Prince Daniel is well-known and respected in the media space in Nigeria on account of his decades-long involvement with the radio industry, where he is nicknamed Aboki (which means “friend” in Hausa). With his debut film, Mai Martaba, he has moved into the visual space, becoming the third director with a film chosen by the Nigerian Oscars Selection Committee to represent the country at the Academy Awards. TFV spoke with him recently.
TFV: Your film adapts a popular radio programme for cinema. What informed your decision?
It is a compelling tale. And anyone familiar with it can tell you about its vivid characters and the rich, emotional story it tells. It already had strong cinematic potential. But few people outside of Northern Nigeria have heard of it. Making it into a film gave us the opportunity to reach a wider audience. We wanted to make a visual spectacle and the story itself gave us a lot to work with.
TFV: The film critiques patriarchal norms in a society that has probably known no other way of life. Does the film’s politics represent your own views?
Yes. My personal views are reflected in the film. I do think that some of what we believe can be challenged but Mai Martaba is not a vehicle for my beliefs. The film stands on its own and critiques a system that has shaped the society it is set in for generations. I like art that encourages reflection and discussion. While not everyone may share an artist’s perspective, the work itself should lead people to think and discuss. There may be a long-standing cultural structure but can we question it?
TFV: I think we can.
I agree.
TFV: Kannywood as a part of Nigeria’s film industry hasn’t quite received the same attention even nationally as the English/Yoruba/Igbo segments of the industry. Did it occur to you to try to change that as you made your film?
It did occur to me. As I said earlier, the story we adapted is popular but I doubt it is known within Nigeria. In making Mai Martaba, I saw an opportunity to showcase Kannywood’s cultural contributions on a broader scale. Of course, our film industry is largely dominated by the English, Yoruba, and Igbo segments. I wanted to make a Hausa-language film that would resonate with diverse audiences locally and internationally. The word “inclusion” has become quite popular over the years. This was my own way of contributing to a more inclusive version of Nigerian cinema.
But it is only one film. I’ll consider it a blessing if the film leads to other films from Kannywood thinking beyond our region. That is the dream.
TFV: There have been reports of the Nigerian government, through the vice president, supporting your film after it was chosen to represent the country at the Oscars. This is the first time the government is giving funds and open support to an Oscars campaign. How has the experience been?
We are grateful for the wide support we have received, and we are excited that, for the first time, the government has shown interest in Nigeria’s Oscars submission. We haven’t received any funds yet. But we remain hopeful that the support will come our way soon.
TFV: You are known mostly for your work on radio. Have you felt embraced as a director by Nigeria’s film industry?
I have been fortunate. The industry has received me warmly. I must say that transitioning from radio to film has been a unique journey. Maybe I’ll tell the story someday. For now, I’ll say the experience has been both challenging and rewarding. Nigeria’s film landscape was already vibrant. I am just happy to contribute to it.
