In Mexican-Ethiopian filmmaker Jessica Beshir’s Faya Dayi, khat is more than an important export product in a capitalist economy; she captures khat’s roles and meanings in everyday Harari life.
This ambiguous state of affairs, in which the Oromo were nominally free, whilst in practise still colonised, was one of the most dangerous and critical of times in their history.
If Oromo elites do not learn from the tragedy of the association, their fate in the 1990s will not be different from the fate of the leaders of the association in the 1960s.
The two revolutionary musical artists on which my discussion will focus on were born in opposite regions of Oromia. One was born in eastern Oromia, the other in the west.