A Tribute to Saado Ali Warsame

On June 4, 2011, in the city of Toronto, Canada, a large gathering of Somalis honored a woman of substance, whose fire and patriotic fervor never extinguishes. Her name is Saado Ali Warsame. For many Somalis, Saado is Aretha Franklin of Harlem and Rosa Luxemburg of Poland of the 1920s combined in one. In her romantic and melodic songs, she is our Aretha. In fighting for the freedom of those who are oppressed, she is indeed our Rosa Luxemburg. When she can, she entertains us. But most of the time, she is always conveying, in the words of the late Bob Marley, “the fight for your rights.” In the tradition of what Rosa Luxemburg, who wrote one hindered years ago that “freedom is always the freedom of dissenters,” Saado fights for her believes in the same way other social activist leaders do throughout the globe. It is in that spirit that on the eve of July 1st, Somalia’s 51st anniversary (a country that millions are on the verge to loose, this time not to the old British and Italian colonial powers, but to a self-serving international bureaucracies called United Nations, African Union, AMISOM, IGAD, and don’t foregut Ethiopia) she visits Somali refugees in Kenya and share one or two meals with them.

Saado Ali Warsame is a rare Somali woman who defies clan, class and regionalism. She is a phenomenal Somali woman who beautifully embodies femininity, a tough nut to crack when it comes to the rights of the oppressed and the disposed, as well as the mother of poetic struggle whose songs are both melancholic and melodic.

Tall, slim and slender, with a complexion Somalis refer as “mas ciideed,” or earthly tone-colored snake, denoting her glowing brown skin, Saado typifies strong feminine; he is your sister, your mother and your friend in a woman.

My words cannot express Sado’s commanding, yet feminine presence at the stage. Dancing to a typical Somali tune, she moves her body parts with ease effortlessly (laafyo tuurkeeda, timaheeda dheeree dhabarka joogaa, Ilaahay Dhameeyey…). Indeed, that song (markaa socoto laafyaha miisaanka lagu daray, dadku waxay yidhaahdaan may daarin ciidee, daa'uus lamoodyey) seems to describe Saado.

If any one’s moves fit the words of Mayo Angelou’s description of a “phenomenal woman,” who else could that be but Saado:

It's in the reach of my arm,
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me

Indeed she is a woman, a phenomenal woman at that.

In her profession, Saado excelled, and her songs are too many to list them here. Suffice here to say that most of us one time or another enjoyed her songs, most notably .Naftaaydaa kuu jiraban; walee aniga la I raray; Waqtiga isbadalaya; Waaberi cirka u diro. I have especial connection with her song “Xamdi,” because it is the song that my wife and I chose for our wedding to exchange marriage vow in the old Somali way. “Xamdi,” composed by the late Maxamoud Tukale, a song that goes to the essence of marriage and family values, fittingly goes this way:

Xiisaha kal gacalkeena
Xasuusaya guurkeena
Xaasaasiga guurkeena
Baryasamo ku waarkeena
Sidii Xaawiyo aadan
Rabibaa isku keen xulay
Waa xaal inga waynoo
Xaga samada laga qoray
Rabigeena Xaakimka ah
Xilahiiga kaadhigay baan
Kun jeer ku Xamdiyaayaa

Xamdi still reverberates in my household. After 11 years of marriage, where some of my kids can easily sing along, and with each child and each year that passes, I seem to develop more connection and listen more frequently, singing along…….Xilihiina Kaadhigay ban Kun Jeer Ku Xamdiyaaya…

Yes, I got it; you are wondering where and when am I bringing up the fiery, sizzling political attributes of Saado. Here we go!

We all remember that Saado Ali is the only known Somali woman who had participated in the chain and epic poems of “Deeleey.” Until her participation, “Deeleey” and political poetry was a field exclusive for men. It is therefore pertinent to say Saado busted the poetic glass shield.

Two compelling political songs that Saado sung in the 1980s had captured the nation’s attention. One of the most memorable songs in the nation’s collective memory is “Land Cruiser Gado Soo bari Galey,” or “drive Land Cruiser while you are begging for bread.” I know Saado stopped singing this particular song for reasons only known to her, and I will honor that wish. Although talking directly about the Somalia of the 1980s, the essence of the song is a description of the ultimate triumph of consumerism and corruption over social development in the continent of Africa.

It is fitting to remember that this song debuted at the zenith of the IMF adjustment program in Somalia. The IMF’s adjustment strategy and the ensuing unexpected results were the infusion of huge money into the ailing economy of Somalis, which in the end resulted in promoting expensive consumerist/corruption culture. The money infused for projects went primarily to real estate development and to the importation of consumer goods such as Land Cruiser vehicles for the rich. She challenged the nation to answer to her why leaders of a starving nation would indulge in expensive cars and goods. No one so far answered Saado’s existential question.

The second memorable song, a duet by her and the other great singer, the later perhaps Somalia’s queen vocalist, said the following:

Saado;
Dhulaan ceel lahaynbaan dhaankii u rarayaa
Adna dhool uyaal iyo dhbic diiba haysid
Dhacar baad ku nooshahay….
Adigudheregtaa dhibaatadu I daysaa

Khadra:
Markaaan soo dhowaadana waad iga dhaqaaqdaa
Ana ku madhagaystoo.
Anoon dhuumanayn baan….
Dhulkan kala fogaadiyo,
labadeenan kala dheer
Yaysusoo Dhaweeya.

Two sisters talking to each other what they stand for each and how one’s demise is the other’s loose is the essence of the song. It was a clear warning of the civil war that loomed large prior to the debacle of Somalia. It was an open cry for help. Ah! If only the government at Villa Somalia at that time listened and understood these words! In any normal society, by hearing these words, the president would have commissioned high level government commission and elders from various sectors of the community to seek advice to preempt the danger of civil war. But again, as Saado say’s in the song, one Somali does not listen to the other. It is unfortunate that the same danger (lack of listening to the words of wisdom) is again brewing up and Somalia is again being submerged into a furnace.

No less important words are her words of “Ogadenia way Xoroobi,” or the “Ogaden region would be free a melancholic affirmation of her stealth support for the freedom of Somalis under the Ethiopia cruel rule.” Add to all this her latest words of wailing as in “Libdhimayso Lasacaanood,” or “Las Anod will not perish,” words of sorrow about the suppression of her community, and you have a woman’s portrait as a crusader for freedom and social justice.

Saado has shuttered all chains of oppression and corruption. Her words in Land Cruiser, which speak to Africa’s misplaced priorities of governance and development, stand in par with Rosa Luxemburg’s leftist words of denouncing the oppression of Russia over Poland. War hoy kuwiina leh wax baan xukunaa, war hoy dhago u yeesha gabadh weedhaheeda! May those of you who purport to rule Somalis listen to Saado’s wise words!

Thus this gathering here tonight to honor Somalia’s preeminent advocate for freedom, equality and social justice is an honorable undertaking. If Algeria has Jamila, Somalia has Saado, and in one voice we salute you and we love you from the bottom of our hearts.

Faisal A. Roble  Political analyst and WardheerNews and terrorfree somalia contributor
Email: fabroble@aol.com

Framing the Debate: IGAD's Detrimental influence in
Al Shabab Leadership crises and the prospect for peace in Somalia
Ethiopia in Transition:War and Peace and the US Role
A postscript to the Selection of the new Prime Minister
Somali Diaspora condemn the terrorist actions of Alshabab