WAEC Hausa 2020
Questions & Answers

A student might select 'kiya' (Option B) by confusing the ending sound with the beginning of the word. In the Hausa language, the word 'gaskiya' begins with the syllable 'gas', which forms the correct initial sound segment according to Hausa phonology rules. Common mistake: Confusing the suffix with the prefix or initial syllable of a word.

A student might choose 'sifa' (Option B) by confusing pronouns with adjectives. In Hausa grammar, a pronoun is referred to as 'wakilin suna', which represents a noun such as 'shi' or 'ita' to simplify sentences. Common mistake: Confusing pronouns with adjectives or verbs.

A student might choose 'ya yi' (Option B) by selecting the past tense instead of the future tense. According to Hausa grammar, the Second Future tense (Lokacin gaba na II) uses markers like 'za' or 'zai' to indicate upcoming actions, as seen in 'zai yi'. Common mistake: Mixing up past tense markers with future tense markers.

A student might pick 'sarkakkiyar jumla' (Option B) by confusing a simple sentence with a complex one. A simple sentence, or 'jumlar sassaukar' in Hausa, consists of a subject noun phrase and a predicate verb, such as 'Yaro ya yi aiki', without any additional clauses. Common mistake: Confusing simple sentences with compound or complex sentences.

A student might select 'yan leffa' (Option A) by guessing randomly among phonetic categories. According to Hausa phonetics, the consonant 'g' is classified as 'maras ziza', meaning a voiced velar stop produced without sustained vocal cord friction or buzzing in that specific context. Common mistake: Misidentifying the voicing characteristics of stop consonants.

A student might choose Option B by selecting long vowels instead of short vowels. In Hausa phonology, the short vowels ('wasular gajera') consist of a, e, i, o, and u, whereas the long vowels are represented by aa, ee, ii, oo, and uu. Common mistake: Confusing short vowel sounds with long vowel sounds.

Students might mistakenly lean toward options like A or C due to confusing basic orthographic symbols with tone diacritics. Option B correctly identifies 'mà' as the mid tone representation, indicating a pitch that sits between high and low without forceful emphasis or heavy reduction. Common mistake: Confusing the mid tone mark with high or low accent marks.

A student might pick options like 'goshi' or 'tsakiya' thinking about literal anatomical terms rather than grammatical concepts. Option A is correct because a prefix functions as the beginning element attached to a word root or affix, exemplified by 'ma-' in 'mabude' which modifies the base meaning. Common mistake: Mixing up grammatical terminology with literal bodily positions.

One might incorrectly select 'jumla ɗaya' by assuming a complex structure contains only a single clause. Option C is the right choice because a complex sentence is built from a primary clause combined with a conjunction and a subordinate or supplementary clause. Common mistake: Overlooking the role of conjunctions and dependent clauses in sentence classification.

An examinee could mistakenly choose 'sifa' or 'aikatau' by confusing parts of speech like adjectives and verbs with expressive utterances. Option D is correct because an interjection acts as an exclamation or sudden emotional expression, such as 'ah!' or 'kai!', conveying delight or distress independently without standard conjunction links. Common mistake: Confusing interjections with descriptive adjectives or action verbs.

A reader might mistakenly choose 'soyayya' because romantic relationships frequently appear in popular drama narratives. Option B is correct because the core storyline in Ruqayyatu Abdulrazaq's work centers on battling corruption and fighting injustice within the royal court, highlighting an overarching struggle alongside romance. Common mistake: Assuming the primary theme is exclusively romance rather than political and moral conflict.

A test-taker could mistakenly select 'Sarki' or 'Malam' expecting a traditional leader or a wise figure to embody civic pride. Option B is correct since Gandacciya represents extreme self-admiration and stubborn ignorance, driving the core dramatic conflicts of the piece by Isa Haruna. Common mistake: Attributing virtuous character traits to the primary antagonist.

One might choose 'soyayya mai wahala' thinking the poem purely addresses romantic difficulties. Option D is the correct answer because the verse links affection directly to material wealth, demonstrating that sustainable relationships require financial resources within the community. Common mistake: Isolating romance from the economic realities highlighted in traditional poetry.

A student might mistakenly guess 'tatsuniya' due to the narrative-heavy nature of traditional folklore. Option D is right because Muhammadu Kabir's work focuses on riddles, puzzles, and intricate social deceptions woven through community romance and falsehoods. Common mistake: Misidentifying complex narrative puzzles as standard folklore tales.

An examinee could select 'wasa na zamani' by misinterpreting traditional elements as modern theatrical adaptations. Option A is correct because Abdullahi Tsiga’s work highlights open-air arena performances and indigenous cultural displays that reflect community life. Common mistake: Confusing traditional communal drama with contemporary theatrical productions.

A student might mistakenly choose 'yaƙi' or 'soyayya' by assuming praise poetry only honors military heroes or romance. Option D is correct because the critical study indicates that praise songs center around marketplaces and daily societal survival, underscoring commercial importance. Common mistake: Overlooking economic themes in favor of martial exploits when analyzing praise poetry.

One might select 'plot da character' or 'theme da setting' individually, missing the comprehensive nature of literary theory. Option D is correct because foundational literary appreciation encompasses all these elements simultaneously, including plot, character, theme, and setting. Common mistake: Listing only a subset of critical components instead of recognizing the complete framework.

A test-taker could mistakenly guess 'ganga' or 'rawa' thinking of physical drumming or dancing acts. Option A is correct because 'kirari' in this specialized literary context refers to the royal drums or rhythmic instrumental accompaniments that sound during praise recitations. Common mistake: Confusing the musical instruments of praise with the physical dance movements.

An examinee might incorrectly choose 'Izzar' or 'Sarki' by matching the title words or royal titles to the main role. Option D is the correct choice because Malam acts as the moral anchor, providing honest guidance and assisting the protagonist through royal power struggles. Common mistake: Assuming the title character must always be the narrative hero.

A student might pick 'mutuwa' or 'rashin nasara' anticipating a tragic or unresolved dramatic conclusion. Option D is correct because the resolution culminates in a wedding, achieving ultimate success through mutual affection and encouragement. Common mistake: Expecting a tragic ending in a drama that resolves through romantic union.