Hadaa Sendoo

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This is a Mongolian name. The given name is Хадаа, and the name Сэндоо is a patronymic, not a family name. The subject should be referred to by the given name.
Hadaa Sendoo
Born (1961-10-24) 24 October 1961 (age 54)
Southern Mongolian, today's Inner Mongolia in the territory of China
Occupation Poet, Critic, essayist, Translator
Period September 24, 2011– present
Literary movement Early the 21st century , Medellin, the World Poetry Movement (WPM)

Hadaa Sendoo (Mongolian:Сэндоогийн Хадаа) (born 24 October 1961) is an award-winning Mongolian poet and translator. He is founder and leading figure of the World Poetry Almanac[1]. His poems, which have been translated into more than 30 languages, have been included in The Best Mongolian Poetry[2]. In 2006, he established the critically acclaimed World Poetry Almanac. His early poetry is strongly influenced by the Mongolian epic and influenced by Russian imagist poetry, and Italian hermetic poetry of 20th Century. Hadaa Sendoo is considered one of the great poets in the 21st century by critics. He is currently a consulting editor of the International Literary Quarterly*[3]


Hadaa Sendoo is a poet, born in 1961 in Southern Mongolia, today’s Inner Mongolia, who grew up in Shiiliigool. His father was the head of a theatre and his mother was a drama actor. Sendoo has lived in Ulan Bator, the capital of Mongolia, since 1991.

Early years[edit]

When Hadaa Sendoo was very young, his father moved his family to Southern Mongolia, near Dalan Har Mountains, where he spent his childhood. He studied old Mongolian, also Chinese at the local high school, but he was tired of the school curriculum, he returned to steppe for a nomadic life until 1984, his father recommended him to enter an art institute, where he was served as an editorial assistant. The young Hadaa has the opportunity to read a lot of Mongolian literature classics, and the epic, including Jangar, Books of Folk Songs of Mongolian, and the Modernist of Poetry (Shuleg). In 1989, he published his first collection of poems The Nomadic Songs and Moonlight. In 1991, he moved to northern Mongolia and lived in Ulaanbaatar, the capital of Mongolia, where he taught at the university as a professor of literature, and he studied Mongolian folk literature, including folk songs, and mythology. In 1996, He published his first collection of poems in Cyrillic new Mongolian. In 1998, He formally joined the Mongolian Writers Union. In 1999, He and his friends co-founded a cultural magazine called The World's Mongolians (Mongolian - English bilingual edition) was published in Mongolia. In the same year the summer, Hadaa and his bosom friend S. Tserendorj also a Mongolian poet organized the first Asian Poetry Festival in Ulaanbaatar. Hadaa has won Athens City Hall Prize and the 2nd Olympic of Culture Prize (Athens,1999).Hadaa Sendoo was taught at the National University of Mongolia.

On the way to poetry[edit]

In his middle age, he wrote many poems, poetic style has been very different with the past. The poet believes that poetry has a hidden and strange power that could go through time and death. In 2007, he arrived in the Mongol Yuan Empire-Shangdu by Kublai Khan, grandson of Genghis Khan, established it in middle of the 13th century. And soon after, Hadaa, who wrote a very strong long poem work ShangDu Sad Song, and Shandu Dream Song.

On the road leading to poetry, perhaps a profound turning point occurred in 2009; his book of poetry, Come Back to Earth, attracted the attention of several critics. Some of his poems have included in the Top 500 Poems[4].

Hadaa Sendoo received many poetry awards, including Mongolian Writers' Union Prize. He also received a Medal of Honour for literature achievement in Mongolia, Greece, Canada, and USA. He was invited to attend International Poetry festival in Europe, Asia, North America, and Latin America. And his book of poetry Come Back to Earth, has won the Best Book of Poetry by International Writers Association. In 2008, Hadaa was elected a full Member of the Mongolian Academy of Humanities. He has published over 10 collections of poems. Some of his poems have been translated into Greek, German, French, Spanish, Portuguese, Italian, Hebrew, Georgian,Turkish, Lithuanian,and Persian. Hadaa Sendoo is considered a great poet of the 21st Century and one of the most valuable poets of the world by some critics.

On September 24, 2011, Hadaa joined to the World Poetry Movement and became an earliest member of founding the World Poetry Movement [5].

In 2012, Hadaa Sendoo was invited to the largest poetry festival ever staged in the UK, Southbank Centre’s Poetry Parnassus [6], where read his poetry and discuss his work as part of festival. His collection of poems as part of the exhibition has displayed in the outdoor spaces around the Royal Festival Hall and the Queen Elizabeth Hall. His poem printed on bookmarks for “Rain of Poems”[7], were dropped from a helicopter over London. His poems have appeared in the World Record Anthology [8] by Bloodaxe. And an Anthology of Present Day Best Poems of 60 representative poets around the globe[9].

Poets talking about poetry of Hadaa Sendoo[edit]

A famous poet, Cambridge University, Professor, Richard Berengarten [10] wrote: “I have read this book through carefully. More important, I was delighted to discover the depth and breadth of his great vision. This impression of mine was strengthened when I read the last prose text on the “Poet of the 21st century” in the book Come Back to Earth, and his poem “The Wind”. Both these texts connect with my concept of the “universalist poet” and “universalist poetry”. The theme of the wind (air, breath, spirit) is a very profound one. The poems in Come Back to Earth gave me a sense of the wide spaces of Mongolia and also made me sad for the culture that has been lost. They reminded me of the fine movies The Cave of the Yellow Dog and Story of the Weeping Camel. ”

Delhi University, Professor Rita Malhotra in her the academic paper [11]The Rapturous World of Words, also writes:“Hadaa Sendoo’s poetic oeuvre is not merely an artistic and aesthetic manifestation of his sensibilities but also expresses human concerns and moral consciousness in response to his immediate surroundings. He depicts a passionately lived connection to the natural world and also accesses the latent world beyond the obvious in true fidelity to poetic sensitivity. The sensitive and thought-provoking themes are intensely varied. Hadaa’s consummate artistry and use of vivid images can be seen even in his expression of disillusionment ”.

Germany's Andreas Weiland, art critic, he said: “Hadaa Sendoo’s poetry echoes his life, nature, the wide land, the wind of Mongolia. I try to listen to the rhythm. I pay attention to the poetic quality of each line. I think that “resigned to another death” or “glad to die another death” both refers to reincarnation. We die so many deaths, because we are reborn, according to Shamanist and Buddhist (and other) beliefs. His poems touch my heart and evoke thoughts and strong emotions,intense images.I think highly of Hadaa Sendoo as a sensitive and real poet”.

University of Cambridge, critic, Dr. Antonio Cuadrado –Fernandez at the 1st International Symposium “Re-founding Democracy” in Barcelona. In this research paper he aims to use a phenomenological approach to the Indigenous poetry of Hadaa Sendoo: “The poetry of Hadaa Sendoo takes the reader to the plains of Mongolia, to the smoke of the yurt, to wandering camels, to nights filled with stars traversed by nomadic families. This is an ancient life-style threatened by the prospect of the mining boom of Mongolia’s earthly fortunes. Sendoo’s poetry is an elegant yet powerful vindication of his communal worldviews rooted in nomadism and in his poem “The ruins and reflection” he also recurs to metamorphosis to conceptualise the steppe as a human body, which serves as a metaphor to project the resilient ecology of the steppes : Have you died? You seem like a dry sea / But you are the fleshing steppe / From your peaceful eyes / I know you have already forgot /Kublai Khan’s sadness /And Togoontumur Khan’s shame / You are only but sunk in sleep on the land / Your hair is bits of tiles / Your body is rocks / You are the troubled sea This poem is a good example of how humans perceive the world through the body used as a reference, like much cognitive theory suggests today, and that landscapes embody emotions and memories derived from personal and interpersonal experience. As cultural geographer Christopher Tilley suggests, “Knowledge and metaphorical understanding of landscape is intimately bond up with the experience of the human body in place, and in movement between places. The significance of places in the landscapes is continually being woven into the fabric of social life, and anchored to the topographies of the landscape”. Thus, if we read this blend as the interrelation of the sensuous ingredients of both body and the geography of the steppes, the perceived effect is one of pleasurable affinity between humans and land, but also resilience and strength. The separation between body and environment seems to disappear as the distinction between body and land is difficult to discern. In other words, self and environment merge into a hybrid entity where body and environment are cognitively and sensuously connected. To sum up, if the earth is conceived as tissue-clothing, the earth is seen as a potentially flexible entity to which the indigenous body is fully adapted because both the body and the earth are perceived as having the same shape. If readers know that a nomadic way of life requires a perceptual attuning to the shapes of the physical world, it is easier for them to understand the conceptualization of earth as a body. But there is also another interesting aspect in the poem, the auditory space that readers enter through the interpellatory “Have you died”, which is used to address the steppe as a humanized entity. AS readers enter this space, they may wish to elaborate it’s a causticity, the sonority of the poet’s voice addressing the steppes in the open air, its resonance in the sky as the wind blows….This poetic technique asserts Indigenous land as a unique entity replete with cultural meaning, against marketing and commodefying criteria that strips off its centuries old significance”.


  • Poetry: The Nomadic Songs and Moonlight (Chinese 1989);
  • Rock Song (Mongolian 1996);
  • The Steppe (Mongolian 2005);
  • Come Back to Earth (English 2009);
  • Come Back to Earth (Translation,Taipei 2010);
  • Yurt (Georgian,Tbilisi, 2010);
  • The Road Is Not Completed (Mongolian 2011)
  • Sweet Smell of Grass (بوی شیرین چمن Persian, Tehran, 2016)


His influence has also been demonstrated in international and the immediate geographical area of Mongolian cultural. Into the 21st century, some of critics for Hadaa Sendoo is to give more positive assessment that he has been regarded as one of top poets and one of the most influential poets in the 21st century. such as Japan Meiji University Professor Ban’ya Natsuishi called Hadaa Sendoo “one of the best poets writing today’s world”. Peruvian poet Carlos H. Garrido Chalen wrote to all members of the Writers Union in Latin America: "Hadaa Sendoo is a world-renowned leading figure poet". In 2002, Hadaa Sendoo was awarded for the Honorary Degree of Doctor of Literature by the World Academy of Arts and Cultural(California). In 2003, India's well-known scholar, Professor Syed Amiruddin, who writes: "hadaa Sendoo is a multidimensional creative genius, besides being a worlds leading reflective thinker, humanist and a most illustrious poet. He is known for his humanistic values. His philosophy for world peace, love for all creation-and appreciation for beauty in nature should be intensely highlighted and exposed to the wider world audience in a fitting manner.", and Hadaa as an Accomplished Leader of Influence by American Biographical Institute recognized in 2010. He was invited to the most influential of the International Poetry Festival of Medellin as a guest, and 2011 Tokyo Poetry Festival [12]. In 2012, in the UK's largest ever poetry festival Poetry Parnassus [13].

A far-reaching poetry event in October 2006, a groundbreaking unprecedented international poetry yearbook appears in Central Asia; founder Hadaa Sendoo deserved to become the first man of the World Poetry Almanac [14].

In 2016 Hadaa Sendoo published his collection of poems Sweet Smell of Grass (بوی شیرین چمن)[15] in Persian causing great concern. This collection of poems has appeared in internationally renowned Tehran International Book Fair.


  • The Poet of the Millennium Award(India,2000);
  • The Mongolian Writers Union Prize(Mongolia,2009);
  • The Pinnacle of Achievement Award for poetry( USA,2011)
  • Nosside Prize for poetry(Italy,2014)
  • Visionary Poet Award(Canada,2015)

External links[edit]