INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNOVATION (IJRSI)  
ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |Volume XII Issue X October 2025  
Synonymy in the Songs of Ummaru Bagobiri: A Contextual  
Linguistics Analysis  
Muhammad Zaharaddeen Bello1, Sirajo Ibrahim2  
Department of Nigerian Languages Umaru Musa Yar’adua University, Katsina, Nigeria  
DOI: https://dx.doi.org/10.51244/IJRSI.2025.1210000259  
Received: 24 October 2025; Accepted: 30 October 2025; Published: 18 November 2025  
ABSTRACT  
This paper explains how Ummaru Bagobiri uses words with differing meanings as synonyms in  
composing his song verses. Such words often differ in meaning, but Ummaru Bagobiri skillfully  
employs them within sentences as synonymous words. The methods used to gather data for this study  
included listening to Ummaru Bagobiri’s songs, interviewing experts in linguistics, and reviewing  
scholarly works on linguistic studies particularly semantics. Interviews were also conducted with fans of  
Ummaru Bagobiri to understand how they interpret certain words in his songs. To ensure a theoretical  
foundation, the research is based on Sperber and Wilson’s (1995) Relevance Theory, which emphasizes  
the role of context in communication. The study found that the speech context plays a major role in  
determining the meanings of such expressions. It also found that Ummaru Bagobiri uses his linguistic  
wisdom to employ words of different meanings as synonyms in building his poetic lines.  
Keywords: Songs, Meaning, Words, Synonyms, Poetry.  
INTRODUCTION  
This paper discusses how words acquire synonymous meanings in some of the poetic lines of Ummaru  
Bagobiri, the renowned Hausa traditional boxing singer. As will be seen later, words combine to form  
meaningful sentences in language. However, meanings are not fixed; they can change depending on the  
speaker’s intent and the listener’s interpretation, as well as the context of the utterance. Examples are  
drawn from Ummaru Bagobiri’s boxing songs. In summary, synonyms refer to two or more different  
words that share the same or nearly the same meaning in a single language. In Hausa, such words may  
differ in spelling and pronunciation but still convey the same meaning. Yet, syntactically, not all  
synonyms can substitute for each other in every sentence; some can coexist in the same sentence, but  
with slight differences in nuances. Contextual meaning is the study of how the situation of speech  
influences meaning. It shows that meaning depends not only on the words used by the speaker and  
listener but also on the setting, time, and situation in which the speech occurs. In a note shell Speech  
context studies the intent and conditions under which sentences are formed to communicate a message.  
According Stalnaker (1972:380) “Pragmatics is the study of the purpose for which sentences are used,  
and of the real-world conditions under which a sentence may be appropriately used as an utterances. In  
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ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |Volume XII Issue X October 2025  
the word of Yule (1996:4) defines context as: “The study of the relationship between linguistic forms  
and the users of these forms.”  
Thus, context involves the meanings of words within specific utterances and how the speaker selects and  
assigns meanings based on the situation. For example, the words “mage” and “kyanwa” in Hausa both  
mean “cat.” in English. However, a word like “daƙuwa” can mean “a type of food” or “an insult,”  
depending on the context of word.  
Hausa Oral Song  
Muhammad (1978:6) defines oral poetry as “A speech of wisdom recited melodiously, not mere talk,  
which conveys a message through selected words measured by their rhythm and fluency.” While Gusau  
(2014:3) explains that oral poetry has existed since ancient times, even before hunting societies. Among  
the Hausa, hunting was among the earliest professions, and many songs were composed about it. As  
Hausa communities settled together for farming and self-defense, praise songs for leaders also emerged.  
Oral poetry, therefore, is performed in an appealing language that provokes thought and reflection. It  
serves as a tool for transmitting ideas, moral advice, and entertainment. It is performed with eloquence,  
rhyme, and traditional Hausa instruments after being memorized.  
2.0 Research Methodology  
Different methods were used to collect data for this study:  
1. Interviews with scholars and researchers of oral Hausa poetry.  
2. Consultations with Hausa linguists, especially in semantics.  
3. Listening to Ummaru Bagobiri’s songs on cassette and digital recordings, then transcribing and  
analyzing them.  
4. Reviewing existing books, journals, and theses related to the study.  
5. visitation of cinema where the Hausa boxing is taking place especially in Kano, Katsina, Abuja just  
to lists but few,  
Theoretical Framework  
The study adopts Sperber and Wilson’s (1995) Relevance Theory to analyze how meaning relates to  
speech context. The theory explains that meaning cannot be separated from the circumstances of the  
utterance. Context includes not only the physical environment but also social, cultural, and  
psychological elements that influence interpretation.  
Brief Biography of Ummaru Bagobiri  
Ummaru Amadu Tanko Bagobiri was born around 1948 in Gidan Danhillo near Sabon Birnin Gobir  
Local government in Sokoto State. His parents were Gobirawa from a village called Gabo under Illela  
Local Government. His father was not a musician but a herdsman; he inherited music from his maternal  
family, who were traditional singers. He studied the Qur’an in various villages, moving from Gidan  
Danhillo to Kauran Namoda in Zamfara State. After his father’s death, he farmed and herded cattle.  
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Ummaru began singing at youth gatherings and markets, later developing interest in farming songs, and  
eventually boxing songs after moving to Katsina State with his relatives. He became popular while  
performing his song at Ɗanmusa, Kankara, Funtua, Dutsinma, and Daura. He was appointed chief singer  
(Sarkin Kiɗa) for Sa’in Katsina, Alhaji Amadu Nafuntua, and represented Katsina State in national  
cultural festivals. He died in 2008 in Benin the capital city of Edo State, leaving behind one wife and  
three children.  
Synonymy In Ummaru Bagobiri’s Songs  
Synonyms are words that have the same or nearly same meaning as another word in a giving language,  
this group Hausa of word came with different writing, phonology, but semantically the same. But in the  
case of Ummaru Bagobiri’s Song these words essentially have different meaning in Hausa Language  
many a times they are par away in becoming synonyms because they do not share any semantic relation  
but such words often differ in meaning, but Ummaru Bagobiri skillfully employs them within sentences  
as synonymous words. Word meaning in a language refers to the literal meaning of word and its  
dictionary meaning, but when it comes to the contextual meaning anything can happen related to the  
actual meaning of the word. Here, we are going to demonstrate how Ummaru Bagobiri uses his  
linguistic competence of using different words with different spelling which are initially not  
synonymous to represent one thing depending on their context.  
Firstly, there are several places where Ummaru Bagobiri uses words like (yaƙi) war, (faɗa) fight,  
(rigima) quarrel, and (wasa) play, in his song to refer to traditional boxing. Let us interpret the dictionary  
meaning of the words  
before we move further.  
Word  
Dictionary Meaning  
Yaƙi:  
Faɗa:  
War or battle using weapons  
Fight or quarrel  
Rigima:  
Wasa:  
Conflict or dispute  
Play or entertainment  
Normally in Hausa Language these words have different meaning and different interpretation but  
Ummaru Bagobiri skillfully uses all these words as synonyms that stand for traditional wrestling or  
boxing, just to explore the attention of his listeners. Here are some examples from some poetic verses of  
Ummaru Bagobiri’s songs.  
1a. The Song of Tica.  
Jagora. : Ya Allahu la'ilaha'ilallah.  
‘Yan anshi. Allah la'ilaha'ilallah, Sani ƙaddara ta ɗaukai, bai san ana sallah ba, bai san kiran sallah ba,  
Tica bai san gudun yaƙi ba.  
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b. The Song of Jafaru Kura jagora: A bar maka yaƙi Jahwaru. Kura maganin kare. ‘Yan anshi: A  
sakar maka yaƙi Jahwaru,na Ummaru yaƙi yaz zaka. Jagora: Kowar jaka yaƙi. Y/amshi: Eh kowaj  
jaka yaƙi ya sani, kai aka shakka Jahwaru, na Ummaru yaƙi yas sani  
c. The Song of Shagon na Mai’ango Jagora: Wai me kaka shawarar yaƙi, horu maza da hannunka.  
‘Yan anshi: Eh horu maza da hannunka, ga shagon Na-mai-ango.  
2. Waƙar Ali ƙZuma. Jagora : Mai halin Ali, mai halin Ali. ‘Yan anshi: kowaj jaka hwaɗa ya so a raba,  
ci da maza hannunka guba,Ali zuma tsoronka a kai.  
3a. Jagora: Ga wani ya rigima ja ya so a raba. Yan Anshi. Ci da maza hannunka dahi Ali Zuma  
tsoronka a kai.  
4a. Jagora : Kamar Ali mai maciji, In dai za shi wasa ‘Yan anshi. roƙon Allah muke yi in ka tahi lahiya  
lau, ka dawo lahiya lau.  
Related to the above poetic verses our main concern goes into the word which we highlight.  
Semantically the meaning of those word when they are not putting in context could be controversial that  
is why we analyze them based on their contextual meaning to explore the synonymous version of the  
words, so that we can understand the exact message of the poetic verses. Consider what happen in  
example 1a-d Ummaru Bagobiri used yaƙi to represent Hausa traditional boxing, though yaƙi literally  
mean war in Hausa. the difference between war and boxing is open while in war there is privilege of  
using weapons such as guns and missiles but in boxing it is prohibited to use any kind of weapons and  
Hausa traditional boxing have its rules and regulation which are being use in the case of war.  
In 2-3 Ummaru Bagobiri uses both hwada and rigima to stand for Hausa traditional boxing based on the  
contextual meaning of the words. But we have understand that in the case of fighting there is no any  
rules and regulation, but in the case of Hausa traditional boxing their rules and regulation and the  
winner will be decorate with some gift from the organizer and spectators. While in example 5 Ummaru  
use wasa to represent Hausa tradition boxing, and we know that wasa (play) is something which  
everyone can do but in the rules and regulation of Hausa taraditonal boxin children and women are not  
allow.  
Based on what we have explain all those word yaƙi, rigima, hwada and wasa mean the same in the  
word of Ummaru Bagobiri as their contextual meaning in the givin poetic verses and that is why we  
refer them as synonyms in term of their meaning.  
Another set of example is where Ummaru Bagobiri also uses words related to death, lie down, fall down,  
which have different meaning but synonyms in the word or songs of ummaru Bagobiri to mean defeat in a  
match, such as:  
Word  
Contextual Meaning  
Kwanta  
To lie down (defeated)  
Faɗi  
To fall down  
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Mutuwa  
Kashe  
Death or loss  
To kill (defeat opponent)  
Kwana Lahira To die (figurative for losing)  
In these songs, “death” or “lying down” symbolizes being defeated in a boxing contest.  
5a. Waƙar Hamza ƙanan Alhaji Ada Jagora. Ashe ranar mutuwa. ‘Yan anshi. Eh ranar mutuwa ba a da  
kwana. Jagora: Eh sai ga dangi nai ma shi kuka, Lawalli bai sami hita ba,tuwa tai ma shi sauri,  
Allah kai mana gyara, aikin ba shi da daɗi, Hamza ƙanan Alhaji Ada.  
b. Waƙar Bature Gora Jagora: Ina Kandami yay yi, Ina mamman Burus yak kwana Duka mutuwa ta  
gama da su sai watarana Sun ja Bature xanmutanen Gora  
6a. Waƙar Jafaru Kura Jagora: Allahu Akbar ina shagon Ahmadi.Wannan ya hwaɗi kwance,  
ya kwanta-dama. Sai ga 'yan'uwa nai sunai ma shi jaje.  
b. Waƙar Hamza ƙanen Alhaji Ada jagora: Ashe ka tuna bugun da kai ma Dogo.  
Dogo ya hwaɗi kwance ya gaza tashi.Ya hwaɗi ƙanan Alhaji Ada.  
c. Waƙar Bature Gora Jagora: Yaƙi ya baci, Ina Akushi xanmutan Musawa Akushi ya hwaɗi ya  
tsattsage sai dai musa tuwonmu a ƙwarya.  
7a. Waƙar Shagon NamaiAngo Jagora: Yaƙin nan da kai da Ƙasimu mai kasa. Ƙasimu ya kwanta  
b. Waƙar Bature Gora Jagora: Bawa ban san ka gaza ba Bawa ban san ka gaza ba sai ka kwanta  
8a. Waƙar Shagon Batajemu ba Jagora: Na hi son maza a gama. Yan anshi: Wani sai ya kashe wani,  
Tsoronka akai hwage, shagon Bata-jemu-ba.  
b. Waƙar Alin Mura Jagora: yaƙi ya kashe jan buzu Yam anshi: sai yay yi yamma da walkinai Sa maza  
su ji tsoro nai Ali xanmutan Mara ci fansa  
c. Waƙar Bature Gora  
Jagora: Duna waɗanda kakkashe Duna waɗanda kakkashe naka zaɓe Amman waɗansu na manta su.  
Connected to the above poetic verses our main concern goes into the word which we highlight.  
Semantically the meaning of those word when they are not put in context they could be misunderstood  
that is why we analyze them based on their contextual meaning to explore the synonymous version of  
the words, so that we can understand the exact message of the poetic verses. Consider what happen in  
example 5a,b, 6a-c, and 8a respectively Ummaru Bagobiri used words like mutuwa, kwanta-dama,  
kasha and kakkashe to represent defeating in Hausa traditional boxing. Their literal meanings simply  
mean death or to kill. But if we consider their literal meaning all these poetic verses will not make sense  
that is why we look into their contextual meaning which give us the opportunity to understand the exact  
meaning of the poetic verses. While in examples 6 b,c, 7a,b Ummaru Bagobiri uses word like hwaxi and  
kwanta which literally means to lie down, after a defeat in Hausa traditional boxing. Based on our  
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understanding all those words mutuwa, kwanta-dama, kash, kakkashe, hwadi and kwanta stand for  
defeat in Hausa traditional boxing in the word of Ummaru Bagobiri as their contextual meaning in the  
given poetic verses and that is why we refer them as synonyms.  
4.1 Research Findings  
1. Ummaru Bagobiri uses various synonymous words to praise and excite his warriors, even when  
referring to the same activity.  
2. He creates synonymous word through creativity and mastery of Hausa language.  
3. The meanings of his poetic verses depend heavily on the contextual meaning of words used in the  
poetic verses.  
4. He sometimes forms synonyms through several word formation proceses such as compounding, like  
in, yaƙinhannu (hand battle), kwanta-dama (defeat).  
5. He employs dialectal variations to enrich his songs and avoid repetition and makes his songs rich and  
expressive without repetition of word.  
CONCLUSION  
This study has shown how Ummaru Bagobiri masterfully uses synonyms in his songs. Although the  
words differ in literal (dictionary) meaning, he uses poetic creativity to make them convey one idea in  
context. His ability to manipulate language makes his songs rich and expressive without repetition. This  
stylistic feature contributes to his fame and the enduring appeal of his boxing poetry. This paper also  
explains the meaning of synonyms and his linguistic competence which gives him opportunity of  
creating synonymous word through creativity and mastery of Hausa language. So Ummaru Bagobiri  
uses various synonymous words to praise and excite his warrior, to capture the attention of the  
spectators.  
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