Abbaas;931202 wrote: haha, i was just kidding laakiin naayaa kugu ma haboona sida Soomaalida wada aamin santahay :confused: Aniga heestan waxba kama fahmin, erayga "dooyo" Qaamuus baan ka raadiyay. LOL Btw, i'll try to post the lyrics of '"Dur Dur Band - Dooyo" here for you hadii aad rabtid inaad sifiican u fahantid. Haha! I just looked it up in a dictionary too (not sure why I didn't do that BEFORE asking here lol), but the first definition says dooyo means attack force or war party. The second definition is caws. But yes, if you can find the lyrics for the song, or at least the bridge/chorus, that would be great. They remastered the audio but her voice is still fuzzy, so it's difficult to make out the words.

Abbaas;931198 wrote: Dooyo waxaa layiraahdaa Col ilaala ah ; duul ama dad waxaa kale oo la yiraahdaa " Caws " waaweyn oo dooxooyinka ka baxa oo ay xooluhu daaqaan. PS: you shoudn't be asking your parents naayaa , waa inaad soomaliga sifiican ubaratid :mad: Fixed that for you I said my parents weren't familiar with the term, and they speak Somali just fine. So it's clearly not a word all Somalis use.

Does anyone know what 'dooyo' means anyway? Reer Xamar word? I even called my parents to ask and they have no idea lol

The best:

Naxar Nugaaleed;931006 wrote: looool, damn it, ok don't tell them how. Our secret

Naxar Nugaaleed;931000 wrote: it looks like Marka lol It looks like a beach and a coastline, which could be anywhere in Somalia. You know you cheated just like I did lol

PART 3 Asad returned home at sunset to the sounds of ululation emanating from his family hut, as women from the vast, barren landscape convened to sing their praises and congratulate the bride to be. Since it was assumed Oday Jajaban could expire at any moment, the wedding was expedited and scheduled for the following morning. Asad caught a glimpse of Hodan as he rushed to collect and pack up all his worldly possessions - the Playboy, an oversized t-shirt, two pairs of shorts and a pair of dacas - and recognized her solemn expression as that of his mother and every other Somali woman he has seen, the bitter resignation to an inevitable, patriarchal fate. The women danced around her, as she was unable to participate in the festivities herself, her legs still bound together as she healed from her recent circumcision. Asad quickly wrapped up several sambuusa for the journey, perhaps the last this region would ever see of this delicacy, and found his father to tell him of his plans to leave that night. His father bid him well and shook his hand, reminding him of his duties to his father and clan, and the Dahabshiil contact information he would need to send money home. The next scene opens with the camera fixed on the coastline as it disappears further and further into the distance, rocket and mortar fire occasionally lighting up the night sky as the Islamists overtake the town. The camera juxtaposes this intense darkness with the intense darkness of the African faces inside the Yemeni ship. Asad is huddled in a corner of the overfilled vessel, the waves beating heavily against its sides and disturbing the passengers on board, many of whom were backward nomads who had never seen the sea, or a ship for that matter, before embarking on this voyage. Relating it to concepts the Somali mind can comprehend, one nomad described the ship to another as a “great water camel.” A plump, effeminate Arab man named Abu Sisi is assigned to periodically check on the Africans crowded into the belly of the ship, but instead uses the opportunity to make advances on several of the young men and compliment one on his slender neck. Asad hears a group quietly discussing the ship’s crew amongst themselves. These are not normal men, one man said, these must be the Arab traffickers we have heard about. A woman sobs loudly. Asad takes a bite of his sambuusa, cleverly folded into his undergarments, and thinks.

PART 2 As the family slept, Asad crept out of the hut and sat next to a nearby bush, and reached under it to where he and his friends carefully tucked away their shared copy of Playboy magazine. It was given to them by a teenager from the Reer Dayuusboro clan. It was very difficult for Asad and his friends to understand his strange dialect, and they were unsure of what to make of their customs or the strange images he showed them from his village. Though Asad and his friends could not read, they kept the photos and dreamed of going to this faraway village called Maraykan, where white women walked around wearing nothing at all, unobstructed by veils. He saw how his mother struggled to saddle the camels and herd the goats in her tent-like garb, and he knew how his father beat her and his sisters for showing their wrists. He knew he had to leave this place soon, he knew he had to get to Maraykan, where he heard there was peace, freedom and prosperity. But how? The following morning, Asad goes to a local qat dealer named Indo Cas - who owned a small shop that sold audio tapes, cosmetics, AK47s, anti-aircraft missiles, and of course, qat - who he knew had managed to get some people out of Somalia with his Yemeni connections. Asad tried to find Indo Cas’ hairline as the man pondered over the logistics of taking a young boy across the sea on one of the overcrowded vessels. His yellow teeth with flecks of green glistened when he smiled at the boy and agreed to take his small lion in exchange for a spot on the boat; the lion could, after all, keep him company during his late night, solitary qat chews. A woman with a young child strapped to her back appears behind Asad and begins complaining to Indo Cas for the poor quality qat he sold her, and the baby begins to cry. Indo Cas tells Asad to arrive at the port at midnight - or close to it, since neither of them owned watches or could tell the time if they did - to board the boat bound for Yemen. Asad begins walking through the market in the centre of the town, and overhears a group of older men discussing politics in front of another storefront. The religious extremists have taken over the village adjacent to us, one man said, and they have started to lash women wearing bras in the street. Good, another old man said, I don’t like those things anyway, they are misleading like the devil. They were soon joined by the oldest man in the village, Oday Jajaban, whose laboured gait seemed more inspired than usual, and his henna-orange beard looking even brighter than Asad remembered it. No one is certain exactly how old Oday Jajaban is, but some say he fought in both world wars for the Italians. Others say he is a jinn who has been alive for over 200 years. But what no one disputes is his wealth and good fortune, as the husband of three women from respectable clans, who birthed 30 sons and only two girls, what some in the village consider a miracle from God. But today his old, cracked face excitedly announced his new engagement to his fourth, a young woman who he was sure would produce more sons to carry his name and his wealth. Well tell us her name, the old men exclaimed. Asad couldn’t believe it. It was Hodan, his 13 year old sister. TO BE CONTINUED

Wadani;930782 wrote: You dont know Alpha yet do u? Apparently not. I assumed by his reaction to my story, he really doesn't know what satire is so I thought I'd explain. Well whether he likes it or not, Asad III is coming soon

Alpha Blondy;930773 wrote: NO ii bar. Satire is a genre of writing that involves using irony, sarcasm, parody, etc in order to make a critique or ridicule something. What you recognized as negative, offensive and stereotypical is precisely the point -- that's how I felt about the original film, so I am mocking it with a continuation of the story.

Alpha Blondy;930655 wrote: i've NEVER witnessed such negativity and stereotypical BS my whole life. its a great SHAME you think this of your culture and people. Do you know what satire is?

Wadani;930408 wrote: Loool right? Trash wallahi. I'll help them out by presenting Asad II: Part 1 After walking through the market of his sleepy fishing town with his "catch," Asad visits old man Gacme (he lost his hand in a landmine explosion during the civil war), who reminsces about what Somalia was like before women wore tent-like religious garb and could sunbathe half-naked on the sandy beaches. Since no one in his town has ever seen a cat before (but see lions on a daily basis, and so can relate the strange creature's resemblance to its larger cousin), Asad continues to explain to the impoverished, illiterate villagers about his find as he walks home. The camera cuts to scenes of women peering out beneath their veils, several AK-47s and a rocket launcher, a toddler with a protruding belly, crying while his mother swats flies away from his face, before zooming in on bullet holes in the wall behind them and cutting to the next scene. Hearing yelling and slaps outside of the hut he shares with 10 people, Asad listens at the door and realizes that his father has returned home with a second wife. His mother's battered face shows both physical and emotional distress, but she resigns herself to the fact she has no control as a woman in a deeply patriarchal society. And your useless daughters, his father says, what man will want them if they have not been cut? What will protect their modesty, and prevent them from engaging in shameful behaviours like the infidels? Asad continues to listen as his mother promises she will take the girls to the old woman in the village responsible for circumcisions tomorrow, Faro Dheer. It is only then, she says, that they will be ready for us to arrange their marriages. A friend calls out to Asad to let him know that Al-Shabaab religious extremists are closing in on the town, and that he's received word that they have banned sambuusa, Asad's favourite snack. The small lion wimpers in his arms, as if confirming with the movie watcher's fears that no good can come from Islam. The distant crackling of gunfire can be heard in perfect harmony with the call to prayer. TO BE CONTINUED

Every Western cliche and caricature of Somalia in 17 minutes. I'm surprised they didn't manage to work in female circumcision somewhere. Trash.

brainblaster456;930074 wrote: My favourite and most pleasurable Tree is the Frankincense tree: http://www.bubblews.com/assets/images/news/1353095902_1358809962.jpg http://im.ft-static.com/content/images/2a402b56-66bc-11e0-8d88-00144feab49a.img Sorry brainblaster, I didn't see your post when I posted mine

Boswellia frereana (known as Maydi, or Yigar in Somalia), one type of tree that produces frankincense (luban, or foox) from the sap found in its bark. Frankincense is only found in northern Somalia, Yemen and Oman. The production and trade of frankincense and myrrh have a long history in the Horn region, and some of you may be familiar with Queen Hatshepsut's voyage to the "Land of Punt" for these prized aromatic resins.

Alpha, are you going to fully engage with any of the points I made ("this is what it is because I said so, so you're wrong" is not engagement)? Simply saying that something is erroneous without making an argument to the contrary or showing how the other person's argument is factually incorrect contributes absolutely nothing to this discussion. Even Xaaji Xunjuf's racist conjecture is more productive lol

So poorly equipped they defeated the Italians with Remington rifles? Before turning them on us, and doubling the size of Ethiopia at the turn of the 20th century? Anyway, it's pretty clear you either have no idea what you're talking about or the hatred you have for the Oromo is so intense that you don't care for historical accuracy, so I'm just going to bow out of this circular discussion.

Xaaji Xunjuf;930030 wrote: Safferz you see oromo as one ethnic group but in reality socially politically and even traditionally and genetically and historically they are not the same.These people at the beginning have been fighting for others , its not my opinion its a historic fact that shewan oromos played a significant role in subjugating other oromos under Abyssinia. For example the likes of Muhammad ali who was an oromo the son of ras gusha he ruled much of Gonder and wollo highland Ethiopia, he later converted to Christianity. Or another oromo tribal chief Liben emede who wed his daughter to the Tigrayan king Yohannes.Or taitu betul the wife of King Menelik or ras mekonnen meneliks first cousin another oromo the father of haile selasie .Since is Ethiopia is both a paternal and maternal society and there are many other cases oromos played a significant role and helped others to subjugate them under Abyssinia. Ofcourse some opposed the Abyssinian expansion like the eastern arsi oromos but it was to late there were already millions of Oromo,Amharic speakers fighting for Abyssinia and its expansion in every corner they were even the footsoldiers who fought in Somali galbeed in the late 19 century.Thats why you have till the day of today some supporting OLF and some ultra nationalist Ethiopians.These people have nothing to do with us and this is topic is an insult to Somalis,i urge the admins to delete it. Sure, and likewise the British had an entirely Somali force called the Somaliland Camel Corps whose job it was to plunder Somali villages and expand British rule. Colonialism (Ethiopian as well as European) could not have been sustained in Africa without coopting indigenous leadership and institutions, and Somalia was no different. The British called their system "indirect rule," and if you look at the numbers of whites vs. Africans, it's clear they could not have ruled us without some Somalis helping them. Who do you think made up the forces that fought Sayyid Mohamed? Do we not still have Somalis today who rub shoulders with Western powers for their own gain, to the detriment of the majority? I'm only bringing this up because I fail to see your point here, and the vitriol you're directing towards the Oromo can be applied to us as well. When you say they are a "submissive people who have no quality," a threat because of their numbers, etc you sound EXACTLY like the people who conquered them and the language they used to justify it, and I say this as someone who has read many Ethiopian writings about the Oromo and Somali.

Alpha Blondy;930025 wrote: i won't be swayed by your attempts to over intellectualise this discussion and further entice me into a trap that's inescapable. laakin, the facts remain harari's are NOT habeshi. thank you. Al. What facts have you presented here? But if you say so...

Alpha Blondy;930005 wrote: what are you talking about Saffz? Hararis are not habeshi. these people are descendants of muslim emigrants to Abyssinia. Why do you consider Habesha and Muslim mutually exclusive? Xaaji Xunjuf;930012 wrote: First of all these are linguistic branches u are talking about, there are Somali clans with in the harari ethnic group and Somalis ruled harar the hararis have afar in them turks Arabs Somali clans oromo clans.Amharic language is Semitic grammatically but heavily cushitic, even though i do not like to use those terminologies because they were introduced by European anthropologists. There is no cushitic origin or ethnicity in the conext of ethnic origin. These terms were used by those Europeans to divide Africans in branches oromos afars sahos agaws are not descendants of King kush there is no genetic proof for that. The oromos some think they are Amahra and want to be like them some in the south in jima and orma and omo oromos just act like their nilotic cousins. Oromos played a significant role in subjugating themselves Oromos fought for Menelik they were his closest allies. Somalis when the Abyssinians invaded Somali galbeed there were no Somali nomads fighting for menelik. Somalis are nothing like oromos , the gallas are submissive people and have no quality but there are to many of them they can be a threat to our region. Sorry, but there's nothing factual, historical or even sensical about this comment, it's just convoluted thinking and a racist diatribe masquerading as argument. You sound like an Ethiopian.

Xaaji Xunjuf;929984 wrote: Carafaat oromos have nothing to do with Somalis , oromos are Ethiopians they are not closer to us than their Habashi cousins , the only oromos that have some sort closeness are the arsi oromos and we brought them islam. Somalis are closer to the Rendile and Afars and Hararis. They are indeed the majority ethnic group in Ethiopia today, but only because of Ethiopian conquest and subjugation (like the Somalis in the eastern part of Ethiopia). Hararis on the other hand are Habesha - Semitic speakers like the Tigray/Tingrinya and Amhara - so why do you believe they are closer to Somalis than the Oromo? The Oromo are a Cushitic people like the Somali.

Alpha, how about answering some of my questions first, instead of responding with more questions? You haven't actually said anything here to defend your critique when a few of us have pressed you on it. You're the one who raised the example of the Elgin Marbles, why don't you explain why you did and what relevance that has to the discussion at hand (Sada Mire and the preservation of Somali material culture)?

Listen to Dur Dur Band here: http://pitchfork.com/reviews/albums/17612-dur-dur-band-vol-5/ Dur-Dur Band members Sahra Dawo and her husband, Abdinur Daljir, at their Global Mall shop in Columbus By Kevin Joy The Columbus Dispatch Saturday March 23, 2013 10:08 AM In recent weeks, Columbus-based, Somali-born musician Abdinur Daljir has drawn press accolades more commonly bestowed on American rock stars. Pitchfork, a picky and powerful music website, called his global pop “a superb glimpse of what was” and touted “synth lines and accent percussion that would sound at home on Phil Collins’ No Jacket Required.” The Chicago Reader alternative weekly deemed his jubilant melodies “too good to ignore.” And a Daljir song was named a “track of the week” in the culture pages of The Guardian in London. Never mind that the 25-year-old material is mildly distorted from a lifetime on a warped cassette and sung in a foreign tongue. Thanks to an unlikely listener, the vintage fare has found a new platform. “It doesn’t surprise me,” Daljir said between sips of lentil soup over lunch at African Paradise, a North Side restaurant serving the cuisine of his native Somalia. “I used to be popular.” His group, Dur-Dur Band, thrived in late-1980s Mogadishu — a time when, despite communist rule, the ocean-side capital bustled with art, music and literature. Dur-Dur Band, Daljir said, means stream — “a stream of music, a stream of wisdom, a stream of lyrics; melodious voice.” It also reflects the title of a lengthy Somali poem. Although most other musicians of the period spread politicized content as government employees, his crew maintained its independence — as “a bunch of young people who said, ‘Let’s form our own band.’  ” They sang of “love and affection,” he said. At its peak, the ensemble boasted 12 members — including Daljir’s wife, singer-pianist Sahra Dawo — and traveled to festivals in Ethiopia, the United Arab Emirates and Yemen. As their country fell into chaos in 1991 amid a civil war — in 1993, it was the site of a deadly U.S. military intervention, depicted in the film Black Hawk Down — Dur-Dur players fled to Ethiopia before scattering. Two have since died. Daljir and his wife had intended to return to a peaceful Somalia, but “We spent 12 years waiting for that,” he said. Both immigrated in 2004 to join relatives in Columbus, where they operate a music store in the North Side international marketplace known as Global Mall. Somalis in central Ohio are aware of Dur-Dur Band’s one-time celebrity.“Back in the day, they were as big as Michael Jackson,” said a barber who has a shop in the same complex. The couple still performs occasionally but not in the grand hotels and soccer stadiums of the past. Music fuels a hobby, not a paycheck. A big boost came recently from Brian Shimkovitz, a Chicago native who, during Fulbright studies a decade ago in Ghana, took a shine to foreign sounds. Many of them — Daljir’s work included — had been relegated to castoff cassettes. That led to Awesome Tapes From Africa, a label and blog that Shimkovitz, 32, runs from Berlin. On Tuesday, the label rereleased the 1987 Dur-Dur Band effort, Vol. 5, on iTunes and Amazon. com. True to the album’s humble origins, a limited-edition cassette is also available. “This just seemed really funky and really interesting,” said Shimkovitz, who once worked for a New York publicity company that includes Bjork and the Black Keys among its clients.“I want to see these artists have a chance to tour and build their audiences.” But finding Daljir wasn’t easy. Shimkovitz scoured the Web to find journalists and Somalis connected to the musician, who seemed to have dropped off the radar. The search ended with Jibril Mohamed in central Ohio. Mohamed, an Ohio State University lecturer and the leader of the Somali Community Access Network in Columbus, didn’t know Daljir but was familiar with him and the group. “Their music has stayed alive,” said Mohamed, who helped the parties connect. Shimkovitz and Daljir will split 50-50 any Dur-Dur Band sales. From Paul Simon’s Grammy-winning Graceland and the indie jangle of Vampire Weekend to Somali-born hip-hop songwriter K’N aan, African sounds have experienced successful crossovers. And, with the Internet broadening tastes, Shimkovitz sees potential. “People are going farther and farther from the typical pop music,” he said. Daljir, who declined to give his age, is planning more original material and a Dur-Dur Band reunion concert, to take place in May in London. Also bolstering his spirits is the situation in his homeland: “the most promising time,” he called it. In January, the United States formally recognized the Somali government — for the first time in more than two decades — because of the newly elected president and parliament. Combined with potential new gigs, Daljir thinks the moment is prime for an encore. “The goal of us being in music was to take Somali music to the global level,” he said. “The fact that it’s being recognized and it’s moving up the chain, that’s a very encouraging sign that we have done something good.”

Alpha Blondy;929829 wrote: Safferz, are you familiar with the Elgin Marbles? Yes, but how is that comparable to Sada Mire? She is a Somali who is facing immense challenges trying to preserve material culture in a resource poor and conflict/post-conflict context. She emphasizes local knowledge and protection of local sites, but if for some reason certain artifacts risk destruction and deterioration in Somalia, why is it a problem if she sends them to Europe for preservation? *Ibtisam;929877 wrote: I wonder what become of this project? I know she took sometime off to have her baby and then I never heard anything else back. It was a good initiative. We need Somali archives not just for arts- so much history lost. I feel sad every time I see 90 something year old person passing away with all their experience, memories and knowledge. Truly depressing. We HAD Somali national archives, and I've been trying to figure out whether anything remains there in Mogadishu and what happened to local and regional archive offices. Indiana University has a significant collection of Siad Barre era materials (especially political posters, audio recordings, and Somali language books/publications), and I've managed to collect some stuff from people's personal collections. I remember asking an elderly man what happened to district level documents from British Somaliland (dispatches to London and major documents can be found in the UK, but most African countries today have kept the local/regional documents in their own archives) and he told me the first Somali governor of northern Somalia burned EVERYTHING after independence because he associated it with colonialism. I wonder if the dictatorship's documents were similarly destroyed during the civil war

How is she a self-hater? Or a pseudo-intellectual? She's dedicated her career to the identification, study and preservation of Somali archaeological sites and artifacts. It was her initiative to create a ministry of antiquities in Somaliland for the protection of these sites. And if artifacts risk theft, desecration and neglect in Somalia, what's wrong with an institution outside of Somalia with better expertise and resources preserving artifacts for us until we develop our own institutions to protect them?