MOGADISHU, Somalia (AP) — In a poignant gathering held at the National Theater in Mogadishu, where a suicide bomber detonated years prior, poet Hassan Barre took the stage to deliver a heartfelt recital emphasizing civic responsibility and the importance of poetry in Somali culture. At 70 years old, Barre stood solemnly at the podium, his words resonating in the sparsely populated hall, echoed by aging poets clad in conservative suits who gathered to reminisce about better times.
This assembly of poets, marked by hennaed beards and clouded eyes from glaucoma, embodies a diminishing beacon of hope for a nation that has endured decades of conflict and loss of cultural heritage. Oral poetry is revered in Somalia, recognized as a vital aspect of its identity, with frequent recitations occurring even among militants in rural areas. Somalis are often described as “a nation of poets,” with their works typically celebrating pastoral ideals and the traditional roles within their predominantly Islamic society.
Notable poets like Hadraawi, dubbed the “Shakespeare of Somalia” who passed away in 2022, have gained international acclaim for their extensive repertoire, which ranges from love songs to poignant laments regarding war, according to resources from Harvard University’s Archive of World Music. Poets thrived during the era of Siad Barre, whose rule sparked a civil war in 1991, leading to chaos and the eventual emergence of the al-Qaida-affiliated militant group, al-Shabab.
Currently, Somalia is more notorious for violent bombings than its rich poetic tradition. The ongoing violence has heavily impacted cultural institutions, which remain in a state of paralysis, as the fragile federal government allocates most of its budget to security measures. The National Theater, inaugurated in 1967 and inactive since 1991, was reopened in 2012 following efforts from African Union peacekeepers to reclaim Mogadishu from militants. However, the venue is situated in a heavily fortified area, and visitors must adhere to stringent security protocols, including pre-notifying intelligence agencies regarding their vehicle details.
Amidst this backdrop, the day Barre recited his poem, young Somalis engaged in folk dance practice promoting traditional values related to land cultivation, while a group of poets, inclusive of one woman, huddled nearby for quiet discussions. Several poets expressed their commitment to preserving Somalia’s poetic heritage despite facing security challenges and undergoing financial constraints that limit programming opportunities.
Traditionally, Somali poets continue to perform during communal gatherings such as weddings and share their verses on local radio stations. However, Barre remarked that during Siad Barre’s governance, artists were honored and granted benefits such as housing. In contrast, he finds the current administration less supportive of poets. Despite the limitations, Daud Aweis, Somalia’s culture minister, acknowledged the essential role poets play in society, emphasizing their contribution to cultural richness, community well-being, and peaceful coexistence. He indicated that while funding for arts and culture is limited, there are plans to increase support in the future.
After the theater’s reopening in 2012, tragedy struck again when a suicide bomber attacked during a prime ministerial speech, resulting in the deaths of several individuals, including the head of Somalia's Olympic committee. Nevertheless, the poets remain undeterred. Meeting at the National Theater fosters a sense of unity in a city beset by checkpoints and an unstable environment.
Hirsi Dhuuh Mohamed, chairperson of the Somali Council of Poets, reported that the group includes around 400 members, some residing in the diaspora. He noted improvements since the late 1990s, a tumultuous period marked by territorial divisions among warring factions. He affirmed the collective commitment of Somali poets to advocate for peace, highlighting that while they refrain from direct political engagement, their poetry upholds messages related to security and community integration.
Maki Haji Banaadir, serving as the deputy director of the National Theater, actively works towards its sustainable operation. A decade earlier, he collaborated with fellow poets to traverse Somalia promoting reconciliation, a feat now viewed as nearly impossible due to fluctuating governmental control and the push for territorial autonomy by certain regions. Recognized for his cultural contributions, Maki describes ongoing efforts to nurture the next generation of Somali poets as an essential aspect of their mission, stating, “We are working day and night.”
