Coexistence, Redefining Africa, Guest Country- Egypt and Knowledge Production in the Global South

Coexistence, Redefining Africa, Guest Country- Egypt and Knowledge Production in the Global South

21 July 2019- Fatuma Abdishukri Ahmed

The 12th Annual Hargeysa International Book Fair (HIBF) officially kicked off on 20th July 2019. The purpose of this year’s book fair is to celebrate and promote literature, culture and arts. It also aims to establish links that preserve and promote Somaliland and its citizens. The book fair has become the window in which Somaliland accesses the international space. Dr. Jama Musse Jama fervently expressed the need for the country to focus more on education particularly higher education in order to be able to create human and economic capital for Somaliland.

HIBF has adopted the theme of coexistence to be central to the events of this year’s book fair programme. Regrettably, no continent today is free from the ailments of political and ideological conflict. In varying degrees, conflict remains a pertinent issue to all countries in the world. Coexistence is and should be the breeding ground for peace and prosperity. Coexistence enables and allows people to not only build together but to also understand one another. Achieving coexistence is an ambitious mission that can only be achieved through commitment, dialogue and compromise.

Egypt is this year’s guest country. It is fitting to have Egypt as the guest country in relation to this year’s theme of coexistence. Egypt coexists as both an African and Arab state and furthermore its citizens coexist despite coming from different religious and socio economic backgrounds. Egyptian Ambassador, Mohamed Emad El-Gimw expressed that Egypt values the brotherly relationship that has existed between Somaliland and Egypt for many years. Somaliland has always had an appreciation for Egyptian academia. A number of young people from Somaliland seek their higher education from Egypt and further to this, majority of foreign educators and health professionals in Somaliland are Egyptians.

The keynote speaker of the day, Dr. Ouma Obama articulated the need to redefine Africa and development aid. Africa as a continent is a victim of definition; it is defined as a poor continent. Inhabitants of the continent need to stop viewing themselves as victims. The continent needs to change its dependency mentality of seating around and waiting for help. Dr. Ouma Obama also talked on how development aid institutionalises poverty. This is because development aid solely focuses on the ‘helping’ aspect rather than focussing on more sustainable economic aspects such as trade.

Keynote speaker, Dr.Ouma Obama

Panellists, Professor Michael Walls, Dr. Mpalive Msiska and Professor Madhu Krishna discussed knowledge production in the global south. The panellists discussed how at the rhetoric level there is a lot of commitment and goodwill on the need to have equal partnership with researchers from the global south yet at the implementation stage the complete opposite is practiced. The panellists noted that researchers from the global south are only involved in the data collection process. There is lack of capacity building within research projects since researchers from the global south are not involved in research design, they have no say to what kind of data needs to be collected and analysis of the research is done in the global north. The impact of a research project is designed and defined by the global north. All the aforementioned practices create a very distorted research environment.

HIBF traditionally has been a safe space for young local creators to discuss and display their talents and passions. This year was not any different as the evening sessions were primarily youth centric, where very talented photographers, poets and artists were given the platform to showcase their work.

Performance by Hido Academy

Commitment and the Poet: A Review of Maxamed Ibraahin Warsame “Hadraawi”: The Poet and the Man

Commitment and the Poet: A Review of Maxamed Ibraahin Warsame “Hadraawi”: The Poet and the Man

Ubaji Isiaka Abubakar Eazy

Within the literary sphere, there has oft’ been this argument of what the actual role of the poet ought to be in society. On the one side of this argument are those who believe that the poet does not owe society any allegiance and should be contented with just documenting his thoughts (commitment to art) while on the other side are those who believe that a poet’s loyalty is to his people and the society he belongs. Poets who find themselves in the latter group are of two sub-categories; the first group are those who are content with just pointing out the ills in the society, using their art to incite social revolution, being the voice of the oppressed and downtrodden, and act as the vanguard of society; pointing out the path that society should go even though they do not engage the society physically. However, poets who find themselves in the second subgroup do all that those in the first subgroup do, but they are not content with just documenting the ills in the society alone; they go on to engage the society physically. This second group of poets see themselves as active participants and leaders of change in society; some, like Christopher Okigbo, had dumped the pen to pick the gun, some, like Ngugi wa Thiong’o and Jack Mapanje, had been incarcerated for daring to write against their governments, and others, like Wole Soyinka, have led numerous protests against societal injustice. It begins to appear as if poetry is beyond art, it is also commitment to one’s society. Today, we shall review a collection of translated poems of a famous and legendary Somali poet; Maxamed Ibraahin Warsame (Hadraawi) and see what the book has to say on the issue of “commitment”.

Maxamed Ibraahin Warsame; popularly known as Hadraawi; is perhaps one of the greatest living Somali poet, playwright, and philosopher. His poetry is composed in a sublime form of the Somali language employing vivid images and sound devices (such as alliteration)—indeed, many Somalis can recite his poetry offhand and most of his poems have musical renditions already. His poems bother on issues related to war and peace, love, societal mores and values, maladministration in governance, justice, patriotism, and many more. Hadraawi did not just write, he was actively involved in the changes that took place in his society in his younger days. For daring to criticise the despotic government of Siad Barre in a play he composed, he was subjected to internment where he rejected inking an apology as the only condition for his release. Upon release, he fled to Ethiopia where he joined the Somali National Movement (SNM), and continued unleashing revolutionary poems. He would later refuse to seek asylum in the United Kingdom, and return to his homeland to singlehandedly lead a march (known as the “Hadraawi Peace March”) appealing for peace and an end to all animosities. Evidently, Hadraawi sees poetry not just as art, but also as a tool to be employed in changing the society for he did not only talk the talk—he also walked the walk. Herein lies his commitment as a poet to his people and society.

The collection placed under scrutiny is titled Maxamed Ibraahin Warsame “Hadraawi”: The Poet and the Man and it has seven of Hadraawi’s poems translated from Somali language to English by WN Herbert et al. The work is a commendable effort, although no one can argue that much of content and form has not been lost in translation.

“Society” is the first of the documented poem in the collection; it bespeaks the imminent fragmentation that was quickly engulfing the Somali society at the time of its composition. Hadraawi; in this poem; identifies lack of sagacity, blame, and greed as the major ills bedevilling his society; the resultant effect of these ills are therefore cowardliness, brutality, and disorderliness.

Wise council: you’re unobtainable!

Blame: you breed without bounds!

Greed: you are unbridled!

Brave horse: you’re hamstrung here!

Brute force: you bare your brainless face!

Sea of disorder: your full volume,

your ebb and flow and breadth—

could I scoop you in this cup? (29)

The poem, “Society”, tells of societal disintegration, brothers fighting brothers, ballooning of trivial issues, irresponsibility and alienation on the part the political leaders, and finally lands on why the poet has chosen to pitch his tent with his people against the rulers; he punctuates every stanza with “would I be so at one with you?”.

You, the people, chose me:

you made your bed in my soul,

wrapped yourselves in my conviction,

used my heart as your pillow.

It’s you who make my lips move:

my fear at your fortunes,

my care at your conditions,

this is what matures me –

when someone defrauds you,

when you cry out for help,

a keen longing awakens my senses

and I begin to recite verse. (31)

Here, Hadraawi accepts that a poet is ordained to speak for his people, to be their voice; he sees their plight and seeks for them a better deal. He says again:

You, the people, chose me:

you granted me good fortune,

loaded me with luck:

if my brazenness burns like an iron

you bestowed that charisma on me;

you ordered me: be purposeful,

compelled me to battle for you.

If disasters hadn’t befallen you,

your best interests not been betrayed,

if your homeland hadn’t burned,

justice not been discarded,

the worth of schooling not belittled

being reduced to slogans,

would I be so at one with you? (31)

Hadraawi clearly intimates to us in the poem that the plight of his people is the muse fueling and propelling the fire of his poetry.

“The Killing of the She-Camel” is the second poem in the collection. Originally part of a play, this poem employs a variety of symbolic metaphors to depict the political situation in Somalia after the takeover by the military junta. Hadraawi cleverly adopts images of animals to hide his meaning in the poem—the result is a work that conveys the poetic ingenuity of the poet.

In the poem, the killing of a she-camel draws all from far and near who struggle to gobble down its meat. It is perhaps instructive to point out here that the camel is an important animal in the economic, social, and cultural lives of the Somali people; it is used as a means of payment (be it for bride price or as an atonement for wrongdoing), as a mode of transportation, and as food. In fact, a man’s wealth was formerly measured by the number of camels in his household. Now, keeping the she-camel alive is of much import for it is only this which guarantees procreation and continual supply of its milk which almost all Somalis consume as beverage. But in this poem, we see the slaughtering of a she-camel with all rushing to get a share. No one thinks that the she-camel being alive is more important to the people than being dead. The she-camel here therefore represents political wealth of the country while its slaughtering refers to the coup of Siad Barre. Everyone wanting a share of the meat connotes the greed with which the junta and its friends plundered the country wealth and flaunted it—”frying it in the glare of the sun”. Hadraawi also points out that there has been a disgruntlement in the allocation of resources in the State in the third stanza. The poem comes with a refrain which is a pointer at the enormity of the task that the junta had taken upon itself; he sees them as the snake which “sneaks in the castle:/although it is carpeted with thorns”.

We see the poet reaffirming his commitment to his society and the struggle against bad leadership in the fifth stanza where he points out that he will neither be a part of their shenanigans nor stop producing the rallying cry until the day of judgment; he even went further to ask that he be tied to the task and never released.

Never will I ever accept

a single insulting slice

from those grasping commissars –

I won’t share a thing with them.

Until the grave’s is prepared

to forego its three yard shroud

or a collar round the neck

since one at least is needed

to cover the naked dead,

I’ll keep rallying and calling

until the day of judgment,

pray my eyes can comfort the dead:

tie me to this task, and don’t

release me from its harness. (37)

Without mincing words, Hadraawi shows the level of his commitment towards the redemption of his society in the next poem titled “Clarity”. Composed as part of a write and response genre of poetry known as “Deelley” by Somalis, it captures Hadraawi’s refusal to admit defeat or be subdued in the fight against the powers that be, even after years of incarceration. He says:

I’ve still not admitted defeat

nor have I withdrawn:

that high inspiration,

that talent I was endowed with,

has not discarded.

When men dedicate to the struggle

and determine to fulfil their duty;

when they ready themselves for the charge,

amass the finest thoroughbreds;

when the reins are on the racers,

I never step aside.

With these words, Hadraawi affirms his pledge to the struggle, he shows that he is a man who abhors cowardice, and would not only write, but be an active participant in the struggle towards liberation.

Hadraawi also uses the poem to address the utilisation of tribalism cum clannishness to divide and rule the people by the political class thereby causing hostilities and discontentment among the populace. He vows to continue fighting against this social malaise of tribalism which was seeking to destroy his nation:

The clarion bell we carry will strike

destroying them like lightning,

those huggers of tribalism,

grubbers in money, who are everywhere

lusting to turn back

all hopeful development

and to despoil our nation –

I CAN’T LET THAT HAPPEN. [Emphasis mine] (41)

Lastly, Hadrawi calls for unity as the only path to peace and development as disharmony could only infer destruction:

Anyone who wants this life

to be serene,

to have savour and feel sound,

there is a path to follow:

people, you prosper

as one unit, as you share in

your shouldering of the burden –

that’s the only balm.

If it weakens in one wing

then its whole end is woe.

Is there any advice better than this,

any further examples you need

beyond this ample explanation,

or do you have something countering the case? (44)

In the stanza that follows this, Hadraawi passes the continuity of the poem to another poet and close friend of his, Maxamed Xaashi “Gaarriye”.

Among Hadraawi’s revolutionary poems documented in this collection, “Life’s Essence” remains a favourite for us. It shows Hadraawi to be not only a great poet, but also a profound thinker. The profundity of his mind can be seen in the numerous pieces of advice he dishes out in the poem. Written in a popular western style known as “dramatic monologue,” the poem reads like an original version of Rudyard Kipling’s “If”.

In “Life’s Essence”, Hadraawi addresses two characters whose voices we do not hear. The characters are Rashid and his daughter, Sahra. In reality, Hadraawi is addressing both the old and the younger generation of Somalis with Rashid representing the old whom had seen much carnage and destruction as a result of war, and Sahra representing the young and unborn generations of Somalis whom he hopes may survive the war and pick life’s lesson from it.

To Rashid, the poem persona tells the horrors of the battle at Sirsirraan. He tells him of the fouled air, the scattered bones, slaughtered corpses, the piercing groans, and the children wails. He concludes that the havoc is the result of decisions made rashly, decisions made in haste, a dearth of sagacity that only points at destruction.

The poem persona praises Sahra’s beauty and lofty bearing as accustomed with “the women of the horn”, he tells her to be clean and retain her beautiful mien, he wants her to apply modesty in her doings, be succinct in her use of words and argument and be polite, and be contented with whatever she has, be respectful of older people and the Somali traditional values, remain docile in the face of injustice and persecution, not to join bandwagon, think outside the box, not to be discouraged in the face of adversities, love education, avoid war, never be afraid to challenge injustice, waste no time in condemning falsehood, and many more. Within, the lines of his numerous and profound advice of the poem persona lays the background of the ongoing war and the pain and havoc which comes with it.

This poem again shows Hadraawi’s patriotism and commitment to his people for he talks and calls for a preservation of Somali values and mores while also denouncing war by preaching peace.

“Settling the Somali Language” was composed at the instance of making an official decree on the orthography of the Somali language. In the poem, Hadraawi conveys his happiness at finally settling a long disputation in what the official Somali script should appear like. In the refrain of the poem, we hear the poet pledging support and devotion to his mother tongue:

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. (65)

The last two poems show a diversion from Hadraawi’s protest cum revolutionary poems, they bother on a subject which many poets have dwelt on before Hadraawi and will continue to deliberate upon after Hadraawi; here, we mean “love”.

The first of these poems is “Amazement”, a love poem which adopts the colourful and elegant language of metaphor to depict the beauty of the lover. Many believe this poem is the most famous of Hadraawi’s poems, since it even has a musical rendition by a renowned Somali singer. For a revolutionary like Hadraawi, love is not a farfetched topic to reflect upon. You see, love is the opposite of hatred and war; hence Hadraawi’s love poems can be seen as a counter reaction towards the hostility he came to witness in his society. Besides, the Somali society is replete with myriads of oral love poetry committed to memory in musical form. By harping on love between a man and his lover, Hadraawi shows that he understands that the basic unit of society is family, and it is only when every man loves his woman and vice versa that the seeds of love can germinate and be cultivated in the society.

The last poem, “Has Love Been Ever Written in Blood!” has a true life story tied to it. It revolves around a love letter written in the blood of the lover. This letter shocks Hadraawi, and leaves him pondering what may happen when next the lovers meet, the enormity of such love and its sincerity. With the aid of a series of rhetorical questions, the poet openly calls out his thoughts on the nature of love.

Maxamed Ibraahin Warsame “Hadraawi” remains one of the greatest Somali poet and thinker. The musicality of his poetry (which unfortunately is lost in translation) composed in his native Somali language makes his poems easily committed to memory by the Somalis, and there has been musical records based on his poems. His poetry is filled with the flora and fauna of the Somali region as the images in his poems are woven via diction which reflects the mountainous terrain, animals, and trees present within his society. The use of metaphors, alliterative lines, and rhetorical questions adorns his poetry with elevated language. Albeit written in his mother’s tongue, the poems rival any best from the Western tradition, and it would not be a travesty to say Hadraawi’s poems even surpasses those of the Western tradition. However, Hadraawi’s is widely admired and revered not only for writing great epic and lyrical poems, but also for standing up for his people, being their voice when it mattered, and walking his talk. We may still not have answered the question of where the commitment of a poet should lie (is it to art, or to society?), but we have no doubts whatsoever of where that of Hadraawi’s lays. Hadraawi saw and used art for the betterment of his people and society.

We must not fail to commend the efforts of the translators (WN Herbert, Said James Hussein, Muhamed Hassan Alto, Martin Orwin, and Ahmed I Yusuf) without whom the work of this great poet (Hadraawi) would have remained in obscurity to many of us who have no access to the Somali language. Much may have been lost in translation, yet does the gain outweigh the loss indeed.

Thank you very much for reading, and let us meet again another time for a different discussion!

© Ubaji Isiaka Abubakar Eazy 2019

Job Announcements

TWO POSITIONS

FIRST: ASSISTANT LIBRARIAN

Title: Assistant Librarian                                                   Ref: RCF-HCC-COJB044-18

Reporting to: Head of the Department of Archive       Job Type: Part-time

Duty Station: Hargeysa                                                   Duration: 1 year (renewable)

 

Organizational Background

Redsea Cultural Foundation (RCF) is an art organisation based in Somaliland that has the aim of promoting reading and creative writing in Somaliland with a particular focus on youth. For the last ten years, RCF has been organising an annual international book fair in Hargeysa, the capital of Somaliland. The HIBF has grown into the largest literary festival in East Africa, attracting up to 10,000 participants each year and writers from across Africa, as well as Europe and the USA. In 2014 RCF opened a permanent cultural centre in Hargeysa, extending the activities of the book fair throughout the year. RCF is recruiting a very motivated and talented candidate, and hereby announcing a new position for Assistant Librarian.

Position details: responsibilities

  1. Library Management

 Librarianship and Information Management fundamentals and concepts.

  • Practical’s – shelving, library classification systems,  reference queries
  • Practical on automated system (KOHA system is preferred but not necessary requirement)
  1. Library Knowledge
  • Processing of information resources
  • Accessioning of library resources
  • Cataloguing – standards and different types
  1. Library Automation
  • Indexing and citation
  • Collections’ development policy
  • Digital depositories
  • E-information sources
  • Open access resources

Candidates with IT background are desired.

What we’re looking for

  • Strong and effective communicator, both written and verbal, with excellent interpersonal skills.
  • Ability to work independently, as well as maintain a positive working relationship with other staff.
  • Flexible, gentle and willing to learn and improve.

Application Procedure

Interested candidates who met the above criteria should sent updated applications letter (motivate your interest to get this position and submit in Somali or English or Both), CV and at least two professional references with contacts to recruitment@redsea-online.org not later than 12:00AM of Friday 14th December 2018 or personally deliver to Hargeysa Cultural Centre, 26 June Street, No. 2, Sha’ab Area, Hargeysa by 06.00PM, Thursday the 13th December, 2018 If you do send it by email, and you do not receive a notification email, please call 063 3628220 or 065 9853666 for confirmation before the deadline. Please indicate “Assistant Librarian’’ in the subject of the email.

Only short-listed candidates will be contacted. An identification ID will be needed for examinations. The successful applicant starts to work from the 1st of January 2019.

———————————————————————————

SECOND: ADMIN AND FINANCE ASSISTANT

Title: Admin and Finance Assistant                          Ref: RCF-HCC-COJB045-18

Reporting to: Director                                              Job type:        Full time

Duty Station: Hargeysa                                            Duration:       One year

Organizational Background

Redsea Cultural Foundation (RCF) is an art organisation based in Somaliland that has the aim of promoting reading and creative writing in Somaliland with a particular focus on youth. For the last ten years, RCF has been organising an annual international book fair in Hargeysa, the capital of Somaliland. The HIBF has grown into the largest literary festival in East Africa, attracting up to 10,000 participants each year and writers from across Africa, as well as Europe and the USA. In 2014 RCF opened a permanent cultural centre in Hargeysa, extending the activities of the book fair throughout the year. RCF is recruiting a very motivated and talented candidate, and hereby announcing a new position for Admin & Finance Intern.

Position details: responsibilities

1. Administration
  • He/she is responsible for supervising the smooth running of all administrative matters of Redsea Cultural Foundation in collaboration with Admin and Finance Officer, in particularly to:
  • Prepare hotel booking and reservation
  • Assists the Artistic Director to organize workshops, trainings and festivals
  • Assists the Librarians in books acquisition and reading space maintenance
  • Coordinate meeting/forums and ensure minutes are prepared and circulated on time
  • Responsible for organizational assets, verify on regular basis and ensure its maintenance.
  • Prepare all Office correspondence
  • Ensure that organizational registration certificate is renewed on yearly basis
  • Ensure that the filing systems for all office documents are updated at all the times.
2. Human Resource Management
  • File and update all Human Resource related documents.
  • Prepare job descriptions for supporting staff (librarians, admin officer, security, watchman, driver and cleaner)
  • Coordinate, monitor and guide the Admin and Finance Officer and subordinates staff
  • Monitor reporting time of the job and monitor  attendance sheet
  • Prepare leave report on monthly basis
  • Assist the Director in the recruitment process
3. Logistic Management
  • He/she is responsible for supervising the smooth running of all logistical matters of Redsea Cultural Foundation with Admin and Finance Officer, in particularly to:
  • Ensure all procurements are managed smoothly and on time according to RCF procurement procedures
  • Responsible for effective and efficient transport management
  • Handle flight arrangements both locally and Internationally
  • Process visa for visitors and staff one week before their arrival
  • Manage overall logistical needs of Hargeysa Inernational Book Fair and other major events.
4. Finance
  • Prepares payments, purchase authorizations, governmental tax and other financial transactions to ensure compliance with staff rules, funder requirements, organizational financial rules and guidlines and national governmental rules and procedures.
  • In close collaboration with Admin and Finance Officer, maintains updated Cash-book and verifies the proper archiving system of any supporting documentation for each transaction.
  • Verifies and approves with the proper supporting documentation of all book keeping matters submitted by the Admin and Finance Officer.
  • Makes sure data inserted in Quick Book system within the working date received and maintains updated the Financial System of the organization.
  • Ensures daily Backup system with external Hard Disks of any Financial Data.
  • Manages and constantly reviews banking arrangements to ensure timely transfer of funds and minimize exchange loses and bank charges
  • Advises the Director on all budgetary and financial matters in particularly financial planning, fund line allocations and new proposals preparation.
  • In close coordination with Director, coordinate replies to finance related audit comments.
  • In close collaboration with Admin and Finance Officer, carries out a bank reconciliation every month and seeks the approval of the Director within the last date of each month.
  • Verifies the budget constantly and prepares monthly forecasting statement with in the last 3 working days of the previous month.
  • Prepares end of month accounts and seeks the approval of the Director within the 3rd day of the next month
  • Prepares quarterly organization financial report
  • Prepares yearly financial report
Position details: Education, Skills and Experience
  • University Degree in Business Administration, Finance or equivalent.
  • At least 3 years working experience with an International or similar Organization in relevant field.
  • Excellent analytical, communication, negotiation skills and interpersonal skills
  • Excellent in writing and speaking in Somali and English
  • Good knowledge in Computer and the use MS Office knowledge are must. Use of Quick Book software is very important add on
  • Ability to work under highly stressful conditions
  • Appreciation of art and culture in general is an important add on
  • Knowledge of EU funded projects in financial procedures is an important add on
Application Procedure

Interested candidates who met the above criteria should send updated applications letter (motivate your interest to get this position and submit both in Somali and English), CV and at least two professional references with contacts to recruitment@redsea-online.org not later than 12:00AM of Friday 14th December 2018 or hand deliver to Hargeysa Cultural Centre, No 2, 26 June Street, Sha’ab Area, Hargeysa not later than 06:00 pm Thursday 13th of December 2018. If you do send it by email, and you do not receive a notification email, please call 063 3628220 or 065 9853666 for confirmation before the deadline. Please indicate “Admin and Finance’’ in the subject of the email.

Only short-listed candidates will be contacted. An identification ID will be needed for examinations. The successful applicant starts to work from the 1st of January 2019.

REDSEA CULTURAL FOUNDATION IS AN EQUAL OPPORTUNITY EMPLOYER

Somali Studies International Association

Somali Studies International Association was established in 1978. It is an organization that has played a central role in defining the field of modern Somali Studies, and since its establishment, it has organized 12 International Congresses, and many other regional and continental conferences. Out of the 12 International congresses, only four took place in the Somali speaking territories. 40 years later, it is high time for SSIA to hold its Congress in the Horn of Africa. In fact holding 2018 SSIA in Hargeysa will enable Somali studies to reconnect with the current reality on the ground. The last time a full congress was held on Somali soil was in 2001 in Hargeysa and in 2007 Djibouti co-hosted.

The initiative would assist young Somali scholars to close the feelings of disconnect they feel with academia as whole and thereby positively encourage young Somalis to be more active and feel ownership over scholarly contributions. Additionally the legitimate subjects of Somali Studies are not necessarily Somali’s who have avenues to participate, object, contribute and debate in the Diaspora, but rather local Somali people in Somali territories that lack the academic platforms to engage with Somali Studies beyond being subjects of study. Holding it here in conjunction with state and private Universities will provide legitimacy and access to a hard reached population. Local Somali scholars are missing two fundamental things: firstly institutions to provide backing of their work and secondly the recognition and platform to showcase their work. For this reason  2018 SSIA congress will be jointly held in Hargeysa by Somali institutions and some western Universities who already work in the Somali territories to benefit key stakeholders. Please read more here.

Shaqo Bannaan – Job Announcement

JOB ADVERTISEMENT

ASSISTANT LIBRARIAN

Title: Assistant Librarian

Reporting to: Head of the Department of Archive             Job Type: Part-time

Duty Station: Hargeysa                                                     Duration: 1 year (renewable)

 

Organizational Background

Redsea Cultural Foundation (RCF) is an art organisation based in Somaliland that has the aim of promoting reading and creative writing in Somaliland with a particular focus on youth. For the last ten years, RCF has been organising an annual international book fair in Hargeysa, the capital of Somaliland. The HIBF has grown into the largest literary festival in East Africa, attracting up to 10,000 participants each year and writers from across Africa, as well as Europe and the USA. In 2014 RCF opened a permanent cultural centre in Hargeysa, extending the activities of the book fair throughout the year. RCF is recruiting a very motivated and talented candidate, and hereby announcing a new position for Assistant Librarian.

Position details: responsibilities

  1. Library Management
  • Librarianship and Information Management fundamentals and concepts.
  • Practical’s – shelving, library classification systems,  reference queries
  • Practical on automated system (KOHA system is preferred but not necessary requirement)
  1. Library Knowledge
  • Processing of information resources
  • Accessioning of library resources
  • Cataloguing – standards and different types
  1. Library Automation
  • Indexing and citation
  • Collections’ development policy
  • Digital depositories
  • E-information sources
  • Open access resources

Candidates with IT background are desired.

What we’re looking for

  • Strong and effective communicator, both written and verbal, with excellent interpersonal skills.
  • Ability to work independently, as well as maintain a positive working relationship with other staff.
  • Flexible, gentle and willing to learn and improve.

 Application Procedure

Interested candidates who met the above criteria should send updated applications letter (motivate your interest to get this position and submit in Somali or English or Both), CV and at least two professional references with contacts to recruitment@redsea-online.org not later than 12:00AM of Saturday 21th April 2018 or personally deliver to Hargeysa Cultural Centre, 26 June Street, No. 2, Sha’ab Area, Hargeysa by 06.00PM. If you do send it by email, and you do not receive a notification email, please call 063 3628220 or 065 9853666 for confirmation before the deadline. Please indicate “Assistant Librarian’’ in the subject of the email.

Only short-listed candidates will be contacted. An identification ID will be needed for examinations. The successful applicant starts to work from the 1st of May 2018.

 

REDSEA CULTURAL FOUNDATION IS AN EQUAL OPPORTUNITY EMPLOYER

11th Hargeysa International Book Fair

11th Hargeysa International Book Fair – 21-26 July 2018, Hargeysa, Somaliland

We are pleased to announce that the Hargeysa International Book Fair  (HIBF) will held 21-26 July 2018 in Hargeysa, Somaliland. Last year, we celebrated the festival’s 10th anniversary with our chosen theme of Connectivity, this year we start the next decade with our theme of Wisdom. As an organization we have always sort to promote a “connected, open, creative and tolerant society led by wisdom”, and not by emotions; a society that has survived within its own mechanism, culture, heritage and knowledge production. From the 9th century BeytulHekmi (or Dar’ulHekma) in the Islamic Golden Age in Bagdad to the Somali wise men and women who guided the society in the traditional judiciary system, and who governed with authoritative leadership, the virtue of having wisdom as attribute, always gave few people a distinguished mandate to lead. What happened to that virtue? Who are our chosen vanguards today? What do the literature, the traditional oral poetry and arts had to do with the wisdom? Are men of literature loosing their appeal? Do the radical transformation of the Somali society in the recent time deteriorated the essence of wisdom of the ordinary people? These are the questions that we will seek to answer collectively.

Intertwined with this, HIBF2018 will be hosting Somali Studies International Association 22-24 July 2018 (SSIA18), with Somali knowledge production filled by foreign people (something we often ignore) during a period of difficulties of war – it is important to consider how that factor changed Somali literature and how with a young Somali scholars emerging once again to claim their space within Somali knowledge production- this yet again will change and shape our understanding.

Last year we had the privilege of hosting South Africa as our guest country- this year we will welcome Rwanda, a country which less than three decades ago was embroiled in horrific genocide, but which has reemerged as a proud, progressive and leading country in Africa. Rwanda is also reclaiming its narrative and knowledge production and we are pleased to welcome writers, poets and film-makers, but also policy makers and influential people that shaped the recent history of Rwanda.   The parallel between Somaliland’s own difficult recent history and road recovery are many- and with Rwanda’s president Paul Kagame elected as the 2018 chairperson for African Union, it seems that their futures are also intertwined.

We look forward to welcoming each and every one of you to Hargeysa International Book Fair 2018.

Dr. Jama Musse Jama

Director,

Hargeysa Cultural Center

20th March 2018

Dhaxalreeb Magazine

Dhaxalreeb – Muraayadda Xarunta Dhaqanka ee Hargeysa, 2009-2018

Dhaxalreeb waa xogxejiye sannadkiiba dhowr goor uga soo baxa Hargeysa qaabab kala duwan (ku daabacan waraaq, ku qaybsan mareegaha PDF, ku codaysan cajalado). Tan iyo markii uu bilaabmay oo ahayd sannadkii 2009-kii, waxa uu ahaa muraayadda Xarunta Dhaqanka ee Hargeysa ee laga dheehan karo hawlaha dhaqan, shaxan, waxbarasho, fan, faaqidaad, xusuusxejin, dood-wadaag iyo kaydba leh ee ka socda Xarunta. Waana hage aqooneed oo ay ku soo baxaan qoraallo cilmibaadhiseed oo aan kalgal sugan lahayni.

Sannadkan oo Xarunta Dhaqanku marti gelin doonto Bandhiggii 11aad ee Buugaagta Hargeysa, 40-guuradii aasaaska Ururka Caalamiga ah ee Cilmibaadhista Soomaalida oo ku beegan Shirwaynihii 13aad iyo Furitaanka Rasmiga ah ee hoyga cusub ee Xarunta, Dhaxalreeb waxa uu isna yeelanayaa soo bixitaan joogto ah, tifaftire cusub iyo gole talineed oo ballaadhan.

Bandhigga Caalamiga ah ee Buugaagta Hargeysa waxa uu soo afmeeray tobankii sannadood ee u horreeyey ee ololaha dhigaalcurinta, akhriska iyo qoraalka noocayadiisa kala duwan. Ololahaas waxa baalal u ahaa Bandhigga Hargeysa iyo Buugaagta Wareegta, oo iyada oo la kaashanayo Naadiyada Akhriska, lagu dhiirri gelinayay in waddanka laga furo rugo wax akhris meel kasta.  Guusha ololahaasi waa mid muuqda oo tirada buugaagta la soo saaray ee Soomaaliga ku qoran iyo goobaha wax akhriska magaalooyinka dalku ba ay aad u koreen. Tiro ahaan markaa meel wanaagsan baynu maraynaa.

Tobanka sannadood ee hadda bilaabmay waxa ay hawlwadeennada Xaruntu xoogga saari doonaan tayaynta, mar haddii tiradii meel wanaagsan i noo marayso. Dhaxalreeb wejigiisa cusubna waxa uu ka turjumayaa tayaynta qoraalcurinta iyo waxqorista, waxaana aan ku han weynahay in uu noqon doono maraggii isbeddelka tayadaas.

Akhris wanaagsan

DhaxalReeb Final

Carrada ayaan dhunkannay (Audiobook)

[Download the AudioBook from here]

We Kissed the Ground is the dramatic firsthand account of a migrant’s journey from Somaliland to the Mediterranean. When Mohamed  Hussein Geeldoon’s story was first published by the Rift Valley Institute in 2017, the Somali author Nuruddin Farah commented:

‘This is a vivid account—one of the best I’ve come across—of what it is to be a Somali migrant in pursuit of a safer future elsewhere, away from the precarious life in the Somali Peninsula.’

The Rift Valley Institute and Redsea Cultural Foundation have collaborated to publish We Kissed the Ground as an audio book.

“Geeldoon’s story was collected during our research on the impact of war on Somali men”, explains RVI Director Mark Bradbury. “We felt it is such a powerful story – a story of our time – that it deserves to reach a wide audience. Mohamed agreed and has subsequently used the publication to speak with young Somalis considering the journey. We are grateful to the Redsea Cultural Foundation and the Hargeysa Cultural Centre for producing this audio version of book so it can reach even more young Somalis.”

Dr. Jama Musse Jama, Director of the Hargeysa Cultural Centre considers the production of first Somali audio book is an important milestone for Somali literature. Its launch takes place on the UNESCO International Mother Language Day on 21st February, which is not only symbolic but fittingly reaffirms the commitment of the Redsea Cultural Foundation and its Centre to promote Somali literature, language, culture and arts. “Access to high quality literature in mother tongue through audio books for an oral society like the Somali one in Somaliland is a win-win situation” says Dr. Jama Musse. “Indeed, we are planning to publish new books in this platform before the 11 Anniversary of Hargeysa International Book Fair this year,” concludes Dr. Jama Musse.

Tartanka Sheeko iyo Shaahid

Sheeko iyo Shaahid: Baratan Suugaaneed – 2018

Tartankii 10aad

Bandhig

Seeska Hiddaha iyo Dhaqanka (Redsea Cultural Foundation) iyaga oo ka duulaya fikradda aasaaska u ah  jiritaankooda oo ah inay ka qayb qaataan wax kasta oo horumarinaya taabbagelinta dhigista, fidinta hiddaha iyo suugaanta; xoojinta fanka iyo farshaxanka; baahinta dhaqanka qorista iyo akhriska iyo gaar ahaan kobcinta qoraalka Af-Soomaaliga, waxa ay soo ban dhigayaan Kulankii Tobnaad ee ku baratanka Sheeko curinta Toolmoon, “Sheeko iyo Shaahid”.

Sheekooyinka ka soo qayb galayaa ma aha isku ujeeddo, mawduuca sheekadu ku socoto waxa u madax bannaan qoraaga. Waxa se sannadkan lagu dhiirri gelinayaa Sheeofaneedda.

Waxa halkan ku lifaaqan xeerka Sheeko iyo Shaahid ee sannadkan 2018.

 

Xeerka

Tartanka “Sheeko iyo Shaahid” waxa qeexaya xeerkan.

  1. Waxaa lagu tartamayaa sheeko Af-Soomaali ku qoran oo aan hor daabicin. Ka-qaybgalka tartanku waa lacag-la’aan; waxana uu u furan yahay qof kasta iyo da’ kasta.
  2. Tartanku waxa uu u furan yahay Sheeko male-awaal ah oo kaliya. Nuxurka sheekada qoraaga ayaa u xor ah. Waana sheeko aan hore loo daabicin (buug ahaan, degellada internetka iyo wargays toona).
  3. Qof kastaa waxa uu ku tartami karaa hal sheeko oo keliya.
  4. Waxa lagu tartamayaa Sheeko Dheer. Qoraalku waa in uu noqon karo buug, haddii hadhow la daabacayo. Qeexidda la siiyey Sheeko Dheeri waa in aan qoraalku ka yaraan 36000 oo xaraf oo u dhiganta 20 bog (boggii waxaa loo xisaabinayaa inuu yahay 30 sadar oo min 60 xaraf ah, qiyaastii 1800 oo xaraf boggiiba). .
  5. Qoraalka waxaa la soo raacinayaa waraaq gaar ah oo ay ku cad yihiin:
    1. magaca qoraaga (ama qoreyaasha),
    2. cinwaanka laga la soo xidhiidhayo (oo ay ku jiraan ugu yaraan lambarka telefoonka gacanta (mobile) ama e-mail midkood),
    3. taariikhda iyo meesha dhalashada,
    4. magaca sheekada uu ku tartamayo.

Waxaa kale oo waraaqdaa lagu soo qorayaa caddayn uu qoraagu saxeexay oo uu ku caddaynayo inuu u yahay qoraaga rasmiga ah ee sheekada curiyey, islmarkaan uu akhriyey, aqbalayna dhammaan farqadaha xeerkan.

  1. Habka iyo goorta qoraalka lagu soo gudbinayo:
    1. Qoraalka waxaa lagu soo gudbin karaa gacanta isaga oo daabacan oo aanay dusha kaga qornayn magaca qoraaga iyo astaan kale toona; waxaa bogga kowaad lagu qorayaa cinwaanka sheekada. Waxaa la soo raacinayaa gal xidhan oo ay ku qoran tahay warbixinta ku cad farqadda 5aad. Waxaa la keenayaa cinwaankan: Xarunta Dhaqanka ee Hargeysa, Waddada 26ka Juun, Shacabka, Hargeysa, inta ka horreysa 8.00 habeennimo ee 15/04/2018.
    2. Qoraalka waxaa iyana lagu soo gudbin karaa isaga oo elegtaroonig ah (pen drive, floppy disk ama se e-mail). Waa inuu qoraalku ku qoran yahay qorme caadi ah (text file editor, tex, MS Word, iwm). Waxa bogga kowaad lagu qorayaa cinwaanka sheekada. Waxaa la soo raacinayaa e-mail gaar ah oo gudihiisa ay ku qoran yihiin dhammaan xogta ku cad farqadda 5-aad. Waxa e-mailka loo soo dirayaa inta ka horraysa 12.00 habeenimo ee 16/04/2018 emailka sheeko@redsea-online.org, loona dirayaa nuqul kale info@hargeysaculturalcenter.org. Qofku waa inuu hubiyaa in e-mail kiisa la helay. Haddii aanu jawaabtaas ku helin muddo saddex cisho ah, waa inuu gacanta ka keenaa sida ku cad farqaddan sare. Haddii aanay suuragal ahayn inuu gacanta ka keeno, waa in uu ka eegaa cinwaanka internetka www.hargeysaculturalcenter.org iyo www.redsea-online.com halka laga la soo xidhiidhayo tartanka oo teleefon u soo diraa.
  • Qoraalladu waa inay soo gaadhaan Cinwaannada Xoghaynta (sida ku cad labadan farqadood ee qodobkan 6) inta ka horraysa 12.00 habeennimo ee maalinta Isniinta 16-da bisha afraad 2018 (xilliga Somaliland). Wax allaale wixii soo gaadha xilligaa dabadeed, kama qayb galayaan tartanka.
  1. Qof kasta oo la aqbalo codsigiisa ka-qaybgalka tartanka waxa la ogaysiin doonaa inta ka horraysa 17/04/2018 in uu yahay tartame; lanana socodsiin doonaa halka uu kala xidhiidhayo faahfaahin dheeraad ah.
  2. Guddiga Qiimaynta
  3. Guddi ka kooban ugu yaraan 3 qof (iyo ugu badnaan 5) ayaa loo saari doonaa qiimaynta sheekooyinka; guddigaasi waxay soo qiimayn doontaa darajada sheeko kastaa hesho iyo ku-guulaystaha kaalinta 1-aad, iyagoo aan ogayn cidda qortay sheekada.
  4. Darajadaasi waxay ku salaysnaan doontaa: bilicda suugaanta; heerka Af Soomaaliga qoran cilmi ahaan; heerka cabbirka mala-awaalka iyo tiraab-wanaagga qoraaga.
  5. Tartame kasta oo toos ula xidhiidha guddiga qiimaynta inta aan lagu dhawaaqin go’aanka, waxay keeni kartaa lumis xuquuqda tartame.
  6. Ehelka tooska ah ee xubin ka mid ah Guddiga Qiimayntu ma tartami karaan, haddii aanu xubinta Guddiga Qiimayntu ka tanaasulin xubinnamadeeda marka ay xubintaasi ogaato in qof ehelkeeda ahi soo tartamay.
  7. Go’aanka Baratanka:

Guulayastaha tartanku waxa uu heli doonaa:

  • Astaan (billadda kowaad) oo qoraaga magaciisu ku xardhan yahay, 1000USD oo lacag caddaan ah, iyo heshiis daabicista buugga (Publishing Contract) oo uu kala heeshiyo soo saaraha Ponte Invisibile (buugfidiyaha Seeska Hiddaha iyo Dhaqanka).
  1. Go’aanka Guddigu waa kamadambays aan laga ashkatoon karin. Guddiga, oo ka koobnaan doonta xeeldheerayaal suugaanta iyo Af-Soomaaliga, waxaa si gaar ah loogu magacaabayaa qoraal kale oo aan dadka la la wadaagi doonin si loo yareeyo saamaynta Guddida kaga iman karta dadweynaha. Waxa lagu guubaabinayaa baratamayaashu in aanay haba yaraatee la xidhiidhin guddida qiimaynta, xitaa si kama’ ah u ogeysiinin mid ka mid ah Guddida, sheekadooda wax lagu garan karo. Eeg qodobka 8c.
  2. Bandhigga Go’aanka
  3. Laba toddobaad ka hor ku dhawaaqsita guulaystaha, Guddigu waxa ay shaacin doonaan qoraayada u gudbay wajiga labaad ee baratanka (shortlisted)
  4. Ku-dhawaaqista go’aanka tartanka waxaa lagu beegayaa Bandhigga Caalamiga ah ee Buugaagta Hargeysa ee sannadkan.
  5. U-gudbayaasha wejiga labaad ee tartanka waxaa si gaar ah loogu marti qaadayaa Xafladda Bandhiga Go’aanka baratanka.
  6. Waxaa xafladda lagu soo marti qaadayaa warbaahiyayaasha waddaniga iyo kuwa kaleba.
  7. Xuquuqda Qoraalka (Copyright) ee sheekooyinka
  8. Xuquuqda Abuurka Qoraalka (intellectual property copyright) waxay mar kasta u dhawran tahay qoraaga sheekada.
  9. Sheekooyinka tartanka ka qayb gala oo dhan maamulka tartanku wuxuu ku sii faafin karaa, kuna daabici karaa buug ahaan ama ku soo saari karaa wargaysyada, degellada internetka, joornaallada iyo si kasta oo uu maamulku markaas u arko wanaag, isaga oo mar kasta xusaya lahaanshaha sheekada ee qoraaga hal abuuray iyo inay ka qayb gashay tartankan.
  10. Sheekada guulaysata qoraageedu waxa uu xaq u leeyahay heshiis daabacadeed caalami ah oo uu la galo Seeska Hiddaha iyo Dhaqanka. Xeer baa qeexaya heshiiska daabacadda buugga ee ay wadagalayaan qoraaga iyo soosaaruhu.
  11. Ka-qaybgalka tartankani wuxuu ku farayaa oggolaanshaha farqad kasta oo xeerkan ka mid ah. Faahfaahin dheeraad ah ka eeg: http://www.hargeysabookfair.com, http://www.redsea-online.com, http://www.hargeysaculturalcenter.org amase u qora e-mail info@hargeysabookfair.com.

 

 

RSOL/K – 001/18 International 14/02/2018

About

The Hargeysa Cultural Center was opened in August 2014 in Hargeysa, Somaliland. The Center was established by Redsea Cultural Foundation (RCF). Since its establishment, the Hargeysa Cultural Center has become an important feature in Hargeysa’s cultural landscape. The success of the center owes much to the respect that RCF has gained from its work on running the annual Hargeysa International Book Fair, which, now in its eighth year, has become one of the most admired cultural events in the region.

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Our Contacts

26 June Street No. 2, Sha'ab area, Hargeysa, Somaliland

252(0)63-3628220

Xarunta Dhaqanka ee Hargeysa