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“We are here”: The soundtrack to the Oromo revolution gripping Ethiopia. – African arguments March 30, 2018

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Uncategorized.
Tags: #OromoRevolution, Africa, Artist Hacaaluu Hundessaa, Ethiopia, Musicians and the Performance of Oromo Nationalism, Oromia, Oromo, Oromo music, Resistance music, Self determination, Social movements
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oromianeconomist

“We are here”: The soundtrack to the Oromo revolution gripping Ethiopia

by AWOL ALLO*, African Arguments,    30 March 2018


Far from being a footnote in the Oromo struggle, musicians like Haacaaluu Hundeessa have been its centre of gravity.

Haacaaluu Hundeessa's music has given sound and voice to the Oromo struggle.

With the appointment of Abiy Ahmed as chair of the ruling coalition, Ethiopia is set to have an Oromo leader for the first time in recent history. This is in no small part thanks to brave and sustained protests by ethnic Oromo youth.

For nearly two and a half years, activists have defied brutal government suppression that has seen over a thousand people killed and tens of thousands arrested. Mostly led by the Oromo and Amhara, who together make up two-thirds of the 100 million population, demonstrators have endured the imposition of two states of emergency and a brutal crackdown.

Now, for their pains, they have overseen the resignation of Prime Minister Hailemariam Desalegn. And they will soon witness the assent of a young and popular Oromo leader as Ethiopia’s next prime minister.

When historians look back at this period, they will see how persistent protesters reconfigured Ethiopia’s political map in just a couple of years. They will note how Oromo politics was forced from the distant periphery to the very centre of affairs. And they will observe how the passionate Oromo youth – known as the Qeerroo – drove this change.

In all this, however, one thing that should not be overlooked is the critical role played by Oromo musicians and artists. Through their work, they have mobilised scattered marginalised publics and helped create a politically conscious, defiant, and resilient generation. They have tapped into the transformative potential of subjugated memories and experiences, disrupted official histories, and altered the people’s very relationship to power.

Oromo music, the struggle’s centre of gravity

Oromo music and concerts have rarely been strictly musical. They have always been sites of political agitation, cultural self-affirmation, and spiritual rejuvenation, drawing together audiences who share an unassailable commitment to the Oromo cause.

Activist stalwarts have provided the conceptual architecture and strategic direction of the struggle. But Oromo artists’ poignant and powerful lyrics have given voice and significance to the group’s insufferable indignation. When their political leaders have failed, artists have given new meaning to the agonies of defeat. When they have prevailed, artists have amplified small victories to inspire whole generations.

Far from being a footnote in the history of the Oromo struggle for freedom and justice, musicians, poets and creators are its centre of gravity – the signature tune and the definitive sound of the Oromo revolution.

“We are here”

Amongst the many Oromo artists to have played a role in recent events, one musician and one performance stands out.

On 10 December 2017, the capital Addis Ababa staged the biggest Oromo concert it had ever seen. It was held to raise humanitarian funds for the over 700,000 Oromos displaced by violence in the east. But the event held a much deeper significance too. It was not only the most symbolic, defiant and spectacular Oromo concert ever broadcast live by Oromia Broadcasting Network (OBN). It also featured an unprecedentedly large number of senior government officials, a sign of the slow but tectonic shift taking root in Ethiopian politics.

In the concert, a diverse cast of artists performed, leading up to the kaleidoscopic set by Haacaaluu Hundeessa. Through 11 minutes of heart-shredding ballads, the young singer delivered a show that was awe-inspiring and painful, honest and complex, impassioned and subtle. Working through themes of marginality, vulnerability and resilience, he articulated the distinct Oromo experience with raw clarity.

Haacaaluu has given sound and voice to the Oromo cause for the past few years. His 2015 track Maalan Jira(“What existence is mine”), for example, was a kind of an ethnographic take on the Oromo’s uncertain and anomalous place within the Ethiopian state. This powerful expression of the group’s precarious existence quietly, yet profoundly, animated a nationwide movement that erupted months later. Maalan Jira became the soundtrack to the revolution.

In October 2017, Haacaaluu released Jirraa (“We are here”). In contrast to his previous more sombre hit, this song was a statement of endurance, resilience, and self-affirmation. It celebrated transformations within the Oromo community and fundamental shifts in Ethiopia’s political landscape. It embodied a newfound collective optimism, a feeling that Oromo culture is no longer in jeopardy, and a sense that the Oromo society is finally in the middle of a robust ascendancy.

“Closer to Arat Kilo”

As many have pointed out, art can have a transformative power that a political debate or summit cannot. In her book Utopia in Performance, for example, American scholar Jill Dolan describes how a performance can have an effect “that lifts everyone slightly above the present, into a hopeful feeling of what the world might be like if every moment of our lives were as emotionally voluminous, generous, [and] aesthetically striking”.

Haacaaluu’s December show did just this. As soon as he occupied the stage, the scene immediately felt magical. His opening greetings – “ashamaa, ashamaa, ashamaa” – electrified an audience who understood his use of the traditional Gerarsa repertoire and its unconscious grammar. As he strode lion-like around the platform, he evoked a rare outpouring of exuberance in his adoring audience. And speaking at a moment in which the Oromo protests had been building momentum for over two years – and, unbeknownst to the crowd, just months before one of their own would become chair of Ethiopia’s ruling coalition – Haacaaluu repeatedly asked the audience Jirtuu (“are we here?”), driving everyone justifiably nuts.

In under a minute, the singer had created what Dolan calls moments of communitas, “resulting in a sudden and deeper insight into the shared process of being in the world.”

As the performance progressed, Haacaaluu escalated tensions, asking the audience how long they would have to wait for freedom. He lamented the absurdity of a marginalised majority, criticised a rigged system, and expressed his yearning for unity, peace, and justice.

In switching between articulations of precarity and resilience, Haacaaluu challenged the audience and the Oromo leadership in the gallery, which included Abiy Ahmed, to make bold moves befitting of the Oromo public and its political posture. He urged his audience to look in the mirror, to focus on themselves, and decolonise their minds. We are, he said, closer to Arat Kilo, Ethiopia’s equivalent of Westminster, both by virtue of geography and demography.

The Oromo People’s Democratic Organisation, the party in the ruling coalition that put Abiy forward, thankfully followed Haacaaluu’s advice. After PM Desalegn announced his resignation, it fought tooth and nail to secure the position of the Prime Minister. After Abiy’s imminent confirmation, the first chapter of a journey for which Haacaaluu has provided the soundtrack will be complete.

The 41-year-old Abiy will be taking over at a highly fractious and uncertain time. He will continue to face immense resistance from the deep state and the security forces that stand to lose from democratic opening. In confronting these challenges, he should remember the deeper meaning and significance of Haacaluu’s lyrics and monumental performance.

*Awol Allo is a lecturer in law at Keele University School of Law. He tweets at @awolallo.

More:

[Wax & Gold: The tightrope challenges facing Ethiopia’s Abiy Ahmed]

Saliha Sami: New Oromo Music: Jennaan Jenne Malee Diinni Fira Hintahu May 13, 2017

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music, Saliha Sami.
Tags: Africa Beat, Diinni fira hintahu, Music, Music of Oromia, Oromo, Oromo artist Saliha Sami, Oromo music, Oromo music and Oromo identity, Saliha Sami
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Saliha Sami releases its long awaited resistance music video pic.twitter.com/iedo7Z7HHc

— Naf-tanan Gaadullo (@naftanan1) May 12, 2017

Hanisha Solomon: New Oromo Music: Geerarsa May 6, 2017

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music, Oromo Music.
Tags: Africa, Africa music, Geerarsa, Hanisha Solomon, Kemetic Africa music, Musicians and the Performance of Oromo Nationalism, Oromia, Oromo, Oromo music, Oromo music and Oromo identity, Resistance music
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Oromia: OMN: Qophii Jiruuf jireenyaa Artist Dirribee Gadaa Bit 28, 2017. OMN: Interview with one of the most creative minds in Oromo music and art, artist singer Dirribee Gadaa March 29, 2017

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music.
Tags: #OromoProtests, Africa music, Dirribee Gadaa, Inspirational Oromo Woman, Inspirational Oromo Women, Kemetic Africa, Music, Musicians and the Performance of Oromo Nationalism, Oromo Artist Dirribee Gadaa, Oromo music, Oromo News in Afaan Oromoo, Resistance music
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JIRUU FI JIREENYAA

OMN: Artisti Dirribee Gadaa (Bit 28, 2017)

 

 

 

 

Tokkummaa Tokkummaa Yaa Ilmaan Oromoo Tokkummaa: Oromo live concert in South Africa February 14, 2016

Posted by OromianEconomist in #OromoProtests, Muscians and the Performance Of Oromo Nationalism, Oromia, Oromo Music.
Tags: Africa, Oromia, Oromo, Oromo music and Oromo identity, OromoProtests2016, South Africa, Tokkummaa Oromo, Tokkummaa Tokkummaa Yaa Imaan Oromoo Tokkummaa: Oromo live concert in South Africa, Wallee Tokkummaa Guyyaa WBO Nairobi 2016
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Odaa Oromoo

 

Oromia: Caalaa Bultuume: “Wareegama Guddaa Ba’a” [New Oromo Music – 2015] September 11, 2015

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Oromian Voices, Uncategorized.
Tags: Africa, African culture, African Studies, Artist Hacaaluu Hundessaa, Caalaa Bultuume, Caalaa Bultuume: “Wareegama Guddaa Ba’a” [New Oromo Music – 2015], Jaamboo Jootee: "Gidiraa":New Oromo Single Music, Music of Oromia, Musicians and the Performance of Oromo Nationalism, Oromia’s lyrical stanza: Haacaaluu Hundessaa’s music video:“Maalan Jira …?, Oromo music and Oromo identity, Oromo Recording Artist Galaana Gaaromsaa Releases New Music Album "Ilmaan Hayyootaa", Seena Solomon
2 comments

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 Must listen: Gooticha Artist Caalaa Bultumee Wallee Haaraa Fulbaana 2015

» Caalaa Bultuume: “Wareegama Guddaa Ba’a” [New Oromo Music – 2015]

Caalaa Bultuume:

http://https://soundcloud.com/gadaa-oromo-radio/caalaa-bultumee-qeerransoo-wareegama-guddaa-baa

http://qeerroo.org/2015/09/10/must-listen-gooticha-artist-caalaa-bultumee-wallee-haaraa-fulbaana-2015/

Jaamboo Jootee: “Gidiraa”:New Oromo Single Music July 20, 2015

Posted by OromianEconomist in African Beat, African Music, Jaamboo Jootee, Muscians and the Performance Of Oromo Nationalism, Music, Oromia, Oromo Artists, Oromo Music.
Tags: Artist Hacaaluu Hundessaa, Jaamboo Jootee, Jaamboo Jootee: "Gidiraa":New Oromo Single Music, Seena Solomon
3 comments

???????????Oromo artist Jaamboo Jootee10

Haamtuu malee qottoon xaafii hin muruu

Dhaqii laalii akka kutataan itti jiruu

Dhaqnee laallaa akka kutataan itti jiruu

Oromo artist Jaamboo Jootee and Gidira

 

Oromo Artist Jamboo JooteeOromo artist Jaamboo Jootee2

Related:

Oromo artist Jaamboo Jootee3Oromo artist Jaamboo Jootee7Oromo artist Jaamboo Jootee11Oromo artist Jaamboo Jootee4Oromo artist Jaamboo Jootee5Oromo artist Jaamboo Jootee8Oromo artist Jaamboo Jootee6Oromo artist Jaamboo Jootee9Oromo artist Jaamboo Jootee, IrreechaOromo artist Jaamboo Jootee1Oromo artist Jaamboo Jootee12Oromo artist Jaamboo Jootee13Oromo artist Jaamboo Jootee14Oromo artist Jaamboo Jootee15Oromo artist Jaamboo Jootee20Oromo artist Jaamboo Jootee16Oromo artist Jaamboo Jootee18Oromo artist Jaamboo Jootee19

Oromia’s lyrical stanza: Haacaaluu Hundessaa’s music video:“Maalan Jira …?”:Diiganii gaara sanaa, gaara diigamuu hin mallee, nu baasaan addaan baanee, nuu addaan bayuu hin mallee June 9, 2015

Posted by OromianEconomist in Africa, African Beat, Haacaaluu Hundeessaa, Muscians and the Performance Of Oromo Nationalism, Oromo Artists, Oromo Culture, Oromo Music.
Tags: Africa, Africa Beat, African Studies, Artist Hacaaluu Hundessaa, Musicians and the Performance of Oromo Nationalism, Oromia, Oromia's lyrical stanza, Oromo music and Oromo identity, Oromo people, Oromummaa
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???????????

Laal Galoo too,
Gullaalleen kan Tufaa
Laal Galoo too,
Gaara Abbichuuti turii
Laal Galoo too,
Galaan Finfinnee maar….. seeee
Laal Galoo too,
Silaa akka jaalalaa wal irraa hin fagaannuu
Laal Galoo too,
Jarati nu fageessee……!!!
………………………………………………………………….2x..
Diiganii gaara sanaa, Gaara diigamuu hin-mallee,
Nu baasaan addaan baanee, nuu addaan bayuu hin-mallee.
…………………………………………………………………….
Soorettii haadha sooree, irbaanni-rra-buusa qabaa
Seeqanii sesseeqanii, kan gar gar nu baasan jaraa—yii
………………………………………………………………………
Koo Galaanee tiyyaa,
Qotiyyoon abbaan didaa, yaa didaa harqootaa keessaa,
Koo Galaanee tiyyaa,
Qorra baraan dadhabee, morma kee jalattan dheessaaa…!!
Koo Galaanee tiyyaa,
Sululta loon hin tiksuu darabaatti galchiisaa,
Koo Galaanee tiyyaa,
Yooman dhufee si argaa ani si irraa fagoon jiraa.
…………………………………………………………………………………
Maalan jiraa, maalan, jiraa, maalan jiraa,
Yaa Gaa-laa-nee
Maalan jiraa maalan, maalan jiraa caccabsee na nyaatee jiraa
Ani hin jiruu… Ani hin jiruu,
Yaa Gaalaane,
Kukkutee na nyaate xurii
Qotee qotee namichi qotee namichi sanyii darbatee
Yaa Gaalaanee,
Qotee qotee namichi qotee qotee sanyii darbatee
Yaa Gaalaanee
Rafee hin buluu namni waan ormaa abdatee,
………………………………………………………………………………….
Koo Galaanee tiyyaa,
Farda siidaaf kaafanii, siidaa dabaliif suurii
Koo Galaanee tiyyaa
Erga nu dangeessanii barri turee buubbulee
Koot Galaanee tiyyaa,
Woddeessi ciraa gubee, Amboo irraa calaaqqisee
Narraa fagaattee jedhee si yaaduun kiyya yoom hafee??
……………………………………………………………………………….
Maalan hafee, maalan…hafee, maalan hafe
yaa Gaalaanee..
Maalan hafee, Caccabsee na nyaate lafee…….!!
Ani hin jiruu, ani, hin jiruu, Ani hin jiruu, Anii
Yaa Gaalaane
Kukkutee na nyaate xurii
Yaa Gaalaane
Cuwwaa cuwwaa jettii, simbirrooni halkanii,
Yaa Gaalaanee,
Cuwwaa cuwwaa jettii simbirroon halkanii
Nama garaan dhaane dirmammuu hin arganii
Yaa Gaalaanee
Maalan jiraa maalan jiraa caccabsee na nyaatee jiraa…..2x
Ani hin jiruu, Ani hin jiruu.. yaa Gaal-aanee
Ani hinjiruu maalan jira kukkutee na nyaatee xurii…
Qotee qotee namichi,
yaa Gaalaane,
Qotee qotee namichi sanyii darbatee
Rafee hin buluu namni waan ormaa abdatee….
Yaa Gaalaanee
Maalan jiraa, caccabsee na nyaatee jiraa….

30 Still Frames (Photos) from Haacaaluu’s “Maalan Jira …?” Music Video by Director/Editor Amansiisaa Ifaa & Cinematographer Tasfaayee Afuwarq

  Waxabajjii/June 5, 2015 · Finfinne Tribune, Gadaa.com 

In addition to the lyrical and melodic richness of the recently released Haacaaluu Hundessaa’s “Maalan Jira …?” Oromo music video, imagery has also played a powerful role in making the music video become an instant hit. The following are the cinematographically rich 30 still frames (screen captures) from the music video by Director/Editor Amansiisaa Ifaa and Cinematographer Tasfaayee Afuwarq.

Hacaaluu Hundessa, Oromo culture music video maalan jira picture1Hacaaluu Hundessa, Oromo culture music video maalan jira picture2Hacaaluu Hundessa, Oromo culture music video maalan jira picture3Hacaaluu Hundessa, Oromo culture music video maalan jira picture4Hacaaluu Hundessa, Oromo culture music video maalan jira picture5Hacaaluu Hundessa, Oromo culture music video maalan jira picture6Hacaaluu Hundessa, Oromo culture music video maalan jira picture7Hacaaluu Hundessa, Oromo culture music video maalan jira picture8Hacaaluu Hundessa, Oromo culture music video maalan jira picture9Hacaaluu Hundessa, Oromo culture music video maalan jira picture10Hacaaluu Hundessa, Oromo culture music video maalan jira picture11Hacaaluu Hundessa, Oromo culture music video maalan jira picture12Hacaaluu Hundessa, Oromo culture music video maalan jira picture13Hacaaluu Hundessa, Oromo culture music video maalan jira picture14Hacaaluu Hundessa, Oromo culture music video maalan jira picture15Hacaaluu Hundessa, Oromo culture music video maalan jira picture16Hacaaluu Hundessa, Oromo culture music video maalan jira picture17Hacaaluu Hundessa, Oromo culture music video maalan jira picture18Hacaaluu Hundessa, Oromo culture music video maalan jira picture19Hacaaluu Hundessa, Oromo culture music video maalan jira picture20Hacaaluu Hundessa, Oromo culture music video maalan jira picture21Hacaaluu Hundessa, Oromo culture music video maalan jira picture22Hacaaluu Hundessa, Oromo culture music video maalan jira picture23Hacaaluu Hundessa, Oromo culture music video maalan jira picture24Hacaaluu Hundessa, Oromo culture music video maalan jira picture25Hacaaluu Hundessa, Oromo culture music video maalan jira picture26Hacaaluu Hundessa, Oromo culture music video maalan jira picture27Hacaaluu Hundessa, Oromo culture music video maalan jira picture28Hacaaluu Hundessa, Oromo culture music video maalan jira picture29Hacaaluu Hundessa, Oromo culture music video maalan jira picture30

Voices: Traveling to Africa? Think twice about using the word ‘tribe’ By McKenzie Powell, Ohio University May 7, 2015

Posted by OromianEconomist in Africa, African American, Ancient African Direct Democracy, Ancient Rock paintings in Oromia, Chiekh Anta Diop, Muscians and the Performance Of Oromo Nationalism, Oromo, Oromo Nation.
Tags: Africa, African culture, African Studies, Decolonizing Development, National Self Determination, Oromia, Oromo, Oromo people
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Oromo culture from ancient to present, Irrechaa  time

Oromo culture from ancient to present, Irrechaa time

Irreecha Oromo 2014 Malkaa Ateetee, Buraayyuu, Oromia

Warsaw marathon, Oromo athletes Sado and Lemi win

Oromo nation and Gadaa system

Oromo nation and Gadaa system

Please do not call the Oromo people (the Oromians) a tribe and by extension all African  nations and nationalities:

You know Why?

Read the following: What Achebe wrote referring to his Igbo people is equally applicable to the Oromo.

Chinua Achebe the renowned African novelist and poet, the author of Things fall apart, the best known and best selling novel ever in his book Home and exile (Oxford University Press, 2000, pp.3-5) says the following:

“The Igbo people of south eastern Nigeria are more than ten million and must be accounted one of the major peoples of Africa. Conventional practice would call them a tribe, but I no longer follow that convention. I call them a nation. ‘Here we go again!,’ You may be thinking. Well, let me explain. My Pocket Oxford Dictionary defines tribe as follows: ‘group of people (esp. primitive) families or communities linked by social , religious or blood ties and usually having a common culture and dialect and a recognized leader.’ If we apply the different criteria of this definition to Igbo people we will come up with the following results:

a. Igbo people are not primitive; if we were I would not be offering this distinguished lecture, or would I?;

b. Igbo people are not linked by blood ties, although they may share many cultural traits;

c. Igbo people do not speak one dialect; they speak one language which has scores of major and minor dialects;

d. and as for having one recognized leader, Igbo people would regard the absence of such a recognized leader as the very defining principle of their social and political identity.

Therefore, all in all, Igbo people would score very poorly indeed on the Oxford dictionary test for tribe.

My little Oxford dictionary defines nation as, ‘ a community of people of mainly of common descent, history or language, etc, forming a state or inhabiting a territory. This may not be a perfect fit for the Igbo, but it is close. In addition I like it because, unlike the word tribe, which was given to me, nation is not loaded or derogatory, and there is really no good reason to continue answering a derogatory name simply because somebody has given it to you.”

https://oromianeconomist.wordpress.com/2015/01/04/decolonising-developmentthe-political-and-cultural-locations-of-nationalism-and-national-self-determination/

Voices: Traveling to Africa? Think twice about using the word ‘tribe’

 By McKenzie Powell, Ohio University

We see the word everywhere: throughout news reports of African struggles, in old films and on the latest television shows. You’ve probably even heard it used in a recent class covering topics related to history or anthropology.

“Tribe” has become a well-known, frequently used word to describe a particular group of people, specifically within a non-Western nation. The word seems to predominantly flood media outlets when an African ethnic group is involved in conflict or famine.

According to the Oxford Dictionaries’ newest definition of the word, a tribe is described as, “A social division in a traditional society consisting of families or communities linked by social, economic, religious, or blood ties, with a common culture and dialect, typically having a recognized leader.”

But what exactly are we implying when we use the word “tribe?” In an African context, when did this word originate and what words can we use as alternates?

Assan Sarr, assistant professor of history at Ohio University, says the word tribe first began spreading throughout Africa during the Scramble for Africa, or the period of European colonization of the continent.

“For much of Africa it seems that the word tribe became associated with the continent more during the 19th century, which means that it coincided with European imperialism,” Sarr says. “So, for Africans, the use of the word is really wrapped up in colonialism and that is one of the major reasons why Africans, or scholars who work on Africa, do not prefer the use of the term tribe to describe Africans.”

With a powerful history and past, the word “tribe” reflects social theories of the 19th century regarding stages of evolution and primitivism.

Even today, many negative connotations and falsities have continued with the use of the term to describe certain peoples within continents like Africa. The fallacies provoked by this pejorative language can include visuals of ethnic groups as clusters of half naked, barbarous, uncivilized and uneducated individuals with long feathers in their hair or spears in hand.

Definitions of the word also seem to point toward a society that exists outside of the state, one that is simple, small and static, and without the same structure as that which may be found in other complex societies and civilizations.

Sarr says the discrepancies are easily noticeable when comparing a commonly labeled tribal group, such as the Igbo, with that of Flemings, or the Flemish. The Igbo and Flemings are similarly categorized by their language and culture, and the Igbo are actually drastically greater in size — yet only the Igbo are considered a tribe.

“You don’t hear of the Irish tribe, or the Italian tribe, or the Spanish tribe. It’s always the various Arab tribes, or the Indian tribes, or the African tribes and that, for me, is one of the most potent issues that we need to be aware of. Here we are essentializing these people, we’re making them look distinctive,” Sarr says. “You are using it to refer to a group of people that share a certain historical experience, certain cultural traits, a language. This seems to me to be the perfect definition of an ethnic group, so why use the word tribe?”

Americans and Westerners are not the only people using this term, as some Africans refer to themselves as a part of a tribe. However, Sarr says that Africans do not use this word with the same assumptions and implications as those who brought it to the continent in the 19th century, or as those who may use it today in Westernized states.

In fact, as mentioned in Talking About Tribe by Africa Action, when some Africans are taught English, they are told that the correct, recognizable word to describe their ethnic group is “tribe.” In their own language, such as Zulu, the word used to describe their ethnic group actually translates to “people” or “nation.”

People and nation are two alternatives of tribe that can also be used in English to portray these multifaceted groups. Using the term “ethnic group” is also acceptable, or just simply calling them by their names – the Mende, the Wolof, the Hausa and so on.

“If they call themselves Igbo that means that word itself has a cultural meaning that the people themselves can associate with, rather than this foreign concept, this idea, that is used by others to describe them that does not capture all of their complex sets of ideas and histories and relationships,” Sarr says.

Using words like tribe and continuing to view places such as Africa as one place with one culture and one type of people is common, yet very detrimental. It is vital to be conscious of the history of the language we are using, and what our words may be negatively implying or stereotyping.

“How do we talk about Africa in a more intelligent, culturally sensitive, and helpful way? It’s this idea of unpacking all of the things that one acquired and grew up with,” Sarr says. “You have all these assumptions, these Eurocentric views, but once you start unpacking that and seeing that this is not true, then you begin to see some real interesting facts about the world.”

http://college.usatoday.com/2015/05/06/voices-travelling-to-africa-think-twice-about-using-the-word-tribe/

Oromo (Oromiyaa) : Artistoonni Oromoo Gootota keenya, haa jajjabeeffannu! December 24, 2014

Posted by OromianEconomist in African Music, Culture, Muscians and the Performance Of Oromo Nationalism, Musicians and the Performance of Oromo Nationalism, Oromia, Oromian Voices, Oromiyaa, Oromo, Oromo Artists, Oromo Culture, Oromo Music, Oromummaa.
Tags: Oromiyaa, Oromo, Oromo Artists, Oromo culture, Oromo music, Oromo music and Oromo identity, Oromo people, Oromummaa
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Artistoonni Aasxaa OFOromoo Aadaa naannoolee Oromiyaa kaabaa hanga kibbaa tti, bahaa hanga lixaa tti, wal-simachiisanii dagaagsan, walaleessanii weellisan, geerrarsaan kan rafe dadammaqsanii sabboonummaa dagaagsan, faarsanii maqaa goototaa ol-kaasan, Qabsoo Oromoo daangaa hanga daangaa tti  sosochoosanii harka duwwaa rasaasa dura dhaabbatan. Oromummaaf jecha mana hidhaa tti dararaman, kaan lubbuun wareegaman, kaanis lubbuu oolfachuuf biyyaa baqatan. Waggoottan 23 darbaniif dararaan Artistoota Oromoo’rra gahaa jiru hagana jedhamee waan akka laayyoo tti ibsamu miti. Artsitoota Oromoo Eebbisaa Addunyaa, Usmaayyoo Muusaa, Yooseef Gammachuu, Maaramee Harqaasaa fi kabiroo miidhaa diinaa tiin hardha lubbuun uf cinaa isaan dhabnu’llee dalagaan isaanii Utubaa seenaa ta’ee ilmaan Oromoo waliin jiraata. Dararamnii fi miidhaan heddummatu’llee Artistoonni Oromoo kaleessas, hardhas gocha diinaa tiif hin jilbeeffanne, borus hin jilbeefatan!

Kallattii sochii fi qooda Artistoonni Oromoo saba isaan tiif gochaa jiran’rraa maqsuuf jecha torban darbe leenjiin haangawwan OPDO tiin Artistoota Oromoo tiif kennamuuf yaalame “abjuu dhaabachisoo” akka ta’e Artsitoonni leenjii dhuma sa’a’rra tti dubbatanii jiru. Artistoonni leenjii sana’rra tti hirmaatan “Isin garuu onnee Oromummaa ni qabduu?” jechuu dhaan OPDOn dantaa mootummaa Wayyaanee jajjabbessuun ala danta saba Oromoo tiif kan hin dhaabbanne, miidhaa fi dararama saba Oromoo’rraa gahaa jiru hambisuu ykn mormuuf’llee waa takka akka tattaafachaa hin jirre Artistootaan ibsanii jiru.

Egaa “bara Xaalyinaani weerartoota biyya alaga’rraa dhufan, Faranjoota jala hiriiranii kan biyya gabroomsisa turan ‘Baandaa’jedhamu turan, Baandaa jechuun nama lammii irraa dhalate lammii gane jechuu dha. Haata’u malee sirna koloneefataa Xaaliyaanii sana biyya Itoopiyaa’rraa ykn Oromiyaa’rraa kaasuuf sochi taasifame keessatti warri Baandaa ta’anii turan sun walii galanii gooftota isaani tti garagalan, Uummata isaanii cina dhaabbachuu dhaan koloneefatoota seeraan ala Uummata koranii ta’ani tti fincilan, duula itti banan, gabrummaa koloneefatoota alagaa jalaa biyyi akka bilisa ba’uuf qooda guddaa gumaachanii” jedhama. Egaa OPDO n“Birillee ke neqa ayhonem eqa” mamaksa jedhamu sana dhagayii, Bilillee dhuma dhugaa sana “Ye mayneqa eqa!” ta’anii afu moo “tokko dhuufuun dhiirummaa dha, lama dhuufuun gadhummaa” jedhanii Seenaa jijjiru laata?

Bu’aa ba’ii Artistoota Oromoo

Dararamni sirna bulchiinsa mootummaa Wayyaanee akkuma jirutti ta’ee, Artistoonni Oromoo bu’aa ba’ii akkamii keessa darbanii hojii muuziqaa hojjataa akka jiran Uummanni Oromoo sirrii tti hubatee jiraa laata? Bu’aa ba’ii jiru mee obsaan armaan gadii dubbisaa.

Kaasseetta (CD) tokko gurra ummata tiin ga’uu dhaaf, akkuma yeroo mana cidhaa ykn guyyaa ayyaana waggaa namuu ol-ka’ee weellisu sana salphaa miti. Bu’aa bayii hagana hin jedhamne keessa darbameetu kaasseettiin (CD)n sirbaa tokko maxxanfama. Artsitiin Oromoo tokko “Albumii muuziqaaa” tokko maxxansuuf walaloo fi yaadaloo qopheesseetuma sirbuun qofaa gahaa miti, irra deddebiyee baatii dheeraaf (waggoottaniif) sagalee qarachuu, shaakkala gahaa taé gochuu feesisa. Kana malees Artistoota meeshaa muuziqaa xabatan, “digital audio mixing” qindeessan, kan weelluu jalaa qaban, “studio” muziqaan itti qindeeffamu, kana hundaa walitti haanjessuu feesisa. Waan kana hundumaa guuttachuuf maallaqa barbaachisa. Yeroo amma kana tti sagalee qofaan weelluu caqasuun gahaa ta’uu dhiisuu mala. “Video clip” qopheessoofis bu’aa bayii kabiraa guddaa qaba. Namoota “Video”waraabanii gulaalan, nama “script” barreessee “director” ta’ee hojjachiisu,  namoota shubbisan fi uffannaa adda addaa qopheessuutu artisticha’rraa eeggama. Kun hundumtuu horii feesisa, qarshii guddaa barbaachisa. Kana qofaa mitii yeroo “studio” keessatti muziqaan hojjatamu, Buna fi shayii, nyaata fi dhugaatii wanta heddutu bitama, kunis maallaqumaani. Yeroo dheeraaf (waggoottaniif) hojiilee qindaa’uu qaban kana qindeessuuf geejibaan asii achi deddebiyan, bibila bibilbiluun tola miti, kunis maallaquma barbaachisa.

Dalagaaleen armaan olitti caqafaman martinuu “original master recording” kaasseetta/CD/DVD tokko qofaatti cuunfamee ba’a. Erga muziqaan bifa kanaan qindaa’ee hojjatamee, cuunfamee ba’een booda heddummeessanii gurra Uummataa tiin ga’uuf tattaffiin itti fufa. “Poster, Cover, Sticker fi blank CD” heddumina qabu bituu fi maxxansuuf dirqamu. Akkasumas kaassetta/CD/DVD heddummeessuu (duplicate) gochuu qabu.  Egaa waan kana hundaa qopheessuuf qarshii guddaa barbaachisa.

Haala hunda keessa darbanii hojiidhuma xumuurame kana raabsuu dhaan gurra Uummataa tiin ga’uuf mana muuziqaa kaassetta/CD isaaniif raabsu argachuun heddu dadhabsiisaa dha. Manni muziqaa Oromoo Finfinne keessaa jiran (kanneen kaasseetta muuziqaa raabsuu dandayan) lakkoofsaan heddu xiqqaa dha. Heddumminaan kan jiran kan sab-lammoota kabiraati.Kanaafuu artistoonni Oromoo qarshii liqeeffatanii, fira itti kadhatanii gidiraa heddu arganii kaassetta/CD qopheessanillee, mana muuziqaa isaan harkaa fuudhee Ummataaf raabsuu argachuuf bu’aa bayii guddaa heddu seenu,  mana muuziqaa ‘tole’jedhee isaaniif raabsu hin aragamu, kun rakkoo isa kabiraa dha.Tarii akka carraa manni muuziqaa kaassetta/CD qophaa’e harkaa fuudhee raabsu yoo argame’llee manneen muziqaa warra alagaa wanna ta’aniif itti dhimmanii sirnaan hin raabsaniif, beeksisa barbaachisaa ta’e sirnaan hin raawwataniif. Gurguramee dhiisee, Aartiin Oromoo dagaagee dhiisee dantaa warra mana muuziqaa alagaa miti. Yoo tolee gurgurame waan raabsani’rraa bu’uu argachuu, yoo hin gurguramnes kisaaraan isaan mudatu wanta hin jirreef hojii Artistoota Oromoo tiif warri abbaa qabeenyaa mana muuziqaa alagaa waanti isaan dhiphisu gonkumaa hin jiru.

Artsitoonni Oromoo ijoollee iyyeessa tti, ijoollee Qonnaan bulaati, qarshii hojii kanaaf oolu argachuuf heddu dhiphatu, hojii umnaa hojjatanii, hiriyaa’rraa liqeefatanii, fira’rraa kadhatanii qarshii argataniin aarsaa guddaa kafalaa jiru. Bifa kanaan bu’aa bayii heddu keessa darbanii Artii, Aadaa, Seenaa, Afaan, Siyaasaa fi Sabboonummaa Oromoo kan dagaagsaa jiran.

“Egaa Kaasseettiin/CD/DVD”n bifa kanaan bu’aa bayii hedduun qophaa’ee booda hoo Ummanni keenya orijinaala qofaa bitatee obboleeyyan keenya jajjabeessaa jiraa?” gaaffiin jedhu yoo ka’e, “hagas maraa miti”n deebii ta’a, sadarkaa barbaadamu tti bifa gahaa ta’een Uummanni keenya originaala bitataa hin jiru, hagi tokko waraabbii bitata. Waraabbii bitachuun cuunfaa dafaqa Artistoota keenyaa itti fayyadamuu yoo taé malee baasii fi rakkina Artistoonni keenya keessa jiraniif wanna tokkoo’llee hin fayyadu. Yoo xiqqaatee xiqqaate waggaa tti “Albumiin muuziqaa” Oromoo dhibbi tokko tti lakkawwaman ni maxxanfamu. Garuu achi keessaa rabbi gargaaree waan hunda sirnaan injifatee baldhinaan, sirnaan gurra Uummataa kan qaqqabu sirboota Artiistoota 3 hin caalu. Kana jechuun “Albumiin muuziqaa Oromoo bu’aa bayii hedduun hojjatamu’llee  waggaa tti harka 100 keessaa haki 97 otoo sirnaan gurra Uummata baldhaa hin qaqqabiin hukamfamee afaa jechuu dha. Egaa haala kanaan kan ka’e sabboontonni Artistoota Oromoo kasaaraa maallaqaa fi hamilee cabiinsi kan isaan mudate hedduu dha. Jiruu fi jireenya ulfaataa taé jalatti kufanii jiraachuuf haalli isaan dirqee jira.

Otoo abbaan qabeenyaa Oromoo mana muuziqaa ciccimaa adda addaa qaabatanii rakkinni hagana ulfaaataa ta’e Artsitoota Oromoo hin mudatu ture. Otoo Uummanni keenya kaasseetta/CD/DVD originaala Artistoota keenya’rraa sirnaan bitatee dararamni hagana ga’u Artistoota keenya hin mudatu ture. Otoo Artistiin Oromoo tokko biyya alaa kana keessa keessummummaf mana namoota Oromoo deddeeme namni martinuu gammachuun isa simata, affeerraa nyataa fi dhugaatii guyyaa tokkoo qofaa tti shakkii tokko malee “dollar ykn Euro” 100 (dhibba tokko) inuma baasuuf. Egaa affeerraa guyyaa tokkoof haga kana baasuun ni dandayama yoo ta’ee kaassetta originaala Dolaara/euro 10  (kudhaniin) bitachuun maaf nutti ulfaatee? Jennee of gaafachuun gaarii ta’a. Kana qofaa miti, yeroo adda addaa “concert iin muuziqaa” bakka adda addaa tti sirnaan maaf hin qophoofnee? Otoo kunis sirnaan hojiirra oolee rakkoo Artistoonni keenya qaban furuun wanti hin dandayamneef hin jiru ture.

“Otoo, otoo, otoo”jechun hin fayyadu. Kan fayyadu wanna ta’uu qabu, wanta Lammiin Oromoo gochuu danda’u tokko raawwachuutu rakkoo hiika, furmaata fida malee.  Kanaafuu Artistoonni Oromoo “Artii, Aadaa, Seenaa, Afaan, Siyaasaa fi Sabboonummaa Oromoo dagaagsaa jiru” jennee yoo itti amanne Artistoonni keenya gootota keenya wanna ta’aniif faarsuu qabna. Faarsuun keenya erga Artistiin tokko lubbuu dhaan darbee/darbiteen booda qofaa ta’uu hin qabu, otuma lubbuun jiranii isaan haa faarsinu, ha jajjabbeessinu, dalagaa isaanii orijinaala haa bitannu, diingdee fi beekkumsa qabnuun isaan cina haa dhaabbannu. Keessattuu yeroo ammaa kana tti Artistoota keenya dibeen dararamaa  jiraniif Uummanni keenya ariitiin, gargaarsa barbaachisaa ta’e abbomuu qaba.

Waan Bayeessa haa hojjannu!

Bakkaanga’aa Margaa

Bu’uuressaa Oromummaa Founadtion fi

Wixineessaa WTUOGA

Mudde 22, 2014,

Bakkaanga’aa Margaa

oromummaan@yahoo.com

www.oromummaa.com

Read @ http://ayyaantuu.com/horn-of-africa-news/oromia/artistoonni-oromoo-gootota-keenya-haa-jajjabeefannu/

 

Baaruu Baayisaa Daaqaa: Walaloo (Artistoota Oromoof)

 

Ishoo yaa kannisaa!
(Artistoota Oromoof)

Dandii fi dirree marsii coradhu nadhii dammaa
Daraaraa mara irraa dhamdhamadhu dhama;
Dhugaa fi fiigi ati saafaan hin dhorkamin
Yookaas bokkaa gannaa tasa hin sodaatin!
Yoo dirreen manca’e ce’ii deemi lagaa
Goblaan barrisi adda baasi dhugaa!

Nadhii coruun kan kee hamaatti herregame
Damma fi booka naquun dhiphina jedhame;
Jibbaan yoo reebamte ilbisa haqa hin beekneen
Sariitii fi tisiisaan waranamtee albeen.
Shira dangaa hin qabneen suuqatti gatamtee
Hamilee kee doomsuuf lammii irra adda baatee;
Kan si keessa jiru lubbuu du’u miti
Isa dhugaa seeneessu kan bara-baraa ti!

Ishoo yaa kannisaa! Suubiin ka’ii fiigi
Tisisaan hin ooliin, somoddoo irraa maqi.
Bakka garii olii qulqullaa’ii hafi
Haqaan deemaa oli qaanii malee rafi!
Marsaa sariitii tiin marfamtee utuu jirtu
Ati haqaan deemta balaa illee hin sodaattu.
Tisisatti ni himta, sariitiitti ni baanta
Dhugaa lammii keetii bookeetti ni dubbatta.
Amaaketa fi yeyyii sodaattee hin calliftu
Summii buutii fi bofaa tasuma hin dheessitu!

Ishoo yaa kannisaa, uumama akka uumaa
Soortuu qaamaa fi lubbuu tokkittii akka kumaa
Haadha ogummaa gaarii haadhoo qulqullinaa
Uggum! Yaa kannisaa mallattoo jabinaa!
Bu’aa kee lakkaa’ee yeroon si yaadadhu
Booka kee unadhee damma kee cuubadhu
Lammii koo ta’uu kee tu qirqirsee na boonsa
Akka kee sab-boonuu tu haalaan na si’eessa!

=============================

Baaruu Baayisaa Daaqaa: bbayisa@yahoo.com

 

Oromo: The call for social and economic self empowerment: Hawaasoma fi dinagdeen wal aangessuun dirqama December 8, 2014

Posted by OromianEconomist in Because I am Oromo, Development & Change, Meroetic Oromo, Muscians and the Performance Of Oromo Nationalism, National Self- Determination, Oromia, Oromiyaa, Oromo, Oromo and the call for justice and freedom, Oromo First, Oromo Nation, Oromo Protests, Oromo students protests, Oromo University students and their national demands, Oromummaa, Seera Yaayyaa Shananii.
Tags: Economic and Social Freedom, Oromia, Oromiyaa, Oromo people, Oromummaa
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“Oromo Empowerment” by Dr Birhanamaskel Sanyi

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