FPS Editorial: The Poets of Doom?: Somali Bards and the Evolution of Political Militancy – January, 2025
In recent months, the troubling trend of Somali poets, particularly from Northern Somalia, joining Al Shabaab has ignited debates about the interplay between art, resistance, and militancy. Poetry, historically regarded as a voice of the people, has often been employed as a political tool in the Somali peninsula.
Prominent figures like Hadraawi, Gaarriye, Maruuryoode Abdi Mohamed Amiin, Dhoodaan, et al. were not strangers to rebellion. Their activism and eloquence echoed sentiments of resistance against the transgressions of the military rule in Somalia, demonstrating poetry’s long-standing role in mobilizing the masses.
Between 1978 and 1988, notable poets lent their voices to Somalia’s political upheaval, joining Ethiopia-based Somali rebels. During this period, the military rule of General Mohamed Siad Barre—who came to power via a bloodless coup in 1969 only to rule with an iron fist for the following 21 years—silenced dissent through repressive measures.
The poets sought refuge beyond the borders in Ethiopia, where they claimed freedom of expression allowed them to critique the oppressive government without fear of persecution. Their poetry has articulated the desires and aspirations of the opposition, if not the Somali masses nationwide.
However, the current scenario involving Al Shabaab marks a divergent path for Nageye, Jeesto, Gamadiid, and other contemporary bards. Unlike their predecessors who aligned with rebels seeking to dethrone a dictatorial regime, the current wave of poets has joined Al Shabaab and been seen brandishing weapons within the group’s controlled territories in Somalia. Al Shabaab is not merely a faction aiming to reform governance; they are an Islamist extremist group fighting to topple the Somali government and replace it with their own.
While some analysts suggest that these poets’ migration to Al Shabaab is indicative of growing disillusionment with the internationally recognized Somali government—an entity perceived as ineffectual and overly reliant on Western support—others posit that these poets have consistently embodied nationalist extremism, using their talents to promote the radical agenda of Greater Somalia.
The concept of Greater Somalia stems from a nationalist aspiration to unify all Somali-speaking territories across the Horn of Africa, encompassing areas of present-day Ethiopia, Djibouti, and Kenya.
Siad Barre attempted to actualize this long-held Somali vision militarily in 1977 through a blitzkrieg capture of the Ogaden region, while at the same time stirring nationalist fervor in Djibouti and Kenya. His failure to militarily incorporate the Ogaden has, according to many, brought about—and exacerbated in some cases—the hapless rebellion and internal conflicts that further complicated the political landscape, leading to the complete collapse of the state and allowing for the emergence of ideologically extreme factions such as Al Shabaab, which capitalizes on nationalistic sentiments while enforcing its interpretations of Sharia law.
As the poets who have defected to Al Shabaab navigate their new reality, the implications are manifold. Their involvement could signal a resurgence of nationalist rhetoric stripped of its moderate expressions, potentially influencing a new generation that increasingly views armed struggle as the only recourse to achieve their ambitions. The influx of poets into the ranks of Al Shabaab indicates a significant cultural shift, with art becoming a weapon of propaganda rather than a collective expression of the debating masses. Looking forward, this development will likely yield unpredictable outcomes.
For Al Shabaab, the integration of poets can bolster their narrative and attract disenfranchised youth seeking meaning in extremism. Conversely, the poets may find themselves ensnared in a violent ideology that could dilute their original purpose of expression and resistance. As the situation evolves, it remains crucial to explore the broader implications this trend bears for Somali society and the future of its cultural heritage.
As history unfolds, the unique intersection of Somali poetry and political militancy will continue to be a subject of scrutiny, shaping the narratives of both Al Shabaab and the poets who join their ranks. This evolving dynamic will either provoke a renaissance of poetic expression free from the shroud of extremism or solidify an era where art serves forces that threaten to ensnare the Somali spirit in a perpetual cycle of violence.
Only time will reveal the trajectory of this critical juncture in Somali history.
Foresight for Practical Solutions, Fostering Thoughts, Forging Futures.