‘The Somali history of cassette tapes just hasn’t been known. It’s lovely to tell those stories’

“We’re not here to represent all Somali people, but use our power to tell borders,” say the members of the Dhaqan Collective. “We want to use our power to create a non-homogenous space.”

The Bristol-based collective, made up of Fozia Ismail, Asmaa Jama and Ayan Cilma, is a feminist art group that centres the voices of women and elders of the Somali community.

The trio are currently working on a project, called Camel Meat and Cassette Tapes, to archive and learn from Somali communities.

In the 1980s, families would send cassette tapes back and forth between Somaliland and the UK. The cheap cassette tapes became a snapshot of Somali culture, and one Dhaqan Collective is exploring using funding from the Arnolfini.

The three women describe the collective and non-hierarchal. People are even footing and learn from each other in equal amounts.

“Our way or working is old,” says Asmaa who recently released Before I Disappear, an art piece exploring being Black, Somali and Muslim.

“They are learnt from elders. This way of working is necessary to make sure things are accurate and that stories are told in the right context.

“We’re archiving accurately for future generations.”

Fozia Ismail (pictured) founded Dhaqan Collective with Ayan and Asmaa. Photo: Paul Samuel White

Through co-creation and collaboration, Dhaqan Collective are creating an archive of post-war Somali history that is “as joyful as it is critical”.

They listened to myths, the story of Queen Araweelo, anti-colonial songs and camel-herding while collecting stories. Projected images, printouts, textiles and Somali crafts were used to facilitate these discussions.

Asmaa, Fozia and Ayan explain that the collective is a place where they can examine their work and create, but never compromise their identity as Somali women.

“It’s so rare for to find a space where Somali women can collaborate in this way,” says Ayan, who grew up in Bristol and met Fozia, who runs Somali supper club and research project Arawelo Eats, and Rife alumni Asmaa while working at the Arnolfini.

“The space is important to have a place to self-reflect and be aware of our power. Because we have power, we often step back and to a lot of listening.”

After six months of research and oral history documenting, the women created a cassette tape soundscape in March 2020. Fozia says that the finished project became a “time capsule of how cassette tapes were used”.

Asmaa Jama (pictured) is also a poet and has been nominated for the Brunel International African Poetry Prize. Photo: Paul Samuel White

The project continues to progress as lockdown eases and the cassette tapes continue to have a resurgence in popularity.

Young people aged 16 to 18 will work with archivist and co-founder of WaaberiPhone, Ibrahim Hirsi, to explore ways of archiving. Sound artist Rowan Bishop will work with the young people to help them manipulate the sounds on the cassette tapes to make experimental work.

The soundscapes will be distributed in limited edition cassette tapes across the UK and globally.

“The Somali history of cassette tapes just hasn’t been known,” says Fozia.

“It’s lovely to highlight and tell those stories.”

Main photo: Paul Samuel White

Read more: ‘In my family, dried camel meat and tapes would be sent instead of letters’