A TV program in Mogadishu, which has become popular among Somali
youth, provides a different and entertaining narrative of the beleaguered city —
a narrative that is bridging cultural divisions and healing old wounds in the
wake of Al-Shabaab’s devastating bombing campaign in the city. While Al-Shabaab
(the name means youth) wreaks havoc among innocent people with bombs and other
weapons of destruction, the youth are coming to the show to sing or dance.
Universal TV’s weekly program Masraxa Furan (Open Mic) has become a hit in Somalia and in the
diaspora. The show is the first of its kind in the country and freely mixes comedy,
music, dance, poetry, and storytelling. It is hosted by the Benadiri comedian,
Abdi Muridi Dheere, better known as Ajakis.
Participants selected to the program are expected to sing,
dance, recite poetry, or tell stories. The method of selection is simple: Ajakis,
who uses a stick, goes through the audience and places it on the head of the
person selected. The selectee immediately goes in front of the audience to
perform. The mantra of the program is simple: you are either an observer or the
one observed. “Please greet the audience, state your full name, and tell us
what you have prepared for the program,” instructs Ajakis, who is the
gatekeeper of the show. He then asks if this is the first time the selectee has
been to the show or not. Thus, the entertainment begins.
Mogadishu has come a long way. Not so long ago, Al-Shabaab
ruled there with an iron fist. Music was banned, intermingling of the sexes was
prohibited, Western dress was frowned upon, cell phones were periodically monitored
for pictures or indecent messages, and offenders were severely flogged. These
days, Masraxa Furan is rewriting the
narrative and pioneering a culture that is anathema to all things Al-Shabaab.
Although the military has kicked the radical group out of
Mogadishu, it still maintains dangerous secret cells that kill and maim
innocent civilians at random. Recently, Al-Shabaab ramped up its ruthless and
indiscriminate bombing campaign by detonating bombs in highly populated public
places. On October 14, the group was allegedly responsible for the worst suicide
bombing in Mogadishu’s history, when car bombs killed or injured over a
thousand people. The radical group has not targeted Masraxa Furan, which ironically owes its success to the
public-spirited and peaceful participation of Mogadishu’s younger set. These
young people are not afraid of Al-Shabaab and openly appear before TV declaring
their full names.
The possibility of becoming famous or simply having fun are
the main reasons why youngsters flock to the show. On the one hand, their
participation is a manifest exhibition of fearlessness in the face of
Al-Shabaab’s killing spree; on the other hand, it is a way of showing that the
youth are no longer prepared to conform to strict cultural norms.
Masraxa Furan’s participants are much like any youth
in Nairobi, Johannesburg, or Cairo. Some wear jeans, others come with stylish
hairdos that would make the rapper Ludacris green with envy. The women dress
modestly, but stylishly. Their clothes are a tapestry of beautiful colors. Many
wear makeup, a departure from the customary lack of facial adornments. Most of
all, these young people are not shy of performing in front of strangers. When
one young lady hems and haws before taking the spotlight, Ajakis reassures her by
coaxing and cajoling her. His self-deprecating humor and encouragement
generally put hesitant performers at ease.
The show addresses a wide range of topics, from romantic love
to love of the Motherland. However, like any typical youth gathering, love talk
reigns supreme. Even Ajakis himself is occasionally nudged and teased. One
beautiful young lady, who had an effervescent smile and animated eyes, brazenly
asked him if he had ever fallen in love. Her blunt remarks managed to produce
some rather amusing howlers.
Ajakis, who has little trouble with eloquence, did not blink
and responded, “I am actually in love now.” Emboldened, she asked him if he had
two wives. If Ajakis was uncomfortable, he did not show it. He mumbled for
seconds and then, sounding celebratory, said, “Only one.”
When the bantering seemed to have ended, it suddenly took an
unexpected turn. “Well, I want to be your second wife,” the young lady said, flashing
a small grin. By this time, Ajakis had had enough, and laughingly changed the
topic. For the record, Ajakis excoriates polygamy, a system he strongly
believes some Somali men have abused.
In one episode, a young lady read a poem titled, “Men who lie
constantly.” She presented men’s foibles with an elegant, witty, and sarcastic
style. She contrasted the empty promises some men make during courtship—nice
villa, beautiful car, latest electronic gadgets, and shopping sprees abroad—with
what they actually deliver after marriage—a hut or a shack, no electricity and
no running water, and abject poverty.
The audience roared with laughter, and then Ajakis issued his
own verdict: “I really like you,” he told the performer.
The egalitarian nature of Masraxa
Furan is palpable. While the host and his support staff are middle-aged
men, the amateur performers are young and are equally selected for the strength
of their performance, without one gender being favored over the other.
Ajakis constantly subjects his audience to a relentless fusillade
of laconic and sarcastic humor. At times, he goes out of his way to do some matchmaking.
He boasts of the program’s worldwide reach and mentions, for instance, a young
man in Australia who had fallen in love with a young performer named Nasro.
Ajakis calls her to come to the front and tells her about her admirer in
Australia. Nasro is obviously flattered and giggles, but makes no statement.
Ajakis has reiterated numerous times that he wants “to see the
girl in Somaliland marry the boy in Puntland.” He wants young people to meet
during the show and, if possible, to tie the knot. At every show, Ajakis rattles
off some names, and reads greetings from Somalis abroad who regularly watch the
program.
“Three guys in the U.S. have contacted me” he boasted in one
episode, “and they are coming to Mogadishu for the sole purpose of visiting our
studio to perform.”
The diversity of Masraxa
Furan’s audience is staggering. The show transcends the artificial borders
Somalis have erected between them since the 1991 civil war. These divisions,
either geographical or tribal, are marginalized during the program. The show
welcomes all Somalis, regardless of their background.
In one episode, two young men from Burco, Somaliland, were
guests and one of them read an inspirational poem titled, “Mogadishu as it was before.”
The young man recalled the good times in the city before 1991 and he connected
all the threads that unite Somalis: from Djibouti to the Northern Frontier
District (Kenya), from Galkayo to Baidoa, and from Hargeisa to Beledweyne. He then
emphasized that Somalis are one body, one nation, despite their current state
of misfortune.
Speaking of Somaliland, Ajakis, who normally avoids politics,
had an unfortunate incident in January 2017. While on a business trip to
Somaliland, he was arrested in Hargeisa. In 2014, Ajakis had mocked the
president of Somaliland, Ahmed Mohamed Mohamoud “Silanyo,” during a Universal
TV show. The Somaliland authorities were not pleased with the segment and he
became a figure of loathing in government circles, despite his public apology.
“I am an artist, not a politician,” the remorseful Ajakis
said.
The regional authorities in Somaliland, who have a history of
muzzling journalists and imprisoning them, took a measure of revenge when Ajakis
finally landed in their lap. According to Ajakis, he was slapped, pushed over,
and detained for a day.
After interrogating the comedian, the authorities finally
deported him back to Mogadishu. “Don’t you ever come back to Somaliland again,”
he was warned. Ajakis got the message.
Back in Mogadishu, Ajakis was philosophical about the
incident: “The Somaliland official who roughed me up at the airport was of a
dark complexion and he seemed to me like he was the angel of death.”
In another well-covered political incident, Ajakis once
ridiculed Farah Moalim, the former deputy speaker of Kenya during a TV show.
Moalim was portrayed as a self-serving, bad-tempered politician, who is only
seen by his people in northern Kenya during elections. Moalim, Ajakis said,
dresses stylishly, lives in a five-star hotel in Nairobi, and wears expensive
perfumes whose fragrances can be detected from miles away, while his people die
from starvation and poverty. Moalim was not laughing, and threatened to sue
Universal TV until it was driven into bankruptcy.
Masraxa Furan is still evolving as a popular show.
The host and organizers are as new to programming as the amateur performers
they attract. Sometimes, the songs are subpar, the plays are haphazard, and the
sound system lacks quality. But that is why it is a show for amateurs. Although
Ajakis is an established comedian, he would indeed benefit from the services of
a knowledgeable expert in the entertainment industry. However, all these shortcomings
are outweighed by what the program has accomplished. It is serving a specific
but limited purpose: providing a peaceful venue for the country’s youth to
meet, exchange skills, and have fun, while at the same time negotiating the
country’s cultural taboos. The program is an alternative for some of the youth
to be radicalized. Ajakis puts it aptly, “Here, in this show, there are no
thieves, no violent people, and no troublemakers.”
Perhaps he and his TV show will heal the divide that has
ruptured so many innocent lives in Somalia.
(Reprinted from New Dalka Magazine, December 17, 2017).
(Reprinted from New Dalka Magazine, December 17, 2017).