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Part Three Exclusive: Teshome Mitiku Plans to Return to Ethiopia

Published by News Room August 19th, 2010 in Featured and Meditations. 16 Comments

Above: From left – The drummer Tesfaye mekonnen (Hodo);
guest singer from Asmara police orchestra, Teshome Mitiku &
Bass and sax player Fekade Amde Meskel of Soul Ekos Band.

Tadias Magazine
By Martha Z. Tegegn

Published: Thursday, August 19, 2010

Washington, D.C. (Tadias)- The last part of our exclusive interview with Ethiopian music legend Teshome Mitiku features his years abroad, his musician daughter Emila, and his plans to return to Ethiopia in the near future.

The artist, who is set to make a historic appearance at the upcoming Chicago Jazz festival, says he is also planning a trip home in connection with a documentary movie being made about him and his daughter by a German production company. The film entitled “Father to Daughter,” is about the transfer of music from one generation to another.

In last week’s segment, Teshome discussed the tense political climate of the late 1960′s that would eventually force him to abruptly leave Ethiopia for Denmark.

Click here to read part one.

Click here to read part two.

What was the first thing you did when you got to Denmark?

I took a cab from Copenhagen airport, and told the cab driver “Take me anywhere where they have music, club, bedroom and food” (Laughter). The cab driver took me to a place called British Pub. It was cold, there was a hotel and I slept for a while, got up and took a shower and dressed sharp in a nice Italian suit, and then went downstairs to get something to eat. I ordered steak and whisky (Laughter). A few minutes later the band started playing and more people started to come in and the mood was getting better and better. I moved to the bar stool and ordered another whisky. Later, I asked the piano player on the stage if I can sing with the group? They were stunned. Who is this guy? Who does he think he is? Then the piano guy said, “I have to ask the manager first.” I replied “go ahead and ask.” The funny thing is my character had apparently convinced them that I was some sort of royal. I was not aware of it at the moment but I was later to learn that it was not very normal in those days for a sharply-dressed black man to show up in a Copenhagen bar, order a steak and whisky and request to play the piano (laughter). They were not used to it. The manager came and immediatly asked, “Where do you come from, are you a Saudi Arabian prince?” (Laughter). They have never seen a black man dressed like that in their life. I was in a nice Italian suit. The manager said “Ok. Let me ask the band leader.” The band leader was named Stefan. He said “Okay, come on,” so I went up there and did some Nat King Cole song, I think it was Monalisa and about three more songs and people liked it and wanted more. Well, I said okay! Then the lady of the house, the boss, the owner, she came and invited me for a drink and asked me all about myself. I told her that I just arrived that morning from Addis Ababa, Ethiopia. And she asked me, “Would like to continue to play with the group?” I said yes. Then she formally introduced me with the band leader Stefan, who to this day is my great friend. There I was offered a job, free lodging, laundry and food. So I started singing there.

Wow, how long did you stay there?

I played at the pub for about three months. Then we had a show at a nursing college in Malmo, an international city in Southern Sweden. We stayed there for a while and I begun to contemplate to move to Sweden because when I was there I discovered that they have a great music academy in Malmo. I also learned that you have to be fluent in Swedish in order to attend the school. So I applied for language school in Sweden and they accepted me, that’s how I moved to Sweden.

How difficult was it to learn the new language?

It wasn’t difficult. People think language is difficult, but if you are a musician you shouldn’t worry about language. After I studied Swedish things became easier. I started reading the newspaper. I could communicate with people. So I went ahead and applied to the music academy. I took the test. My dream was to be a conductor. They accepted me at the music school. But I changed my mind and enrolled at the University to study sociology and history instead.

What led you to change your gear from music to sociology and history?

I did not leave music but I wanted to study more. I was in a state of mind where I was struggling with several personal questions. It was a transformational period for me. In a way, I was still maturing and still growing up. I have done music but I also wanted to fulfill the high hopes my father had for me in education. My father always emphasized the importance of getting an education. He was a lawyer, he knew law and loved academia. He was dissatisfied with the Ethiopian justice system till the day he died. Our house was made of intellectuals, we talked a lot (laughter).

How was school like for you in Sweden?

I lived in the library for so many years. I would get up 6 AM like a soldier and at 7 o’clock I am at the library reading. I would do that until 12 or 1 pm and take short lunch break and get back and read. I was a good reader. I used to read five to six books a week on all subjects including philosophy, psychology, history, you name it. Books eventually became my friends, my house is full of books. I can not go anywhere without a book. So, I wanted education and knowledge. I wanted to learn everything. Whatever it takes. I remember trying to push myself to understand Albert Einstein’s theory, “ if he can understand it, I sure can,” I would say to myself. I was pushing myself. That part of me still exists.

Does that mean you weren’t playing music then?

Oh no, I was still playing music. In fact, I was part of a 12 piece jazz band and we used to play on weekends in Sweden and even travel to different states. In summer I was playing Swedish polka. So I earned money as well. I also had a full scholarship for my education.

How were you able to balance all that – new culture, language, school, music, life?

It was a lot to process. The Music part was easy, it came naturally to me, it was part of me. However, school was a bit unnatural, out of my tempo, so I had to work harder at it.

What drives you?

What drives me? Curiosity, discovering the unknown drives me. I like being surprised through new knowledge. In my university life I was an A student.

Were you ever homesick? Did you miss Ethiopia?

I longed for Ethiopia. For me she is embedded in my heart. I love her. Yes, I was very lonely and always longed for my country. I would wake up in the middle of the night when everybody is sleeping and walk to the dorm where there was a piano. I would improvise until sun break. That’s how I released my homesickness.

I am going to ask you a sensitive question. Does this mean you haven’t seen your mom since you left forty years ago?

I have not seen my mother since I left Ethiopia, yes. I haven’t seen her, we talk on the phone…but I haven’t seen her and she always…her dream is to see me before anything happens. But, God willing we will probably see each other soon.

Do you plan to go back?

Yes

When?

Sometime soon (laughter). I have certain core principals that I cannot compromise. We have to have mutual respect for our cultural diversity. My wish for Ethiopia is peace, stability and prosperity based on just principals. I have confidence in the new generation.

Well, you are going to be very surprised. For example, your Sefer (neighborhood) Qebena is different. Even the river has dried.

(Laughter) Yes I know, Qebena doesn’t exist in the way I knew it, only Mama. But I will go there, hopefully, soon…

Let’s talk about your daughter Emilia, the Swedish pop singer. You must be proud of her.

I am very proud of her. I have no words to express it. I used to call her my pearl, my life, my everything.

Is she the only one?

Yes, she is the only one. She has given me a reason to live ever since she was born. She is very smart. Emilia speaks five languages French, Swedish, English, German and Spanish fluently. She got the linguistic part form her mom and the music part from me. She is my everything. My pride. We text each other all the time, we communicate often. She is based in Sweden but lives in Germany and Hungary. I wanted her to be a musician. I encouraged it very much. Even when she was a baby I used to play Tchaikovsky and Stravinsky for her. When she was just two years old, I put her on the piano and told her “This is what you will be doing all your life” (laughter). So she fulfilled that dream for me. I clearly remember the night when she won the Swedish Award. It is equivalent to the American Grammy. She won for best singer, best video, best composer of the year. I mean, I was excited. She was in Japan and watching it via satellite. I was here that night. I was so proud and happy. I picked up the phone and called Voice of America and declared that my daughter has done it, just as Abebe Bekila did it for Ethiopia (laugher) . I was so proud!

Does Emilia speak Amharic?

A little bit, yes. She used to go to Sunday school to learn Amharic as a child. But she stoped when her teacher moved to another place. She also used to take piano, and ballet. She was a very busy child.

Does she plan to do a show in the U.S?

Yes, she actually has an album coming up that will be released in the U.S. market. We are also planning an album together.

Why did you relocate to US?

Well, everything with me has to do with music. I came to visit my brother Teddy sometime in the early 90s. When I came here I was shocked. I never thought that such a large number of Ethiopians had migrated to this part of the world. I mean everywhere I went there were Ethiopians. I said to myself, “ What am I doing in Sweden? This is where I need to be. Then I went back to Sweden, discussed my idea with Emilia. I said “now that you are grown, it is time now for papa to go discover life” (laughter). I gave my apartment to a friend and I was gone. As soon as I arrived here, I got involved in a lot of Ethiopian activities, including music, fundraising for different causes. I became socially involved with the community. That kept me going. I am currently working on a CD.

When is that coming out?

Perhaps in December. I would like to get involved with a lot of musicians, both legendary and contemporary and mix it with American music.

You are scheduled to collaborate with the American Jazz band the Either/Orchestra at the prestigious Chicago Jazz festival in September. How did that come about?

The Either/Orchestra had re-recorded one of my songs called Yezemed Yebada and one day I was driving in the area and heard the song on WPFW radio. I am like, what is that? This is my song? So, I pulled over to the side and called the DJ at WPFW. I asked him, “who is the composer of the song?” He read the album and said Teshome Mitiku. I said: “You are talking to him now.” They were pleasantly surprised. I asked about the orchestra and they gave me information about them and the DJ said they were located in Boston. I picked up the phone and called the leader Russ, I told him who I was and eventually we became friends. He called me about a month ago and invited me to join the group for preparation in Chicago and Boston. When I rehearsed with them, it was a great feeling. The band is fantastic. Our show in Massachusetts was sold out. I saw a lot of people there that enjoyed Ethiopian music, friends of Ethiopia and Ethiopians. They loved it. We are now getting ready for the Chicago festival. I am honored to join the band; I am actually going to be doing a couple of more shows and we are talking about more future projects, I am excited.

Is there anything else you would like to share with our readers?

Yes, I would like to mention that a German production company is currently filming a documentary based on my life and Emilia’s entitled “Father to Daughter.” It’s about the transition of music from one generation to another. They are half way done. They came and filmed here. They have also been filming in Europe. Now, they want us to go to Ethiopia to complete the shoot. I plan to go. So that will be my first trip back to Ethiopia since I left four decades ago.

Is your daughter going with you?

Oh yes, but that will not be her first time though. Emilia was in Ethiopia last year. She was in the middle of preparing for the 2009 Eurovision Song competition and she was very nervous about it. So one day she calls me and she says: “Papa I have to go to Ethiopia to get a blessing from my grandmother before the contest. Can you come with me?” I said to her, “I want you to do that. I can’t come with you becasue I am working, but I want you to go.” So she did. She went to Addis Ababa straight to her grandmother’s house and stayed there for a week. So the two women call me up. My mother was crying, Emilia was crying. My mother said to me, “ Teshu now my life is fulfilled. Today is the happiest day of my life.” When Emilia was there she took a photo of my old house, the house I grew up in Qebena. When I saw that picture, it brought back so many memories that I had to write a song about it. It will be in my next album. It is called Enen Ayew (I saw myself).

Thank you so much Tehsome for your time and good luck.

Thank you so much to Tadias for giving me this opportunity to tell my story. You are the very first magazine that I talked to. I really appreciate your magazine and your writers, you guys are great. Tadias is one of my favorite Ethiopian publications. Don’t change anything unless you have to, let it change itself.

Swedish pop singer Emilia (Teshome Mitiku’s daughter)- You’re My World (2009)

Listen to Gara Sir Nèw Bétesh – song written by Tèshomé Mitiku and played by Soul Ekos

Debo Band Gears Up for U.S Tour With Fendika

Published by News Room August 18th, 2010 in Featured and Meditations. 1 Comment

Above: Debo band’s upcoming U.S. tour highlights Fendika, a
traditional Azmari group from Ethiopia. (Courtesy photograph)

Tadias Magazine
Events News

Published: Wednesday, August 18, 2010

New York (Tadias) – Debo Band, the Boston-based jazz collective which focuses on Ethiopian grooves, is gearing up for a U.S. debut tour featuring Fendika, a group of traditional Azmari artists from Addis Ababa.

Debo Band’s expanded 14-piece project will tour select American cities, including New York, Philadelphia, Boston, Richmond (VA), Chicago, and Milwaukee with expected highlight stops at the Chicago World Music Festival and NYC’s Joe’s Pub.

The band’s Ethiopian-American founder Danny Mekonnen said the concert has been a long-time coming. “Ever since we first worked with Fendika in Addis, we’ve wanted to share this collaboration with U.S. audiences…they are incredible folk performers who do what few have seen in this part of the world,” Danny said. “We also wanted the chance to host them in our country as they did in theirs.”

Fendika’s group leader Melaku Belay – the traditional dancer who accompanied saxophonist Getatchew Mekurya and the Dutch band the Ex at the historic 2008 outdoors show at NYC’s Damrosch Park – “has established himself as the top dancer in Ethiopia with more than 40 international concerts in the last three years, including performances at Chicago’s Millennium Park and New York City’s Lincoln Center,” the band said in a press release. “One of the most active artists on the Addis Ababa scene today, Melaku is an ardent supporter of Ethiopia’s diverse musical traditions and a savvy cultural entrepreneur who manages his own nightclub and is developing his own institute for the arts.”

This tour is supported by two new releases by Debo Band: Adderech Arada, the group’s first 7-inch vinyl record and Flamingoh (Pink Bird Dawn), their first EP. The live recording featured on Flamingoh documents the brief period around Debo Band’s trip to East Africa in Winter 2010, with performances from Sauti za Busara, Club Alize in Addis Ababa, and the Western Front in Cambridge. They also have a documentary, featuring their escapades with Fendika in Ethiopia and Zanzibar, and a full-length live album on the way.

“Fendika’s arrival marks a new chapter for us. I think our fans are going to get a kick out of the dancing, traditional singing and drumming, and we can’t wait till Fendika get here to begin working with them once more,” Danny said.

Melaku Belay with Getatchew Mekurya (Wednesday, August 20, 2008. Damrosch’s
Park, New York City. Photograph by Trent Wolbe / Tadias magazine events file image)

Video: Sauti za Busara 2010: Debo band

Related from Tadias Archives:
Video: Interview with Debo band founder Danny Mekonnen at L’Orange Bleue – NYC (2009)

Part Two: Exclusive Interview With Ethiopian Legend Teshome Mitiku

Published by News Room August 12th, 2010 in Featured and Meditations. 12 Comments

Above: From left – The drummer Tesfaye mekonnen (Hodo);
guest singer from Asmara police orchestra, Teshome Mitiku &
Bass and sax player Fekade Amde Meskel of Soul Ekos Band.

Tadias Magazine
By Martha Z. Tegegn

Published: Thursday, August 12, 2010

Washington, D.C. (Tadias)- Part two of our exclusive interview with Ethiopian music legend Teshome Mitiku highlights his reasons for his abrupt departure from Ethiopia forty years ago, his favorite song from that era and his experience working with Mulatu Astatke, the father of Ethio-jazz. Teshome is scheduled to accompany the Either/Orchestra at the 32nd Annual Chicago Jazz Festival in September.

Click here to read part-one.

You were a teenager when you started performing in clubs. How did your parents feel about that?

My father had already passed away. My mother was very supportive. My mother’s only concern was that I continue to go to school, but she never stopped me from playing, just worried about me. She is a great mother. She was a great singer too. She used to sing Bati, Ambasel, Anchi Hoye. Her words and lyrics were poetry and they are very touching. I mean I used to sit and cry as a child when my mother used to sing while she was washing clothes, ironing or cooking. So I guess my mother’s emotional singing had an influence on me. My mother was always my friend. As a teenager when I started working in clubs and begun making money, I used to take her to a hair dresser, to a café, piazza, everywhere and whatever she wants I used to buy. My mom always came first for me. So I have always done that, I still do that. She is a beautiful woman with a heart of gold. My mother loves her life, even today she tells me “as long as you are doing good I am happy.” What I really appreciate about her is she brought me up as a care-free kid. She allowed me the freedom that I needed. And when I left the country, I thanked her for it.

You left the country abruptly. When did you leave Ethiopia and why?

I left the country on January 27, 1970. The last few years of the 1960s was a very critical time in Ethiopia. Even though the music scene was upbeat, there was also an undercurrent of social discontent. We were not political at all, but we were very popular at the time and people used to come from all corners to watch us. I believe the security people had an eye on us. So, at the end what happened was that we did a show at the Haile Selassie University in Addis Ababa. That was, as I recall, the last major show I did in Ethiopia.

Why so?

Because they made it so, they made it the last time, it wasn’t me. When Soul Ekos band was performing at the University, there were about four to five thousand people there. I mean Lideta Adrarash (Hall) was packed; everybody was there. It was a period when students were engaged in open rebellion against the authorities. So the army and the police were there keeping an eye on the kids and the situation. So when we took the stage Seifu Yohannes did the first three songs. And when my turn came and I was warming up to do the usual popular songs, the crowed started to demand that I play Fano Tesemara. I replied “I cannot sing that right now, are you crazy?”

Why? Was it a political song?

Oh yes (laughter), Fano Tesemara was a political song (Fano Tesemara ende Ho Chi Minh ende Che Guevara). Then I said, I can sing it for you but can you handle what’s gonna happen afterwards? The kids shouted “yes Teshe come on.” And I said to them let me first sing Almaz Min Eda New. They would not have any of it. I mean they were demanding that I sing Fano first. Then I had to speak with the police about it. They were vigilantly watching, the army, the Kibur Zebegna (the imperial guard), all of them were there with their AK-47s. The security was literally on the stage. So I asked the army guy, “what do you want me to do now?” By then the students were already singing Fano Tesemara and they were saying Meret larashu (land to the tiler) and so on. I turned to the the army captain again. He said “Go ahead, you can sing it.” The crowd went wild.

You took a chance.

Yes I did, I was allowed to sing it, but that was the end of happy and innocent days for me. I never had any more peace after that. I was continuously harassed, investigated, and was suddenly asked to pay three hundred and fifty thousand Ethiopian Birr in tax. I was shocked. I said what? Then, once I was scheduled to perform at Zula club they came and took me to Sostegna tabia (3rd police station) and kept me for three days with all sorts of fabricated accusations. I had the sense that they were planning to put me away for good. That’s when I left Ethiopia.

Where did you go?

I had a visa for Sweden and Denmark, and I went to Copenhagen for a while.

Before we talk about your years abroad, what is your favorite Soul Ekos song from those days?

Woooooooow, wow wow, very hard question…they all hold special place in my life but I think Mot Adeladlogn I love the poetry. It is almost like Romeo and Juliet. It is romantic.

During your brief but illustrious career in Ethiopia, you also worked with several Ethiopian greats, including Mulatu Astatke. What was that experience like?

Working with Mulatu is like having a buffet of music. Mulatu is music himself. I have collaborated with him on many occasions. I worked with him way back in the 60s and later in the 90s here. We did Wolo songs together. I love working with Mulatu. He gives the singer or the artist a chance to express himself. He never competes with you or tries to push you. He always tries to understand the music first. Once he gets it, then he lets you express it. When you work with him it is you who is working. I wish I could work with him more often than I did.

This photo was taken at Bingo Club in Asmara in 1969. Shown third from left is Theodros ( Teddy )
Mitiku, the 9th person is Alula Yohannes and next to him is Teshome Mitiku. (Courtesy photo)

The band members and friends vacationing in Asmara, where they used to play on weekends at
Kangawe Station, an American Military base. Teshome is almost seated. (Courtesy photo.)

–
Part-three will be posted on Thursday, August 20th. In the remaining segment, Teshome discusses
his time in Sweden, his daughter Emilia, and much more.

Listen to Gara Sir Nèw Bétesh – song written by Tèshomé Mitiku and played by Soul Ekos

Swedish pop singer Emilia (Teshome Mitiku’s daughter)- You’re My World (2009)

Part One: Exclusive Interview With Ethiopian Legend Teshome Mitiku

Published by News Room August 5th, 2010 in Featured and Meditations. 28 Comments

Above: Ethiopian music legend Teshome Mitiku sat down with
Tadias for a wide ranging interview including his life and career.

Tadias Magazine
By Martha Z. Tegegn

Published: Thursday, August 5, 2010

Washington, D.C. (Tadias) – Teshome Mitiku has not returned to Ethiopia since his abrupt departure in 1970. In a recent exclusive interview with Tadias Magazine, the legendary artist who is scheduled to make a historic appearance accompanying the Either/Orchestra at the prestigious Chicago Jazz Festival in September, talks about his extensive music career, his memories of Ethiopia and his famous daughter, the Swedish pop star Emilia.

Teshome burst into Ethiopia’s music scene during a period in the 1960′s known as the “Golden Era.” He was the leader of Soul Ekos Band, the first independent musical ensemble to be recorded in the country. The group is credited for popularizing Amharic classics such as Gara Sir New Betesh, Yezemed Yebada, Mot Adeladlogn and Hasabe – all of which were written by the artist.

Prior to settling in the United States in the early 1990′s, Teshome spent over 20 years in Sweden, where he continued to hone his music skills, earn a graduate degree in Sociology, and witness his daughter grow up to become a Swedish ballad and pop music singer.

We spoke with Teshome Mitiku over coffee on U street in Washington, D.C. in what the artist says is his first exclusive interview since his hurried journey out of Ethiopia 40 years ago. The soft-spoken and humorous artist, who sprinkles his answers with sporadic laughter, discussed with us his distinguished career spanning four decades and three continents.

Here is part-one of our 3-part series, which will be published in weekly installments.

Teshome Mitiku, courtesy Photo.

You began your career as a teenager in an era known as “Swinging Addis.” What was
the music scene like in Ethiopia at the time?

It was fantastic. It was an upbeat time. The 60s was an era where things developed from one form of life to another. So it was a transitional period for the whole country. New ways of thinking and doing things were emerging in singing, playing, and producing. The big band era was giving-way to small bands including groups such as the Soul Ekos band, the Ras band, etc. Music instruments were changing as well. Everywhere you went there were groups playing, clubs were packed. I was still in high school at the time, but I was already playing in different clubs with several settings. Then we ended up forming the Soul Ekos band. For the last two years of the late 60′s, I played with this band, which was the most popular band in Ethiopia. Although more such bands have flourished, I don’t think anybody could replace that group.

You were one of the founding members of the band. What are your memories of Soul Ekos?

My memories of Soul Ekos band is just full of love. We were ahead of our time in many ways. We were very organized, disciplined, we had a manager and each guy in the band loved his instrument. There was no question of when to rehearse or how to rehearse it. We were playing in clubs, touring and taping. Our ideas of bringing about modern ways of playing music was getting popular. We did the recordings like Gara Sir New Betish, Hasabe, Yezemed Yebada, Mot Adeladlogn and many many more. Each one of us loved playing together. So what we did was that we rented a big house in Entoto, which had nine bedrooms and a giant living room.

So you guys also lived together?

(Laughs) Yes that is how much we enjoyed each other, we lived together. Each one of us had our own bedroom though (more laughter). We would get up at 7 o’clock and by 9 we were on stage in the living room for rehearsal until 1 o’clock, and we take lunch break until 3 and get back and rehearse until 6 then we go home. But home is where we practice so everybody did whatever they wanted to after 6. We saw too much of each other, but it never felt like that at the time.

Were you making enough money to support yourself?

We were the highest paid band. But we never placed money at the center, the music was our center. But we had income. I mean we were playing on weekends at Kangnew station in Asmara (then part of Ethiopia) and we used to play at hotels, clubs, schools, universities so the income was there. We were booked everywhere. We were flying left and right nationwide and internationally. We went to Sudan, Kenya all kinds of touring. We were a busy band.

Do you still keep in touch with some of the band members?

Yes, Teddy (Tewodros Mitiku) the saxophonist, is my brother, so we keep in touch. He lives in Maryland and I live in Virginia, so we meet and we call every now and then. I also keep in touch with Alula Yohannes, the guitarist we call each other on the phone we are even thinking of performing together. There was sort of a small reunion way back in 1995 but that reunion wasn’t really a soul Ekos reunion it was a reunion of guys playing in the 60s. So we got together and played at the Hilton here, it was the relaunch of my carrier in music. So, we might do that again. But some of our guys have passed away: the singer Seifu, the trumpeter Tamrat, the drummer Tesfaye. Among the original Soul Ekos band, only four are still living: Teddy, Fekade, Alula and I.

Members of the former Ekos Band: from the left Alula Yohannes, Tesfaye Mekonnen, Tamrat,
Amha Eshete (band manager), Teshome Mitiku, Feqade Amdemesqel & Tewodros Mitiku. (CP).

When did you start playing music?

I started playing music in zero grade. At the time they actually had zero grade (laughter). When you pass zero grade then you go to first grade. Zero grade was where you learned your ABC’s and after you master the basics then you pass to first grade. Otherwise, you can stay in zero grade for a long time. It is after completing Kes temhirtbet, fidel and Dawit that I landed at Haile Selassie day school (Kokebe Tsiba) in Kebena, where they put me in zero grade. When I got there, I already loved singing. I loved music. I remember while getting ready to pack for school I would listen to songs on the radio, and I would just stand there and listen to the music and be late for school. I had that much love. I especially loved begena and kirar instruments. I used to stand there and listen. I also remember some of the zebegnas (guards) in Aswogag Sefer area where they used to play accordions, flutes, washint and stuff so I used to sit there with the zebegnas while the class was waiting for me.

You have made up your mind then?

Yes, early on– and I used to drum around the village. So, when I came to first grade I had a chance to study under a Danish music teacher named Paul Bank Hansen at the Haile Selassie day school music class. They gave me an entrance exam on singing, rhythm, and the concept of music and I passed it. And Mr. Hanson, who was my teacher then, said to me he would like me to become a member of a group he was building. So, there were about 40 to 50 students selected for music education. My brother Teddy Mitiku was one of them, and some of the guys from our band Tamrat Ferendji and Tesfaye Mekonnen, etc, most of them are from there. So, my teacher’s wife, Margret Hanson, started teaching me piano. I went to her once and asked: “Mrs. Hanson, can you please teach me how to play this thing.” I was referring to the piano, the grand piano in her house. She was shocked by my question and said: “Oh I will do that but you also have to promise me something. You have to keep time and come everyday from 4pm to 5 pm and I will teach you piano.” So she used to buy me candy, cookies, there was a Coca Cola and other some soft drinks. I sat beside her and started playing. That’s how I started playing the piano and went on to learn trumpet, violin, and drums. But the trumpet, my father didn’t like it. He said it will probably hurt your lungs. But I used to get up at 6 o’clock and go to school at 7 to raise the flag, so the entire neighborhood will hear my trumpet. Then in the afternoon I will blow my trumpet again and put down the flag and return it to the director’s office and go home. I used to do that on a regular basis.

You are also a song-writer. What is the writing process like for you?

The writing process for me is based on happenings, what happens in your life. All these songs didn’t come out of the blue, each one of the songs got their own history and their own rhythm. Even right now too, writing is based on situations and conditions. It is the state of mind I am in. Most of the songs that I wrote are really a reflection of the condition that I was in at the time. Like Gara sir new betish, for example, is about our house in Kebena where I grew up. When I wrote it the title was kebena new betish, that was the idea. And the house where I was born in and grew up in Ethiopia was just right under the hill (gara) and Kebena river is right under the bridge very close to the water. So I was in a state of mind where I was unemployed at the time because of a disagreement I had with the owner of the clubs. So I used to stay home, sit at home on the balcony and drink Saris Vino. My mother used to say, “Teshu what are you doing? “and I would say “just thinking” my mother would respond “don’t worry everything will be alright.” That’s when I sat down and started writing about our home, school and the girls at school and everybody that I know around me. So I wrote kebena new betish and after I wrote that song I went to the band and said lets hook this up. The band loved it. Then I started working at a club again, when we started playing the song and everybody at the club loved it. I mean the whole setting was different, the orchestration was different, the beat was different and the singing style was different. And it just became tremendously popular, even today. A legendary song. I don’t think they can replace that song.

It’s been re-recorded so many times by different artists. How do you feel about that?

I love it. I love the young generation. You know, that is the reason we recorded it so the next generation can pick it up and change the style and play it in different modes. I really appreciate them. Other radios talk shows have asking me about it and I said it is good. I wish all Ethiopians were like that. We should renew the style and do it again. The song is very open and you can add anything you want to it. One just needs to invest a little time on it.

–
Click here to read part two: Exclusive Interview With Ethiopian Legend Teshome Mitiku

Listen to Gara Sir Nèw Bétesh – Tèshomé Meteku (Ethiopiques)

Swedish pop singer Emilia (Teshome Mitiku’s daughter)- You’re My World (2009)

Tadias TV: Spotlight on Photographer Aida Muluneh

Published by News Room July 25th, 2010 in Art, Featured, Meditations and Reviews. 6 Comments

Above: Aida Muluneh has been named the winner of the 2010
CRAF International Award of Photography in Italy. (Tadias.com)

Tadias Magazine
By Liben Eabisa

Published: Sunday, July 25, 2010

New York (Tadias) – Ethiopian photographer Aida Muluneh has been named the recipient of the 2010 CRAF’s International Award of Photography at a ceremony in Italy.

The 2010 prize, which was given to Aida by the scientific commission of CRAF, has previously been awarded to notable figures of the international photographic scene, including Charles Henri Favrod, Erich Hartmann, Henri Cartier-Bresson, Peter Galassi, Paolo Gasparini, Josef Koudelka, Joan Fontcuberta, Anne Cartier-Bresson, Naomie Walter Rosenblum, Alain Sayag, Margit Zuckriegl, Erich Lessing and Bernard Plossu.

“Aida Muluneh directs her attention as a photographer in particular towards the women of the African diaspora, concentrating on the bonds and the disagreements between the generations, the joys and the pains of life,” the organization said in explaining its reasons why it chose to honor the Ethiopian photographer. “Her subjects transmit, with a mixture of grace and power, the vicissitudes related to the phenomenon of the dispersion of the African people.”

The prize committee said the accolade is also a recognition of Aida’s continued efforts to establish a photography educational-institution in her native country. “In the year that CRAF has dedicated to Africa with the exhibit ‘Glimpses of Africa’, the International Award of Photography awarded to this young and very accomplished photographer – who is what’s more socially committed to the creation of a school of photography dedicated to young people, in Addis Abeba – is also intended to be in recognition of all of the young and emerging African photographers,” the group said.

In the following interview with Tadias.com, Aida talks about photography, working in Ethiopia, and her new book entitled Ethiopia: Past/Forward.

We note that photos displayed during her discussion of the book are not necessarily included in the book. The film clips and music, which accompany her interview, are part of the artist’s recent documentary movie also entitled Ethiopia: Past/Forward.

WATCH

The interview with Aida Muluneh was taped in New York prior to her most recent award. ( Kidane Films)

Photos: Ebullient Teddy Afro Celebrates 34th Birthday During NYC Show

Published by News Room July 19th, 2010 in Events, Featured, Meditations and News & Hot Shots. 17 Comments

Above: Teddy received birthday cheers from his fans during
his sold-out concert in New York on July 17, 2010 — Tadias.

Tadias Magazine
Events News – Photos by Kidane Mariam

Published: Monday, July 19, 2010

New York (Tadias) – Teddy Afro celebrated his 34th birthday during his sold-out show in New York this past weekend.

The artist, who treated the audience to a spectacular show on Saturday night, was greeted by his adoring fans with a chorus of “Happy Birthday” as he kicked-off his concert after midnight. Organizers say between 800 – 1,000 people attended the event. A number of people also stood outside unable to find tickets.

Teddy Afro kept his audience rocking for over three hours with powerful renditions of his iconic songs and his trademark message of love and unity: Fiqir Yashenifal – Amharic for “love wins.”

Ethiopia’s biggest pop-star also took the opportunity to introduce the founders of Color Heritage Apparel, which specializes in Reggae and Ethiopian wear, and announced a possible collaboration to develop a Teddy Afro clothing line down the road. Winston Jack, the head of the fashion company tells Tadias Magazine that they are exploring the idea but nothing is finalized yet. “It is still in the early stages of discussion,” he said. “We will announce it through a press release when it happens.”

Here are a few images from Teddy Afro’s concert in Manhattan, which took place at 630 Second Ave. on July 17, 2010.

Liya Kebede: Protests Aren’t What We Should Remember About The G8

Published by News Room July 13th, 2010 in Featured, Meditations and Opinion. 0 Comments

Above: Supermodel, actress, and maternal health advocate,
Liya Kebede applauds the G8 for its $5 billion commitment to
maternal health. Photo: Liya at the Usher Fragrance Launch.

Tadias Magazine
By Tadias Staff

Published: Tuesday, July 13, 2010

New York (Tadias) – In an article posted on The Huffington Post, Supermodel and maternal health advocate Liya Kebede highlights a topic that failed to garner media attention amid news of protests and arrests during the recent G8 summit in Canada.

“Something important was overlooked — critical progress towards saving mothers’ lives. During this meeting of the world’s top leaders, mothers were finally at the top of the agenda. Almost every death resulting from childbirth is preventable yet politicians have historically shown little will to save these women’s lives. Last weekend, the G8 leaders proved otherwise with a $5 billion commitment to maternal health. Not only is this great news for women across the globe, but essential for the health of their children and the future economic development of their communities,” writes Kebede, who serves as the World Health Organization’s Goodwill Ambassador.

“In Ethiopia — where I was born — most women still give birth alone. Medical facilities are often too far away, overcrowded or under-equipped to help them. Across Africa, dedicated health workers like the doctors at the Durame Hospital in Ethiopia struggle to serve too many with too little. The nurses, midwives and doctors at these hospitals are superheroes — they work tirelessly to save lives every day — but they cannot do it alone. With funding from the G8 and G20 countries, we can support these hospitals and set up clinics to serve isolated communities. For many women and children, especially those with health complications, this would mean the difference between life and death.” Read more.

Related:
Liya Kebede Makes TIME 100 List

Video: Supermodel Liya Kebede talks maternal health on Riz Khan – 11 Oct 2007

Watch: Interview with Meklit Hadero

Published by Tadias TV June 4th, 2010 in Featured, Meditations and Podcast. 30 Comments

Above: Tadias spoke with Meklit Hadero last week following
her recent performance at Le Poisson Rouge in New York.

Tadias Magazine
By Kidane Mariam and Tigist Selam

Updated: Sunday, June 6, 2010

New York (Tadias) – Tadias TV caught up with Meklit Hadero during her recent concert at Le Poisson Rouge in New York on June 1st.

The Manhattan appearance was a homecoming of sorts for Hadero, who spent part of her childhood in Brooklyn. She graduated from Yale University with a B.A. in Political Science before settling in San Francisco where she launched her music career in 2004.

WATCH
Video: Tadias’ Interview with Meklit Hadero

Tigist Selam interviewed Hadero at Le Poisson Rouge after her concert
with The Olatuja Project on June 1, 2010. (Video by Kidane Films)

The Ethiopian native, who left Addis Ababa as a toddler, tells Tadias she plans to return to Addis later this year to perform at an Afro-Roots concert. Her debut album On A Day Like This has garnered national attention with repeated highlights on NPR. Reviewers have compared her sound to that of Music legends Nina Simone and Joni Mitchell.

RELATED
Listen: NPR Revisits Conversation With Meklit Hadero

Meklit Hadero “Leaving Soon” music video from Salvatore Fullmore on Vimeo.

The Nun Pianist: Emahoy Tsege Mariam Gebru

Published by News Room March 20th, 2010 in Art and Meditations. 17 Comments

Above: Emahoy Tsege Mariam Gebru after performing for the
first time in 35 years in Washington, D.C. on July 12, 2008.
(File photo by Makeda Amha)

Tadias Magazine
Arts News

Published: Saturday, March 20, 2010

New York (Tadias) – The 85-year-old nun and renowned classical pianist and composer Emahoy Tsege Mariam Gebru, whose music has been popularized in recent years by the Ethiopiques CD series, is attracting younger audiences.

“Every time I have put this on at least three new conversions occur, where the listeners go on to permanently install this woman’s music on their stereo,” Meara O’Reilly notes in a recent highlight on Boing Boing. “My neighbor even stalked me once just so she could listen to it more, until I just gave her my extra copy.”

Here is the rest of Meara O’Reilly’s post:

Emahoy Tsegué-Maryam Guèbrou is a nun currently living in Jerusalem. She grew up as the daughter of a prominent Ethiopian intellectual, but spent much of her young life in exile, first for schooling, and then again during Mussolini’s occupation of Ethiopia’s capitol city, Addis Ababa, in 1936. Her musical career was often tragically thwarted by class and gender politics, and when the Emperor himself actually went so far as to personally veto an opportunity for Guèbrou to study abroad in England, she sank into a deep depression before fleeing to a monastery in 1948. Today, she spends up to seven hours a day playing the piano in seclusion and even gave a concert to some lucky ducks in Washington D.C. a few years ago. A compilation of her compositions was re-issued on the consistently great Ethiopiques label. You can read more about her life at the Emahoy Music Foundation.

Teff luck: What Has Piracy Got To Do With The Price of Injera?

Published by News Room January 31st, 2010 in Featured, Meditations and Opinion. 9 Comments

Above: The media never resists stories of sea attacks, but
there is another type of piracy that hardly gets attention:
the looming intellectual property warfare in Africa.

Publisher’s Note: This week we have feature opinion piece on
piracy, patenting, and intellectual property in the developing
world by contributing writer Nemo Semret.

Nemo Semret, who is based in New York City, is an individual
who is concerned about expanding the scope of intellectual
property among many other things.

Tadias Magazine
By Nemo Semret

Published: Sunday, January 31, 2010

New York (Tadias) – A few months ago, three Somalis pirates were at the center of world news as they haplessly tried to extort money from an American ship in the Indian Ocean. Three guys coming out of an anarchic isolated part of the world, risked their lives at sea. Two were killed and one now faces the death penalty in the US. Around the same time, three Swedes were found guilty of piracy — as in facilitating the sharing of copyrighted material on the Internet. In the widely publicized case of The Pirate Bay, a Bittorrent index service, three techies with the digital world at their fingertips, thumbed their noses at the law and faced, at worst, some time in the notoriously comfortable jails of Sweden.

The obvious analogy and contrast between these two stories is of course an easy target of ironic comment: piracy, old/new, physical/digital, poor/rich. But it also got me thinking about longer term connections. Indeed, which of those two events is more important symbolically for the future political economy of Africa? Which has more to do with the price of injera or ugali?

Armed men attacking ships at sea was a curious manifestation of the 18th century popping up in the 21st century. Western media and comedians in particular reacted to it as they would to a woolly mammoth buried in the permafrost of Siberia for 10,000 years suddenly thawing and starting to ramble around, Jurrassic Park-style. A pirate story is hard to resist, pirates captivate the imagination of kids, they make western adults feel smug about their own “more civilized” society where such things disappeared 200 years ago, but they also have a kind of radical chic, there’s a certain coolness to their image as rebels standing up to “the man”. They are many interesting things, but there’s also a less exotic reality: those pirates are increasing the cost of shipping anything through that part of the Indian Ocean, which in turn affects the cost of everything from food to energy in Somalia, Djibouti, Ethiopia, Kenya, Tanzania and even further inland, endangering the livelihood of millions of people in the region. Like drug traffickers, in reality they harm not only the world at large but mostly their own people. Unfortunately there’s nothing new about that. In fact, the story of Somali pirates over the last few years fits with the well-worn gloom and doom scenarios of Africa in the 21st century: failed states, increased marginalization, the danger of slipping into a modern dark ages, etc. you know the story.

But how about those Swedish Internet pirates? What do they have to do with Africa, where copyrights and patents have never been respected, and where there isn’t enough bandwidth for it to matter on the global scale anyway? A lot actually. It has got to do with something huge that is quietly reshaping the world: the ever expanding scope of intellectual property. Ok, just in case that was not emphasized enough, this is the thing we’re talking about: the expanding scope of intellectual property. The digitization of entertainment and the difficulties that industry faces from file-sharing are merely the tip of the iceberg. By now it’s old news that, thanks to technology, things that were previously easier to limit and control are now easy to copy and share. But also and more importantly, many things which previously were “free” are now going to get entangled in webs of patents, copyrights, trademarks, and so on. And now we are entering the phase where this will profoundly affect the lives of all of humanity, not just the world of computers and information.

Digital coffee – a trip down memory lane

Years ago (”Digital Coffee”, Nov. 1999), I tried to make the link between coffee and intellectual property, using a comparison of buying $1 of Starbucks stock versus $1 of coffee on the commodity markets. So let’s see where we are today with that hypothetical $1. As illustrated in the chart, invested in SBUX stock in 1993, it grew to $6 by 1999, and would be worth $15 in 2009. While the poor dollar invested in coffee itself, which had reached $1.30 in 1999, would continue to inch up, reaching $1.75 by 2009. The conclusion that, if you consider the chain of value that leads to a cup of coffee, “at the end of the chain it’s $100 a pound, while on the commodity markets it’s $1 a pound, and the grower probably gets $0.10″, has been exacerbated. The coffee farmer, despite doing the most difficult part, gets a shrinking share of the total value. Most of the value in the final product of coffee is really information; it’s in the distribution, and marketing of the coffee experience. That “information goods” part of coffee, which is intellectual property even if it’s not rocket science, is worth more and more while the physical commodity is worth relatively less and less. (That doesn’t happen with oil because there’s a finite supply). And it’s a huge market as I pointed out then, coffee is second only to oil among the world’s commodities in total value. Therefore the producers needed to figure out ways of get in on the information goods game.

Fortunately, awareness of this reality has increased dramatically in recent years. For example, a movie called “Black Gold ” brought some attention to the plight of coffee farmers in the global economy. The Ethiopian Intellectual Property Office engaged it in earnest, staked a claim in the digital coffee realm by trademarking some of the Ethiopian coffee names. Starbucks correctly identified this move as encroaching on their territory (the “information goods” side of coffee) and this caused a huge battle which was widely covered. With the help of organizations like Oxfam, the EIPO managed to move the battle to the court of public opinion. Thus Starbucks an extremely successful western corporation of whose brand “social responsibility” is a core part, whose customers are the very stereotype of the bleeding heart liberal, found itself in the position of the big bad exploiter of poor third world farmers. It was a strategy worthy of Sun Tzu’s Art of War: if you are a smaller, move the battle to a territory where your enemy’s superior firepower is worthless. Game over. Starbucks capitulated, and EIPO got not only the trademarks, but a promise from Starbucks to help the country in more ways than before. My hat goes off to EIPO and Oxfam for this.

Would you rather collect rent or charity?

But coffee is only one example. A dutch company called “Soil & Crop Improvement BV” is patenting a method of processing of teff flour. The invention results in a gluten-free flour, which helps people with Celiac disease. Celiac is a common genetic disorder, affecting people all over the world. For example in the United States, more than 2 million people have the disease. The disease makes the victim unable to eat gluten, a protein that is found in wheat, rye, and barley, which covers a pretty large fraction of the typical western diet. Thus gluten-free food has a huge market. Sounds like there might be a lot of money to be made from Teff!

So let’s see what this patented invention consists of. As far as I can tell, it has two main ideas. First, you wait a few weeks after harvest before grinding the teff, so that the “the amount of undigested sugars in the starch” is lower than it would if the grain was ground immediately. Second, you pass it through a sieve, so only the small grains go through. Pretty simple stuff. Which of course is good! Saving lives is great, and simple solutions that save lives are the best. Except the whole patenting thing… You see, there’s this thing called “prior art”. In the many centuries since Teff has been the staple in Ethiopia, surely someone had the idea of waiting a few weeks before grinding it and taking the finer grain! But those ideas now belong to a dutch company, because the Netherlands has the intellectual property infrastructure that Ethiopia doesn’t. The winner is determined not necessarily by an actual innovation but by things like having patent offices, and membership in the World Traded Organization. So if this works out and it turns out that 100 million Celiac disease sufferers will switch to a Teff-based diet, the bulk of the profits will flow to the dutch company, not the Ethiopian teff farmer. Sound familiar? SBUX redux. Except in this case it might even go further. It’s not “just” a marketing and distribution advantage which gives a larger slice of the total value, the patent owner can actually bloc the farmer entirely out of that market!

Now there’s nothing particularly evil about Soil & Crop nor is there about Starbucks. In fact, for what it’s worth, they both seem to try to be “socially responsible” corporations. But there’s a big difference between charity and obligation. Suppose you own a house and a tenant came to you and said: “let me take your house and in exchange, each month that I earn more than I spend, I promise to share some the excess to help your kids go to school, and buy you some gifts” You’d say: “Wow, thanks you are very generous Mr. Potential Tenant. But no thanks, here’s a lease, just sign here and pay me the rent.” Right? In other words, you would prefer to have a profitable business relationship with them, rather than accept their charity. So why, when it comes to multi-billion dollar markets for living products that are indigenous, why should it be considered OK that companies can own the brand, the patents, and all the associated information goods value, thus controlling 90% of the final value, while tossing the original owners a few crumbs of charity? Why is enough for them to make the profits and “give back” on a discretionary basis? Shouldn’t they pay rent instead of give charity? So perhaps the “digital coffee” conclusion didn’t go far enough. Now commodities are not just becoming information i.e. controlled by branding and marketing, they are becoming intellectual property, through copyrights and patents too. But who owns this property and who should own it?

Even the birds and the bees

This question affects more than just the potential export markets. The owners of the intellectual property can actually come and extract money even from people who were doing the same thing they’ve been doing before the patent ever existed! For example, in a famous case, some farmers in Canada are forbidden from growing crops that they use to grow — rapeseed (canola) — because they might accidentally mix patented seeds into their crops. Even if they don’t want to use the new seeds and try to avoid it, because birds and bees (and wind among other things) will accidentally mix seeds over large distances, the farmers will infringe on these patents that belong to Monsanto and have to stop…. even though they are only doing the same thing they did before the patent. They have effectively been check-mated out of their own traditional business.

You might think that could never happen in Africa right? The very idea of enforcing a patent against a farmer in rural Africa seems laughable. But think ahead. Intellectual property is a key condition to participating in World Trade Organization and the international community in general. Even China is being forced to do something about copyrights to please the WTO. Not being part of WTO is a huge handicap, and Ethiopia is trying hard to get in, like any country that wants to be part of the world economy. So at some point, it’s quite possible that Ethiopians could find themselves in the position of having to choose between accepting the established intellectual property system under which they are screwed, or rejecting the system at enormous costs i.e. going the pirate route.

Which brings us back to our Swedish pirates. Putting aside their guilt or innocence, they exist because a huge number of people feel locked out of the “information goods” and these people create an enormous black market for copyrighted movies, music, and software. And bittorrent, the protocol their service facilitates, just happens to be the most efficient current form of file sharing, so they are current poster children, the latest incarnation of Napster, in the on-going saga of intellectual property on the Internet. But it’s not just pirates. The world of property in information is a dangerously unstable one even among the big players. A long time ago, a researcher from IBM explained the world of corporate patents to me as follows. Patents are like nuclear weapons, they don’t want to use them but they have to have them because their opponents have them. They hold them as deterrents, they sign patent “treaties” where they agree not to sue each other and cross-license patents to each other. But sometimes they actually use these “nuclear weapons” i.e. they sue: vast sums of money are extorted, untold hours of effort are expended in futile wars, and companies are driven out of business, etc.

So if things like coffee and teff are going to become information goods, then what kind of world are we heading into? If you extrapolate from other areas where intellectual property dominates, namely software, digital entertainment, and pharmaceuticals, the current trends do not bode well for the vast majority of humanity. It’s a world where the rich get richer and the poor get poorer, much faster than what has occurred with physical commodities over the last couple of centuries. Those who are locked out of the web of intellectual property ownership will be like non-nuclear powers in a nuclear world, except the super-powers won’t be a stable pair, it will be a multi-polar unstable world, with constant threats and actual disastrous fallouts… and of course pirates! Imagine a world of patented food, and the inevitable black market like narcotics today but much much bigger.

But are we really heading toward this dystopian future of bio-patent wielding powerhouses dominating the world, alternately fighting each other and enslaving the rest? Well of course not necessarily. Fortunately, some farsighted people are already on the case some scientists are calling for a bio-patent ban for example. One of them in fact is an Ethiopian. These are scientists, so of course they are not against scientific advancements and their practical use; they are protesting some forms of ownership. Maybe there will be open-source bio-technology and pharmaceuticals, that are as successful and significant as open source software, and all the key processes and ideas of future life will be freely or fairly available to the whole world. But maybe not. What if that open-source nirvana fails to occur? Banning bio-patents may not be the right answer anyway. Until the right balance emerges in this “informationalization” of everything, all sides have to arm themselves to the teeth for intellectual property warfare lest they be marginalized and reduced to piracy. We are probably already in the early stages of a mad scramble, just like the scramble for African raw materials during the industrial revolution/colonial era. Now it’s not grabbing land with timber and gold but about claiming as much as possible of the DNA of plants and animals, patenting potentially lucrative variations of traditional processes… In the case of Ethiopia for example, it’s not just coffee and teff, it’s also (to take random example, I’m sure there are many more) flaxseed, an important source of Omega-3 acids. Hey has anyone filed a patent for a process to create a convenient form of Telba?

Interview With Kenna (Video Added)

Published by News Room January 8th, 2010 in Featured, Meditations and News & Hot Shots. 6 Comments

Above: Grammy-nominated musician Kenna is leading a group
on a climb to raise awareness about the global clean water
crisis. (courtesy photo)

Tadias Magazine
Interview by Tseday Alehegn

Published: Friday, January 8th, 2009

New York (Tadias) – Grammy-nominated Ethiopian-American musician Kenna (né Kenna Zemedkun) is leading a team of friends including Jessica Biel, Lupe Fiasco, Isabel Lucas, Elizabeth Gore, and Alexandra Cousteau to climb Mount Kilimanjaro, Africa’s highest peak and one of the world’s largest stratovolcanoes, in an effort to raise more awareness about the global clean water crisis. Today marks Day 1 of the journey. The climb aims to raise funds for The Children’s Safe Drinking Water Program, United Nations High Commissioner for Refugees (UNHCR) and PlayPumps International.

You can follow the climbers’ progress through their highly interactive site Summit on the Summit (SOTS) as they post photos & video clips and tweet their way to the top. According to a BNC-issued press release “The on-the-ground base camp in Africa, will also be outfitted with high- powered HP PCs to help track each climber’s progress, monitor weather conditions, and capture every aspect of the ascent. Throughout the climb, the team will use HP thin-and-light notebooks to communicate and share photos as well as videos from Mt. Kilimanjaro with fans on www.summitonthesummit.com.” A documentary of Summit on the Summit will also be aired on MTV on March 14th, 2010.

Over a billion people worldwide currently do not have access to clean and safe drinking water. You can join the SOTS effort by donating to their ‘sponsor a foot’ campaign online.

We sent Kenna a few questions about music, his interest in the global water crisis, and his inspiration for the climb. Below are his responses from base camp in Tanzania.

TADIAS: Tell us a bit about youself. Where you grew up? who/what were the main influences in your life? How you got involved in music?

KENNA: Born in Addis, raised in USA. My father is a major influence, but musically it was MJ and is U2. I went to high school wih the Neptunes… God hooked it up. 

TADIAS: You mentioned that Summit on the Summit was inspired by the health challenges that your father faced. Can you elaborate?

KENNA: I relate to the water issues through my dad. I was born in Ethiopia but raised in both the inner city and the suburbs of America where water has not been a direct issue for me. Although water is an issue in America, my connection with it is from the fact that my dad suffered as a child from water-bourne diseases. When he told me about his ailment as a child, it really struck a chord and triggered the development of SOTS. But my dad has always encouraged me in being a good citizen and gave me plenty of opportunities to be involved with non-profits. I have been blessed to be a part of the development and curriculum for non-profit projects in my community. If he hadn’t survived, I wouldn’t be here. That is what resonates with me.

Kenna (courtesy photo)

TADIAS: Why did you pick Mount Kilimanjaro as the challenge?

 KENNA: Because it takes serious effort to do this. It takes serious commitment. We needed to do something extreme to highlight such an extreme human rights issue. 

TADIAS: What are you taking with you on this climb for inspiration?

KENNA: I have a note from my dad that says he “knows of my ability to elevate myself through conscious moves.” And that he is proud of me.

TADIAS: What message would you like to share with our Ethiopian-American readers?

KENNA: It is our time to show the true power and beauty of our culture. We have an inheritance of greatness. Rise up and be counted. It is now. It is today. We are God’s people. Let the world know.

Video: Kenna’s Speech about Summit on the Summit