Somali Week Festival

SOMALI WEEK FESTIVAL OCTOBER 2022

- By Omar Mohammed

At a packed house at the entrance atrium of the British Library, an enthusiastic crowd kicked off the start of the 14th edition of Somali Week festival to great fanfare.

This year’s event, which annually brings together artists, musicians, authors, entrepreneurs, activists, poets, playwrights and filmmakers to celebrate both the traditional Somali cultural legacy as well as the Somali community’s most cuttingedge artistic developments, is not only increasingly a staple of the London cultural scene, but also, this year, a vibrant and vital element of Black History Month. Indeed, this year’s performances can be seen as a striking demonstration of the ways in which history is lived out and reinvigorated in real time through exchange across continents, generations and diverse modes of storytelling.

While in once sense Somali Week Festival is decidedly British, in that it provides a meeting point for those on the cutting edge of the UK’s diasporic cultural production, it is equally global, not simply in terms of participation and outreach, but also in its outlook. For 10 days in London, the lines between diaspora and African, between locally rooted and multicultural, is fundamentally blurred. As Ayan Mahamoud, founder, and director of Kayd Somali Arts & Culture, which organised the event, states.

This transcendence of the boundaries between the diaspora and the African homeland is manifest in the Festival’s 2022 theme, which juxtaposed ‘traditional’ and ‘modern’ art forms, while simultaneously unsettling and challenging these very distinctions. The opening event was exemplary of this flouting of imposed distinctions such as borders and generational divides, where, within a single panel, was found a Somali American playwright and educator, Professor Said Salah, in conversation with

one of Somaliland’s brightest young authors and translators, Abdiaziz Guudcade, an award-winning filmmaker from Finland, Khadar Ayderus Ahmed, and one of Britain’s and Columbia Records’ most exciting

music talent scouts, Muna Ruumi. The diversity of locations, mediums and expertise speaks to a Somali nomadic and entrepreneurial heritage that has for centuries adapted to, and expanded with, global circulations of migration, commerce, religious practice and geopolitical intrigue.

The social power of art and culture came through in the policy-oriented events that were held over the course of the week. At a conference hall in University College London on 25 October, an audience of development practitioners and academics welcomed a panel of three trailblazing female Somali environmental activists from the Horn of Africa to discuss the ways in which the climate crisis has not only taken a devastating tolls on Somali lives, but has impacted entire ways of life, ‘from culture and heritage to ideas of community and meaning’. The next day, attention was refocused locally, to the ways in which the British State had come up short in its safeguarding and welfare responsibilities over its Somali diaspora communities, and the structural violence, exclusion and marginalisation that has emerged as a result. In a conference bringing together representatives from the police, government ministries, national charities and local council officials, Somali stakeholders had the opportunity to call for a relationship to the State based on equality, dignity and ownership, rather than mistrust and alienation. The Festival equally offered a space for collective mourning and tribute to those from within the Somali cultural community who were lost over the past year, something made more apt by the fact that this was the first congregation of the festival since the pandemic. Among those lost was the larger-than-life figure of Mohamed Ibrahim Warsame Hadraawi, the most renowned and enduring figure within 20th and 21st century Somali poetry, who passed away a mere three months prior, for whom many tributes were paid. Abdiaziz Guudcade, reflecting upon the legacy of Hadraawi for his generation of up-and-coming wordsmiths, described his own particular relationship with the legendary poet in the following terms: ‘Hadraawi inspired me to resist oppression, injustice, and all forms of exploitation. As a writer and translator, Hadraawi is part of what keeps me alive and dedicated to expanding the intellectual horizons of humanity!’

This year saw the UK debut screening of the critically-acclaimed The Gravedigger’s Wife, directed by the Finnish Somali filmmaker Khadar Ayderus Ahmed, which tells the story of struggle, heartbreak and resilience set in Djibouti. A similar appreciation of oases of humanity in the midst of turmoil characterised How to Have Fun in a Civil War, the autobiographical one-act multimedia play by Ifrah Mansour, which draws from the writer, director and performer’s experience with violence in Somalia in the 1990s to bring a voice and face to the plight of refugees in the present. The burgeoning foray of Somali storytellers into stage and screen is heart-warming development, particularly for a community that has for too long seen their representations exploited for reductive and Eurocentric narratives of war, poverty and piracy.

While showcasing many veteran artists and addressing many historic topics, such as the 50th anniversary of the written Somali language, the presence and energy of youth was a palpable feature of the conference. This included not just the passionate team of young volunteers that supported Kayd in making the conference tick, but also an emerging crop of young changemakers transforming British society through establishing new tech enterprises or successfully running for local council. Among those participating this year were Nadia Hussein, former deputy young mayor for Tower Hamlets and current Cambridge University student, social justice campaigner Ubah Ali, who was named one of BBC’s 100 most influential people in the world for 2020, and NourAlhuda Ali Banfas and Omar Serbia, two visionaries bringing the Somali Peninsula to life through photography and authorship.

By Lynette Wairegi

Remember, the 5th of November Fireworks shine brightly Blinding the night-time moon

Remember Guy Fawkes The guy who tried to blow up parliament Well people say his soul is on the move

The smell of food wafted through the air Hot chocolate being served In the cold thin air

Children run around With excitement in their eyes As they see they colourful display They ‘ooh’ and ‘aah’ Like there’s nothing in their way

By Lynette Wairegi

Grown-ups laugh and chat While the fireworks paint the canvas in their own way Babies cry and play

Remember, the 5th of November The guy who tried to blow up parliament As the world celebrates bonfire night As fireworks light the night sky

Happiness is in the air Three cheers for bonfire night A hip hip and double hoorays In the field, the poppies grow As people lower their heads For those they still love

As silence is hanging in the air One minute we dedicate for them

As we wear the poppies Green and red Their souls shine above us Bowing their heads

On the 11th of November The 11th month And the 11th hour Sadness fills the air As we remember those who were there

In the Flanders Fields Red poppies fill the air

Never forget They are still there You can’t see them Nor can your friends But if we believe They are in our hearts Forever and ever more

By Lynette Wairegi

Christmas is coming Spread some Christmas cheer While the trees light up The choir sings with the reindeer

Warm milk sits on the table Waiting to be drank Baby Jesus cries in cradle Mother Mary cries in joy

Presents get open Smiles light the world Santa smiles above Knowing he’s done his job

Cold air fills the morning sky Snowmen are built Only to be put down

Christmas is joy Christmas is fun Christmas is everything And to be enjoyed just as much

By Lynette Wairegi

Religion is power So mix the power up Simmer and bring it to a boil Add Christianity

Sprinkle some hope Take some Muslims and Hindus And take the heat up

Blend Judaism and happiness Add a bit of love As the religions blend together The smell of friendship flies through the air

Mix Buddhism, Atheists and Sikhs Add a touch of harmony and peace Bake in the oven at 100 degrees

As you take a bite of my friendship pie You will taste the love in the air But don’t add to much Otherwise you’ll be in despair

KUGALI CEO DANSON NJOKA ON HOW COMICS AND ANIMATION CAN CHANGE THE WORLD

By Jamie Morris & Joshua Dixon-Muir

Meet Kugali – the entertainment company paving the way for a better future through authentic African storytelling…

2022 has been a landmark year for blockbuster African entertainment, with the release of both the historical epic The Woman King and the hotly-anticipated Black Panther sequel, Wakanda Forever. More is on the way in the new year, including the animated series Iwájú, an unprecedented collaboration between Disney and pan-African entertainment studio Kugali. Unlike The Woman King, Iwájú is more concerned with Africa’s future than its past – and it’ll also be distinct from the Black Panther franchise in how it’s set in Lagos rather than a fictional domain like Wakanda. “We’re interested in reimagining our own narratives and creating the futures that we want to see,” says Kugali CEO Danson Njoka. “Today, when my niece is watching anything on the TV, that content will predominantly still be white characters. To be able to see a positive representation of ourselves and feel a sense of pride in who we are is one of the things I want to see change.” Danson grew up in Embu, Kenya, before studying engineering at Boston University in America. “At the time, it was the thing that if you did well academically, you became a doctor, an engineer, maybe a pilot…I like to joke that there was a form you were given with certain boxes,” he laughs. This period in Danson’s life was accompanied by a number of revelations, including his introduction to the idea of having a racialized identity. “In Kenya, I wasn’t socialised as a Black person, so it was the first time I started to encounter being perceived differently,” he explains. “Someone asked me, ‘Do you wear banana leaves in Kenya?’ and while I laughed it off at the time, I’ve come to realise that it was a tragic reflection of what they thought was happening on the African continent.” Around the same time, through conversations with his grandmother, Danson also began to learn more about Kenya’s past. He realised that, under capitalism, traditions like hair braiding, painting and dance had largely been lost to time due to their lack of commercial value, and he therefore sought to reconnect with these cultural roots. as it turns out, were very passionate about creating a platform for African storytellers,” he says. “This was a place where I could not only carry on recording the stories of my own people, but also have a significant impact on people like me who didn’t realise that they could pursue creativity as a valid career path.” Among these people was an artist from Kenya who enrolled on an engineering course but switched to graphic design upon their arrival at university, much to their parents’ initial dismay. Danson and the Kugali team brought them on board when they saw what a talented artist they were, and now they’re helping to work on Iwájú. “This is someone who had to very craftily get into this university program, and now has credits on a world-first collaboration with Disney,” Danson says. “They’re one of the best artists that we have and hopefully one of the very first, so that for me is a truly proud moment.” Creating an animated series is a lengthy process, so we’ll have to wait a bit longer until we can see what Iwájú has to offer. In the meantime, however, Kugali is still regularly publishing comics, as well as experimenting with augmented reality. “We were one of the first official lens creators with Snapchat, and we have done several campaigns,” Danson says. “If you go to Wembley Stadium, you can see virtual statues we created of Black British football players on your phone.” “We also have that in some of our comics,” he adds. “Given how long it can take to produce this content, we want to give people bits of that story they can interact with further by having those characters exist digitally.” For Danson, the bright futures depicted in Kugali’s comics and cartoons are more than just fiction – they’re a depiction of what the world could become once creators from across the African continent and diaspora come together to share their stories. “I want the world to know us and I want us to define our own narratives, because that’s where we can start to shift some of the prejudices that still today lead to a very hostile, oppressive world for people of colour,” he says. “The world can be made more colourful, richer, and more exciting. I’m excited to see how the global film and art scene are going to be impacted and changed when we bring our voices, our art and our colours to it.”

BLACK HISTORY MONTH: A NEW WAY TO CELEBRATE BLACK EXCELENCE

By Nur Mohamed

Those who know little about their past realities shall have vague and superficial knowledge about their present realities which portends future destiny built on shifting sands.

People with such attributes can never have their own narrative - past, present and future. No nation or race is condemned to eternal wretchedness and despite the seemingly heavy, insurmountable odds a nation or race may face, there shall always arise amongst them individuals with extraordinary intelligence and unwavering courage who infuse into their people a new spirit of revival. Turning the pages of history, one doesn’t fail to notice the rise of individuals of very high calibre who took upon themselves the mission to reform the way of thinking of their people and to fully transform their social outlook.

In the world’s historical records chronicling instances of humans engaged in struggles to free themselves from the yokes of oppression, subjugation and injustices there is no equivalence to what the black race had suffered. These struggles came in different forms and always had men spearheading them. Celebrating Black History Month, though initially began as “Negro History Week” created in 1926 by none other than Carter G. Woodson, an African American educator, historian, journalist and founder of the Association for the Study of African American Life and History. Celebrating the Black History Month becomes more multidimensional both in scope and reach. More and more people from diverse walks of life are getting more involved and are playing very proactive roles in coming up with innovative ways to make the event not only for celebrations but for creating a new futuristic approach and setting an altogether new tone aimed at improving the lives of not only the black people but all those disadvantaged societies. One such innovative approach to Celebrating Black History Month was adopted by three enterprising organisations AL-ABRAR FOUNDATION, GALBUR FOUNDATION and RAFIKI WEMA who organised an event showcasing Black Excellence. This event brought together young black visionaries who not only celebrated their phenomenal achievements but also calibrated a vision for a future world full of hopes and opportunities – hopes and opportunities which transcend all barriers, biases and prejudices of colour, race or religion. This was not the typical celebration of Black History Month just complaining about past history despite its dehumanising, oppressive nature which subjugated entire race for centuries, rather this event was about the successes and achievements made through the dint of sacrifice, resilience and tenacity in the face of all present challenges and prejudices. The panellists discussed both local and global issues. Some of the issues which occupied centre stage included the global impact of climate change, global politics, unfair distribution of wealth. They had pointed out the root causes and the devastating impact these have on the developing nations. They put forward a very ambitious vision and approach towards tackling the socio-economic ills plaguing the majority of the world’s population.

AL-ABRAR COMMUNITY CENTRE (ACC)

AL-ABRAR COMMUNITY CENTRE (ACC) was opened with the local community’s diverse needs at the heart of the vision behind its establishment.

A vision that all residents living in Islington and adjoining boroughs enjoy a high quality of life, are able to achieve their economic, civic, social and educational goals, and are part of a strong, prosperous and caring local community. Located in the heart of the busy Fonthill Road, Finsbury Park Community Centre run by AL-ABRAR FOUNDATION endeavours to champion for the causes close to heart for the local communities.

Finsbury Park Community Centre is open to cater to the diverse needs the local community has as well as address the different issues affecting them. For this very reason, the centre runs a number of activities and programmes including but not limited to:

Community Advice & Guidance:

The centre offers free community advice & guidance over the phone and in person. Through this service the people are provided with the information, knowledge and the confidence they need to be able to access the public support services available to them. The services the centre provides include: • Translations • Help with emails and application forms both online and in print • Signposting and referrals • Cultural awareness programmes

Mental Health for All:

Mental health includes our emotional, psychological, and social well-being. It affects directly or indirectly how we think, feel, and act in any given circumstances. Healthy state of mind also helps us to determine how we handle stress, relate to others, and make appropriate choices in all spheres of our lives. Mental wellbeing is very important at every stage of life, from childhood and adolescence through adulthood. With this in mind, the centre organises activities such as: • Youth clubs • Women’s programmes • Seniors’ cultural and social club (Poetry, tea and conversation) • Dads’ Social Club • Counselling sessions The centre has several charities based in it which run different community programmes and activities. These charities, though they have their own individual programmes and activities, yet occasionally run joint ventures for wider reach and greater impact. For more information please email: infor@al-abrar. org89/93 Fonthill Road, London, N4 3JH