International Journal of Leadership and Public Sector Reform (IJLPSR)

ISSN: 3005-8368(online), ISSN: 3006-4945(print)

Volume 1, Issue 2, 166-180, December 2023
https://journals.osu.edu.et

Geerrarsa as Instrument of Fighting against Injustice and Oppression in Ethiopia: Notes on

Hachalu Hundessa’s Performance on Three Concerts

Kebede Lemu Bekelcha

Lecturer of Social Anthropology, Bule Hora University, Ethiopia,
Email: kebedel2013@gmail.com

“Seenaa Rirmi hin nyaatu” (History doesn't eat by termite): Aartist Hacaaluu Hundeessaa

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Abstract
This study is an analysis of Hachalu Hundessa‟s Geerrarsa (heroic poems) on three stages of the „Lammiin
Lammiif‟ concert, a concert held in honor of Eritrea President Esayas Afework‟s visiting Ethiopia after the end of
Ethio-Eritrea border and 123rd Adowa Anniversary of which express oppression and discrimination of the Oromo
and other nations and nationalities in Ethiopia and encourage potential action for a group to claim their rights.
These „Geerrarsas‟ are examined in the context of oppression and discrimination and how they relate to social
Movements. The specific objectives of this research are interpreting Hachalu‟s Geerrarsa on stages of the „Lammiin
Lammiif‟ concert, a concert held in honor of Eritrea President Esayas Afework‟s visiting Ethiopia after the end of
Ethio-Eritrea border and 123rd Adowa Anniversary, contributions of Hachalu‟s Geerrarsa‟s in bringing political
reform in Ethiopia and raising popular political consciousness and collective identity against the power of
domination and role of Oromo in state and nation building in Ethiopia in the context of Hachalu‟s Geerrarsas. To
achieve these objectives, critical discourse analysis was employed to interpret Hachalu‟s „Geerrarsas‟ in three
stages. The findings of the study showed that music functions as an informative tool that can spread awareness and
encourage people to pressure authorities and fight for their rights and freedom. The selected three-stage
performance had tremendous underlying messages meant to raise the citizens' political consciousness and bring
people's marginalization to the world's attention and the role of Oromo in state and nation-building is too high.

Keywords: Hachalu Hundessa; Oromo; Geerrarsa; Injustice; Oppression

1. Introduction done by those injustices (Torrey, 2021). Martin

The power of music in politics was recognized by Luther King Jr. said, “The freedom songs are playing
Plato in „The Republic when he warned that any a strong and vital role in our struggle. They give the
musical innovation that endangers the State must be people new courage and a sense of unity (Humphrey,
prohibited because „when modes of music change, 2021)
the fundamental laws of the State always change with McDonald (2013) cited in Tesfaye (2019) has
them (Kemp, 2014). The art of music permeates provided us with the experiences of the Palestinians
many aspects of human societies including the that music or song has the power to foster belonging,
politics and governance arena. One of the most activate structure, and articulate common national
important aspects of music in politics is that it serves questions of the nation. He illustrates that music or
as a popular means to express societal issues and song is a portal through which the contour of past
communicate political messages (Abdoulie, 2020) perceptions is imported from the past into the present
and is a tool for opposing societal injustices such as national imaginary. He argues in his finding that
racial discrimination and combat oppression and very music is a process in which the question of self-
important to be a voice for the oppressed. By determination is cultivated and harnessed.
identifying people‟s dissatisfaction through music, Different African countries used music to fight
we can locate certain issues or occasions when against oppression and injustice. In South Africa,
people's human rights are violated (Sadikovic, 2019). music played a central role in the struggle for
Moreover, music can serve as a means of liberation from white domination. Segun (2012),
empowerment for marginalized communities, cited in Tesfaye (2019) in his short article, he
providing a platform for their voices to be heard and produced on Nigerian protest songs, recognized the
their stories to be told. In many cases, music has been relationship between song and protest politics.
used as a means of resistance, with artists and Beginning with musical impacts in the protest
musicians using their talents to defy oppressive movements of some African countries, Segun
regimes, challenge stereotypes, and promote cultural informed us that music and musicians have the power
diversity (Elaloui, 2023). to push political engagements from criticism to
Music can raise awareness of movements that aim to confrontations. In his argument, he emphasizes that
work towards social change, can drive political the role of the arts of song in linking and creating
protests aimed to create solidarity between those who consciousness in a powerless society against
experience injustices and raise awareness of the harm suppressors and exploiters is universal. Music was
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used as a culturally appropriate tool of political creativity with good quality of tone. Consequently,
resistance everybody doesn‟t sing Geerrarsa (Alemgena,
Music in Ethiopia's political struggle can be seen as Abdeta, Gutema (2024). Hachalu was very popular
liberating, which uplifts, inspires, and shows the way for his Geerrarsa which is very important for
for the people to take part in the struggle against expressing feelings, aspirations, and achievements
injustice and inequality. Through music, artists have artistically. He used Geerrarsa as a medium for
revealed and developed their social political and expressing political aspirations, socio-economic
moral identities (Allo, 2017). status, and culture.
Folk literature and resistance songs have historically According to Bessa (2013), Geerrarsa plays an
been used to tell the story of the Oromo people's important role in the socio-political, economic, and
political struggle against the feudal Imperial regime cultural struggle of the Oromo people. Thus, the
(Assafa, 2015). Beginning in the 1960s, the Oromo Geerrarsa genre is a peculiar experience that serves as
struggle for emancipation from authoritarianism in a platform for critiquing social and political
Ethiopia took dimensions of peasant uprisings, phenomena. It targets social ills perpetrated by those
liberation movements, and everyday forms of in power (Zelalem, 1996). The main function of
resistance through which discourses and institutions Geerrarsa is to serve as a vehicle for delivering
of domination have been resisted and defied. As part messages about different issues; such as grievances
of their resistance strategies, the Oromo use art to that arise from political, social as well as economic
defy political oppression, economic inequalities, and circumstances. Hachalu's Geerrarsas conveyed a
sociocultural marginalization. From legendary powerful message to the audience that the past and
musicians to amateur singers, Oromo artists have present situation of the Oromo people demonstrate
been speaking to power and inspiring the people in political injustice, pervasive corruption, and
the struggle for freedom. widespread cultural malpractices that urgently require
A different form of documentation of the struggle bold political actions. Accordingly, the purpose of
against the Ethiopian regime has been provided by this study is to analyze Hachalu Hundessa‟s
the variety of Oromo protest music, which first Geerrarsa (heroic poems) on three stages of the
appeared in the 1960s and 70s. These types of protest „Lammiin Lammiif‟ concert, a concert held in honor
music were first popularized by the early Arfan Qallo of Eritrea President Esayas Afework‟s visiting
band. To promote Oromo music and culture, the Ethiopia after the end of Ethio-Eritrea border and
Arfan Qallo was a cultural musical group founded in 123rd Adowa Anniversary.
Harar in the early 1960s (Teferi, 2019). Arfan Qallo's 2. Statement of the Problem
musical productions played a crucial role in the initial Several scholars like Gada Malba (1984),
resistance movement against the feudal system. More Mohammed Hassan (1999), Asafa Jalata (2005), and
significantly, resistance songs in Oromia have been Mekuria Bulcha (2011) elaborated on the
used to positively mobilize the populace in support of contribution of Oromo resistance songs to the Oromo
political change by delivering a political message struggles. Their works explained how the Oromo,
(Fekadu, and Fekadu, 2023). who were irritated by long-lasting grievances,
The musical lyrics of young Oromo artists have organized themselves and contributed to the
influenced and mobilized Oromo against injustice overthrow of both the regime of Emperor Haile
and oppression. Among young Oromo artists, Selassie and the Derg. In this respect, they produced
Hachalu Hundessa was an influential and fearless eloquent and well-articulated works on the Oromo
Oromo political singer, whose songs echoed the resistance struggle against cultural, political, and
voices and hearts of young Oromo people in Ethiopia economic impositions from the consecutive Ethiopian
(Fekadu and Fekadu, 2023). He was a young Oromo governments.
artist and resistance singer who garnered a reputation As a society in a continuous struggle to determine
as an icon within a short time, was murdered on 29 their destiny, the struggle of Oromo artists has never
June 2020 – is one of those whose works escaped the attention of scholastic studies. The
revolutionized modern Oromo resistance music artistic role of Oromo songs in resisting the powerful
(Asebe, 2023). Geerrarsa song requires high has been significantly high since the ancient history
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of the Oromo (Tesfaye, 2019). Fekadu and Fekadu used to resist oppression and promote social change.
(2023), the role of protest songs in the fight of It can also help us to understand the power dynamics
Ethiopian youth against authoritarianism, using the at play in the production and consumption of music
example of youth protests in Oromia from 2014 to (Talbot, 2010). Again, discourse analysis can help us
2018 conducted in Burrayyu Town in Ethiopia's to understand how music is used to construct and
Oromia Regional State. They tried to analyze poems challenge identities. For example, a discourse
and some selected songs from young Oromo artists analysis of protest songs might reveal how they are
including Hachalu‟s song „Maalan Jiraa‟. Alemgena used to create a sense of solidarity and community
and Kassaye (2024) conducted their study on the among those who are oppressed (Kassaye, 2022).
Social political, and didactic functions of „Geerrarsa‟ Therefore, the researcher used discourse analysis to
among Hababo Guduru Oromos. Kena (2021) know more deeply and in detail about Hachalu
studied the role of the Oromo nation in the Aduwa Hundessa's Geerrarsas performed at the „Lammiin
Victory: A discourse analysis of Hachalu Hundessa‟s Lammiif‟ concert, a concert held in honor of Eritrea
song, Sofiya, Alemitu and Abduselem (2021) President Esayas Afework‟s visiting Ethiopia after
researched the analysis of Hachalu Hundessa‟s the end of Ethio-Eritrea border and 123rd Adowa
protest songs, and Asebe (2023) researched the single Anniversary.
released audio music of Hachalu Hundessa‟s „Jirra‟. 5. Review of Related Literature
Hachalu Hundessa played a tremendous role and 5.1. Music as an Agent of Change
engine in the 21st-century Oromo struggle particularly Music has historically been used by movements
with his last three Geerrarsas on stage which seeking social change, particularly during the 1950s
increased his popularity. and '60s, when successful musicians openly inspired
However, there is no study focused on the details of social progress (Reese, 2015). It has always been an
the song and recent incredible Geerrarsas Hachalu integral part of our culture and society. From the
performed at the „Lammiin Lammiif‟ concert, a earliest times, it has been used to express the deepest
concert held in honor of Eritrea President Esayas emotions, to bring people together, and to create a
Afework‟s visiting Ethiopia after the end of Ethio- sense of community. Today, music continues to be a
Eritrea border and 123rd Adowa Anniversary which is powerful tool for social activism and change.
broadcasted Live via government media. No Musicians and artists across the globe have used their
comprehensive work is produced on this issue. platform to raise awareness about various social
Therefore, the purpose of this study is to show how issues and bring about positive change in the world.
Hachalu Hundessa used Geerrarsa in fostering the Musical arts are a significant agent of change with
Oromo struggle against injustice and oppression in the power of recasting social reality (Rabinowitch,
Ethiopia on these three stages. 2020, Tesfaye, 2019). It has been a long time since
3. Research Objective art has been used to criticize injustice (Milbrandt,
The general objective of this research is to analyze 2010). As McDonald (2013) stated song is an
Hachalu Hundessa's Geerrarsas on three stages of the important instrument for the powerless to fight the
„Lammiin Lammiif‟ concert, a concert held in honor powerful.
of Eritrea President Esayas Afework‟s visiting 5.2. Resistance songs among the Oromo
Ethiopia after the end of Ethio-Eritrea border and Resistance art among the Oromo has a long history
123rd Adowa Anniversary and its impact on the (Tesfaye, 2019). The political struggle of the Oromo
Oromo Movement against Injustice and Oppression against the feudal Imperial regime has been
in Ethiopia traditionally told through folk literature and
4. Methods and Materials resistance songs (Assafa, 2015). The array of Oromo
The research approach used in this study is protest music, which emerged as early as the 1970s
qualitative research. It is appropriate and used to find has provided alternative documentation of the
the message of three Geerrarsa Hachalu performed struggle against the Ethiopian regime (Fekadu and
on stages. The design of this research is discourse Fekadu, 2023). The early Arfan Qallo music band set
Analysis. Discourse analysis can reveal how music is the ground for these forms of protest music. The

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Arfan Qallo was a cultural musical group established Ali in 1971 produced the first Album in the history of
in Harar in the early 1960s to promote Oromo music Oromo Music. Ali Birra was known for criticizing
and culture (Teferi, 2019). Music produced by Arfan the incumbent government of Ethiopia in the 1970s
Qallo came to be instrumental in the early opposition and fighting against the feudal system of Ethiopia. In
against the feudal regime. Among the Afran Qallo his 1975 musical Album, he strongly condemned the
band, Ali Birra was the leading member of the group. feudal system and its landlords. He eloquently
expresses his anger and frustration by saying:
Hamma hardhaa tooftaa sobaa uumtee, You employed false manipulation strategies
Uummata saamudhaan lafa waalitti qabattee, and exploited the people Grabbed their land
Qotee bulaa roorrodhaan dhamaaftee , make the Oromo people being sad and aggrieved.
In this song, Ali expressed his frustration, anger, and social change, making it a powerful medium for
grievances towards the landlord of the feudal system. political activism in Ethiopia. Here below, Hachalu
He further exposed the feudal system and its ruling Hundessa‟s Geerrarsa on the concert of „Lammiin
structure depravities that led to its downfall. This Lammiif‟, a concert held in honor of Eritrea President
song indicated the parasitic nature of landlords at that Esayas Afework‟s visiting Ethiopia after the end of
time in Ethiopia that contributed nothing but the the Ethio-Eritrea border and 123rd Adwa Anniversary
oppression and exploitation of farmers (Fekadu and were critically analyzed.
Fekadu, 2023). In addition to exposing the old feudal 6.1. Hachalu’s Performance on Concert of
oppressive rule, Ali‟s songs have played a crucial „Lammiin Lammiif‟
role in articulating and creating the ideas of Hachalu's songs became the anthem of the protest
Oromummaa–Oromo nationalism (Mohammed 2013; movement which emerged in 2015 to demand an end
Hess, 2019) cited in (Fekadu and Fekadu, 2023). to the displacement of Oromos. At a time of
In the later period, the younger generation of Oromo heightened protests at the end of 2017, Hachalu was
singers (Qubee generations) who are inspired by the invited by the Oromia regional state to collect funds
political songs of Ali Birra played a key role. These for the project „Lammiin Lammiif‟ for nearly one
groups of artists include Hachalu Hundessa, Galana million Oromo evicted from the Somali regional state
Garomsa, Chala Bultume, Chala Dagafa, Ittiqa when he was in Hararge to visit displaced people
Teferi, Sena Solomon, Jafar Yusuf, Hawi Tezera, from Somali regional state. Then, he accepted the
Falmata Kebede, Kekiya Bedhadha and others invitation after he was informed that the concert
(Asebe, 2023). The Oromo artist's powerful lyrics would be broadcast live through OBN (Oromia
have given voice and significance to the group‟s Broadcasting Corporation). He started to write lyrics
insufferable indignation (Asefa, 2015; Asebe, 2023). for the concert.
The music has become a strong tool for the Oromo In December 2017, Hachalu delivered a monumental
community to express their discontent with the performance at the Millennium Hall in Finfinnee,
TPLF/EPRDF government's economic policies, which was attended by high-ranking public officials
which have come at the expense of the Oromo from the ruling Ethiopian People‟s Revolutionary
society (Fekadu and Fekadu, 2023). Democratic Front (EPRDF), including Abiy Ahmed,
6. Result and Discussions Lemma Megersa (Former President of Oromia
Geerarsa holds a significant place in Oromo culture, Regional State) and others. His defiant musical
serving as a traditional poetic form used for various performance, infused with a call to resistance, in the
purposes throughout history. It serves as a tool for Millennium Hall at the risk of his life, resonates well
conveying historical narratives, critiquing oppressive even today among all Ethiopians. His songs have
systems, mobilizing and uniting communities, raising become the soundtrack of resistance, justice, unity,
awareness about social injustices and resisting and freedom.
external influences, expressing societal values, and a During the concert, Hachalu with his amazing stage
platform for social commentary in general. Artists performance, started the stage with a greeting to
like Hachalu Hundessa have used Geerarsa to voice Oromo “Jirtuu? Ijoollen Oromoo Jirtuu?” (How are
the grievances of the Oromo people and advocate for you? How are you Oromo youth?). Actually, „Jirtuu‟
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is the catchphrase Hachalu is always remembered Merera Gudina and members jailed and detained by
among the Oromo and other nations and nationalities. the ruling party EPRDF in Kaliti, Kilinto, Karchalle
He was never afraid about the situation of the time to Ambo (where Hachalu himself was jailed for five
make his voice heard. years without ever being charged with a crime) and
6.1.1. Being a Voice for the Prisoners other unknown torture sites. He chanted as follows;
During the Oromo Protest particularly in 2016-17,
several opposition political leaders including Prof.
Ani maalin geerraraa, what am I singing,
anoo yaadan yeellalaa I am ashamed of my thoughts
dhiirri geeraree hin quufne, the man who sang and was not satisfied,
hidhaa Qaallittii jiraa, he is in the prison of Kallitti,
dhiirri geeraree hin quufne, the man who sang and was not satisfied,
hidhaa Qilinxoo jira he is in the prison of Kilinto,
hidhaa Karchallee jira, he is in the prison of Karchale,
Karchallee Amboo jiraa he is in Karchalle of Ambo
In the fearless performance, he became the voice for opposition political leaders and members, inequality,
those opposition political leaders and members land grabbing, and oppression in general. His songs
arrested without due process for several years during have played a significant role in encouraging the
the concert of „Lammiin Lammiif‟ Oromo people to resist oppression and stand up
6.1.2. Mobilizing Youth and Community to against injustices and had a significant impact on the
Fight Against Injustice and Oppression ruling party known as EPRDF.
Hachalu sang this song when the Oromo movement Again, he chanted as follows on the stage to
skyrocketed to strengthen its unity against injustice, overthrow the oppressors and bring justice,
forced displacement, killing, arresting civilians and democracy, and peace to the country;
Gameessa koo yaa Abbaa Daamaa My hero, owner of Dama (name of the horse)
Oromookoo yaa Abbaa Daamaa my Oromo, owner of Dama (name of horse)
Oromookoo yaa Abbaa Daalee my Oromo, owner of Dale (name of horse)
Oromookoo yaa Abbaa Shaanqoo my Oromo, owner of Shanko (name of the horse)
Soori Farda kee qopheessii get your horse ready,
Eeboo kee qarii sororsii, sharpen your spear,
Gaachana fannoo irraa buusii, take off your shield,
Roorroo didee sirra marsee enemy refused and surrounded you
Maalif duuta mana teessee? why are you dying at home?
Hachalu‟s songs have been closely linked with the of unity, Oromo are dying at our home. Hence,
anti-government resistance that started in 2015 and through his Geerrarsa, Hachalu tried to unify the
the 2016 Ethiopian protests. Hachalu helped Oromo people and encourage them to resist
galvanize the groundswell of movements from 2016- oppression.
2018 or the Oromo protests that forced former Prime Hachalu Hundessa‟s song on the concert made dread
Minister Hailemariam Desalegn to resign. He in TPLF. He told to Oromo as solidarity and fighting
criticized fragmentations among Oromos in his songs against the oppressor is the only way to freedom as
as “maalif duuta mana teessee?”. Because of a lack follows;
Alaa eegaa, Do not wait for help to come from outside,
Hin abjootin abjuun taane, a dream that doesn't come true.

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Kaasi Farda keen lolii, rise, make your horse ready and fight,
Arat Kiilof situ aanee”. you are the one close to Arat Kilo (the palace).
After he expressed all the persecution of his people came to the office, the displacement of Oromo from
by the regime overtly through OBN live to the public, the Somale regional state and the Somale special
one of the TPLF founders and Former Ethiopian force attack on Hararge Oromo intensified.
Broadcasting Authority Director Zaray Asgidom Two months after Dr. Abiy took office, Hachalu was
called a media conference and he highly criticized invited by the government to perform at a concert
OBN after the song broadcasted live. Zaray said, held in honor of Eritrea‟s President Esayas Afeworki,
“How does Oromia television [OBN] broadcast as who was visiting Ethiopia for the first time since the
Oromo oppressed and such kinds of songs through end of a border war between the two neighboring
public media?”. Former Oromia Broadcasting states. Hachalu proved to be as independent and
Corporation board chairman and Amhara regional fearless as ever, singing the single song “Jirtuu?”
state communication head reacted to the critics of about the need to achieve justice for people who had
Zaray and other media-related issues. been killed in conflict in eastern Ethiopia between the
Consequently, Hachalu‟s song increased the tension Oromo and Somali ethnic groups, and questioning
between the Ethiopian People‟s Revolutionary how a concert could be held when families were
Democratic Front (EPRDF) dominated by TPLF, and grieving. This work makes more it increased his
ODP (Former OPDO) because the song was popularity (Gemechu, 2011).
broadcast through public media. Hachalu is a hero 6.2.1. Addressing Displacement and Human
who speaks the truth to his people without fear. Just Violations of Hararge Oromo
before his death, on June 22, Hachalu gave an When President Esayas Afeworki visited Ethiopia,
interview to the Oromia Media Network (OMN). He Hachalu performed at the Millennium Hall (the same
said “ani sodaa qofan sodaadha” means “I fear only hall where Esayas beat his chest to chants of “Issu!
fearing itself”. He never relied on the interests of Issu!”). Many expected Hachalu to stick to the script
individuals or parties other than his people. So, that is and sing praises to the new prime minister and his
why Hachalu left in the heart of all Oromo. guest, and not air his grievances in the presence of a
6.2. Hachalu’s Geerrarsa on the concert held in foreign dignitary. But Hachalu sang songs about the
honor of Eritrea President Esayas continuing oppression of the Oromo People,
Afework’s visiting Ethiopia after the end of particularly Hararge Oromo. Hachalu considered that
the Ethio-Eritrea border war stage as a good and biggest opportunity to address the
It was the time after Dr. Abiy Ahmed was elected as pain of his people. Hachalu made history again at a
Prime Minister of the Federal Democratic Republic concert held in honor of Eritrea‟s President Isaias
of Ethiopia in 2018. Within months, he had released Afeworki in Millennium Hall. He addressed by his
thousands of political prisoners; unbanned song and activism what was ongoing in Hararge by
independent media and opposition groups; fired the Somali regional state special force of that time.
officials implicated in human rights abuses, and made He said in his song;
peace with neighboring Eritrea. However, after Abiy
Akkamiin rafnee bullaa, how do we sleep,
Fulduraan osoo eegnuu, while we wait ahead,
Diinni boroodhan galee. the enemy entered through the backyard.
Kunoo Mi‟eesson galee, here comes Mi‟eesso,
Rasaasan nu waxalee. they struck us with a bullet
Kunoo Cinaaksan galee, here entered Cinaaksan,
Rasaasan nu waxalee --------”. they struck us with bullets
This Geerrarsa highlights land dispossession and human rights violations faced Oromo of Hararge in the Somali and
Oromia-Somali border. Through powerful lyrics and emotional melodies, he amplified the voices of the
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marginalized and oppressed, bringing attention to their plight and demanding justice and equality. Hachalu sent a
great message to the government as follows on the stage;
“Nurraa dhoowwi yaa Lammaa Stop it from us, Lema
Nurraa dhoowwi yaa Abiyyi stop it from us, Abiy
Nurraa dhoowwaa yaa biyyaa stop it from us, you all
Yookan Qeerrottan iyyaa” unless, I shout at the Qeerroo (Youth)
Hachalu said, “If the government couldn‟t stop sovereignty of the country. Some of Hachalu‟s songs
ongoing displacement and human rights violations on were political in their orientation, arguing for or
Oromo of Hararge and others, I will invite Oromo advocating political change and reform in Ethiopia,
Qeerroo (a group of youth who played a great role in some of them arguing more specifically for Oromo
sweeping the oppressor group Tigray People concerns, Oromo grievances, and Oromo rights.
Liberation Front (TPLF) from office and brought Hachalu spoke truth to power, sang truth to power,
political reform in Ethiopia)”. and had the distinct ability to read the political
Finally, a day after this message, the Federal landscape and come up with a language and poetic
government jailed the President of the Somali expression that spoke to people in a way that no
Regional State for the ongoing human rights single artist has done in the past. Hachalu was the
violations in the region and the displacement of the brother of all Oromo youth and the son of all Oromo
Oromo ethnic group from the region. fathers and mothers. He became the voice for all
6.2.2. Revealing the Role of Oromo and Oromo Ethiopians in general and Oromo in particular
Heroes in Nation and State Building regardless of color, zone, and religion. He sang as
Hachalu also addressed as Oromo has been playing a follows;
tremendous role in building and keeping the
Manni keenya holqaaree, our house is not in a cave,
Tabba guddaadha malee, It‟s on a big mountain, though,
Oromoon yoom biyya diige, when did the Oromo dismantle the country,
Biyya ijaare malee. they built it
The Oromo have been at the forefront of political (Addis Ababa) into Oromia by displacing Oromo
movements in Ethiopia. Particularly, the recent farmers around the city. The protests quickly spread
Oromo protests, which began in 2015, played a to other parts of the country and eventually led to the
significant role in the political reform in Ethiopia. resignation of Prime Minister Hailemariam Desalegn
The protests were sparked by the government's plan in 2018.
(Master Plan) to expand the capital city, Finfinne
Dhiigni Qeerroo inni jige, The blood of the Qeerroo (youth) that fell,
biyya jigde kaasekaa, raised up a fallen country,
Galma dhugaa ijaaruf, to build a common consensus,
Galma sobaa raasekaa, it shake the false narration,
Qeerroo from the whole parts of the Oromia region resulting in the coming to power of Prime Minister
emerged to stop the accumulated humiliation, Abiy Ahmed.
decimation, and marginalization of Oromo people He was Oromo‟s tank to fight against injustice and
through strong peaceful struggle in the Oromia region marginalization. He was too much brave. He never
particularly since 2014. Qeerroo sacrificed their feared to talk about the oppression of his people.
unreturned soul to voice the accumulated grievances Hachalu Hundessa‟s works are long-lasting. They
of the Oromo people and bring the current transition live through generations and forever. Their
to Ethiopia. The Qeerroo movement was instrumental basements are the truth and feelings of the Oromo
in enforcing a change in leadership in Ethiopia, people. Even, I understood the power of art from his
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works. Hachalu, to show his love for his people, sang the following;
Lubbuu biliqa baatuf, for a soul that dies suddenly
Maafan gola naanna‟aa, why am I going around the village
Saba koof falmee du‟een, I struggle for my people,
Taddasaa Birruu ta‟aa, to become Taddasa Birru,
Waaqoo Guutuu koo ta‟aa, to become my Wako Gutu
Biyya koof falmee du‟een, I struggle for my country,
Oliqaa Dingil ta‟aa, to become Olika Dingil
Balaay Zallaqaa ta‟aa, to become Belay Zeleke
Zallaqaa Qilxuu ta‟aa, to become Zeleke Kiltu
Biyya koof falmee du‟een, I struggle for my country,
Abdiisaa Aagaa ta‟aa, to become Abdisa Aga
Saba koof falmee du‟een, I struggle for my people
Bakar Waaree koo ta‟aa, to become my Bakar Ware
Laggasaa Wagii ta‟aa to become Legesse Wegi
These above-listed heroes in Hachalu geerrarsa have Aduwa, securing Ethiopian sovereignty. The victory
played a significant role in bringing democracy and had different political and historical significance for
protecting the sovereignty of their country. They being the first overwhelming defeat of a European
have fought against oppression and injustice, and colonial power by African forces during the colonial
have worked to promote peace and unity. Hachalu era.
praised these heroes who lost their lives while Even if Adowa's victory was a victory of a Black
dreaming and fighting for freedom, justice, African force over a White European army globally,
democracy, and the development of their people and there are disparate views regarding its interpretation
their country. Hence, it is our historical obligation to in general and the contribution of the Oromo people
continue the struggle that these heroes started. in particular. The conquered peoples had paid a high
According to the message of Hachalu‟s Geerrarsa, we price for Ethiopia to preserve its independence.
have moral and national responsibilities to achieve However, existing literature suggests that all
the objectives for which our heroes sacrificed their Ethiopians, nations, nationalities, and peoples did not
lives. get equal recognition even if they had their
7. Hachalu’s song on the 123rd Adowa contributions and roles in the Aduwa victory. Mostly,
Anniversary even if marginalized groups played a pivotal role in
Adowa's victory is considered one of the great the battle of Aduwa, historians have hidden the
symbols of African Independence which Ethiopia got contributions of historically marginalized groups
victory over Italy. As Pankhurst, (1990) and Jeff including the Oromo. Concerning this, some argue
(2017) cited in Kena (2021); that the contribution of non-Abyssinian ethnic groups
The year 1896 was considered by historians a to Aduwa victory is minimized and this brought an
decisive year for both Europe and colonial powers in absence of clear understanding of the issue. However,
general and Italy and Ethiopia in particular. It the reality on the ground is that all Ethiopians had
brought the end of “the might is not right” for the contributed their roles in reality but historians fail to
reason that Italy was defeated by Ethiopia at the give equal recognition. This brought confusion and
battle of Aduwa. As far as Aduwa is concerned, it is debates which varies from place to place and from
the March 2nd holiday on which Ethiopians both time to time (Kena, 2021).
abroad and internally commemorate Ethiopia's Paradoxically, the roles of the Oromoo ethnic group
victory over Italy in 1896, at a place known as in the Adowa victory were not recognized in the past.

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Due to this, Adowa's victory has contradictory patriotism, and pride among Ethiopians, reminding
meanings as it has different connotations for different them of their rich history and the sacrifices made. His
people (Kena, 2021). The narration of this history is contributions helped keep the memory of Adowa
full of bias and the role of Oromo war leaders in the alive and strengthened the Ethiopian national
Adwa war is miscalculated for century. However, identity.
there has been a significant change over time, 7.1. Lion Share of Oromo Heroes in Battle of
particularly, between the Pre-Hachalu song (pre- Adowa
2018) and Post Hachalu song on the 123rd Adowa The Oromo horsemen played a crucial role in
victory celebration. His geerrarsa told us about the defeating the Italian forces at the Battle of Adwa. Led
contribution of the Oromo in nation-building and by Oromo military leader Gebeyehu Gurmu, they
keeping the sovereignty of the country. contributed significantly to the Ethiopian victory
Hachalu is a much-matured artist in reading and (Kena, 2021). Their bravery and determination
understanding about the politics and history of helped to ensure the independence of Ethiopia (Fana
Ethiopia. He used his music and lyrics to and Yonas, 2021). Hachalu revealed the role of
commemorate the historic battle of Adowa, which Oromo generals (war leaders) in the battle of Aduwa
resulted in Ethiopia's victory against Italian colonial as follows;
forces in 1896. Hachalu's songs inspired unity,
Garasuu yaa ilma Dhukii Garasuu, a son of Duki,
Ilma Walee Walisoo the Son of Walee Walisoo,
Eenyu abbaa ishee irraan dheensaa from whom I flee,
Sittan ba‟e anisoo I look like you
Daj. Geresu Duki was born in Waliso which had been invasion. Daj. Geresu Duki was known by the
the epicenter of the Oromo Protests in December nickname Abbaa Booraa (the name of his horse).
2015. Daj. Geresu Duki is remembered as a patriotic Hachalu added the role of Belay Zeleke who is
leader who fought bravely against the Italian widely remembered for his courageous efforts in
occupation and he was a military commander who defending his country from the invading Italian
played a significant role in fighting against Italy's forces during the Second Italo-Ethiopian War as
follows;
Balaay Zallaqaan kaasaa I talk about Belay Zeleka,
Dhiira Roorroo hin sarminee, A man who does not say okay for enemy,
Alagaa garaa gubeen, I burned the heart of the foreigner,
Lammii koo garaa raasaa to makes my citizens happy
Belay was born in Wollo, Ethiopia. In 1935, Italy against the Italian forces and became a symbol of
invaded Ethiopia. Zeleke felt the need to defend his resistance, inspiring the entire country with his
country and led a heroic movement against the courage.
occupation in Gojjam. Belay Zeleke used various Hachalu mentioned in his geerrarsa about the role of
military strategies to fight against the Italians, Dejazmach Balcha Safo known by his horse-name
including ambushes, raids, and hit-and-run tactics. He Abba Nabso was an Ethiopian military commander
also established a network of informants and spies to who served in both the First and Second Italo-
gather intelligence on Italian movements (Samson, Ethiopian Wars. Hachalu sang about Dej. Balcha
2019). Belay Zeleke, also known as Abba Koster by Safo as follows;
his horse‟s name. He fought valiantly in the war
Ka‟een Baalchaa koo faarsaa, I rise up and praise my Balcha,
Gootaa biyya isaaf duulee, A hero who fought for his country,
Isa Tuulamaa ka‟ee He went from Tulama,

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Isa Finfinnee ka‟ee, He went from Finfinne,

Reenfa faranjii tuulee. He piled up enemies‟ death
Despite being retired, Dejazmach Balcha Safo and became a symbol of resistance, inspiring the
returned to active duty and led Ethiopian forces entire country with his courage was Colonel Abdisa
against the Italian invaders. He commanded the Aga. Oromo International Hero Abdisa Aga, led the
Ethiopian army in several key battles, including the Allied Forces in Italy, Germany, and Yugoslavia
Battle of Adwa in 1896. Dejazmach Balcha Safo‟s during World War II, liberating cities and earning
(Balcha Aba Nabso) bravery and heroism led the international recognition as a hero (Tola, 2009).
Ethiopian army to the symbolic victory of Adwa Hachalu Hundessa explained the role of Abdisa in his
which ignited resistance all over Africa. Geerarsa as follows;
Another Oromo war leader who participated and
fought valiantly in the war against the Italian forces
Ka‟een Abdiisaa kaasaa, I rise up and praise Abdisa,
Abdiisaa Aagaa koo kaasaa, I praise of my Abdisa Aga,
Isa Macca irraa ka‟ee, he went from Mecha,
Isa Wallaggaa ka‟ee, he went from Welega,
Diina biyya weerartee, the enemy invaded the country,
Haleelee bakkaan ga‟ee, he attacked and back to their home,
Gaafa Faranjiin qabdus, even when the enemy arrested him,
Tooftadhaan jalaa ba‟ee, he got away with it tactfully,
Maalifan faarsuu didaa, why do I refuse to praise?
Qooda isaatu adda ta‟ee his part is unique
Colonel Abdissa Aga was born in Welega. He joined Second World War. Abdissa was hailed as a hero for
the Ethiopian Army around the age of 14 and fought his courage and leadership during the war. Even
against Fascist Italy in 1936 in Ethiopia. more, Abdissa is a great hero who waved his
Unfortunately, Abdissa ended up in the hands of the country‟s flag proudly while entering and capturing
Italians, who were armed with weapons far superior the city of Rome. Even after his death, the unsung
to his own. Consequently, he was taken as a prisoner hero Abdissa is still remembered for his acts of
of war and transported to Italy through Asmara. He bravery, heroism, and patriotism (Chala, 2022).
was captured and imprisoned in a concentration camp For many years, the role of the Oromo in the battle of
on the island of Sicily in Italy. He broke out from Aduwa has remained unrecognized. It was raised in
prison and recruited other pow prisoners to fight various songs and writings as a certain group‟s
Mussolini's Fascist regime (Taylor, 2022). victory. Before Hachalu‟s song, Adowa victory is
More importantly, Colonel Abdisa is well considered as it has no relation with the Oromo
remembered for leading a multi-nation resistance ethnic group (Kena, 2021). In response to such biased
movement in Italy. Abdissa Aga not only worked to history that was being written and sung, he listed his
protect Ethiopia from the Italian forces but also was a bold and hollow words and sang as follows;
leader in the effort to weaken fascist Italy during the
Eenyu paastan gowwoomee, who was fooled by pasta,
Eenyu buuphan gowwoomee, who fooled by egg,
Akka biyya gurguree, and sold the country,
Eenyu isa irra ce‟ee who crossed over him,
Akka Aduwaa dhaqee, and went to the battle of Aduwa,

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Eenyu akka baandaa ta‟ee who became a gangster and

Dhiiga dhiiraa gadi naqee, shed the blood of heros,
Har‟an falmee sirreessaa, I‟ll resist and fix it today,
Seenaa karaa irraa maqee a history which is biased
The Oromo people played a significant role in the Hachalu Hundessa and his friends accompanied the
Battle of Adwa, but their contributions have often celebration of the 123rd anniversary of the Aduwa
been overlooked or downplayed in historical festival with horses and celebrated in a unique and
accounts. This has led to accusations of bias and unprecedented manner. Hachalu brought back the
erasure. Some historians deliberately minimize and history of Oromo heroes that had been hidden for
sometimes even hide the active roles that Oromoo many years. Hence, to correct such biased history, the
heroes played in Adowa victory. These historians try generation should play its part rather than expecting
to argue that Adowa victory belongs to Abyssinians unbiased history from outsiders. He sang as follows;
only.
Seenaa ofii himannu malee, Unless, we tell our history,
ormi nuuf hin himu outsiders will not tell for us,
Ni du‟a malee they will choose to die than tell us the true
Hachalu stated that unless you tell your history, no Oromo have been playing a major role in building
one else can tell for you and this is true particularly this country and protecting it from the enemy by
as far as the nexus between Oromoo and Adowa shedding their blood and breaking their bone. To
victory is concerned. If one talks about the Adowa reveal this, Hachalu sang at the concert as follows;
victory, it would be impossible to forget that they are
Oromos who fiercely fought the force of Italy.
Biyya dhiigan suphinee, we repaired the country with our blood,
Biyya lafeen ijaarree, we built a country with our bones,
Kanaaf ciccinee lollaa, that is why we fight hard,
Akka Diinni nu hin nyaarree to not be defeated by an enemy
Oromo paid a price in state formation in several made a marked shift in the course of Ethiopian
ways. Hence, the current generation is responsible for history during the European colonization of Africa.
protecting its sovereignty and pass to the next Ethiopian particularly Oromo horsemen and patriots
generation. defeated a well-armed European power at the battle
7.2. Horses as a Tank on Battle of Adowa of Adowa on 2 March 1896 as demonstrated in the
As Dereje (2022) stated at the battle of Adwa (1896) 123rd Adowa anniversary organized by the prominent
Oromo cavalry horses were also on the frontline at Oromo singer Hachalu Hundessa at Meskel square in
the battlefield as generals and soldiers against Italian Finfinnee on 2 March, 2019. Hachalu songs about the
imperialism which finally concluded by Ethiopian role of Oromo horsemen in the battle of Adowa in the
victory. Oromo used horses in great battles. Horses Concert „Lammiin Lammiif‟ as follows;
Nuyii miti Farda keenyaa, not only us, even our horses,
ni beeku bareechanii, they know accordingly
gaafa gaarren Adowaa, when the Aduwa mountains,
gaafa lola Adowaa, when the battle of Aduwa
gaafa Maqalee sanii, on the day of the Mekele
The Oromo horsemen and war leaders played a maneuverability to the Ethiopian forces. Their
crucial role in the Battle of Adwa. They served as knowledge of the terrain and their prowess in
skilled cavalry units and provided mobility and horseback combat were vital in navigating the rugged
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terrain and launching strategic attacks against the Biography: Mr. Kebede Lemu is a Lecturer of Social
Italian troops. Anthropology and Postgraduate Coordinator of
Conclusion Social Sciences and Humanities at Bule Hora
The power of music to fight discrimination is a University. He got his MA in Social Anthropology
testament to its ability to connect and inspire people, from Hawassa University, Hawassa, Ethiopia. Since,
promoting empathy, understanding, and social 2015, He has taught at Bule Hora University in
change. Whether through its messages and themes, its Ethiopia. During his career, he has published one
ability to empower marginalized communities, or its book and eleven articles in international journals. Mr.
role in promoting cross-cultural understanding, music Kebede served as a reviewer for several journals and
has the potential to play a vital role in the fight for conferences. Most of his paper has focused on
equality and justice. As artists and musicians conflict resolution mechanisms, developments,
continue to use their voices and talents to fight gender issues, and Indigenous knowledge.
against discrimination and promote social justice, the Acknowledgments: I would like to express my
power of music to inspire and transform the world special thanks to my wife Mrs. Aregash Eticha Sefera
around us is sure to continue for generations to come for her time and efforts she provided throughout the
Hachalu effectively utilized his songs to promote months to accomplish this study. Your useful advice
unity, love, and solidarity among Oromos. has no and suggestions were really helpful to me during the
expired works. All of his songs are long-lasting research‟s completion.
because of their basements. All rely on the truth and Authors’ contributions: Kebede Lemu Bekelcha
his people. Since his childhood, Hachalu Hundessa completes the writing of the article. The author read
has paid the price to fight against injustice and and approved the final manuscript.
oppressive regimes of the Ethiopian People's
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