ORAL SONGS IN THE CULTURAL RESISTANCE OF SALAALEE OROMOO

Melese Ejara. Mekdela Amba University (Wallo)College of Social Science and Humanities Department of History and Heritage Management. ...................................................................................................................... Manuscript Info Abstract ......................... ........................................................................ Manuscript History Received: 24 March 2019 Final Accepted: 26 April 2019 Published: May 2019

The main objective of this paper is to collect and analyze oral songs in the Cultural resistance of Salaale Oromoo. In the history of written literature of a given society, poetic compositions constitute one of the most important elements of the literature. One of the ways in which these poetic compositions are expressed is through songs by individuals or bands. In one way or another, the songs by individual vocalists or bands express the life situation of the society. The contents of the songs might be political, economic or social. In line with this, through oral songs, the Salaale Oromo expressed how much their incorporation with Ethiopian empire brought about significant socio-economic and political changes with far reaching consequences. The researcher found that the lives of slaves were better than that of Salaale gabbar under the four distinct political systems namely: Menilik II, the imperial, the Derg and Tplf. Besides commenting on the military regime, oral songs also advised the Oromo to have patience if they wanted to use their language for public purposes. The Salaale internal migration to Arssi and Baale has been repeatedly described in their songs. In Salaale, heroes are celebrated and their deeds retold as a role model through songs and folklore. The purpose of these oral songs is to portray the extent and form of the economic subjugation of peasants. They also show the peasant protest and social critique about local official's confiscation of land, corruption and policy change. In dealing with the paper, qualitative research methods (narrative and descriptive research methods) have been used. The necessary data for this study were collected from primary and secondary sources. The data from primary sources were collected during field work. On the other hand, secondary sources relied on documents that used before and after fieldwork. As a result, the study is the product of two types of works; library and fieldwork. The main purpose of this study, hence, is to produce academic research in the cultural heart land of Salaale Oromo. Little has been done on this subject. Hence, the researcher has recommended that oral songs should be appropriately collected and recorded. Efforts should be made to preserve and maintain oral songs as cultural heritage as well as history. Studying oral songs contributes to the recording and preserving of the Oromo literatures that is part of the oral literature of the region .In such a way, it would have significance for academic The Salaale are also well known for their tradition of geerarsaa, which is the song of the brave men. Thus, the study of historical oral song and poetry is an important field of research in Oromoo literature but it has not been systematically investigated specifically on the various genres of Salaale oral song and poetry that was handed down through generations. On the other hand, the oral song and poetry of the Salaale people is an unexplored genre. One finds only a few studies in such a widespread and most functional genre. As a result of this condition, it becomes very important to study the oral songs which have long been used in the area and to preserve them in a way which would be helpful to see the people's thought, feelings, beliefs, hopes and desires as well as their way of living in general through subject matter analysis.

General objective
The general objective of this study is to collect and analyze oral songs in the Cultural resistance of Salaale Oromoo.

Specific Objectives of the Study
The specific objectives of the study are: 1. To collect historical oral songs and poems dedicated to Salaale heroes; 2. To collect historical oral songs and poem dedicated to patriot (1935-41); 3. To analyze oral songs according to their central ideas and contexts; 4. To suggest better ways of preserving possible ways how the existing historical oral song; and poems handed down through generations. Methodology:-

Methods of Data Collection
The data has been collected by using primary as well as secondary sources. In order to compile out data for this research, different methods and procedures have been used as briefly discussed below. The heroic recitals employed in the study are collected using interviews, participant observation, recordings, and documents.

Field Research
To gather data in the field research in Salaale, interviews, observations, and recorded documents have been used. For the interview, the purposive selection is made to select elderly people who have rich knowledge of the local history and the study area. This is because a historical song is not every man's practice. It demands a gift to compose, memorize, and perform it on certain occasions with the right manner of acting. The interview is done to learn the prominent occasions and functions of heroic the song in the area.

Observation
Observation is made to see how people react during historical songs and to have the whole picture of the environment. These in a way help to the understanding of the meaning of the songs easily. Though the researcher did not get the chance to attend any heroic songs recited in a real context, in his four months stay in the field, he uses his experiences, and audio and video records taken in the real contexts for observation. That is to say, the researcher is from that area. He had the opportunity to see heroic songs performed at various special events. In fact, two years ago he had made his own records of heroic recitals in the real context.

Documents
Published and unpolished sources (books, articles, journals, theses, and others) have been utilized for the research.
Most of these sources were obtained from Addis Ababa University (AAU) (Institute of Ethiopian Studies (IES).

Oral Songs in Resistance of Salaale Oromo (1870s-1900s)
There is ample evidence that the influx of Amhara into the region of Salaale brought about frequent wars and clashes, which were expressed by the widespread emergence of several rebellions. Conflict over the economy particularly between the early settlers and those who came later was one of the main reasons that contributed to the rise of Bulloo Galgal, Ashee Ruufoo, and Goshuu Gissillaa. 5 The local community for his resistance against Ras Daargee has remembered Bulloo Galgal. 6 The conflict was said to have occurred when Ras Daargee ordered his servants to cut down the waddessa (juniper) of Bullo Galgal from his ritual place to construct Fiche Gannat Georgis Church. According to Wakene Frew, until 1900, there were more than 374 churches established between 1800-1900 in Korra -Merabite, Kuyyuu-Aboote, Midda, Insaro, Wuchale, Girar Jaarsoo, Debralibanos, Darra and Gullale. The neighboring Oromo also strongly challenged the establishment of these early churches because the churches were built near or at the Oromo ritual and political center. 7 Their firm resistance and strength remembered well in tradition as follows:

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In some instances, the Oromo around Salaale did actually chase priests and threatened them in several times. That is why it came to be said essarraan araara buftii qeesiin garaadhaf duuti. Literally means priest cannot bring peace rather than dying for food. It was during the expansion of kiristinaa (baptism) in Salaale, the local populations of the area sang a warning song against Ras Daargee as follows:

Afaan Oromoo Gloss
Gattiraan baalaa Juniper is a leaf Baalatu muka leafs can be a tree Kiristinnaan maalii what is the meaning of being Christian? Yaa Daargee dubbadhu dhugaa you Daargee speak truth. 9 As oral tradition indicates when Ras Daargee encountered with Goshuu Gissila (the local chief of Salaale) in 1870s, Daargee came up with "negarit" (literally, drum) and said to Goshuu ገ ብረ ኝ). Then Goshuu responded in his mother tongue: "hin gabbaru; hin gabbaru". This literally means, "I never pay any kind of tribute to you" neither in cash nor in-kind.
Following his refusal, Daargee ordered him to construct the gibbii (palace) at Fiche. When Goshu presented the issue for the public, they responded better to die than to cut trees and construct the palace. Hence, these factors made Goshuu Gissilla to be fugitive, particularly in the area covered with dense forest and surrounded by foothill so-called Darroo Birbisa Goshuu. 10 In Line with this, Alemseged asserts that Goshu took refuge in a cave to live with wild animals than submit to enemies. 11 Their conflict came to end when Daargee's armed forces exiled to Hawaxo to capture Goshu's force. Goshuu died at Botor and buried at Faalloo Mikael in Gindabarat. 12 It was during the course of struggle; Goshuu Gissillaa produced the following poem: Afaan Oromoo Gloss Jabana koo fardaa lafaa lolee tanan during my reign I fought with infantry and cavalry Dadhuma dhugee garuma bulee I drink honey wine and I lived luxurious life Jabanni kee gandaan na labe yaa Birruu You Birru, your reign filled me with instability, chaos. Similarly, Assefa Teffara collected sang a song that commemorates Goshu for his heroic endurance as a bandit:

Some Historical Oral Song of the Salaale from (1935-1941)
According to many studies, the occupation of Italy regarded as liberation when compared with the former exploitation of the people by feudal lords. This might be true for the poor Oromo tenants and gabbars because the Italians were abolished free labor service. 14 Because of this, the Italians appreciated among the Oromo as tola faraanjit balleesse (the feranj eliminated free service). 15 Sources indicate that many Oromos' did not resist the occupation of Italy between the years 1935-1941). However, in Salaale the situation is reverse. This might be true in Tekletsadiq Mekuria work that Shewa was a double of Gojjam and Gondar in the aspect of the patriotic

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Ethiopia, many of Oromo in Salaale did not get the necessary recognition for their contribution. 23 This situation led to the rise of many shiftas' (bandits') throughout the 1940s for the reason that they were participated in the war of liberation but remained without acquiring maderia land. During this time, the local governor of Salaale was Dajjach Demise Segu, son-in -low of Ras Kassa. As is evident from the next song, the local people became victims of government violence than the bandits' male violence. This is because the Waajjuu peoples never condemned social banditries for the reason that they were well aware as it was for economic and political emancipation. They condemned Demise Segu as follows: During the imperial regime, the gabbar cultivated the Kudad (hudad) and delivered the entire crop to landlord. It was tetari or Zagi who collected one third of the produce from gabbars land as a tribute for landlord, and another tenth to the state as tithe. 25 The peasants of the area worked one day for ploughs, one day for sowing, and two days for weeding and two days for gathering the harvest per year. Informants unanimously agreed that the major source of this problem was zagii or tetari. The tetari or zagii elected from gabbars to serve as intermediaries between balabat and the gabbar. Zagii or tetari either guess the crops standing on the field or collected before threshing based on their relationship with gabbar. Most importantly, it was during that time, the local people of Salaale produced poems to disapprove zagii or Tetatri as follows:

Afaan
Afaan oromoo Gloss Abbaan Lafaa maal nu ballesse landlord didn't harm us Kan nu ballesse taxaridha but it was the viceroy of the landlord who harmed us Yaa taxari mila kaboota You the viceroy, a man with sprawled leg Kanarra maaluma nu gootaa you could not do anything than this Bishaan qarssaara gadi yaa'u the river flows on the surface of the rock Yaa taxaari you the viceroy Yaa ilma haadha gadi raawuu. 26 you an idiot man.
The torturing rude word"ilma haadha raawu", sadly demonstrates some deep-rooted hateful social order in Salaale. In addition to this, Dachasa also collected oral songs concerning to the maladministration of the people under the agent of zagii (the mediator of landlord). Biyya taa'uuf zagituu hammatee to live in my village the agent is wicked Lagga Gibee busaatu hamatee to cross the Gibé River malaria is hostile Biyya kafaa karaatu fagaatee to go to Kafa it is too far Kan Iyyeessaa rakkinuma taatee. 27 for the poor it is too problematic.
From the above proverbs, it seems that the peasant feared disease resulted from malaria in the Gibe region. In Salaale, more than others, Amdee Abarraa evicted the people from their land to Arssi and Baale. One of our informants evicted from his land tell us: "we are displaced soon, our grazing land and farming land has been taken 1270 by Amde Abara for rearing domestic animals and it seems that the animals are more important than us." When the Shewan Amhara rulers appropriated their land, the Salaale sang as follows: Ati yaa Amdee Abarraa you, Amde Abara Maaf qotte maasaa lagarraa why you cultivated the arable farm lying on the waterway Silaa hiyyeessa fixxee lafarraa you dislocate the poor Si haa gaafatu ayyaanni warraa!. 28 May their ancestral spirit judge you and penalize you. Abbaa lafaa yaa bara beekaa You the landlord who knows the rule Gatiin kaloo barana meqaa How much is the price of hay this year? Kan durrati Birrii sadeeti it was merely eight Birr in the past Barana immo dhibba sadeeti it skyrocketed to 800 Birr this year Hintane kaa ulee waliirra keenyaa it is unfair, we will see each other raising our stick Kan bahu Birrin Keenyaa. 29 the fine from our asset.
Informants claim that the lives of slaves were better than that of Salaale gabbar because the slaves work for his landlord who at least feeds him whereas gabbar vice versa. 30 It was during that time the local Oromo of the area expressed the change that happened to them. The song is expressed in the following way:

Afaan Oromoo
Gloss Akka jedhe qottuun qotiyyoo as the farmer plowing with ox states Qoteen orma nyaachisa I plow and fed the alien (the landlords) Dhaheen orma ilaalchisaa I thresh the crops and made my yield to be seen by alien Abet yaa jiruu Salaale Oh the miserable life of Salaale Jiruun too akkana taatee the fate of my life is like this Hooloota sardiidni nyaate the sheep were eaten byfox (landlords) Garbuu jaldessatu nyaate barely was eaten by monkeys Jaldessi maal na balleesse monkey has done nothing to me Anatu ofirratti goobsee. 31 it is I myself that elevated them to this position.
What is important to know from the above song is that the peasant sang not to accuse animals instead it was deliberately aimed to show how much they were exploited by feudal administrative system.

Afaan Oromoo Gloss
Atoobisin Baale ilaalee the car will travel to Bale Ana jiruun natti hin taanee I unable to bear any more burdens Nagaati yaa biyya abbaa koo Good by my father's land Jette ijoollen Salaale said the youth tenants of Salaale Siif ba'e biyyaa sif ba'e you the landlord, I left my land for you, here it is Yoo sardidni irboo sif hire if foxes share a quarter for you Yoo hadaan olla siif ta'e If the plants being your neighbors Yoo Jaldeessi ciisii sif tahe if the monkeys become tenants for you Yoo mujjaan midhaan siif ta'e if grass family renders grains for you Siif ka'ee biyyaa siif ka'ee. 32 I have left my estates to you. In case of the tenants abandoned their farmlands and went to another place, they were not in the position to ask the landlord for compensation for whatever they had left behind. 33 It was during the eviction of Salaale Oromo to Baalee, Arssi and to some degree Wollaga specifically Horroo Guduruu and Jimmaa from their ancestral land, the Salaale sang a song in order to express their quuqaa (grievance) to the Shewan Amhara while praising Arssi, Baalee and probably others. When they were ready to migrate, they sang as follows: Birraa daraara hadaanii a flower is flowering during the spring

The place of Agarii Tullu in oral songs
Agarii remembered a lot from his young age how the Salaale peoples were evicted. To the feudalists, Agarii was a man who had bad character, an elegant bandit, and a grave danger to their power and well-being. That is the reason Haile Selassie's security commands attempted to arrest him. Later, the government put a reward of vast farmland and firearms to anyone who could capture or kill Agarii. 37 In order to arrest Agarii Tullu, Fitawrari Muluu Asanuu presented a request that if he and his followers got a firearm known as Dimotfor; they would capture him. 38 At that time, the people of the area sang the following warning song to Muluu Asanuu:

Afaan Oromoo Gloss
Agarii Tulluu dalga kaachisaa Agari is galloping the horse in horizontal way Hin dhaqin yaa Muluu don't confront, you Mulu Agariin udaan nama nyaachisa Agarii will defecate you Eelen kan sibiilaati the best oven is metal oven (2) Yeroon gali yaa muluu go to your home on time, you Mulu Agarii Tulluu dhirsa dhiirati. 39 Agarii is the heroes of hero. Like the above song shows, heroes are celebrated and their deeds retold as a role model through songs and folklore. Along with ashkaris like Burruusee, DabaleeTasammaa and others, Muluu started to search him in different districts 1272 of Kuyyuu, Hidhabu Abootee, Giraar Jaarsoo, Degam,Yaayyaa Gullallee and probably other. Some days later Shaalaqa Agari Tullu and Fitawrari Muluu Asanuu encountered in Lemman Sillaasee district and began to fire one other. At this, some of the Fitawrari Muluu Asanu's partisans were killed and others were wounded while the rests were exhausted. 40 In that regard, the Salaale peasant sang a song to the force of Muluu Asanuu as follows: Afaan Oromoo Gloss Muluu rabbitu baasee God saved the life of Muluu Dabalee Gurrarran yaasee Dabalee narrowly survived from Agarii's bullet Burrusee dheeffatu baasee Burruusee run away Qawwwee Awraajjaa gachisiise throwing the rifle of Awraja Yaa Agarii yaa abba bubbee Agarii, you are like wind speed Situ albaase Muluu mataa shurrubbee. 41 It was you threatened the long-haired Muluu.
From the above song, one can simply see that Agarii openly resisted the landlords in Salaale particularly in the areas like Dagam, and Kuyyuu. Agarii could not continue his resistance in Salaale and escaped to Wallaga. The song below, attributed to Agarii, a soon as he marched to Wallaga, Naqamtee. As Ethiopian News Agence (Addis Zemen) preserved in the IES and oral sources confirmed that Agarii who instigated the Salaale farmers to stand up for their rights and challenge the feudal lords eventually hanged in 1970. He was hanged in a broad day light in the town of Dagam along with his two brothers. 43 Assefa Tefara has collected songs regarding one of the brothers of Agarii, whose name was Jimaa Tullu. The song below, accredited to Agarii, shows that Jima was executed without any serious involvement in violent banditry like Agarii, and to some extent, like Hirko: Informants: Habtamuu and Adinoo Gaarradoo 43 Ethiopian News Agencies "Ageri Tulu Siklet Teferadabat."Adis Zaman,(Megabit 29,1962 E.C.); also informants: Habtamu Senbata and Shimalis Kabbee.
The three brothers were hanged on the same day in Hambiso, Dagam, in Salaale.

The place of Assefa Shaaroo Lammii in Oral Songs
Like Agarii Tulluu, Asaffa was the well-known hero from Salaale who became Shifta at the age of 25 years. Like Agarii Tulluu, he grew up as the son of gabbar giving labor service for the lords with his father Lammii Hata'uu. He knows the oppression and exploitation of the regime because he grew up under such conditions. Initially, in the year of 1955, Assafa fled away from Nyoke or Laga Harbuu, his original homeland to a place called Bakkalchoo and later to Holqa Shakakkee (Shakakkee cave) to escape and save his life from enemies that is landlord. Assafa had strong relations with the majority of Salaale people particularly with the people of Warra Jaarsoo and Kuyyuu districts, who loved and supported him. 45 These people assisted him by providing essential information to him secretly. They also provided food and drinks for him at their both home and cave. The local people of the area recommended Agarii and Asaffaa Shaaroo Lammii not to loot, the property of innocent people in the whole Salaale with the exception of those who expropriated the Oromo land and subjugated the masses. Here is a word of warning from peoples:  47 we eat only the fruit of sweat. Along with being successful in some goals of his struggle against oppressive rules, he faced many challenges and problems. This challenge mainly resulted from local landlords who considered his struggle often as the main obstacle to their land lord policies. For instance, the problem he encountered was while he spent as a bandit. During that time, the local landlords of the area whose name was Sibaat Tuuraa tried to assassinate him by shooting a gun bullet against him and caused damage on his right leg. Another challenge that faced Asaffaa was while he was in prison. 48 While he was in prison, his family highly suffered from inadequate food and threatened by the landlord. It was during that time his father sang a song as follows:

Afaan Oromoo
Gloss Asee Shaaroo Lammii you Ase Shaaroo lammii Nan qotamoo nan haramaa I either plough or weeding? Yookan qotii qallabadhuu you had better plough to feed your offspring Yookan gosattin galadhuu or else divides your offspring among your clans Ani tiyyaayyuu dadhabee. 49 I am unable to feed mine. 44

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During that time, the governor of Salaale was Dajjach Galataa Qorichoo. According to local informants, the major crimes punishable through Afarfaataa were animal theft, robbery, house burning, assault and sometimes murder. 50 Likewise, the shanacha (shanee) were responsible to have the sense of hearing, argue, legally examine cases and finally gave judgments. 51 However, social institutions, afrfaataa and shanee were not just a judicial procedure and became great obstacles to Assafa Shaaro Lammi. Whenever officials of the emperor loot bull and sheep, the mislane erroneously prosecute him as thief .Mostly afarfaataa held on either Sunday or Saturday. The Salaale rulers appointed mellkanya, chikashum and mislane to their administration. They were responsible for keeping peace and order in village. 52 Dejjach Gelata Qorichoo who was appointed as governor of Selale later became unpopular, considered like blood sucking man and never gets satisfied. 53 And he accused by the peoples of Selaalee for doing the act of corruption. 54 In line with this, the peoples of Salale sang a song to show their dissatisfactions to him as follows: 1275 Karchaamallen qabaamu didee and the bus cannot be controlled Yaa barataa it is you, student Situ mala kana fidee. 58 who brought this sort of opposition.
The monopolization of land by landlords, during the imperial era was not radically challenged until the year 1965. The state thereby effectively abolished the feudal traditional institutions of rist and gult, and took over the control to distribute access to land through Peasant Associations (PA). 59 It was during that time in Salaale to show how the 1975 revolution considerably influenced the livelihood condition of landlords, peasant shows their past grievance through sang a song against them and praised the Derg regime as follows: Afaan Oromoo Gloss Darguu qoobiin saleenii you Darguu who hat crown plate Abbaa Lafaa nyaatte sareenii the dog scoff the landlord Darguu yaa daraggamaa you Darguu who squeeze the landlord Loolan malee unless revolt Lafti hin argamaa. 60 how it could be possible to control to access to land. Similarly, Alemseged Debele collected similar song that shows the living condition of landlords and their families in Salaale Awraja as follows: Afaan Oromoo Gloss Yaa galabaa shamaamee oh! the straw of wheat Situ gamaa addaataa is white from distant Yaa intala balabaataa you the daughter of landlord, Situ daaraa fakkaataa. 61 you seems like ash.
After Darg came to power, all things were changed due to land proclamation of 1975. Some few Balabats turned in to shiftas (local outlaws) and fought for a time being. Regardless of their resistance, landlords were demolished. Muluu Asanuu who was the representative of Salaale Oromoo tirelessly fought against the Derg regime. This was because before the Derg regime came to power, Mulu had a political power position. 62 For instance, according to oral informants and various archival sources, Muluu elected as a member of parliament to represent the Salaale peoples with a candidate symbol of tiger representation. 63 What is important to note here is that Muluu had been playing an important role since he elected as a parliament member. This makes him struggle against the military regime (Derg). Initially, the Worada governor peacefully asked him by sending the elders like Warquu Dabale, Dabale Korma, Zawde Arado, Waqtola Balcha and Adugna Robi together with seventeen milishas as arbitrator. The failure to surrender Muluu Asanuu peacefully prompted the Derg to use forces. It is said that the frequent violence in Darro goes back to the time of Gooshuu Gissilla, the great grandson of Muluu. He and his ancestor's firm resistance and strength remembered well in tradition as follows:
The Ilamu clan played a vital role in capturing and giving essential information about Mulu because he killed them and confiscated their properties during and after Italian occupation for they participated in giving essential