<i>Tidcan</i>: Multiple Alliteration of Somali Songs – New Insights

Jama Musse Jama

doi:doi:10.11648/j.ijla.20210903.13

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Tidcan: Multiple Alliteration of Somali Songs – New Insights

Jama Musse Jama

Published in International Journal of Literature and Arts (Volume 9, Issue 3)

Received: 9 April 2021 Accepted: 17 May 2021 Published: 26 May 2021

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Abstract

This paper formulates some changes in Somali poetry composition through the transition of the Somali literature from oral to a written culture since the introduction of a writing system for the Somali language in 1972. These changes are first observed through the comparison of themes and styles of poetry used by the classic nomadic and pastoralist poets (1800-1970ies) versus the themes and styles used by the educated university graduate poets in the cities (post-1972). A second comparison is done between the first generation of educated poets (1970ies - 1990) and the current generation of young poets in the era of social media, and how these changes are observed in the literature both in terms of imaginative themes on social issues, and the introduction of new styles and structures of poetry by the contemporary poets. To understand better the comparison, the peculiarities of Somali poetry, including the alliteration and meter system, are briefly explained. In the second part, the paper explores new insights and developments in Somali lyrics writing where contemporary lyricists are experimenting with new styles of poetry writing, including the introduction of multiple alliterations and the expansion of the Somali lyrics to a rhymed style. A corpus of 21 selected songs is identified within the Somali Corpus (see www.somalicorpus.com) and analyzed focusing on the introduction of the multiple alliterations and the use of the poem's rhyme style. The songwriters have been interviewed on their views of these new developments and to fact-check with them the contents of the peoms (order of the verses in the lysics and their meaning), and some of the lyrics have been translated into English to reflect on the themes they deal with. The term Tidcan as a poem with more than one alliterative sound for the entire poem is coined here by using an existing Somali word with another meaning. In fact, the word “tidcan” means literally braiding: like tima tidcan=braided hair. The paper finally questions the impacts of these developments on music composition for the Somali song.

Published in	International Journal of Literature and Arts (Volume 9, Issue 3)
DOI	10.11648/j.ijla.20210903.13
Page(s)	124-142
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Multiple Alliteration, Rhyme, Somali Poetry

References

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[2]	[Jama Musse Jama] Jaamac Muuse Jaamac, “Gorfeyn Riwaayadeed: Aqoon iyo Afgarad waa murti ku habboon in maanta la isu sheego”, Dhaxalreeb 1-2015. Special issue. Hargeysa: Ponte Invisibile.
[3]	Afrax, Maxamed Daahir, “Between continuity and innovation: transitional nature of post-independence Somali poetry and drama, 1960s – the present.” PhD Thesis. SOAS, University of London, 2013.
[4]	Gaarriye, Maxamed Xaashi Dhamac, “Toddobadkan iyo Suugaanta: Miisaanka Maansada”, Xiddigta Oktoobar, Mogadishu, Somalia: Ministry of Information and National Guidance, 17 January, 1976, 3.
[5]	Carraale, Cabdullaahi Diiriye Guuleed, “Hawraaray ninba si kuu qaaday,” Xiddigta Oktoobar, Mogadishu, Somalia: Ministry of Information and National Guidance, 10 January, 1978, 3.
[6]	Carraale, Cabdullaahi Diiriye Guuleed, “Miisaanka Maansada Soomaaliyeed”, Abokers Forlag, 2003.
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[9]	Orwin, M. “Crafting modern Somali poetry: Lyric features in ‘Fad Galbeed’ by Gaarriye and ‘Xabagbarsheed’ by Weedhsame”, Journal of African Languages and Literature, No. 1, 2020. Open access at https://doi.org/10.6092/jalalit.v1i1.6737.
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[14]	Jama Musse Jama, “A Syntactically Annotated Corpus Of Somali Literature”, unpublished PhD thesis, Oriental University of Naples, 2016.
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Jama Musse Jama. (2021). Tidcan: Multiple Alliteration of Somali Songs – New Insights. International Journal of Literature and Arts, 9(3), 124-142. https://doi.org/10.11648/j.ijla.20210903.13

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Jama Musse Jama. Tidcan: Multiple Alliteration of Somali Songs – New Insights. Int. J. Lit. Arts 2021, 9(3), 124-142. doi: 10.11648/j.ijla.20210903.13

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Jama Musse Jama. Tidcan: Multiple Alliteration of Somali Songs – New Insights. Int J Lit Arts. 2021;9(3):124-142. doi: 10.11648/j.ijla.20210903.13

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@article{10.11648/j.ijla.20210903.13,
  author = {Jama Musse Jama},
  title = {Tidcan: Multiple Alliteration of Somali Songs – New Insights},
  journal = {International Journal of Literature and Arts},
  volume = {9},
  number = {3},
  pages = {124-142},
  doi = {10.11648/j.ijla.20210903.13},
  url = {https://doi.org/10.11648/j.ijla.20210903.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20210903.13},
  abstract = {This paper formulates some changes in Somali poetry composition through the transition of the Somali literature from oral to a written culture since the introduction of a writing system for the Somali language in 1972. These changes are first observed through the comparison of themes and styles of poetry used by the classic nomadic and pastoralist poets (1800-1970ies) versus the themes and styles used by the educated university graduate poets in the cities (post-1972). A second comparison is done between the first generation of educated poets (1970ies - 1990) and the current generation of young poets in the era of social media, and how these changes are observed in the literature both in terms of imaginative themes on social issues, and the introduction of new styles and structures of poetry by the contemporary poets. To understand better the comparison, the peculiarities of Somali poetry, including the alliteration and meter system, are briefly explained. In the second part, the paper explores new insights and developments in Somali lyrics writing where contemporary lyricists are experimenting with new styles of poetry writing, including the introduction of multiple alliterations and the expansion of the Somali lyrics to a rhymed style. A corpus of 21 selected songs is identified within the Somali Corpus (see www.somalicorpus.com) and analyzed focusing on the introduction of the multiple alliterations and the use of the poem's rhyme style. The songwriters have been interviewed on their views of these new developments and to fact-check with them the contents of the peoms (order of the verses in the lysics and their meaning), and some of the lyrics have been translated into English to reflect on the themes they deal with. The term Tidcan as a poem with more than one alliterative sound for the entire poem is coined here by using an existing Somali word with another meaning. In fact, the word “tidcan” means literally braiding: like tima tidcan=braided hair. The paper finally questions the impacts of these developments on music composition for the Somali song.},
 year = {2021}
}

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TY  - JOUR
T1  - Tidcan: Multiple Alliteration of Somali Songs – New Insights
AU  - Jama Musse Jama
Y1  - 2021/05/26
PY  - 2021
N1  - https://doi.org/10.11648/j.ijla.20210903.13
DO  - 10.11648/j.ijla.20210903.13
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 124
EP  - 142
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20210903.13
AB  - This paper formulates some changes in Somali poetry composition through the transition of the Somali literature from oral to a written culture since the introduction of a writing system for the Somali language in 1972. These changes are first observed through the comparison of themes and styles of poetry used by the classic nomadic and pastoralist poets (1800-1970ies) versus the themes and styles used by the educated university graduate poets in the cities (post-1972). A second comparison is done between the first generation of educated poets (1970ies - 1990) and the current generation of young poets in the era of social media, and how these changes are observed in the literature both in terms of imaginative themes on social issues, and the introduction of new styles and structures of poetry by the contemporary poets. To understand better the comparison, the peculiarities of Somali poetry, including the alliteration and meter system, are briefly explained. In the second part, the paper explores new insights and developments in Somali lyrics writing where contemporary lyricists are experimenting with new styles of poetry writing, including the introduction of multiple alliterations and the expansion of the Somali lyrics to a rhymed style. A corpus of 21 selected songs is identified within the Somali Corpus (see www.somalicorpus.com) and analyzed focusing on the introduction of the multiple alliterations and the use of the poem's rhyme style. The songwriters have been interviewed on their views of these new developments and to fact-check with them the contents of the peoms (order of the verses in the lysics and their meaning), and some of the lyrics have been translated into English to reflect on the themes they deal with. The term Tidcan as a poem with more than one alliterative sound for the entire poem is coined here by using an existing Somali word with another meaning. In fact, the word “tidcan” means literally braiding: like tima tidcan=braided hair. The paper finally questions the impacts of these developments on music composition for the Somali song.
VL  - 9
IS  - 3
ER  -

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Jama Musse Jama

Hargeysa Cultural Centre, Institute for Research, Heritage Preservation and Development, Hargeysa, Somaliland

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Jama Musse Jama. (2021). Tidcan: Multiple Alliteration of Somali Songs – New Insights. International Journal of Literature and Arts, 9(3), 124-142. https://doi.org/10.11648/j.ijla.20210903.13

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Jama Musse Jama. Tidcan: Multiple Alliteration of Somali Songs – New Insights. Int. J. Lit. Arts 2021, 9(3), 124-142. doi: 10.11648/j.ijla.20210903.13

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AMA Style

Jama Musse Jama. Tidcan: Multiple Alliteration of Somali Songs – New Insights. Int J Lit Arts. 2021;9(3):124-142. doi: 10.11648/j.ijla.20210903.13

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@article{10.11648/j.ijla.20210903.13,
  author = {Jama Musse Jama},
  title = {Tidcan: Multiple Alliteration of Somali Songs – New Insights},
  journal = {International Journal of Literature and Arts},
  volume = {9},
  number = {3},
  pages = {124-142},
  doi = {10.11648/j.ijla.20210903.13},
  url = {https://doi.org/10.11648/j.ijla.20210903.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20210903.13},
  abstract = {This paper formulates some changes in Somali poetry composition through the transition of the Somali literature from oral to a written culture since the introduction of a writing system for the Somali language in 1972. These changes are first observed through the comparison of themes and styles of poetry used by the classic nomadic and pastoralist poets (1800-1970ies) versus the themes and styles used by the educated university graduate poets in the cities (post-1972). A second comparison is done between the first generation of educated poets (1970ies - 1990) and the current generation of young poets in the era of social media, and how these changes are observed in the literature both in terms of imaginative themes on social issues, and the introduction of new styles and structures of poetry by the contemporary poets. To understand better the comparison, the peculiarities of Somali poetry, including the alliteration and meter system, are briefly explained. In the second part, the paper explores new insights and developments in Somali lyrics writing where contemporary lyricists are experimenting with new styles of poetry writing, including the introduction of multiple alliterations and the expansion of the Somali lyrics to a rhymed style. A corpus of 21 selected songs is identified within the Somali Corpus (see www.somalicorpus.com) and analyzed focusing on the introduction of the multiple alliterations and the use of the poem's rhyme style. The songwriters have been interviewed on their views of these new developments and to fact-check with them the contents of the peoms (order of the verses in the lysics and their meaning), and some of the lyrics have been translated into English to reflect on the themes they deal with. The term Tidcan as a poem with more than one alliterative sound for the entire poem is coined here by using an existing Somali word with another meaning. In fact, the word “tidcan” means literally braiding: like tima tidcan=braided hair. The paper finally questions the impacts of these developments on music composition for the Somali song.},
 year = {2021}
}

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TY  - JOUR
T1  - Tidcan: Multiple Alliteration of Somali Songs – New Insights
AU  - Jama Musse Jama
Y1  - 2021/05/26
PY  - 2021
N1  - https://doi.org/10.11648/j.ijla.20210903.13
DO  - 10.11648/j.ijla.20210903.13
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 124
EP  - 142
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20210903.13
AB  - This paper formulates some changes in Somali poetry composition through the transition of the Somali literature from oral to a written culture since the introduction of a writing system for the Somali language in 1972. These changes are first observed through the comparison of themes and styles of poetry used by the classic nomadic and pastoralist poets (1800-1970ies) versus the themes and styles used by the educated university graduate poets in the cities (post-1972). A second comparison is done between the first generation of educated poets (1970ies - 1990) and the current generation of young poets in the era of social media, and how these changes are observed in the literature both in terms of imaginative themes on social issues, and the introduction of new styles and structures of poetry by the contemporary poets. To understand better the comparison, the peculiarities of Somali poetry, including the alliteration and meter system, are briefly explained. In the second part, the paper explores new insights and developments in Somali lyrics writing where contemporary lyricists are experimenting with new styles of poetry writing, including the introduction of multiple alliterations and the expansion of the Somali lyrics to a rhymed style. A corpus of 21 selected songs is identified within the Somali Corpus (see www.somalicorpus.com) and analyzed focusing on the introduction of the multiple alliterations and the use of the poem's rhyme style. The songwriters have been interviewed on their views of these new developments and to fact-check with them the contents of the peoms (order of the verses in the lysics and their meaning), and some of the lyrics have been translated into English to reflect on the themes they deal with. The term Tidcan as a poem with more than one alliterative sound for the entire poem is coined here by using an existing Somali word with another meaning. In fact, the word “tidcan” means literally braiding: like tima tidcan=braided hair. The paper finally questions the impacts of these developments on music composition for the Somali song.
VL  - 9
IS  - 3
ER  -

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