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HAADHA GOOTAA: GEERARSA, NEW OROMO MUSIC 2017 BY ARTIST BILISEE GAADDISAA November 17, 2017

Posted by OromianEconomist in Music, Musicians and the Performance of Oromo Nationalism, Oromo Nation, Uncategorized.
Tags: Africa, African music, Bilisee Gaaddisaa, Geerarsa, Music, Oromia, Oromo culture, Oromo music, Oromo traditional music
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Odaa Oromoooromianeconomist

 

Geerare Didaan: New 2017 Oromo Cultural music video premiere by artist Faayoo Mootii November 9, 2017

Posted by OromianEconomist in Musicians and the Performance of Oromo Nationalism, Oromo Culture, Oromo Music, Uncategorized.
Tags: African music, Faayoo mooti, Music, Music of Oromia, Musicians and the Performance of Oromo Nationalism, Oromo music and Oromo identity
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Odaa Oromoooromianeconomist

Oromia: The poetics and politics of Oromo resistance June 22, 2015

Posted by OromianEconomist in Musicians and the Performance of Oromo Nationalism.
Tags: Artist Hacaaluu Hundessaa, Musicians and the Performance of Oromo Nationalism, Oromia’s lyrical stanza: Haacaaluu Hundessaa’s music video:“Maalan Jira …?, Seena Solomon
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The poetics and politics of Oromo resistance

AWOL ALLO, Open Democracy,   22 June 2015

Oromo music has played a central role in providing alternative spaces for enunciating ‘the Oromo question’.

Oromo Artist Ebbisaa Adunyaa

Ebbisa Adunya, 2013. Wikicommons/Hirphaa Gafuree.Some rights reserved.

On June 4, 2015, renowned Oromo artist Haacaaluu Hundeessaa released an intoxicating single track, Maalan Jiraa. The song condenses within itself the story of the Oromo people with impeccable acuity, waltzing between stories of pain and pride, hope and despair. Full of anguish and self-doubt, Maalan Jira is a powerful probe into the modern Oromo condition and illustrated the complex dilemma facing the Oromo nation and its struggle for political emancipation.

The Oromo are the single largest ethnic group in East Africa, comprising well over a third of Ethiopia’s 99 million people. For generations, Oromos have been relegated to the periphery of Ethiopian politics, not in spite of their numerical majority, but because of it. What makes the Oromo experience so incomprehensible is the fact that they remained one of the last oppressed majority groups of the world in a country in which identity is both theconstitutive and regulative principle of political life.

Stripped of agency, voice, and visibility, the Oromo use poetry, music, and storytelling both to articulate their experiences of marginalization and to resist forms of knowledge and modes of interpretation used to legitimize their oppression. Originating from a deep well of Oromo tradition, music has served as the single most important expressive art form used – a site of counter-memory and counter-culture. Among the downtrodden and reviled of the world, Oromos turned to music to resist official narratives and hegemonic interpretations, undoing imposed silences, and disrupting established frameworks of remembering and forgetting.

By undermining the very coherence and unity of official interpretations, Oromo music has played a central role in providing alternative spaces and enunciating ‘the Oromo question’.

The Oromo question

The Oromo question has been articulated as a question of national self-determination, understood as the right of the Oromo people to determine their political, economic, and cultural status. Within this historically specific articulation, national oppression is the origin of the question, Oromumma (Oromo national identity) its engine, and liberation its end goal.

Oromos consider themselves victims of a systemic and structural wrong, an injustice that deprived them, like the Plebeians of antiquity, of the very conditions of visibility and audibility. Though an integral part of the Ethiopian state, the stigmatization of their identity and culture makes them what French philosopher Jacques Rancière calls ‘the part of no part’. Oromos insist that to include them in ways against their will, and on terms that do not reflect and acknowledge their status as a people, is no less violent and oppressive than exclusion. They remain threatened in the very space to which they belong. 

Oromo resistance music

Oromos have always used freedom songs and dances to symbolize and enact their experiences of dispossession and marginalization. In the 1990s a distinctive genre of protest music begun to function as the loudspeakers of the Oromo struggle for freedom. Oromo musical icons such as Ali Birra, Abitaw Kebede, Nuho Gobana, Umar Suleyman, Ebbisa Adunya, Kadir Said with many others played an indispensable role in creating a social space wherein the Oromo struggle for equality and self-emancipation is articulated and debated.

It is here, in this reservoir of songs, in the unruly dances and heart-breaking ballads, that one finds the story of the Oromo nation and its struggle for self-determination, not in the official archives and historiographies of the Ethiopian state.

In lyrics packed with angst and fervor, a generation of Oromo singers turned to the cryptic but transformative power of music to give voice to their aspirations. Singing against the current, they rejuvenated Oromo nationalism and conserved the Oromo experience of marginalization and humiliation. They also engaged in forms of protest that laid bare the essence of Oromo life within Ethiopia in all its traumatic complexity.

For example, Suleyman’s poignant compositions and enthralling bass voice moves people to action. His epic lyrics, recorded on cassettes, have been listened to in awe and admiration throughout Oromia. In the 1990s, Omar’s songs literally flew the flag of rebellion, articulating the limits of non-violent resistance and the inseparability of the cause of freedom and justice from violence.

It is in this most unpromising and unhistorical of places, in lyrics full of emotions and nostalgia but expressive of the devastation of the social fabric, that one finds the authentic experience of the Oromo.

The Addis Ababa master plan

Hundeessaa’s song comes at a time of great uncertainty for Oromos living around the city of Addis Ababa. Historically an Oromo city located at the heart of Oromia, the largest of the 9 states making up the Ethiopian federation, Addis Ababa (Finfinne) is the seat of the Federal government. The Ethiopian constitution recognizes the special interest of Oromia in Finfinne and directs parliament to enact laws specifying the terms and conditions that respects and regulates this multifaceted relationship between the city and Oromia.

Two decades on, however, no such law is forthcoming, and to add insult to injury, the ruling party announced what it calls the ‘Addis Ababa Integrated Master Plan’, allowing the unprecedented expansion of the city into Oromia. Emboldened by a symbolic election victory in which the ruling party won 100% of the 442 seats announced thus far, the government is set to implement the Master Plan, threatening the wellbeing and livelihood of Oromo farmers neighboring the city.

This is precisely what Hundeessaa’s new song depicts. It weeps for Finfinne, a city that for generations condemned the Oromo culture and identity to precarious subterranean existence. The song’s engrossing sonic texture is at once unsettling and captivating, unsettling because it excavates and reopens past wounds, captivating because it has the poetic quality only a work of art can achieve.

Two clear narratives emerge from the song: first, that of pride and affirmation of Oromo identity and self-worth, and second, that of mourning, discord, and humiliation born of the continued dispossession and marginalization of the Oromo on their own land.

Full of fire and pride, Hundeessaa protests this tyranny of the center, and situates ‘the Finfinne Question’ within the broader Oromo history and experience of dispossession. His song is part tribute and part mémoire, a tribute to Finfinne and a memoire to the dozens of students gunned down by security forces during Oromo students protest against the Master Plan.

This is a song that enables the Oromo to imagine beyond the given-ness of present arrangements; a song that shows that the present is not inevitable, and that things could be different and better.

About the author

Awol Allo is a Fellow in Human Rights at the London School of Economics and Political Science

 https://www.opendemocracy.net/awol-allo/poetics-and-politics-of-oromo-resistance

World Premiere | Seenaa Solomoon’s Single Oromo Music: “AKKAMIIN DIINA GOMBISU?!” June 15, 2015

Posted by OromianEconomist in African Beat, African Music, Inspirational Oromo Women, Musicians and the Performance of Oromo Nationalism, Oromo Music, Seena Solomon, Viva Oromia.
Tags: Africa, Africa Beat, AKKAMIIN DIINA GOMBISUU, Musicians and the Performance of Oromo Nationalism, Oromia, Oromia’s lyrical stanza: Haacaaluu Hundessaa’s music video:“Maalan Jira …?, Oromo, Oromo culture, Oromo music and Oromo identity, Seena Solomon
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https://soundcloud.com/gadaa-oromo-radio/seenaa-solomoon-akkamiin-diina-gombisuu-oromo-music

Durammee : Dhufeeraa Birraasaa : Walaloo Keenya (Afaan Oromoo) June 6, 2015

Posted by OromianEconomist in Afaan Oromoo, Africa, Musicians and the Performance of Oromo Nationalism, Oromo Literature, Qubee Afaan Oromo.
Tags: Africa, African Studies, Durammee : Dhufeeraa Birraasaa : Walaloo Keenya, Oromo Literature
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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

 

The Conflict between the Ethiopian State and the Oromo People, by Dr. Alemayehu Kumsa August 14, 2014

Posted by OromianEconomist in Aannolee and Calanqo, Afar, Africa, Colonizing Structure, Corruption, Ethiopia's Colonizing Structure and the Development Problems of People of Oromia, Ethnic Cleansing, Finfinne is Oromia's land, Finfinnee is the Capital City of Oromia, Free development vs authoritarian model, Human Rights Watch on Human Rights Violations Against Oromo People by TPLF Ethiopia, Janjaweed Style Liyu Police of Ethiopia, Musicians and the Performance of Oromo Nationalism, Ogaden, Oromiyaa, Oromo, Self determination, Sidama, Southern Ethiopia and the Omo Valley, The Colonizing Structure & The Development Problems of Oromia, The Tyranny of Ethiopia.
Tags: Africa, African Studies, Economic and Social Freedom, Genocide against the Oromo, Human Rights and Liberties, Human rights violations, National Self Determination, Oromia, Oromiyaa, Oromo, Oromo people, State and Development, Tyranny
6 comments

 

 

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 “What is important to consider is the significance of the fact that the people who control TPLF (Tigrai People’s Liberation Front) and Government are very parochial minded and appalling arrogant charlatans. They are extremely violent, insanely suspicious … With twin character flaws of excessive love of consumer goods and obsession with status and hierarchy… Fear, blackmail, intrigue, deception, suspicion, and brutality are its defining characteristics. It is absolutely insane for anyone to expect democracy from a secretive and tyrannical organization as such the TPLF and its spawn” (Hagos 1999:66)71. This study proves the observation of Prof. Gellner (1983) “the Amhara Empire was a prison house of nations if ever was one”72. The contemporary government of Ethiopia controlled by Tigrians is worse than all previous governments economically, politically, militarily and in human rights violation of Oromo and other nations which means, it is one of the worst prison houses of nations in Africa.

 

The Conflict between the Ethiopian State and the Oromo People

Author: Alemayehu Kumsa, PhD

Published: Centro de Estudos Internacionais do Instituto Universitário de Lisboa (ISCTE-IUL) (5th European Conference on African Studies/ECAS – June 27-29, 2013)
Keywords: Colonialism, Abyssinia, Oromo, Ethiopia, Liberation Movement

Abstract:
Colonialism is a practice of domination, which involves the subjugation of one people to another. The etymology of the term from Latin word colonus, meaning farmer. This root reminds us that the practice of colonialism usually involves the transfer of population to new territory, where the arrivals lived as permanent settlers while maintaining political allegiance to the country of origin. Colonialism is a characteristic of all known civilizations. Books on African history teaches us that Ethiopia and Liberia are the only countries, which were not colonized by West European states, but the paper argues that Ethiopia was created by Abyssinian state colonizing its neighbouring nations during the scramble for Africa. Using comparative colonial history of Africa, the paper tries to show that Abyssinian colonialism is the worst of conquest and colonial rule of all territories in Africa, according to the number of people killed during the conquest war, brutal colonial rule, political oppression, poverty, lack of education, diseases, and contemporary land grabbing only in the colonial territories. In its arguments, the paper discusses why the Oromo were defeated at the end of 19th century whereas we do have full historical documents starting from 13th century in which the Oromo defended their own territory against Abyssinian expansion. Finally the paper will elucidate the development of Oromo national struggle for regaining their lost independence.

Article in PDF format   ……   Alternatively, On Gadaa.com

Oromo: “For a people facing complete erasure, survival itself is a revolutionary act”, IOYA’s Former President Ayantu Tibeso at the Macha-Tulama Association’s 50th Anniversary Celebration August 7, 2014

Posted by OromianEconomist in Aannolee and Calanqo, Ateetee (Siiqqee Institution), Ayantu Tibeso, Colonizing Structure, Ethiopia's Colonizing Structure and the Development Problems of People of Oromia, Afar, Ogaden, Sidama, Southern Ethiopia and the Omo Valley, Ethnic Cleansing, Finfinne is Oromia's land, Finfinnee is the Capital City of Oromia, Finfinnee n Kan Oromoo ti, Free development vs authoritarian model, Human Rights, Human Rights Watch on Human Rights Violations Against Oromo People by TPLF Ethiopia, Janjaweed Style Liyu Police of Ethiopia, Jen & Josh (Ijoollee Amboo), Knowledge and the Colonizing Structure. African Heritage. The Genocide Against Oromo Nation, Land and Water Grabs in Oromia, Language and Development, Macha & Tulama Association, Musicians and the Performance of Oromo Nationalism, Nimoonaa Tilahun, Oromians Protests, Oromo Protests in Ambo, Self determination, The Colonizing Structure & The Development Problems of Oromia, The Mass Massacre & Imprisonment of ORA Orphans, The Tyranny of Ethiopia, Tyranny, Undemocratic governance in Africa, Waldaa Maccaa fi Tulamaa.
Tags: African Studies, Genocide against the Oromo, Human rights violations, Land grabbing, National Self Determination, Oromia, Oromiyaa, Oromo, Oromo culture, Oromo people, Oromummaa, Tyranny
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The fact that we are gathered here today to honor the founding of Macha Tulama 50 years ago speaks to the fact that despite all odds, we, as a people are survivors. Ethiopian history is full of attempts to annihilate the Oromo—culturally, politically, socially, economically, in all and every ways possible.Oromos — cast as foreign, aliens to their own lands, have been the targets of the entire infrastructure of the Ethiopian state since their violent incorporation. Our identity, primarily language, religion and belief systems and cultural heritage have been the main targets of wanton destruction.   Oromo and its personhood were already demonized, characterized as embodiments of all that is inferior, shameful and subhuman from the beginning. Oromo people were economically and politically exploited, dominated and alienated.

Ayantu Tibeso

Listening to Ethiopia’s South: Music, Musicians, and the Performance of Oromo Nationalism July 21, 2014

Posted by OromianEconomist in Africa, African Beat, African Music, Culture, Ethiopia's Colonizing Structure and the Development Problems of People of Oromia, Afar, Ogaden, Sidama, Southern Ethiopia and the Omo Valley, Musicians and the Performance of Oromo Nationalism, Oromia, Oromian Voices, Oromiyaa, Oromo, Oromo Artists, Oromo Culture, Oromo First, Oromo Identity, Oromo Music, Oromummaa, Qubee Afaan Oromo, Self determination, State of Oromia.
Tags: African Studies, Development and Change, Economic and Social Freedom, Kay Kaufman Shelemay, Music, Musicians and the Performance of Oromo Nationalism, National Self Determination, Oromia, Oromiyaa, Oromo, Oromo culture, Oromo music, Oromo people, Oromummaa
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Listening to Ethiopia’s South: Music, Musicians, and the Performance of Oromo Nationalism

By Harvard  University Professor Kay Kaufman Shelemay

Oromo Studies Collection

 

Harvard University’s African Studies Workshop Featuring Kay Kaufman Shelemay: “Listening to Ethiopia’s South: Music, Musicians, and the Performance of Oromo Nationalism”

Title: Listening to Ethiopia’s South: Music, Musicians, and the Performance of Oromo Nationalism
Author: Kay Kaufman Shelemay (Professor of Music and of African and African American Studies at Harvard University)
Published: Seminar Presentation, African Studies Workshop at Harvard University
Language: English
Keywords: Ethnography, Ethnomusicology, Music, Oromo Nationalism

On March 3, 2014, Kay Kaufman Shelemay, G. Gordon Watts Professor of Music and of African and African American Studies at Harvard University, presented, “Listening to Ethiopia’s South: Music, Musicians, and the Performance of Oromo Nationalism.” Ingrid Monson, Quincy Jones Professor of African American Music at Harvard University, was the discussant.

Original Source: African Studies at Harvard University

 

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