1903 irreecha festival at Hora Arsadi ,Bishoftu, Oromia |
This paper aims to shed light on the role of the irreecha festival in the expression of Oromo unity and national identity. It is said that a collective identity is constructed not only in and of its present life, but also in reconstructing the collectivity’s earlier life. I will describe the role of numerous pan-Oromo socio-cultural and historical symbols and artefacts which the festival has brought to light, in awakening the Oromo sense of belonging to a community. The pan-Oromo democratic tradition is reflected in the artefacts displayed in the irreecha parade, in the blessings of elders who officiate it, in the environmental ethics articulated and in the performances of artist who entertain the celebrants.
Elements of a reviving culture packed up in a festival
In the pre-colonial past, the Irreecha Birra marked the end of the rainy season and the beginning of harvest season. It is an Oromo custom to gather on the river banks and the shores of lakes, and give thanks to Waaqa (God) for all His bounty and pray for Nagaa (peace) and Araara (reconciliation) among humans and with God. Today, the festival has come to mark the end of the rainy season, and more. It marks the end of the cultural trauma which had affected the Oromo for about a century. It heralds and confirms that the time when the Oromo culture was seen as “pagan and primitive” is gone for good. It denotes victory over a history of cultural denigration.
The elders of the nation, their counsel and benediction
Like in the past, the haayyuu (elders, wise-men, the learned – both singular and plural) thank God and bless the nation as their ancestors did. They bless the nation; they remind their audience to uphold the Oromo ethics of safuu and nagaa (respect and peace), reconcile among themselves and pray to God to reconcile with them. Although many of the Oromo concepts, vocabulary and semantics the haayyuu use are archaic, the meanings of their blessing and sagacious counsel are comprehensible to their audience. The following is a rough translation of an excerpt from the counsel and blessing of a haayyuu who officiated an irreecha festival outside the city of Naqamtee in 2013.
Shall evil have no place amongst you?
Shall hate have no place amongst you?
Shall truth find you?
Is this your testimony before God?
Let peace be among all!
Let peace be among adults!
Let peace be among the youth!
Let peace be with the livestock!
He reminded the participants the connection that the occasion has with the Oromo heritage, and counsels and commands them to confirm the authenticity of the occasion. He asked them whether spirit of the celebration is aligned with the spirit of Oromo traditions as reflected in the laws of the five major Odaas: Odaa Nabee (in central Oromia), Odaa Bisil (in western Oromia), Odaa Bulluq (in north-western Oromia), Odaa Roobaa (in south-eastern Oromia), and Odaa Bultum (in eastern Oromia). He asked them whether the traditions of Madda Walaabuu are respected. The fiveOdaas were centers of the ancient gadaa republics where the Oromo met and elected their leaders and reviewed their laws and made new ones every eight years according to the constitution of the nation, and Madda Walaabuu was the seat of Abba Muuda, the high priest of traditional Oromo religion Waaqefannaa. The response of the audience is in the affirmative. This was followed by another moment of blessing which, roughly translated, said the following:
You shall not conspire against one another
You shall not betray one another
Let God be at peace with you
Let the Earth be at peace with you
The significance of this ritual is not that the counsel of the haayyuu is translated into action, but the historical and cultural knowledge it conveys and the consciousness it raises in the minds of the audience. The past is memorized and communicated not only by the haayyuu but is also stored and reflected in the array of artefacts and costumes that decorate the irreecha parade. Combined with sagacious words of the haayyuu, the rich symbols of the Oromo gadaa culture – that attire the multitude who march in total harmony – reveal the dignity and pride with which the Oromo nation is re-asserting its culture and identity.
The poetic interpretations of artists
The collective memories of the nation, preserved in the ritual and symbols, then expressed in the words of the haayyuu, are supplemented by young artists who herald the revival of their heritage with songs and dances. Some of songs, such as Galaanee Bulbulaa’s “Kottaa ni hirreefannaa, aadaa bade deeffannaa” – which means (“Come, let us celebrate Thanksgiving; Let us revive our banned culture;” Giftii Dhadhii’s Oromoon seera qabaa(“The Oromo have laws”); Abdoo Badhaasoo’s Irreecha irreeffanna (“We will celebrate Thanksgiving”); Gaaddisee Shamsadin’s Beenu Oromia,irreechi irree keenya (“Go on Oromia, irreecha is our power”); and Amartii Waarii’s Kottaa ni kabajna kuni aadaa keenyaa (“Come, let us celebrate our culture”), which were performed at the irreecha festivals and elsewhere, connect the Oromo present with the past. They herald the recovery, revival and survival of the Oromo culture from the destruction to which it was doomed by conquest and colonization. In short, they reflect the feelings which underpin the ongoing Oromo recovery from a century of cultural trauma. The “green” leitmotif of luxuriant vegetation and abundant water against which the artists perform, provides a symbolic connection with God and nature that suggest that the Oromo are and will be at peace, with God, and also with nature. Their lyrics imply that the earth, the forests, rivers, lakes, animals and all the other living things are both natural and divine. Their implicit message is that what hurts the eco-system hurts humans also.
The dynamics that are at work during the irreecha festivals and what the participants experience is more than what the eye can see or the ear can hear. It is a joy and sense of belonging and experience of being part of a community that cannot be expressed fully in words. It is more. What the participants experience is a resurrection of a nation and a reconstruction of collective memory through the festival and the array of artefacts it displays. The occasion creates a collective “reality” and history. This collective reality connotes a state of being of the same mind, sharing a collective memory about a shared past and, just as importantly, an aspiration for a common future. This is more than a product of individual perception or understanding. When asked by a journalist from China Central TV Africa (CCTV) what he was thinking about the irreecha celebration at the 2014 festival in Bishoftu, a young celebrant replied:
I have don’t have a word to express what I see or feel. I believe that that this is my culture and religion at the same time. This is what was forwarded to us by our ancestors; and it is what I will forward to my children.
This individual is not alone in having that “feeling” about the festival. His feeling is shared by other Oromo participants around him and those who watch the process on TV. They may or may not express what they see and feel with words, but most of them, share with him the experience that what they see is their culture symbolized in the festival. When human communities attach symbols to words, concepts and artefacts that signify their collective experience, they share a vision. A society cannot exist without a degree of this sort of vision shared by a majority of its members. The young respondent cited above says that what he sees is his culture and religion which was passed to him by his ancestors and which he will pass over to his children. In other words, what he sees reflects his identity and that of others around him. My point is that the irreecha festival is one of the ways in which the Oromo society “recognizes itself”, that is to say imagines, feels, experiences or knows about its own existence. As an occasion and venue for the symbolic expression of Oromo history and culture, the irreecha festival connects the Oromo to a common past through the tangible artefacts on displays in the massive parades.
It important to note here that the Oromo celebrate the irreecha irrespective of their religious backgrounds. Whether they are Waaqeffataa, Christians or Muslims, they participate in the festival. The moral counsel and ideals officiated by the haayyuu do not contradict the essence of any of the three religions. In fact, the haayyuu who officiate it are from all the three religions on most occasions. The festival unites the Oromo and harmonizes their thoughts and voices. It creates a “mental state” shared by the entire Oromo nation. Whether one interprets the occasion culturally or politically, the significance of the prayer, counsel and blessing of the haayyuu, and the songs of the artists in raising Oromo consciousness and unifying the nation cannot be overlooked. It is important to stress, however, the fact that the aim of the counsel of the haayyuu and the songs of the artists is not to “mobilize” the participants for collective political action on the spot. The occasion is to celebrate a tradition and its revival. The traditional Oromo ethics of safuu and nagaa, or respect for and peace with God, humans and the natural world pervade the atmosphere in which the festival is conducted. As I will explain in more detail below, the tranquility which the occasion demands is respected.
Tranquility underpinned by tension and ethically controlled anger
It is important to note here that the tranquility that has characterized the Bishoftu irreecha parade of millions of men, women and children during the last few years is not a sign that the participants are satisfied with their situation or the status quo. The tranquility reflected in the massive annual parades should not give us the impression that Oromia is a peaceful territory and that Ethiopia is a stable polity. In fact, the benedictions of thehaayyuu who officiate the festival are often underpinned by restrained feelings of dissatisfaction. The songs of the artists who entertain the participants contain anger felt against the prevailing political conditions. During the 2014 irreecha festival, for example, the prayers of the elders were marked by a feeling of grief for the Oromo students who had been cruelly killed by the agents of the regime because they were opposing the so-called Addis Ababa Master Plan. The “crime” for which students were killed, as we all know, was participation in a peaceful protest against the eviction of the Oromo people from their land en masse. The haayyuu were not calling their audience to make war, but praying for the restoration of justice, and for Oromo victory over all those who are harming or will harm them. Concern about human rights’ violations committed by the TPLF regime was also reflected through slogans which called for “Respect to Oromo humanity and sovereignty” and “Respect Oromo Rights to their Territory” from the crowd. In short, the bright colors, the melodious songs and entertaining dances we observe in