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In the 1940s, two sisters, Maryan and Khadiija Eyeh Dharaar, became the centre of attention in the town of Borama. These songs were enjoyed at majlises (kat chewing sessions) where men and women sat and sang together while the girls danced taxriig (a type of Arab dance). In its final days, the Arabic words were replaced with Somali, while the music remained the same. ![]() They were performed by filling the music breaks with quick and rhythmic handclapping called kasrad.ĭunya diwani remained dominant in the years between 19, until balwo was born. Known as dunya diwani (دنيا ديواني), or ‘the world is my poetry book’, these songs were played on phonographs by kabacad (clean shoes) groups. He reached adulthood during the 1930s, a time of change when classical Somali poetry began integrating jiifto quatrains of the dhaanto folk dance, which paved the way for the balwo.īesides the jiifto, the reer-magaal (urban people) also listened to Arabic songs brought from Aden. As a young boy, Abdi Sinimo became acquainted with many genres of Somali poetry like the gabay, geeraar, jiib, jiifto and buraanbur. ![]() These existed alongside the light dance songs of Somali women, the heelo-yar-yar, and the lullabies of Somali mothers, the hees carruureed, as well as the ubiquitous hees-hawleed (work songs), which Somali herdsmen, farmers, builders and other workers sang.Ībdi Deeqsi Warfaa, better known as Abdi Sinimo, emerged out of this rich background to create balwo, the genre that pioneered modern Somali song. Somalis who lived before the 1960s and 1970s watched folklore dances like the xoogweyn, saddexley, dhaanto, hirwo, wilwile and the saylici.
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