In Memoriam: Ali Mohammed Bira: Life, Freedom, Legend

 In Memoriam: Ali Mohammed Bira: Life, Freedom, Legend

In July 2012, I visited Ali Mohammed Bira, a trailblazer Oromo music craftsman — vocalist, writer, and artist — who basically rehashed Oromo music, in his home in Pickering, Ontario. Ali has a chair roosted on an arrival toward the finish of the main stairwell to the second level of his home to sit in front of the TV. While having a discussion about the inserted implications of his verses, we discussed how his life story should be composed. At last, he and I concurred that his approved memoir ought to be named: Ali Mohammed Bira: Life, Freedom, Legend.

Upon the arrival of his passing, the Oromo country commends his life, honors his melodic profession which rotated around the subject of freedom for the Oromo public, and grieves the legend that currently left us.

Ali Bira the man carried on with an unprecedented life. Ali Bira the craftsman constructed a vocation that is the stuff of legend. Two characteristics recognize him from his companion and replacement melody craftsmen.

"His verses generally address the occasion, making sense of occasions and cycles, guiding limitation when difficulties are out of control and empowering fight when political effect appears to be conceivable"

The first is the melodic style he spearheaded. From the get-go in his life, Ali played the Oud, a fretless stringed lute-like instrument. At the point when he enlisted in an Ethiopian military music band, he played guitar that he tuned as an oud. This development established the groundwork for Ali's special music that joined Oromo customary diatonic scales with Indian sounds and Bedouin beats, consequently blasting another way for the tone, tenor and surface of contemporary Oromo music. Thusly, he made Oromo music that mixes a rich and variegated embroidery of African, Center Eastern, and South Asian tones and articulations.

The second particular of Ali Bira's music is his socially inserted verses which he sent to illuminate, teach, prepare and lead the Oromo country into solidarity, freedom and social pride. His verses generally address the occasion, making sense of occasions and cycles, advising restriction when difficulties are out of hand and empowering fight when political effect appears to be conceivable. The subject of Ali's melodies generally centered around the commendation of the Oromo country and the freedom of individuals from mistreatment. Accordingly, his verses commended everything Oromo: the country, the land, and the native cosmology. Here is the English interpretation of a portion of his compelling tunes include:

Galma adda kenya eega seenaa keenya:

The store of our way of life, the defender of our set of experiences

The vanguard of our solidarity, and underpinning of our freedom

The Oromo language, the base of Oromo personality.

Barnoota, barnoota ammas barnoota:

Information, information, and information once more

Self-information is the Oromo objective

Bona fide information is established in history

Its source is our public legacy and the common culture

The Oromo language is the middle post and the pinnacle

It is self-information that will liberate us.

Karaan Galma Abbaa Gadaa Eessa?

Asabalehoo, gurraamaleho, which way prompts Abba Gadaa's yard?

I long to go there and sustain it, and afterward plunk down and portray its set of experiences.

We were ruined when we surrendered our way of life, our set of experiences, and our language

At the point when the poorly educated made us a fool, our sages saved us with their insight

Another person's staff might break, however Abba Gadaa's staff could never

We left our story untold, not on the grounds that the aggravation we endured is minor

We left our story untold, not on the grounds that our set of experiences was loathsome.

Goodbye, my adeero, my legend, Ali Mohammed Mussa Abdalla Mohammed Roobaa Torcoo Laftoo. You currently have a place with the ages, yet your music and verses will reside on.