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Tuesday 5 November 2024

Opinion

Al-Shabaab is seeking cultural influence with the recruitment of poets

7 May, 2024
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Negeeye
Negeeye Ali Khaliif is among a group of Somali poets who declared that they have defected to al-Shabaab. (Photo: Social Media)
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Al-Shabaab’s recent recruitment of three prominent poets underscores the group’s growing influence within the Somali cultural sphere 

Recent news that Mohamud Jeesto defected to join al-Shabaab underscores a disturbing trend of the group’s evolving influence within Somalia’s cultural and intellectual spheres. He is the third young poet, following Abwaan Abdiwahid Gamadiid and Nageeye Ali Khaliif to have defected from the group. These young men, once celebrated for their verses championing peace, nationalism, and even romance, now lend their voices to a group fundamentally opposed to the ideals they once embodied. This strategic enlistment of respected cultural figures marks a significant evolution in al-Shabaab’s propaganda tactics and suggests a deeper, more sophisticated ideological penetration into Somali society. 

Al-Shabaab has long dedicated significant effort to elevate its propaganda machine, using all sorts of tools available to them. From word-of-mouth, to depicting itself as a fair arbiter in land disputes and online communication campaigns, including sleek and well-edited clips of its militant activities, the organisation has always been heavily invested in these efforts. Christopher Anzalone, a specialist on the group, says media operations are an “integral part of its broader proto-state governance operations.” Driven by digital innovation, they have not refrained from exploiting the latest technologies to broadcast their message to intended audiences, be it through simple telegram channels, Chipwire, dedicated websites, and even podcast-like mediums.  

Al-Shabaab is known for its sophisticated use of propaganda techniques. By producing high-quality videos that both glorify its actions and vilify its opponents, the group manipulates perceptions and garners support for its cause. These productions often feature emotional or ideological appeals that resonate with potential recruits, highlighting the group's skill in shaping narratives to its advantage.  

Al-Shabaab is known for its sophisticated use of propaganda techniques. By producing high-quality videos that both glorify its actions and vilify its opponents, the group manipulates perceptions and garners support for its cause.  

Against this backdrop, the defection of Nageeye Ali Khalif stands out as the most prominent example of al-Shabaab’s adaptive tactics. Nageeye, a poet, university dean, media strategist, and social media influencer, represents a notable departure from their usual recruitment. His defection is not just another enlistment; it is a major coup for al-Shabaab’s propaganda efforts.  

Nageeye’s intellectual journey from Somali nationalism to jihadism 

Nageeye’s journey from his arrival in Mogadishu in 2017 to his defection to al-Shabaab traces a narrative of ideological disillusionment and a quest for a community of like-minded individuals. Initially drawn to the capital for its intellectual promise, he becomes increasingly disenchanted by the political and foreign interventions in Somalia. His transition is a testament to this disillusionment, underpinned by his poetry and academic pursuits, which reflect deep engagement with nationalist and extremist ideologies. Nageeye’s memoir, “Dibad Wareeg,” and his subsequent writings offer a window into his radicalization. 

Nageeye found fertile ground for his ultra-nationalist views during Farmaajo’s populist presidency. His swift appointment at the Somali National University, a coveted position even for local academics, underscores the alignment of his nationalist thinking with prevailing political sentiments at the time. This favourable environment likely facilitated Nageeye’s rapid ascent within Mogadishu’s intellectual and academic circles, providing a platform to amplify his radical nationalist agenda.  

Nageeye found fertile ground for his ultra-nationalist views during Farmaajo’s populist presidency. 

He grew frustrated with the federal government which didn’t reflect his own ambition for the type of Somalia he wanted to see. Eventually, he was releasing lines of poetry like this: “Wandering in the wilderness are the lads who are sincere, blood is spilt because there is no other remedy.”  

Nageeye’s alignment with al-Shabaab is marked by a shared narrative of resistance against foreign intervention and al-Shabaab’s opportunistic deployment of Somali nationalism to gain sympathy with the main target group of its propaganda. In some ways Nageeye’s Somali nationalism is a host ideology, within which al-Shabaab smuggles its more radical agenda.  

Nageeye makes first high profile appearance in al-Shabaab interview 

Known for his significant influence and prior vocal opposition to extremist ideologies, Nageeye’s appearance in al-Shabaab’s first high-production value broadcast from their own studio was a significant moment for the organisation but also a significant cultural moment. They diverged from their usual style; the infamous dark backgrounds with the black flag loitering somewhere or masked armed men side by side. None of that. This strategic use of Nageeye’s reputation and his sophisticated oratory skills allowed their key messages to reach a much wider audience, including a broader segment of the Somali youth than they’re used to. This reflects a substantial evolution in both the form and substance of their messaging.  

It’s clear that these individuals are unlikely to become frontline fighters, none are known for their martial prowess; if anything, their involvement in direct combat would be minimal and not particularly advantageous to the group. This raises the possibility that unless they are used in extreme roles like human bombs—a tactic for which al-Shabaab unfortunately has precedent—their real value lies elsewhere.  

Their recruitment is likely strategic, aimed at leveraging their influence and reputation to enhance al-Shabaab’s propaganda efforts. By utilising these young poets, al-Shabaab not only garners attention but also crafts a more nuanced, culturally resonant message that might appeal to segments of the Somali population disillusioned with ongoing political and social strife. This tactic aligns with the group’s broader strategy of employing sophisticated media techniques to project power, recruit sympathisers, and manipulate public perception both within Somalia and internationally. On an Atlantic Council panel in 2016, Anzalone outlined how the group taps into these different identities, whether religious or ethnic, “as it sees fit” to serve its communications objectives.   

To break this down, let’s return to the interview with Nageeye which the group posted in early February and was quickly re-broadcast across dozens of Somali YouTube channels. This interview reveals a striking shift not only in production quality—employing sophisticated TV techniques like the “over-the-shoulder” shot; This shift closely mirrors the dynamics observed in mainstream media where a host engages with opposition leaders or activists, instead of their forceful declarations of war and condemnations of the FGS.  

The interviewer, whose face was covered, allowed Nageeye to explore themes that resonated with Somalis and tugged on the heart strings of their various sympathies: Somali nationalism, statehood and anti-imperialism in a new rhetorical style.  

Nageeye openly discussed his educational background, recalling that he had received a scholarship to study in Ethiopia. He took the opportunity to portray himself like other young Somalis, angry at the instability, the lack of opportunity and the presence of foreign forces in the country. Growing up like other young Somalis, he also said he once sought opportunities abroad. 

Despite his academic achievements at Ethiopian universities and later work at the Somali National University (SNU), Nageeye shared his growing disillusionment with the Somali federal government. This frustration was vividly captured in a poem he recited during the interview, which underscored his disenchantment with the political scene—a significant factor in his decision to align with al-Shabaab.  

This evolution in al-Shabaab’s propaganda approach, marked by Nageeye’s defection, suggests a strategic recalibration aimed at appealing to a broader segment of the Somali population. By adopting a tone that emphasises Somali identity and resistance against foreign interference, al-Shabaab appears to be positioning itself not just as a militant group, but as a political entity with a vested interest in Somalia’s future.  

By adopting a tone that emphasises Somali identity and resistance against foreign interference, al-Shabaab appears to be positioning itself not just as a militant group, but as a political entity with a vested interest in Somalia’s future. 

An important example of this from the interview was Nageeye’s calls for opposition to the Ethiopia-Somaliland memorandum of understanding, echoing the federal government’s view that Addis Ababa was attempting to annex Somali territory. This shows how al-Shabaab inserts itself into popular Somali national issues to depict itself as a defender of Somalis and their interests. A similar statement was made by the group’s spokesperson Ali Mohamud Rage who said the deal was “illegal” and was backed by “apostates and traitors.” Nageeye, with his background in Somali nationalism and significant influence on social media, serves as the ideal conduit for this recalibrated message, lending al-Shabaab greater credibility and a broader appeal.  

Moreover, the way the interview is conducted humanises al-Shabaab’s representatives, portraying them as thoughtful participants in Somalia’s political discourse rather than merely as extremist militants. 

This slicker presentation challenges their previously unidimensional portrayal, at a time when the federal government has taken the narrative fight against the organisation onto its own turf; the religious domain. The Hassan Sheikh Mahmoud administration introduced the widely reviled term khawarij in government communications referring to the group when he returned to power, attempting to frame them as blasphemers and not just a terrorist organisation. Even the US embassy in Mogadishu used the term.  

This nuanced approach to propaganda, highlighting themes of Somali nationalism and anti-imperialism, indicates al-Shabaab’s awareness of the complex socio-political fabric of Somalia and its diaspora. By aligning their messaging with these broader themes, al-Shabaab seeks to legitimise its cause by placing itself within the national conversation as another dissident voice against a flailing government.