Economic and development analysis: Perspectives on economics, society, development, freedom & social justice. Leading issues in Oromo, Oromia, Africa & world affairs. Oromo News. African News. world News. Views. Formerly Oromia Quarterly
Sirboota isaa hedduuf walaloo fi yeedaloo qopheessaa kan ture isuma mataa isaa ture.
Daadhin weellisaa, barreessaa, waloo fi yeedaloos qopheessaa ture.
Artiist Daadhiin seenaa qoratu malee hin barreessu, hin sirbu jedhu hiriyoonni dhiyeenyan isa beekan.
#Ethiopia: #Ethiopian singer Dadhi Gelan killed by stray bullet https://t.co/fRu28Oe2ia "Dadhi was known for songs depicting the struggles of the #Oromo people, often urging them to stand up for freedom. He sang in the Afaan Oromoo language and was also an author of five books." pic.twitter.com/BKZm2AIzBV
A team of senior Oromo musical artists, some of them among the founding fathers of the historical Afran Qalloo Band will return home from exile over this coming weekend. pic.twitter.com/1qj3dkFVjg
In 1962, when it was still illegal to sing in the Oromo language, one of the most widely spoken languages in all of Africa, a small group of activists risked persecution by forming the first-ever Oromo music band, in Dire Dawa, a bustling city in eastern Oromia, Ethiopia.
Afran Qallo, whose historical name derives from the collective reference to four of Qallo’s sons – Alaa, Babile, Daga and Oborra – soon struck the chord with locals when the troupe began performing cultural songs at weddings and holidays, often hidden from the watchful eyes of government officials.
At the time, in the city of Dire Dawa, the Somalis, Amharas and Hararis had their own music bands – but the Oromo did not. “Whenever there was a need for wedding celebration, Oromo families had to either pay for the Somali or Harari musical bands because generally, in those days, the Amhara bands did not deal well with the Oromo and did not have any respect for our people,” said Dr. Mohamed Hassan, a professor of history at Georgia State University. “It was the absence of any cultural space for the Oromo which inspired Oromo individuals to form an organization and create a musical space for themselves.”
Initially, four musical bands emerged almost simultaneously in different neighborhoods of Dire Dawa, namely: Mascob Tokkumma Jaalala, Hiriyaa Jaalala, Biftu Ganama and Urji Bakkalcha, which was later renamed Afran Qallo, according to Ismail Mummad Adam, one of the founding members of Urji Bakkalcha.
What happened next, no one — not even the founders — expected. “For the first time, there was this general feeling that Oromo music was as good as anyone’s music,” said Dr. Hassan. “It created a tide of anger against the Ethiopian government because the Oromo realized they were denied the opportunity to enjoy their own music.”
The 1960s was a tumultuous decade in Ethiopia. The Ethiopian students’ call for land reform, mainly coming from then Haile Silassie I University, was reverberating, and the dispossessed peasantry – who were condemned to a life of serfdom by absentee feudal landlords – were beginning to take notice of their plight, which was dismal. The Oromo, Ethiopia’s largest ethnic group, was getting organized in various forms in different parts of the country.
In the center of the country, formed in 1963, the Macha Tulama self-help association, whose main aim at the time was educational empowerment and infrastructural development, was gathering momentum. In the southeast, the Bale people’s revolt, under the chairmanship of General Waqo Gutu, was threatening to take back a vast swath of land from the regional nobility that was taking away their pristine land in the name of the crown and levying heavy taxes on the peasantry.
Individuals like Shaykh Bakri Sapalo, a prominent scholar who invented an Oromo language writing system, were creating a stir by writing poems aimed at awakening the Oromo. “By producing powerful poems, that demonstrated the richness and beauty of the Oromo language, he set in motion a generation of famous poets and singers,” Dr. Hassan wrote in the Journal of Oromo Studies. “Shaykh Bakrii’s ideas, his poems, his teaching and cultural nationalism dominated the thinking of Oromo elite in Hararghe, especially in urban areas such as Dire Dawa.”
As such, the formation of Afran Qallo in Eastern Oromia was a watershed moment — a welcome addition to the Oromo movement. Soon, leaders of Afran Qallo musical band established links with the Macha Tulama association and other Oromos to unify its opposition against Haile Silassie’s imperial rule.
There was also the Oromo radio program broadcast into Ethiopia from Mogadishu, Somalia’s capital, by famed Oromo journalist Ayub Abubakar. “The radio program was so effective in mobilizing public opinion against Emperor Haile Selassie, that the regime sent a secret agent to Mogadishu and murdered Ayub Abubakar in 1966,” Hassan said. Abubakar, who himself was one of the founding members of Afran Qallo, was one of Shaykh Barkri’s protege.
In its heyday, the Afran Qallo cultural group did not limit itself to singing and music production. “We started doing theatre, making a mockery of the government’s mistreatment of the Oromo,” said Mr. Adam, 72, who has written a forthcoming book about the history of the group. When officials threatened to shut them down, Oromo elders asked the band “to sing songs of praise for the king,” according to Mr. Adam. They buckled under pressure and produced a song called, “Mooti biyya teenya yaa Haile Silassie, si garaan Xaliyaanin dheefa dhuke kaase” – loosely translated, oh! Haile Silassie, the king of our country, Italians ran for their life when they saw you coming. The song is an inference to the emperor’s return from his brief exile, after Italy invaded Ethiopia, and the Italians defeat in 1941.
But as the group gained unprecedented momentum among the Oromo, pressure from regional bureaucrats continued, Mr. Adam recalled. Members of the band, including Mr. Adam, were even detained and interrogated to name civilian leaders of the band who were supplying them with modern musical instruments.
Amid continued harassment from local lords, who accused the group of narrow nationalism and separatism, and a subsequent injunction against its members, the Afran Qallo band eventually fell apart around 1965, according to Mr. Adam. But by then, he says, some of its star artists had found a voice, and more importantly, a calling to contribute to the Oromo peoples struggle for freedom.
“Before the government started harassing them, the band traveled to places like Haromaya, Awaday, Dadar, Qobo, Hirna, Ciro, and several places in Hararghe providing the necessary cultural service that the community needed at weddings, cultural events, holidays and so on,” said Dr. Hassan.
Unable to continue working in the country, some including Abubaker Musa and Yonis Abdullahi left for Somalia where they continued writing and producing songs. “Ali Birra, Ali Shabbo, Usmail Mummad, Mohammed Yusuf, Salah Mohamud, Shantam Shubisa and others kept marching forward…using their penetrating melody and captivating lyrics to reunify the disjointed Oromo regions to rise up in unison against national subjugation,” the jubilee organizing committee said in a statement on Jun. 22.
The birth of the Afran Qallo cultural troupe is also said to have inspired other Oromo performers in different parts of the Oromo country. Zarihun Wadajo, one of the earliest Oromo vocalists, who was born in Western Oromia, sang his timeless song, “Koottaa Aramaa Aramnaa,” at the age of fifteen in 1977, according to Shawn Mollenhauer, who recently completed his PhD thesis at the University of California-Riverside on Oromo music. “Zarihun was immediately placed in prison for eight months for his song,” wrote Mollenhauer. Click here to read more from the Opride, the original source of this article.
Yeroo garaagaraatti biyyoota akka Keeniyaa, Sudaan fi Kooriyaa Kibbaa deemuun aadaa fi sirboota Oromoo agarsiisuunis dinqisiifannaa guddaa argataniru.
Walumaa galatti artist Laggasaa Abdii dhiibbaa ulfaataa bara Afaan Oromoodhaan dubbachuun qaanii turee fi maqaan namootaa illee Afaan Oromoo irraa jijjirama ture keessa darbuun waggoota 60 oliif guddina aartii Oromoof gumaacha olaanaa taphateera. BBc Afaan Oromoo
#Ethiopia:Legendary Artist Legesse Abdi, who popularized #Oromo music using Mesenqo, a single-stringed bowed lute, has died aged 84. He was laid to rest today at the Holy Trinity Cathedral church in AA. Here, he is seen entertaining athletes Derartu Tulu & Haile G/Sellasie. R.I.P pic.twitter.com/cBDsO7LtHf
Far from being a footnote in the Oromo struggle, musicians like Haacaaluu Hundeessa have been its centre of gravity.
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 bookUtopia 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.
True Knowledge is wisdom. The Oromo value wisdom to the highest degree: ‘Rather than to be kissed by foolish man, I prefer to slapped by a wise man.’ How is true knowledge acquired? The Oromo proverbs answers: By inference, by study, through suffering, by moulding another person, by heart. ‘ One who does not understand an inference will never understand the thing as it is.. … But the great school of knowledge is experience, long life and old age. … The Oromo proverb offers no definition of knowledge; they are not interested so much in nature of knowledge as the type of knowledge they propose as a model for man-in-society, and it is clearly a knowledge obtained through experience through proximity to the object, as ‘the calf is known by the enclosure to have become a bull.’ See Claud Summer, Ph.D., Dr.h.c (1995), Oromo Wisdom Literature, Volume I , Proverbs Collection and Analysis.
Makmaaksa Oromoo (Oromo proverbs):
Abba hin qabdu akaakyuuf boochi
Abbaa iyyu malee ollaan namaa hin birmatu
Abbaan damma nyaateef ilma hafaan hin mi’aawu
Abbaatu of mara jedhe bofti hantuuta liqimsee
Abjuun bara beelaa buddeena abjoota
Addaggeen hamma lafa irra ejjettu nama irra ejjetti
Afaan dubbii bare bulluqa alanfata
Afaan gaariin afaa gaarii caala
Afaanii bahee gooftaa namaa ta’a
Akka madaa qubaa, yaadni garaa guba
Akka abalun sirbaan boquu nama jallisa
Akkuma cabannitti okkolu
Akukkuun yeroo argate dhakaa cabsa
Alanfadhuuti gara fira keetti garagalii liqimsi
ama of komatu namni hin komatu
Amartiin namaa hin taane quba namaa hin uriin
Ana haa nyaatuun beela hin baasu
Ani hin hanbifne, ati hin qalbifne
arrabni lafee hin qabdu lafee nama cabsiti
Asiin dhihoon karaa nama busha
“Aseennaa natu dide, kennaa warratu dide otoo nabutanii maal ta’a laata”,jette intalli haftuun
Badduun fira ishee yoo hamattee, baddubaatuun niiti ishee hamatti
Bakkka oolan irra bakka bulan wayya
Bakka kufte osoo hin taane, bakka mucucaatte bari
Balaliitee balaliite allaattiin lafa hin hanqattu
Bara bofti nama nyaate lootuun nama kajeelti!!
Bara dhibee bishaan muka namatti yaaba
Bara fuggisoo harreen gara mana, sareen gara margaa
Barri gangalata fardaati
Beekaan namaa afaan cufata malee hulaa hin cufatu
Biddeena nama quubsu eelee irratti beeku
Billaachi otoo ofii hin uffatiin dhakaatti uffisti
Bishaan gu’a gahe nama hin nyaatiin, namni du’a gahe si hin abaariin
Bishaan maaltu goosa jennaan waan achi keessa jiru gaafadhu jedhe
Bishingaan otoo gubattuu kofalti
Boru hin beekneen qad-bukoon ishee lama
Boftii fi raachi hanga ganni darbutti wal faana jiraattu
Bulbuluma bulbuli hangan dhugu anuu beeka
Buna lubbuuf xaaxa’u warri naa tolii kadhatu
Cabsituun tulluu amaaraatiin giraancee jetti
Citaan tokko luqqaasaniif manni hin dhimmisu
Dabeessa uleen (jirmi) shani
Daddaftee na dhungateef dhirsa naa hin taatu jette sanyoon
Dawaa ofii beekan namaa kudhaamu
Deegan malee waqayyo hin beekani
dhalli namaa otoo nyaattu diida laalti
Dhirsi hamaan maaf hin nyaatiin jedha niitii dhaan
Dhirsaa fi niitiin muka tokko irraa muramu
Dugda hin dhungatan, hunda hin dubbatani
Durbaa fi jiboota garaa gogaa lenjisu
Iyyuuf bakkeen naguma, dhiisuuf laphee na guba
Dhuufuun waliin mari’atanii dhuufan hin ajooftu
Diimina haaduun nyaatani,diimaa arrabaan nyaatu
Dinnichi bakka gobbitetti hordaa cabsiti
Doqnaa fi garbuu sukkuumanii nyaatu
Du’aan dhuufaa jennaan kan bokoke dhiisaa jedhe
Dubbii baha hin dhorkani galma malee
Dubbii jaarsaa ganama didanii galgala itti deebi’ani
Duulli biyya wajjinii godaansa
Eeboo darbatanii jinfuu hin qabatani
Edda waraabessi darbee sareen dutti
Fagaatan malee mi’aa biyyaa hin beekani
Farda kophaa fiiguu fi nama kophaa himatu hin amaniin
Firri gara firaa jennaan kal’een gara loonii jette
Foon lafa jira allaatti samii irraa wal lolti
foon lakkayi jennaan rajijjin tokko jedhe
fokkisaan nama qabata malee nama hin kadhatu
Fuula na tolchi beekumsi ollaa irraa argamaa jette intalli
Gaangeen abbaan kee eenyu jennaan eessumni koo farda jette
Gaangoonn haada kutte jennaan oftti jabeessite jedhani
Gabaan fira dhaba malee nama dhabinsa hin iyyitu
Galaanni bakka bulu hin beekne dhakaa gangalchee deema
Gaalli yoom bade jennaan, gaafa morma dheeratu bade
Gama sanaa garbuun biile (asheete) jennan warra sodaanne malee yoom argaa dhabne jedhe jaldeessi
Gamna gowomsuun jibba dabalachuu dha
Ganaman bahani waaqa jalaahin bahani
Gara barii ni dukkanaa’a
Garaa dhiibuu irra miila dhiibuu wayya
Garbittii lubbuuf walii gadi kaattu, warri qophinaafi se’u
Jaalalli allaatti gara raqaatti nama geessa
Gaashatti dhuufuun daalattii dha
Gogaa duugduun yoo dadhabdu saree arisaa kaati
Gola waaqayyoo itti nama hidhe lookoo malee ijaajju
Goomattuuf goommanni hin margu
Goondaan walqabattee laga ceeti
Gowwaa wajjin hin haasa’iin bakka maleetti sitti odeessa, karaa jaldeesaa hin hordofiin halayyaa nama geessa
Gowwaan ballessaa isaa irraa barat, gamni balleessaa gowwaa irraa barata
Gowwaan bishaan keessa ijaajjee dheebota
Gowwaan gaafa deege nagada
Gubattee hin agarre ibiddatti gamti
Guulaa hin bitiin jiilaa biti
Gowwaa kofalchiisanii, ilkee lakawu
Gowwaa fi bishaan gara itti jallisan deemu
Haadha gabaabduu ijoolleen hiriyaa seeti
haadha laalii intala fuudhi
Haadha yoo garaa beekan ilmoo jalaa qabani
Halagaa ilkaan adii, halangaan isaa sadi
Hanqaaquu keessa huuba barbaada
Haati ballaa (suuloo) ya bakkalcha koo jetti
Haa hafuun biyya abbaa ofiitti nama hanbisa
Haati hattuun intala hin amantu
Haati hattuun intala hin amantu
Haati kee bareeddi jennaan, karaa kana dhufti eegi jedhe
Habbuuqqaa guddinaaf hin quufani
Hagu dhiba jette sareen foksoo nyaatte
Hagu dhiba jette sareen foksoo nyaattee
Halagaa gaafa kolfaa fira gaafa golfaa
Hantuunni hadha ishee jalatti gumbii uruu bartii
Harka namaatiin ibidda qabaa hin sodaatani
Harki dabaruu wal dhiqxi
Harkaan Gudunfanii, Ilkaaniin Hiikkaa Dhaqu
Harree ganama badee, galgala kur-kuriin hin argitu
Harree hin qabnu, waraabessa wajjin wal hin lollu
Kan harree hin qabne farda tuffata
Harreen nyaattu na nyaadhu malee bishaan ol hin yaa’u jette waraabessaan
Harreen yoo alaaktu malee yoo dhuuftu hin beektu
Hidda malee xannachi hin dhiigu
Hidda mukaa lolaan baaseetu, hidda dubbii farshoo (jimaa)n baase
Hidhaa yoo tolcha, gadi garagalchanii baatu
hin guddattuu jennaan baratu dhumee jedhe
Hiriyaa malee dhaqanii gaggeessaa malee galu
hiyyeessaf hin qalani kan qalame nyaata
Hoodhu jennaan diddeetu lafa keenyaan hatte
Hoolaan abbaa abdatte, diboo duuba bulchiti
Hoolaan gaafa morma kutan samii(waaqa) arkiti
Ija laafettiin durbaa obboleessaf dhalti
Ijoollee bara quufaa munneen ibidda afuufa
Ijoollee hamtuun yoo nyaataaf waaman ergaaf na waamu jettee diddi
Ijoolleen abaa ishee dabeessa hin seetu
Ijoolleen quufne hin jett, garaatu na dhukube jetti malee
Ijoolleen quufne hin jettu beerri fayyaa bulle hin jettu
Ijoolleen niitii fuute gaafa quuftu galchiti
Ijoollee qananii fi farshoo qomocoraa warratu leellisa
Ijoollee soressaa dhungachuun gabbarsuu fakkaatti
Ilkaan waraabessaa lafee irratti sodaatu
Ilmi akkoon guddiftu dudda duubaan laga ce’a
Intalli bareedduun koomee milaatiin beekamti
Intallii haati jajju hin heerumtu
Itti hirkisaan kabaa hin ta’u
Ittiin bulinnaa sareen udaan namaa nyaatti
Jaamaan boru ijji keen ni banamti jennaan, edana akkamitin arka jedhe
Jaarsi dhukuba qofaa hin aaduu, waan achisutu garaa jira
Jaarsii fi qalqalloon guutuu malee hin dhaabatu
Jabbiin hootu hin mar’attu
Jaalalli jaldeessa yeroo fixeensaa garaa jalatti, yeroo bokkaa dugda irratti nama baatti
Jaalala keessa adurreen ilmoo nyaatti
Jaalalli allaatti gara raqaatti nama geessa
Jarjaraan re’ee hin horu
Jarjaraan waraabessaa gaafa ciniina
Jibicha korma ta’u elmaa irratti beeku
Jiraa ajjeesuun jalaa callisuu dha
Kadhatanii galanii weddisaa hin daakani
Kan abbaan gaafa cabse halagaan gatii cabsa
Kan abbaan quba kaa’e oromi(namni, halagaan) dhumdhuma kaa’a
Kan afaanii bahee fi kan muccaa bahehin deebi’u
Kan bishaaan nyaate hoomacha qabata
Kan citaa qabaa tokko namaa hin kennine mana bal’isii gorsiti
Kan dandeessu dhaan jennaan gowwaan galee nitii dhaane Adaamiin ollaa hagamsaa jiru bara baraan boo’aa jiraata
Kan gabaa dhagahe gowwaan galee niitii dhokse
Kan hanna bare dooluutu sosso’a
Kan hordaa natti fiiges, kan haaduun natti kaates bagan arge jette saani du’uuf edda fayyitee booda
Kan humnaan lafaa hin kaane yaadaan Sudaanitti nagada
Kan ilkaan dhalchu kormi hin dhalchu
Kan namni nama arabsi irr, kan abbaan of arabsutu caala
kan qabuuf dabali jennaan harreen laga geesse fincoofte
Kan of jaju hin dogoggoru
Kan quufe ni utaala, kan utaale ni caba
Kan tolu fidi jennaan, sidaama biyya fide
Kan tuffatantu nama caala, kan jibbanitu nama dhaala
Kan tuta wajjin hin nyaanne hantuuta wajjin nyaatti
Kan waaqni namaa kaa’e cululleen hin fudhattu
Karaa foolii nun hin jedhani jette wacwacoon
Karaan baheef maqaan bahe hin deebi’u
Karaan sobaan darban, deebi’iitti nama dhiba
Karaa dheeraa milatu gabaabsa, dubbii dheeraa jaarsatu gabaabsa
Karaa fi halagaatu gargar nama baasa
Keessummaan waan dhubbattu dhabde mucaa kee harma guusi jetti
Keessummaan lolaa dha abbaatu dabarfata
Keessa marqaa boojjitootu beeka
Kijiba baranaa manna dhugaa bara egeree wayya
Kokkolfaa haati goota hin seetu
Kormi biyya isaatti bookkisu biyya namaatti ni mar’ata
Kursii irra taa’anii muka hin hamatani
Lafa rukuchuun yartuu ofiin qixxeessuu dha
Lafa sooriin du’e baataatu garmaama
Lafaa fuudhuutti ukaa nama bu’a
Lafti abdatan sanyii nyaatee namni abdatan lammii nyaate
Laga marqaa jennaan ijoolleen fal’aanaan yaate
Lama na hin suufani jette jaartiin qullubbii hattee
Leenci maal nyaata jennaan, liqeeffatte jedhe, maal kanfala jennaan, eenyu isa gaafata jedhe
Lilmoon qaawwaa ishee hin agartu, qaawwaa namaa duuchiti
Lukkuun(hindaaqqoon) haatee haateealbee ittiin qalan baafti
Maa hin nyaatiin jedha dhirsi hamaan
Maal haa baasuuf dhama raasu
Mammaaksi tokko tokko dubbii fida tokko tokko dubbii fida
Mana haadha koon dhaqa jettee goraa bira hin darbiin
Mana karaa irra kessumaatu itti baayyata
Manni Abbaan Gube Iyya Hin Qabu
Maraataa fi sareen mana ofii hin wallalani
Maraatuun jecha beektu, waan jettu garuu hin beektu
Marqaa afuufuun sossobanii liqimsuufi
Marqaan distii badaa miti, irri ni bukata, jalli ni gubata
Marxoon otoo fiiganii hidhatan otuma fiiganii nama irraa bu’a
Mataa hiyyaassaatti haaduu baru
Midhaan eeguun baalatti hafe
Mucaa keetiin qabii mucaa koo naa qabi jettehaati mucaa
Muka jabana qabu reejjiitti dhibaafatu
Morkii dhaaf haaduu liqimsu
Nama foon beeku sombaan hin sobani
Namni akka fardaa nyaatu, gaafa akka namaa nyaate rakkata
Namni beela’e waan quufu hin se’u
Namni dhadhaa afaan kaa’an, dhakaa afaan nama kaa’a
Namni gaafa irrechaa duude, sirba irreechaa sirbaa hafa
Namni guyyaa bofa arge halkan teepha dheessa
Namni hudduu kooban galannii isaa dhuufuu dha
Namni mana tokko ijaaru citaa wal hin saamu
Namni nama arabsu nama hin faarsu
Namni badaan bakka itti badutti mari’ata
Namni gabaabaan otoo kabaja hin argatiin du’a
Namni qotiyyoo hin qabne qacceen qalqala guutuu dha
Nama kokkolfaa nama miidhuu fi bokkaan aduu baasaa roobu tokko
Niitiin dhirsaaf kafana
Niitiin marii malee fuudhan marii malee baati
Niitiin afaan kaa’aami’eeffatte yoo kabaluuf jedhan afaan banti
Nitaati jennaan harree qalle, hin tatuu jennaan harree ganne, qoricha jennaan isuma iyyuu dhaqnee dhabne
Obboleessa laga gamaa mannaa gogaa dugduu(faaqqii) ollaa ofii wayya
Obsaan aannan goromsaa dhuga
Obsan malee hn warroomani
Ofii badanii namaa hin malani
Of jajjuun saree qarriffaan udaani
Ofi iyyuu ni duuti maaliif of huuti
Ofii jedhii na dhugi jedhe dhadhaan
Okolee diddu okkotee hin diddu
Ollaa araban jira akkamittin guddadha jette gurri
Ollaan akkam bultee beeka, akkatti bule abbaatu beeka
Ollaafi garaan nama hin diddiin
Ollaa fi kateen nama xiqqeessiti
Ol hin liqeessiin horii keetu badaa, gadi hin asaasiin hasa’aa keetu bushaa’a
Otoo beeknuu huuba wajjin jette sareen
Otoo garaan tarsa’e jiruu, darsa tarsa’eef boossi
Otoo farda hin bitiin dirree bite
Otoo fi eegeen gara boodaati
Otoo garaan dudda duuba jiraate, qiletti nama darbata
Otoo sireen nama hin dadhabiin tafkii fi tukaaniin nama dadhabdi
Qaalluun kan ishee hin beektu kan namaa xibaarti
Qaban qabaa hin guunnee gad-lakkisan bakkee guutti
Qabbanaa’u harkaan gubnaan fal’aanan
Qabanootuharkaa, hoo’itu fal’aanaan
Qabeenyi fixeensa ganamaati
Qalloo keessi sibiila
Qalladhu illee ani obboleessa eebooti jette lilmoon
qaaqeen yoo mataan ishee marge bade jetti
Qarri lama wal hin waraanu
Qeesiinwaaqayyoo itti dheekkam, daawwitii gurgurtee harree bitatte
Qoonqoon darbu, maqaa hin dabarre nama irra kaa’a
Qoonqoon bilchina eeggattee, qabbana dadhabde
Qorichaofii beekan namaa kudhaamu
Qotee bulaa doofaan, miila kee dhiqadhu jennaa, maalan dhiqadha borus nan qota jedhe
Qurcii dhaan aboottadhu jennaan, qophoofneerra jedhe
Raadni harree keessa ooltedhuufuu barattee galti
Sa’a bonni ajjeese ganni maqaa fuudhe
Saddetin heerume jarjarrsaa akka baranaa hin agarre jette jaartiin, salgaffaa irratti waraabessi bunnaan
Salphoo soqolatte soqolaa gargaaru
Saree soroobduun afaan isheef bukoo ykn. dudda isheef falaxaa hin dhabdu
Sabni namatti jiguu irra gaarri (tulluun) namatti jiguu wayya
Sareen duttu nama hin ciniintu
Sanyii ibiddaa daaraatu nama guba
Sareen warra nyaattuuf dutti
Seenaa bar dhibbaa baruuf bardhibba jiraachuun dirqama miti
Shanis elmamu kudhanis, kan koo qiraaciitti jette adurreen
Sirbituu aggaammii beeku
Sii uggum yaa gollobaa, anaafoo goommani ni dorroba inni gurr’uu soddomaa jette jaartiin horii ishee gollobaan fixnaan
Sodaa abjuu hriba malee hin bulani
Soogidda ofiif jettu mi’aayi kanaachi dhakaa taata
Sombaaf aalbee hin barbaadani
Suphee dhooftuun fayyaa gorgurtee, cabaatti nyaatti
Taa’anii fannisanii dhaabatanii fuudhuun nama dhiba
Takkaa dhuufuun namummaa dh, lammmeessuun harrummaadha
Tikseen dhiyootti dhiifte fagootti barbaacha deemti
Tiksee haaraan horii irraa silmii buqqisaa oolti
Tokko cabe jedhe maraataan dhakaa gabaatti darbatee
tokko kophee dhabeetu booha, tokko immoo miila dhabee booha
Tufani hin arraabani
Udaan lafatti jibban funyaan nama tuqa
Ulee bofa itti ajjeesan alumatti gatu
Ulee fi dubbiin gabaabduu wayya
Ulfinaa fi marcuma abbaatu of jala baata
Waa’een garbaa daakuu fi bishaani
Waan ergisaa galu fokkisa
Waan jiilaniin kakatu
Waan kocaan kaa’e allaattiin hin argu
Waan namaa kaballaa malee hin quufani
Waan samii bu’e dacheen baachuu hin dadhabu
Waan uffattu hin qabdu haguuggatee bobbaa teessi
Waan warri waarii hasa’aan, Ijoolen waaree odeesiti
Wadalli harree nitii isaa irraa waraabessa hin dhowwu
Wal-fakkaattiin wal barbaaddi
Wali galan, alaa galan
Wallaalaan waan beeku dubbata, beekaan waan dubbatu beeka
Waaqaaf safuu jette hindaaqqoon bishaan liqimsitee
Warra gowwaa sareen torba
Waraabessi bakka takkaa nyaatetti sagal deddeebi’a
Waraabessi biyya hin beekne dhaqee gogaa naa afaa jedhe
Waraabessi waan halkan hojjete beekee guyyaa dhokata
Yaa marqaa si afuufuun si liqimsuufi
Yoo ala dhiisan mana seenan, yoo mana dhiisan eessa seenan
Yoo boora’e malee hin taliilu
Yoo ejjennaa tolan darbatanii haleelu
Yoo iyyan malee hin dhalchanii jedhe korbeesi hoolaa kan re’eetiin
Yoo suuta ejjetan qoreen suuta nama waraanti
yoo dhaqna of jaalatan fuula dhiqatu
Yoo namaa oogan eelee jalatti namaa marqu
yoo ta’eef miinjee naa taata jette intalli
Amensisa Ifa wins ‘Best Director’ at the first Tom Film Awards
Gibe.Tube, 6 March 2016
Amensisa Ifa producer of “Maalan Jiraa?” and many other movies & TV Series, wins Best Director at the first Tom Film Awards! Amensisa Ifa have been working with TVO & ETV(EBC) as an Editor. Currently He is working with BBC Media Action and editing a TV series drama DHEEBUU, which is about of 80 episodes, broadcast on TVO.
I’m excited to win Best Director at the first Tom Film Awards! Thank you everyone for your continued support! Amensisa Ifa
Saartuu, the daughter of the late Oromo artist Usmayyoo Muussaa in her debut music song ‘Abbaa koo’.
Selfless Oromo Artist Usmayyoo Muussaa was in jail for 8 years in a harsh Woyyaane prison. He sustained severe torture and contracted all deadly diseases in jail. He was released from prison only when the regime was sure that he won’t survive. Usmayyoo died on November 18, 2006 in Ciro town and his funeral took place on November 19, 2006 in Ciro with a large crowd with Oromo tradition.
Though an Oromo nationalist and artist Usmaayyoo Muusaa is rest in peace, his legacy is beyond his grave and he passed on the torch of freedom to be pursued by millions of Oromo, including his children.
Like Usmayo Oromo citizens have fallen as the result of victim of torture of TPLF; many are fallen silent in the hands of this murderer’s government agents.
Usmayo’s daughter, Artist Saartuu Usmayoo, has release the first song dedicated to her father, “Abaa Koo”.
The views expressed in this post (blog) are those of the author/authors and do not necessarily reflect the position of OromianEconomist. Posting does not imply endorsement of views by the author/ authors.
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