Long before kingdoms, colonial borders, or modern states, artists in the Somali lands painted cattle, giraffes, hunters, and sacred rituals onto cave walls. Today, the ancient rock art of Laas Geel stands as one of Africa's greatest archaeological treasures—and a powerful reminder of the deep roots of Somali civilization.
Laas Geel rock art site in Somaliland, home to some of Africa’s oldest and best-preserved cave paintings.
HARGEISA (Somali Report) — Long before kingdoms rose along the Red Sea coast, before Islam reached the Horn of Africa, and before the camel became the defining symbol of Somali life, artists stood beneath rocky shelters in what is now Somaliland and painted their world.
They painted cattle with magnificent horns, wild giraffes roaming green landscapes, hunters carrying bows and arrows, and women sharing water with dogs.
Five thousand years later, those paintings remain.
Hidden among granite outcrops about 50 kilometers northeast of Hargeisa lies Laas Geel, one of Africa's most extraordinary archaeological treasures and perhaps the most important cultural heritage site in Somali history.
Often described as the "Altamira of Somaliland" or the "Lascaux of Africa," Laas Geel contains some of the oldest and best-preserved rock art on the continent. Yet despite its global significance, many Somalis know little about the site, and much of the world remains unaware that one of humanity's great prehistoric galleries exists in the Somali lands.
For generations, local pastoralists avoided the rocky shelters.
The caves were believed to be inhabited by djinn—supernatural spirits feared in local folklore. Elders warned children to stay away. Nomads passing through the area spoke of curses and evil forces.
That fear may have unintentionally saved the paintings.
Musa Abdi Jama, a herder who later became one of the site's guardians, first encountered the caves during a storm in the late 1960s when his goats sought refuge among the rocks.
Inside, he discovered something astonishing.
Covering the cave ceilings and walls were vivid paintings in red, white, ochre, and black pigments. Human figures, cattle, antelope, giraffes, dogs, and mysterious geometric symbols appeared frozen in time.
"We believed they had been painted by devils using blood," Jama later recalled.
Yet nothing happened.
The spirits never appeared.
What he had found was not a haunted place but one of Africa's greatest archaeological treasures.
Although local communities had long known of the site, Laas Geel remained virtually unknown to the outside world until 2002, when a French archaeological team led by Professor Xavier Gutherz documented and studied the paintings.
What they found astonished experts.
Spread across roughly twenty caves and rock shelters are more than 350 paintings, many dating between 5,000 and 11,000 years ago.
Unlike many prehistoric sites elsewhere in Africa, the paintings remain remarkably vibrant.
The figures appear almost modern.
The cattle are especially striking. Their bodies are decorated with elaborate patterns, while human figures stand beneath them with raised arms, suggesting rituals, ceremonies, or spiritual practices.
The artistic sophistication immediately placed Laas Geel among the world's most important examples of prehistoric art.
One of Laas Geel's greatest lessons is environmental.
Visitors arriving today encounter a harsh landscape of rocks, thorny scrubland, and intense heat. Yet the paintings reveal a very different world.
Giraffes, antelope, elephants, and other wildlife depicted in the caves no longer inhabit the region.
According to archaeologists and environmental researchers, the area was once greener and richer in vegetation, supported by seasonal rivers and more abundant water sources.
Laas Geel therefore serves as a visual record of ancient climate change in the Horn of Africa.
The paintings tell a story not only about people but also about landscapes that have disappeared.
They reveal how communities adapted to environmental transformation thousands of years before climate change became a modern global concern.
For many Somalis, history is often taught through kingdoms, sultanates, trade networks, and the arrival of Islam.
Laas Geel pushes the timeline much further back.
The site offers a rare glimpse into life in the Horn of Africa thousands of years before written records.
Archaeologists believe the artists were pastoralist communities whose lives revolved around cattle. The prominence of livestock in the paintings suggests both economic importance and spiritual significance.
Interestingly, there are no camels.
Their absence tells its own story.
Camels were introduced into the Horn from Arabia centuries later, meaning Laas Geel preserves a snapshot of a society that existed before the camel became central to Somali culture.
The paintings remind us that Somali history did not begin with colonial borders, medieval sultanates, or modern states.
Its roots stretch deep into prehistory.
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Experts frequently compare Laas Geel with Spain's famous Altamira caves and France's Lascaux cave paintings.
The comparison is not exaggerated.
Like Altamira and Lascaux, Laas Geel offers exceptional artistic quality, remarkable preservation, and profound insights into ancient human societies.
But unlike its European counterparts, Laas Geel remains relatively unknown.
Few international tourists visit.
Few scholarly expeditions have examined the wider region.
Many Somali archaeological sites remain undocumented, unprotected, and underfunded.
For Somali scholars, Laas Geel is more than an archaeological site.
It is evidence that the Horn of Africa was not merely a crossroads of civilizations but also a cradle of creativity and cultural expression in its own right.
The greatest threat facing Laas Geel today is not war or vandalism.
It is neglect.
Exposure to wind, dust, rainwater runoff, and increasing tourist traffic has begun to affect some of the paintings.
Experts warn that fading colors and surface deterioration are already visible.
Protecting the site has been complicated by Somaliland's unique political status.
Although Somaliland has operated as a self-governing state since 1991, it lacks international recognition. As a result, efforts to secure UNESCO World Heritage status have faced legal and diplomatic obstacles.
Only internationally recognized states can formally nominate sites under UNESCO procedures.
For years, this situation left Laas Geel caught between global admiration and bureaucratic reality.
Yet conservationists, archaeologists, and cultural advocates continue to push for stronger protection.
The European Union has funded preservation initiatives, while Somali and Somaliland cultural organizations have increased efforts to document and safeguard the site.
Laas Geel is not simply a collection of ancient paintings.
It is a reminder that Somali identity extends far beyond contemporary politics and conflict.
For decades, international narratives about Somalia have focused on war, drought, piracy, migration, and insecurity.
Laas Geel tells another story.
It speaks of creativity.
Of spirituality.
Of environmental adaptation.
Of artistic achievement.
Most importantly, it demonstrates that the Somali territories contain cultural heritage of global significance.
The paintings belong not only to Somaliland or Somalia but to humanity itself.
Yet they also belong to Somalis.
They are evidence that long before modern borders and political disputes, people in these lands were creating art that still captivates viewers thousands of years later.
As the sun sets across the rocky plains outside Hargeisa, the painted cattle of Laas Geel remain where their creators left them millennia ago.
Their colors still glow beneath stone ceilings.
Their stories still endure.
For centuries, fear protected them.
Today, knowledge must.
The future of Laas Geel depends on whether Somalis and the international community recognize what lies hidden among those desert rocks: not merely ancient paintings, but one of the earliest chapters in the story of the Somali people.
And perhaps one of the most beautiful.
About the Author
Mohamed Farah is a senior editor at Somali Report, based in London, covering geopolitics, trade, business, and security across the Horn of Africa and the Red Sea region.
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