The major aim of the present study is to sociologically analyse Jaarsoo's poetryrnFinna San Gama (Beyond Adversities) set in the social, cultural and economicrnimmediate milieu of the Oromo and in the current sociopolitical matrix of therncountry. The study is mainly concerned with the poetic content analysis ofrnJaarsoo's poetry using appropriate methods. In this regard, in Chapter II, thernstudy attempts to consider available theoretical concepts which are thought to bernhelpful in a sociological analysis of poetic contents and in answering questionsrnof literary and sociological nature raised in Chapter I. Similarly, those relatedrnstudies that describe the need for a sociological study of Oromo literature arernincluded. Thus, primarily, the study attempts to make the descriptive assessmentrnof the ethnographic and literary background that informed the poet and hisrnworks. Data were collected using structured and unstructured queries, notetakingrnand tape-recordings. The task of transcription and translation of the datarnwas accomplished under a close supervision of informed Jaarsoo's audience bothrninside and outside Boorana.rnIn Chapter III, the study tries to show impacts of the geerarsa genre. Thernintention was to establish some generic characteristics of Jaarsoo's poetry FinnarnSan Gama (FSG) set within the geerarsa genre, particularly the Booranarndhaaduu recitative war poetry. Based on its subject-matter, geerarsa can bernviiirncategorized as traditional (time-free) and contemporary (time-bound). Therntraditional time-free geerarsa includes historical songs in praise of Oromo tribalrnwarlords. Historical songs tend to be contemporary songs of their own timernsince they compose local political and social events of their own time. Otherrntraditional geerarsa songs are: hunting songs (e.g. gooba), songs of war ofrneconomic interests like the Boorana dhaaduu or the Arsi suunsuma, and songsrnof success or failure in finna/life. Contemporary geerarsa are those personalrnnarratives or praise songs historically transformed into prison/protest songsrnfollowing the dynamic sociological situations of the Oromo. This transformationrnmay mark the transitional period of Oromo literature, transition from what hadrnhitherto been mere praise song to a political song of some kind. Both therntraditional and the transitional Oromo oral genre, doubtlessly the geerarsa,rnmust have paved the way towards modern Oromo literature which is expected tornhave a great didactic role in directing current Oromo sociopolitical life situationrnin some way. The geerarsa genre and the dhaaduu recitative war poetry haverninfluenced the content and performance of Jaarsoo's Finna San Gama I-IV inrnwhich the poet recites issues of resource-based conflicts, nationalism, and socialrnand development topics, as analyzed in Chapter IV. Based on the genericrninterpretation of thosernpopular genres, geerarsa and dhaaduu, FSG can be classified as the Booranarndhaaduu recitative poetry. In data analysis the poetic contents of FSG arernixrndelineated based on their subject-matter, function, and context. Thus, the resultrnof the study indicates, like contemporary geerarsa, FSG focuses on differentrnsubject-matters (sociopolitical, cultural and economic), not just on war eventsrnunlike the traditional dhaaduu recitative war poetry. The significant role of thernuniversal Oromo geerarsa and the Borana dhaaduu in the content analysis ofrnJaarsoo's poetry set in the Oromo current sociopolitical context is therefore thernaspect that a sociological analysis can reveal.rnKey Words/Phrases: generic transformations, resource-based conflicts,rnsocial and development issues, issues of nationalism