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

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Uncategorized.
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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]

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Qeerroo: Hawwii Tazarraa New Oromo Music 2018 January 6, 2018

Posted by OromianEconomist in Uncategorized.
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Odaa OromooOromianEconomist

 

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

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Odaa Oromoooromianeconomist

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Oromia: Saliha Sami: Ni Baafna Gumaa (New Oromo Music) October 4, 2017

Posted by OromianEconomist in Oromo Music, Saliha Sami, Uncategorized.
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Odaa OromoooromianeconomistThe awarding wining muscian, Oromo record artist Saliha Sami

ASLII GALGALOO DAANDII BOSONTUU GAAFII FII DEEBII ARTIST ALIYYI SABIT STN KENYA WALIIN August 25, 2017

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ASLII GALGALOO DAANDII BOSONTUU GAAFII FI DEEBII ARTIST ALIYYI SABIT STN KENYA WALIIN JULY 

 

 

Oromia: “Finfinnee Karri Shani” Galaanee Bulbulaa. New Oromo Music June 19, 2017

Posted by OromianEconomist in Oromo Art, Oromo Artists, Oromo Culture, Oromo Music.
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Finfinnee: Karaa Aloo, Karaa Qallittii, Karaa Gafarsaa, Karaa, Qoree, Karaa Qirxii 


 

 

 

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

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music, Saliha Sami.
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Hanisha Solomon: New Oromo Music: Geerarsa May 6, 2017

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music, Oromo Music.
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Photos from Saliha Sami’s upcoming Oromo music video: Diinni fira hintahu May 1, 2017

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The award-winning musician and Oromo recording artist Saliha Sami is working on a new music video;  titled ‘diinni fira hintahu’. The following photos are released from the set of the video production on her Facebook page. Click here for more at Finfinne Tribune | Gadaa.com.

Oromo Students represent Oromia at York University’s Cultural Showcase April 19, 2017

Posted by OromianEconomist in Oromia, Oromo, Oromo Art, Oromo Culture, Oromo Identity.
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Oromia and the Oromo people

 

 

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Oromia: OMN: Qophii Jiruuf jireenyaa Artist Dirribee Gadaa Bit 28, 2017. OMN: Interview with one of the most creative minds in Oromo music and art, artist singer Dirribee Gadaa March 29, 2017

Posted by OromianEconomist in Muscians and the Performance Of Oromo Nationalism, Music.
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JIRUU FI JIREENYAA

OMN: Artisti Dirribee Gadaa (Bit 28, 2017)

 

 

 

 

Oromia: Knoweldge and Society: Mammaaksa Oromoo March 4, 2017

Posted by OromianEconomist in 10 best Youtube videos, 25 killer Websites that make you cleverer, Afaan Oromoo, African Literature, Black History, Chiekh Anta Diop, Culture, Cushtic, Indigenous People, Kemetic Ancient African Culture, Khemetic Africa's culture, Oromia, Oromiyaa, Oromo, Oromo Art, Oromo Literature, Oromo Wisdom, Uncategorized.
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OOromianEconomist
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


Mammaaksota Dubartootaa Oromoo

1.     Heeruma dharraanee(hawwinee) heerumnaan rarraane (rakkannee)

2.     Asuu oolle jette tan heerumaaf muddamte”

3.     Takkattii qayyannee taduraa hanqannee  ykn takkaa qayyannee lukaa gubanne

4.     Bakka dhiiganii hin fiigan.

5.     Kana muranii kamiin fincaayan jette haati manaa inni ofirraa mura jennaan.

6.     Kaanittuu abbaa argadhu jette haati intalaan.

7.     Intalti ariifattuun haadha ciniinsuubarsiifti

8.     Akka beekutti dhalaa(dahaa) nadhiisaa jette intalti harka namaa diddu

9.     Sirbaaf bayanii morma hin dhofatan jettee intalti waa hin saalfannee.

10.  Akka ebaluutti sirbaan morma nama jallifti jette intalti qalbii qabdu.

11.  Mucaa deenna malee mucaa hin geennu jette intalti of tuffatte.

12.  Wol  akkeessee ollaan marqa balleesse jette intalti ofiin bultun .

13.  Akka aadaa teennaa gaara gubbaa baanee teenna jedhe harmi dubartootaa.

14.  Ati baldi ta dhiirsa ka’imaa jette intalti abbaan manaa isii jaarsaa.
(Baldu : ashuu,qoosuu,taphachuu, busheesuu)

15.  Har’allee moo jette haati ijoolleen beelofne (shoomofne) jennaan isiin bakka cidhaatii quuftee waan galteef

16.  Ani ufiif hin jennee, mucaan keessan ka hangafaa sun fuudha hin geennee? jette intalti mucaa kajeelte.

17.  Soddaa fi dayma hin duudhatan.

18.  Osoo dhukubsataan jiru, fayyaalessi du’a.

19.  Ana bakki na dhukubu asii mitii maraafuu bakkuma gooftaan kiyya jedhe san kooba jette bookeen.

20.  Makkitu malee makkaa hin hajjan

(Makkitu : naamaaf mijooftu/mijaa’u)

21.  Akka dida’aa fi akka didanaatti na galchi

22.  Daalun xaraan kaanu tara.

Qopheessan : Abdii Boriiti

Source: http://opride.com/hamba/?p=231


Related:

Hiibboo Afaan Oromoo

Oromo music legend Hayluu Disaasaa (Haylu Disasa) died age 61. May his soul rest in peace January 18, 2017

Posted by OromianEconomist in Haylu Disasa, Hayluu Disaasaa, Oromo Art, Oromo Music.
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Odaa OromooOromianEconomistoromo-music-legend-hayluu-disaasaa

Wallisaan Oromoo hangafaa fi beekamoon dhalatee waggaa 61tti adunyaa kana irraa boqochuun ibsame. Hayluun kan dhalate Lixa Oromiyaa,  Wallaggaa,  Qellem, Qaaqetti.  Manni jirrenya isaa Finfinnee, Birbirsa Goorooti. Hayluun abbaa ilma tokkichaa, Sanyi Hayluu Disaasaati.

Hayluun hamma adunyaa kana irraa boqotutti aadaa fi aartii Oromoo calaqqisiisuu fi dagaagsuu irratti shoora  guddaa taphachaa ture. Sirboota Afaan Oromoo barreesuu fi  sagalee isaa kiloleen surbuudhan, diraamaa, fiilmii fi tiyaatira Afaan  Oromoo adda addaa hojjechuun jiruu seenaa qabeessa saba isaaf dalagaa ture. Hayluun kana hundaa kana rawwachaa kan ture dhibbaa Oromummaa isaatiif isa irra gahaa turan hundaa danda’ee irra aanuu dhaani. Jirreenyi isaa hamma boqotutti inni keesa turesi kanuma mul’isa.

Sirboota Hayluu Disaasaa ittiin beekamu keessa muraasni: Geerarsa, yaa warra baddaa, yaa finna koo, naggaaden haa dabartuu, yaa damma koo, amma yaa marii, shaggee tiyyaa fa’i.

Biyyoon isatti haasalphatu.

 

 

Bilisee boqochuu artist Hayiluu disaasaa dhaggeesse jirta??
Dhaamsa mucaa isaa sanyii Hayiluu
Ergaa karaa keessaa dhuftee,
mee oromoota nannoo finfinnee jiraniitti naaf dhaamigiiftiiko. kaleessa boqochuu Weeellisaa angafaa kana dhagahee awwaalchi isaas kaleessuma se’en gara finfinnee naanno birbirsa pihassaa jarri jedhan bakka itti galaa ture iyyaafadhee dhaqe. Garuu anoo ofittan qaana’e waanan argeen eenyummakoo jibben sitti hima mana osoo hin taanee qooxii handaqqoorra gargar hin jiru. gootichi aartii Oromoo kun achuma keessa taa’eet waggaa 42 baandii hagar fiqir keessatti masaanuuwwan afaanifii aadaa oromoon mormaa aartii oromoof gumaachaa ture. garuu harkasaa hin arganne uummata kanarraa.silaa goonni mana hin qabu jedhu mana gaarii teesso bareeda jiruu dhuufaa mijataa dhabuunsaa omaamiti. baga dhes seenaan isaa siidaa ta’et yaadma. innoo uummataaf jiraataa turee. kan na ajaa’ibsiise garuu osoo mana hinqabaatii waltajjiirratti yoo bahu fuulsarra kolfafi qoosaa wallee malee miirri dhabaa fi kadhaa hin mul’atu.goodo inni itti galu keessa wanti tokko hin jiru.garuu inni dhukkubsachuus erga eegalee irra bubbule jedhan takkaa mootummaanis ta’e namoota dhuunfaan nagargaaraa yoo jedhu hin dhageenye hin jennes. Garuu baandii sana keessatti yeroo heddu hacuucamaa gidirfamaa hidhamaa tuffatamaa akka jiru carra argatetti fayyadamee himatee ture roorroo sabaaf naa birmadhaa jedhaa ture.keessattu sirba yaa warra badda jedhurratt fi yeroo waltajjirratti sirbitu jechota qineen nuarrabsita jedhamee hidhamas hojirra hari’ames ture. Wellisa Hayiluu Disaasaa tokkicha qixxee kumaa bara 1963 waltajjiirratti bahee afaan oromoo afaan aartii afaan midiyaaf tolu kanittin sirbanii bashannan ta’u agarsiise. wagga 40 oromoo bakka bu’e tiyaatiran welluun diraamaan baandii agar fiqir keessa tajaajile xuratas bahe ture. yaa dhaloota qubee goota kanatu du’ee awwaalcha dhabe nurraa. uuuuuu….https://www.facebook.com/bilise.gadisa.7/posts/1852571331693986?pnref=story.unseen-section

 


አንጋፋው የኦሮሚኛ ሙዚቃ አቀንቃኝ ኃይሉ ዲሳሳ አረፈ

(ዘ-ሐበሻ) ከአንጋፋ የኦሮሚኛ ሙዚቃ አርቲስቶች መካከል አንዱ የሆነው አርቲስት ኃይሉ ዲሳሳ ትናንት ምሽት ጃንዋሪ 18, 2017 ማረፉ ተሰማ::

ድምጻዊ ሃይሉ ዲሳሳ በተለይ በሀገር ፍቅር ትያተር በኦሮሚኛ ዘፈኖች ዝነኛ ድምፃዊ ነበረ:: ኃይሉ በ61 አመቱ ህይወቱ ሲያልፍ የ1 ልጅ አባት እንደነበር የሕይወት ታሪኩ ያስረዳል::

ነብስ ይማር!!


Oromo music legend artist Hayluu Disaasaa died  18 January 2017, age 61. He is survived by his only son.

The following are some of Hayluu Disaasaa’s popular  music works:- Yaa damma koo,  geerarsa, na fuute, shaggee tiyya, amma yaa marii.





 https://www.youtube.com/watch?v=qYR0viwi9Fk


 

Oromia: Lense Lammeessaa Boruu: Ni Falmannaa (New Resistance Music) #OromoProtests #OromoRevolution December 20, 2016

Posted by OromianEconomist in Oromo Music.
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Odaa OromooOromianEconomist

lense-lammeessaa-oromo-music-artist

 

 

 

 

Oromia: Darajjee Shumii: Noonnoo Noonnoo Gale Bishaan Noonnoo Dhowwadhu Dhowwadhu Roorroo. #OromoProtests Music August 13, 2016

Posted by OromianEconomist in #OromoProtests.
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Odaa OromooOromianEconomist

 

 

Oromo Horse men, display of bravery and patriotismOromiyaa

 

 

Oromia: OBS: Harka Fuune: Interview with Abraaham Raayyaa July 23, 2016

Posted by OromianEconomist in Uncategorized.
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Odaa OromooAbraahaam RaayyaaRaayyaa Studio

 

 

Shukrii Jamaal: ‘Ammayyaa Bulloo Boshee’: New Oromo Music Premier July 19, 2016

Posted by OromianEconomist in Uncategorized.
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1 comment so far

Odaa Oromoo


Ammayyaa Bulloo Boshee

Kuulanii koo,

Bareedduu xiqqoo rosee.


Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p2Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p9Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p8Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p10

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p3Nice Oromo pictures from Shukri Jamal's music in 2016, Bullo Boshee. p11

 

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p1

 

 

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p4

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p6

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p5Nice Oromo pictures from Shukri Jamal's music in 2016, Bullo Boshee. p12

Nice Oromo pictures from Shukri Jamal's music, Bullo Boshee. p7

 

Manaa hin baatu jedhanii

Gabaa hin baatuu jedhanii

Koo yaa hintaloo,

Kan si eegu gutuntumaa

Namaa hin naatu jedhanii

Maal wayyaa koo

Kan odeessan  dhuguma moo

Sifan kophaa gunguma anoo.

Arjoo fi Begii Naqamtee,

Shaambuu fi Horroon imaltee,

Waan ofii koo  maaloo,

Lafa qeerroon dhaadatuu,

Waan barbadde si bitaa,

Wanta feete si bitaa,

Ati tiiyya taanaan isa yaanni jaallatuu.

Ichilbee daarii Gobbuu,

Maroolee koo maaloo,

Ya sinnaara sararaa,

Sitti obsee kee na godhuu,

Waan ofii koo maaloo,

Waltaana baranaa.

Jaarsi sawwan yaafatee,

Maroolee koo,

Dirreetti ooffatee dheechisaa,

Wayi nama wal jaallatee,

Waan ofii koo maaloo,

Ija irratti beeksisaa.

Ammayyaa Bulloo Boshee

Kuulanii koo,

Bareedduu xiqqoo rosee.

Maal wayya magaaltittii,

Najjoo irraa moo Ginbitti si eegaa,

Eessatti naaf dhuftaa,

Barrisii na koottuu,

Yoo tiyya taatee,

Maaliif na dhibsitaa………..

……………………


Related:-

https://oromianeconomist.wordpress.com/2015/09/27/oromia-osoo-walbeennuu-nuu-wal-wallaalchisanii-shukrii-jamaal-and-magartuu-warqinaa-oromo-music-by-raayyaa-studio-via-lagatafo-studio/

Si malee eenyu na aanaa: New Oromo music Masho Abduraman & Temam Tekalinyi 2016 June 7, 2016

Posted by OromianEconomist in Uncategorized.
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1 comment so far

Odaa OromooMasho Abduraman, famous Oromo artist singer

 

Nuti Oromooni: New Oromo Music By Guddinaa Mulunaa, Yai Gulalle Film May 2, 2016

Posted by OromianEconomist in Oromo Music.
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Odaa Oromoo

Oromo Films: Amensisa Ifa wins ‘Best Director’ at the first Tom Film Awards March 7, 2016

Posted by OromianEconomist in African Beat, African Music, Oromo Art, Oromo Artists, Oromo film andDrama, Oromo films.
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Odaa Oromoo
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.

Amensisa Ifa wins ‘Best Director’ at the first Tom Film Awards

 

I’m excited to win Best Director at the first Tom Film Awards! Thank you everyone for your continued support!  Amensisa Ifa


 

Anaaf Amansiisaan Qeerransa!

Aadaafi Aartiin Oromoo yeroo ammaa maalirra jira, garamittis arreedaa jira? Guddina amma irra ga’eef artistoota keenya gameeyyii kan akka Alii Birraafi Admaasuu (Abbaa Lataa) fa’aa yoo kaasne, dhaloota keenya har’ammoo eenyuunfaa haa jennu?. Isinumti ofiif itti guuttadhaa…! Guddina Aartii keenyaa dudduubas daarekteerotaafi gulaaltota(editors) fiilmii immoo milkaa’ina aartii keenya kanaaf gumaacha olaanaa taasisaa jiranis qabna.

Keessumaa yeroo guddinni aartii Oromoo boqonnaa harawaa eegale kanatti dargaggoota Oromoo dhaloota qubee ogummaa ykn kennaa adda addaa qabanitti cichanii qeerransa ta’an hedduu Waaqni nuuf kenneera.
Kennaafi ogummaa Waaqni kenneefitti cichee aartii sabasaa guddisuuf onnatee, homaa utuu hin ko’oommatiin bu’aa ba’ii ba’ee, sirba Haacaaluu “Maalan jiraan” tokko jedhe.

Sirbi kun ga’umsa ogummaasaan ummanni Oromoo baddaa hanga gammoojjiitti beekamtii itti kenneef isa duraa haa ta’u malee, fiilmiiwwan dokumenterii hedduufi diraamawwan TV kannen akka DHEEBUU editarummaan ykn gulaaluudhaan hirmaachaa jira. Ogummaan daarekterummaa (qajeelchuu) yaaddawwan barreessitonniifi weellistootni qopheessanii lubbuu itti godhanitti foon horuun/ijaaruun argaa dhageettii daawwattootaa qalbii fuudhudha. Ogummaan kun artistoota Oromoo hedduu qabnu keessatti baay’inaan kan hin mul’anneedha. Gama kanaan Amansiisaa Ifaa dargaggoo onnataa jabana kanaa Waaqni Oromoof kaase.
Dhabbanni leenjii Vidiyoogiraafiifi Footoogiraafii Toomii sanbata darbe badhasa ‘Tom Film Awards’ jedhamu yeroo jalqabatiif sadarkaa biyyaatti qopheessee ture. Sirna kanarratti fiilmiwwaan 12 ol ta’an akka biyyaatti filatamanii gosoota dorgommii 7 morkatameera.Badhaasa kanas bu’aa dhaloota qubee kan ta’e dargaggeessi qaroo Oromoo Amansiisaa Ifaa mo’achuu danda’eera. Dorgommii kanarratti Amansiisaan Daayirekteera Cimaa bara 2015 ta’uudhaan filatameera. Kana keessaa eegaa daayirekteera cimaa bara 2015 jedhuun ilmi Oromiyaan miixuu cimaan deesse, gadadoo fi rakkina cimaan dadhabdee asiin geesifatte Amansiisaan 1ffaa ta’uudhaan badhaasa qophaa’eef olaantummaan fudhachuu kan danda’e.

Filmiin Amansiisaan garee isaa waliin fudhatee dorgommiif dhiyaate waa’ee faalama qillensaa irratti kan xiyyeefate yoo ta’u, turtii daqiiqaa 5 fi sekoondii 45 qaba ture. Akkuma beekamu hojiin filmii gareedhaan kan hojjetamu yoo ta’ullee, daayrekteerummaan ija fiilmii tokkootti murteen isaa fiilmii sana bareechuus balleessuus danda’a. Amansiisaan immoo dhimma akkanaa irratti iji isaa qarameera. Kanarra ka’uudhanis badhasaaf ga’e.

Sirni badhaasaa kun Bitootessa 5, 2016 magaalaa Finfinnee galma tiyaatira Biyyoolessaatti kan raawwatame yoo ta’u, keessummoonni ogummaa filmii adda addaa qaban biyyitti keessaa jiran filmiwwan dhiyaatan irratti guyyoota dheeraaf gamaagama erga geggeesanii boodee guyyaa dhumaas ammoo vidiyoo gabaabaa filmiwwanii erga dawwatanii kana irrattis yaadni kennamee booda ture Amansiisaan ummata sana hundumaa amansiisee mo’achuu kan danda’ee uummata Oromoof ammoo ilma ittin boonan ta’e.
Amansiisaan mallattoo qulqullina aartii Oromooti, sababiinsaa hojiiwwan hanga ammaatti hojjetee ummataan ga’e keessatti xiyyeeffannoo guddaa kennudhaan qulqulliinaa fi injifannoodhaan xumureera. Amansiisaan sirba Hacaaluu “Maalan Jiraa?” jedhu irratti yaadaa fi qalbiii uummataa Oromoo seenee; itti aansuun sirba weellisaa angafaa fi beekamaa Zarihun Wadaajoo “Hin Oolu” jedhu irratti ammoo dhama aartii isaa lammaffaa nu dhandhamachiise. Itti aansuudhaan hojii weellisaa Kamaal Ibraahim fi Shukurii Jamaal “Dubbii Lafaa…” jedhuun ammoo ogummaa isaa deebisee mirkaneesse.

Kana malees dookumantarii gababaa waa’ee Irreechaa irratti xiyyeefate ‘Irreechaa: Color & Treasure of Oromo’ jedhuun tokkummaa uummata Oromoo fi miidhagina Oromoo agarsiisuu danda’eera. Amansiisaan hojiiwwan isaa kanneen fakkeenyummaa guddaafi artiistoota, daayirekteeroota fi weellistoota birootiif barnoota kan kennedha.

Katabbii koo kanaan hojiiwwan Amansiisaan aartii Oromoo keessatti gumacheefi gumaachaa jiru isiniif himuuf utuu hin taane, injifannoon kun kan uummata Oromoo ta’uusaa isin hubachiisuufi. Oromoo marti dargaggoo kanaan boonuu qaba. Dargaggoonni dhaloonni qubee ammoo qeerransa keenya kanaa faana dha’uun kallattii irratti bobba’ee hojjechaa jirurratti cichee qeerransa ta’uu qaba.

Hojiiwwan isaa armaan gadii Youtube Chanaalii isaa irraa dawwadhaa dawwadhaa!
Linkiin Kunooti
Malaan Jiraa
Hin Oolu

Dubbii Lafaa
Irreecha: Color & Treasure of Oromo

Anaaf Amansiisaan Qeerransa!
Horaa Bulaa Deebanaa
Gadaan Gadaa Bilisummaatti
Gammadaa Olaanaa

 

 

 

Oromo: Wallee Tokkummaa Guyyaa WBO February 14, 2016

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Odaa OromooSolidarity message to Oromo People and #OromoProtests

Wallee Tokkummaa Guyyaa WBO Nairobi 2016

Lammii too Oromoo sin abdadhee boonaa! Motuma Mahdi Sheekaa New Oromo Music February 2, 2016

Posted by OromianEconomist in Africa, Oromo Artists, Oromo Culture, Oromo Music.
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Odaa Oromoo

Dirree armaa gadii tuqaatii wallistuu Motuma Mahdi Mohamediif   ‘VOTE’ godhaaf. Oromummaan haa calaqqisu adunyaa irratti.
http://www.misseastafrica.nl/finalisten/

Oromia: Seenaa Solomoon: “Akkamiin Diina Gombisu?” New #OromoProtests Music January 23, 2016

Posted by OromianEconomist in African Beat, African Music, Oromo Music, Seena Solomon, Uncategorized.
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Odaa OromooSeena Solomon, famous Oromo music artist

Egaa sichi nyaannaa yoom nyaanne foon maddii

Galma ga’uf jiraa kan yaanne iddoo qabdii

 

 

 

Oromia: Sartuu Usmayyoo Muussaa – Abbaa Koo **NEW** 2015 (Oromo Music) by NUUN Studio November 28, 2015

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Saartuu, the daughter of the late Oromo artist Usmayyoo Muussaa in her debut music song ‘Abbaa koo’.

 

Saartuu, the daughter of  the late Oromo artist  Usmayyoo Musaa in her debut music song Abbaa kooSaartuu, the daughter of  the late Oromo artist  Usmayyoo Musaa in her debut music song Abbaa khoo

 

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”.

 

Usmayyoo Muussaa: Dukkana bara dheeraa:-

Oromia: Gaaffii fi Deebii Wallistuu Oromoo Muluu Baqqalaa Walin. Interview with Artist Muluu Baqqalaa November 23, 2015

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Oromo artist muluu Baqqalaa

 

 

 

Oromia: OBS: Harka Fuune, Wallistuu Oromoo Bishiriyaa Boorishaa November 15, 2015

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???????????

 

http://https://vimeo.com/145730921

 

Oromia: Artist Saliha Sami Releases Raya Music “Sanggawwee Raayyaa/Gumaayyee” in Afan Oromo [the National Language of Raya & Azebo]; Short documentary on Oromoo Raayyaa. November 7, 2015

Posted by OromianEconomist in Oromo Music, Oromo Nation.
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???????????Oromo artist saliha samiGirl from the Raya Wollo tribe at Hayk market. Ethiopia. johangerrits

Raayyaan Raayyuuma, OromooOromo RaayyaaOromo from Raayya at Irreecha Malakaa 2015, Hora Harsadi, Bishoftu October 4, 2015

https://oromianeconomist.wordpress.com/2015/01/08/oromia-featuring-raya-wollo-raya-oromo-people-oromo-africa/

http://https://vimeo.com/144997339

http://https://www.facebook.com/saliha.sami/videos/825843900870505/

http://gadaa.net/FinfinneTribune/2015/09/oromo-artist-saliha-sami-releases-raya-music-sanggawweegumaayyee-in-afan-oromo-the-national-language-of-raya-azebo/

https://oromianeconomist.wordpress.com/2015/01/08/oromia-featuring-raya-wollo-raya-oromo-people-oromo-africa/

http://https://soundcloud.com/gadaa-oromo-radio/brief-national-history-of-raya-azebo-in-ethiopia

Related:

OBS TV: Qophii HarKa Fuune Wellistu Saalihaa Saamii

http://https://vimeo.com/142882680

Artist Saaliyaa Saamii Oromoo Raayaa Keessatti Waan Ajaa’ibaa Arge, Jeetti

http://www.voaafaanoromoo.com/content/article/3015549.html

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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OROMIA: OROMO MUSIC ASAANTII HAJII ´´WAYYAANE´´ October 23, 2015

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???????????Oromo artsist Asaantii Hajii Tufaa





Oromia: OBS: Qophii Harka fuunee: Gaafiif Deebii Wallisaa Habtaamuu Gazzahany (PhD) October 17, 2015

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???????????

 

 

 

Iyyaasee: Firaol Debere, ‘Iyyaasee’ New Oromo/ Oromia Music October 16, 2015

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Oromia Broadcasting Service/OBS TV: Harka Fuune, Wellistuu Kadijjaa Hajjii October 13, 2015

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???????????Oromo artist Kadijjaa Hajii, aadaa bareedaa qabnaa hin jiruu kan keenya kan gituuOromo artist Kadijjaa Hajii, aadaa bareedaa qabnaa hin jiruu kan keenya kan gituu1Oromo artist Kadijjaa Hajii, aadaa bareedaa qabnaa hin jiruu kan keenya kan gituu2

Oromo artist Kadijjaa Hajii

Oromia: Ayyaanoo Bariisoo (Jiillicha): “Odaa Roobaa” [New Oromo Music – Oct. 2015] October 6, 2015

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???????????Ayyaanoo Bariisoo (Jiillicha), Odaa Roobaa [New Oromo Music – Oct. 2015]

 

Oromia: Eliyaas kifluu (Dani) “Bara Olaanoon Gadaa” New Oromo Music Video 20151 October 2, 2015

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???????????Oromia, Bara Olaanoon Gadaa6Oromia, Bara Olaanoon GadaaOromia, Bara Olaanoon Gadaa3Oromia, Bara Olaanoon Gadaa8Oromia, Bara Olaanoon Gadaa7Oromia, Bara Olaanoon Gadaa1Oromia, Bara Olaanoon Gadaa4Oromia, Bara Olaanoon Gadaa5Oromia, Bara Olaanoon Gadaa2

Oromia: “Ayyaana Waggaa” [Oromo Music; August 19 Marks the Beginning of Irreechaa Birraa 2015] August 20, 2015

Posted by OromianEconomist in Irreecha, Oromo Culture, Oromo Music.
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Tafarii Salaalee: “Ayyaana Waggaa” [Oromo Music; August 19 Marks the Beginning of Irreechaa Birraa 2015]

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Afaan Oromoo Afaan Saba Guddaa July 21, 2015

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

Oromia: Untwist the Twisted History December 28, 2014

Posted by OromianEconomist in Africa, Development, Gadaa System, Humanity and Social Civilization, Ideas, Language and Development, Oromia, Oromo, Oromo Identity, Oromo Nation, Oromo Social System, Qubee Afaan Oromo, Sirna Gadaa, The Oromo Governance System, The Oromo Library, Theory of Development, Wisdom.
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Sof Omer Bale

Sof  Umar Wall, Bale Oromia (Ancient and magnificent past and present)

 

Oromo women necklaces1

Oromo women necklaces2

Parts of ancient kemetic (Kushitic), Egyptian, material culture (fashion accessories), courtesy of British Museum sources

Traditionally, Oromo women wear necklaces with telsum amulets, triangular and crescent shaped pendants protect from the evil eye and attract the power of the moon or to improve fertility.

PhotoPhoto

Farming in past and present Oromo (Oromia, modern kemet)Farming in ancient kemetic (Ancient Egypt)

Oromia: The continuity of farming in Oromo society from ancient Kemetic (Kushitic) to present Oromia

Ancient Oromo culture, Irreechaa from the time before the  Pyramid

 

As some indeed suspect, that the science which we see at the dawn of recorded history, was not science at its dawn, but represents the remnants of the science of some great and as yet untraced civilisation. Where, however, is the seat of that civilisation to be located? (J. W. S. Sewell, 1942)

Conquest and dominations are social phenomenon as are dying elsewhere will die in Oromia (Author’s Remark).

 

JEL: O5, D2

Oromia: Untwist the Twisted History

The topic is about Oromia’s location   in space and allocation in humanity and society.  It is concerned with Oromia’s physical position in terms of geography and relational to issues of economic conditions, social justices, cultural values, political history and destiny. Civilisation, Colonisation and Underdevelopment are presented in historical and geo-political perspectives.  They capture both the space and time perceptions. They are also representing the economic and social conditions and positions. The portrayal we procure the present of the Oromo nation, the core of the Cush (Cushite/ Kemet)/Ham (Hamite), the children of Noah, in North & East Africa in past age from the phantom of the Solomonic dynasty, the history thought in Abyssinian high schools, their text books and elsewhere in the invaders’ literature, abusive literary and oral discourses is that they   were savages and that, though Abyssinians and Europeans overrun their lands and have made mere subjects of them, they have been in a way, bestowing  a great  favour on them, since they have  brought  to them the benisons of Christian Enlightenment. With objective analysis, however, this paper obliterates and unmakes that inaccurate illustration, wanton falsifications, immorality, intellectual swindle, sham, mischievous tales, the bent and the parable of human reductionism. Hence, it is the step to delineate an authentic portrait of a human heritage, which is infinitely rich, beautiful, colourful, and varied in the retrograde of orthodox misconceptions.  The paper is not only a disinclination itself but also a call for and a provocation of the new generation of historians to critically scrutinise and reinvestigate the orthodox approaches to the Oromo history and then to expose a large number of abusive scholarship authorities on the Oromo and Cushitic studies and it detects that they do not really know the intensity and profoundness of the history of these black African people and nations and the performance these Africans registered in the process of creating, making and shaping  the prime civilisations of  human societies. The study acknowledges and advances a strict contest to an orthodox scholarship’s rendition of Egypt as a white civilisation, which arose during the nineteenth century to fortify and intensify European imperialism and racism. Depending on massive evidences from concerned intellectual works from linguistic to archaeology, from history to philosophy, the study authenticates that   Egypt was a Cushitic civilisation and that Cushite civilisation was the authentic offspring of the splendid Upper Nile/ Oromian legacy. The Greek civilisation, which has been long unveiled as the birthplace of Western philosophy and thought, owes its roots to the Cushites thoughts and achievements.  The original works of Asfaw Beyene (1992) and F. Demie (in Oromia Quarterly, 1998 & 2000) are giving motivations and also greatly acknowledged. The study also expresses that radical thinkers and multi-genius African historians such as Diop (1991) have not given due attention to the epic centre of Cushitic civilisation, Oromia, the land after and Eastern and South Eastern to Nubia, pre-Aksum central Cush, Aksumite Cush and Cushites civilisation southern to Aksum, etc. The method of enquiry is qualitative and the eclectics of formal and the informal sources, rigorous, casual and careful scholarship argument. Oral history and written documents on history, economy, sociology, archaeology, geography, cosmology and anthropology are based on as references. The paper studies the Oromo history and civilisation in horizontal approach and challenges the reductionist and Ethiopianist (colonialist, racist) vertical approach (topsy-turvy, cookkoo). It goes beyond the Oromo Oral sources (burqaa mit-katabbii) and Africanist recorded studies and western civilisational studies. The approach is to magnify, illuminate and clarify the originality of humanity and civilisation to this magnificent Cushitic (African) beauty. The Origin of Humanity When and where did human life first surface on our cosmos? Who contrived the original and prime human culture and civilisation? Ancient Egyptians contended that it was in their homeland, the oldest in the world, the God modelled the first of all human beings out of a handful of ooze soddened by the vivacity of the life giving sanctified and blessed water, the Nile  (see, Jackson, 1995). “The ancient Egyptians called the river Ar or Aur (Coptic: Iaro), “Black,” in allusion to the colour of the sediments carried by the river when it is in flood. Nile mud is black enough to have given the land itself its oldest name, Kem or Kemi, which also means “black” and signifies darkness. In The Odyssey, the epic poem written by the Greek poet Homer (7th century bce), Aigyptos is the name of the Nile (masculine) as well as the country of Egypt (feminine) through which it flows. The Nile in Egypt and Sudan is now called Al-Nīl, Al-Baḥr, and Baḥr Al-Nīl or Nahr Al-Nīl.”http://www.britannica.com/EBchecked/topic/415347/Nile-River Ar or Aur (Coptic: Iaro)  is Booruu in modern Afaan Oromo which means turbid in English translations. Lagdi Nayili jedhamee amma waamamu maqaan kun kan akkanatti moggaasameefi, bowwaa jechuudha. Warri kushii, warri biyyaa, waarri durii laga isaanii Aur (Ooruu) jedhanii waamu. Afaan Oromoo amma uni dubbannuutti booruu jechuudha. Booruu (turbid) jechuuni gurri’aacha (Kami) jechuu miti. Booruu (Ooruu, Aur) jechuun kan taliila hin taane kan hin calaliini jechuudha. Dameen laga kanaa kan Moromor (dhidheessa) irraa maddu galaana biroo itti burqan dabalatee biyyoo loolan haramaniin waan booraweef. kaartumitti yoo damee isa (isa taliila) garba Viktooriyaati karaa Ugaanda dhufutti makamu kanasi booressee misiriitti godaana. Dameen Garba Viktooriyaati dhufu iyyuu adii (white) jedhamee mogga’uuni irra hin turre. Bishaani adiini hin jiru. Bishaani hin boora’iini bishaan taliila. Bishaani taliilatu bishaan guri’aacha. Inni ‘Blue’ jedhanisi ‘Blue’ mitti. Bishaan taliilatu, gurri’aacha ‘Blue’ dha. ‘Blue Nile’ jechuu irra ‘Brown’ Nile (Mormor Booruu, Ar, Aur) yoo jedhani ille itti dhiyaata.

The word (Africa) Afrika itself  derived from kemetic (Oromo) language. In Oromo, one of the ancient black people (kemet), Afur means four. Ka (Qa, Waqa) means god. Afrika Means the four children of god. It describes the four sub groups of kemet people. Such type of naming system is very common in Oromo even today  such as Afran Qallo, Shanan Gibee, Salgan Boorana, Macca Shan, Jimma Afur, Sadan Soddoo, etc. For other theories in this topic please refer to   http://atlantablackstar.com/2014/09/23/9-theories-africa-got-name/

One of the oldest Cushites histories to account for the origin and early development of man and his culture survives in a Greek version of the thesis advanced by the ancient Cushites, Oromians and the rest. This marvellous people paraded in golden times in the region called Kush (Punt) in the Hebrew Scriptures and stamped on the present-day upper Nile Oromia (see, Jackson, 1995). Diodorus Siculus, wrote that the Cushites were of the opinion that their country was not only the birthplace of human race and the cradle land of the world’s earliest civilisation, but, indeed, the primal Eden where living things first appeared on Earth, as reported by the Scriptures. Thus, Diodorus was the first European to focus attention on the Cushites asseveration that Upper Nile (Oromia) is the cradle land of world’s earliest civilisation, the original Eden of the human race. Whether by almighty (God) or nature/ evolution (Darwin’s natural selection and survival of the fittest), Oromia was not only the birth place of man himself (e.g., Lucy) but also for many hundred years thereafter is in the vanguard of all world progress (see Diop, 1991 in his African Civilisation; Martin Bernal, 1987). These are also authenticated by the present archaeological inferences in Oromo tropical fields and rivers valleys. The original natives of Egypt, both in old and in the latter ages of development, were Cushite and there is every raison d’être for the discourse that the earliest settlers came from upper Nile Oromia. The original homeland of the Oromians and other Cushites including Chadic, Berber, Egyptian, Beja, Central Cushitic, East Cushitic, South Cushitic, Omotic and Nilotic was the present day upper Nile Oromia. It was from the original Oromo (Madda Walaabu) that the rest of humanity descended diffused to other parts of the world.  This can be understood in the analogue of the diffusion of two Oromo families (Borana and Barentuma). While those who expanded to other regions latter taken new family names like Macha, Tulama, Karayyu, etc and those who stayed in original place kept the original name such as Borana. In terms of linguistic, like most scholars, we believe that it is impossible to judge between the theories of monogenesis and polygenesis for human, though the inclination is towards the former.  On the other hand, recent work by a small but increasing number of scholars has convinced us that there is a genetic relationship between European, Asian, and African and Cushite languages. A language family originates from a single dialect, proto Cushitic/ Oromo. From such language and culture that must have broken up into Africa, Asiatic, and European and within them a very long time a go. Professor Bernal (1987, in Black Athena, p. 11) confirmed that the unchallenged originality of Oromians and other Cushites nativity to the region and put forward that the latest possibility for initial language break up would be the Mousterian period, 50- 30,000 years Before the Present (BP), however, it may well have much earlier. He further observed that the expansion and proliferation of Cushitic and other Afroasiatic as the promulgation of a culture long pioneered in the East African Rift valley (South Eastern Oromian) at the end of the last Ice Age in the 10th and 9th millennia BC. According to Bernal (1987, p.11) the polar ice caps caged the water within itself, which was during the Ice ages, thus water was significantly less than it is nowadays. He reports that the Sahara and Arabian deserts were even bigger and more inhospitable then than they are presently. In the centuries that ensued, with the rise of heat and increase in the rainfall, greatly the regions became savannah, into which adjoining peoples voyaged. The most successful of these were, the speakers of Proto-Afroasiatic from upper Nile Oromia.  Bernal further confirmed that these people not only possessed flourishing and effective   skills and techniques of hippopotamus hunting with harpoons but also had domesticated cattle and food crops. The following is quoted from Black Athena: ‘Going through the savannah, the Chadic speakers renched lake Chad, the Berbers, the Maghreb, and the Proto-Egyptians, upper Egypt…. With long-term desiccation of the Sahara during the 7th and 6th millennia BC, there were movements into the Egyptian Nile Valley from the west and east as well as from the Sudan. … A similar migration took place from the Arabian savannah into lower Mesopotamia ‘(Bernal, pp.11-12).

The Origin of Civilisation

There are many things in the manners and   customs and religions of the historic Egyptians that suggest that the original home of their human ancestors was in the Upper Nile region and the biblical land of Punt/ Kush (Cush) Or Oromia which include the present day of Cushitic North and East of Africa. Hence, historical records showed that the antiquity of   upper Nile Cushitic Oromian civilisation had a direct link with the civilisation of ancient Egypt, Babylonian and Greece. Hence, the Egyptian and Babylonian civilisations are part and parcel of the entire Cushite civilisation. As it is described above, there is wide understanding that Cushites = Egyptians + Babylon + Oromo+ Agau + Somalis + Afars + Sidama + Neolithic Cush + other Cush. There is also an understanding that all the Cushites are branched out (descended) from their original father Oromo which can be described as Oromo = Noah=Ham= Cush= Egyptian + Bablyon+ Agau + Somali + Afar + Sidama + Neolithic Cush + other Cush. Boran and Barentuma, the two senior children and brothers were not the only children of the Oromo. Sidama, Somali, Agau, Afar and the others were children of the big family. Wolayita and the Nilotics were among the extended family and generations of the Cushite. As a hydro-tower of Africa, the present Oromia is naturally gifted and the source of Great African rivers and hosts the bank and valleys of the greatest and oldest civilisations such as Nile (Abbaya), Baro (Sobat), Gibe, Wabe, Dhidhesa, Ganale, Wabi-shebele, Omo, and Awash among others. Oromian tropical land, equatorial forest and Savannah have been the most hospitable ecology on the earth and conducive environment to life and all forms of human economic and social practices. According to Clarke (1995), many of the leading antiquarians of the time, based largely on the strength of what the classical authors, particularly Diodorus Siculus and Stephanus of Nabatea (Byzantium after Roman colonisation and Christianisation), had to say on the matter, were exponents of the vista that the Cushite, the ancient race in Africa, the Near East and the Middle East, or at any rate, the black people of remote antiquity were the earliest of all civilised peoples and that the first civilised inhabitants of ancient Egypt were members of what is referred to as  the black,  Cushite race who had  entered the land as they expanded in  their geographical space from the their birthplace in upper Nile Oromia, the surrounding Cushite river valleys and tropical fields. It was among these ancient people of Africa and Asia that classical technology advanced, old world science and cosmology originated, international trade and commerce was first developed, which was the by-product of   international contacts, exchange of ideas and cultural practices that laid the foundations of the prime civilisations of the ancient world. Cushite  Africa and also of the Middle East and West Asia was the key and most responsible to ancient civilisations and African history. It must also be known that there were no such geographical names, demarcations and continental classification at that time.  As a whole, Cushite occupied this region; there was the kernel and the centre of the globe, the planet earth, and the universe. African history is out of stratum until ancient Cushites looked up on as a distinct African/ Asian nations.  The Nile river, it tributes, Awash, Baro and Shebele or Juba, etc., played a major role in the relationship of Cushite to the nations in North, South and East Africa. The outer land Savannah, Nile, other Oromian rivers with it Adenian ecology were great cultural highways on which elements of civilisation came into and out of inner North East Africa. After expansions, there was also an offshoot, a graft, differentiation, branching out, internal separation, semi-independence and again interactions, interdependence and co-existence of the common folks.  Cushites from the original home made their relationships with the people of their descendants in the South, the North, East and the West, which was as both good, and bad, depending on the period and the regime in power they formed and put in place in the autonomous regions. Cushite Egypt first became an organised autonomous nation in about 6000 B.C. In the Third Dynasty (5345-5307 B.C.) when Egypt had an earnest pharaoh named Zoser and Zoser, in turn, had for his chief counsellor and minister, an effulgent grand named Imhotep (whose name means ‘he who cometh in peace”). Imhotep constructed the famous step pyramid of Sakkarah near Memphis. The building techniques used in the facilitation of this pyramid revolutionised the architecture of the ancient world (Clarke, 1995). Of course, Independent Egypt was not the original home of these ancient technology. However, it was an extension, expansion, advancement and the technological cycle of the Upper Nile Oromia, Nubia, Beja, Agau and other Cushites.  Ideas, systems, technologies and products were invented, tested and proved in upper Nile then expanded and adopted elsewhere in the entire Cush regions and beyond. . Bernal (1987, pp. 14-15) has identified strict cultural and linguistic similarities among all the people around   the Mediterranean. He further attests that it was south of the Mediterranean and west to the Red Sea’s classical civilisation that give way to the respective north and east. Cushite African agriculture of the upper Nile expanded in the 9th and 8th century millennia BC and pioneering the 8th and 7th of the Indo-Hittite. Egyptian civilisation is Cushite and is clearly based on the rich pre-dynastic cultures of Upper Egypt, Nubia and upper Nile, whose Cushite African and Oromian origin is uncontested and obvious. Of course, Cushite Egypt gave the world some of the greatest personalities in the history of mankind. In this regard, Imhotep was extraordinary discernible. In ancient history of Egypt, no individual left a downright and deeper indentation than Imhotep. He was possibly the world’s first mult-genuis.  He was the real originator of new medicine at the time.  He revolutionised an architect of the stone building, after which the Pyramids were modelled. He became a deity and later a universal God of Medicine, whose images charmed the Temple of Imhotep, humanity’s earliest hospital. To it came sufferers from the entire world for prayer, peace, and restorative. Imhotep lived and established his eminence as a curative at the court of King Zoser of the Third Dynasty about 5345-5307 B.C. (Duncan, 1932). When the Cushite civilisation through Egypt afar crossed the Mediterranean to become the foundation of what we think of as Greek culture, the teachings of Imhotep were absorbed along with the axioms of other great Cushite African teachers.  When Greek civilisation became consequential in the Mediterranean area, the Greeks coveted the world to ponder they were the originators of everything in its totality. They terminated to acknowledge   their liability to Imhotep and other great Cushites. Imhotep was forgotten for thousands of years, and Hippocrates, a mythical posture of two thousand years latter, became known as the father of medicine. Regarding to Imhotep’s influence in Rome, Gerald Massey, noted poet, archaeologist, and philologist, says that the early Christians cherished him as one with Christ (Massey, 1907). It should be understood that, while the achievements of Cushite Egypt were one of the best, these are not the only achievements that Cushite Africans can claim. The Nubians, upper Nile, central and eastern Cushites (the Oromo, Agau, Somalia, Afar, etc) were continue to develop many aspects of civilisation independent of Cushite Egyptian interactions.  These nations and states gave as much to Egypt as Egypt give to them in terms of trade, ideas and technology as well. There was also a considerable Cushite dominion on what later became Europe in the period preceding Christian era. Cushites played a major role in formative development of both Christianity and Islam. Both the Holly Bible and the Holly Quran moral texts are originated from the Oromo and other Cushite oral and moral principles, beliefs, creeds and teachings. There is a common believe and understanding that Abraham, a seminal prophet, believer and recipient of a single and eternal God was from Central Cush of present Upper Nile Oromia.  The Oromos believed in a single and eternal God, Black God (Waaqa Guri’acha) also Blue God according to some scholars who translated the oral history.  Waaqa also Ka. While the Oromian faith, social structure and policies were the prime and the origins of all, Judaism, Christianity, and Islam were all the derivatives and originated from the Black God. Waaqayyoo in Oromo is the original, the single, the omnipotent, the prime and the greatest of all the great religions. All aspects of the present day Christian churches were developed in Cushites. One of the more notable of Cushite contributions to the early church was monasticism. Monasticism, in essence, is organised life in common, especially for religious purposes. The home of a monastic society is called a monastery or a convent.  Christian monasticism probably began with the hermits of Cushite Egypt and Palestine about the time when Christianity was established as a licit religion (Clarke, 1995). Oral tradition and Arabian records confirm that Bilal, a tall, gaunt, black, bushy-haired, Oromo, was the first High Priest and treasurer of the Mohammedan empire.  After Mohamet himself, the great religion, which today numbers upwards of half a billion souls, may be said to have began with Bilal.  He was honoured to be the Prophet’s first neophyte. Bilal was one of the many Cushites who concurred in the founding of Islam and later made proud names for themselves in the Islamic nations and expansions. Europe was sluggishing in her Dark Ages at a time when Cushite Africa and Asia were relishing a Golden Age.  In this non-European world of Africa and Asian, Cushites built and enjoyed an age of advancement in technology before a period of internal withdrawal and isolation that favoured the Europeans to move a head of them. For more than a thousand years the Cushites were in the ‘Age of Grandeur’ but the second rise of Europe, internal strife, slave trade and colonialism brought the age of catastrophic tragedy, abase and declivity. The early Cushites made spears to hunt with, stone knives to cut with, the bola, with which to catch birds and animals, the blow-gun, the hammer, the stone axe, canoes and paddles, bags and buckets, poles for carrying things, bows and arrows. The bola, stone knives, paddles, spears, harpoons, bows and arrows, bow-guns, the hammer and the axe- all of them invented first by Cushites – were the start of man’s use of power. The present’s cannon, long-range missiles, ship propellers, automatic hammers, gas engines, and even meat cleavers and upholstery tack hammers have the roots of their development in the early Cushite use of (Clarke, 1995). Cushite offered humans the earliest machine. It was the fire stick. With it, man could have fire any time.  With it, a campfire could be set up almost any place.  With it, the early Africans could roast food. Every time we light a match, every time we take a bath in water heated by gas, every time we cook a meal in a gas-heated oven, our use of fire simply continues a process started by early Cushites: the control of fire. Of course, those early Cushite was the first to invent how to make a thatched hut. They had to be the first because for hundreds of thousand of years they were the only people on earth. They discovered coarse basket making and weaving and how to make a watertight pot of clay hardened in a fire. In the cold weather, they found that the skins of   beasts they had killed would keep them warm. They even skin covers for their feet. It was from their first effort much later clothing and shoes developed.  Humanity owes the early Cushites much and even much more (Clarke, 1995). The Cushites dociled animals.  They used digging sticks to obtain plant roots that could be consumed. They discovered grain as a food, how to store it and prepare it.  They learnt about the fermentation of certain foods and liquids left in containers. Thus, all mankind owes to Cushites including the dog that gives companionship and protection, the cereals we eat at break-fast-time, the fermented liquids that many people drink, the woven articles of clothing we wear and the blankets that keep us warm at night, the pottery in which we bake or boil food, and even the very process  (now so simple) of boiling water- a process we use every time we boil an egg, or make spaghetti, or cook corned beef. Canoes made it possible for man to travel further and farther from his early home. Over many centuries, canoes went down Baro, the Nile and the Congo and up many smaller rivers and streams. It was in this pattern that the early   Cushite civilisation was advanced. From the blowgun of antiquated Cushite, there come next, in later ages, many gadget based on its standard. Some of these are: the bellows, bamboo air pumps, the rifle, the pistol, the revolver, the automatic, the machine gun- and even those industrial guns that puff grains.  Modern Scientists certain that by about 3000 B.C., the Cushite farmers in the Nile Valley were growing wheat and barely, cultivating millet, sorghum, and yams.  Around 1500 B.C.  new crops farming were developed: – banana, sugar cane, and coconut trees and later coffee.   The cultivation of bananas and coffees in particular spread rapidly which are suited to tropical forest conditions. Cushites had also domesticated pigs, donkeys, horses, chickens, ducks, and geese, etc.  (Greenblatt, 1992). The agricultural revolution brought about a gradual increase in population. Then another development helped expand population still more. The technique of smelting iron innovated by Cushites. Iron working start and then advanced in the Nile valley and then started to spread to other parts of Africa and from who, by way of Egypt and Asian Minor, this art made its way into Europe and the rest of Old World. Iron greatly improved the efficiency of tools and weapons. Iron tools and weapons are much stronger and last longer than those made of stone or wood. Iron axes made it easier to chop tropical trees and clear land for farming. Iron sickles made harvest easier. Iron hoes and other farm tools helped farmers cultivate land more easily. Iron-tipped spears meant more meat. The new technologies boosted the Cushite economy; they increased food production that enabled more people to survive. In addition, iron objects became valuable items in Cushite trade and commercial activities. With his simple bellows and a charcoal fire the Cushite blacksmith reduced the ore that is found in many parts of the region and forged implements of great usefulness and beauty. In general, the Iron technology was instrumental in auguring the rise and expansion of Cushite civilisation (Greenblatt, 1992). Cushite hunters many times cut up game.  There still exists for evidences, drawings of animal bones, hearts and other organs. Those early drawings as a part of man’s early beginnings in the field of Anatomy. The family, the clan, the tribe, the nation, the kingdom, the state, humanity and charity all developed first in this region of the cradle of mankind. The family relationships, which we have today, were fully developed and understood then.  The clan and the tribe gave group unity and strength. The nation, the common whole was first developed here. It was by this people that early religious life, beliefs, and the belief in one God, the almighty started and expanded. The first formal education of arts, science, astronomy, times and numbers (mathematics) were visual, oral and spoken tradition given in the family, during social and religious ceremonies. Parents, Medicine men, religious leaders, etc were the education heads.  Ceremonial Cushite ritual dances laid the basis for many later forms of the dance. Music existed in early Cushite Among instruments used were: reed pipes, single-stringed instruments, drum, goured rattles, blocks of wood and hollow logs. Many very good Cushite artists brought paintings and sculpture into the common culture.  The early Cushites made a careful study of animal life and plant life.  From knowledge of animals, mankind was able to take a long step forward to cattle rising. From the knowledge of plants and how they propagate, it was possible to take a still longer step forward to agriculture. Today, science has ways of dating events of long a go. The new methods indicate that mankind has lived in Cushite Africa over two million years. In that long, long time, Cushites and people of their descent settled in other parts of Africa and the rest. Direct descents of early Cushites went Asia Minor, Arabia, India, China, Japan and East Indies. Cushites and people of Cushite descents went to Turkey, Palestine, Greece and other countries in Europe. From Gibraltar, they went into Spain, Portugal, France, England, Wales and Ireland (Clarke, 1995). Considering this information, the pre-Colombian presence of Cushite African mariners and merchants in the New World is highly conceivable and somewhat sounds. In this context, the first Africans to be brought to the New World were not in servitude and slavery, which contrary to popular creed. Tormenting references in the Spanish chronicles and other growing body of historical studies advocate that Cushites were the founders, the pioneers and first permanent settlers of   America. Commanding authentication as in Bennett (1993, p. 85) cited by Leo Veiner in his work Africa and the discovery of America suggests that African traders founded Mexico long before Columbus. Hence, the Africans influences were extended from Canada in the North to the Maya, Aztec, and Inca civilisation in the South America. The Cushite civilisation is therefore the basis of Indian civilisation. Unlike the western Sudan and in Egypt, the people and nations of upper Nile had lost written records of their ancient times and medieval history. These were destroyed and burned during war of conquests. The early travellers to these areas are also mostly not yet known. Notable kingdoms, republics and states did rise in this part of Africa and did achieve a high degree of civilisation of their time.  Scholarly undertakings show that Cushite Africans such as Oromos were the first in human history to invent and implement democratic institutions (e.g. Gada system  or Gadaa system), democratic forms of government, elections and unwritten constitution. Democracy was first invented in upper Nile Oromia then to Athens, Greek and to the rest. It was not the other way round. Gada, an accomplishment of Oromian social genius in socio-political organisation is one of the most complex, the world wonder   and by far superior to so far other humanity’s social and political imagination and civilisation. Gada in its vector of values constitutes, political institution, the power structure, governing constitution, the ideology, the religion, the moral authority, the economic and the whole way of life of the public, the collective, the social and the private individual.  Gada is the social civilization of the Oromo in the Nile civilization. Gada is an atonishing and complex social evolution in human social transformation and an Oromo social perfection. In old Egyptian (Cushite, oromo) dialect it means Ka Adaa. Ka means God. Adaa (law). It means the law of  God, the law of  waaqa (God). It also symbolizes the dawn of not only civilization  but also human freedom as civilazation. ‘Gadaa bilisummaa saaqaa.’ Orthodox historians and some archaeologists believe that the civilisation of Egypt is the oldest in the world, while others give that priority to western Asia or India.  It has also been suggested that, since all these cultures possess certain points of similarity, all of them may evolve from an older common civilisation. Men of eminent scholarship have acknowledged this possibility. In this regard, Sir E.A. Wallis Budge  (1934) indicated: “It would be wrong to say that the Egyptians borrowed from the Sumerians or Sumerians from Egyptians, but it may be submitted that the literati of both peoples borrowed their theological systems from common but exceedingly ancient source… This similarity between the two companies of gods is too close to being accidental.” A pioneer American Egyptologist, Breasted (1936) advanced the following views: “In both Babylonian and Egypt the convenient and basic number  (360), of fundamental importance in the division of the circle, and therefore in geography, astronomy and time-measurement, had its origin in the number of days in the year in the earliest known form of the calendar. While its use seems to be older in Egypt than in Babylonian, there is no way to determine with certainty that we owe it exclusively to either of these two countries.  A common origin older than either of is possible.” Sewell (1942) said that the science, which we see at the dawn of recorded history, was not science at its dawn, but represents the remnants of the science of some great and as yet untraced civilisation. Where, however, is the seat of that civilisation to be located?” A number of scholars, both ancient and modern, have come to the conclusion that the world’s first civilisation was created by the people known as Cushite (Oromian) and also known by Greeks as Punt (Burnt Faces). The Greeks argued that these people developed their dark colouration since they were adjacent to the sun than were the fairer natives of Europe. In terms of the sources of well-informed modern authority, Herodotus describes the Cushites as in Lugard (1964) as: “ The tallest, most beautiful and long-lived of the human races,’ and before Herodotus, Homer, in even more flattering language, described them as  ‘ the most just of men; the favourites of gods.’ The annals of all the great early nations of Asia Minor are full of them. The Mosaic records allude to them frequently; but while they are described as the most powerful, the most just, and the most beautiful of the human race, they are constantly spoken of as black, and there seems to be no other conclusion to be drawn, than that remote period of history the leading race of the western world was the black race.” Alexander Bulatovich (2000, p.53) of Russia in his 1896-1898 travels in Oromia described the Oromo, which is akin to Herodotus’s description as fallows: “The [Oromo] physical type is very beautiful. The men are very tall, with statuesque, lean, with oblong face and a somewhat flattened skull. The features of the face are regular and beautiful…. The mouth is moderate. The lips are not thick. They have excellent even teeth; large and in some cases oblong eyes and curly hair. Their arm bones are of moderate length, shorter than the bones of Europeans, but longer than among the Amhara tribes. The feet are moderate and not turned in. The women are shorter than the men and very beautifully built. In general, they are stouter than the men, and not as lean as they. Among them one sometimes encounters very beautiful women. And their beauty does not fade as among the Abyssinians. The skin color of both men and women ranges from dark to light brown. I did not see any completely black [Oromo].” According to Homer and Herodotus, the Cushites were inhabited in the Sudan, Egypt, Arabia, Palestine, present Ethiopia, Western Asia and India. In his essay of historical analysis of ancient East Africa and ancient Middle East, roughly in the years between 500BC and 500AD. Jesse Benjamin (2001), brought to our attention that  the importance of research focus on global formations, multi- and bi-directional and cultural relations, geopolitical  associations, archaeology, linguistics, sociology, cosmology, production, commerce and consumption patterns of these regions.  Benjamin (2001) indicates that historiographers have acknowledged and documented that the adored spices, cinnamon (qarafaa in modern Afaan  Oromo)  and cassia of the Mediterranean sphere produced and come from ‘Cinnamon land.’ The latter is also known in different names as  ‘ The other Barbaria,’ ‘Trogodytica,’ Cush, Kush,  Upper Nile. or ‘Punt’ but persistently representing the whole environs identified nowadays as the ‘Horn of African’ or that part of Oromia. These show the presence of production, consumption and commercial interactions in the regions. In line with Miller (1969),  Wilding (1988), Benjamin (2001) included the Oromian pastoralism, pottery, cosmology and culture in the antiquity and old world civilisation. The identification of the Cushite Oromian civilisation with the present Abyssinia Amhara-Tigre under the name of Ethiopia made by the post civilisation Abyssinian priests translators of the Abyssinian version of the Bible in the 5th and 6th century or some other time, has been a cheating and misrepresentation of true human history.  Those Abyssinians who were stealing the history were relatively recent migrant (conquerors) of the region. They occupied the present day Northern Ethiopia (central Cushitic of Agau and Oromo) long after the first human civilisation already originated and advanced in the area and spread to the rest of the world including to Arabia and Mediterranean Europe. The native residents of the region are the Cushite African people (Oromo, Agau, Somali, Sidama, Afar, Beja, Saho, etc). Ethiopian Jews (Falashas) are also Cushite Oromo and Agau who accepted Jews religion. Abyssinian tribes have fabricated their own myth and false history to claim legitimacy to the region and then established a regime truth through continuos fable story, phantom, indoctrination and falsification of the real Cushite history.  Semitic immigrants did not found Aksum but the Abyssinians resettled among the Cushites cities and commercial centres in which Aksum was one and latter dominated the ruling power in this very centre of the civilisation of the central Cush. Ge’ez was invented as a language of the centre and latter used as the official language of the church and the colonising Abyssinian ruling class. Ge’ez was initially developed from the mixture of Cushitic and Greek elements that was facilitated by the Cushite trade links to the Greek world. There was also Greek resettlement in Aksum and the surrounding central Cush commercial towns with primary contacts with endogenous Cushite. The earlier rulers of Aksum and Christian converts including Ezana were Cushites.  Though Ezana was the first convert from the above (the ruling class) to Christianity, he did not give up his belief in one God (Waqa) (Cushite/ black God). He was also not the first Cushite to be a Christian. In their linkages with a wider world, it is also highly likely and very logical and possible that there were Christians among the civilian Cushite trading communities who had already disseminated their new faith, as so many Oromo merchants were to do latter in the expansion of Islam. The splendid Stella, towers of solid masonry, with non-functional doors and windows at Aksum was not the earliest materialisation but it was the continuity in the manifestation of major indigenous Cushite tradition of monumental architecture in stone, which also later found expression in the rock-hewn churches of the Cushite Agau kings (see also Isichei, 1997 for some of the opinions). Abyssinians were the rulers. They were not the engineers and the builders of the stone monuments. It was the original product and brainchild of Cushite technologist. Of course, their advancement was thwarted with the unfortunate coming of the Abyssinians. Almost all of the original studies of the origin of Cushite civilisation could not penetrate far deep into regions south east to Nubia (Mereo) and could not dig out the other side of the twin, the close link and vast primary sources in present day Oromia. Though the British Museum has collected vast sources on Nubian, it has not kept on or linked any to the sister and more or less identical to the civilisation of the Oromo. For me, as native Oromo with knowledge of oral history and culture, as I observed the Nubian collection in British Museum, what they say Nubian collection is almost identical to Oromia, but in a less variety and quantity.  I can say that Nubian and other Cushite civilisations were extensions (grafts) of the vast products of Oromo. I may also be enthused to the inference that the people whose manners and customs have been so thoroughly capitulated by Herodotus, Diodorus, Strabo Pliny and other were not Abyssinians and other Black people at all, but the natives of Upper Nile, Oromos, Agau, Somalis, Afar and the rest of Cushitic people of the present Horn of Africa. Sir Henry Rawlinson in his essay on the early History of Babylonian describes Oromos as the purest modern specimens of the Kushite. Thus, Oromo is Kush and Kush is Oromo. Seignobos (1910), in his scholarly works on the history of Ancient Civilisation reasoned that the first civilised natives of the Nile and Tigiris-Euphrates Valleys were a dark skinned people with short hair and prominent lips, they were called Cushites by some scholars and Hamites by others.  So Cushite (Hamite) is generally recognised as the original home of human civilisation and culture both beyond and across the Red Sea. They are the original source of both the African and Asiatic (Cushitic Arabian) civilisation. Higgins in 1965 scholarly undertaking discusses: “I shall, in the course of this work, produce a number of   extraordinary facts, which will be quite sufficient to prove, that a black race, in a very   early times, had more influence   of the affairs of the world than has been lately suspected; and I think I shall show, by some very striking circumstances yet existing, that the effects of this influence have not entirely passed away.” Baldwin in his 1869 study of Arab history expressed in his own words the following: “At the present time Arabia is inhabited by two distinct races, namely descendants of the old Adite, Kushite, …known under various appellations, and dwelling chiefly at the south, the east, and in the central parts of the country, but formerly supreme throughout the whole peninsula, and the Semitic Arabians- Mahomete’s race- found chiefly in the Hejaz and at the north. In some districts of the country these races are more or less mixed, and since the rise of Mahometanism the language of Semites, known as to us Arabic, has almost wholly suppressed the old  … Kushite tongue; but the two races are very unlike in many respects, and the distinction has always been recognised by writers on Arabian ethnology. To the Kushite race belongs the purest Arabian blood, and also that great and very ancient civilisation whose ruins abound in almost every district of the country.” Poole (in Haddon, 1934) says, “Assyrians themselves are shown to have been of a very pure type of Semites, but in the Babylonians there is a sign of Kushite blood.  … There is one portrait of an Elmite king on a vase found at Susa; he is painted black and thus belongs to the Kushite race.” The myths, legends, and traditions of the Sumerians point to the African Cushite as the original home of these people (see. Perry, 1923, pp. 60-61).  They were also the makers of the first great civilisation in the Indus valley. Hincks, Oppert, unearthed the first Sumerian remains and Rawlinson called these people Kushites. Rawlinson in his essay on the early history of Babylonian presents that without pretending to trace up these early Babylonians to their original ethnic sources, there are certainly strong reasons for supposing them to have passed from Cushite Africa to the valley of the Euphrates shortly before the opening of the historic period:  He is based on the following strong points: The system of writing, which they brought up with them, has the closest semblance with that of Egypt; in many cases in deed the two alphabets are absolutely identical. In the Biblical genealogies, while Kush and Mizrain  (Egypt) are brothers, from Kush Nimrod (Babylonian) sprang. With respect to the language of ancient Babylonians, the vocabulary is absolutely Kushite, belonging to that stock of tongues, which in postscript were everywhere more or less, mixed up with Semitic languages, but of which we have with doubtless the purest existing specimens in the Mahra of Southern Arabia and the Oromo.

kemetic alphabet (Qubee)

qubee durii fi ammaa

The Greek alphabet, the script of English today, is based on the Kemetic alphabet of Ancient Egypt/Kemet and the Upper Nile Valley of Ancient Africa. Ancient Egyptians called their words MDW NTR, or ‘Metu Neter,” which means divine speech. The Greeks called it, ‘hieroglyphics”- a Greek word. The etymology of hieroglyphics is sacred (hieros) carvings (glyph). The Oromos (the Kemet of modern age) called it Qubee.

http://www.youtube.com/watch?v=zMUazEr3BSU&NR=1

Without OROMO, NO Amhara Culture & NO Amharic! – My Beta Israel & Zagwe Roots pt1 Ras Iadonis

http://www.youtube.com/watch?v=9gLJnxgXs0Q&feature=share

http://gadaa.com/oduu/11117/2011/09/28/gubaa-%e2%80%93-the-oromo-thanksgiving-bonfire/#.ToQw3A0t84E.facebook

http://gadaa.com/oduu/797/2009/09/30/ethiopia-the-story-of-oromos-irreechaa-happy-thanksgiving/

http://www.creative8studios.com/oromia/

http://bilisummaa.com/index.php?mod=article&cat=Waaqeeyfataa&article=446

http://www.africa.kyoto-u.ac.jp/kiroku/asm_normal/abstracts/pdf/25-3/25-3-1.pdf

http://www.americanchronicle.com/articles/view/166451

http://www.gadaa.com/culture.html

http://www.gadaa.com/Irreechaa.html http://waaqeffannaa.org/?page_id=167

http://gadaa.com/oduu/10920/2011/09/10/irreechaa-a-thanksgiving-day-in-oromia-cushitic-ethiopia-and-africa/

http://en.wikipedia.org/wiki/West_Central_Oromo_language http://www.gadaa.com/language.html

http://www.voicefinfinne.org/English/Column/Galma_EOC.htm

http://en.wikipedia.org/wiki/Hamitic#Rwanda_and_Burundii

http://www.stumbleupon.com/su/1TM1ye/listverse.com/2008/08/29/15-fascinating-facts-about-ancient-egypt/

https://encrypted.google.com/search?q=old+egyptian+language&hl=en&sa=X&rls=com.microsoft:en-gb:IE-Address&rlz=1I7TSEA_en-GBGB333&tbm=isch&tbs=simg:CAESEgliBpRYQ9V-mSHFuQO6grmBWQ&iact=hc&vpx=662&vpy=231&dur=16406&hovh=128&hovw=216&tx=43&ty=214&ei=tnRJTsLpLIqXhQeyi7HCBg&page=9&tbnh=128&tbnw=186&ved=1t:722,r:10,s:166&biw=1280&bih=599

http://oromocentre.org/oromian-story/special-report-on-the-long-history-of-north-east-africa/

African Philosophy in Ethiopia. Ethiopian Philosophical Studies II with A Memorial of Claude Sumner http://www.crvp.org/book/Series02/master-ethiopia.pdf

http://thetemplesofluxorandkarnak.wordpress.com/category/africa/

https://www.facebook.com/notes/abdi-muleta/the-story-of-irreechaa/257191284319586

CHALTU AS HELEN: AN EVERYDAY STORY OF OROMOS TRAUMATIC IDENTITY CHANGE

http://oromoland.wordpress.com/2013/10/20/chaltu-as-helen-an-everyday-story-of-oromos-traumatic-identity-change/

http://www.opride.com/oromsis/news/horn-of-africa/3718-chaltu-as-helen-an-everyday-story-of-oromos-traumatic-identity-change

“Chaltu as Helen”, which is based on a novelized story of Chaltu Midhaksa, a young Oromo girl from Ada’aa Barga district, also in central Oromia.

Born to a farming family in Koftu, a small village south of Addis Ababa near Akaki, Chaltu led an exuberant childhood. Raised by her grandmother’s sister Gode, a traditional storyteller who lived over 100 years, the impressionable Chaltu mastered the history and tradition of Tulama Oromos at a very young age.

Chaltu’s captivating and fairytale like story, as retold by Tesfaye, begins when she was awarded a horse named Gurraacha as a prize for winning a Tulama history contest. Though she maybe the first and only female contestant, Chaltu won the competition by resoundingly answering eleven of the twelve questions she was asked.

Guraacha, her pride and constant companion, became Chaltu’s best friend and she took a good care of him. Gurraacha was a strong horse; his jumps were high, and Chaltu understood his pace and style.

A masterful rider and an envy to even her male contemporaries, Chaltu soon distinguished herself as bold, confident, outspoken, assertive, and courageous. For this, she quickly became a household name among the Oromo from Wajitu to Walmara, Sera to Dawara, Bacho to Cuqala, and Dire to Gimbichu, according to Tesfaye.

Chaltu traces her lineage to the Galan, one of the six clans of Tulama Oromo tribe. At the height of her fame, admirers – young and old – addressed her out of respect as “Caaltuu Warra Galaan!” – Chaltu of the Galan, and “Caaltuu Haadha Gurraacha!” – Chaltu the mother of Gurraacha.

Chaltu’s disarming beauty, elegance, charisma, and intelligence coupled with her witty personality added to her popularity. Chaltu’s tattoos from her chin to her chest, easily noticeable from her light skin, made her look like of a “Red Indian descent” (Tesfaye’s words).

As per Tesfaye’s account, there wasn’t a parent among the well-to-do Oromos of the area who did not wish Chaltu betrothed to their son. At 14, Chaltu escaped a bride-kidnapping attempt by outracing her abductors.

Chaltu’s grandfather Banti Daamo, a well-known warrior and respected elder, had a big family. Growing up in Koftu, Chaltu enjoyed being surrounded by a large network of extended family, although she was the only child for her parents.

Recognizing Chaltu’s potential, her relatives suggested that she goes to school, which was not available in the area at the time. However, fearing that she would be abducted, Chaltu’s father arranged her marriage to a man of Ada’aa family from Dire when she turned 15.

Locals likened Chaltu’s mannerism to her grandfather Banti Daamo, earning her yet another nickname as “Caaltuu warra Bantii Daamo” – Chaltu of Banti Daamo. She embraced the namesake because many saw her as an heir to Banti Daamo’s legacy, a role usually preserved for the oldest male in the family. Well-wishers blessed her: prosper like your grandparents. She embraced and proudly boasted about continuing her grandfather’s heritage calling herself Chaltu Banti Daamo.

Others began to call her Akkoo [sic] Xinnoo, drawing a comparison between Chaltu and a legendary Karrayu Oromo woman leader after whom Ankobar was named.

Chaltu’s eccentric life took on a different trajectory soon after her marriage. She could not be a good wife as the local tradition and custom demanded; she could not get along with an alcoholic husband who came home drunk and abused her.

When Chaltu threatened to dissolve the marriage, as per Oromo culture, elders intervened and advised her to tolerate and reconcile with her husband. Rebellious and nonconformist by nature, Chaltu, who’s known for challenging old biases and practices, protested “an alcoholic cannot be a husband for Banti Daamo’s daughter!”

Soon she left her husband and moved to Addis Ababa, Ethiopia’s capital, to attend formal education and start a new chapter in life.

Trouble ensues.

In Addis Ababa, her aunt Mulumebet’s family welcomed Chaltu. Like Chaltu, Mulumebet grew up in Koftu but later moved to Addis Ababa, and changed her given name from Gadise in order to ‘fit’ into the city life.

Subsequently, Mulumebet sat down with Chaltu to provide guidance and advice on urban [Amhara] ways.

“Learning the Amharic language is mandatory for your future life,” Mulumebet told Chaltu. “If you want to go to school, first you have to speak the language; in order to learn Amharic, you must stop speaking Afaan Oromo immediately; besides, your name Chaltu Midhaksa doesn’t match your beauty and elegance.”

“I wish they did not mess you up with these tattoos,” Mulumebet continued, “but there is nothing I could do about that…however, we have to give you a new name.”

Just like that, on her second day in Addis, Caaltuu warra Galaan became Helen Getachew.

Chaltu understood little of the dramatic twists in her life. She wished the conversation with her aunt were a dream. First, her name Chaltu means the better one, her tattoos beauty marks.

She quietly wondered, “what is wrong with my name and my tattoos? How can I be better off with a new name that I don’t even know what it means?”

Of course she had no answers for these perennial questions. Most of all, her new last name Getachew discomforted her. But she was given no option.

The indomitable Chaltu had a lot to learn.

A new name, new language, new family, and a whole new way of life, the way of civilized Amhara people. Chaltu mastered Amharic in a matter of weeks. Learning math was no problem either, because Chaltu grew up solving math problems through oral Oromo folktale and children’s games like Takkeen Takkitumaa.

Chaltu’s quick mastery amazed Dr. Getachew, Mulumebet’s husband. This also made her aunt proud and she decided to enroll Chaltu in an evening school. The school matched Chaltu, who’s never set foot in school, for fourth grade. In a year, she skipped a grade and was placed in sixth grade. That year Chaltu passed the national exit exam, given to all sixth graders in the country, with distinction.

But her achievements in school were clouded by a life filled with disappointments, questions, and loss of identity. Much of her troubles came from Mulumebet packaged as life advice.

“Helen darling, all our neighbors love and admire you a lot,” Mulumebet told Chaltu one Sunday morning as they made their way into the local Orthodox Church. “There is not a single person on this block who is not mesmerized by your beauty…you have a bright future ahead of you as long as you work on your Amharic and get rid of your Oromo accent…once you do that, we will find you a rich and educated husband.”

Chaltu knew Mulumebet had her best interest at heart. And as a result never questioned her counsel. But her unsolicited advises centered mostly on erasing Chaltu’s fond childhood memories and making her lose touch with Oromummaa – and essentially become an Amhara.

Chaltu spent most of her free time babysitting Mulumebet’s children, aged 6 and 8. She took care of them and the kids loved her. One day, while the parents were away, lost in her own thoughts, Chaltu repeatedly sang her favorite Atetee – Oromo women’s song of fertility – in front of the kids.

That night, to Chaltu’s wild surprise, the boys performed the song for their parents at the dinner table. Stunned by the revelation, Mulumebet went ballistic and shouted, “Are you teaching my children witchcraft?”

Mulumebet continued, “Don’t you ever dare do such a thing in this house again. I told you to forget everything you do not need. Helen, let me tell you for the last time, everything you knew from Koftu is now erased…forget it all! No Irreechaa, no Waaree, no Okolee, no Ibsaa, No Atetee, and no Wadaajaa.”

Amused by his wife’s dramatic reaction, Getachew inquired, “what does the song mean, Helen?” Chaltu told him she could not explain it in Amharic. He added, “If it is indeed about witchcraft, we do not need a devil in this house…Helen, praise Jesus and his mother, Mary, from now on.”

“Wait,” Getachew continued, “did you ever go to church when you were in Koftu? What do they teach you there?”

Chaltu acknowledged that she’s been to a church but never understood the sermons, conducted in Amharic, a language foreign to her until now. “Getachew couldn’t believe his ears,” writes Tesfaye. But Getachew maintained his cool and assured Chaltu that her mistake would be forgiven.

Chaltu knew Atetee was not a witchcraft but a women’s spiritual song of fertility and safety. All Oromo women had their own Atetee.

Now in her third year since moving to Addis, Chaltu spoke fluent Amharic. But at school, in the market, and around the neighborhood, children bullied her daily. It was as if they were all given the same course on how to disgrace, intimidate, and humiliate her.

“You would have been beautiful if your name was not Chaltu,” strangers and classmates, even those who knew her only as Helen, would tell her. Others would say to Chaltu, as if in compliment, “if you were not Geja (an Amharic for uncivilized), you would actually win a beauty pageant…they messed you up with these tattoos, damn Gallas!”

Her adopted name and mastery of Amharic did not save Chaltu from discrimination, blatant racism, hate speech, and ethnic slurs. As if the loss of self was not enough, seventh grade was painfully challenging for Chaltu. One day when the students returned from recess to their assigned classes, to her classmate’s collective amusement, there was a drawing of a girl with long tattooed neck on the blackboard with a caption: Helen Nikise Gala – Helen, the tattooed Gala. Gala is a disparaging term akin to a Nigger used in reference to Oromos. As Chaltu sobbed quietly, their English teacher Tsige walked in and the students’ laughter came to a sudden halt. Tsige asked the classroom monitor to identity the insulting graffiti’s artist. No one answered. He turned to Chaltu and asked, “Helen, tell me who drew this picture?”

She replied, “I don’t know teacher, but Samson always called me Nikise Gala.”

Tsige was furious. Samson initially denied but eventually admitted fearing corporal punishment. Tsige gave Samson a lesson of a lifetime: “Helen speaks two language: her native Afaan Oromo and your language Amharic, and of course she is learning the third one. She is one of the top three students in the class. You speak one language and you ranked 41 out of 53 students. I have to speak to your parents tomorrow.”

Athletic and well-mannered, Chaltu was one of the best students in the entire school. But she could not fathom why people gossiped about her and hurled insults at her.

Banned from speaking Afaan Oromo, Chaltu could not fully express feelings like sorrow, regrets, fear and happiness in Amharic. To the extent that Mulumebet wished Chaltu would stop thinking in Oromo, in one instance, she asked Chaltu to go into her bedroom to lament the death of a relative by singing honorific praise as per Oromo custom. Chaltu’s break came one afternoon when the sport teacher began speaking to her in Afaan Oromo, for the first time in three years. She sobbed from a deep sense of loss as she uttered the words: “I am from Koftu, the daughter of Banti Daamo.” Saying those words alone, which were once a source of her pride, filled Chaltu with joy, even if for that moment.

Chaltu anxiously looked forward to her summer vacation and a much-needed visit to Koftu. But before she left, Mulumebet warned Chaltu not to speak Afaan Oromo during her stay in Koftu. Mulumebet told Chaltu, “Tell them that you forgot how to speak Afaan Oromo. If they talk to you in Oromo, respond only in Amharic. Also, tell them that you are no longer Chaltu. Your name is Helen.”

Getachew disagreed with his wife. But Chaltu knew she has to oblige. On her way to Koftu, Chaltu thought about her once golden life; the time she won Gurracha in what was only a boys’ competition, and how the entire village of Koftu sang her praises.

Her short stay in Koftu was dismal. Gurraacha was sold for 700 birr and she did not get to see him again. Chaltu’s parents were dismayed that her name was changed and that she no longer spoke their language.

A disgruntled and traumatized Chaltu returns to Addis Ababa and enrolls in 9th grade. She then marries a government official and move away from her aunt’s protective shield. The marriage ends shortly thereafter when Chaltu’s husband got caught up in a political crosshair following Derg’s downfall in 1991. Chaltu was in financial crisis. She refused an advice from acquintances to work as a prostitute.

At 24, the once vibrant Chaltu looked frail and exhausted. The regime change brought some welcome news. Chaltu was fascinated and surprised to watch TV programs in Afaan Oromo or hear concepts like “Oromo people’s liberation, the right to speak one’s own language, and that Amharas were feudalists.”

Chaltu did not fully grasp the systematic violence for which was very much a victim. She detested how she lost her values and ways. She despised Helen and what it was meant to represent. But it was also too late to get back to being Chaltu. She felt empty. She was neither Helen nor Chaltu.

She eventually left Addis for Koftu and asked her parents for forgiveness. She lived a few months hiding in her parent’s home. She avoided going to the market and public squares.

In a rare sign of recovery from her trauma, Chaltu briefly dated a college student who was in Koftu for a winter vacation. When he left, Chaltu lapsed back into her self-imposed loneliness and state of depression. She barely ate and refused interacting with or talking to anyone except her mother.

One afternoon, the once celebrated Chaltu warra Galaan took a nap after a coffee break and never woke up. She was 25.

The bottom line: Fictionalized or not, Chaltu’s is a truly Oromo story. Chaltu is a single character in Tesfaye’s book but lest we forget, in imperial Ethiopia, generations of Chaltu’s had to change their names and identity in order to fit in and be “genuine Ethiopians.” Until recently, one has to wear an Amhara mask in order to be beautiful, or gain access to educational and employment opportunities.

Likewise, in the Ethiopia of today’s “freedom of expression advocates” – who allegedly sought to censor Tesfaye – it appears that a story, even a work of fiction, is fit to print only when it conforms to the much-romanticized Ethiopianist storyline.

So much has changed since Chaltu’s tragic death a little over a decade ago, yet, clearly, much remains the same in Ethiopia. Honor and glory to Oromo martyrs, whose selfless sacrifices had allowed for me to transcribe this story, the Oromo today – a whole generation of Caaltuus – are ready to own, reclaim, and tell their stories.

Try, as they might, the ever-vibrant Qubee generation will never be silenced, again.

Origins of the Afrocomb: Exhibition: Fitzwilliam Museum, Cambridge, UK; 2nd July - 3rd November

Origins of the Afro Comb: 6,000 years of culture, politics and identity

http://www.gatewayforafrica.org/event/origins-afro-comb-6000-years-culture-politics-and-identity?__utma=1.1154313457.1380212922.1382522461.1382771276.8&__utmb=1.217.9.1382772351901&__utmc=1&__utmx=-&__utmz=1.1382771276.8.5.utmcsr=royalafricansociety.us2.list-manage.com|utmccn=(referral)|utmcmd=referral|utmcct=/subscribe/confirm&__utmv=-&__utmk=134257777&utm_content=buffer9ca97&utm_source=buffer&utm_medium=facebook&utm_campaign=Buffer

Even today, a significant number of mainstream Egyptologists, anthropologists, historians and Hollywood moviemakers continue to deny African people’s role in humankind’s first and greatest civilization in ancient Egypt. This whitewashing of history negatively impacts Black people and our image in the world. There remains a vital need to correct the misinformation of our achievements in antiquity.

Senegalese scholar Dr. Cheikh Anta Diop (1923-1986) dedicated his life to scientifically challenging Eurocentric and Arab-centric views of precolonial African culture, specifically those that suggested the ancient civilization of Egypt did not have its origins in Black Africa.

Since some people continue to ignore the overwhelming evidence that indicates ancient Egypt was built, ruled, and populated by dark-skinned African people, Atlanta Blackstar will highlight 10 of the ways Diop proved the ancient Egyptians were Black.

Physical Anthropology Evidence
Based on his review of scientific literature, Diop concluded that most of the skeletons and skulls of the ancient Egyptians clearly indicate they were Negroid people with features very similar to those of modern Black Nubians and other people of the Upper Nile and East Africa. He called attention to studies that included examinations of  skulls from the predynastic period (6000 B.C.) that showed a greater percentage of Black characteristics than any other type.

From this information, Diop reasoned that a Black race existed in Egypt at that time and did not migrate at a later stage as some previous theories had suggested.

http://atlantablackstar.com/2013/10/25/10-arguments-that-proves-ancient-egyptians-were-black/

”’ኦሮሞና ኦሮሚያ”’

የኦሮሞ ሕዝብ መሠረተ አመጣጥ ከኩሽ ቤተሰብ የሚመደብ ነዉ። በቆዳ ቀለሙና በአካላዊ አቋሙ ከሃሜቲክ እስከ ናይሎቲክ ያጣቀሰ ዝርያ ያለዉ ሕዝብ መሆኑ ታሪክ አረጋግጦታል። በሰሜን ምሥራቅ አፍሪካ ከሚኖሩ ህዝቦች ጋር በብዙ መልኩ ተመሳሳይነት ያለዉ ነዉ። በዚህ ክልል የሚኖሩ ሕዝቦች ታሪክ መመዝገብ ከጀመረበት ጊዜ አንስቶ የኩሽ ቋንቋ ተናጋሪ መሆናቸዉ ተረጋግጧል።

ኦሮሞ የኩሽ ቋንቋ ተናጋሪ ብቻ አይደለም። ይልቁንም ይህ ሕዝብ በአህጉረ- አፍሪካ ቀደሚ ዜጋ ሆነዉ ከኖሩት ሕዝቦች መካከል የመጀመሪያ መሆኑ ይታወቃል። በዚህ የረጅም ዘመናት ታሪኩ ውስጥ ለሥልጣኔዉ የሚሆኑ ባህሎችን እስከማዳበር ደርሷል። ሊንች እና ሮቢንስ የሚባሉ ሁለት የዉጭ ምሁራን ሰሜናዊ ኬኒያ በተገኘዉ ጥንታዊ አምድ ላይ ከትጻፈዉ መረጃ በመነሳት ኦሮሞዎች በ3000 ዓመተ-ዓለም አካባቢ የራሳቸዉ የሆነ የቀን መቁጠሪያ እንደነበራቸዉ አረጋግጠዋል። ይህም ሕዝቡ በዚሁ ክልል ለመኖሩ አንዱ ተጨባጭ ማስረጃ ነው።

ከሊንች እና ሮቢንሰም ሌላ ፕራዉቲ እና ሮሴንፊልድ የተባሉ የታሪክ ሊቃዉንት “Historical Dictionary of Ethiopia” ኢንዲሁም ባትስ : “The Abyssinian Difficulty” በተባሉ ሥራዎቻቸው ; <<ኦሮሞ ጥንታዊ ዝርያና አንጋፋ; ምናልባትም ለበርካታዎቹ የምስራቅ አፍርካ ሕዝቦች የዘር ግንድ ነው>> በማለት ይገልጻሉ።

የኦሮሞ ሕዝብ የምስራቅ አፍርካ (የአፍርካ ቀንድ) ቀዳሚ ቤተኛ ስለመሆኑ አያሌ ማስረጃዎች ኣሉ። ስለዚሁ ጉዳይ ታሪካዊ ሰናዶች በብዛት ይገኛሉ። አባ ባህሬይ የተባሉ የአማራ ብሄር ተወላጅ የጋላ ታሪክ ብለው በሲዳሞና ከፋ ዉስጥ በመዘዋዋር ስላ ኦሮሞ በፃፉት መጽሃፍ በጥላቻ የተሞሉና ትክክል ያል ሆኑ ታሪኮችን ለማሳተም በቅተዋል። ክራፍ በ 1842 ፥ ፍት በ1913 በክልሉ በመዘዋወር ኦሮሞ በምስራቅ አፍርካ ከሁሉም የላቀ ስፍት ያለዉ ሀገር ባለቤት መሆኑን አረጋግጠዋል ።

ከ1850 በፊት ዲ. አባደ ቤክ፥ እስንባርገር ኢንዲሁም ክራፍ የተባሉ አዉሮፓዊያን ዘጎች የኦሮሞን ሕዝብ ፖለቲካዊ ፥ ባህላዊና ማህበራዊ አኗኗር ሥራዓት በማጥናት ለዉጭዉ ዓለም አስተዋዉቀወል። ከዚያም ወዲህ በተለይ ከ 18ኛው መቶ ክፍለ ዘመንና በኋላም ኦሮሚያ በአፄ ምንልክ ተወርራ የኢኮኖሚና የፖለቲካ ሥራዓቷን ከመነጠቋ በፊት ሲቺ የተባለ ኢጣሊያዊ እንዲሁም በሬሊ ; እና ሶሌይሌት የተባሉ የፈረንሳይ ዜጎች በኦሮሚያ ህዝብ ፖለቲኮ-ባህላዊ; ኢኮኖሚያዊና ማህበራዊ ታሪኮች ላይ ያተኮሩ ሥራዎችን አዘጋጅተዉ ለአንባቢያን አቅርበዋል።

ታሪካዊ ጥናቶች አንደሚያረጋግጡት ኦሮሞና ኢትዮጵያ ከ16ኛዉ እስከ 19ኛው መቶ ክፍለ ዘመን አንዱም ሌላዉን አሸንፎ በ ቁጥጥሩ ሥር ሳያደርግ ጎን ለጎን ሆነው ሲዋጉ መቆየታቸው ሆሎኮምብ እና ሲሳይ ኢብሳ በ 1900፥ ፕሮ. መሐመድ ሐሰን በ 1990፥ ፕሮ. አሰፋ ጃላታ በ 1990፥ መሐመድ አሊ በ 1989፥ ሌቪን በ 1965 ፥ ገዳ መልባ በ 1978… ሥራዎቻቸዉ ዉስጥ በስፋት አቅርበዋል። እንዲሁም ጄስማን የተባሉ ጸሐፊ ከ50 ዓመታት በፊት ባሳተሙት መጽሓፍ ከአፄ ምንልክ የደቡብ ወረራ በፊት የነበረችዉ ኢትዮጵያ በሰሜን ከፍታዎች አካባቢ መሆኑን ከመግለጻቸዉም በላይ ማአከሏም በሰሜን ትግራይ ፥ በጌምድር ፥ ላስታና ወሎ ፥ በመሃል ጉራጌ ፥ በ ደቡብ ሸዋ ነው ያሉት ከላይ የተጠቀሱ ምሁራን ያ ቀረቡኣቸዉን ቁም ነገሮች በተጨባጭ መልክኣ ምድራዊ ገጽታ የሚያረጋግጥ ሆኗል።

ጥንታዊቷ አበሲኒያ ቀደም ብሎ በተጠቀሱት ክልሎች ላይ ብቻ የተወሰንች ለመሆኗ አፄ ቴዎድሮስ ኢየሩሳሌም ሳሙኤል ጎባ ለተባሉ የእንግሊዝ ጳጳስ በጻፉት ድብዳቤ ውስጥ ከጠቀሱትም ቁም ነገር መገንዘብ ይቻላል። እችሳቸውም:-

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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.
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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!

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Baaruu Baayisaa Daaqaa: bbayisa@yahoo.com

 

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.
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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

 

Music of Africa:Oromo Recording Artists Abbush Zallaqaa and Haacaaluu Hundessaa at Voice of America (VOA), African Beat February 16, 2014

Posted by OromianEconomist in Abbush Zallaqaa, Africa, African Beat, African Music, Development, Finfinnee, Haacaaluu Hundeessaa, Humanity and Social Civilization, Language and Development, Oromiyaa, Oromo, Oromo Artists, Oromo Culture, Oromo First, Oromo Music, Oromo Social System, Oromummaa, Self determination, State of Oromia, The Oromo Democratic system, The Oromo Governance System, Uncategorized.
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