#somali poetry

[beerlula-00]

Maxaa erey tafiir go'ay!

Maxaan maanso teeriya,

Every lost syllable tells in my heartbeat,

Every lost line is a scar on my heart.

- Maxamad Xaashi Dhamac ‘Gaariye’

[gennsoup]

I'll rewrite this whole life and this time there'll be so much love, you won't be able to see beyond it.

Warsan Shire, Backwards

[poems-from-around-the-world]

Come to me softly - Xasan Ganey - Somalia

Translator: Ibrahim Hirsi (Somali)

Her:

You, the bloomed Qaydar tree,

drenched by a rain,

leaves a fragrant wind which shakes,

You, my qudhac flowers

You are the one

I’ve chosen,

The one I desire.

You who my soul follows

You will soon be refreshed

So come to me slowly.

Him:

You who are sweet like

the mareer fruit

That grows with beauty

And fragrant like the Qawl

You who cool

My smouldering heart

Covered in wounds

You the precious one

You will soon be refreshed

So come to me slowly

Her:

You who are like

the rain overflowing

the channels

In a lush green

You, who are a vessel full of ghee

Of which I’ve taken my share —

You, my strong ram.

You who my soul follows

You will be refreshed

So come to me slowly.

Him:

You who are

a rainbow,

sashes of colours,

And the freshly-fallen rain

You who are spring’s greenery,

With new shoots for grazing

And on places to camp.

You, the precious one.

You will be refreshed

So come to me slowly.

[kemetic-dreams]

Elmi Boodhari (Somali: Cilmi Ismaaciil Liibaan, Arabic: علمي اسماعيل ليبان) (1908 – 1940) was a Somali poet and pioneer in the genre of Somali love poems. He is known among Somalis as the King of Romance (Boqorkii Jacaylka). He was born near the border between Ethiopia and Somalia in 1908 and hailed from the Eidagale sub-clan

He is known in the Somali world for his love poems that he wrote to a girl named Hodan Abdulle that he fell in love and met in Berbera. Boderi was working at a bakery shop in the port city of Berbera when he fell in love with Hodan Abdi. Bodari began to write her romantic poems, and in one of his poems he spoke of once seeing Hodan’s naked body, which was considered a serious offense in those times given and still is, in addition to several other elements that stood in the face of him marrying her. Hodan got married and it is said that he died from the resulting heartbreak.

Elmi Boodhari differed from the poets of his generation in that he eschewed the popular theme of Tribal war and vengeance in Somali poetry, instead wholly focusing on love and composing all his poems for Hodan, which was seen as highly unconventional and scandalous, for this reason he was ridiculed by society.

Author Mohamed Diiriye in his book Culture and Customs of Somalia, writes:

Among the poets of the past century, a poet who has gained the hearts of all Somalis in every district is Elmi Boodhari, many major poets such as Mohamed Abdallah Hassan and Abdi Gahayr, aroused resentment among some Somalis, as they addressed diatribes against the members of a certain clan, or urged bloodletting; such poets are known as viper tongues, and the poems of such poets have been known to cause feuds and clan wars. But not so with Elmi Boodhari, his subject was romance and only that. While the poets of his day where addressing serious subjects such as war and feuds, Boodhari composed all of his poems for the lady of his affection Hodan, who was given in hand of marriage to a man much wealthier than him. Instead of getting literary kudos for his beautiful verse, Boodhari was made the object of public ridicule. Somali society had not been of course devoid of romance either in song or prose in any age, but to proclaim the object of ones love was frowned upon in the social mores of Somalis.

Boodhari also faced alienation and ridicule from his fellow Eidagale kinsmen and composed the following verse:

If a man has a wound he is taken to the doctor, but the braves of Daud are ridiculing me

Mohamed Diiriye commenting on the above verse writes:

It was enough that Hodan's relatives were infuriated and felt that their daughter's name had been soiled by a man who was proclaiming in public his love for her, but Boodhari also had to face the fury of his kinsmen, the Daud, who all together disowned him for spending his days pining for one woman when they could get him a girl as beautiful or more beautiful than she. Boodhari tried in lament to remind his kinsmen that the wounds of the heart merit the same attention as the wounds of the flesh.

She is altogether fair: Her fine-shaped bones begin her excellence; Magnificent of bearing, tall is she; A proud grace is her body’s greatest splendor; Yet she is gentle, womanly, soft of skin. Her gums’ dark gloss is like unto blackest ink; And a careless flickering of her slanted eyes Begets a light clear as the white spring moon. My heart leaps when I see her walking by, Infinite suppleness in her body’s sway. I often fear that some malicious djinn May envy her beauty, and wish to do her harm.

— From “Qaraami” (Passion), as presented by Margaret Laurence in A Tree for Poverty.

Influence on Somali Music

Boodharis poetic style and subject matter heavily influenced Somali Music and musicians such as Abdullahi Qarshe who was one of the pioneers the popular Balwo and Heello Genres.

Matters began to change following World War 2 as musicians and composers, like Abdullahi Qarshe, popularly known as the father of Somali music, began to pioneer a new genre- that of Balwo and Heello, both of these terms refer to forms of lyrical verse, the difference between the two being that balwo is four lines only while heello is considerably longer. Both styles broke new grounds in style and content. the subject matter differed radically from the past, as compositions focused in on love and nationalism, rather than the epic tales of war and adversity as in the old hees, at least some of this shift can be accredited to Elmi Boodhari, a baker who composed during the 1930s. He is said to have recited his compositions describing his unrequited love for a woman named Hodan until he wasted away and perished in 1941. ~Africa: An Encyclopedia of Culture and Society [3 volumes]: An Encyclopedia of Culture and Society

[hsofiyayusef]

I used to be a spoken word poet. In a past life, I won many awards, competitions and even competed in the National Canadian Spoken Word Festival when I was 19. My team came in 2nd. I love poetry. I love writing. Its one of the only ways I can get through life.

My poetry collection is called True Gold Never Fears Fire. Its an ancient Chinese philosophy. It means if you have integrity and strength, you can get through anything.

I am going to publish it piece by piece on my Substack. hudapoetry.substack.com

[he--wrote]

Our eyes met, and I poured my love into you,

Filling my heart’s cup to the brim.

For, all is what I gave,

Leaving nothing for myself,

Creating a cavity within.

Now, I see the void I created,

A space only Allah can fill.

Releasing you, I cleanse my soul.

He.Wrote — Craving for what once held me captive.

[send-up-my-heart-to-you]

tips for writing arab characters

writer here!! im a middle eastern writer whos noticed that theres a VERY significant lack of info on how to write arabs, so im here to help !! (however, keep in mind that im specifically gulf arab and may not be able to provide as much info on levant arabs or north african arabs. if there are any on here, feel free to reblog w more info !! )

dont get arabs mixed up w muslims. yes, a large portion of the arab population are muslim, but youd be surprised at the number of non-muslim arabs that exist. if you wanna write abt a muslim character, a post i made that might help is here 

list of arab countries, with the adjective:

algeria — algerian

bahrain — bahraini 

the comoros islands — comorans

djibouti — djiboutian

egypt — egyptian

iraq — iraqi

jordan — jordanian

kuwait — kuwaiti

lebanon — lebanese

libya — libyan

morocco — moroccan

mauritania — mauritanian

oman — omani

palestine — palestinian

qatar — qatari

kingdom of saudi arabia (ksa) — saudi

somalia — somali

sudan  — sudanese

syria — syrian

tunisia — tunisian

united arab emirates (uae) — emirati

yemen — yemeni

dialects/language:

dialects greatly differ—the egyptian dialect is the most common, followed closely by the levantine dialect

classic arabic is called fusha (fuss-ha), used in things like official documents, media, education. every arab knows it but its not used in day to day language except in media (all dialects basically come from fusha, but with slight changes)

'p' and 'g' (as in 'gurgle' or 'goal') dont exist in the arabic alphabet, theyre replaced with 'b' and 'j' 

depending on where theyre from, they may also learn a third language besides arabic and english (e.g. moroccans know french, a berber arab may know berber)

appearance:

arabs look different based on where theyre from. if theyre from the arabian peninsula, they have thick curly dark hair, tanned skin, and dark eyes. levant arabs are lighter skinned, and green/blue eyes are more common with them

adding on to previous point, arabs have a variety of skin tones, even if theyre siblings. using a real example, me and my older brother respectively look white passing and afro hispanic

dark irises are considered better looking than lighter colored eyes. eyes are usually thick-lashed, with big round slightly upturned eyes 

big noses are common, along with full lips (and hereditary dark circles for those with more tanned skin)

high cheekbones and well structured faces are also prevalent

culture:

varies depending on location

influenced by indian culture, IS NOT INTERCHANGEABLE WITH INDIAN CULTURE. that was aladdins mistake

poetry is so common, especially with romantic themes

songs also have romantic themes

youd be surprised at how romantic arabs are

dances vary extremely, from dabke (palestinean dance done in groups, consisting largely of leg/foot movements) to yola (emirati dance with battle origins, done using canes or fake guns) i recommend watching videos (tiktok has a lot of videos esp of dabke)

women also dance but you wont find a lot of videos of it bc its inappropriate

etiquette:

things such as giving someone your back, or facing the bottom of your feet towards someone are considered rude 

pda is also taboo (even with straight couples or even sometimes married couples)

cheek kisses are a common way of greeting, but not between genders

in some gulf countries, men greet each other with a nose kiss (not in an intimate way) just stubbing their noses against each other

genders do not mix at all. schools tend to divide girls and boys into two sections starting at a certain age (around age 10/11), and mosques are split into the mens side (usually larger than womens bc men use the mosque more)

having an extramarital relationship is very very taboo (even w hetero relationships) but it still happens. a lot. 

family dynamics (note that this is obviously a spectrum. this is the general dynamic, but obv it ranges from family to family):

NOT ALL OF US HAVE ABUSIVE PARENTS. sure theyll spank you if you skip school, but thats not necessarily abusive. its more strict, and youd be surprised at the amount of freedom some parents give their kids

yes, arranged marriages do happen. no, they arent necessarily forced, it just means that your parents had a hand in deciding who youll marry. yes, marrying cousins is a thing, but its much less prevalent now (also, ew)

fathers care. a lot. they dont show it, but they do. they also tend to joke around a lot

mothers tend to be the rule enforcers, and by far our moms are our best friends. we tell them EVERYTHING i swear 

aunties gossip a lot

uncles are a safety hazard

its not uncommon to have a large number of cousins (mainly bc arabs tend to have a lot of kids)

the average number of children 3 per woman, but from personal experience the older the generation the more kids (e.g. my great-grandmother had a whopping thirteen kids, my grandmother had seven, my mom has six, but a couple of my aunts only have one or two)

social class/work environment/school environment:

schools tend to be either arab curriculums but there is a high density of american/british curriculum schools

boys and girls tend to be separated in school around age nine/ten but some schools will be mixed genders up till graduation

yes, women work, tho admittedly some of them tend to have careers more than jobs (e.g. photographer, writer, etc while the men handle engineering, economics, etc)

no, not all of us are rich. in fact, countries like jordan, egypt, tunisia, morocco, and yemen (and infamously palestine) are acc struggling w poverty. its mainly just gulf arabs who are rich

furthermore, gulf arabs may be generally rich but a large chunk of them have the same lifestyle as an upper-middle class family in the usa. rich but not too rich. dont be fooled by the videos of guys wearing kandoras and driving lambos

speaking of kandoras...

outfits (keep in mind that spelling may vary since its all transliteration, and pronunciation may vary depending on region) (also keep in mind that even if we still live in the middle east, WE CAN WEAR JEANS AND HOODIES AND BAND SHIRTS. just, usually cover up more in public):

abaya: loose overgarment worn by women

jilbab/chandoor: also worn by women, type of long dress or tunic

the white robe all of yall know is known as a thobe, dishdasha, or kandora

the colored headscarf worn by men is known as a ghuthrain in the gulf, kevfiah in the levant. its kept in place with a black cord called a aghal, and under it they wear a skullcap called a thagiyah

those are the most common ones, however if youd like to get a lil more specific on clothong, the ultimate guide to arab clothing is here (it also has specified clothing for individual countries)

hope this helps, feel free to reblog w more info if you have any !!

[julesofnature]

The sun is perfect and you woke this morning. You have enough language in your mouth to be understood. You have a name, and someone wants to call it. Five fingers on your hand and someone wants to hold it. If we just start there, every beautiful thing that has and will ever exist is possible. If we start there, everything, for a moment, is right in the world.

Warsan Shire was born in 1988 in Kenya to Somali parents. She later emigrated to London. Shire thereafter began writing poetry as a way to connect with her Somali heritage and her roots in Somalia.

[beerlula-00]

Ninkii ooridiisii rag kale, loo igdhaan ahaye

Ninka ilo biyo leh soo arkoo, oomman baan ahaye

I’m the man whose fiancé has been given to another,

I’m the man who sees springs but whose thirst remains unquenched.

~ - Raage Ugaas

[gennsoup]

The refugee's heart often grows an outer layer. An assimilation. It cocoons the organ. Those unable to grow the extra skin die within the first six months in a host country.

Warsan Shire, Assimilation

[maigamal]

Discovering Languages that Use the Arabic Alphabet

When people think of the Arabic alphabet, they often associate it with the Arabic language alone. However, a surprising number of languages around the world also rely on this script for their written communication. This alphabet has traveled across continents and cultures, influencing and blending with diverse languages in fascinating ways. From Central Asia to East Africa, languages that use the Arabic alphabet illustrate its adaptability and cultural reach.

The Arabic Alphabet Beyond Arabic

The Arabic script is one of the most widely adopted writing systems globally, second only to the Latin alphabet. Its journey began over a thousand years ago and has since touched the linguistic landscape of numerous regions, especially those with Islamic influence. This script often adjusted its form to suit new sounds and structures in different languages, making it a versatile foundation for many non-Arabic-speaking communities.

Persian: A Classical Example

Persian, also known as Farsi, is perhaps one of the best-known languages that use the Arabic alphabet. Although Persian and Arabic are from different language families, the adoption of the Arabic script in Persian dates back to the early days of Islam's spread into Persia. Persian adapted the alphabet by adding a few letters to represent sounds that don't exist in Arabic, a modification that has allowed it to flourish and develop a unique literature and poetic tradition.

Urdu: A Language of Poetry and Expression

Urdu, primarily spoken in Pakistan and parts of India, also uses the Arabic script. The beauty of Urdu lies in its calligraphy, which draws heavily from the aesthetic traditions of Persian and Arabic scripts. Urdu writing, known as Nastaliq, has a distinctive style that is both expressive and complex. In Urdu poetry, prose, and even everyday communication, this script has become an inseparable part of its cultural identity.

Pashto and Dari in Afghanistan

Afghanistan’s linguistic diversity includes Pashto and Dari, two languages that have incorporated the Arabic script into their writing. Each language has evolved with regional adaptations, but both have deep connections to Islamic literature and philosophy. The Arabic alphabet in Afghanistan, like in many other countries, provides a bridge between local linguistic traditions and the broader Islamic world.

Malay and Jawi: A South Asian Influence

In Southeast Asia, the Arabic script made its way into languages like Malay. Known locally as Jawi, the adaptation of Arabic letters to Malay was a result of Islamic influence on the region, starting in the 14th century. While Jawi has largely been replaced by the Latin script in Malaysia and Indonesia, it is still taught in religious contexts and preserved in traditional texts, especially in Brunei and certain Malaysian regions.

East African Swahili and Somali Script

Swahili, one of Africa's most spoken languages, once widely used the Arabic script, particularly in religious and cultural contexts. Although Swahili today is primarily written in the Latin alphabet, some regions still honor this tradition in religious literature and historical documentation. Somali also briefly adopted the Arabic script before moving to a Latin-based system, showing yet another example of the Arabic alphabet’s adaptability.

Kurdish and Beyond

In the Kurdish-speaking regions of Iraq and Iran, the Arabic alphabet is used with some adaptations to suit the unique sounds in Kurdish. Variations of the alphabet continue to evolve based on the needs of Kurdish speakers, allowing them to record their language and literature with ease. Beyond these examples, languages like Baluchi, Kazakh (in certain communities), and even some historical Turkic languages have all utilized the Arabic script.

Learning Arabic and Its Script

The Arabic alphabet’s reach across so many languages is a testament to its versatility. But for those interested in learning Arabic or deepening their understanding of its script, resources like Shaykhi offer a structured approach to Arabic and Quranic studies. Shaykhi is dedicated to teaching Arabic from the basics up to advanced levels, giving students the tools they need to read, understand, and appreciate not only the language but also its rich cultural and religious heritage. With a focus on Quranic learning, Shaykhi provides a pathway for anyone curious about exploring Arabic and its script in greater depth.

In Closing

Languages that use the Arabic alphabet are found across diverse regions and cultures, and each one adds its own flavor and adaptations to the script. From Persian’s poetic expressions to Malay’s historical texts, these languages reflect the adaptability of the Arabic alphabet and its influence on global communication.

[beerlula-00]

Your closeness is a mercy to my soul

Dhawaanshahaada ruuxdeyda ayey utahay naxariis.

[philgennuso]

Poet's Corner: Bless The Daughter by Warsan Shire #BookReview #BriefTakes

Bless The Daughter Raised By A Voice In Her Head, is the first full collection of poetry by Somali-English author Warsan Shire, published in 2022 by Random House. It has received a fair amount of attention and praise for a new book of poetry, which is always exciting to those of us who love poetry! This book of poems has a very unique perspective in contemporary poetry. The author, Warsan Shire,…

[waanhurda]

talked with fatima today and alhamdullilah, our spiritual connection has been proven time and time again

fatima went to a poetry event after iftar and met two girls, one somali named Najma and one Sudani named Nama. She said the Somali girl was a lovely, bubbly poet who had published her own poetry book who reminded her of me and the Sunday girl just graduated from law school. they hung out and ended up having suhoor together

she said it felt like last ramadan all over again where we spent so much time together, and she almost cried! alhamdullilah i love our connection, i will truly never get over how deep it runs.

since we first reconnected we have been sharing poetry with each other, collecting them to put into a shared poetry book one day inshallah. we had both found poetry again seperately but at the same time.

now we connected again today after not speaking for a few months and we have both moved on to painting/drawing and shared our peices with one another

fatima is my soul mate, i love you sm friend ♥️

[he--wrote]

Even Rome did not believe it would fall.

He.Wrote —‘It was written for me to love you.’

[photography54]

Christopher Kulendran Thomas

Kulendran Thomas and my work intersect in several intriguing ways, particularly in our exploration of cultural identity, globalization, and the fusion of different cultural elements within contemporary art and society.

Firstly, like Kulendran Thomas, I delve into the cultural and economic shifts within specific contexts. While Thomas investigates the post-civil war transformations in Sri Lanka, my focus lies on the intersection of Somali poetry and football, examining the cultural significance and economic implications within Somalia. Both of our practices engage with broader socio-political contexts and the impact of globalization on local cultures.

Additionally, Thomas critiques the easy-to-consume aesthetic formulas of contemporary art networks by juxtaposing artworks with consumer goods. Similarly, I depart from conventional approaches to football portrayal by integrating unique designs and fabrics that highlight the significance of football while engaging with Somali cultural symbols like the flag and the Af Maay language. This challenges simplistic or commodified representations of culture and sports.

Moreover, both of us integrate distinct cultural elements into our work. Thomas incorporates consumer goods and contemporary art, while I integrate Somali poetry, language, and cultural symbols into my exploration of football. This integration serves to deepen the understanding of cultural nuances and references within our respective works, resonating with broader themes of cultural identity and heritage.

Lastly, our practices prompt viewers to reflect on the complexities of globalization and the negotiation of cultural identity. Thomas's work raises questions of accountability and acknowledgment in the context of globalization, while my exploration of Somali poetry and football delves into themes of freedom, resilience, and the consequences of oppression or manipulation within the Somali context. Both practices invite viewers to consider the impact of global forces on local identities and the complexities of cultural exchange.