4.6 / September 28, 2018
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Yana kunshe da karatun malamai kamar haka Malam Aminu DaurawaSheikh Jafar Mahmud Adam Sheik Ahmad Tijjani Yusuf Guruntum MalamKabiru Gombe Dr Isa Ali Pantami Malam Ibrahim Mabera DR. ABDALLAHSALEH PAKISTAN KANO

App Information Rayuwar Aure

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    Rayuwar Aure
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Lil Ameer 3.5 APK
Ameer Isah Hassan was born in Kano, Kano State, Nigeria. He wasfrom the Hausa ethnic group in the northern part of Nigeria. Heattended primary school in Kano and was completing his Secondaryeducation until his death. Ameer was encouraged by his parents inpursuing his dream of becoming a musician. Hassan's career in musicbegan at the age of 12 with his popular songs which includes "KaiMatsa Mana, "Dance For Me", "I Am A Champion", "Ilimin Boko da naAddinin Musulunci", and many others.
Mamman Shata 3 APK
Alhaji (Dr) Mamman Shata[1] (born in 1923 in Musawa, Katsina State,Nigeria, died on 18 June 1999) was a Nigerian singer. He was awell-known Hausa griot/musician among the Hausa people of West andNorth-east Africa. His vocals were often accompanied by talkingdrums, known as kalangu. He performed for the Hausa people ofNorthern Nigeria for more than half a century. He went to anIslamic school as a boy, according to Hausa Muslim tradition.Musawa village was under the Katsina Native Authority (N.A.) whenShata was born. When the Local Governments were created it cameunder Kankia Local Government. Today, Musawa is a Local Governmentof its own. Shata's father, Ibrahim Yaro, did not want him tobecome a musician due to widely held belief of those days thatmusic or praise-singing was a form of 'roko' or begging. His fatherbeing of the Fulani ethnic stock, the young Shata was expected tobecome a farmer — a more dignified occupation. Shata's insistenceon becoming a musician was therefore seen as a rebellion againstthe norm. Shata acquired his sobriquet of 'Shata' from a man calledTsalahu (Salahu). Shata sell his nuts for Tsalahu and after thesale he shares the profit to people he met on his way home or inthe market and comes back to Tsalahu empty handed, as such he wasgiven the name 'Shata' meaning to spread. He combined this tradewith the sale of sweets ('mishin'). He usually sing for fun in themarket place or the local play ground called 'gaandchili'. Later heabandoned both trades and embraced music or praise-singingfull-time. This vocation took him to many villages in the Musawaarea. However Mamman Shata settled at Daura with his notablebenefactor Emir of Daura; Alhaji Muhammadu Bashar, Finally hesettled in Bakori, where he married his first wife, Binta. They hada daughter, Amina, who died in infancy. From his base in Bakori,Shata traveled with his band to places as far away as Katsina andKano, which he first visited in 1952. A few years later he moved toFuntua, a more cosmopolitan town not far from Bakori. Shata madeFuntua his home for about forty years - up until his death. MammanShata was one of the best selling Polygram artistes from the northin the 80s. He was a highly respected folklorist. He spent about50–60 years in the music industry. Alhaji Shata could not recall orremember how many songs he produced. He was able to record some. Hevisited many African and Western countries, including the UnitedKingdom France and United States of America. Shata was famed tohave sung for every topic under the Hausa land's sun: agriculture,culture, religion, economy, politics, military, etc. Shata wasawarded honorary doctorate degree by Ahmadu Bello University inrecognition of his contributions to Hausa literature. Hisrelationship with other musicians was cordial. Some of his notablebenefactors were Emir of Daura; Alhaji Muhammadu Bashar, MammadaDan Sambo, Emir of Kano; Alhaji Ado Bayero, Sultan of Sokoto;Muhammadu Maccido, Jarma of Kano; Alhaji Muhammadu Adamu Dankabo;and Emir of Zazzau, Alhaji Shehu Usman Idris. Alhaji Shata died onFriday 18 June 1999. He was survived by three wives (Furera,Hadiza, and Binta), 19 children, and 28 grandchildren. He wasburied at Daura. However; he married many other women and divorcedthem, some with children between them. Amina (the third of hiswives when he died) never gave birth even though she lived with himfor more than 10 years.
Dan Maraya Jos 1.5 APK
Dan Maraya Jos (born Adamu Wayya in 1946 – 20 June 2015)was aNigerian Hausa Griot best known for playing the kontigi. Dan MarayaJos, whose name means "The Orphan of Jos", was born in 1946 andDied Saturday, 20 June 2015 in Bukuru, near Jos in Plateau State,Nigeria. His Islamic name is Adamu, but his father died shortlyafter his birth and his mother died while he was still an infant,hence the name by which everyone knows him. Dan Maraya's father wasa court musician for the Sarkin Hausawa of Bukuru, who took DanMaraya under his care when his parents died. Dan Maraya showed anearly interest in music and came under the influence of localprofessional musicians. During a trip to Maiduguri while he wasstill a pre-teen, he was impressed by musicians there and made akuntigi, with which he has accompanied himself ever since. Thekuntigi is a small, single-stringed lute. The body is usually alarge, oval-shaped sardine can covered with goatskin. Dan Marayaand other kuntigi players are solo performers who accompanythemselves with a rapid ostinato on the kuntigi. Duringinstrumental interludes they repeat a fixed pattern for the songthey are playing, but while singing, they will often change thenotes of the pattern to parallel the melody they are singing. Likemost professional musicians, the mainstay of Dan Maraya'srepertoire is praise singing, but Dan Maraya singles out hispersonal heroes rather than the rich and famous. His first, andperhaps still his most famous song is "Wak'ar Karen Mota" ["Song ofthe Driver's Mate"] in praise of the young men who get passengersin and out of minivan buses and do the dirty work of changingtires, pushing broken down vans, and the like. During the NigerianCivil War, he composed numerous songs in praise of soldiers of thefederal army and incorporated vivid accounts of scenes from the warin his songs. Many of his songs incorporate social commentary.These include the songs on marriage in the study here, whichprobably date from the early 1970s. One might argue that they arereally one large song, and in performance, Dan Maraya incorporateslines from each of them. However, the recordings that serve as thebasis for this study have three distinct musical settings, and thesongs themselves have three different themes. "Jawabin Aure"["Discourse on Marriage"] lists the problems attendant in divorceand admonishes married couples to try to patch up theirdifferences. "Auren Dole" ["Forced Marriage"] decries the practiceof families arranging marriages for their daughters rather thanletting them decide on their own mates. "Gulma-Wuya" ["TheBusybody"] describes a neighborhood gossip who works in collusionwith a boka (a practitioner in casting spells, removing evilspirits, etc.) to disrupt marriages by sowing dissension betweenwomen and their husbands. The latter song is amusing in that DanMaraya performs it as a drama, imitating the voices of thedifferent characters as they speak, a technique that he has used inother songs as well. compile by Aliyu Badeggi
Ali Makaho 3 APK
wannan application din yana dauke da wakokin mawakin gurmin Alimakaho wato Ali me Mandula.
Sani Sabulu 3.5 APK
Marigayi Alhaji Sani Sabulu Kanoma. Shahararren mawakin Hausa dakidan kalangu. SANI SABULU NA KANOMA MIJiN HAJARA DA AMINA MISKILIUBAN ZAINABU ABU ALLAH YA GAFARTA MASA AMIN
Wakokin Gambara 2 APK
wakokin gambara gambo gambara hausa rap hausa hip-hop
Wankan Janaba 3 APK
wannan application din ya kunshe da yanda akeyin wankan janabaakwai mp3 na sheikh jafar mahmud adam
Mu Koyi Girki 4 APK
A wannan app din nawa zaki samu takaitaccen bayani da idea yaddazakiyi anfani da sinadaran girki wato kayanwa kamshi na gida danawaje. Girkin Zamani da dabarun girki DAKIN KOYON GIRKI GIRKI ADONUWAR GIDA Filin Girke Girke Sirrin Girke-Girke Da Lemokan Zamani