More on Kannywood and Bollywood here: t.co/j0hLsxuGq3

Yet, there remained more positive interactions. Sufi bandiri musicians adapted Bollywood soundtracks to become poetry in praise of the Prophet (PBUH), exemplifying the complex relationship between films and religion in northern Nigeria.

Still, Kannywood actors and cinema owners faced criticism, leading to periods of censorship. In some areas, cinemas were closed, pushing film viewership into the private sphere.

Additionally, certain films produced during the time period took on more religious tones, featuring themes of proselytizing and conversion.

This can be seen in the shift in terminology used to describe the actors, with “masu fadakarwa” replacing “jarumai” or “‘yan wasa.”

One way Kannywood reacted was by farming their films as a way of ensuring the tarbiyyah of (young) northern Nigerian Muslims.

For a deeper exploration on a Kannywood film and its Bollywood atecedent check:
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These remakes demonstrate that culture does not exist in a vacuum; it is constantly being reshaped and reinterpreted based on outside influences.

Later, some of these writers joined Kannywood, transforming these storylines into full-fledged productions. Thus, many Kannywood storylines were adapted from Bollywood films.
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Romance novelists first adapted Bollywood storylines of forced marriages, love triangles, and family drama to the northern Nigerian context. This literature went on to serve as precursors to Kannywood films.
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