by Tirsit Yetbarek Seme

How did I find myself drawn to Somali songs? I often reflect on this question, especially since I wouldn’t have considered myself a music person in the traditional sense. However, media always captivated me, absorbing everything I could watch and listen to, even if I faced some teasing.
In my early childhood, one program that left a lasting impression on me was ‘Hibretreit’, which translates to ‘Performance of Unity’. This show highlighted music from various nations and nationalities within the country, occasionally featuring a song from Africa. One particular song captured my heart—a performance with six men and six women singing in parallel lines, harmonizing with the repetitive phrase ‘Heey hiwaalooy ….ala hiwaalooy…..hooy hiwaalooy…. Soo soco Siraadeey …. ala sidaadoo kale la waayee’. At the time, I had no idea it was a Somali song, but it became a pivotal point in my connection to the Somali community.
This fascination was more than a fleeting interest; it sparked a deeper desire to understand Somali culture, community, and language. As I began my journey to learn Somali, music once again played a vital role. Coming from a Semitic language background, I found it challenging to grasp the sounds of Somali, which belongs to the Cushitic language family. Since my primary learning tool is my ears, I immersed myself in Somali music, even without understanding the lyrics. Artists like BK, Mursal Muse, and Hoden Abdirahman filled my daily playlist, each song a stepping stone toward familiarity with the language.
My experience deepened when I became involved with the Hargeysa Cultural Centre. This vibrant hub connected me to a wealth of musical tones and cultural performances. It was there that I discovered Somali classical music, which sometimes evoked memories of older Ethiopian songs. The melodies often carried themes of nationalism and social commentary, reminiscent of the songs from the late 1970s, a time when music was used as a tool for propaganda under a socialist government. Yet, these songs also conveyed profound social critiques and dramatic narratives, reflecting the complexities of life.
In Hargeysa, and throughout Somaliland, there are no formal educational institutions dedicated to teaching music at any age level. There are no dedicated theatres, and musical performances and production remain in the hands of private individuals and restaurants. However, the Hargeysa Cultural Centre has recently launched a limited initiative, offering admission to Cuud classes. The sound of the Cuud, a traditional string musical instrument, captivates listeners even from the outer gate of the Hargeysa Cultural Centre. Inside, students frequently practice in the theatre room or in the small garden, contributing to the vibrant atmosphere of the centre. Music and oral performances, particularly in the form of poetry, are integral to Somali culture. In the early 1970s, music served as a tool for social mobilization and later became a vehicle for propaganda, highlighting its crucial role in community expression (Abdullahi, 2021).
In traditional Somali life, music permeated every aspect of existence. Women often gathered to build traditional houses or engage in communal activities while singing, while the Geeljire (herdsman) would lead his herd, miming or singing aloud to guide them. Mothers sang lullabies to soothe their children to sleep, creating a rich tapestry of sound woven into daily life. Poets, seen as the social anchors of the community, delivered their verses in a musical tone, offering critical commentary on societal issues (Hassan, 2021). This integral relationship between music and community was tragically disrupted by the civil war, which devastated the cultural fabric of Somali society.
In the aftermath of destruction, as Somaliland began the rebuilding process, art and music faced significant challenges in reclaiming their space. Dr Jama Musse, Director of the Redsea Cultural Foundation, emphasizes this struggle:
When you dedicate all of your limited resources to the physical reconstruction of your country and neglect the arts, which are what make us truly human, you create a void that will inevitably be filled by an unintended force.
This highlights the mission of the Hargeysa and Berbera cultural centers to ensure that artistic expression is not neglected, preserving the rich identity of the community (Kapteijns, 2022; Jama Musse, 2023). The mission aims to create space for music by enhancing major cultural, artistic, and social engagement events. It involves establishing dedicated venues for both traditional and contemporary Somali music within the Hargeysa and Berbera Cultural Centre perimeters. Additionally, the mission includes a groundbreaking transcription process, where Somali musical notations are documented and promoted for the first time (Jama Musse, 2023).
In October 2017, the Hargeysa Cultural Centre teamed up with the Music In Africa Foundation (MIAF) based in South Africa to organize a highly successful music training workshop and performance program under the auspices of the Music In Africa Connects initiative [See: www. musicinafrica.net/magazine/somaliland-music- workshop-%E2%80%98-success%E2%80%99]. The workshop focused on the Cuud and Piano to traditional Somali music, with renowned music expert and former Iftin Band member (late) Abdi Mohamed Jama, who also served as the director of the Department of Culture at the Somaliland Ministry of Information, providing training to a group of 13 students. In 2023 and 2024, within the Hargeysa International Book Fair, the HCC teamed up local vocalists and musicians with a German artist to produce a new recording of Qaraami music, and to perform during the Hargeysa International Book Fair.
In addition to the work in musical production, teaching, and promotion, the Hargeysa Cultural Centre is also dedicating significant effort to documenting the new song creation happening within the country. Centre for African Studies (the research branch of the Hargeysa Cultural Centre) is also conducting ongoing academic research to examine the language shifts occurring within contemporary songs. This research initiative involves compiling a collection of 2,500 songs produced between 2000 and 2024, contributed by 911 artists including 309 singers, 343 poets, and 259 musicians. The Hargeysa Cultural Centre has set up a separate database to house this music archive, which categorizes the songs into seven main categories and ten subcategories. This is done to highlight the epistemological changes taking place in society as it transitions from an oral to a written tradition, even in its musical output (Hafsa Omer et al., 2024).
The ongoing efforts to revive music and art have not been easy, but they represent a significant stride against oppressive narratives that portray music as forbidden. This fight aims to reclaim the cultural identity that music has historically represented in Somali society. The sight of young people passionately engaging with classical Somali songs, particularly Qaraami, symbolizes a unifying force that connects youth across various backgrounds. Such musical gatherings serve as powerful tools for social cohesion, as evidenced by events like Qaaci nights, where participants invite a Cuud player, sometimes accompanied by digital rhythms (Farah, 2020; Jama Musse, 2023) Currently, a music class at the Hargeysa Cultural Centre (HCC) has therefore emerged from humble beginnings. Initially, it began with a small group of staff and affiliates learning to play the Cuud and piano. Starting in September 2023, a structured curriculum was established, enrolling young Somalilanders who sought assistance from HCC to reconnect with and revive their cultural identity. This initiative aligns perfectly with the centre’s mission to revive classical music, facilitating a smooth transition to formal classes. For the past 17 years, Somali traditional music—whether in the form of traditional dance performances or Qaraami songs—has been a pillar of the Hargeysa International Book Fair, showcasing the importance of music in cultural events.
The pioneering efforts of the centre to reclaim space for music have inspired others, leading to the organization of music night events at venues like Hiddahdoor Cultural Restaurant, Ali Jirde Hotel, and Jumeira Restaurant, Café and Lounge, alongside smaller gatherings in various locations. However, there remains pressure from groups that continue to portray music as a forbidden act, labelling it as contrary to culture and religion.
Presently, there are two class sessions: one for younger students who can attend during working hours and another for those who work and can attend only after work hours. Classes are held on Saturdays, Mondays, and Wednesdays, but the sound of the Cuud resonates throughout the week as students practice diligently. The youth group consists of 16 students, while the evening class has 7 participants.
As a privileged student who can join either group, I find that learning Somali classical songs has become the highlight of my days at the center. Our teacher, Abdi Qurbaani, has been playing musical instruments for many years. His teaching methods progress from basic to advanced concepts, keeping the class engaging and competitive. His knowledge of the Amharic language and music also enriches my learning experience, allowing me to connect more deeply with the musical tone. The supportive spirit among students, where they help each other even in the absence of the teacher, symbolizes the togetherness and shared passion they have for music.
Unfortunately, for some, pursuing music is an act of defiance against their families, leading them to keep their studies a secret. For now, it remains a personal treasure and a response to their soul’s call, until the perception of music as a non- Somali cultural practice fades. Those who have broken this chain are sharing their experiences on social media, celebrating their learning and achievements with friends and followers. Currently, only three women have joined the classes, a modest number compared to their male counterparts, but it represents a hopeful beginning.
In the short time since the class started, the students’ ability to play songs reflects their passion and dedication. Their commitment to practice whenever possible is commendable, providing them with positive personal growth and diverting them from addictive or distracting activities in a region where entertainment options are limited.
Globalization and digital platforms are reshaping the status of Somali music, particularly in new musical forms. Numerous songs released on social media, both locally and from the diaspora, are encouraging for a cultural revival. Nevertheless, the revival of classical Somali music, crucial for upholding cultural identity and linguistic heritage requires concerted efforts. Initiatives like the digitization of audio cassettes at HCC, the publication of academic works such as Dr Jama Musse Jama’s Qaraami, and international collaborations at events like the Hargeysa International Book Fair demonstrate ongoing efforts to document and revive Somali classical music.
Overall, the music class represents a vital step in creating the next generation of classical artists who can challenge current pressures against music in Somaliland and embody a new classical music era. The vibrant atmosphere and collective passion for music reinforce the idea that reviving these traditions is not merely about preserving the past but also about fostering a rich cultural identity for future generations.

References
Abdullahi, I. (2021). ’Cultural Resilience in the Face of Adversity: The Role of Music in Somali Identity.’ African Studies Review, 64(1), 45–67.
Farah, A. (2020). ’Globalization and the Transformation of Somali Music.’ Journal of African Music Research, 15(2), 103–119.
Hafsa Omer, Jama Musse Jama, and Tirsit Yetbarek. (2023). ‘Analyzing the pattern of language change in contemporary songs in Somaliland’. Afroasiatic
Languages and Linguistics: Bridging the Red Sea Rift. Somali Workshop IV. University of Naples ‘L’Orientale’, 13–14 June 2024
Hassan, A. (2021). ’Artistic Expression and Resistance in Post-Conflict Somalia.’ Horn of Africa Journal, 6(2), 34–58.
Jama Musse Jama (2023). ‘Qaraami: The Fading Melody of Somali Classic Music’. Ponte Invisible Edizioni 2023, a Redsea-Online Publishing Compay Group, Pisa, Italy.
Kapteijns, L. (2022). Clan Cleansing in Somalia: The Ruinous Legacy of 1991. University of Pennsylvania Press.
Menkhaus, K. (2022). ’The Role of Art in Nation- Building: A Study of Somali Cultural Centers.’ Cultural Anthropology, 37(4), 681–700.
· Tirsit Yetbarek is a researcher based in Hargeysa and coordinator for The Academic Dialogue in Hargeysa [ADIH] at the Cultural Centre
Comments