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Master Bamboo Artist Kibe Seiho in Residence at the Asian Art Museum

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Buraanbur: Somali Women’s Poetry—A Tradition of Oral Poetry Plants New Roots in a La Mesa Community

Lily Kharrazi, Living Cultures Grants Program Manager, ACTA

“What is Buraanbur?”  This question was posed by Yasmin Hamud, the executive director of the Center for Bridging Communities, to a group of students in their newly developed Emerging Leaders Program.  Designed to engage Somali refugee women in the teaching and honing of leadership skills, their responses were generally: “it is something old Somali women do when they are at a wedding.”  "None of the students realized,” Ms. Hamud recounted, “that the Buraanbur is an art form in which Somali women express poems of happiness or sadness, or as a tool for coping with war times and as a celebration of life.  These young women viewed Buraanbur as something alien, associating it with older people from whom they are now disconnected.”

It was this disconnect that became the impetus behind the Buraanbur Conference, a project funded in part by ACTA’s Living Cultures Grants Program, on March 3, 2007.  “Through the conference we would like to give our students a new point of reference and expose them to poets in the community.  They may not understand the role of the poet in Somali society.  She is the innovator of new styles of speech.  She is the critic of despotic elders.  She is the artist whose verse gives pleasure to the mind.  She is the agitator.  She is the newscaster who informs her listeners about what is going on in the outside world.  Somali poetry is sometimes a political outcry.  Other times it is praise.  Often it is simply a woman voicing her own displeasure with life” (Yasmin Hamud, Buraanbur Conference Program).

The Buraanbur recitation is accompanied by drum and dance, which distinguishes it from the men’s poetic form known as Gabay. The richness of the Somali language lends itself to poetry, which one panelist at the conference referred to as the Somali national pastime. While the Gabay form has been written down and preserved, women’s poetry has historically remained an oral tradition. Although the conference was an occasion to celebrate the language and pleasures of these poetic traditions, the question and challenge posed by Yasmin Hamud was, “Why shouldn’t women’s poetry be written and preserved?”

The Conference

And by all indications, this tradition is well on its way to being preserved through the work of the scholars and panelists who attended the conference, and by the proactive work of the Center for Bridging Communities. Books documenting Somali language, proverbs and folktales were available for purchase at the conference, as well as the poems of women poets from the past and present which were displayed prominently throughout the hall. These poems made clear that whether the writing was in Somali or spoken-word English, the point of view was clearly that of a Somali woman. “The young women are mimicking their heritage without knowing it,” Yasmin Hamud pointed out in the conference proceedings.

The conference date was chosen to coincide with International Women’s Day, and the occasion brought out large segments of the Somali community. Both men and women of all ages stayed throughout the day, listening to the proceedings and songs and enjoying each other’s company. Some of the topics covered in the five panels related to the structure of the language, the differences in the poetic genres, famous women and their roles in political movements, and addressing issues for diaspora youth and empowerment through traditional art. Abdirahman “Barwaaqo” Farah, a journalist, linguist, and writer who currently lives in Canada, reiterated the importance of retaining the Somali language in its original form. He had attendees laughing at themselves in recognition, as he pointed out the trend to name Somali businesses or even their offspring with Anglicized or Arabicized names. He reminded them that Somali names were profound and meaningful. Other scholars included Sicid Amhed, a filmmaker, storyteller, and writer who resides in Minneapolis; Anwar Maxamed Diiriye, co-founder and editor of the Gobaad Sociocultural and Literary Journal; and Dr. G. L. Kapchits. Dr. Kapchits, who is of Russian heritage, has collected folktales and proverbs which have been published in two volumes. His presentation of proverbs brought much laughter to the proceedings.

The conference included presentations and performances by two esteemed women. The legendary singer, Saado Cali Warsame, who prior to fleeing Somalia because of her political activism was a beloved actress of Somali musical theater, sang throughout the day. A special song was composed for the conference called “Magacu Waa Murtida Giish,” which specifically praises the role of Somali women in cultural tradition. A popular living exponent of Buraanbur, Dahabo Elmi, is a poet who travels the nation reciting poems for wedding ceremonies. Later that evening she delighted the women with a Buraanbur recital and dance.

To further celebrate the role of the Somali women in cultural life, the conference room displayed examples of women’s work. One table full of handicrafts, included wooden utensils, camel bells, a leather food container made especially for the marriage feast, and weavings that are used for inside and outside of dwellings. Another table displayed the tools of adornment: colorful fabrics used for the Somali dress, perfume bottles and a clay pot used to diffuse incense to scent clothing and home.

The Buraanbur Recital

The conference day was to culminate with the actual Buraanbur recital, putting into practice the very subject of the day’s fine examination.  The excitement was palpable.  Some of the same women who attended during the day reappeared in more elegant clothing for the women’s party.  A feature of the dance that accompanies the oral recitation involves this clothing.  The dancers take the shawl from their shoulders and wrap the cloth around their heads and upper body like a tent.  With arms outstretched and elegant hands, they dance enveloped in fabric.

As the singer, Dahabo, recited her lines of poetry, a drummer spelled out the pattern.  Any woman who is so moved could enter the open circle to begin to dance.  She is surrounded by all the other participants who clap in rhythm and face the Buraanbur singer and drummer.  As a woman begins the dance, one or two more may join her.  As they interact, the footwork follows the drum pattern and the hand and arm motions make the fabric sway.  These short dance sequences between them would come to a close when the drum pattern signaled them to break.  Over and over again, the Buraanbur singer recited lines and more people were moved to dance.  The participants looked joyful, with expressions that were both playful and thoughtful.  It was surprising to see older women show such agility, holding their own in that circle and significant that young girls watched and clapped along.

Community Challenges

The cultural wealth of the Somalis has surely been a unifying force for the community, in spite of 16 years of civil war that created their dispersion in 1991. San Diego is home to the largest Somali population on the West Coast. While the majority of the Somalis in the United States are based in the Minneapolis area, which was an initial point of entry for many, the warm climate and ocean access is more reminiscent of their homeland on the Indian Ocean. It is expected that more will be drawn to the West Coast.

One young woman at the conference, who by profession is a technical engineer for the State of California, commented that the San Diego-based community is more traditionally observant than others. “The challenge to portray ourselves outside of the monoculture that has been painted of Muslims by the West is very hard," she said. “Somali women are spiritual, independent, and very emotional.” She felt that education and knowledge will serve her community well and help distinguish it. Her volunteer activities with the Center for Bridging Communities helps provide a positive role model for the young people who are involved with its the programs. She also writes poetry in English which she is proud to share.

At the end of the evening, as I packed up my video camera to leave, I struck up a conversation with an 11-year old girl who was watching me. Did she speak Somali, I wanted to know? “No,” she answered, “I was born here.” “Do your parents speak with you at home?” She nodded, yes, and went on to tell me that her plans were to learn English really well because she was bound for Harvard with plans to become a surgeon or lawyer. She had not made up her mind yet. I reminded her that schools pay attention to the languages one knows and that Somali was a really good one to know. I may have underscored one of the points of the conference with that brief interaction, because she smiled and was lost in thought for a moment. I found myself impressed that whatever her experiences were to be, she possessed at that moment, a kind of self esteem that broadcasts to the world that another strong Somali woman was in the making.

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Master Bamboo Artist Kibe Seiho in Residence at the Asian Art Museum

Lily Kharrazi, Living Cultures Grants Program Manager, ACTA

“Most artists become masters of bamboo only after years or decades of demanding apprenticeships. The students would not be allowed to touch bamboo at all for the first year or two, instead spending their days cleaning house, running errands, and serving tea. Even after the students were allowed to handle bamboo they would rarely receive direct instruction from the master and impertinent questions were considered a mark of laziness. Instead, students would learn primarily through quiet observation of the procedures and techniques of the master.” (Excerpted from the catalogue, Masters of Bamboo, by Melissa Rinne, assistant curator of Japanese Art, in collaboration with Koichiro Okada.)

How curious then to watch Kibe Seiho, Japanese master artist from Kyushu Island’s Oita Prefecture, patiently and graciously answer the non-stop questions from the largely American participants who attended his 2 day workshop recently! Mr. Kibe and his wife, Kibe Hatsumi, were in residence at the museum for 2 weeks in February, as part of the museum’s Asia Alive series in conjunction with an ambitious exhibition of the largest private collection of bamboo baskets from Japan. The 900 piece collection was given to the Asian Art Museum of San Francisco in 2006 by Lloyd Cotsen, a gentleman who encountered an unsigned basket in a San Francisco antique shop in the 1950’s. Drawn to the baskets’ sculptural beauty as well as its utilitarian use, a long love affair began for this discerning collector. Mr. Cotsen’s interest has impacted the field with the establishment of the Cotsen Prize, which is awarded annually through a juried competition for artistic excellence.

Mr. Kibe’s residency provided a living link to the baskets on display.  This residency activity was supported by a grant from ACTA’s Living Cultures Grants Program.  The participants in the workshop, who were in direct contrast to a style of traditional learning outlined in the catalogue quote above, were not being rude by our cultural standards, but were eager for assistance as they began to experience the difficult and exacting nature of bamboo basket making.  They were struggling to maintain consistency in their weaving, as Mr. Kibe was teaching them the technique known as “circular plaiting” or rinko-ami.  This technique is commonly used to begin the base of baskets, but it was surprisingly difficult for many of the workshop participants, especially when they learned that the base of a basket is formed from not one ring but two identically formed rings, which then must be interplaited. Thankfully, after their practice period was over, Mr. Kibe distributed a small basket that was halfway completed to each participant so that they could practice plaiting up the sides and attaching the rim onto their baskets.  This workshop was extremely well received by its participants and by the observing general public alike.

Because bamboo basketry is a technically rigorous mastery it takes decades.  The bamboo itself must be initially prepared by hand splitting and processing each individual bamboo culm.  The technical aspects required much repetition.  “A solid technical grasp of the medium is essential and the ability to bring something new, an innovative edge to the traditional material, can take a lifetime,” writes curator Rinne, “For this reason even artists in their forties or fifties are regarded as part of the ‘up and coming’ younger generation.”

Mr. Kibe was asked by a workshop participant how long it takes him to produce a new basket, to which he replied that he only works on 3 to 4 pieces a year.  He had brought with him one such piece in-progress for this residency.

Compared to the other craft and decorative arts of Japan, which have many more practitioners, there are thought to be around 100 living exponents of this traditional art today.  The master-apprentice relationship has changed with time, partially to attract more artists to learn bamboo basketry.  However, it still requires a 10 year training period to master the technique.  One difference is that some disciples can work with the bamboo right away.  Mr. Kibe’s own pathway to the art happened in a moment of deep questioning.  He was working as a gas station attendant when he was struck by the uselessness of his occupation.  He decided to pursue bamboo despite the protests of family.  Today, Kibe Seiho is a recognized master of bamboo, winning numerous awards for his work.

Masters of Bamboo at the Asian Art Museum of San Francisco can be enjoyed until May 6, 2007.  The exhibit hall has displayed the baskets without the barrier of glass, which make their sculptural presence more palpable.  The scale and detail of the baskets are breathtaking.  The pieces in this collection are organized around the artistic lineages of basket makers from three centers of bamboo art:  Western Japan, Eastern Japan, and the island of Kyushu.  While the early basket making traditions were principally utilitarian, this skill-driven craft experiences transformations within each school or lineage.  The ways in which the medium of bamboo is manipulated and structured is seemingly limitless.  The knowledge that this skill is still passed on through a master-apprentice relationship is a true counterpoint to our largely industry paced worlds.

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ACTA Congratulates Yuval Ron!

On February 25, 2007, West Bank Story won the Oscar for Live Action Short Film.  Yuval Ron, a Los Angeles-based Israeli composer, composed the score and songs for West Bank Story.  Congratulations, Yuval!

Yuval Ron Music is a current grantee in ACTA’s Living Cultures Grants Program. 

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