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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.
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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:




Posted by OromianEconomist in African Beat, African Music, Oromo Music.
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Geerar  geerar nan jedhuu

An maalan geeraraa

Ano Jaadan leelalaa

Namni yaadan leelalu

Akkamiin  ha geeraruu

Adiin addaatee gule,

Jibbata mixataa

Roorroon nama irra ture,

Lubbuu lammiitti hiixataa

Roorroo koo ya farrisaa

Turi ammaa si fannisaa

Leenca keenya  dhaadatuu

Warra qawwee baadhatuu

Warra diina qolatuu

Waaqoo Guutuu waamuuree

Taaddasaa Birruu waamuu

Abbishee Garbaa waamuu

Abbaa Jifar  waamuu

Elemoo qilxuu waamuu

Jedhaniitu odeessu kaa

Du’anii baduu saanii,

Garaa na bobeessu kaa

Iyyoolee ya roobaa

Yonnaa roobni roobuu,

Dhagaa jalli addaatee

Yonnaa goonni cooquu,

Garaan na hammaatee……

Akuukkutti hin  hidhatanii,

Gorsheen laggatti galtii

Afuuftutti hin himatanii,

Sobdee namatti maltii

Daandittii qalloo tokkoo,

Laga irraa gadi deebitee

Jarattii farroo tokkoo,

Meeqa nutti deebitee

Utuu akka garaa kootii,

Oromoon tokko ta’ee,

Sirna Gadaa deeffatee

Qabeenya isaatiin ajajee,

Bilisummaa gonfatee,

Ufii isaatiin uf bushee

Isho Obboo koo………….

Kan itti aanu immoo dhaggeeffadhaa….

Musical ‘Maal Wayya?’ By Young Oromo Artist, Anoolee Zarihun Wadaajoo July 22, 2015

Posted by OromianEconomist in Oromo Artists, Oromo Music, Oromummaa.
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???????????Oromo young artist, Anoolee Zarihun Wadaajoo

Maal Wayyaa?

Saba koo bilisoomuu wayyaa


Oromoon bilisoomuu wayyaa

Oromoon walaboomuu wayyaa

Saba koo walaboomuu wayyaa…..




Afaan Oromoo Afaan Saba Guddaa July 21, 2015

Posted by OromianEconomist in Afaan Oromoo.
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???????????The six widely spoken languages in AfricaHirmatadubbii afaanoromoToltu Afaan bookskemetic alphabet (Qubee)qubee durii fi ammaa https://youtu.be/U3L6yoJoljs

New Oromo Film/Drama Premiere: DAMBALII, New Afan Oromo Drama Series on OBS, Opens in Finfinnee At Waltajjii Oromoo (Oromo National Cultural Centre) with Huge and Spectacular Ceremony July 6, 2015

Posted by OromianEconomist in Oromo Art, Oromo film andDrama.
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DAMBALII, a new Afaan Oromoo drama series on Oromia Broadcasting Service (OBS), premiered on 28th June  2015, in Finfinnee  at Waltajjii Oromoo ( Oromo Cultural Center). Here are PREVIEW of  DAMBALII  on OBS and some pictures of  the beautiful  event.

Fiilmiin (Draamaan) Afaan Oromoo haaran Dambalii jedhamu Waxabajjii 28 Finfinnee galma Waltajjii Oromootti eebbifame. Eebba Dambalii irratti uummanni Oromoo heddumaan waan irratti  qooda fudhateef galma guutee irraa hafe. Ummanni Oromoo  Finfinnee artistoota Oromoo fi aartii Oromoo amma biqilee dagaagaa jiru deeggaruuf akkanatti qooda irratti fudhachuun isaanii kan hedduu  nama boonsu dha. Itti dabaleesi sab quunnamtii adda addaatiin namoonni hedduun eebba kana caqasuun haala kanatti akka hedduu itti gammadan hubatamee jira.

  Oromo film (drama) Priemere, Dambalii pictureOromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)1Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)2Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)3Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)4Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)5Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)7Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)8Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)9Oromo film (drama) Priemere, Dambalii opened at Waltajjii Oromoo (Oromo National Centre), Finfinnee)10

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

Posted by OromianEconomist in Musicians and the Performance of Oromo Nationalism.
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The poetics and politics of Oromo resistance

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

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.
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