Hacaaluu hundeessaa music

**NEW** Hacaalu Hundessa - Diggitii (jimma) - Oromo Music

Hundessa grew up singing in school clubs and tending cattle. Hundessa composed and wrote most of the lyrics of his first album while he was in prison. The album, Sanyii Mootiiwas released in Inhe toured the United States and released his second album, Waa'ee Keenyaawhich was the 1 best-selling African music album on Amazon Music. Hundessa's protest songs unified the Oromo peopleencouraging them to resist oppression. His songs have been closely linked with the anti-government resistance that started in and the Ethiopian protests.

Months after the single was released in Juneprotests opposing the Addis Ababa Master Plan occurred throughout the Oromia Region. The song became an anthem for protesters as well as one of the most viewed Oromo music videos. In DecemberHundessa sang at a concert in Addis Ababa that raised funds forOromo who were displaced by ethnic violence in Somali region.

The concert was broadcast live by Oromia Broadcasting Network. Hundessa's songs captured Oromo hopes and frustrations. According to lecturer Awol Allo"Hachalu was the soundtrack of the Oromo revolution, a lyrical genius and an activist who embodied the hopes and aspirations of the Oromo public. Two people were shot dead and seven others injured during the singer's funeral. Filenbar Uma, a member of the opposition Oromo Liberation Front in Ambo, described security forces shooting as "people were kept from going" to the funeral.

He was later buried at an Orthodox church in the town, in accordance with his family's wishes. The police arrested several suspects in connection with the murder. Hundessa's death sparked protests throughout the Oromia Regionleading to the deaths of people. At demonstrations in Adamanine protesters were killed and another 75 were injured.

Many people from Ethiopia's ethnic Oromo group say they were oppressed under Haile Selassie's reign. Rights groups have said three protesters were killed by security forces, while a doctor in Dire Dawa town said he treated eight people with gunshots fired by security forces to disperse protests.

At 9am, 30 Junethe internet in Ethiopia was largely taken down, a measure previously taken by the government during unrest. They shot at the heart of the Oromo Nation, once again!! You can kill us, all of us, you can never ever stop us!! Tiruneh Gemta, an official from Jawar's Oromo Federalist Congress party, told the BBC Afaan Oromoo service they were concerned about his arrest and that they hadn't visited "those who've been arrested due to the security situation".

Jawar has led calls for more rights for the Oromo peopleEthiopia's largest ethnic group, who have been politically marginalised by previous governments. He previously supported reformist Prime Minister Abiy Ahmed, himself an Oromo, but has since become an ardent critic. After the murder of Hundessa ignited violence across Addis Ababa and other Ethiopian cities, Abiy hinted, without obvious suspects or clear motives for the killing, that Hundessa may have been murdered by outside forces set out to stir up trouble.

hacaaluu hundeessaa music

From Wikipedia, the free encyclopedia. Ethiopian singer AmboOromia, Ethiopia. Addis AbabaEthiopia. Ethiopian music. Main article: Hachalu Hundessa riots. BBC News. Retrieved 21 July Latest News South Africa. African Arguments.

Oromo Person of The Year 2017: Haacaaluu Hundeessaa

The New York Times.There are not many artists in East Africa who get to witness their own stellar achievement in their lifetime. Such was the explosive impact of Haacaaluu's songs that many within his Oromo community saw him as indispensable to their struggle for political emancipation. Haacaaluu inspired the Qubee generation ethnic Oromos born after Ethiopia was restructured along ethno-linguistic lines in and educated in their mother tongue and his music served as a rallying anthem during the Oromo protests and beyond.

His intensely political lyrics both refined and clarified the enduring nature of state-sponsored Oromo marginalisation. When Haacaaluu was assassinated by unidentified assailants on June 29 in Addis Ababa, Ethiopia lost not just a strikingly talented musician, but also a political and cultural icon. His assassination sent shockwaves across the country, particularly in Oromia, the Oromo-majority region of Ethiopia, and triggered major protests in Addis Ababa and elsewhere.

At least people have been killed in the ensuing clashes and more than 1, arrested, including leading figures of the Oromo opposition parties, such as Jawar Mohammed, Bekele Gerba, Shigut Geleta, and others.

Amid the violence, millions of Ethiopians are mourning the death of a towering artistic figure who inspired a peaceful political struggle against repression and paved the way for major political change.

His father wanted him to study medicine, but Haacaaluu showed little interest in academic studies. From early on, he had a passion for art and music. With the support of his mother, Haacaaluu honed his craft at a young age while looking after cattle on the outskirts of Ambo.

He came of age at a time when the ruling elites saw the Oromo as a potential threat and Oromos from all walks of life were subjected to widespread repression based on actual or imputed opposition to the government. The state violence triggered growing resistance within the community. Haacaaluu attended school in Ambo, a city that came to symbolise and represent the tenacity and unyielding determination of the Oromo protest movement of In high school, Haacaaluu joined a school club where he began singing and participating in a clandestine student movement at a time when high schools and colleges became dissident political spaces and came under intense government surveillance and policing.

Inat the age of 17, he was accused of supporting the Oromo Liberation Front OLFan Oromo nationalist organisation which at that time was banned, and was sent to jail. Prison did not break Haacaaluu's determination.

It shaped him into the towering musical genius and the cultural and political icon that he became. It helped him understand the precarity and vulnerabilities associated with his identity, it gave him time to read Ethiopian history, it made him a revolutionary agent and a voice for change.

Having never been charged, he was released after five years. He wrote most of the lyrics in prison, and the record-breaking album propelled the year-old to national stardom. Referring to experiences of dispossession and landgrabs that led to the eviction of more thanOromo farmers from around Addis Ababa, he sang:.

The new song was a statement of endurance, resilience and self-affirmation. It highlighted the culture-shifting transformations taking root within the Oromo community and the Ethiopian political landscape. It was a redemptive thrill that affirms the collective optimism of the Oromo people, a definitive confirmation that this is no longer a culture in jeopardy or a society in decline, but one in the middle of a robust ascendancy.

As soon as Haacaaluu occupied the stage, t he scene immediately felt magical. His first simple utterances, ashamaa helloashamaa, ashamaaradiated a rush of emotions like a burst of spiritual energy in those who understand the Gerarsa repertoire and its unconscious grammar.

As he walked the stage like a lion walking around his pride, Haacaaluu evoked an outpouring of emotional exuberance, rarely experienced by the Oromo, agitating and stirring something deep in his adoring audience. In an emphatic node to the emergent potential to collectively overcome precarity, he asked the audience, "Jirtuu? Are you here? That performance and the public response to it strengthened the hands of the Oromo wing of the EPRDF and ushered in political change.

Less than four months later, Abiy Ahmed, an Oromo himself, was sworn in as the new prime minister of Ethiopia. He was not just a great musician who could unwaveringly maintain near-perfect pitch even in the highest register, he was also a rhetorical genius of incalculable imaginative and creative power.

He used his artistic tools to engage in the most profound and edifying reflections on issues of identity, dispossession, precarity, marginalisation and love.

Without exception, his songs encapsulate some of the most complex, subtle and painful narrations about the reality of the Oromo experience within the Ethiopian state: the political repression, the cultural subordination, and the economic deprivation the Oromo have been suffering for decades.

And the people sang with him. He made many people, especially those in power, awfully uncomfortable. And so he made many enemies. In his last interviewhe spoke about how he lived with constant death threats. He gave details of how he narrowly escaped the wrath of the security forces after the December performance.There are not many artists in East Africa who get to witness their own stellar achievement in their lifetime. Haacaaluu inspired the Qubee generation ethnic Oromos born after Ethiopia was restructured along ethno-linguistic lines in and educated in their mother tongue and his music served as a rallying anthem during the Oromo protests and beyond.

His intensely political lyrics both refined and clarified the enduring nature of state-sponsored Oromo marginalisation. When Haacaaluu was assassinated by unidentified assailants on June 29 in Addis Ababa, Ethiopia lost not just a strikingly talented musician, but also a political and cultural icon. His assassination sent shockwaves across the country, particularly in Oromia, the Oromo-majority region of Ethiopia, and triggered major protests in Addis Ababa and elsewhere.

At least people have been killed in the ensuing clashes and more than 1, arrested, including leading figures of the Oromo opposition parties, such as Jawar Mohammed, Bekele Gerba, Shigut Geleta, and others.

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Amid the violence, millions of Ethiopians are mourning the death of a towering artistic figure who inspired a peaceful political struggle against repression and paved the way for major political change. His father wanted him to study medicine, but Haacaaluu showed little interest in academic studies.

From early on, he had a passion for art and music. With the support of his mother, Haacaaluu honed his craft at a young age while looking after cattle on the outskirts of Ambo. He came of age at a time when the ruling elites saw the Oromo as a potential threat and Oromos from all walks of life were subjected to widespread repression based on actual or imputed opposition to the government.

The state violence triggered growing resistance within the community. Haacaaluu attended school in Ambo, a city that came to symbolise and represent the tenacity and unyielding determination of the Oromo protest movement of In high school, Haacaaluu joined a school club where he began singing and participating in a clandestine student movement at a time when high schools and colleges became dissident political spaces and came under intense government surveillance and policing.

Inat the age of 17, he was accused of supporting the Oromo Liberation Front OLFan Oromo nationalist organisation which at that time was banned, and was sent to jail. It shaped him into the towering musical genius and the cultural and political icon that he became. It helped him understand the precarity and vulnerabilities associated with his identity, it gave him time to read Ethiopian history, it made him a revolutionary agent and a voice for change.

Having never been charged, he was released after five years. He wrote most of the lyrics in prison, and the record-breaking album propelled the year-old to national stardom. Referring to experiences of dispossession and landgrabs that led to the eviction of more thanOromo farmers from around Addis Ababa, he sang:. The new song was a statement of endurance, resilience and self-affirmation. It highlighted the culture-shifting transformations taking root within the Oromo community and the Ethiopian political landscape.

It was a redemptive thrill that affirms the collective optimism of the Oromo people, a definitive confirmation that this is no longer a culture in jeopardy or a society in decline, but one in the middle of a robust ascendancy. As soon as Haacaaluu occupied the stage, t he scene immediately felt magical.Madda suuraa, Marsaalee Hawaasaa.

Magaalaa Finfinnee naannoo kondomiiniyamii Galaanitti rasaasaan dhahame, hospitaala Xinunesh Beejing geeffamus lubbuu isaa baraaruub hin danda'amne. San booda reeffi isaa gara hospitaala Phaawuloos geeffamee erga qoratamee booda ganama kana gara bakka dhaloota isaa magaalaa Ambootti gaggeeffamaa jira. Komishiniin poolisii Finfinnee ibsa Wiixata galgala EBC'f kenneen namoota shakkaman muraasa to'annoo jala oolcheera jedhee ture. Haacaaluu Hundeessaa magaalaa Finfinnee keessatti yaaliin ajjeechaa irra deddeebiin irratti raawwatamaa akka ture amma dura BBC'tti himee ture.

Onkoloolessa bara viidiyoo fi odeeffannoon Weellisaa Hacaaluu Hundeessaa magaala Finfinneetti reebichaaf saaxilame jedhu tokko miidiyaa hawaasummaarra naanna'aa ture. Finfinnee keessatti warri 'Namoonni hammuma na argan natti bu'uun anaaf waan haaraa miti, irra deddeebiidhaan kan namuudachaa turedha" jedha wallisaa Hacaaluu Hundeessaa.

Waan isaan jedhanii na abaaran irra deebi'uun deebisee of arrabsuu ta'a kan jedhu Hacaaluun, waan miira keessa na galchu itti dubbachaa akka turan dubbata.

Yeroo sanatti hiriyaasaa Guddisaa Dheeressaa waliin akka turee fi kan konkolaataan isa hordofaa turan namoota afur ta'uu hima. Boodas Poolisoonni dhufanii akka adda baasan kan himu Haacaaluun, miidhaan tokkollee narra hin geenye jedheera.

Natti hin buune. Anumatu seerattan dhiheessa jedhee humnaan itti deeme. Rakkoonsaa immoo gaafa ati miira keessa galtee itti dhaqxemmoo sikadhatu nama nagaa sitti ta'uu barbaadu," jedha.

Kaayyoon garee waan akkanaa raawwatuu kuni nama arrabsanii miira keessa galchuun yakkatti nama geessudha jedha.

hacaaluu hundeessaa music

Namootni 'hokkora' itti kaasan kunneen, 'abbaa dabaree' nuun jechaa turan. Kana hundumaa bilisummaa hanga ittiin nama arrabsanii kana Dr. Abiyyitu kenneefi jedha. Abiyyi akki itti dhufe akka isaan eegan waan hin taaneef Oromoof kabaja akka dhaban godhe," jedha Haacaaluun. Madda suuraa, Margaa Angaasuu. Ani warra akkasii faana hidhata hin qabu,''. Salphoon gaafa soqolatte soqolaan gargaara malee waanan ishiidhaa godhu hin qabu," jedha.Haacaaluu is a prominent Oromo singer.

Master storyteller. And, most importantly, an electrifying voice of a generation that is revolting. In picking Haacaaluu as our person of the year, we are honoring not only the gallant generation whose hearts he speaks to with his bold lyrics but also his mother, as well as his hometown, Ambo, the indomitable bastion of Oromo resistance against successive Ethiopian rulersβ€”a place worthy of all honors in and of its own rights.

It was a horrid year for the Oromo.

Popular Ethiopian singer Hachalu Hundess shot dead in Addis Ababa

The martial law brought a temporary lull in street protests but the killing of innocent Oromos continued. Authorities lifted the emergency decree in August but, by then, a proxy war along the Oromia-Somali State border had displaced hundreds of thousands of Oromos from their homes and left hundreds dead. The sacrifices of the resilient Qubee Generation have shown early signs of its coming fruition. The Irreechaa festival was held under heightened tensions.

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But it concluded without a single incident, thanks in no small part to the leadership of Oromo Abba Gadaas, the Oromia state government for refusing federal assistance to keep the peace, the Oromia police for keeping the peace with impeccable professionalism, and the Foollee Oromia, an age-based cohort that were entrusted with managing the Irreechaa processions. A rare gesture of cordial police-community relations in an otherwise repressive state where federal police and security forces are implicated in egregious rights abuses.

The security and humanitarian crisis along the Oromia-Somali state borders also brought about much-needed Oromo unity β€” at home and abroad. To be clear, the organization always boasted a sizable membership base, but, at the grassroots level, Oromo loyalty was either bought or coerced.

OPDO may have come up short at the end of the day-long meeting of the EPRDF executive committee, but under the stewardship of Lemma β€” and his equally charismatic deputy, Abiy Ahmed β€” it has shown the potential and promises of Oromo leadership for a better Ethiopia. But politics is a game of compromise. Change is slow and painstaking. Surely, changing the deeply entrenched and colossal EPRDF system will require ongoing and sustained struggle.

If it were to deliver on the lofty promises made inOPDO needs to clean its houses. His staying power and his ability to deliver hinges on the potency and resilience of Oromo resistance. The convoluted, nauseating, and tone deaf EPRDF statement offers further reason why the youth should ramp up the pressure. Smart, witty, jovial, defiant, and articulate, he is the consummate man of the people. He walks with the full dignity and weight of the nation, for whose suffering and yearning he is singing, on his outsized shoulders.

And Haacaaluu is a genius when it comes to connecting with the Oromo, especially the youth, with his lyrics. He is in a company of giants. It is impossible to talk of Oromo nationalism or Oromummaa without the galvanising role of Oromo folk music. It helped unite disparate Oromo movements.

Haacaaluu Hundeessaa: A towering musician and an Oromo icon

It was instrumental to the collective Oromo awakening, particularly since the s. When authorities cracked down on free expression, music provided a unique space for the artist and the public to engage in political dialogue β€” the artist as the leading agitator and provocative commentator, who channels the repressed voices and fears of the masses.

hacaaluu hundeessaa music

As a result of their politically conscious music and determination to push the envelope and the boundaries as far out as humanly possible, dozens of Oromo singers have been killed, jailed, or exiled.

Yet Oromo artists continue to write, produce and sing rousing ballads about the enduring history of Oromo marginalization, the importance of unity, cultural revival, and the Oromo way of being.Oromo News. African News. Formerly Oromia Quarterly. As his final act of defiance, Hachallu reignited the OromoProtests.

Hirirri biyya Germany magaalaa Frankfurt kessa godhamaa jiru. Haacaaluu Hundeessaa: A towering musician and an Oromo icon. Haacaaluu inspired a whole generation of Oromos to fight for their rights. His tragic death is an incalculable loss.

hacaaluu hundeessaa music

Haacaalu was not an ordinary musician. He came from a lineage of poets and scholars and inspired people not only through his music, but through his life. Haacaaluu was imprisoned at the age of 17, and it was in his 5 years in prison that he learned to compose lyrics and melodies. This is the Official Facebook page in support of the OromoProtests global movement. Goojjam Matakkal Jirtuu? Ijoolleen Raayyaa Jirtuu? Raayyaa Raayituu Jirtuu? Ijoolleen Walloo Jirtuu?

Walloo Kamisee Jirtuu?

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Ijoolleen Wallaggaa Jirtuu? Ijoolleen Arsii Jirtuu? Ijoolleen Booranaa Jirtuu? Ijoolleen Tuulamaa Jirtuu? Dumesaaye caamaaree? Caamus hongee taharee? Namni ibidda beeku daara argee nahaaree? Dhiigni qeerroo inni jige itiyoophiyaa jigde kaase kaa Dhiigni qeerroo inni jige itiyoo-ertiraa walitti araarsee kaa! 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.

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Mostly led by the Oromo and Amhara, who together make up two-thirds of the 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.

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 β€” known as the Qeerroo β€” 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.I interviewed Haacaaluu on April 19,and I was touched by his incredible warmth and kindness toward me.

He showed me pictures of his daughters, and we laughed hard β€” that deep, strange laughter woven with pain β€” when he told me their names: Wobe Guarantee and Milke Chance. What follows are some excerpts from our interview. We had planned to do a follow-up interview in greater depth, but that is no longer possible.

May God comfort his family, friends, and fans in their horrific pain. I had five brothers, but one recently died. I also have four sisters. I was arrested in 11th grade and spent five years in prison. When I got out, I started making music, because I wanted to tell my story. Nine of the songs on my first album were written in prison. I did a performance in Sudan and quickly became a hero for my people. But the government tried to silence me. I was arrested and tortured in Maekelawi for a week.

Because of government oppression, I had to make my second album in the United States. But I decided to return home to be with my people. I am willing to take risks and make sacrifices. I have faced assassination attempts. HH: Injustice cannot create justice. A lot of my message focuses on Arat Kilo. The good things and injustice that Oromos have experienced originated from there. So I attack Arat Kilo in my music β€” not with physical violence β€” as the center of power. HH: Justice and equality mean when all have their natural right to be themselves.

Chinese have a natural right to be themselves. So do Americans. So do Oromos. Each person should have opportunity to exercise their natural rights. AD: I have heard children say racist things against Oromos and other ethnic groups in Ethiopia. How can we overcome this?

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This is deeply rooted in our society. It will be a long process. There is no quick fix. I do not hate Amharas or Tigrays.


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