The Last Odaa Tree

By Nicholas Kimble

In 1991, when silence broke the air,  

The Odaa Tree stood, wounded, yet still there.  

For years I was torn from the soil I knew,  

Where stories were shared and the elders grew.  

Once my language, my name, all were banned,  

As the winds of oppression swept through the land.  

But that year, the chains of silence were gone,  

And whispers of justice began to dawn.  

My limbs were scarred, but I stood tall and proud,  

A silent pillar, unbroken, unbowed.  

For refugees, warriors, for all seeking shade,  

I became their shelter, their refuge, their aid.  

From Oromia’s heart, my roots ran deep,  

Where wisdom and freedom in silence sleep.  

They painted my memory, their hearts full of grace,  

A symbol of hope, of strength, and of place.  

Though broken and battered, my voice still rings clear,  

I carry the stories that echo each year.   

The fight for justice, the battle to be free—  

I will not be the last Odaa Tree.

In my poem, I aim to celebrate the resilience and strength of the Oromo people, highlighting their enduring spirit in the face of centuries of marginalization and oppression. The poem reflects the painful history of the Oromo people in Ethiopia, where their language, culture, and identity have been systematically suppressed. Yet, it also celebrates the hope and strength that arise from struggle. By using the image of the Odaa Tree—a symbol deeply embedded in Oromo culture—I explore themes of endurance, survival, and the unyielding pursuit of justice, capturing the essence of their historical and ongoing resistance.

At the heart of the poem stands the Odaa Tree, both a literal and symbolic figure. In the Oromo tradition, the Odaa is a tree and a cultural pillar representing the Gadaa system—a democratic governance model rooted in communal decision-making and egalitarianism. In the poem, the Odaa Tree symbolizes the violence and trauma the Oromo people have endured. Despite its wounds, it remains standing, embodying the resilience and unbreakable strength of the Oromo. The line “wounded, yet still there” encapsulates the survival of their culture and identity despite centuries of violent suppression.

The poem also confronts the painful history of cultural erasure that the Oromo experienced under past regimes, particularly during the Derg era when their language and names were banned. The line “Once my language, my name, all were banned” reflects this profound trauma—an attempt to obliterate the Oromo people’s identity. The breaking of “chains of silence” in 1991, following the fall of the Derg military regime, symbolizes a turning point. The poem reflects this moment as one of renewal, where the “whispers of justice” begin to grow louder, signaling hope and the possibility of reclaiming cultural and political rights.

In addition to its historical significance, the Odaa Tree in the poem serves as a symbol of refuge and solidarity. Described as a place where “refugees, warriors, and those seeking shade” can find comfort, the tree highlights the importance of community among the Oromo people. This sense of collective strength has sustained them through generations of oppression. In a world where they have been isolated and marginalized, the Odaa Tree reminds them of their unbroken solidarity and commitment to each other.

In the final lines, despite the Odaa Tree being “broken and battered,” its voice “still rings clear,” symbolizing the ongoing fight for justice and freedom. Even after enduring violence and attempts to silence them, the Oromo people continue to resist, reclaiming their dignity. The tree’s voice echoes the stories of resistance and resilience, reminding us that the battle for justice is far from over. It is a testament to the enduring legacy of the Oromo people’s struggle for human rights and cultural survival.

The poem is both a historical narrative and a tribute to the cultural endurance of the Oromo people. While it recounts the painful legacy of oppression, it also honors their resilience and ongoing pursuit of justice. The universal themes of cultural survival and resistance against oppression resonate beyond the Oromo, speaking to anyone fighting for their rights and dignity. Ultimately, the poem is a tribute to the unbreakable will to preserve identity, culture, and human rights.

Voices and Visions, overseen by Student Life Editor Sofia Diaz, is The Graduate Press’ column that welcomes creative submissions that inspire and engage with social and political themes. Send your submissions to gisa.thegraduate@graduateinstitute.ch.

Voices and Visions, overseen by Student Life Editor Sofia Diaz, is The Graduate Press’ column platforming creative submissions that inspire and engage with social and political themes. Send your submissions to gisa.thegraduate@graduateinstitute.ch.