The Sub-Genre of Somali Lyrical Content Divergences

[Paragon]

On the onset, one thing that can be easily understood from almost any Somali song is that, in this genre of Somali literature, and in most cases than not, the dominant subject matter dealt with is love. All types of songs; happy, sad or regretful lyrics, happen to be only concerned with love. To those unfamiliar with Somali literature, the composers’ predominant musical preoccupation with the subject of love may seem lacking in compositional diversity, but this isn’t entirely the case.

 

Diversity in this genre does not come with differing subjects, but rather with the divergences of lyrical ‘content’. While love is the universal medium of musical composition and expression, the message composed, or expressed in songs, distinctly creates genres within the overarching genre of love songs. For example, in these songs, there are sub-genres that can be classified thus: advice and warning, lamentation, social and political critique, appreciation, commendation and praise, contemporary gender roles, history and so forth and so on.

 

Thus, in order to provide a rough and rudimentary introduction to content divergences into this musical genre of Somali literature, I will go forth and sample one of Hanuuniye’s songs (a man also aptly called Mooge dile – who is said at his introduction to the Music scene, to have driven Mooge out of market in Northern areas of Somalia) Somali song, and place it in its respective contently sub-genre.

 

Unlike, for example, modern English music, lyrics of Somali songs are bound by a set of classical compositional scales – principally alliterations- that identify them as songs, and sets them apart from willy-nilly compositions that might be passed on, for public consumption, as genuine songs. A song must be composed with the adherence to one alliteration – such as ‘a’, ‘b’ or ‘d’- from the start to the end, and must also have a universal syllabus count that it follows.

 

To quote some stanzas of our first song’s lyrics - which can be clearly understood as belonging in the category of ‘advice and warning’ - on the alliteration of ‘w’ or ‘wow’ and of the ‘7’ syllabus - making references to history and accumulated experience:

 

Dad waxaa u wacanoo

Uguguna wanaag badan

Qofki waanadaadiyo

U dul qaata hadalkee

 

Finest amongst humanity

Endowed with most good

Is the heeder of your consul

And patient with all you say

 

Adaan kuu warramaye

Weedhayda maqale

Wadnaagu yuu nicin

Naxariistu weligii

Kama wareedhe ee

 

O’ for you I narrate this

So hear my very words

Your heart mustn’t hate

A kindness in all your life

And stray may you not ever

 

Waraabaha ku cunaya

Wehel kuuma noqoye

Qofka laba wajiilaha

Hala dhiganin wacade

Jacayl aan lagula wadin

Waqtigaada yuu lumin

 

The Hyena feasting on you

Can not be your company!

With the two-faced person

You mustn’t pledge your oath

For an unreciprocated love

Must never waste your time

 

The quoted lyrics above, albeit generally dealing with love, do not necessary reflect the singer’s own concerns. Rather he is concerned with the safety of youngsters ill-experienced about the pitfalls of love. The interesting thing about this song’s lyrics is that, while the subject still remains love, the metaphors and persuasive words used to give strength to the advice given, ‘wisdom’ accumulated through his own long experience is what the singer appeals to. The use of words such as ‘Hyena’ and ‘two-faced’ are in the song, to warn against the cruelty and deception that sometimes accompanies infatuations or ‘fake’ love.

 

Furthermore, in other unquoted stanza of the song, the singer places emphasis on the importance of human histories ‘older than us’, and how it is pertinent for one to seek the counsel of those informed about these histories, so as to arrive at a clarity when in doubt or confusion. In addition, the singer’s last warning in the quoted stanza of his song, he touches on time, and how time should not be wasted on ungainly ventures such as dishonest ‘love’.

 

In essence, a great number of Somali love songs like this one seem to straddle between inter-disciplinary subjects, while still sheltering under the cloak of love. Politics, history, religion, society, nomadic philosophy, imagery poetry, etc. can sometimes be found in the lyrics of a single song. The interpretive richness of Somali music hasn’t been given much attention by musicologists and literary circles, and such neglect wastes a great deal of material that can contribute to the emergence of an overall nomadic philosophy.

[The_Siren]

*Smiles* Very nice.

[Haatu]

The man is very talented

 

bravo paragon

[Paragon]

^J, thank you sxboow. Tol baa tahay.

 

Siren, thanks my love.

[Haatu]

Paragon that was a good first lecture. Waiting for the second one

[Paragon]

Bacda Ramadaanka Idin Alle. Mahadsanid, sxb.

[Nematoda]

I couldn't find a better way to waste minutes of my life well done .

[Paragon]

^You didn't understand it?

 

You're welcome, Lil'Dukey!

[Coloow]

Paragonoow,

 

I used to be a true believer of somali lyrics. I used to think that most of our composers were just as good as Mozart, Bach , and the rest. But, in the last few years, I have come to the conclusion that we are at the lowest part of the ladder when it comes to composing (maybe I have taken an evolutionary perspective on everything ).

 

When I have the blues, I can't help but recite the lyrics of " Cabdulqadir Jaamac Joof"- real blues but lately I found that even the "magaalo joog xume Xaashi" could utter these words. There is no sophistication.

 

In addition, our society (somali) have socially constructed ( I hope I don't get some sociologists on my heel for utterung social constructivism) what is good lyrics. You see my friend, explaining and describing life in waranle territory i.e geel, salaaqo, sabo etc is not "murti" which has has become the magna carta of somali sugaan. You could also talk about cows, chicken, diiq, etc (just as Axmadeey Cabdi Gaashaan does) but according to constructivist perspective your are murtiless.

 

Sorry to deviate from the core of the topic but I had to say that.

[Paragon]

^Waranle, Lol. As a familiar fixature in my local xaafad would say 'It's awww'rriight!"

 

I think can I have gone through that phase of depreciation in regards to Somali literature before. However, I think one's state of mind at the moment (especially the political mood) can sully their outlook at all things Somali.

 

Marka, Insha-Allaah, I will not stand before a pit-bull for now. I will, as it were, clear off and hope my clothes aren't red.