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#OromoProtests 2020 Peaceful Global Solidarity Continues #HacaaluuHundeessaa #Seattle #Beirut #Minnesota July 6, 2020

Posted by OromianEconomist in Uncategorized.
Tags: Artist Hacaaluu Hundessaa, Hacaaluu Hundeessaa, Oromo Protests 2020
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#OromoProtests 2020 Peaceful Global Solidarity Continues #HacaaluuHundeessaa #Oromia #Seattle #Beirut #Minnesota USA, UK #London, #Australia, #Toronto, Canada #Germany, EU

#FreejawarMohammed

#FreeBakeleGerba

#FreeAllPoliticalprisoners

#HaacaaluuHundeessaa

#StopKillingOromos

#FreeOromia#

OromoProtests

#OromoRevolution

#HaacaaluuHundeessaa

Ethiopian in Lebanon Beirut 🇱🇧 protesting against the #Assassination of #HaacaaluuHundeessaa & countless citizens by Ethiopian Gov't security forces. #OromoProtests #PoliticalAssassinations #OromoRevolution #FreeOromia #FreeJawarMohammed #FreeBekeleGerba pic.twitter.com/DVUOvRZvol

— Native African | EverydayOromia💔🐎 (@Abba_Raajii) July 5, 2020

As his final act of defiance, Hachallu reignited the #OromoProtests . For some of us that followed the grievances in Oromia the past two years, it is very clear the murder was the last nail in the coffin of “Medemer” in Oromia. #HachaluHundessa #FreeJawarMohammed #FreeBekeleGerba pic.twitter.com/aV4GgU39Md

— Yaddi Bojia (@YaddiB) July 5, 2020

In Solidarity with #OromoProtests2020 #JusticeForHaacaaluuHundeessaa #FreeOromia #AbiyAhmedMustGo #AbiyMustResign pic.twitter.com/TTtz3QQ6h4

— Gamechu_Ibrahim (@Gamechu_Ibrahim) July 6, 2020

Seattle,Washington

Hirirri biyya Germany magaalaa Frankfurt kessa godhamaa jiru

Haacaaluu Hundeessaa: A towering musician and an Oromo icon

Haacaaluu inspired a whole generation of Oromos to fight for their rights. His tragic death is an incalculable loss.

https://www.facebook.com/watchparty/584095765805909

You can amplify the voices of more than 40 million people.

1 week ago in Ethiopia, Haacaalu Hundeessaaa, an iconic Oromo singer, songwriter and activist was assassinated, two U.S. citizens were unlawfully detained, the government has cut off the internet nationwide and BBC News report over 166 citizens have been murdered.Haacaalu was not an ordinary musician. He came from a lineage of poets and scholars and inspired people not only through his music, but through his life. Haacaaluu was imprisoned at the age of 17, and it was in his 5 years in prison that he learned to compose lyrics and melodies. He was deeply knowledgeable on Oromo culture and history and was committed to connecting us all to the Oromo’s aspirations through his gift. This is the Official Facebook page in support of the #OromoProtests global movement.

  • Aljazeera: Haacaaluu Hundeessa: The protest singer who became an Oromo icon #HaacaaluuHundeessa
  • #OromoProtests Global Solidarity Rally, Justice for #HacaaluuHundeessaa Free Jawar Mohammed #AbiyMustgo
  • #OromoProtests Global Solidarity Rally, Justice for #HacaaluuHundeessaa Free Jawar Mohammed #AbiyMustgo
  • #OromoProtests 2020 Global Solidarity Rally in London #HacaaluuHundeessaa
  • The UN High Commissioner for Human Rights Press briefing note on Ethiopia
  • DW: Ethiopia: The killing of Hachalu Hundessa cuts deep
  • The New York Times: Singer’s Killing Shows Ethiopia’s ‘Combustible’ Politics #HacaaluuHundeessaa
  • #Oromia: Artist Hacaaluu Hundeessaa, the prominent #Oromo singer, songwriter, is assassinated on Monday 29 June 2020 in Finfinnee
  • OMN: Statement of condemnation of Artist Hacaaluu Hundeessaa’s assassination, the imprisonment of Oromo political leaders, and the closure of OMN in Ethiopia

ከኦሮሚያ ቄሮ የተሰጠ ቀጣይ የትግል አቅጣጫ መግለጫ KMN:- July 06-2020================መላው የሀገራችን ህዝቦች እንደምትገነዘቡት የኦሮሞ ህዝብ ተወዳጁን አርቲስት ሃጫሉ ሁንዴሳን በጠላቶቹ ተነጥቋል:: የትግላችን መሪ የሆኑ እንቁ ታጋዮቻችን በመንግስት እንዲታሰሩ አድርጎአል። ህዝባችን ላይ የግድያ የእስርና የማሰቃየት ስራዎች ተፈጽመዋል። በኦሮሚያ ክልል በርካታ ህይወት በመንግስት ታጣቂ ሀይሎች እየረገፈ ይገኛል:: በመሆኑ አዲስ የትግል ምእራፍ ውስጥ ለመግባት ተገደናል:: ከዚህ በመነሳት የኦሮሞ ቄሮ ይህን የትግል አቅጣጫ አስቅምጧል።መላው የሀገራችን ህዝቦች እስከ ሰኔ 30/ 2012 ድረስ ለኑሮ አስፈላጊ የሆኑ ምግብ ነክና መሰል ቁሳቁሶችን እንዲያዘጋጁ/እንዲያከማቹ ከወዲሁ እናሳስባለን:: ከሐምሌ 1/ 2012 ጀምሮ፣ በኦሮሚያ ውስጥ ማንኛውም አይነት እንቅስቃሴ ሙሉ በሙሉ እንዲቆም ይደረጋል። የፈሰሰው የሀጫሉ ሁንዴሳ ደም ወደ ቤታችን እንድንመለስ አያደርገንም። የቱንም ያክል መስዋእትነት የሚጠይቀን ቢሆን እንኳን ትግላችን እስከ ነፃነት ድረስ ይቀጥላል። መሪያችን ጀዋር መሐመድ “የኦሮሞን ህዝብና አምላክን ተማምኜ ነው ወደ አገር የገባሁት” ብሎ ነበር። እኛም ለዚህ ውድ ጀግናችን አስተማማኝ አለኝታ መሆናችንን ለማሳየት ቁርጠኞች መሆናችንን በተግባር እናሳያለን:: አሁን ለኛ ለኦሮሞ ህዝብ ብሎ በእስር እንዲማቂቅ መደረጉ በእስር እንዲማቅቅ መደረጉ ለሰፊው የኦሮሞ ህዝብ ውርደት ነው ብለንም ስለምናምን እሱንና ሌሎች ከሱ ጋር የታሰሩ ውድ መሪዎቻችንን ለጠላት ጥለን እጃችንን አጣጥፈን ልንቀመጥ አንችልም:: ነፍጠኞች ” የኦሮሞን ታዋቂና ተፅእኖ ፈጣሪ ሰውን ብንገድል ኦሮሞ ለ አንድ ሳምንት ተንጫጭቶ ወደቤቱ ይመለሳል የሚል የተዛባ አስተሳሳብ እንዳላቸው ጠንቅቀን እናውቃለን:: በዚህም ሊያላግጡብን ይዳዳቸዋል:: በርግጥ ለነፃነት የምናደርገውን ትግላችንን አቋርጠን ወደየቤታችን ከተመለስን እንዲህ ዓይነቱ ማላገጥ በሰፊው እንደሚቀጥል የሚያጠያይቅ ጉዳይ አይደለም። ያ እንዲሆን አንዳች እድል ልንሰጥ አንችልም:: የሃጫሉ ግድያንና የመሪዎቻችንን እስራት ትተን ወደ ቤታችን ብንመለስ እንደ ህዝብ እራሳችንን ቀና አድርገን ለመራመድ ከአንድ ምእተ አመት በላይ ሊወስድብን ነው:: ስለዚህ በዚህ ዙር የምናካሂደው ትግል ከሌሎች ጊዜም ለየት ያለና በቆራጥ አቋም የምናከናውነው እንደሚሆን ልንገልፅላችሁ እንወዳለን:: በመሆኑም የፊታችን ሳምንት የሚካሄደው አዲሱ የትግል ምእራፍ የትግል አቅጣጫ ከዚህ እንደሚከተለዉ የተቀመጠ ሲሆን ይህ የትግል ሳምንትም “የነፃነት ጮራ” ተብሎ ተሰይሟል። 1. የነፃነት ጮራ ሳምንት የትግል አቅጣጫዎች1.1. ከየትኛውም አቅጣጫ ወደ አዲስ አበባ የሚወስዱ ጎዳናዎችና ድልድዮች ሙሉ በሙሉ ይዘጋሉ::1.2. ወደ ፊንፊኔ የሚገቡ የውኃና የኤሌክትሪክ አገልግሎት መስመሮች ሙሉ በሙሉ ይቆራረጣሉ:: 1.3. በኦሮሚያ ክልል ሙሉ በሙሉ የተሽከርካሪ እንቂቅስቃሴ እንዲቆም ይደረጋል።ፍንፍኔም የኦሮሚያ ከተማ እንደመሆኗ ወደ ከተማዋ የሚገቡና የሚወጡ ተሽከርካሪዎች ሙሉ በሙሉ እንዲቋረጡ ይደረጋል። እንዲንቀሳቀስ የሚፈቀድለት ተሽከርካሪ አምቡላንስ ብቻ ይሆናል:: እነርሱም ቢሆን ተፈትሸው በህክምና ተግባራቸው ላይ ብቻ የተሰማሩ እንደሆነ የማረጋገጥ ተግባር ይከናወናል። 1.4. በየትኛዉም የኦሮሚያ አካባቢ ለሕዝብ መጨቆኛ የሚውሉ የመንግስት ተቋማት – የወረዳ አስተዳደር: የከተማ አስተዳደር: የደህንነት ድርጅቶችና መሰል የመንግስት የአፈናና የግድያ ተቋማት ሙሉ በሙሉ ይወድማሉ ። 1.5. ከሚሊሻዎችና ከታጠቁ የመንግስት አካላት የሚፈቱ መሳሪያዎችን በሀገር ሽማግሌዎችና በአባ ገዳዎች አማካኝነት የመሳሪያ ልምድ ያላቸው ግልሰቦች እንዲታጠቁት ይደረጋል::1.6. በመንግስት የፀጥታና ደህንነት ተቋማት ውስጥ ተቀጥረው ህዝባችንን በመሰለልን አሳልፈው በሚሰጡ አካላት ላይ ተመጣጣኝ እርምጃ ይወሰዳል:: 2. የነፍጠኛ ስርዓት አቀንቃኝ የሆነዉን መንግስት በማገልገል ላይ ለምትገኙ የሀገር መከላከያ/የፖሊስና የፀጥታ አካላት 2.1. በመውደቅ አፋፍ ላይ የሚገኝን ስርዓት እንታደግ ብላችሁ ህዝባችሁ ላይ ማንኛውንም አይነት እርምጃ ከመውሰድ እንድትቆጠቡ እናሳስባለን:: 2.2. በኦሮሚያ ክልል ውስጥ ሆናችሁ ስርዓቱን በማገልገል ላይ ያላችሁ የመከላከያ/ የደህንነትና የፓሊስ አካላት የመንግስትን እኩይ አካሄድ ወደ ጎን በመተው ከሰፊው የኦሮሞ ህዝብ ትግልን እንድትቀላቀሉ ከወዲሁ ጥሪያችንን እናቀርባለን:: 3.ማሳሰቢያ———3.1. የኦሮሞ ህዝብ ትግል በቀጥታ የሚያነጣጥረው የነፍጠኛው ስርዓት ላይ እንጂ የትኛውም ብሔር/ሀይማኖት ላይ አይደለም:: ስለሆነም በዚህ ትግል ውስጥ የትኛውም በኦሮሚያ ክልል ውስጥ የሚኖር ብሔር ብሔረሰብም ሆነ የሀይማኖት ተቋማት አይነኩም:: የኦሮሞ ቄሮ እንደዚህ አይነት ጉዳዮችን በትኩረት ይከውናል:: አስፈላጊ የሆኑ ጥበቃዎችን ያደርጋል – ያስደርጋል! 3.2. ከሀምሌ 1 ጀምሮ ተግባራዊ የሚደረጉ ከኦሮሞ ቄሮ የተላለፉ ከላይ የተዘረዘሩትን የእንቅስቃሴ ገደቦችን በመተላለፍና በማንአለብኝነት አንዳች እንቅስቃሴ የሚያደርጉ አካላት ላይ አስፈላጊው እርምጃ የሚወሰድበት ሲሆን ለዚህ ሀላፊነቱን የሚወስዱት እራሳቸው እንደሚሆኑ ከወዲሁ ለማሳሰብ እንወዳለን:: ኦሮሚያ ነፃነቷን ትጎናፀፋለች! ሀገር አቀፍ የኦሮሚያ ቄሮ አመራርሰኔ 28/2012

Jirra, Jirtuu?: Hacaaluu Hundeessaa Geerarsa galma barkumeetti. ተወዳጁ ሀጫሉ ሁንዴሳ በድጋሚ ቀውጢ አደረገው The one & only Hacaaluu Hundessaa at Millennium Hall, Finfinnee July 17, 2018

Posted by OromianEconomist in Uncategorized.
Tags: Africa, African Beat, Artist Hacaaluu Hundessaa, Ethiopia, jirra, jirtuu, Music, Oromia, Oromo music, Oromo music and Oromo identity, Qeerroo, Social movements
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Geerarsa Haacaaluu


Jirtuu?, Hin Dhagaahamu, hin dhagaahamu jechaa jiru warri
Ameerikaa.
Jirtuu?, Jirtuu?…
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Ayiiiiiiiiiiiiiii..
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Akkamiin Rafnee Bulla
Nuti Jaalala jenna
Diinni Ammas nuun ciisne
Kunoo mi’eessoon galee
Rasaasaan nu waxalee
Akkamiin rafnee bulla
Diinni silaa nuun ciisne
Kunoo cinaaksan gale
Rasaasaan nu waxalee
Nurraa Dhowwi ya Lammaa
Nurraa Dhowwi ya Abiyyii
Nurraa Dhowwaa yaa biyyaa
Yookaan qeerroottan iyyaa…
Gaarri shiraan tuulame
Biiftuu Baatu Dhoksaaree
Kan Du’e Seenaatti Hafe
Kan lufe silaa lufe
Kan dhufes dhiigaan dhufe
Dhiigni qeerroo inni jige
Itiyoophiyaa jigde kaasekaa
Dhiigni qeerroo inni jige
Itiyoo_eertiraa walitti araarsekaa
Nan sobee…Nan Sobee…Nan Sobee
Nan Sobee Ijoollee Oromoo
Nan Sobee Ijoollee Biyyakoo
Galma Dhugaa Ijaaruuf
Galma Sobaa Raasekaa
Galma Dhugaas Lafeedhaan
Ni Ijaarranna Boru
Galma Dhugaas Jaalalaan
Ni Ijaarranna Boruu
Otuma Moortuun Moortuu
Ni Hora Abbaan Horuu
Otoo Addageen Moortuu
Ni Hora Abbaan Horuu
Ni Hora Abbaan Horu
Ni Hora Abbaan Horuuu.

Dumesaaye caamaaree? Caamus hongee taharee?
Namni ibidda beeku daara argee nahaaree?
Bakka ajaan bay’atu bakka tortooraf raqaa
Allaattif saree malee kan biraa maltuu dhaqa?
Daandii dheera na hafe kan fuldura koo ta’uu
Booddetti garagalee bookef tafkii hin lakkawu
Lubbuu biliqa baatuf maafan gola nanna’aa
Saba koof falmee du’een #Taaddasa_birru ta’aa
Saba koof falmee du’een #Waaqoo_Guutuu koo ta’aa
Biyya koof falmee du’een #Oliqaa_Dingil ta’aa
Saba koof falmee du’een #Balay_Zalaqaa_Qilxuu ta’aa
Biyya koof falmee du’een #Abdisaa_Aagaa ta’aa
Saba koof falmee du’een #Bakar_Waare koo ta’aa
Saba koof falmee du’een #Lagasaa_Wagii ta’aa.

Harreen diidoo itti duulteef haroo dhugaa gogsaare
Gaarri shiraan tuulame biiftuu baatu dhoksaare
Kan du’ee seenatti hafe
kan lufe sila lufe
kan dhufes dhiigan dhufee.

Dhiigni qeerroo inni jige itiyoophiyaa jigde kaase kaa
Dhiigni qeerroo inni jige itiyoo-ertiraa walitti araarsee kaa!

Nansobee? Nansobe?
Nansobee ijoollee oromoo?
Nansobee ijoollee biyyaa koo?


Hachalu Hundessa rocks Millennium Hall in front of PM Abiy Ahmed and President Issayas Afeworki https://t.co/txXTCClfDd

— Jawar Mohammed (@Jawar_Mohammed) July 16, 2018

“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]

Jirra Jirraa: Oromia music video premiere 2017 by Oromo music star, Hacaaluu Hundeessaa October 22, 2017

Posted by OromianEconomist in Oromo, Uncategorized.
Tags: Africa, Africa music, Artist Hacaaluu Hundessaa, Music, Oromia, Oromo, Oromo music
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Odaa Oromoooromianeconomist

Jirra.png

 

 

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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 untitled
 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: 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

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

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