made from rat hide. Garwa is simply an empty metal gallon, while the kaho is ram horn. No one hoots the horn but the leader himself.

How does he identify the gwauro? As he moved on his black donkey from his 'Yantukurwa base to Kwanar Goda, Makwarari, Soron Dinki, Asibitin Murtala, Kofar Mata, Fagge, Kofar Wambai Market, Kofar Wambai Quarters, Dukawa, down to his starting point in search of bachelors, he identified one through his magical powers.