Rabi’u Daushe’s name has become synonymous with Kannywood. The versatile comedian who has been making fans smile for more than two decades, in this interview, talks about his ambition as an actor, among other sundry things.
Tell us a little about yourself
My name is Malam Rabiu Ibrahim Dahiru, popularly known in the entertainment industry as Daushe Mai Dabaibayi, son of Sahura Mai Danwake.
I was born in Wudil Local Government Area of Kano State many years ago and I started my primary school education in Ajingi Local Government Area. Later, my father, who’s a civil servant, was transferred to Wudil Local Government, where I completed my primary school education and later furthered my education at Commercial Secondary School, Wudil. I didn’t stop there; I moved to Kafin Hausa in Jigawa State for my secondary school education.
I returned to Kano and started my entrepreneurship business, which later led me to joining the acting profession. I started with a stage drama group and later moved to what we have today as home movie.
How did you venture into Kannywood?
It all started through my mentor, the late Rabilu Musa Ibro. I was a regular face at almost all his performances in Wudil. For the simple fact that we hail from the same local government, I got inspired to become a dramatist. I joined a stage drama group in Wudil where we performed on weekly bases and later moved to Sabon Titi in Kano when it was serving as the hub for filmmaking. I later came back to Wudil and joined a drama group called ‘Makama and Amina Film Production’.
Actors like late Yautai and late Kulu were among members of the association, while Ishaq Sidi Ishaq held the position of Secretary to the association at that time. It was under that association that I met my mentor face-to-face. Late Ibro invited me to join his team after watching one of my performances. I willingly accepted his invitation, and that was how I became a member of his group ‘Hamdala Drama’.
What happened after that?
I continued to work with him as a beginner, where I explored my talents and skills during the “Wasan Dabe”, which served as a tool or method of practice for effective performance. Late Ibro became impressed with my performance and I began to appear in his comedy films termed ‘Chamama’. Sometimes, I would appear once or twice, and that’s how my journey into Kannywood started.
How would you describe performing without your mentor Ibro?
It’s so sad living in this industry without my boss, but every time I remember that death is inevitable and every soul will have to taste death, I pray for his soul. I believe there’s a reason why God took him away from us. He taught me a lot during his lifetime in the industry.
Even though he is no more, his words of encouragement inspired and motivated me every day. He taught me new things every day, and whenever I acted wrongly, he would correct me and guide me on how to do it.
It is very hard to find a perfect replacement of the late Ibro in the industry. However, I am also grateful that after his death, I met people that I am enjoying working with, like Bosho and others. We had a mutual and beneficial relationship that we have been exploring together to harness our jobs in the film industry.
You are fond of mentioning the name ‘Sahura Mai Danwake’, who is she to you?
Sahura Mai Danwake is a woman born in Kankara Local Government Area of Katsina State but lives in Kambe, Kwara State. I met her during our work in Kwara State, and she told me that she likes my acting. Unfortunately, during our stay in Kwara, one of our team members, Malam Bawa Maikanwa, got sick and was admitted in a hospital. It was Sahura who took over the trouble of feeding us and other things we required while in the hospital. I was so impressed and thankful for what she did for us.
After he got better and were about to leave Kwara, we went to thank her properly, and I asked her what she wanted us to do to her. Her response was “You know we (women) love to be known and to be popular in what we do. I am a food vendor and please I want you to mention my name in your film, that is all I want.” I promised to do that for her that is why I usually mention her name whenever the opportunity arises.
How would you describe the differences between filming in the past and today?
Well, there’s a huge difference in the successes achieved in filmmaking in the past and how it’s going on today. In the early days, a producer can attain a hundred percent return on investment with a single song, that is even before releasing the actual film. When there was no social media and other technologies, a producer can make about N7 million on a movie that he spent less than N2 million.
But today, despite the fact that there is technological advancement, with various platforms for the industry to thrive, return on investment cannot be compared to the initial level. However, we are trying to keep the tempo going. Kannywood has come to stay and we are doing our best to see that it stays.
Are all your lines from the script?
Actually, most of my dialogues are from the script though not all. It is apparent that some films are written in script format, for instance in the TV series ‘Gidan Badamasi’, the writers made efforts to write and structure it in such a way that one adheres to the script. However, some films are free dialogue scripts.
What differentiates other films you’ve acted with ‘Gidan Badamasi’?
One of the distinctive things that distinguishes other films from ‘Gidan Badamasi’ is that Daushe, in other films, usually appears in local settings. But in ‘Gidan Badamasi’ Daushe’s appearance completely changes in terms of the way he dresses and the kinds of house and cars he uses.
My role in the TV series differs from the roles I usually played in other films and this is the work of the director Falalu Dorayi. The TV series is indeed reviving the best in many casts of the series and we love it that way.
Is there anything you can’t forget in your life as an actor?
The arrest of my mentor the late Ibro. I can’t forget it because he was arrested as a result of one song called ‘Mamar’ that featured in the film named ‘Iro a Loko’. According to the report, he released the song when he didn’t register with the state censorship board.
Initially, I thought I would be arrested too because I appeared in the film with a textile material tagged ‘Mamar’. It was alleged that the textile business community had lodged a complaint on that, and I was the one wearing that textile material, but Ibro was arrested instead.
I even offered myself for arrest so that Ibro will gain freedom, but the authorities refused, for no reason. That incident would forever remain fresh in my memory.
Have you received any gift because of your performance in the Hausa film industry?
Yes, I once received a big gift from a reputable person. I was on stage when a senior military personnel stopped over to watch my performance. After my performance, the military officer whom I have never met in my life requested for my passport and he paid for me to go to a lesser Hajj in Saudi Arabia, that gift was unforgettable.
If you didn’t find yourself in the film business, what business would you have been into?
If not film, I would have engaged myself in international business and real estate because I have a passion for it.
Do you have an interest in becoming a producer or a director?
To be honest with you, I don’t have the interest at all; I am not patient enough to withstand the huddles of being a producer or a director.
Are you married?
Yes, I am married with 7 children
Do you face challenges in the course of your work?
Yes. As a result of a role I played in a film ‘Mafarkin Hassan’, where I played the role of an individual who is not religiously committed, many people started criticizing me, saying I am not a good Muslim. I was really disturbed by their reactions.
How many countries have you visited in the course of your work?
I have visited multiple countries, including Republic of Niger, Dubai in the UAE, Sudan, Togo, Kenya, Cameroon, Burkina Faso and Ethiopia.