Hadraawi: the eternal voice of Somali poetry

Somalis globally mark the second anniversary of the death of towering poet, Mohamed Ibrahim Warsame, widely known as Hadraawi

A quiet anniversary passed on 19 August, marking the second year since the death of Mohamed Ibrahim Warsame, widely known as Hadraawi, a giant of Somali literature. Across the globe, Somalis and admirers of Somali poetry commemorated the occasion. Social media was soon filled with quotes from his poems, clips of his old interviews, and heartfelt tributes to the late literary legend.

In the Western world, poetry has traditionally been seen as an intellectual pursuit, a refined art reserved for a select few. However, for Somalis, poetry is deeply embedded in everyday life. As Said Salah Ahmad highlights, Somali clan leaders were often expected to have poets among their trusted advisors. In a society with little written tradition, these poets played a crucial role in preserving historical events through verse. They captured the essence of grand weddings, years of prosperity, and fierce battles, embedding these narratives into the collective memory to be passed down through generations.

Like the poets of Somali history before him, Hadraawi has devoted his life to the preservation and the elevation of the Somali language with his vast literary imagination. 

‘‘I must be devoted to Somali 

develop through Somali 

create within Somali 

I must be rid of poverty 

and give myself for my own mother tongue.’’ 

[Dhigaalka Far Soomaaliga, Hadraawi] 

Regarded as one of the greatest Somali poets, Hadraawi’s work is deeply embedded in the values, experiences, history, and aspirations of his people. Born in 1943, a year when the flame of independence began to spark brightly among Somalis, he hailed from the Togdheer region, named after a river that flows through it.

Growing up in poverty, Hadraawi embarked on his first significant journey when he moved to the port city of Aden in Yemen with his uncle, leaving his family behind in pursuit of education. This marked the beginning of a life filled with travels that would shape his poetic vision. Even as a child, the power of his words was evident, captivating his peers with vivid stories of lions, jackals, and hyenas. This early talent for storytelling foreshadowed the profound influence his poetry would later have on the hearts and minds of his people. 

After Somalia gained independence, Hadraawi relocated from Aden to Mogadishu, the nation's bustling capital. He joined Radio Mogadishu, a vital institution from the colonial era in Italian Somaliland, which was renowned for broadcasting in both Somali and Italian. Alongside his work at the radio station, Hadraawi lectured at universities and held various roles in government institutions. It was during this period that his poetry and plays began to earn widespread acclaim.

Hadraawi’s storytelling on Radio Mogadishu captivated many Somalis, and his work frequently focused on the theme of love. He crafted enchanting poems like Todobaadan Midhabley and wrote the lyrics for iconic songs such as Baladweyn, Jacayl Dhiig Malagu Qoray?, and Cajabey, Cajiibey. These songs were immortalised by legendary Somali singers such as Hassan Adan Samater, Mahamed Mooge, and Haliima Khaliif Magool, whose voices continue to resonate with listeners today.

Hadraawi did not shy away from the turbulent forces shaping his society. As the idealistic fervour of the early post-independence years gave way to the repressive Siad Barre regime, Somalia entered a period of intense intellectual resistance. In a nation where free expression was almost a cultural norm, Hadraawi used his poetic talent to challenge the government.

By the 1970s, his work increasingly focused on social and political themes, tackling issues of injustice and inequality with both boldness and intelligence. This shift positioned him as a prominent critic of Somalia’s socialist-leaning political structure and its authoritarian military regime. Hadraawi’s words became his weapons, a means of resisting Siad Barre’s oppressive rule, which began with his seizure of power in 1969. Though Barre sought to silence him with an iron fist, Hadraawi's voice could only be subdued temporarily. 

In this period, Hadraawi, together with Gaarriye, Siciid Salah, and Musse A. Elmi, co-authored the play Aqoon & Afgarad. He also contributed to the Siinlay poems, a collaborative poetic chain created with other poets. These works, along with two other plays, brought him into direct conflict with Barre’s regime, showcasing the power of his dissenting voice. 

Asha Jamac Diiriye, the only woman from Djibouti to join the Siinlay poetry chain, inspired Hadraawi in his ongoing fight against social inequalities. She sent him a symbolic gift: a sword, representing the struggle for the Somali cause, along with the Somali flag. However, Hadraawi believed that his battle required no physical weapon. As he expressed himself, his weapon of choice was poetry: 

“The only weapon I carried was my poetry... Poetry is a weapon we wield in both war and peace. When we need to convey a message, the most powerful way to persuade is through poetry”

When Siad Barre, a staunch proponent of scientific socialism, recognised the unifying power of Hadraawi’s words, he became fearful that Somalis from all regions might unite against him. In retaliation, Barre sentenced Hadraawi to five years in the notorious Qansax Dheere prison, where he was incarcerated from 1973 to 1978.

Hadraawi’s imprisonment emerged as a powerful symbol for the Somali people—not because he was the only political prisoner, but because his suffering reverberated throughout all Somali-speaking regions. Even those who did not align with his political stance petitioned Barre for his release. Seeking to break his spirit, Barre offered Hadraawi freedom on the condition that he repent, demanding a letter of apology. Hadraawi, steadfast in his convictions, refused. 

During this period, Somali society yearned deeply for Hadraawi’s poetry. For two years following his release, not a single word was heard from him, leading many to believe that he had abandoned his craft. However, the reality was quite different. Those two years were a time of deep reflection for Hadraawi and his close friend, Gaarriye. This introspective period gave birth to Deelley, one of the most significant political poetry chains in Somali history. Together, Hadraawi and Gaarriye re-emerged as poets and prominent public voices, expressing their resistance to the Barre regime through verses that resonated with the Somali people’s struggles.

After his release in 1978, Hadraawi became head of the arts division at the Somali Academy of Science, Arts, and Literature. However, by 1981, his refusal to praise the government forced him to flee to Ethiopia. In 1982, he joined the Somali National Movement (SNM), aligning himself with exiled members of the Isaaq clan in their fight against Barre’s military regime. It was during his exile that Hadraawi composed some of his most powerful poetry of dissent.

Prominent poems like Deelley, Hanbaber, Hargeysi ma Toostay, Bulsho, and Sirta Nolosha became emblematic of the political turmoil of the era. When Barre was overthrown in 1991, Somalia descended into violent factionalism. Without the state’s protective authority, many Somalis sought the ancestral security of their clans, while the less fortunate fell under the control of brutal warlords.

The horrors of the Somali civil war weighed heavily on Hadraawi. His inner turmoil during this period could be reflected in the words of renowned Turkish poet İsmet Özel, who once asked: “Was it in vain, the trouble that haunted me along the way? Is the cycle complete now? Am I back to the beginning again? ... You cannot go back to the beginning. You have walked such a path that you could only come back by destroying the way back.”

For Hadraawi, a cycle had indeed been completed, but the hardships he endured were not in vain. His sacrifices—imprisonment, repeated exiles—were all made for his homeland. He was among those who had “destroyed the way back.”

Somalia had become too dangerous, where a stray bullet could take his life at any moment. With great sorrow, Hadraawi left his homeland and moved to London, where he lived in exile until 1999. 

‘‘Try to ask the slaughtered bodies, 

drying corpses and scattered bones 

the reason for their deaths; 

listen to the screams that answer, 

the heart-piercing groans 

and the children’s wails: 

if that's what you saw, 

if that's what you heard, 

Rashid, what would you do?’’ 

[Sirta Nolosha, Hadraawi]

At the heart of contemporary Somali culture lies the timeless tradition of oral poetry and Hadraawi, a revered custodian of this cultural legacy, has always crafted profound verses that enrich and amplify the Somali identity. In times of adversity, when the society was fractured and the people’s spirits were shackled, his poetry became a beacon and a source of hope. Through his words, he nurtured a collective consciousness, striving for a free society.

Hadraawi’s life has been a relentless pursuit of social development, justice, and peace—the very pillars of his faith. Even in his absence, his spirit endures in Somali regions of Africa, where his legacy is immortalised. His words and historic struggle continue to define and inspire generations.