Youth Illegal Migration (What is the problem and what can be done)

The Somali Nation Youth Conference held in Mogadishu between 17^th to 19^th Dec 2017 and gathered about 500 youth participants across the Somali regions. This conference held by the ministry of youth and sport of the federal government of Somalia and its international partners because of the finalization of the National Youth Policy and seeking the final contributions of the youth while all the decisions made will affect the youth. One of the points discussed during the conference was the illegal migration and how can this policy help the youth abstain from trafficking and perishing their lives on the odysseys and all risks involved. 

The conference included a high-level representative from the United Nations and the international partners. The UN Secretary-General’s Envoy on Youth, Jayathma Wickramanayake who paid her first visit to the continent attended the opening of the conference and welcomed the launch of the new policy. In her remarks, Jayathma stressed that youth policy without a budget is just mental exercises and it’s important to convert the youth policy into action. In an interview with the envoy, she said “My recommendation to the government is to ensure effective implementations of the youth policy, it’s easy to get something on paper but, it’s difficult to translate that into action and it’s important to coordinate better of other ministries, with the UN, with youth organizations,  young people, civil society organizations, and international and national actors for the effective implementations of the policy and to really make sure that young people voices are heard through out the process not just consultations before the policy and my recommendation to the young people would be to keep demand for that space”.

While the inequality, unemployment, nepotism, favoritism, and all the blind alley chosen by the youth is the reason behind why youth immigrate, the minister of youth pledged in her speech that the ministry will implement vocational skill training schools that can spur the youth to earn in their home followed by a vast job creation to the young people. One of the participants said, “Young people migrate without hope and despair and it’s not all about jobless”.

To combat the illegal migration, the Nation Youth Policy (NYP) will organize and encourage equal employment opportunities and it creates an atmosphere that youth can choose either to stay or migrate. The essential actions needed to fight migration that NYP enlightened are;

i.           Formation of national policy on youth employment

ii.        Implementing TVET schools (Technical and Vocational Education and Training) compatible with the market.

iii.     Encouraging youth to generate different ideas for the intent of future realization.

iv.     Creation of counseling youth centers that can motivate and uplift youth ambitions

v.        Implementing free and fair job sites that youth can browse available positions in order a special group or clique do not benefit the public jobs.

vi.     Finally, spreading the danger of illegal migration to various media outlets and broadcasting to the youth for the available positions they can contest to.

As article 3.5.3 of the NYP of the second strategy of combating illegal migration summarizes, one of the best strategy is the return of diaspora communities to invest their country, organizing annual conference on youth development while diaspora will narrate in front of the youth for the real life in abroad, encouraging diaspora youth to voluntarily return to their home and share their skills with local youth, workshops and exchange of notes to encourage diaspora youth to integrate with locals, and in generally broadcasting migration torment films inline with encouraging diaspora investments.

Finally, the youth representatives, the ministry of youth and sport of the federal government of Somalia, and international partners discern together that illegal migration is not the final solution and it’s all about putting yourself into a risk that you can’t manage once you involve.

                                                                                                   Elmi Hassan Samatar
                                                                                             samatar2020@hotmail.com 

                        

HAB-DHACA MAANSADA SOOMAALIYEED

Tixdu (Qodbane) waa wixii kasoo haro Tiraab (Qubane) isla markaana leh Qaafiyad iyo Ridmo. Suugaan kasta waxeey leedahay lagana rabaa in laga helo toddobo (7) hab-dhac oo maansada Soomaalidu ay leedahay. Abwaankii 7-da #hab_dhac laga waayo maansada uu tirayay ma ahan maanso ee waa tiraab. 7-da hab-dhac ee Maansada Soomaalida oo tix kastaa leedahay Abwaankana laga rabo in uu waafajiyo Maansadiisa waxaa ka mid ah; #Ekeeyn, #Qofeeyn, #Makuubid, #Xus, #Astaameeyn, #Yaxmeerin, iyo #Buunbuunin.

Waxaa soo qaadaneeynaa #HAB-DHAC kasta iyo tusaalahiisa si loo fahmo waxaa 7-da hab-dhac kala yihiin;

1.      #Ekeeyn; Nuuca Maansada ekeeyntu waa #Shabbaha sida heestii aheed;

-          Haddaad maqantahay,

-          Magaalada dhami,

-          Mugdi weeyo,

-          weey madoowdee.

Ama heestii aheeyd

-          Sida geed caleenliyo                     - Oo godon Barwaaqo ah

-          Ubax guudka qariyeen                  - Durdur aan gureeyniyo

-          Oo gooni laamaha                         - Gacan Webi ku yaalaa

-          Eey midiba geesteed                     - Oon gu’ iyo jiilaal

-          Hoobaan isgaadhiyo                     - Midab guurin baa tahoo

-          Guntin miro ah leedahay              - Gabaryahay kalgacalbaan

-          Oo soo gandoodoo                        - Goortaan ku eegaba

-          Galka faraqa soo daray                 - Qalbigeeyga galisaa

2.      #Qofeeyn; Qofeeyntu waa sheey nool ama aan nooleeyn oo sidii qof loola hadlo. Tusaale ahaan Gabayga #FIIN

-          Fiinyahay adaa olalayoo, oohin ciirsday e

3.      #Makuubid; Makuubid waa gabay ama maanso tilmaameysa #Sifaad gaar ah oo sheey leeyahay. Tusaale, dhaqanka Soomaalida;

- Soomaalina macnaa lagu yaqaan, meel ay joogtaba e

- Oo waa hiddaha noo macaan, malab siddiisiiye

- Mar kastana ma moogaano ee, wuu naga dhex muuqdaaye

4.      #Xus; Xusku waa wax horay u dhacay oo la is xasuusiyo lana sheego, Tusaale ahaan Gabigii Guuguulayahow;

-          Giddigood addoomaha waxaa gaadhey nabar weyne 

-          Abaar gaag ma reebaa dhacdiyo Gaatamoo kale e

5.      #Astaameeyn; Waa raadka isla qofka tirinayo maansadu ay ku leedahay ama maanso laga allifay qofkale Tusaale ahaan

-          Waxaan tabayo mooye qalbigu, weey walhanayaaye

6.      #Yaxmeerin; Yaxmeeriddu waa maanso Sarbeeb ah. Tusaale ahaan Gabigii Likaaco ee ahaa;

-          Nimaan lugi jabnayn baan ahiyo, xoogga laawyaduye

-          Hayeeshee laxaad uma socdee, laangadhaan ahaye

-          Madaxiyo laabteey fayoow, oo xiskeey ladane

-          Waxse kuma lilloobaane waan, garasho liitaaye

7.      #Buunbuunin; Waa Maanso xadka bixin ah. Tusaale ahaan heestii Hablaha Geeska Afrika lagu buunbuuniyay ee aheeyd;

-          Gabigeed adduunyada                  - Hablo talada gooyn kara

-          Gobol-gobol u qaadoo                  - Garta madal ka niqi kara

-          Hablo weerar geli kara                 - Garashana iskaga mida

-          Hablo geela dhicin kara                - Quruxdana ka wada gob ah

-          Hablo geesi dili kara                     - Geestena mooyee

-          Gobonimana hanan kara              - Gayi kale ma joogaan

                                                                       W/D: Elmi H Samatar

                                                                       E-mail: samatar2020@hotmail.com

                                                                      Mogadishu, Somalia

IF I WERE AN ARTIST I WOULD USE MY ARTISTIC EXPRESSIONS TO INSPIRE THE YOUTH

Introduction

Somalia has rich artistic culture which expresses the lifestyle of both historic and contemporary era of the Somali people. These include artistic traditions in pottery, music, oratory, storytelling aka (sheeko baraley), architecture, sculptures and other genres. Somalia’s art is mainly influenced by the Islamic religion and much of the arts is related to the Arabian style or culture. However, there have been cases in the past of artistic depictions representing living creatures such as the golden birds on the Mogadishan canopies, the ancient rock paintings in the northern part of the country, and the plant decorations on religious tombs in southern Somalia.

Historically, Somalis were known for their artistic expressions, some of them dating back and pre-historic rock painting. For instance, the rock of Laas Geel is considered to be one of the best preserved art in the continent, representing cows in ceremonial robes together with humans. The cow’s neck is decorated with plastron and it is visible up until today.  

Painting and drawings were also among the most popular forms of Somali arts. During Siyad Barre’s time this was mainly used as a method of teaching people on patriotism, nationalism and serving their country unconditionally. Poetry, oratory and music has also shaped the artistic culture of the Somali people. Some of the songs were even used to embolden Somali soldiers when they were fighting with enemies. Amin Amir is one of the notable living example of Somali artists with his drawings published on his website.

If I were an artist, I would have used my artistic expression to win over youths and the whole Somalia community hearts by preaching the good and change the bad in the society. Some of the ways would be.

Despite the fact that procrastination is the thing that can hold back someone to be successful and productive; it doesn’t mean that a person doesn’t know what he want to do and what he needs to do, but he is off somewhere else by obsessing his mind doing less important things.  If I were an artist I wouldn’t only use my artistic career to compose love and entertainment songs, but instead, I would write down work songs that motivate youth to work hard and device showcases and events for the intent of inspiring youth against procrastinations and dawdling. Inspiration is a tool and it can be remedy for the procrastination problems. For the artistic talent; I would use to praise the education and censure the ignorance, to compliment the scholar and undermine the illiteracy, inspire the youth against vagrant, violent, and glue sniffing. The flair for writing I have; I would instruct the youth that they would be the future parents and in order they do not compromise the well-being of their siblings, they should learn and work hard.

If I were an artist, I would devote to compose poem and patriotic songs and instill the youth to think about the development making the country Elysium place. Like the Somali great artist Geywarow who created a beautiful inspirational songs of labor, I would compose awakening songs that can arouse the youth from the sleeping.  For the privilege that the creator endowed me as an artist, I would encourage the civic education to be included poems and songs that can take part the upbringing of the young generation during the early school start times. Through social media and the local broadcast, I would disseminate messages that touches everyone’s feeling especially the youth, telling the young generation that the time is like is a sword and it is better to use wisely before it elapsed. Steve Jobs, the American businessman once said “Your time is limited, so don’t waste it living someone else’s life”, so everyone should build his own dreams and act on it accordingly, instead of working someone else’s dream. As an artist, I would guide the youth to the good dreams, before they regret and shed tears for the time they wasted.

If I were an artist, I would start up community based institution which will host films, music, theater programmes, writing programmes, drawing programmes, local library and the likes. The institution will be run by volunteers who will support the events as they happen and provide creative support to those willing to learn and grow within the industry especially youths. This will eventually encourage locals, national and international volunteers to lend a hand in development of the artistic industry which will honor the culture, history and traditions of the Somali people and produce artistic programmes which will combat intolerance by uniting Somali people.

If I were an artist, I would promote Summer or after school volunteer artistic programmes which will be through hand expression. This programme will have special projects and programmes to develop youth’s artistic skills which will incorporate youth development practices while improving their life skills, self-expressions, self-image and social commitments. This will provide a sense of direction and participation in marking arts possible tool to nourish young and fresh minds, expressing their interests and able to take risks in trying new ideas. The summer programme will increase artistic engagement in focus, skills and used as problem solving/critical thinking to be reflective and finding solutions to the society challenges.

If I were an artist I would strengthen identity by building confidence of youths and develop community by increasing support and belonging to where one develops a positive bond, respect for others and most importantly ability to work with diverse set of people. I would work with other artist to find opportunities, exchange ideas and work together to create something in the community which will gain recognition, appreciation and acknowledged for an achievement, service or ability in the eyes of the Somali community. Lastly, I would develop a positive view of the future by internalizing about the outcomes for one’s life and increase ability to set short term and long term goals especially in education and employment.

CONCLUSION

Inspiring professional artists should play an integral part in the creative and artistic lives of both the young people and the adults who work with them in informal settings within and outside Somalia. The artists should have responsibilities of nurturing creativity and artistic expression to young people who will eventually have the opportunity to develop their potential for great creative and artistic expression. The artists and arts educators should deliver after evaluating range of exciting artistic interventions from workshops, action research and from one to one interviews which will prop out the needs of the youths which will later on be sufficient and personal fulfillment of community engagement and lead to connection between Somali people. Artistic programs yield positive outcomes in skills development, personal development, and a greater understanding of society and the youth’s place in it.

                                                Co-writers

1.       Abdifatah Hassan Ali

2.       Bishara Ali Hussein

3.       Deqa Ahmed Osman

4.       Elmi Hassan Samatar

THE SOMALI PORTABLE HUT (AQAL SOOMAALI)

Somalis are pastoralist nomads who raise animals in the rural areas. Because they move frequently in search of good pasture, grass, and water, they take shelter in a portable hut (AQAL Soomaali). Their dome-shaped hut is made from different traditional materials and these materials vary according to the locality and the different lifestyles. The AQAL Soomaali is made of bent saplings, animal skins, woven mats, roots of the acacia tree, grass, branches, poles, and reeds. A second type of AQAL Soomaali is used by the Agra-pastoralists and riverine community. Although it is also portable and can be collapsed at any time, it’s slightly stronger than the pastoralist one. This kind of AQAL is made from thatched roofs and palm fronds knotted together. The gathering of materials and building of the huts are exclusively the work of Somali women. They collect everything used to make the mats, which are made from acacia, palm frond, and grasses knitted and weaved together with ropes and fiber.

When the herders decide to move to a new location, they easily break down the Aqal and carry it on a camel’s back until they reach their destination.  The amazing thing in this story is that Somali women are responsible for managing the Aqal from its inception to its conclusion. They are responsible for reassembling the hut once a new place is discovered. The space that good AQAL needs is about 2 to 2.5 square meters. To construct an AQAL one needs Udub (poles), Kabaal (pillars), Siid (short wooden branches), Heego (a bundle of saplings), and mats.

i. Udub (poles); the poles are the most important thing while constructing an AQAL. Every AQAL needs two poles (Udub), which are the middle poles that hold all the other pillars together. They are where the AQAL starts. They are perpendicularly erected inside the hut to support the Heego (bent saplings), pillars, and the mats. ii. Two Kabaal (pillar), which are erected on the sides of the entrance and resemble the jambs of a door. iii. Four Siid (short wooden branches), which support all the types of pillars and prevent the pillars from shaking. iv. Twelve Heego (bent saplings); they crisscrossing wooden branches that are placed in between every pillar and pole and form the dome-shaped. The Heego are further comprised of two different parts, namely Dhig and Lool. The Lool literally means the latitude and the Dhig mean longitude. They are interlaced when constructing the Aqal. v. Mat; the mats are made in ten different types and every mat has a position in the AQAL; 1) Two Carro Celis; is a mat that is wrapped recumbently to the bent sapling (Heego) and stretched along both sides until the hut entrance. The Carro Celis is almost half meter away from the ground. 2) Two Feer; this is another recumbent mat above the Carro celis and near the top of the roof. 3) One Kug Saar; this is the mat that covers the top of the AQAL. 4) Two Gureed Celis; a mat designed to cover at the back of the AQAL. 5) Two Gaaf; this is a mat attached under Carro Celis and around whole the hut. It starts from the ground, preventing dusts and other insects from intruding into the AQAL. In hot seasons, the Gaaf can be easily removed to allow for cool breezes to enter. When a wind begins, it can be closed to keep out the sand. 6) One Afo; an Afo is a long rectangular mat used as a door.

After completing the hut, it’s fastened and tied down with ropes so it is not blown away by storms. Mainly two types of ropes are used; Gar & Xeer. The Gar consists of six ropes that are used to lace up and fasten the entire hut from the Udub unto the Siid. Xeer is like a thick fiber and after all the other things are done, the AQAL is covered by the mats and this is where the Xeer is needed. It is wrapped diagonally and horizontally on the outside of the Aqal. The Xeer is the last object needed. All the above materials are ready made. Usually they are donated or ordered when a new family is formed and they can last for years of odyssey and travelling.

There are other two mats, namely men mats and women/children mats. The men mats are decorated in a distinctive and very beautiful way and are used by the men of the family and other guests. The other mat is both used by the women and children and usually it doesn’t have any special decoration. The inside of an Aqal is separated into two areas; the sleeping area is furnished into Raar (turfs) and is always at the back of the Aqal while the living area is at the front.  

Finally, there is an outer uncovered veranda called a Gabbaad; the Gabbaad is an uncovered shelter constructed on both sides of the Aqal. This Gabbaad is where the family remains in the evening and arranges their supper and any other entertainment before sleeping. The Kiblah direction Gabbaad is used by the men and the remaining one is used by the women and children.

                                                                                                       Elmi H Samatar

                                                                                                       samatar2020@hotmail.com