CODE SWITCHING IN NORTHERN NIGERIA: A STUDY OF KANYWOOD FILM INDUSTRY

CODE SWITCHING IN NORTHERN NIGERIA: A STUDY OF KANYWOOD FILM INDUSTRY

Background Of The Study

According to Yusuf (2014:2), Kanywood is the name for the Hausa film industry based in Kano. Due to the cosmopolitan nature of Kano and the fact that most of the production is placed there, in 1999 a journalist working with a Hausa newspaper called Tauraruwa coined a name Kanywood for the industry. Yusuf goes ahead to state that the first commercial Hausa film Turmin Danya (1990, directed by Daudu Galadanci) was produced by Tumbin Giwa Production, Kano. After the successful marketing of the film many people became engaged in film production. Currently it is estimated that over 2000 companies are registered with Kano State Film Makers Association apart from others across Northern Nigeria and Nigeria at large. The language of communication in the film is Hausa. However as a result of contact between the Hausa with the British in 1903 and the use of English as Nigeria’s official language and language of instruction at schools, some of the film actors are bilingual which is reflected in their conversations in films and this has brought about the issue of bilingualism or code-switching in Northern Nigerian films.

Code-switching is broadly studied in linguistics and related fields. Amin (2011:4) notes that linguistic research on code-switching usually focuses on grammatical perspective and sociological point of view. A grammatical approach focuses on the structural aspects of code switching which determine the syntactic or morpho-syntactic constraints on language alternation (e.g. Poplack 2000; Sankoff and Poplack 1981; Joshi1985; Belazi et al. 1994; and Halmari 1997). A sociolinguistic approach is concerned with the role of social factors in the occurrence of code switching, such as context and speakers’ role relationships. (see Bloom and Gumperz’s 1972; Gumperz 1974; 1982; Myers-Scotton 1993; Rampton 1995; Benson 2000; Milroy & Muyasken 2005 and Danyaro 2011).   Sociolinguists define code-switching as “the use of more than one language in the course of a single communicative episode” (Heller 1988:1). Grosjean (1982:147) mentions that “Code-switching is the alternation in the use of two languages (or even more) in the same discourse. The switch can happen within words, clauses, or sentences. However, there is only a switch in the language, not an integration of the word, clause or sentence into the other language.” Gumperz (1982:59) defines it “as the juxtaposition within the same speech exchange of passages of speech belonging to two different grammatical systems or subsystems”.    

Sociolinguists define code-switching as “the use of more than one language in the course of a single communicative episode” Heller’s (1988:1). Grosjean (1982:147) mentions that “Code-switching is the alternation in the use of two languages (or even more) in the same discourse. The switch can happen within words, clauses, or sentences. However, there is only a switch in the language, not an integration of the word, clause or sentence into the other language.” Also Auer & Myers-Scotton, who largely disagree on how or why code switching occurs, nonetheless sound quite similar in their definitions of the phenomenon. Auer (1984:1) refers to code-switching as “the alternating use of more than one language,” while Myers-Scotton (1993: vii) mentions that it is “the use of two or more languages in the same conversation.” Then Gumperz (1982:59) defines it “as the juxtaposition within the same speech exchange of passages of speech belonging to two different grammatical systems or subsystems”.

1.2 Statement Of The Problem

A few studies have been carried out on Hausa-English speakers. Some of the studies focus on the way speakers of English code switch and mix between different language codes in Kanywood films conversations. All these studies drew their data from real life contexts. None of them investigated the use of code switch and mix in dramatized utterances. Investigating code switch and code mixing in Kanywood films will assist us in identifying how these phenomena are used among Northerners. This is the gap this study intends to fill.

1.3 Objective Of The Study

The general aim of this study is focused on Hausa-English code-switching in contemporary Kanywood films. Specifically, the study is set to;

Examine the nature of code switching in films

Examine the reasons for code-switching

Determine if code switching is  a  conscious behavior.

1.4 Research Question

1. What is the nature of code switching in films?
2. What is the reasons for code-switching?
3. Is code switching a  conscious behavior?

1.5 Scope of The Study

The general focus of this study is on Hausa-English code-switching in contemporary Kanywood films. The study will further examine the nature of code switching in films, examine the reasons for code-switching, and determine if code switching is  a  conscious behavior. The study will be using Kanywood films as point of focus.

1.6 Significance Of The Study

The research will x-ray the possible social relevance of code switching and code mixing in  Kanywood films. The results of the study will assist in creating a better understanding of the code switching and mixing phenomenon amongst Nigerian bilinguals. Finally, it is hoped that this study will serves as a reference material for further research in this area. Additionally, subsequent researchers will use it as literature review. This means that, other students who may decide to conduct studies in this area will have the opportunity to use this study as available literature that can be subjected to critical review. Invariably, the result of the study contributes immensely to the body of academic knowledge with regards to Hausa-English code-switching in contemporary Kanywood films. 

1.7. Limitations Of The Study

In the course of carrying out this study, the researcher experienced some constraints, which included time constraints, financial constraints, language barriers, and the attitude of the respondents.

In addition, there was the element of researcher bias. Here, the researcher possessed some biases that may have been reflected in the way the data was collected, the type of people interviewed or sampled, and how the data gathered was interpreted thereafter. The potential for all this to influence the findings and conclusions could not be downplayed.

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