In perhaps his most famous song Maalan Jira (What existence is mine?), he sings about the beautiful Oromo lands that have been taken. Hundeessa’s songs do not shy away from documenting the brutal history of the Oromo people.
His songs about the rights of the Oromo quickly made him a star and a political symbol of the Oromo struggle. In 2009, a year after leaving prison, he released his first album Sanyii Mootii (Race of the King). In the film we are told, “he came out of prison a storyteller able to awaken a pride in all of us”.
#SUBLIME SINGER HOW TO#
It was in this period that he learned about the history of Ethiopia and the Oromo, as well as how to make music. It is believed that for this he was assassinated in 2020.Īt the age of 17, Hundeessaa was imprisoned for five years for his political activities. A sublime singer-songwriter, Hundeessaa was a fervent activist in the Oromo Struggle and his songs became the anthems of the revolution. The new documentary Spear Through The Heart tells the tragic story of Hundeessa and how he inspired a revolution. It was feared that this move would accelerate the evictions of ethnic Oromos from their ancestral land. The decades-old struggle of the Oromo people for political and cultural independence came to a head in 2014 when the government proposed a development plan to expand the limits of the country’s capital, Addis Ababa, into neighbouring Oromo villages and towns. Historically, Oromos have been subject to persecution and marginalisation, which has led to them living on the periphery of Ethiopia’s political and social life. The Oromo are the largest ethnic group in Ethiopia, and represent well over a third of Ethiopia’s estimated 120 million people, mostly residing in the federal state of Oromia. I compare this with My Right Self, an online photonarrative project that uses the excesses of transgender sublimity to imagine and represent alternate wor(l)ds.So sings Haacaaluu Hundeessaa to his people, the Oromo, in the song Waa’ee Keenya (Our struggle), calling on them to take action against centuries of oppression in Ethiopia. The final chapter critiques the “wrong body” trope found in psychological and medical literature, as well as in transsexual autobiographies that follow the Bildungsroman structure. Man” occasions an incitement to discourse about how the sight of a pregnant man renders viewers speechless: speechlessness being symptomatic of a representational limit that signals the transgender sublime. Chapter Three analyzes trans man Thomas Beatie’s online autobiographical account of his pregnancy that is accompanied by a photograph of his pregnant body. Through mobilization of categorical and representational excess. I argue that by recoding binary-gendered institutional practices, such programs re-contour social imaginaries HIV-prevention strategies in public health worlds. The second chapter is an ethnographic study of a trans-specific harm reduction program that negotiates binarygendered “transgender umbrella.” I identify the manner by which it represents, in visual form, the taxonomic excess that conditions transgender sublimity. In the first chapter, I critique a widespread educational model called the Insofar as it demands an interpretive practice based on “shimmering” mobility, this phenomenon harbors a transformative potential: a politics of transgender sublimity promotes categorical excess as a means to enable new modes of subjectivity. Health settings or popular culture-that can overwhelm perception and unsettle familiar ways of knowing. Former lead singer of the band Sublime Died of a heroin overdose shortly before the release of Sublimes first major label album (3rd album altogether). I theorize the effect of proliferation as the “transgender sublime” to account for encounters with representational excess-whether in public
Produces representations of rapidly shifting embodiments and identities that exceed sex/gender categorization. By contrast, I understand “transgender” as a proliferative matrix that Usage results in reductive models in medical and educational contexts, as well as closed narrative structures in literary and popular cultural depictions of trans-subjectivity and embodiment. Most often, the term transgender is used as a stable category of personhood, or, alternately, as an umbrella term that encompasses all sex and gender variance. Description This dissertation offers a corrective to limited interpretations of the category transgender across literary and medical discourses, as well as visual culture and new media.
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