MOGADISHU, Somalia — In the shadow of past violence at Somalia’s National Theater, where a suicide bomber once detonated, elderly poets now gather to preserve the nation’s rich oral tradition. Among them is 70-year-old Hassan Barre, who recently stepped to the podium in the largely empty hall to recite verses emphasizing civic responsibility and national unity.
These aging wordsmiths, some with henna-dyed beards and clouded eyes, represent a fading cultural beacon in one of the world’s most volatile nations. Their presence underscores a profound contrast: Somalia, often described as “a nation of poets,” has become better known for bombings than verse after decades of conflict stripped away its cultural wealth.
Oral poetry remains Somalia’s highest art form, recited in remote outposts and even among militants in the bush. Legendary figures like Hadraawi—the “Shakespeare of Somalia” who died in 2022—achieved universal recognition for works spanning love songs to war laments.
The current fragile federal government allocates most resources to national security, leaving cultural institutions like the National Theater and adjacent museum largely inactive. Access requires notifying intelligence agencies in advance with detailed vehicle information—a testament to security concerns that constrain artistic expression.
Poets recall flourishing during Siad Barre’s iron-fisted rule (1969-1991), when some received free housing and were “treated like kings.” His ouster triggered civil war and the rise of al-Shabab militants, devastating cultural infrastructure.
Despite challenges, traditional poets still perform at weddings, and verses air daily on radio stations. The Somali Council of Poets claims 400 members, including diaspora Somalis, all advocating for peace while avoiding direct politics.
Culture Minister Daud Aweis acknowledges poets’ “vital role” as “a foundational pillar for cultural vitality” but offers limited funding. The ministry’s long-term goal is expanded support.
The National Theater itself symbolizes resilience: inaugurated in 1967, closed in 1991, reopened in 2012 after AU peacekeepers pushed al-Shabab from Mogadishu, then attacked months later by a suicide bomber during a prime ministerial speech.
Yet poets persist. Maki Haji Banaadir, the theater’s deputy director and popular cultural figure, exemplifies this determination. He helped lead a 2003 cross-country reconciliation tour now impossible due to limited government control outside the capital and secessionist movements.
As these guardians of tradition work “day and night” to groom new generations, their verses continue echoing through a sandbagged city ringed by checkpoints—a testament to culture’s endurance amid conflict.