The Song of the Ngijima to the Sultan of Bornu

J.R. Patterson's Kanuri Songs (1926) includes two songs for rulers during what we like to call the Late Sayfawa Period. This last century or so of Sayfawa rule, starting from c.1710 to 1808, or 1710 to 1846 if we include the last few decades of symbolic rule under al-Kanemi and his son, Umar, witnessed the gradual decline of Borno. Former vassal states fought for independence, like Mandara in 1781, or the Tuareg seizing effective control of Bilma and the Kawar salt trade to Hausaland by 1759. The Bade likewise became more autonomous in this period, and Tahir ibn Ibrahim al-Fallati criticized the ruling government (and possibly the Kanuri praise songs). Moreover, for several years, a Great Drought (1738-1753) led to widespread population movements as nomadic groups moved south and the Tubu increasingly came to control trans-Saharan trade. Thus, many developments in this pivotal century saw the decline of the Sayfawa rulers.

To read the ngijima's praise song to a mai during this period is therefore fascinating. If scholars like Dewiere are correct, the source of much of the power and influence of the Sayfawa rulers at this point often derived from their spiritual status as wali, pilgrims who made the hajj, and their support for Islamic scholarship. This is somewhat contradicted by the traditional conventions of the Kanuri praise song for mai Momada Ajimi (presumably Muhammad b. al-Hajj Hamdun, who reigned 1729-1744 in the chronology proposed by Lange). From the Diwan, one learns that part of this ruler's reign was impacted by famine, presumably tied to the years of drought that led to more southward migration of nomadic groups. While his father was remembered for the study of the Koran, the son's legacy was rather muted. 

What does the praise song suggest about this mai? The usual values of military leadership, wealth, and his ability to take captives and forcibly relocate them are mentioned here. Unsurprisingly, his descent (from both sides) is also significant in the song. The reference to his lordship over those who wear turbans and those who only wear loin-cloths is also significant, as it places all social classes underneath the king. Unfortunately, it is unclear who Derman is, but this maternal ancestor was clearly someone of status. Indeed, the references to his shettima uncles support this notion. Sadly, we cannot say for certain what the position of a shettima was, exactly, but Muhammad Nur Alkali noted that it was a title often bestowed by the Sayfawa rulers on mallamawa. If so, then this ruler's mother was from a respected Islamic family, possibly descendants of a respected mallam given land by a previous mai. This is not too surprising, since the father of this king was remembered for the recitation of the Koran and Islamic study. Who exactly was Derman (likely Darman) is another difficulty to untangle, but possibly identifiable with the Kubri (Kuburi). H.R. Palmer, in his Sudanese Memoirs mentioned leaders of the Kubri (Kuburi) Kanembu group who were said to be descendants of a man named Darman Aisami who performed the pilgrimage to Mecca. If this is the mai's maternal ancestry, his mother, Hauwa, must have been a descendant of a Kubri leader appointed shitima by one of the earlier Sayfawa rulers. 

Last, but certainly not least, the praise song asserts the ruler's power over the Kurata Shuwa of Kanem. According to Zelter, the Kurata may actually be of Tunjur origin, suggesting origins in Waday. At some point, they adopted the ways of Arabs in Wadai and started to migrate west, apparently reaching Kanem by the middle of the 1700s. If their migration was in part related to the Great Drought that struck parts of the Sahel is unclear, but the reference to them as "slaves" of the mai might suggest a past or recent conflict with the Sayfawa. Since control over nomadic or semi-nomadic populations was often difficult to say the least, and often relied on ethnic leaders responsible for sending tribute, one may assume that a Kurata sheikh failed to uphold his responsibilities or the entire tribe refused to pay tribute. Whether or not they were literally enslaved is difficult to say, but Ahmad Baba of Timbuktu did record Idris b. Ali (Idris Alooma) selling Arab slaves in the 16th century. One must also remember that the coming of the Tunjur to Kanem appears to have upset the balance of power in the region during the 17th century, eventually leading to the establishment of the alifa at Mao under the Sayfawa rulers. Perhaps the Kurata were one of the more intractable Tunjur elements in Kanem in the 18th century, still resisting authority after the Sayfawa sponsored the Dala Afuno at Mao to oversee Kanem instead of the Bulala and Tunjur? Other Shuwa Arabs were accepted or at least intermarried with the elite, as was the case of the mother of the yerima named Malumi

Carefully weave (the sets of kingship)

Hear all and weave

Weave as your grandfather did

Weave as your first ancestor did

You are a match for even the wily men of the town of Debera of the Fig Trees

Dabaga of the large “Damsa” tree, the town of Dall is yours

In Debera a Kauwa Melemi, your ancestor (is buried)

In Tumbur a Kauwa Melemi, your ancestor (is buried)

In Gazajemi, Mai Biri Melemi, your ancestor (is buried)

(And one) in Biddum of the Rocks, seven worlds above it and seven rivers below

May God preserve you in the same way as he does not allow friendship to grow old

O! King, your bounty is to us as the milk of a cow which never goes dry to the calf by its side

From you we find our food in the evening, and water to drink in the morning

May God grant that we may see you every day and rejoice

May God grant the fulfilment of every one of your kingly plans

Always you are the son of Aji,

Aji Duniani, you are the greatest chief on earth

In your kingdom, men live in peace

And of the chiefs in their tents you are the greatest

Of those who wear turbans and those who wear only loin-cloths, you are the chief

You are the ruler alike of men who have a leather loin-cloth tied between their legs and of those who ride on the horses

Of the prosperous land of Yamte in which is the Crested-Rock, you are the king

Father, Sultan of Bornu

The Kurata Arabs in the Kanem towns, of you are the slaves

You are the strength of Bornu

The scourge of every pagan town, you will remain

O! King! You are a man in the prime of his health, and your beasts of burden are all in good condition

O! King! Yours is all the power, you have no equal

The plans for every day are in your hands, the owner of Gagara Wunji

Wunji, from which you sallied to take your captives and cause their relations to follow you with piteous entreaties

O! King, you are the bush fire which burns up the towns of the pagans

You son of Aji, can collect or disperse people at your will

And turn again, and make a town (with those you have dispersed)

You are the scourge of Jillam, Dalla Darge and Dakkinam Dalla Damaram

Some towns are founded during the cold season of the year

But some of yours have been founded as the result of your victories, Aji Gana the Intriguer

O! King, your reign is the equal of any

You son of Aji, have accomplished this

Some days of your reign are as the reign of Ume

You have made them so, son of Aji

O! King the other days of your reign deserve a place in the chronicle of Kings

You have made them as they are, son of Aji

O! King, you are the son of Hauwa, daughter of Derman

Your forehead is that of your mother’s, Hauwa of the large forehead

May God preserve you, and you will equal any of the achievements (of other Sultans)

The King is lord of the people who ride on horses and of those who go on foot, and you are the King

He is a fool who says to a King that he has become wealthy

You are the Sultan, who when he camps in the middle of the forest,

Causes a white town of tents to spring up, son of Aji

You camp will turn the woods brown with horses, son of Aji

You the Sultan, son of Aji, whose camp-fires turn the waste places bright red

Yours the town of Yambe and Bitur

Of all men you are the father

(When you go to war) your slaves surround you as with a thorn fence

And you can put chains round the necks of the slaves from other men’s towns, and bring them to your own town

Let your heart be fearless as that of a bush-cow, you, son of a man brave as bush-cow

Start up now with the fearlessness of a bush-cow and we will at once become joyful

Your uncles are all Shettimas, Sultan, son of a Shettima’s daughter

Your aunt Zainafa, Sultan, son of a Shettima’s daughter

Nephew of Alima, Sultan, son of a Shettima’s daughter

A descendant of Derman who could accomplish all he set before him

You too can utterly destroy the pagans’ towns

There is no one to gainsay you over any of your projects

If intrigue were your object, no one could withstand it

If the place of your intrigue were known no one dare point it out

The cities of Yam and Yaman are yours, descendant of Derman the Powerful

And you can at will destroy the pagans’ towns

There is no one to oppose himself to you

Fusam Burud is my father’s sister

Aman Leman my mother’s brother

I am your humble servant. 

The Song to the Galadima

The "Song to the Galadima" in J.R. Patterson's Kanuri Songs can more easily be connected with a known galadima who ruled from Nguru in the early 18th century. Using a girgam of galadimas published in H.R. Palmer's Gazetteer of Bornu Province, we know that a galadima named Dunama Aisatami held the office for about 3 years. Using the regnal lengths of all the previous tenants of the office since its foundation under the Sayfawa mai Umar b. Idris (r. 1619-1639), we can tell that Dunama Aisatami held the post sometime in the early 1700s. If we make the assumption that the position of galadima was instituted in the beginning of Umar b. Idris's reign, then Dunama Aisatami may have began to serve sometime in c.1706-1717.

Knowing from the girgam that Dunama Aisatami only held the post for 3 years, one can see how the praise song, by its very nature, must have embellished and exaggerated the accomplishments of some of the elites. From what is known from Palmer and Patterson, Dunama gained the position in a somewhat unusual manner. His father, Iruma, had refused the position and died. His son, Dunama, paid the fee for his late father to occupy the position nominally before becoming galadima himself. Apparently, if the praise song is reliable, he occupied the important position long enough to defend Borno's western borders, impose Islam on pagans, and engage in valiant warrior behavior. According to Patterson's notes, Dunama Aisatu's mother was also the princess of Hadija, one of Borno's western dependencies, and he was related to the ruling family in Muniyo, too. This makes sense as the post of galadima was to defend and oversee Borno's western borderlands, and marriage alliances with local dynasties supported by Borno would have been essential to create buffer states and assert Borno's economic and political interests across the region. 

Indeed, the significance of the galadima is best indicated by the following line, "When the Galadima comes to the capital, eleven of the Birni titles cease to exist." The office was so central to the state that its occupant was like second after the mai in Gazargamo. Perhaps it is an inappropriate analogy, but the galadima was like a viceroy whose responsibilities were important enough to warrant a brick palace structure at Nguru. Keeping in mind the growing economic importance of Hausaland, one can also see the galadima being essential for providing security for trade that connected the Hausa states with Borno, especially for the trade in salt, natron, horses, leather, textiles, slaves, and kola nuts.

Galadima Dunama

Vulture of Nguru town

Who drives away the birds of Bornu

Dunama son of Magira whose father was Mala

You are easier to withstand than the swoops of the white hawk

Outside the capital you are a valiant warrior but a meek man in the town

When the Galadima comes to the capital,

Eleven of the Birni titles cease to exist

When anyone says you are liberal,

Your liberality is the polished spear

Rather than the Nuguruma should drive me in front of him

Better than seven hippopotami should drive me in front of them

Galadima Dunama

Nguti the town of your slaves

During your attack on the town which lasted from the forenoon to the afternoon, 

You made Muslim converts even of the pagans of Garmangal

You fought and conquered it and gave it to your mother

Kaiuri and Lefiya Loiloi

Kaigama Dunama, that husband of mine (his wife says)

is no husband to look after his wife and family,

he is a man to bear a polished spear

I love you only for what you give me

(When you go to war) either I become a beggar, or I receive presents

Or I put white ants in your nose

Your wiles are like the wiles of a wry-necked calabash water-bottle

Don’t forget your sly tricks

If you forget your whiles the jackal will fall upon the jujube fruit 

Galadima Dunama son of Aisata daughter of the princess Mangu

(The Galadima) is a nephew of Zainaba daughter of the ruler of Muniyo

Dunama, you are like a ball of fused metal, like corn mixed with pebbles

A man whose teeth are not made of iron cannot overcome you

Fear makes a man be wounded in the back

He is a brave man who receives his wounds in the front of the body

You Galadima Dunama, prevented the people of the town of Ngutuwa from saying their morning prayers

You burnt Garamgalga and made its inhabitants captives

God has granted you all your desires

Gura Zau Zau’s song is a pleasant one

Galadima my master has dismissed me with a present of twelve slave maidens and twelve slave youths all of six spans. 

The Song to the Gumsu

J.R. Patterson's translation of "The Song to the Gumsu" is one of the most interesting praise songs in Kanuri Songs. Said to have been a wife of Ali b. Umar (r. 1639-1677), one cannot help but wonder if this is the same gumsu mentioned in a 17th century source dated to 1658 by Palmer. According to this document, the Gumsu during the reign of Ali b. Umar was powerful, with up to 20,000 slave soldiers available to her via her, which is probably an exaggeration. Nonetheless, it does attest to the power and resources of this gumsu, who may have been the Amina praised in this song. She was even said to have under her employ 500 gunmen, again likely an exaggeration as Borno in the 17th century appears to have stopped using large numbers of musketeers in its military operations.

Of course, other possibilities exist. For instance, according to standard sources (Nachtigal, Ali Eisami, Nur Alkali), the gumsu's authority was usually restricted to the royal family, her own fiefs, and, indirectly, her influence on her husband, the mai. But, if the Gumsu was often the daughter of the talba, then her family may have wielded far more power than we realize. After all, according to Nur Alkali, the talba was part of the central government council and acted as a magistrate in the capital. If Amina was indeed the daughter of the talba, then her father may have been involved in the coronation and accession of Ali b. Umar in the first place. Another question to answer is if the gumsu was invariably the daughter of the talba, since Nur Alkali referenced a gumsu who became the mother of mai Brem Gumsumi while Ali Eisami likewise referred to a gumsu Amina who was the daughter of the talba (although Koelle may have mistranslated Eisami). 

As the daughter of a prominent official, and the senior wife which gave her additional status, it is perhaps understandable why Amina, according to this song, tried to control her husband's military policy ("prevented Sultan Ali son of Umar from riding"). If the praise singer's message to the sultan about ignoring his wife's wishes to focus on horses is a reliable indicator, perhaps this gumsu was either too fond of pleasure or wanted to influence Ali b. Umar's policy on matters of state. This even led to Ali b. Umar divorcing Amina, but later reconciling (remarried?) with her, he gave her a gift of 1000 slaves. Even if exaggerated, as are the figures for the slaves held by the gumsu in a 1658 document, it shows the access to wealth and resources the Sayfawa court could draw from during the 17th century. One only wishes to know what military conflict Amina wanted her husband to not engage in. Was it conflict with Kwararafa, or the Tuareg?

Gumsu, the whole earth is yours

Ruler of Islam (may you be) always happy

Owner of a thousand thrones

And five hundred gunmen

Chief of all women (may you be) always happy

You distribute slave children as you would food (to your followers)

If you camp at a single hut in the middle of a farm, even,

Your present of welcome is a camel

Yours Dugumaram, and the land of Bamma

Yours the large town of Banna, whose maidens are well-known

Gumsu, you are the queen of women

Owner of the town of Asaga whose orders are 

accomplished by no days of grace

Of the slave Bitku, the Yiroma who looks after

your riverain towns, you are the owner

Water in a place covered with wild rice never dries up

You are the mother of the (Yiroma) who looks after the riverain towns

Yours the towns on the river, and the town of Dillawa,

and the water holes of Gizawa

It is you who own a ‘yambal’ sword made in the North country

Gumsu, chieftainess of women

You are (like) flour made from the ‘Rogondimi’ snake,

(like) porridge made from a python

The man who cooks (that) porridge) will not drink it

Queen Gumsu, owner of Maradi town, never looks behind her

Owner of the city of Yam, and the land of Yemen

And of N’gasargamu and Njimi town

Your mortar is made of the scented Guinea-pepper wood

You own a pestle of polished silver

Gumsu Amina, daughter of Talba

A descendant of the great

The great and the blessed

Good morning, Good morning

You are (like) the moon at its full

(Like) the morning star

Precious as gold, daughter of a bush cow, you a bush cow among women

Gumsu daughter of a lion

She is a lion as precious as gold among all women

(Like) silver, Amina daughter of Talba

May God give you the long life of a frog, and the dignity of an eagle

(It was you Gumsu) who prevented Sultan Ali son of Umar from riding (to war)

The Babuma said to him (the Sultan) ‘Do not do as your wife wishes

You who own Watera and Rugaya,

Rugaya which lies at the further side of both rivers

Sultan leave behind the pleasures your wife wishes for

Look at this market of fine horses’

And Mai Ali divorced her

And after he had divorced her he reconciled Gumsu Amina, daughter of Talba, with one thousand slaves.

The Song of the Zakkama to the Zerma

Another praise song said to date from the reign of Ali b. Umar is "The Song of the Zakkama to the Zerma." In honor of a zerma named Ibrahim or Ibram, he was said to be the son of a princess and of royal blood. Obviously, this is at a time before the office of jerma was occupied by slaves. Indeed, according to Nachtigal, the title was once very important in the Sayfawa court since the holder was responsible for the sultan's security and the royal stables. He even attributes the leadership of the Tura to this office, too, with an administrative district not too far from Gazargamo. Furthermore, the position also included roles in the accession rituals of the mai, according to Nur Alkali. Sadly, Ali Eisami is not too useful here, since tsarma is translated as "a certain military officer." It would appear that there were two, a big one and a little one who led a smaller regiment in support of the tsarma kurabe regiment, who were tasked with making the first attack in battle.

Thus, from the little we could find on this title, it was once far more important in the court of Borno and occupied, in at least one case, by someone with family ties to the Sayfawa dynasty. The association with the Tura is also important, since a mahram from the time of Idris b. Ali (Idris Alooma) and translated by Palmer suggests the Tura traders were once major supplies of horses, although exempted from military service (check Palmer's Bornu Sahara and Sudan). Mahrams suggest some of the Tura were of great significance for trade via Kawar, such as the Bani Mukhtar. As indicated by Bobboyi, one Tura leader, Ali Kellu, was said to have even married a daughter of Ali b. Umar (the same as the 17th century ruler?). In fact, there may even be evidence of Ibrahim, the zerma, in a document translated by Palmer and dated to 1658. In that source, the zarma is named Muhammad Margimi, which could be related to the "son of Margi" Ibrahim. Indeed, Zerma Ibrahim was also called the son of Zerma Dunama, possibly a reference to "Muhammad Margi" in the 17th century document? Naturally, more evidence is necessary, but this should be explored further.

As for the song itself, it frequently praises the zerma and mention his support and proximity to the sultan. The second half of the song is more interesting, since it includes a number of warnings to the titleholder. For instance, "Do not match yourself against Providence." These moral lessons or warnings to a powerful official from a praise singer who declares, "You are not any relation of mine, nor my own flesh and blood, it is only so long as I am happy that I shall stay in your town" may suggest that the zerma was young when he took office. Alternatively, it may have been part of a discourse on the responsibilities of the office which had been abused in the past. 

Copied below is J.R. Patterson's full translation of the Kanuri text, from Kanuri Songs  (1926). 

Zerma Ibrahim, son of a princess

The Sultan’s support (firm as) a bowl made of fan palm trunk

His tribe the Tura, a son of Margi

Zerma, the warrior

A quiver for a hundred arrows

A hawk, a brave warrior

Alone he is equal to a thousand men,

he who can run hither and thither like a puppy

His patience like that of a male pelican

He is like boneless flesh, like brains

He is the owner of Buntigum Kadasha

And of Wawum and the town of Damasha

His eye (is to be feared as) a elephant hunter’s spear

His eyelashes are arrows

Support of a Sultan; if his eye becomes red he is preparing to fight

His Gursulu of the North

Who owns a tethering rope of gold

He is like a horse led behind the Sultan, its trappings ready on its back,

he too carries a Sultan on his back

Like a large spear: in his hand he carries an oil bottle

Zerma Ibrahim, a despoiler who lives in the Sultan’s house

So of Zerma Dunama whose mother was a Sultan’s granddaughter

whose home was N’gasargamu

Support of a Sultan, yours the country called Gabana

Sugu, whose mother was a princess and who is happy therefore

You who sit in the shade of an acacia tree on a sandy mound, 

you are a faithful follower of your chief

Faithful as a dog to its master

(If a man does any of the things) which lie between frowning

on one to being responsible for one’s death,

that is hate, Ibram Mairammi

(If a man gives one a present of anything) from a ‘mudu’ 

of corn to a fine horse, that is favour

One thread of truth in a shuttle will weave

a hundred threads of lies, Ibram Mairammi

Vomiting one’s liver cures the most severe biliousness, Ibram Mairammi

The hatching of an egg is unpleasant for the shell, Ibram Mairammi

Do not match yourself against Providence 

God is all powerful: He prevents the eye from seeing the eyelashes (near it)

Eggs become lice

The small man becomes the great one, Ibram Mairammi

Stick to the truth, Ibram Mairammi

Truth is like the light of dawn, Sugu Mairammi

Untruthfulness is like the darkness at sunset, Ibram Mairammi 

The “kagura” bird is God’s caller to prayer

The crested crane is the blower of the ‘fum-fum’ of the birds

You are not any relation of mine, nor my own flesh and blood,

it is only so long as I am happy that I shall stay in your town

The Song Sung to Kaigama Anterashi, Son of Lima

As for "The Song Sun to Kaigama Anterashi, Son of Lima," it too is attributed to the time period of Ali b. Umar in the 17th century. This is difficult to confirm, although J.R. Patterson's introduction confirms it (and his translation pasted below of the song). However, when checking other sources from the reign of this significant mai of Borno, the only kaigama we found was named Ya'gha. Of course, this is from a mahram Palmer dated to 1647, so there may have been another kaigama before or after this date. Still, it is clear that the title was occupied people slaves by this time. However, as a "chief slave" of the mai and supreme military commander of Borno, these were very powerful men. 

Most of the song reiterates this strength, power, and military leadership of the kaigama in various ways. First, he is associated with the morning star, spears, the personality of a Sultan, and greater than all prosperous men. While the song reminds us that he serves the Sultan, he enjoys a number of privileges due to his importance position in Borno as the highest military authority. Unsurprisingly, Ali Eisami confirmed this since the regiment of the kaigama consisted of at least 1000 horsemen. Nachtigal likewise emphasized the slave origins of the titleholders (although not always the case in the annals of Kanem and Borno). His ability to feed troops, owning land or having tribute rights on dispersed lands, the influence in the south (Mandara and the Kotoko areas) and his even gifting slaves to praise singers suggest someone of immense wealth and power. This may explain the enigmatic allusion to witchcraft, since the power of the kaigama may have been aided by the use of charms and occult knowledge. Anterashi was also influential in Borno's southern frontier, with the mention of the Shari River and a few other place names pointing in that direction.

What is striking about this song, supposedly for someone who lived in the 17th century, is the praise song's vociferous praise of power officials with military and administrative powers that made more powerful than most free people. To be a slave with much power and owned by the most powerful person meant that, despite his enslavement, he was still one of the most powerful figures in Borno. One can imagine titled officials with family ties to the Sayfawa or origins in the royal dynasty might have resented this, which appears to be captured in a praise song to a yerima of noble lineage. 

Kaigama Anterashi

He is the Star of the morning

Chief slave, the rallying point of the spearmen

The hub of war

His town Chirami, his personality that of a Sultan

Morning and evening he is in the midst of the noise (of war)

A chieftain, the glowing embers of the Sultan’s Council

(His friendship) a death-trap; his friend short-lived

If a hawk snatches up a chicken

Following its tracks devolves on the Kaigama

Holder of the principal of the (Sultan’s) offices

Less than the Sultan, certainly, but greater than all the prosperous men

If the chief slave wages war, he does not do so in vain

If he does not engage in war, his idleness is not useless

Chief slave, if I say to you “Slave”

I mean the slave of the Sultan

Chief slave, if I say to you “Bush-cow”

You are a (Man with the heart of) a bush-cow among men

Chief slave, (if I say) your town is Ngumfane,

I mean that you are the forehead of all the slaves

Chief slave, patience is your attribute

Your patience like that of a dromedary

Chief slave, in your hand is a large-headed spear

Chief slave, you practice witchcraft

But its source is in the palm of your hand

Chief slave, my mastery, war is your hobby

Your play, play with a shining spear

You owner of the town of Zarara

Your attributes those of a Sultan

You and a Sultan do not eat from one calabash

Neither do you eat what a Sultan leaves

Sun (of greatness), seat (of power)

Embers of the Sultan’s assembly

If the Sultan counts as ten large kola-nuts

The Kaigama counts as twenty halves

If he and the Sultan are sitting together and their horses are fighting

He will not catch the Sultan’s horse

Nor will the Sultan catch his

Some other mann will catch them

These are the (privileges of) a chief slave

You are the father of all the minor chiefs

And the older brother of all the great chiefs

Chief slave, owner of the town of Ala and of Alari

Who lives between the Rivers Shari and Sharwa

Chief slave, Commander of Bornu’s army

Should the Sultan come out of an old woman’s dilapidated hut even,

After him will come the holder of the office of Kaigama

Should (the link in) the office of Kaigama break,

the Fuguma will join it up anew

Fuguma of the games that never cease

His play not like that of the women, nor of boys

They are games played with a polished spear

You (Fuguma) have lit the fires of war, and are feeling their heat

Other men look on at you from behind a screen

You (Kaigama) Chief slave, owner of the town of Fefelo and of Kafe Fello

Provide a thousand calabashes of food for your followers

The Ngijima, Babuma and Zakkama

All three have sung their song

For the success of the holder of the office of Kaigama

For the success of Anterashi, son of Lima

And he has given them seventy slaves.