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Jan-Mar 2013,, 2(1): 86-94
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Original Research
R

A History
story of Oromo Cultural Troupes (1962-1991)
1991)
Tesfaye Tolessa Bessa

Department of History and Heritage Management, College of Social Sciences, Post Box No. 395,
Wollega University, Nekemte, Ethiopia

Abstract Article Information

Article History:
The purpose of this paper is to analyze the struggle of Oromo cultural troupes in creating Received : 16-07-2012
consciousness among the Oromo to reconsider their lost rights. The study draws up on Revised : 20-03-2013
primary and secondary sources, which had been collected in the summer of 2008. Accepted : 22-03-2013
Primary sources are securitized from archives and interviews. Informants were selected Keywords:
only on the basis that they had been direct participants of the events. Printed material as Cultural troupe
both primary and secondary sources are utilized with critical
critica scrutiny. Many of these Afran Qallo
sources are indicators of the situation the Oromo had been forced to bear in those days. Ayubi Abubakar
Oromo song
From the analysis of these sources, the paper is able to reveal how the Oromo troupes
brought hidden grievance of the Oromo to the light und under unbearable situations. It also *Corresponding Author:
Author
shows how these troupes brought unstructured way of cultural resistance and rural Tesfaye Tolessa Bessa
social banditries into the modern form of organized struggle by attracting many minds of E-mail:
mail:
bureaucrats, military officers, students, professional
professio groups and the business classes. [email protected]

INTRODUCTION
The beginning of song in a society is as old as attract many listeners, speakers and authors to
the beginning of the language itself. Song is one use the language for different purposes (Tuohy,
part of language expression by which people 1991).
reflect what they feel.. Song and in gradual
development theatre are the expression of Since the Amhara a conquest of Oromo in the
sorrow, inconvenience, grievance, e, objection, second half of 19th century, the Oromo were
anger, conflicts, achievements, victories, denied free cultural space and political voice. For
observation, pleasure, and affection (Echeruo, the emperors’ policy of one language, one
1975). They are the reflection of the life situation religion and one nation, the new settlers designed
of the society the period they were composed. systematic and organized cultural destruction
destr and
They have existed in any culture specially repression of the Oromo. The Oromo were
influencingg political movements and ritual forbidden and given no opportunities for
activities. Since overt opposition to injustice and developing their own institutions, and system that
support for free thought had been n unusual, song they used to hand over from generation to
and theatre had been used as the main outlet of generation. Land confiscation, property
revealing the facts (Tuohy, 1991). The song of extraction, cultural undermining ng and political
Oromo language is typified with ith such reflection. marginalization were some of the conditions the
Among the he Oromo, singing is not used for Oromo were forced to bear. This life situation had
ordinary communication. It needs special been reflected by different Oromo cultural songs
occasions in which the singer wants to express on the basis of individual until the Afran Qallo
his or her internal feelings. The singing took over cultural troupe was organized in 1962 in Dirree
D
or covert expression, most of the time covert Dhawaa to rally their opposition songs against
(Asafa, 1993). The contribution of music, dance, the then oppressive government policy (Asafa
drama and theatre to the development of political Jalata, 1993; Mohammed Hassen, 1999) 1999).
consciousness is unquestionable. They also
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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
The movement of Oromo Cultural Troupes Afran Qalloo musical and cultural band, which
under the Imperial Regime was established in Dirree Dhawaa in the early
In the history of their political struggle, the 1962, was the first Oromo troupe to appear in an
Oromo made courageous attempts to perform organized manner for preserving Oromo culture
music, drama and theatre in their language to and reflecting multifaceted subjugation of the
withstand the assimilation policy of the Ethiopian Oromo (Ibid.). Name Afran Qallo was to refute the
government (Bariisa, 1991). Although there were pejorative name “Qottu” given to them by the
informant reports reflecting religious drama and newly Amhara settlers for the four sons of Qalloo:
singing of psalms on the bases of written themes Alaa, Babbillee, Dagaa and Oborraa (Badir Kabir,
by Protestant Christian Missionaries in Wallagga 1995). Afran Qalloo began the opposition against
(Informants: Admasu Birehanu, Hailu Disasa, the Oromo with the early naming of the cultural
Kebede Firrisa), the written secular music and band itself. The band posed their objection to this
drama for the purpose of cultural movement were name “Qottuu” by the following songs composed
presented on stages by the Afran Qalloo cultural by Abubakir and later on presented by Halloo
and musical bands (Bariisaa, 1991). Dawwee on the Oromo cultural show of 1977 in
Addis Ababa (Alfia, 2007). It reads as follows:

Oromo Gloss
Gariin ilma namaa yaada gabaabbataa Some people are narrow-minded
Qottuu jechuu se’aa arrabatti fudhataa Consider farming as insult
Waa arraba mitii maqaa tarkaanfataa Not insult but advancement
Ummanni wabaree qonnadhaan dhadataa Civilized people take pride in farming
Dafquma isaa nyachuuf hojiidhaan bututaa Strive hard to live on his work
Hojjetee mullisee bilchesse oomishaatee By showing practically and working exhaustively
Dinagdee ol kaasuf qutudhaa hidhatee For development has to farm without reservation
Halkanillee hirafuu hojidhaan bututee Never slept even in the night being exhausted by work
Akkasumaan naminni itti dhaadatee People roared at him without reason
Roorroo keessa darbe yoom irranfatee. He never forgets the tyranny passed through

The song dictates the ignorance of the people (Asafa, 1993). However according to Bariisa on
who called Afran Qalloo Oromo pejoratively the marriage ceremony of the Oromo the Harare
“Qottuu” (Farmer) forgetting the importance of and Somali musical bands were invited with
farming for the sustenance of the life of the compensation. The then privileged band playing
people and for the development of the country. in Amharic was not willing for they had low honor
For the learned and those who have understood for the Oromo. It was on this circumstance that
the world, farming is the bedrock of development certain Hassan Omar Tarree forced to advice the
for those who used to live on their products which Oromo youngsters to establish their own cultural
is achieved not through dependence but through band. The advised youngsters were Ismail
hard work. The song also taught people to Mohammed, Abdulhaji Mohammed, Abubakri
recover their displaced names in the process of Musa, Abdurrahman Yusuf, and others.
the imperial assimilation policy. Consequently, Afran Qalloo Musical and cultural
band was established by eighteen members in
Nonetheless, according to Asafa Jalata, the
1962(Bariisa, 1991). Whatever the argument is
immediate cause for the establishment of the
the immediate causes for the establishment of
cultural band was the refusal of Harare musical
Afran Qalloo Musical and cultural band was in
band on certain marriage of Oromo couple
response to the Oromo subordination to the
responding that their musical instrument could
Harare language. The Afran Qalloo musical and
not produce Oromo language musical tone. The
cultural band responded to the Harare band by its
entire group of the nuptials who requested for the
first song as follows.
Oromo songs was Oromo language speakers.

Oromo Gloss
Ka’aa hirribaa kottaa walbarrannaa Wake up, let us understand each other
Dardara alagaa if cina hingartaanii Why you do not see the alien youth
Ameta sadii dura maaliin wal faarsanii Three years before in what they sang?
Ameta sadii dura walleen Afaan keenyaa Three years before, our language song
saan nijijjirratan nut immoo inteenyaa They changed but we quitted
Durbumaan keenyallee kan karaa yaatulleen Our girls who travel along the road
Wanuma wallisan tan jaraati walleen B Sing the songs of the others (Harari and Amharic)
(Bariisaa,1997)

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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
The song indicates that while the Harare has Jaalalaa( love for Unity) Biiftu Ganamaa
resumed their songs against the assimilation, the (Morning sun) and Mascob (Alfia, 2007).
Oromo were kept quite. The Oromo youth
themselves even began undermining their own All the members of the groups made division
vernacular and began singing in others language. of labor among themselves based on their
It informs the Oromo the decisiveness having abilities. Those who were good singers were
their own cultural bands. Thus, it clearly shows assigned to sing, those who had good
that the main objective of the Afran Qalloo composition ability were assigned to compose
cultural and musical band was to protect and songs, those who could play musical instruments
preserve the Oromo language. It also advise were assigned to it, those who had good
those who undermine their vernacular and knowledge in cultural elements were assigned to
praised those who were proud of it. collect and write on Oromo culture. Since there
was not organized training and no freedom to do
The band also performed dramas that so, the division of labor was based on the natural
mirrored the situation of the period. As in the gifts of the participants. Adaptation to modern
drama both the male and female representatives ways of dancing, singing, playing musical
had to be represented in order to reveal the instruments, writing suitable poems and mixing
situation in which both genders were living, the were acquired through trial and error. In such a
male also acted like female since the period did way, the cultural band became much more
not allow Muslim female actors on the stage. One planned and monolithic than for what it was
of the artists who represented female characters intended at the beginning (Informants: Abdallah
was Abdurrahman Yusuuf. Separately seeing Mumme, Musa Ahmad, Abdi Bu’iand Ibrahim
their Oromo culture from religion, immediately Haji).
they recruited females into the cultural troupe
although the females were still separately Initially, the cultural troupe began singing and
organized from the males (Informants: Hallo dancing with traditional musical instruments.
Dawwee, Abdullah Mumme Ibrahim Haji and Later on the Harar well-to-do Oromo elders
Hamid Mude). sponsored them with harmonica, radio players,
accordion, tambourine, sacs-phone, trephine,
To direct all activities towards the jazz and others. The committee hired a trainer in
development of Oromo culture and language as musical instruments from the Catholic Church in
well as to give protection for the band, the Harar. Ali Tuuchee and Abdullah Mohammed
committees were organized from the elders. The immediately naturalized the procedures and
committees were named based on their duties began training the others by themselves. In the
and work divisions in the cultural band. There composition of the songs, Ayub Abubakir became
were koree tikstuu (caring committee), Koree a renowned Oromo poet like his teacher Bakrii
gargaartu (aiding committee), and koree goristuu Saphaloo. Later on, Abubakir Musa and Abdi
(advising committee). The members of the Bohi followed him (Ibid.).
committees were Yusuf Abdullah (Gurachoo),
Hassen Omar Turee, Ismail Galmoo, Mohammed After they were well established, the Afran
Rabsaa, Idris Abdulle, Mohammed Ibrahim Qalloo Musical and cultural band attempted to get
Wooday (Shantam Shubbisaa), Mohammed Abdi legal recognition from the emperor through the
Omar, and Abdi Mohammed (Bariisaa,1991) arbitration of the elders. Until the official
establishment of the Maccaa-Tuulamaa Self Help
The Afran Qalloo cultural band had different Association in 1963 and the Somali invasion, the
branches based on their age groups. The division Emperor gave permission for the Afran Qalloo
and decisions were given to the committee so singers to transmit one song over the Radio
that recruitments and assignments were made on every Monday at four o’clock in the afternoon if
the basis of the determination and the band could pay 30 Ethiopian Birr per song for
understandings of the recruits. The division the radio station. The permission was obtained
based on the ages of the members was to based on a sample song presented to the
present Oromo arts according to age relevance. emperor by Ali Shabboo one of the member of
This was because in Oromo culture elders did not cultural band. The song praised the glories of the
interfere in youth matters and vise versa. The emperor achieved over the Italian invading
eldest group was named Urjii Bakkalchaa (Big forces. It reads:
star), Hiriyaa Jaalalaa(Teenagers), Tokummaa

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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
Oromo Gloss
Mootii biyya keenyaa yaa Hayilee Sillaasee O! Haile Sillasie our king
Xaaliyaaniin si’agarraan dheeffaa dhokkee kaasee(Ibid.) Terrified by you the Italians had run away and escaped

Although the permitted time was not convenient identity question to be posed by the Oromo in the
for listeners since it was the time when they went military forces of the emperor. Even with
to bed, the Afran Qalloo were able to break the purposive participation, some of the singers like,
established stereotypical attitude that “the Oromo Wasanuu Diidoo and Birraatuu Lamma
language would break a radio”. experienced an unwelcome reception and were
reported to have been repeatedly imprisoned
On the other hand, when the Oromo national simply for singing in afaan Oromo. Moreover, as
consciousness was transformed into armed the political inspection on the Oromo was
insurgency as what happened in Baalee, all the strengthened, doing such activities in groups
songs of Arfan Qalloo failed under a strong gradually declined.
censorship. Order was passed to hunt dawn all the
members and the committees of the band. Some The exiled members of Afran Qalloo began
were imprisoned, and some of them became serving as singers and journalists in radio
insane because of the severe torture they had Mogadishu which began transmission in Oromo
undergone. The others like Ayuub Abubakir, language in 1963. Although the Somali
Abubakir Musa, Yonis Abdullah, Abdullah Arsi, government used the radio for its war
Shantam Shubbisa, and Suleyman Yusuf were propaganda against Ethiopia over the Ogaden, it
exiled to Somalia, the then deadly enemy of also became good advantage for the exiled
Ethiopia. In such a way, the band was forced to Oromo to address their cases to their people. The
cease its movements under the name of Arfan transmission was conducted in the name of
Qalloo cultural and Musical band and was exposing the marginalization policy of the
disintegrated into village based minor groups who emperor against the Oromo and Muslim societies
sustained the already started musical culture of eastern Ethiopia. The Oromo language songs
clandestinely (Alfia, 2007). Yet, the village based and drama transmitted over Mogadishu radio
musical band produced large number of musical served for such purposes although its primary
poems and theatrical essays in Oromo language. aim was to create pan-Oromo movement against
Most of the songs and theatrical essays were the burdens imposed on them by the naftagna
loaded with covert opposition to the imperial administrators( Abduselam, 2008; Informants:
regime (Alfia, 2007). Ibrahim Haji, Musa Ahmad and Ali Dima).

Out of Hararge, there were also individuals Most of the songs broadcasted over the radio
included into the bands of Amharic language to Mogadishu were composed by Ayyub Abubakir
present their songs occasionally. Such singers and Abubakir Musa in Somalia. Informants also
were mainly found in the imperial military reported that Shayk Bakrii Saphaloo was sending
orchestra. Ababa Tesemma, Wasanuu Diido, his revolutionary poems to be broadcasted and
Birratuu Lammaa and Tilahun Gesessė were the songs were transmitted without mentioning
some of them. Informants assert that such the name of the author (Ibid.). One of the sample
singers were allowed just only one Oromo songs sang by Yonis Adullah over the radio
language song at one occasion in order to avoid Mogadishu is transcribed bellow.

Oromo Gloss
Bilisummaan aannanii nama beekutu dhugaa Freedom is milk and who knows drinks it
Kan bilisummaa hi beeknnee bira taa’ee mugaa. Who does not know it catnapped being aside
Bilisummaan bilisummaan gaaridha Freedom, freedom is good
Yaa obolleeyyan ka’aa hirribaa . O! Brothers do not sleep, be awake.
Baasa hinjirree nuutti as baasee They brought up on us which does not exist
Haqa keenyaa addaan facaasee. They disturbed our right
Dachee keessan masinoo keessan Your land, your farm
Kan irra taa’u adawwii kessan Is taken off by your enemy
Maa callistanii teessan? Why do you sit keeping quite?
(Ibid.)

The song expresses the need of freedom for cultural treatment of fairness. In doing so, it was
oneself to live as a human being and agitates the able to withdraw many Harar Oromos and
Harar Oromo to stand against the naftagna who Muslims to the side of Somalia, besides
took their land, properties and destabilized their aggravating the Baalee peasant rebellions. The
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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
message of the song had historical connection This band was also able to play their songs
that it is said to have provoked the Harar and and perform dances over the Ethiopian Television
Baalee Oromo who went beyond control and popularized the Oromo musical band of Aduu
(Informants: Ibrahim Haji, Mohammad Qophe, Birraa. The members of Maccaa-Tuulamaa Self
Mahadi Mude). The fact that the Somali Help Association and Oromo students who heard
government allowed to broadcast Oromo songs them either on musical shows at hotels or on
that expressed their deep feelings in their Television began encouraging them to go to the
language, the Harar and Baalee Oromo provinces where the Oromo population was
admiration for the Somali government dominant. In 1976, they went to Wallagga and
outweighed that of Ethiopian. presented their cultural show almost in all the
major towns of western Wallagga. On that
While the Oromo cultural movement was occasion, one of campaigners of the
within such circumstances, the reign of the development through cooperation, Abtaw
emperor began to be challenged by all corners Kabada, disserted the campaign and joined the
political turmoil. The combination of the band. At Harar Abtaw also produced
establishment of different ethnic based liberation revolutionary songs which revealed Oromo
fronts, peasant rebellions, university students call feelings for the Darg administration. They also
for land reform, establishment of Machaa- encouraged the Oromo youngsters of the region
Tuulama Self Help Association, objection on to establish their own cultural bands to express
educational sector reviews, and the likes their feelings. Based on that Guddattuu
overthrown the Emperor and shifted power to Wallaggaa, Burqaa Boojji, Biqiltuu Mandii and
Darg(Markakis, 1994, Bahru,1992). Lalisaa Najjoo in Wallagga were established
immediately following the cultural shows (Ibid.)
The movement of Oromo Cultural Troupes
under Darg. As soon as Darg came to power, it In the organization of the Wallagga cultural
had understood the importance of communicating bands Tesemma Nagarii played amazing roles
the mass through the media. (Informants: Hamide being within the highest officials of the Darg.
Mude, Kebede Firrisa and Ibrahim Haji). No less According to my informants, he saved the lives of
than the socialist propaganda, by design or many singers from the guns of the Darg. He also
default, the Oromo proverbs, folklores, songs, composed many songs which express the
glories of culture and history were broadcasted condition the Oromo had experienced under
through the Oromo language mass media (Olana, Imperial regime and what they going to test under
1993; Informants: Mahadi Mude, Ibrahim Haji). Darg covertly. Majority singers originally from
When the broadcast educated people about their Wallaggaa were the unreserved works of
culture and language, inadvertently the people Tesemma Negeri (Gada, 1998).
learned the glories of their language, culture, and
history. The Oromo of border areas like Harar, The government also employed some Oromo
Bale and Wallagga, who could get easy access to singers in the National Theatre, Hager Feqer
radio through smuggling, were the most (Love of the Country’s Theatre), Addis Ababa
influenced areas. The regions became the areas Cultural Theatre and in the military divisions. Ali
where armed insurgency operated unlike the Birraa (For some Time), Hailu Disaasaa, Admasu
other parts of Oromo land (Informants: Ali Berhanu, Taddasa Cuqee, Darajė Zamadu,
Mohammed, Hallo Dawe and Adimasu Berhanu). Sahela Dagaagoo were among the employed
artists. However some of the peoples whom I
With the revolutionary regime which presented interviewed claim that they were rarely invited on
itself as people’s government, any forms of people’s gatherings and were only allowed to
written Oromo language literature including sing only one or two Oromo songs at occasion.
drama and songs got some outlets. In 1975 the They claimed that abroad cultural shows were
second generation of the Afran Qalloo cultural rarely permitted for the Oromo singers. Non-
band; Ali Birraa, Ibrahim Haji Ali, Himee Yusuf, Oromo speakers, who did not know both the
Adam Usuman, Mohammed Umar, Abubakar cultures and language of Oromo, were invited to
Addawwe, Ahmad Yonnis and others were present Oromo songs by trial. According to the
reorganized under Biiftuu Birra Band(Autumn informants, such kind of maladministration had
Sun) and began their performances in different two impacts. The first, since the imitators could
night clubs in Addis Ababa. In doing so, they not show the real culture to which he did not
enabled Oromo music to see the light of the day belong, it reduced the entertaining elements of
in the country’s capital. They also made the the culture. Secondly, it also affected the morals
Oromo language the source of income and economic aspects of the singers the cultures
(Informants: Ibid., Mahadi Mude, Ibrahim Haji). belong (Informants: Hailu Disasa, Admasu
Berhanu, Mahadi Mude, and Ibrahim Haji).
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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
The composition of Oromo language songs of committee that facilitates such activities. With
this period proved the abilities of Oromo poets encouragements of the committee and the
and singers. The composers made great efforts supports of other Oromo, six cultural and musical
to include the songs that teach Oromo people groups from Baalee, Arsi, Hararghe, Shawa,
about right, importance of using their vernacular, Ilubbaaboora and Wallagga came together and
importance of their unity and how much the precipitated the Oromo cultural, social and
Oromo language is powerful to convey messages political movements at the hall of Ethiopian
both covertly and overtly. The cultural songs National Theatre for two days in 1977. In the
composed by the Oromo peasants to oppose the cultural show, 150 singers and actors were taken
exploitation of proprietors were also electronically part. The bands of Guddattu Wallagga, Biftuu
recorded with their original rhythm and were Birraa and Biiftuu Biyya Kenyaa (Our Counry’s
presented to the listeners by cassettes (Ibid.). Sun) were actively participated. Thousands of
Oromo from across the country attended the
Thus, the contributions of Oromo songs in show( Bariisaa, 1977; Asafa Jalata, 1993).
developing Oromo political struggle and even
incorporating Oromo oral folklores into written The songs of the cultural show analytically
forms is beyond one’s expectation. They also presented the contemporary and past regimes
assisted the struggle of the Maccaa-Tuulama Self suppression of Oromo culture, language, history,
Help Association in the recovering of Oromo and traditional practices. Some of the songs
identity through Oromo cultural and musical presented on the show by Gaaddisaa Abdulah,
groups in many parts of Oromia. The Maccaa- Shantam Shubbisaa, Zerhun Wadajo and Ilfinash
Tuulama Self Help Association established a Qannoo are read as follows.

Oromo Gloss
Qeerroon mataa tuutaa hinjarjartuu suutaa Bachelor with thick hairs do not be in hurry
Aduun takka dhiitee takka nuubartee The sun darkened and then rose for us
Kan akka keenyaa hinjiruu kan garbummaan miitee No one was enslaved like us
Osoo biyyaa qabnuu biyyaa keenyaa dhabnee While we have a country deprived off it
Osoo Heera qabnuu heera keenya dhabnee While we have constitution forbidden to use it
Osoo aadaa qabnuu aadaa keenyaa dhabnee While we have a culture we are deprived of it
Osoo Afaan qabnuu Afaan keenyaa dhabnee While we have language we are without it
Akkaa baala mukaa faffacaanee hafnee We remained dispersed like shaded leaves

In his song Gadisa acknowledged the Darg of the little outlets. However, the central idea of
regime overtly for its little improvement of plight of the song is about the attempt of replacing the
the Oromo language and culture. Two of the Oromo language with other and the failure of the
lines of the song connoted the Darg as the rising Oromo to unite and lift the imposition burdened
sun, which gives light to darkness within the then on them. As the following song indicates,
political view of the composer of the song. Shantam Shubbisaa also presented cultural show
Nevertheless, he was covertly informing what with a song that has both historical and linguistic
was going on with the suspicion on the continuity significance. The song reads:

Oromo Gloss
Owwalamnee turree jiruun nu sabni ballaan durattii Previously all people were suppressed
Nama yartuu cunqurstuu harkattii In the hands of minority oppressors
Meeqatu bayee bade biyyaa ari’amee Many were forced into exile from the country
Meeqatu karaamalee cubbudhaan qalamee Many were slaughtered illegally
Haqa isaa himachuuf meeqatu fannifamee Many were hanged for expressing their problem
Osoo Afaan qabnuu irraa ugguramnee While we have language we were deprived of it
Afaan biraa baruuf qawween dirqamnee We were forced at a gun point to learn other’s language
Kunoo har’dha ijaarrachuuf Today to reconstruct
Qaawwaa xinnoo argannee We find little outlet
Dhiiraa fi dhalaa if booda akka hinjennee Both males and females do not hesitate
Biyyaa teenyaa tiruu maqaa jijjiranii They changed the name of our beloved country
Afaan nut hinbeennen meeqa moggasanii They named us in the language we do not know
Warri cunqurstoonni yoom nudamdamanii The oppressors

In his song, Shantam comments on the only lived to fulfill the interests of their lords.
maladministration of the nasftagna in which the According to the song the then Oromo had no
mass had no right to raise their grievances, and right of speaking their language and no right to

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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
refuse what they could not bear or offend them. Similarly, from Wallagga, Elifinesh Qannoo
He inserts in his song that failure to accomplish and Zerhun Wadajoo gave comments on the
the need of the naftagna was followed by suppression of the Oromo language by the rulers
punishments. The song describes that the Oromo of the imperial regime. Ilfinesh cited some of the
were forced to lose their language, culture, towns and persons names changed into Amharic
country, constitution, and failed into an oppressed in order to erase Oromo names even from the
situation comparable to serfdom. It also gives written literature of even written in other
advice that their contemporary Oromo should not languages. In her song, she opposed the
inherit the enslavement of their fathers. He also changing of Adaama to Nazerete, the
commented on the attempts of replacing the Christianization of Tolasaa and Badhaasaa. She
names of Oromo towns, places, and animals by also commented on the giving of Oromo
that of the Amhra’s. provinces as it was intended to eliminate Oromo
identity in order to assimilate them after they had
The singer of this song tried to highlight what been evolved into independent ethnic groups.
happened to Oromo language during the imperial According to the intention of the song, this and
regime. According to the singer, many Oromo others similar incidents were not only to snatch
were forced to learn other language being forced Afaan Oromo from the mouths of the speakers
at the gunpoint. Because of fear of such actions, but also to avoid even the terms of Oromo
a few Oromo lost their language and culture and language from the literature written in others
deviated to others opting to be assimilated languages. As the following song indicates, she
(Gada, 1988). The singer also condemned such also pointed out how Christianity played its own
people and advised his then Oromo audiences to major role in the displacement of Oromo names.
stand for their right to speak and sing in their The last line of the song calls for an armed
language in public. He also attacked those struggle and thus it seems that she was never
egotistic individuals denied their ancestors. satisfied with the development seen under the
Darg regime.

Oromo Gloss
Gargar gargar baanee teenyeee bara baayyee turree We remained in isolation for a long time
Waan isin gaafadhaa akkamiin walbarree Let me ask you how we acquainted with each other
Kun Arursii jedhanii kun qottuu jedhanii They named this Arusi that Qottuu
Ilmaan hadha tokkoo addan nubasanii They isolated the offspring of one mother
Mee hayadannuu nu cunqursaa jiruu Let us remember they are oppressing us
Maqaa laffallee nigeggederu Even they changed the name of the places
Adaamaadhaan Naziret jedhanii They named Adaamaa Nazirat
Tolasaa fi Badhaasaa Kirstinnaa kaasaanii They Christianized Tolasaa and badhasaa
Kann darbellee hindarbee The past is past
Dhaamsan sitti dhaamaa Yajoollee Oromootaa I send you a message the children of Oromo
Akkamttiin baddii seenaan kan dhalootaa How our ancient history is destroyed?
Safuun keewoo baddee bara dhibba baatee Since you lost your culture a century ago
Utuu ati maalitti jirtuu aramaan sinyaatee While where you are you are the weeding ate you
Nurratti jigee turee ba’aan innii guddaan isaa O! heavy load was pilled on us
Qawwee malle maaltu bilisa nubaasaa It is only gun that will make us free.

Thus, both songs clearly show that the dramas at the gatherings of the Maccaa-Tuulama
literature of Oromo language played a significant Association.
role in informing, teaching and initiating the
In the song Zerhun presented at his 15 years
Oromo so that they should protect their right of
age, he was pointing that still the remnants of the
using their cultural naming system, their language
past were in drag that it needs the Oromo to fight
in particular and the spiritual and material
against such individuals. The song was
cultures of their fathers in general. They
metaphoric that it was not easy to capture the
repeatedly demonstrated with their songs and
meaning easily. The song reads:

Kottaa harama haramna Let come to weed

Midhaan keenya keessaa From our farming
Tuufoo bubuqsna We will uproot wild flower
Cobasaatu ballessaa What dangerous is its droplet
Lafasaatu borqiidha The soil is infertile
Kanaaf tuufoo baasaa That is why it grows wild flower

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Tesfay Tolessa Bessa Sci. technol. arts Res. J., Jan-Mar 2013, 2(1): 86-94
Unlike the songs of the period, this is ironical Thus, after these pioneer singers, many Oromo
and its meaning is covered. It also indicated how musicians had come to the scene and publicized
the Oromos were challenging the mal Oromo culture, language, political consciousness
administration by using the language which was and others aspects of Oromo life to the world. The
considered shameful to speak in a public. songs for the musicians were composed and
organized by Oromo elites. In connection with this
After the major Oromo cultural show of the Sahile Dagaagoo, Abubakir Musa, Tesemma
1977, songs and traditional dances were Negeri, Mohammed Qophee and some others
popularized and were performed at every Oromo played a leading role. In one way or another,
gathering. The Oromo resistance against almost all the songs composed in Oromo before
oppression through songs of cultural groups had 1991 were directed towards the expression of
grown rapidly when different Oromo political Oromo life situation under the ruling classes. The
parties got the support of the singers. The songs covert implications of the songs were more
were either part of communal or personal significant than the overt. The singers braved to
creations. It also served as a strategy of reviving present these songs to the masses under heavy
Oromo culture and language (Informants: Mahadi security pressures. They attempted to revive
Mude, Mohammed Qophe, Zerihun Wadojo). Oromo culture, songs, and traditional dances
which they performed and popularized at every
In the attempt of addressing the Oromo Oromo gathering (Ibid.). Thus, the majority of
questions which were reverberating during the Oromo songs during this period can be
imperial regime, Darg permitted regular broadcast categorized as revolutionary songs.
in Afaan Oromo. Singers were invited to broadcast
the songs that could expose the serious corruption They became one of the rallying points in the
and exploitation which characteristics of the development of written Oromo language and
emperor’s regime. The songs were even made to literature. Many Oromo Youth made great efforts
have the contents to educate, disseminate science to record songs embodying political, cultural, and
and technology within the main stream of social resistance against the policies of the
socialism. Ethiopian regimes. Some such songs remained
unpublished either because of strict censorship or
No less than the socialist propaganda, by because of lack of money. Informants report that
design or default, the Oromo proverbs, folklores, many of such songs are still in circulation in the
songs, glories of culture and history which were form of manuscripts and are also being copied into
broadcast through the Oromo language mass cassettes. Some of them were published after
media inadvertently taught the people about the 1991 and distributed to the people who were
glories of their language, culture, and history. The interested to have them (Ibid.).
historical injustice, like the continuous aggression,
suppression and exploitation inflicted on the Generally, since the beginning of singing in
Oromo nation during the imperial regimes were Afaan Oromo, two categories of Oromo singers
recited. Based on the examples of the radio, many emerged. The first group which constitutes the
Oromo began composing songs in the Oromo largest members was the bands of extreme
language for their kebele (village administration), nationalists. They took revolutionary songs as
Wored (sub district), Awraja (district) and Zonal major instruments of fighting to manifest their
musical shows. (Informants: Mahadi Mude, grievances and to awaken the Oromo so that they
Ibrahim Haji, Kebede Firisa). stood for their rights. The second are those who
ventured and were able to bear the political
At the kabala level, the youth who were impositions of the period and courageously sang
organized under the ideology of socialist Darg Oromo songs on the stages although their
propaganda began composing songs that praised measures were not from the Oromo nationalistic
the socialism in Oromo language. Dramas were perspectives. Among such singers Tilahun
also prepared and presented at the anniversary of Gesese was worth mentioning as he never
September 12. Sometimes such songs and forgotten sing at least one Oromo song in all his
dramas were broadcast over the radio. Many of Amharic Cassettes. My informants even argue that
the Oromo youth who were the members of Tilahun taught the possibility of singing very
Abeyotawi Kenėt (Revolutionary Troupe) were interesting songs in Afaan Oromo to the Ethiopian
able to write impressive types of songs and officials beginning from the emperor’s period. He
became the known singers from the Oromo nation. attracted their attention to listen to entertaining
Those who heard the songs of their friends over Afaan Oromo songs together with that of Amharic
the radio attempted to do so by themselves (Ibid.). (Ibid.). Production or singing such songs was not
without risk. When the Darg regime began facing

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