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Researchers and non-researchers alike can learn much about and draw inspiration from the everyday struggles of ordinary people in difficult contexts. Yet such stories that we hear when working with communities engaged in the pursuit of social justice or emancipation often go untold or are overlooked. A comic strip about acts of civil resistance in Somaliland shows just how powerful such visual imagery can be in communicating lived experiences of struggles, writes Ebba Tellander.

In the early 1980s, the people of Hargeisa, Somaliland suffered greatly. The negligence of the Siad Barre regime and the 1977/78 war with Ethiopia meant that the city’s residents did not have adequate access to basic services such as electricity, sanitation, and health care. At the same time, political oppression dominated life in northwest Somalia. Despite the possible consequences of blatantly opposing the government, a group of young professionals, including teachers, engineers, and doctors, set out to change the state of things by volunteering to help the people of Somaliland. They started in 1981 by cleaning and refurbishing the Hargeisa Group Hospital – at their own expense and in their own time. They saw it both as a form of humanitarian assistance responding to the acute suffering of patients due to the lack of a properly functioning hospital, and as a way of resisting the oppressive policies of the regime. Through their humanitarian action they were illuminating the negligence of the government in the health sector, mobilising people in the community to take care of themselves when the government wouldn’t, and showing them that they could act independently from the government.

To create more awareness about the oppressive polices, two of the professionals also wrote a newsletter called ‘Uffo’, which means ‘the sweet-smelling wind before the rain’. The meaning seemed to have foreshadowed what happened next. When the professionals were arrested a few months later and faced the risk of execution, this became the spark that ignited and inspired others, especially secondary school students and women, to oppose the regime openly on the streets. Today, the protests that took place are remembered as the Dhagax Tuur, which means ‘stone throwing’, and are regarded as the beginning of the resistance movement that continued for years afterward and eventually led to downfall of the authoritarian regime.

Despite the Uffo story’s historical importance, it is not widely known; instead, narratives of crisis, conflict, and violence dominate reports on the situation in the Horn of Africa, where Somaliland lies. These narratives are perpetuated by journalists, NGO personnel, and researchers alike. Reports on the Somali region in particular are typically focused on themes such as piracy, terrorism, war, and state failure. One consequence of such a limited focus is that ordinary people are portrayed either as perpetrators or as passive victims. This gives a flawed picture that downplays essential parts of the human experience, including those that provide a glimmer of hope, such as the courage and creativity of those who struggle, as well as their care for others. For my doctoral research I therefore chose to focus on the case of Uffo to highlight the tales and self-awareness of those people who act collectively to counter violence and oppression. I found a story that should not go unheard. And so I sought a way to make sure that it would be heard.

To communicate this story to new and larger audiences, I have been part of a production team of producers, storytellers, artists, and researchers who over the past years have created a comic in five parts. The comic is available in both English and Somali (read it here). I am part of a larger research team at Peace Research Institute Oslo (PRIO) that is committed to exploring the power of visual storytelling in research through a collaboration with the organisation PositiveNegatives that produces educational comics to raise awareness about social and humanitarian issues across the globe.

Comics and animations are particularly suitable for communicating lived experiences and sensitive themes, including topics such as love, torture, and mental health. It is easier for a larger group of people to recognise themselves in animated characters when compared to other visual formats such as photographs and films. In addition, comics can easily be translated into many different languages and spread on social media. Thus, they can reach people who normally do not read academic texts or policy reports.

How did we create this comic strip?

These comics were created in a collaborative manner that allowed the professionals and other research participants to tell their stories. The production team met the Uffo professionals in Hargeisa to discuss the comic before it was developed into a first draft. They were then given the opportunity to provide feedback during several crucial steps in the production process. The Uffo professionals have been very enthusiastic about the project throughout the process.

The artwork was created by established Congolese artist Pat Masioni who was personally inspired by the story. His 1980s comic style was a perfect fit with the Uffo story. To stay true to the story, Pat Masioni used historical photographs and pictures that I had taken during my fieldwork to create the artwork.

The process of creating a comic based on research and in such a collaborative manner is time-consuming, but the whole team stayed committed to the importance of communicating this story in a nuanced way that resonated with the stories of the professionals.[1]

What’s the comic about?

The comic strip powerfully illustrates the role of agency in challenging circumstances. Those who read all five chapters will know how Uffo invented astonishing ways to survive and stay sane during their harsh prison sentences (note: Tolstoy’s fans will be pleasantly surprised). There are many such smaller parts of the story that capture the professionals’ care for each other as well as their capacity to create light in the dark, which is a common thread throughout the whole series. These stories can be transformative in themselves, as they have the power to inspire and show us what is possible in otherwise bleak situations.

When the comics were launched, Dr Tani from the Uffo group was interviewed by BBC Africa. Several of the Uffo professionals were later granted political asylum in countries such as the UK, Canada, the Netherlands, Norway, and the US. I therefore wish for the comic to be read by people living in those countries, as it will give us a better understanding of the lives of fellow citizens with refugee backgrounds.

I also wish for the comics to be read by youth in Somaliland and by diaspora. While I was conducting the research in Somaliland, I got involved in the process of creating a 13-episode TV program about Uffo in Hargeisa in 2018 together with Star TV. I followed journalists to universities and other public spaces where they were asking people on the street whether they had heard of Uffo. Very few had. One contributing reason is the country’s cautious approach to bringing up painful memories from the past, which could contribute to division. However, the story of Uffo is not only a painful one, but also carries messages of hope and strength, which I noticed inspired the young women and men I worked with in Hargeisa, most of whom had not heard the Uffo story before.[2]

All in all, this exercise has shown that engaged researchers not only can contribute to social change through the findings and insights generated by their research, but also through the ripple effects of the research process itself and from the stories that are being illuminated. It’s up to researchers to find out how to do this and to actively seek to create waves through their research.

[1] The production of the comic was informed by rigorous research, including in-depth interviews with the Uffo professionals and people who participated in the protests, many of them women. As part of the research process, the interview data has been triangulated with archival data such as human rights reports, political poetry and the trial protocol from 1982.

[2] Thanks go to Nasra Daahir Raage, Shukri Sagal Ali, Yasmin Gedi, Abdifatah Omar, Wahiba Ismail, Mohamud Ismail, Nasra Sagal, Hadiya Sayid Ali and Hassan Sayid Ali Daoud for their excellent research assistance.

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