Above:A homemade video by Zewdy, a talented young artist
from New York City is garnering growing attention on YouTube.
Tadias Magazine Arts & Entertainment News
Published: Friday, January 8, 2010
New York (Tadias) – We recently received several emails directing our attention to a music video by a multicultural artist named Zewdy, born in New York City and of Ethiopian and Eritrean heritage.
Partly owing to the young lady’s savvy use of social networking sites, such as Twitter and Facebook, the homemade clip is fast becoming an online sensation. In a sign consistent with viral videos on YouTube, Zewdi has already received over 15, 000 hits in a span of only six days.
“This is the great promise of YouTube: Your video can soar in popularity through sheer word-of mouth—or rather, click-of-mouth—until eventually people are making T-shirts about it,” writes Chris Wilson, who tracked the traffic trends of more than 10,000 YouTube videos for an investigative article published on Slate Magazine. “I crunched the numbers to find out what percentage of YouTube videos hit it big, cracking even 10,000 or 100,000 views. The results: You might have better odds playing the lottery than of becoming a viral video sensation.”
After one month of observation, only twenty five of Wilson’s ten thousand videos made the high mark: “A mere 25, 0.3 percent, had more than 10,000 views,” he observes. “Meanwhile, 65 percent of videos failed to break 50 views; 2.8 percent had zero views.” Slate Magazine’s advice: Don’t bet your career on launching your show biz on YouTube.
But the vibrant Zewdy is beating the odds. Here is the video in which she celebrates her multicultural background through music and dance.
Video: Zewdy – Into the Night
Debo Band Wins BMA’s International Music Act of the Year
Above:From left, alto saxophonist Abye Osman, Debo Band
founder Danny Mekonnen, and vocalist Bruck Tesfaye. (Photo
credit: H. Asrat)
Tadias Magazine
By Tadias Staff
Published: Wednesday, January 6, 2010
New York (Tadias) – The Ethio groove ensemble known as Debo Band, whose signature music explores the unique sounds that filled the dance floors of “Swinging Addis” in the ‘60s and ‘70s, has won the Boston Music Awards’ under the category of “International Music Act of the Year.”
The Boston Music Awards, having recently celebrated its 22nd year, is the most prestigious annual music event in Boston. The BMA website points out that the program pays “tribute to the region’s finest musicians.”
For jazz saxophonist Danny Mekonnen, a PhD candidate in Ethnomusicology at Harvard University and founder of Debo Band, the coveted recognition has garnered excitement.
“It was a huge surprise for us. We really didn’t expect the recognition because there were several great local bands in the category, ‘International Music Act of the Year,’” Danny said. “But somehow we got the attention of the judges (who are Boston-area promoters and music critics) and were also able to garner votes from our fans. I think it will mean more widespread attention for our band throughout Boston, which we’ve already seen at our last few concerts. They have been well attended even in blizzard-like weather!”
The group surfaced from Boston’s underground after playing in major festivals in 2009, including making an appearance at the Ethiopian Music Festival in Addis Ababa. Danny told Tadias Magazine that the band is gearing up to make a return trip to Africa in 2010.
“Yes, we’ve been given the incredible opportunity to bring Ethiopian music for the first time to East Africa’s largest music festival: “Sauti za Busara” on the island of Zanzibar, February 11th-16th, 2010,” he said. “For our performance at the festival we’ll be joined by four brilliant musicians and dancers from Fendika, an azmari bet in the Kazanchis area of Addis Ababa: Selamnesh Zemene (vocalist), Melaku Belay (dancer), Zenash Tsegaye (dancer), and Asrat Ayalew (drummer). Your readers may know Melaku, who was the dancer at the incredible Getachew Mekuria/The Ex concert at the Lincoln Center in August 2008.”
The Debo Band is currently raising funds to cover travel expenses for 15 musicians to attend the Sauti za Busara festival.
Danny also shares one more bit of good news: “My wife and I have a beautiful newborn girl. Life has been very hectic these days, but we feel blessed.”
We congratulate Danny and look forward to Debo Band’s first album.
Above:Tommy T Gobena, one of Tadias Magazine’s Top Ten Notable Ethiopian-Americans of 2009, is the the bass player
for gypsy punk powerhouse Gogol Bordello. (Dayna Smith –
for The Washington Post)
Washington Post
By Chris Richards
Sunday, January 3, 2010
It’s breakfast time at Dukem, the popular Ethiopian restaurant on U Street NW, but Thomas “Tommy T” Gobena orders lunch. In a city of red-eyed, Cinnabon-scarfing frequent fliers, he might be the most jet-lagged man in Washington. Gobena lives in Alexandria but will spend most of this new year in the air and on the road, playing bass for Gogol Bordello, a merry band of self-branded “Gypsy punks” scheduled to hit about 200 stages across the globe in 2010. Days earlier, Gobena was wowing a crowd of 20,000 in Mexico City. In a few days, he’ll be at it again in St. Petersburg, Russia. Read more.
Related from Tadias Interview with Tommy T.
Tommy T (Thomas T. Gobena), bass player for the New York-based multi-ethnic gypsy punk band Gogol Bordello, has released his first solo album entitled The Prestor John Sessions. The album includes collaborations with Gigi, Tommy T’s brother & bassist Henock Temesgen, members of the Abyssinnia Roots Collective, and a bonus remix including Gogol Bordello bandmates Eugene Hütz and Pedro Erazo. Tommy describes The Prestor John Sessions as “an aural travelogue that rages freely through the music and culture of Ethiopia.” His debut album features the diversity of rhythms and sounds of Ethiopian music – as multi-ethnic as has become the Lower East Side Gypsy band that has taken the world by storm. Who else but Tommy would produce an Oromo dub song featuring Ukranian, Ecuadorian, and Ethiopian musicians? We spoke to Tommy T about life as a Gogol Bordello member, the influences on his music, and the story behind The Prestor John Sessions. Normally Tommy T punctuates everything he says with so much humor that it’s difficult not to be immersed in sporadic moments of pure laughter. His message in this interview, however, remains serious: Are you ready to change the way you listen to and classify music? Read more.
Above:Robel Kassa’s recent works “revolve around an idea of
distance: physical, mental, and conceptual. So there are “dark”
concepts that are portrayed in bright and cheery colors. Serious
social taboos presented in utter abandon and humor.”
Tadias Magazine
By Tadias Staff
Published: Thursday, December 10, 2009
New York (Tadias) – Talented graphic designer and entrepreneur Robel Kassa has some of his most recent works currently displayed at La Carbonara Restaurant in D.C. The display “revolve around an idea of distance: physical, mental, and conceptual. So there are “dark” concepts that are portrayed in bright and cheery colors. Serious social taboos presented in utter abandon and humor,” says Robel. Below are photos from opening night and an entertaining interview with the artist.
Tadias: Please tell us a bit about yourself – where you were born, raised, school, current work, etc.
Robel: I was born and raised in Addis Ababa, Ethiopia, where I was circumstantially stationed for residence and schooling procedures until I completed my high school studies. Upon said completion, the forces that be (commonly referred to as “one thing led to another”) decided that I relocate to the the University of Pennsylvania. I’m not sure of the coordinates, but I’m fairly certain it was located in Philadelphia. That’s what the brochure said, anyhow. I managed to acquire a black cap and gown (which I was ultimately forced to return … the bastards!) and a US Letter sized piece of heavy stock paper with elaborate calligraphy that indicated I was now fit to flaunt my ego and fatten my wallet wherever I please … within the realm of creative/digital arts. So in the spirit of economic synchronicity and tongue-in-cheek irony, I now work for the American Bankruptcy Institute, in all manners and shapes and sizes of graphic design and web development … making bankruptcy entirely way too sexy and irresistible. Of course, this being America (the land of mirages and camouflages), I have assuaged my cubicle farm shenanigans by setting up an independent design firm with a few partners: www.paradigm84.com : global domination seems a lofty goal, but we’re taking it one click at a time. (*insert ominous soundtrack here*)
Tadias: Over the years, we have seen your impressive and evolving digital artwork. What other mediums do you use?
Robel: I’ve used and continue to use oils, acrylics, and other mixed media. Everything from razor blades to condom wrappings to pages ripped out of the bible make for legitimate resources.
Tadias: What motivates you?
Robel: Motivation had been elusive for a long time, actually. And whenever it happens, it’s fairly whimsical, egged on by irony, cynicism, music, literature, film, social/political situations, and a healthy dose of humor. I’m not sure what I just said answered your question satisfactorily, but feel free to chalk that up to “artistic quirkiness.”
Tadias: We understand that you have a show of your new artwork in D.C. Could you tell us a bit more about it?
Robel: It’s hosted by the kind ladies of Spirito di Vino, and opened last Wednesday at La Carbonara Restaurant. It will be up for the remainder of the week for general veiwing as well. The works, most of them recent and not seen before, revolve around an idea of distance: physical, mental, and conceptual. So there are “dark” concepts that are portrayed in bright and cheery colors. Serious social taboos presented in utter abandon and humor.
Slideshow: Photos from Robel’s Art Show at La Carbonara
Photos courtesy of the artist’s Facebook Page.
Tadias: Which individuals influence your artwork? philosophy?
Robel: A lot of individuals do. Aesthetically, it ranges from Jackson Pollock to G/Kristos Desta to graffitti artists and comic book illustrations. I try and stay away from what is visually recognizable as typically “ethiopian art” … whether it’s the big googly eyes, or the Tilet-like patterns, or even the nauseatingly melodramatic and self-righteously judaeo-christian iconographies. I feel that’s just a gimmick and selling point that furthers the exotification of non-Western art as something ethnic, tribal, primordial, and other-worldly. It can be limiting, I suppose.
Tadias: If you were given a chance to spend a year to create an original work what would be?
Robel: The ultimate “original work” would probably mean less to me than the year spent trying to create and destroy and re-create and lather, rinse, repeat. Whatever that original work would be though, I feel it probably would either be a book or a film. Something that would purge the world of all its evils … and cure AIDS … and bring about world peace. And I also like walks on the beach.
Tadias: Is there anything else you would like to share with our readers?
Robel: Read books; they’re good for you. Never underestimate the beauty of honesty.
Tadias: Thank you Robel and good luck!
Robel: Thank you, Tadias. This has been utterly discomfiting.
Cross-Cultural Music Improvisations: A Conversation with Dan Harper
Above: Tadias Magazine spoke with Dan Harper about his new
album “Punt Made in Ethiopia” and his work to create cross-
cultural conversations through music. (Courtesy photo).
Tadias Magazine
Interview by Tseday Alehegn
Updated: Monday, November 16, 2009
New York (Tadias) – As an aid worker for a British NGO in Ethiopia, Dan Harper (Invisible System) lived and traveled throughout Ethiopia for three years. He also nurtured his first love: music, and built a studio from scratch to produce and collaborate with Ethiopian musicians. Harper describes his Worm Hole studio equipment as something which “can be setup around scarce resources such as in an outhouse with corrugated iron roofing (interesting in the rainy season), carpets and breeze blocks. It is also now constructed in a more solid form in Frome, Somerset whilst maintaining its nomadic and professional feel and look.” Harper co-wrote and sound engineered Dub Colossus’ album “A Town Called Addis” with Nick Page, and most recently came out with his own album “PUNT Made in Ethiopia” (Harper Diabate Records) featuring an incredibly diverse list of musicians, ranging from talent he spotted at a traditional Azmari joint to sessions with singer Tsedenia and the legendary Mahmoud Ahmed. Harper stresses that the collaboration is not trying to imitate how Ethiopians play music. Rather it’s an entirely improvisational recording. Invisible System has played at the Addis Music Festival as well as several live concerts in the U.K. Proceeds from the album are helping to establish a charity focusing on providing resources to artists and musicians in the developing world, an issue which Harper believes is often neglected by international NGOs.
We spoke with Dan about his first album release on Harper Diabete Records and his work to create genuine cross-cultural conversations through music.
Tadias: Can you tell us a bit about yourself? How you ended up living and working in Ethiopia?
Harper: Before I start, I’d like to say it’s really nice to be involved with Ethiopians and Ethiopian culture and music. I have very fond memories of Addis, and I traveled all around the country. I had volunteers all over the place. I’ve been to Jimma, up to the North, I’ve been to the South, Lake Langano, Awasa. It’s been so long now that I’ve even started to forget the names of all the places… Gonder, Mekele. Fantastic country really.
Okay, so I grew up in England. Mother was born in India, raised in New Zealand and she moved to England when she was 18. My dad comes from a working class coal miner and army background. He later became an academic. I grew up in the southwest of England. I always wanted to go to Africa..always fascinated. Even as a kid, when I was 12 I was listening to bands that infused African rhythm and sound. Something always hit the mark for me. A lot has driven me to Africa. Also, I’ve always had a thing about development and the problems of developing countries and the injustice of it all. And that is ingrained from a young age as well. I used to complain when we had three course meals when I was 11 or 12 saying there were people who can’t eat in the world. It’s just been part of me. So that’s me: I love art, I love music. I’m interested in international culture. I love different ways of talking, and eating, and interacting, and different clothes and hairstyles. I think that’s what’s magical about the world.
I’ve always been fascinated with music since the age of 7. I’m obsessed with it I think. I’ve taught myself to play everything. I’ve taught myself to produce, to sound engineer. I’ve built my own studio. I’ve done it without the equipment being bought for me. I’ve had to work hard for it. And I’ve had to build it bit by bit. And I’ve been in constant debt for it, so it’s an absolute love, and passion, and something I can’t stop doing.
When I left school I bought a camp van and I worked and I drove around Europe and down to Turkey with my girlfriend, and had an interest in international development and culture since then. Since seeing people live in cardboard boxes as I drove around. And at university I changed very quickly from studying computing management to studying environmental management, although I probably should have done, music, technology or both. But there you go. Both things come together. I had wanted to work abroad in NGOs.. I was always quite anti-government. I grew up in Thatcher’s government so plenty of reasons to be upset. And I had to volunteer for years..there was no paid work in Environment. There was no way to go to Africa. You had to pay for yourself. I had no money. I was trying to build a studio that was getting me in debt, and eventually I had to go into business. Didn’t enjoy working in business. Had to cut my hair which was awful and wear a suit which was awful – not me at all. And I ended up working for the Institute of Development Studies at Sussex University in quite a basic, boring admin job. I knew it would springboard me overseas and I took a job up in Mali eventually, which I was very lucky to get after a few years work experience. I learned French and worked for a local environmental NGO. I was in the middle of the desert. It was really hard work, hard conditions, teaching kids about environmental issues. And I met my wife out there, and I worked there for four and half years and I have a daughter.
We could afford to get on as a family there so I thought I better try to get a better paying job, as I wanted to stay overseas. I wanted to stay in Africa. And a job with a British NGO came up and I got it and it was in Ethiopia. And unfortunately Ethiopia, I think, has been spoiled by the media and the problems of the famine. Because everyone thinks about famine and dry, desert conditions including me. I was as guilty, because I thought “I’m going from one desert to another.” And it’s not is it? I mean how green, and lush and beautiful is Addis, Jimma and even some places in the North. Not that barren. I’m not going to get into the history and the problems. Those are things for us to discuss another time. Complicated history and reasons. But sure I was out in Ethiopia for three years, and I have a fair idea of what went on. I have a few Ethiopian friends who I’m still in contact with. But that’s how I ended up living and working in Ethiopia. And it was a three year contract. I had a great time with the Ethiopians I work with. I had volunteers out helping government and non-governmental organizations in HIV/AIDS and small business. I didn’t enjoy working for voluntary service agencies – the British organization. I didn’t like their obsessiveness with bureaucracy and paperwork, and they weren’t getting the volunteers out efficiently as it could have been. I didn’t like the attitude of the country directors who were British. I didn’t think that they treated the Ethiopian staff as well. But Ethiopia was great, Addis was great. I had a fantastic circle of friends. I had a great social life. And I was trying to help in every which way I could through the development work, and bringing as many volunteers as I could out to work with people from all over the world. My idea was to create more volunteer positions, and get volunteers out there and make a change. So that’s how I ended up out there with my family.
Tadias: Can you describe the role of music in your life? When did you start producing music?
Harper: God, without music it would be awful. When I’m listening to and playing music that is my ultimate meaning of the world. Work could get boring everyday, you know, doing things that you don’t always want to be doing. [Music is] escapism in a way, but it’s like my religion, it’s like my spiritual being. It’s my way of releasing all the creativity, the need to make colorful and creative things and sounds, and this is my way of doing it. And without it I would be bored and grey and depressed. There’s more to life than writing paper, for me anyhow. I think everyone’s different. I started producing music when I was about seventeen, and I bought and taught myself how to play an electric guitar, and started playing in a band. I borrowed a friend’s four-track tape recorder and started overlaying guitars like that, and you know it’s gone on ever since. Teaching myself the guitar, drums, bass, keyboard, synthesis, sound engineering production, using the studio.. the full works. It gradually increases. I’ve never had enough time for it. I’ve always worked full time. It always been get in, fighting fatigue from work drinking coffee to write and produce music. And it’s difficult because you never have enough energy, and at the weekend you’ve gotta clean your house, and well now deal with the kid as well, and try to have a social life so. Yeah it’s been going on since I was 17. I am now 37. I should have had an album out years ago. But there you go.
Tadias: And the artwork on your CD cover?
Harper: The art work was a mixture of myself and Bos / Warp (Paul Boswell) a graffiti based artists in Frome who is well known for his work in Bristol, and Moussa from Addis. The painting of the musicians was created by Moussa to say “thank you” to me. Moussa was an orphan and he was lucky enough to make it to study music at Addis University. He is a lovely guy and I sorted him out with a job teaching my neighbour’s child the guitar. My neighbour was English and she had married an Ethiopian in Addis. We forwarded him some salary and when I was in the UK I purchased him an electric guitar that my neighbour brought back to Addis for him. He was so happy he made me that painting. I changed it color and vibrancy-wise to match the feel of the album, but the original is also wonderful and will be published perhaps on the next album.
Punt, Made in Ethiopia album cover.
I love Bos’s humour, it always makes me laugh but with the album, the faces he had painted by chance reminded me of the Ethiopian painted faces you often see with big eyes. I liked the connection due to the fusion nature of the album covering styles of Ethiopian, Pop, Dance, Trance, Rock, Dub, Reggae, Drum and Bass, Punk and Grunge. It all fits! And the other painting of the chap/creature in the suit and tie reminded me of how it feels to be an artist trapped in the office in a suit and tie during the day! Personal! I have always combined aid work, which includes offices and suits and ties with my art.
Bos also plays bass on one track on the album and plays live with me sometimes with the UK Invisible System setup, which has a Jamaican born UK based reggae singer doing the vocals. I am also in another more punk/psycehdelic/jam based band with Bos on bass, me on guitar and Merv Pepler from the Ozrics Tentacles and Eat Static on drums. We have not decided on a name yet but some suggestions have arisen…Flaps, The Mutes and The Coalminers are three!
Tadias: Tell us a bit more about the music scene in Addis and your collaboration with various local and internationally known Ethiopian musicians.
Harper: When I first got to Addis, I found there was a lot of buzz where people would sing in front of electronic keyboards, with electronic drums, which wasn’t quite my kind of thing. And then I found the Azmari bets, which I loved more. The traditional..seeing the masinko, singing and clapping and dancing. I bumped into most of the people that I worked with within odd clubs around Addis, say kind of at two in the morning. That’s where I found Nati on the album, that’s where I found Desta. Just people whose voices I liked. I approached them after. Sometimes I needed translating because my Amharic wasn’t good enough – their English wasn’t good enough just to communicate. I often have my music on an MP3 player, and I’d put headphones on them and say “do you want to come and jam?” And that’s how a lot of it kicked off actually. Tsedenia was introduced to me via my wife’s hairdresser. My wife was having her hair done down the road and saying that I was recording in the studio at home making music. Mahmoud was a chance because I sold a mike to someone who turned out to be a friend to Mahmoud’s saxophone player who came, walked into the studio and loved what I was doing. He told Mahmoud that he has to come down and listen, and Mahmoud came and listened and loved it as well and just asked to be a part of it, which was fantastic. I knew who he was but hadn’t heard that much of his music to be honest. I have cracking cassette of Mahmoud that I bought out in Jimma. A really old one. I love it. I love the old rough sound of it..the scales and just things that wouldn’t come to the Western mind.
We grow up in such different cultures that even the tonalities sound different to us and bring up different emotions – it’s what makes the world go round. I loved working with people over there and I never tried to emulate what the Ethiopians were doing when they played. I think Nick tried to do that with Dub Colossus. But I’d invited everyone over and people were quite reserved. They’d say “What do you want me to play? How do you want me to play?” And I’d just say “Do what you want. Do what you feel.” I played them some music that I put together to improvise what you feel. “Don’t worry about what you think I want.” And that’s the magic of it for me. It all comes from each other’s soul. That nothing’s pre-arranged. It’s just pure music from our hearts and soul and that’s what it’s about at the end of the day. To put those two things together that come from the different languages and culture and feelings for me is what it’s all about.
Tadias: Can you explain the name that you chose (Punt, Made in Ethiopia) for your current CD?
Harper: I chose PUNT because Punt was the name given to that area of land that they believe was Ethiopia and what the Egyptians used to call Punt. The magic land. Where people would come back with artifacts, not just animals such as giraffes or lions but also myrrh and other kinds of incense that were biblical and were apparently from this magical land called Punt. I love the history of Ethiopia and England, and the kind of pre-commercialism culture and the spiritual culture. I like the kind of druids and animists that lived in England and Africa before. I’m sure it was hard in other ways. I do like modern life as well, but to go back to that kind of working Azmari musicians and the Masinko and the kind of traditional human element of it, and the magical way the music that we create was done. It all makes sense to me to call it Punt. So that’s where Punt came from. Looking backwards but moving forward.
PUNT is an album that was improvised, from scratch – all instruments and vocals. We are not into using Ethiopian (or Malian) samples or trying to quickly learn and imitate Ethiopian musicians who have their sounds, modes, scales, feelings and soul from their culture and country else we would be the neo-colonialists. We are into sharing, learning and exchange over time. The music is based on real life experience not from reading. It is played from the heart and soul of everyone involved. Their own interpretation thus tapping the ebbs and flows of our lives.
Tadias: What are your favorite memories of Ethiopia? Africa?
Harper: Wow, you just asked a huge question. My favorite memories of Ethiopia and Africa. They’re so many. I miss going out and eating injera and hot food. And seeing all those beautiful and incredible faces all around. And I miss going to Elsie’s bar – the kind of bohemian culture. And I miss my friends and I miss traveling around. I miss the hot spring pools like Wondogenet. I miss the more openness of a culture of people that are out and about more. It’s cold here. We all live in tiny little houses. It’s cramped in and tiny gardens in England. I’m not saying people don’t in Ethiopia and Africa. You know it depends where you live, but I miss the fact that people are out and walking more, and talking more. And I miss that I can push my daughter down the road and people would kiss her and pick her up and I won’t be scared. I won’t think there’s a problem with a child molester. And I can go to a restaurant and she’ll be off having a tour and the waitresses would take her off to the kitchen and the lack of the excessive rules and regulations we have here in driving and living and existing. I do see Ethiopia as quite bureaucratic also and I suppose especially in Mali I miss the slight element of chaos.
When I went back to play at the Addis Music Festival last year, and we were in the car and I just realized that all the cars were worming their way through a massive non-road of road. I miss all that. I hate all these straight lines and everything here. So there are so many things. There really are so many things. And I miss being in a foreign culture. It’s boring being in England all the time. Everything gets a bit grey and even the language and clothes and too many people are in mono-culture. I like being dropped in what appears to me a more exotic place because I don’t come from there. If someone came from Ethiopia and they were here for three years it would be exotic for them. I got married and had a kid so there are other good memories and I’d like my daughter to keep coming back to Africa. She loves Ethiopia. She used to understand Amharic and she was only three years old when we left and unfortunately she’s forgotten that now. So there are so many [memories] I couldn’t even put them down so I’ll move on.
Tadias: What are the highs and lows of independent music production?
Harper: The highs are: you can create what you want, when you want it, how you want it. You don’t have to argue with someone that a song should sound differently or needs to be more commercial or what order they run on the CD or what art goes on the CD. It’s a great freedom. The need to be an artist for me is to have the freedom of expression, whereas at work you have to curtail how you do things and what you write and how you present yourself. Art for me is about being you, being genuinely you, and doing it independently with your own studio, label and your friends and musicians around you..that you have a common desire together. And it’s fantastic. And also feeling and creating something off your own back..that you had a vision that became a reality and developed into something real.
Now the downsides of it are, well, money because I don’t have any. I’ve had no money to back this and it’s done on credit. There’s no money for getting visas and passports to bring Ethiopians over to play. You know it’d have to be backed by someone. The promotion is really difficult, because I’ve got no one to pay to do the PR. So on top of a full-time job and a family and trying to finish CDs and write more music, you’re trying to get your CD out there and contact people and journalists and send them copies – it’s endless. It goes on an on. It’s fantastic, it’s nice to be able to do it but I’m constantly tired, obviously. So you haven’t got any help is what I’m trying to say. And you haven’t got any resources. And the distribution is quite tricky as well even, because unless you’ve got a lot of money to pay a distribution company that’s hard as well as organizing gigs.
If you are signed to a contract with a major label you can be able to say “okay I can take two years off work” because I guaranteed that income. But I wouldn’t want it to have been any other way. I’ve loved the way it has happened. You can get professional sounds with your studio at home, the only problem is space. Sometimes you can work as loud as you need to, because you’re disturbing your kid’s sleep. We’ve got a tiny house here and my garage is my live room. It would be nice to have more space. When I worked in Peter Gabriel’s studio with Dub Colossus I could get the same sound here. I don’t think you need that expensive equipment. You need good equipment but not that expensive. But the space was nice.
I wouldn’t mind one day for someone to say to me “we’ll give you this much money” so you can concentrate on it properly for a year or two, and I wouldn’t mind some help getting Ethiopians over here to play with me and touring the world of course. It would be absolutely amazing.
Tadias: Anything else that you’d like to tell Tadias readers?
Harper: I just want to say that I loved being in Ethiopia and I loved going back to play at the Addis Music Festival, and I know I’ll go back again and I can’t wait to go back again. My daughter so wants to go back, because she remembers it and we have videos of her being there. And I really hope to get to America someday. I’ve never been to America and I’d love to play a concert with some Ethiopians. It would be wild. It would be fantastic. I really hope that you get to see us play live. I don’t know how it’s gonna happen but I hope. And I hope you all enjoy the album. I know Ethiopia may be different once you’ve been out but it’s a very strong country and it’s very proud, which I think is great. It’s never been colonized and Amharic is still the first language. But this album could be quite a shift in style and way of listening and thinking. I know that they don’t particularly like Dub Colossus over there yet. Tsedenia says they just kind of go “oh yeah it’s interesting,” but they prefer the traditional, but I’ve had fantastic feedback from people in Addis actually for the album which thrilled me because you’re always worried when you’re not fluent in Amharic. You think you might have chopped a sentence at a bad point because it sounds good to you, but if you’re not sure what they’re saying you might have ended it at the wrong place. I just hope you guys get something out of it and enjoy it and please buy it. Don’t pirate it because we’re setting up a charity here and it can help us with good hard work. Real work. And I want to keep this growing so please don’t pirate it. That’s the only other thing that I’d like to say. And get in touch. I’d love to hear from you all. Give me your thoughts. I miss speaking to you all out there. Thanks for the interview. Take care.
Tadias: Thank you Dan! We enjoy your album and look forward to seeing you in concert in North America sometime.
Dan Harper can reached at Dan@harperdiabate.com. Harper Diabate, 1 River Walk, Frome, Somerset, BA11 5HU: myspace, facebook.
About the Author: Tseday Alehegn is the Editor-in-Chief of Tadias Magazine.
About the Album: PUNT (Made in Ethiopia) by Invisible System
Invisible System present a 12 track fusion album of Ethiopian, Dub, Dance, Rock, Drum & Bass, Psychedelia, Trance, Electronica & live music. Traditional vocals / instruments meet the modern, electronic and brass. Live Europeans meet live Ethiopians. Our guests include:
Mahmoud Ahmed & Bahta Gebrehiwot (Ethiopiques)
Hilaire Chabby (Baba Maal)
Justin Adams (Robert Plant & Strange Sensation, ex Jah Wobble’s Invaders)
Tsedenia, Mimi, Tarmeg & Sami (now signed to Realworld Records)
Joie Hinton (ex-Eat Static & Ozric Tentacles / Here and Now / IGV)
Martin Cradick (Baka Beyond/ex-Outback)
Captain Sensible (The Damned)
Ed Wynne (Ozric Tentacles / Noden Inctus)
Simon Hinkler (ex-The Mission)
Dubulah (ex-Transglobal Underground, Temple of Sound, Natasha Atlas etc)
Perch (Zion Train)
Juldeh (Justin Adams, Realworld etc)
Elmer Thudd (ex-Loop Guru)
Gary Woodhouse (The Rhythmites)
Bos (ex-Junk Waffle and Warp Graf/Eat Static Artist)
Above:Painting by Tesfaye Negusse (36X76, Oil on Canvas).
Tadias Magazine
Events News
Published: Monday, October 26, 2009
New York (Tadias) – A new gallery specializing in emerging and established Ethiopian artists will open this weekend in Atlanta on the historic Bennett Street, the city’s vibrant antiques and arts district.
Hanatzeb Ethiopian Art Gallery will celebrate its opening with an inaugural exhibition featuring artist Tesfaye Negusse.
The owners hope to grow their gallery in a spirit of collaboration with the artist community:
“While this is just a beginning we hope will be well received by the community at large, we have lined up a number of incredibly talented artists who live here in the U.S. as well as in Ethiopia to come and display their beautiful work of art,” Hanatzeb notes on its website.
“We invite all to help us in this endeavor and be part in the task of painting Ethiopia…”
– The opening reception is scheduled for Saturday, October 31,
from 6-10pm and Sunday, November 1, from 2 -6pm.
If You Go: Hanatzeb
Ethiopian Art Gallery
49-B Bennett Street NW.
Atlanta, GA 30309
Phone: 404.352.4373 or 404.808.8946
Related Art Talk Video: Catch Julie Mehretu on PBS- Watch the episode on October 28
at 10pm (ET) on PBS (check local listings).
Above: Ethiopia-born Grammy-nominated singer Wayna pays
tribute to Billie Holiday at Blues Alley in Washington, DC. The
artist is also preparing to release a new EP called ‘Soul and
The City’. Stay tuned for Tadias’ interview with Wayna about
her new extended play.
Watch: Preview performance on FOX News
About Billie Holiday Billie Holiday
Source: PBS
Considered by many to be the greatest jazz vocalist of all time, Billie Holiday lived a tempestuous and difficult life. Her singing expressed an incredible depth of emotion that spoke of hard times and injustice as well as triumph. Though her career was relatively short and often erratic, she left behind a body of work as great as any vocalist before or since.
Born Eleanora Fagan in 1915, Billie Holiday spent much of her young life in Baltimore, Maryland. Raised primarily by her mother, Holiday had only a tenuous connection with her father, who was a jazz guitarist in Fletcher Henderson’s band. Living in extreme poverty, Holiday dropped out of school in the fifth grade and found a job running errands in a brothel. When she was twelve, Holiday moved with her mother to Harlem, where she was eventually arrested for prostitution.
Desperate for money, Holiday looked for work as a dancer at a Harlem speakeasy. When there wasn’t an opening for a dancer, she auditioned as a singer. Long interested in both jazz and blues, Holiday wowed the owner and found herself singing at the popular Pod and Jerry’s Log Cabin. This led to a number of other jobs in Harlem jazz clubs, and by 1933 she had her first major breakthrough. She was only twenty when the well-connected jazz writer and producer John Hammond heard her fill in for a better-known performer. Soon after, he reported that she was the greatest singer he had ever heard. Her bluesy vocal style brought a slow and rough quality to the jazz standards that were often upbeat and light. This combination made for poignant and distinctive renditions of songs that were already standards. By slowing the tone with emotive vocals that reset the timing and rhythm, she added a new dimension to jazz singing. Read more.
Above:A Taste for Words by Wosene Worke Kosrof , 2008,
acrylic on canvas, 44×41 inches.
Events News
Published: Monday, October 19, 2009
New York – Skoto Gallery is pleased to present WordPlay, an exhibition of recent paintings by the Ethiopian-born artist Wosene Worke Kosrof. This will be his fourth solo exhibition at the gallery. The reception is on Thursday, October 22nd, 6-8pm and the artist will be present.
Wosene Worke Kosrof’s recent work continues his long-standing inventive exploration of the interplay between language, identity, aesthetic beauty and material, using the language symbols of Amharic – one of the few ancient written systems in Africa – as a core compositional element. He is a prolific artist who has consistently employed a vocabulary of signs and symbols, a rigorous compositional organization and uncompromising ability to fuse form and concept with the narrative power of his work in his encounters with history and global transformations over the past three decades. He elongates, distorts, disassembles and re-configures the language characters in a wide-ranging palette, moving beyond literal conventions of words, to create a visual language that deftly incorporates sounds, textures and rhythms of jazz, but that also speaks boldly and clearly to a universal audience.
Wosene’s work draws upon an individual reserve of personal and collective memories to activate a meaningful form of engagement that celebrates the richness of his homeland’s graphic systems, textiles, architectural forms, language and music. He employs the textured and improvisational qualities in his work, imbued with a poetic amalgam of abstraction and reality in his search for symbols and metaphors that explore ideas of spirituality, space and motion, expanding the boundaries of art and consciousness. There is a resonance of personal truth, vision, circumstances and tradition embedded in his work that make us simply believe in the power of art to speak to us in purely human terms.
Wosene Kosrof
Wosene Worke Kosrof was born 1950 in Addis Ababa, Ethiopia and received a BFA from The School of Fine Art, Addis Ababa and a MFA from Howard University, Washington DC in 1980. He is an artist of international reputation, widely exhibited in Africa, Europe, Japan, the US and the Caribbean. Recent exhibitions include Transformations: Recent Contemporary African Art Acquisitions, Fowler Museum, UCLA, Los Angeles, CA, 2009, Mexican Heritage Plaza Museum, San Jose, California 2006, Neuberger Museum, Purchase, NY 2003; Newark Museum, Newark, NJ 2004; Philadelphia Museum of Art, Pa 2004, National Museum of African Art, Smithsonian Institution, Washington DC 2004; and Seven Stories about Modern Art in Africa, Whitechapel Gallery, London 1995. Collections include the National Museum, Addis Ababa, Ethiopia; The National Museum of African Art, Smithsonian Institution, Washington DC, The Newark Museum, NJ; The Neuberger Museum at Purchase, NY; Birmingham Museum of Art, AL; Indianapolis Museum of Art, IN, the Fowler Museum, UCLA, Ca; Samuel P. Harn Museum, University of Florida, Gainesville, Fl; and The Voelkerkunde Museum, Zurich, Switzerland as well as many international private and corporate collections.
– If you go:
Skoto Gallery
529 West 20th Street
5thFL
New York, NY 10011
Phone Number
212.352.8058 www.skotogallery.com
Above:Ethiopian painter Dawit Abebe stands in front of one
of his paintings.
AFP
By Aaron Maasho
ADDIS ABABA — Ethiopian art, which for centuries has been synonymous with portraits of saints and political figures, now has a new breed of “bohemian” painters tackling bolder subjects, including sex-themed works. In a studio littered with squeezed paint tubes and drab canvases, Dawit Abebe, one of the artists spearheading the revolution, gazes intently at his latest paintings that include nude portraits. “You know, years back they would have been way too extreme,” he said. “Now Ethiopians have begun to understand that they’re just art, and not meant to encourage sex.” In the olden days under the patronage of Ethiopian emperors, clerics and feudal lords, artists illustrated manuscripts, painted icons and adorned the country’s remote monasteries with depictions of doe-eyed saints and angels as their main profession. Read more.
Above:Art in the Twenty-First Century Season 5 | Episode
4: Systems will premiere on Wednesday, October 28, 2009
at 10pm (ET) on PBS (check local listings).
Tadias Magazine
By Tadias Staff
Updated: Sunday, October 4, 2009
New York (Tadias) – Julie Mehretu will appear in Season 5 of the art21 television series scheduled to air on PBS later this month.
In her art, we are used to seeing Supermatist derived, large scale works with layers of freehand curvilinear forms often juxtaposed against structured forms such as the facades of Bauhaus-like edifice. Some of her drawings depart from the Supermatist heritage in a virtuoso display of biomorphic shapes. In one drawing done in a calligraphic hand (shown at the Project Gallery in 2005 and covered in our print issue), a fanciful fishing eagle of a bird hovers over spiraling surf and beach flotsam and jetsam.
Julie Mehretu, Immanence, 2004, ink and synthetic polymer on canvas, 72 x 96
inches, Mehretu-Rankin Collection, Courtesy of the artist and The Project, NYC.
Photo by Christian Capurro..
Julie Mehretu was born in 1970 in Addis Ababa, Ethiopia, and raised in East Lansing, Michigan. She holds an undergraduate degree from Kalamazoo College in Kalamazoo, Michigan and a Master of Fine Arts from the Rhode Island School of Design. She lives and works in New York.
Video: Excerpt from the show – Catch the episode on October 28
at 10pm (ET) on PBS (check local listings).
Spotlight on Danny Mekonnen: Founder of Debo Band (Video)
New York (Tadias) – Ethiopian-American jazz saxophonist Danny Mekonnen, a PhD candidate in Ethnomusicology at Harvard University, founded Debo band in 2006. The band, which has been cultivating a small but enthusiastic following in the loft spaces, neighborhood bars, and church basements of Boston, explores the unique sounds that filled the dance floors of “Swinging Addis” – a period of prolific Ethiopian jazz recordings in the 1960s and 70s. Addis Ababa’s nightlife was buzzing with live Afro-pop, Swing, and Blues performances rivaling those in Paris or New York. The sounds of that era have been showcased on the Ethiopiques Buda CD series. The 60’s and 70’s also witnessed the rise of legendary stars such as Tilahun Gessesse, Mahmoud Ahmed, Alemayehu Eshete, Mulatu Astatke, and saxophonist Getatchew Mekuria, among others – some of whom Danny credits as his source of inspiration. He pays tribute to Menelik Wossenachew, a member of the Haile Sellasie Theatre Orchestra, led by the famous Armenian composer Nerses Nalbandian. Debo began making appearances outside of Boston this year, including shows in New York, Philadelphia and Washington, D.C. We spoke with Danny prior to the band’s concert at L’Orange Bleue in New York City.
Above:Photo by Award-winning Photographer Aida Muluneh –
whose upcoming book “explores (her) country through, identity,
personal journey and family nostalgia after a 30-year absence –
established an NGO in 2008 to train a new generation of African
photographers to compete in the global media industry while
reshaping the image of Africa to reflect their personal
experiences.
Aida Muluneh is an award-winning photographer based in Addis Ababa, Ethiopia. In her photography book Ethiopia: Past/Forward (Africalila, 2009,) Aida explores the country through, identity, personal journey and family nostalgia after a 30-year absence. The photographs are a collection of images that show cases a return to a society juxtaposed between past, present and future.
Aida is founder of D.E.S.T.A FOR AFRICA, a non-profit cultural organization in Addis Ababa, Ethiopia. D.E.S.T.A FOR AFRICA stands for Developing and Educating Society Through Art, it also means “happiness” in the Ethiopian language Amharic. D.E.S.T.A FOR AFRICA promotes cultural development through the use of photography by providing workshops, exhibitions and creative exchanges.
Follow her on Twitter @aidamuluneh. Read the interview at Dodge & Burn
Related past article from Tadias archives Reshaping our global image through photography
Tadias Magazine
By Tadias Staff
Published: Thursday, December 18, 2008
New York (Tadias) – Desta, the Amharic word for happiness, is the name of a popular candy brand in Ethiopia. It’s also the acronym of choice for Photographer Aida Muluneh’s ambitious new project to reform the African continent’s long history with negative imagery.
Through photography, Muluneh has found a medium of transformation. Incorporating natural light from a crisp, dawn Ethiopian morning, or that of a sentimental sunny afternoon, Muluneh projects inspiration captured in moments of daily life – portraits of cab riders, priests, and street children in bustling Ethiopian cities and towns.
Her new organization, appropriately named DESTA for Africa, is a local NGO based in Addis Ababa. Muluneh (pictured above) hopes to encourage a new generation of African Photographers who are able to compete in the global media industry while reshaping the image of Africa reflecting their personal experiences.
“I have spent most of my artistic career promoting alternative images of Africa. DESTA For Africa was born out of my belief that we have to be accountable for how the world perceives us. Even though Africa is ever growing and rapidly changing, the images that we see in the mass media are not reflective of that, ” Muluneh says in a recent interview with Tadias Magazine.
“I feel that African artists have a responsibility to manage how the continent’s image is portrayed, and we can do that by actually providing the necessary education and resources to those who are interested in documenting their own realities.”
School is over for the day. These boys enjoy their time-off playing in their
neighborhood streets in Addis. (Photo by Aida Muluneh. Image featured on BBC)
BBC: A dignified Ethiopia – Aida Muluneh living in New York sent these images
depicting life in Ethiopia. She hopes these photos will show her country in a
different perspective.
Timkat (Epiphany) is the most colourful event in Ethiopia when churches parade
their Tabots (Replica of the. Ark of the Covenant) to a nearby body of water. Here
priests and deacons begin the religious procession from their individual churches and
walk, carrying flags, to Meskel Square where they all assemble.
(Photo by Aida Muluneh. This image was also featured on BBC).
The organization’s first batch of trainees is from Addis Ababa University, which lacks a permanent department of photography. ” We offer our workshop to undergraduates and graduates of the Addis Ababa School of Fine Arts and Design, with the aim to provide them with viable and self-sustainable opportunities in the photography industry,” Muluneh explains.
Yet the giving is reciprocal. Muluneh is learning from her students as they receive training. “My students are an example of what can happen when countries invest in cultural production, and support efforts to reshape Africa’s image. And they also give me strength and inspiration to continue on this mission,” she says.
Muluneh’s biggest stumbling block is lack of basic teaching resources. “You won’t believe how much of a difference it makes to have one photography book or art book,” she says. “I have been teaching with three cameras shared among 13 students, yet the students have been with me since February 2008 with the same enthusiasm and passion as on their first day.”
And what can the Diaspora do to help?
“We are continuously looking for photography books, cameras, film…the list goes on, but the first thing I would like to stress to the Ethiopian American community is the importance of cultural preservation, and managing cultural production, she says. “Culture determines not only how we experience daily life, but how we transmit vital information about our history, health, and general economic and political development.”
For those who are interested, Muluneh will be hosting a fundraiser and introduction of DFA at Almaz Restaurant tonight in Washington D.C. (The event took place on Thursday, December 18th, 2008). “We will be showcasing the works of the students and also selling prints to help continue our work in Ethiopia, and beyond,” she says. “For those who are not able to attend, it is possible to make donations through our website at www.destaforafrica.org.”
Here are few recent images from Muluneh’s students in Ethiopia.
New York (Tadias) – We first featured Ethiopian-American artist Yonie in our May 2003 issue as he single-handedly and successfully promoted his music on Seattle’s KUBE 93 FM and X104.5 FM radio stations. Citing Michael Jackson as his childhood music hero, Yonie didn’t wait for large labels to pick him up. Instead, he worked alongside some of the industry’s best mixing engineers to produce his own songs.
Yonie caught up with us recently and let us know that he’s still on the fast track. “Since we last spoke I’ve been up to lot,” he said. ” I moved to LA in 2005 to pursue acting. ”
Within three months of moving from Seattle to Hollywood he earned himself a position as a Music Video Casting Director and found himself “engulfed in a world of pretty women, million-dollar mansions and A-list celebrities like Mariah Carey, 50 Cent, Lil Wayne and more.” Not surprisingly, Yonie caught the attention of producers who approached him about having a TV show based on his new life in Hollywood. The trailer for the film, Sunset, was recently released online and the producers are currently in negotiations with Viacom, owners of MTV, as well a few other networks. The show is expected to begin airing in January 2010.
In addition to the TV show, Yonie has also produced a film entitled ‘The Heart Specialist’ featuring stars such as Zoe Saldana (Star Trek), Wood Harris (The Wire), Brian White (Stomp the Yard) and R & B Singer Mya. The film won ‘Best Film’ award at the 2008 BET Urban World Film Festival in New York.
Yonie’s new show features Lil Wayne, T-Pain, Pharrell, Bow Wow and several other artists. We’re looking forward to the premiere!
New York (Tadias) – In continuation of the six-year tour of the United States, Lucy’s Legacy: The Hidden Treasures of Ethiopia opened today at the Discovery Times Square Exposition in New York.
Organizers held a press preview in mid-town Manhattan this morning and unveiled a multi-media exhibition of Lucy’s fossils – one of the earliest human ancestors discovered in Ethiopia. Additional items including ancient Ethiopian Orthodox bibles, biblical manuscripts, copies of the Holy Koran from the Harar region, and other historical materials conveying Ethiopia’s ancient Abrahamic heritage and diverse cultures.
A replica of the Axum obelisk and the Lalibela church, designed by American artists for the exhibition, were also on display.
Donald Johanson, who made the landmark discovery of Lucy in 1974, told Tadias Magazine that the famous bones are a very important reminder of our origins in Ethiopia. “She reminds us that all of us began in Africa,” the Arizona State University Professor said during an interview at the museum. “Ethiopians should be very proud of that fact, that our ancient ancestor has been found in Ethiopia, and it is a rare opportunity for the country to share these antiquities with the rest of the world.”
Donald Johanson, the man who discovered Lucy, at the Discovery Times Square
Exposition in New York (Photo by Tadias Magazine – June 24, 2009)
There have been many versions of how Lucy got her name. Johanson shared its origins with us. “I was there with my girlfriend Pamela, and the Beatles song ‘Lucy in the Sky With Diamonds’ was playing on a small radio…that’s how she was named.” According to Johanson, an official at the Ministry of Culture, Bekele Negussie, gave Lucy her Ethiopian name “Dinkenesh,” which in amharic means ‘you are wonderful.’
“I hope this exhibition will encourage people to travel to Ethiopia and experience this great nation.” Johanson told Tadias.
Several scientists have shared their concern and disapproval of the exhibition citing that Lucy’s remains are too fragile for touring and travel. The Smithsonian Institution’s National Museum of Natural History in Washington, D.C. has refused to display Lucy amidst such concerns.
Mamitu Yilma, Manger of the National Museum of Ethiopia, who attended the NYC opening, says she understands the controversy. “Although the concerns are legitimate, we have done a lot of work and professional due diligence before Lucy was allowed to leave Ethiopia,” she says. ” At the end, it is about sharing Ethiopia’s rich history, diverse culture, and our tremendous contribution to world civilization.” And “What better place to do it than in New York City, the capital of multiculturalism.”
Dirk Van Tuerenhout, Curator of the show, hopes that the exhibition will serve as an ‘Ethiopia 101′ course for the American public. “My greatest joy is when people say: “Wow, I had no idea that the Queen of Sheba was Ethiopian or that Rastafarianism is related to the Ethiopian Emperor Haile Selassie. I hope the show inspires young children to become anthropologists or archaeologists or researchers”.
The show will remain open in New York until October 24th, 2009
Here are more photos:
NYT Photographer Chester Higgins, Jr. and Mamitu Yilma, Manger of the National
Museum of Ethiopia. (Photo by Tadias Magazine – June 24, 2009)
A video exibtion of the life and times of Emperor Haile Selassie is also on display.
(Photo by Tadias Magazine – June 24, 2009)
Outside the Discovery Times Square Exposition (Photo by Tadias Magazine)
A large poster detailing the relationship between Rastafarianism and Ethiopia.
The show will remain open in New York until October 24th, 2009
ART NEWS
The Gallery at AYN Studio Presents Stop Time: Jazz & Pictures
Posted: Tuesday, June 23, 2009
Featuring Chester Higgins Jr., Frank Stewart and Gediyon Kifle
The Gallery at AYN Studio is pleased to announce the jazz photo show featuring artists Chester Higgins Jr., Frank Stewart, and Gediyon Kifle. Stop Time refers to a musical device frequently used in jazz, in which the forward movement of the rhythm seemingly stops to allow a soloist space to improvise and continue the forward flow of the music. Contrary to suggestion, however, the rhythm never stops…quite like the history of Jazz.
Stop Time is a collection of works by these three award-winning photographers who documented jazz legends from the 20th century into the 21st Century. Each photographer brings his own narrative twist to the great history of jazz icons. Higgins (New York Times and African-American heritage photographer) begins the show with a proud portrait of Duke Ellington to set the “rhythm” of the show. Stewart (NY Foundation for the Arts Fellows and Jazz heritage photographer) brings the uncanny intimacy the musicians have with their music as well as his own intimacy with the musicians, like in his photographs, Miles in the Green Room 1981, and in 1992 Sir Roland Hannah. Kifle documents the excitement of proximity and performance of the musicians. In works like Tommy Flanagan I, II, and III and Solitude (Wynton Marsalis) one can visually hear the soul of the musician and the energy of the audience.
Above:On April 19, 2009, Ethiopians lost the greatest popular
musician the country has ever produced. The following is an
“appreciation and reminisence by Charles Sutton about his
friend, the supremely gifted singer, Tilahun Gessesse…”
Charles Sutton — usually known as Charlie — came to Ethiopia with the Peace Corps in 1996. He was a musician, and even before he arrived, Charlie had discovered Ethiopian music through his Amharic language instructors. He describes the impact of that discovery, which directed his life toward a deep and lasting relationship with Ethiopia, its people — particularly musicians, and its language, in which his fluency and elegance continue to astonish.
Charlie needs only a brief introduction from me since he will provide the rest himself. His friends and acquaintances know Charlie to be a gracious, warm and generous man, thoughtful and polite to a fault. He is still a working musician both as a teacher and a performer. In his jazz, Charlie’s improvisations reveal the depth to which Ethiopia has entered his soul. In a recent recording, Charlie played masinko and sang, in Amharic, naturally, with two long-time Ethiopian musician friends. Characteristically, Charlie often directs the proceeds from his CD sales to the Institute for Ethiopian Studies or another deserving beneficiary.
This is the first of a three-part appreciation and reminisence by Charles Sutton about his friend, the supremely gifted singer, Tilahun Gessesse, who passed away on April 19, 2009 in Addis Ababa. All of Ethiopia, and music lovers around the world, are in mourning.
Sutton’s Tribute to Tilahun Gessesse – Part II – Ye Muzika Metsihet
Part I of my tribute to Tilahun Gessesse concluded on a late summer evening in 1966, when staff Amharic teachers and I performed his beautiful song “Oo-oota Ayaskeffam” in a music show during Peace Corps training at the University of Utah. As I begin writing again on the 40th-day memorial of Tilahun’s death, I feel privileged to join you once more in commemorating this great, iconic singer. In Part II, I will attempt to thank Tilahun in a more personal way, by acknowledging how profoundly he affected me during the years I spent as a Peace Corps Volunteer–and musical performer–in Ethiopia . Perhaps I can best do this by inviting you to revisit with me a second musical event. It occurred almost exactly two years after the Utah show. The date was September 11, 1968 (Meskerem 1, 1961), and the occasion was the Grand New Year’s Music Festival at the Ambassador Theater in Addis Ababa .
It was early, a little past eleven o’clock in the morning, when I arrived outside the Theater on that long-ago New Year’s Day. Already there was a large, animated crowd of music fans clustered around the box office, basking in the warm spring sunshine as they waited to purchase their tickets for the annual marathon show that would begin at one in the afternoon and continue until late into the night. I paused for a moment near the main entrance to gaze at a large advertising poster on which I saw my name and photograph included along with those of Tilahun and other popular vocalists whose appearances were promised.
As I made my way through the throng toward the stage entrance at the rear of the building, a newspaper boy ran after me. Under one arm he clutched a large stack of orange-colored magazines.”Mister Charles! Mister Charles!” he cried. Music Magazine! Published today! Hot off the press! Limited edition just for the Festival! Great pictures and write-ups of Tilahun, Bizunesh Bekkele, Alemayehu Eshete–all the big stars! And you, Mister Charles! You! You are in it too! Look!” With a flourish, he opened a copy and held it up for my inspection.
“Mister Charles!” he continued. “This fantastic souvenir edition costs only one birr! Get yours now, before they are all gone! “I didn’t need any more persuading. Fishing in the single, narrow pocket of my suri, I extracted the few coins necessary to make up the price. By this time, we were surrounded by several more newsboys clamoring for me to buy their copies too. Leaving the sunlight, I escaped with my purchase through the stage door into the cavernous theater’s backstage gloom.
For the equivalent of U.S. 40 cents, Ye Muzika Metsihet (“Music Magazine”, as I have translated it; the text, except for a few English words added for effect to its advertisements, is entirely in Amharic) was undoubtedly one of the best bargains I have ever encountered. Much more than a playbill, the metsihet contains in its 70 pages detailed descriptions of all the contemporary artists, groups, musical directors, and technicians; magnificent photographs and collages; and thoughtful essays covering a variety of musical subjects. There is even a section devoted to English and American pop luminaries of the day like Tom Jones, Elvis Presley, and Ray Charles. The attractive cover of Music Magazine features a young, beautiful Asnakech Worku seated amidst spring flowers, plucking the strings of her krar.
All this was the work of Shawul Baminew, a presenter of popular music on Radio Ethiopia . Music Magazine was obviously a labor of love, which I doubt has been equaled before or since. Once inside the theater, I became so absorbed in the magazine–which today remains one of my most treasured possessions–that I almost missed my cue.
Page 48 of Music Magazine features Charles and Almaz Getachew, the vivacious
singer-dancer from Wolayita, performing with Orchestra Ethiopia.
As I had done for the first time in Utah , once again I was going before an audience to sing in Amharic, but now as the veteran of dozens of television, concert, and wedding performances during the preceding year and a half with Orchestra Ethiopia , a 15-member traditional folkloric troupe. Long gone were the incongruous button-down shirt, striped tie, and slacks of my stateside initiation, replaced by the white cheesecloth cape, long white tunic, and white riding pants that constitute the Ethiopian national dress. Suspended on a leather thong from my left shoulder was a mesenko, which I had spent many laborious hours learning to play.
Even though I dressed in Ethiopian costume, sang Ethiopian songs, and made a fair attempt at performing on an Ethiopian musical instrument, you might well wonder how an amateur mesenko player–an American newcomer to the ancient land where the Peace Corps assigned him to be a teacher of English–could so rapidly have penetrated the ranks of its seasoned professional entertainers and musicians.
The paradoxical explanation is that I owed my improbable career in Ethiopian traditional music directly to the transcendent popularity of Tilahun Gessese.
The most quintessentially Ethiopian of all Ethiopian singers, but simultaneously the undisputed avatar of what was then called “modern music” (“zemenawi muzika”–Western-tinged Ethiopian pop performed on Western musical instruments), Tilahun, and his cohorts in the Imperial Bodyguard (the Army and Police Bands followed close on their heels), seemed in those days to sweep all before them, taking the world of Ethiopian music by storm. Some commentators confidently predicted that Ethiopian traditional music and musical instruments would soon face extinction as a result.
Page 25 of Music Magazine is devoted to Tilahun Gessesse, 26-year-old star
vocalist of the Imperial Bodyguard Orchestra
Orchestra Ethiopia , the group with which I had become associated, was founded under the auspices of the Creative Arts Centre of Haile Selassie I University in 1963 by the Egyptian-American composer and ethnomusicologist Halim El-Dabh, specifically to counter this trend. As Shawul Baminew wrote about Orchestra Ethiopia in Music Magazine, “In order to prevent Ethiopia’s great cultural heritage from being swallowed up by Western civilization and know-how, and with the goal of keeping the country’s native arts alive and to defend against their being swept away in a flood of foreign influences…, one branch of the Creative Arts Centre was dedicated to the preservation of traditional music and given the name ‘Orchestra Ethiopia’…[The Orchestra] would incorporate all the varied instruments characteristic of different Ethiopian ethnic groups, so that these instruments would not molder as displays in a museum, but would play on together in group performance and so be given new life and the chance to expand their musical scope.”
Ato Shawul goes on to say that the then director of the Orchestra, a gifted twenty-year old composer and poet named Tesfaye Lemma, by means of his attractive, innovative compositions and his skilled supervision of the ensemble, had not only brought it a long way toward achieving the goals that had been set for it, but had in the process also won for traditional music an unexpected resurgence in popularity.
Nonetheless, traditional music still faced an uphill fight. Tesfaye told me that the first time Orchestra Ethiopia participated in the New Year’s Festival, before he became director, an impatient audience hooted the musicians off the stage. Things had improved since then, but Tesfaye was still looking for new approaches and special attractions to help Orchestra Ethiopia hold its own against the glitz and glamor of the military bands.
That was where I came in.
Thirty years later, Tesfaye explained in an interview the genesis of his plan for me to join the Orchestra: “It was a new experience for Ethiopians when they saw a foreigner appreciating and performing their music. This brought good attention to the Orchestra, especially in those days. Many people were not conscious of their culture. They didn’t see their music and instruments as valuable. The younger people were more interested in rock music and in learning the guitar and keyboard. When I invited Charles to perform with the Orchestra, it was unusual and they woke up and said, ‘This is good music. An American is playing our music! ‘They came to have more respect for their music as a result.”
At the 1968 New Year’s Festival at the Ambassador Theater, Orchestra Ethiopia finally came into its own. Tesfaye had spent months preparing an all-new program that was greeted with unprecedented enthusiasm by the capacity crowd. The song he wrote for me then–it has been a staple of my repertoire ever since–was called “Mesenko”. The audience liked “Mesenko” so much that I had to sing it twice.
Considered by the organizers to be the least exciting attraction, Orchestra Ethiopia was always first on the bill at the New Year’s Festival, presenting a one-hour program. Next came the Police and Army Bands, each playing for two hours. The grand finale was the Bodyguard’s presentation, with Tilahun’s performance as its climax. As each group finished its job at the Ambassador, it left immediately for the Ras Theater in the mercato, where the New Year’s show was repeated in its entirety at half-price for a young, rough, more boisterous crowd.
Charles was proud when he saw his photograph positioned directly below Tilahun’s
at the center of this poster advertising a music show in 1968.
I can remember clearly the shock of the transition from the relative decorum of the Ambassador to the rough-and-tumble holiday hubbub of the Ras. We descended from our minibus at twilight into the midst of a disorderly mob through which we had to push our way to the Theater’s back entrance. Once safely inside the dimly lit stage area, we found a scene that seemed to border on chaos, with many people running about and no one apparently in charge. But there was hidden method to this apparent madness; presently we were ushered into the wings and hurriedly prepared to march out on stage. I peeked through a tear in the curtain and felt butterflies in my stomach as I glimpsed a vast, restive multitude standing shoulder-to-shoulder in the darkened, fully packed house.
If a Ras audience found fault with you, their yells, insults, hoots, and catcalls would begin immediately and make it virtually impossible for you to continue your performance. But if you won them over and they liked you, they were equally uninhibited in demonstrating their approbation–nay, love–which you could feel wash over you like a warm wave. At the Ambassador, the rhymes in my new song “Mesenko” had been greeted with polite applause; at the Ras, they elicited roars of delight. The audience began to sway and sing along. A young woman emerged from their midst, climbed a staircase at the side of the stage, and, like a lovely apparition, came dancing toward me. When she kissed me on both cheeks and pasted a 10-birr note to my forehead, the crowd went wild. She was followed by several others who stuffed money into my pockets, the collar of my tunic, under the strap of my mesenko, and even in my shoes–always to uproarious applause.
Orchestra Ethiopia ’s entire program was very warmly received.
The bus was waiting outside to take us at last to our homes. I unwound by reading some more in Music Magazine, turning now to Shawul Baminew’s appraisal of Tilahun (whose performance that day I was sorry to have missed): “Most of you know already that Tilahun holds the first place among our country’s vocalists. Tilahun is a young man who has a pleasant disposition, is disciplined, strives to please all of his listeners whoever they may be, always has a smile on his face, and, in accordance with Ethiopian custom, respects his fellow man. Because he is like this, everyone who knows Tilahun admires and praises him. If you think I’m lying, approach him. Try him, and you will see.”
Unfortunately, 32 years would pass before I was lucky enough to discover for myself the accuracy of that pronouncement. I was a co-participant with Tilahun in four successive New Year’s festivals, but because Orchestra Ethiopia always appeared at the beginning of the show and the Bodyguard Orchestra at the end, we never met.
However, I did at least get close to Tilahun–in a manner of speaking. Two weeks after Orchestra Ethiopia ’s success at the Festival of ‘68, the entire New Year’s show was staged again by popular demand. A new advertisement posted all over town displayed the photographs of ten star performers. As always, Tilahun occupied the central position. But this time, for once–it was one of the proudest moments of my life–I joined him there.
—- I look forward to recounting to you in the third and concluding part of my tribute how I eventually did enjoy the good fortune not only to watch on two occasions from the best seat in the house as Tilahun performed, but also to meet him, express to him my admiration, hear his opinion of my singing and mesenko playing, spend some happy times with him, and become his friend.
Charles Sutton
Old Saybrook , Connecticut
June 9, 2009
Remembering Tilahun Gesesse
Meklit Hadero and Todd Brown at the de Young Museum in San Francisco
Art News
Source: San Francisco Sentinel.com
10 June 2009
The de Young Museum hosts Meklit Hadero and Todd Brown: Light, Shadow, and the Quiet Song Between through June 27th as part of the Fine Arts Museums of San Francisco Artist-in-Residence Program in the Kimball Education Gallery. Read more at San Francisco Sentinel.com.
Ethiopia native MEKLIT HADERO is a singer, musician, cultural activist, and previous director of the Red Poppy Art House in San Francisco. Meklit has lived in twelve cities, on three continents, and her musical explorations span cultural influences and genres. In December of 2007, Meklit released her first recording, titled Eight Songs. She is the recipient of a 2008 Individual Grant from the Belle Foundation for Arts and Culture. Currently, she is organizing a group of Ethiopian Diaspora artists from across North America to return to Ethiopia for a festival of traditional music at the end of this year. Meklit was selected as a 2009 TED (Technology, Entertainment, Design) Global Fellow. The TED conference is a large gathering of artists, scientists, engineers, entrepreneurs, and designers who are at the cutting edge of their fields. Along with Brown, she is a central composer, lyricist and co-founder of the musical ensemble Nefasha Ayer. Listen to Meklit’s work: MEKLIT HADERO.
Photos from L.A.’s Little Ethiopia Tadias Magazine
By Tadias Staff
Updated: Wednesday, June 10, 2009
New York (Tadias) – An intergenerational poetry reading and panel discussion examining four decades of Ethiopian immigrant’s life in the U.S was held earlier this month in Los Angeles.
The Tsehai Poetry Jam, which was presented in cooperation with PEN USA, the Ethiopian Heritage Foundation and Tsehai Publishers, was held at Messob Restaurant & Lounge, located in the official neighborhood of Little Ethiopia on Fairfax Avenue.
A similar event in Chicago is scheduled for early July in conjunction with the The Fourth Annual Tsehai conference.
Below are photo highlights from the L.A. event courtesy of Tsehai Publishers.
Photos by Richard Beban
Conversations Between Generations: The Lives of Two Ethiopian Ceramicists
Above:“Porcelain bowl,” teapot, and vase, ceramic.
By Tessema, Mamo (Photo credit – National Archives,
Contemporary African Art from the Harmon Foundation, select
list number 236).
Tadias Magazine
By Lydia Gobena
Updated: June 1, 2009
New York (Tadias) – Pottery has traditionally played a functional role in Ethiopian society, and ceramists have generally been seen in a less than favorable light. In fact, in certain areas, ceramics was even associated with witchcraft. Ato Mamo Tessema impacted Ethiopians’ perceptions of ceramics and ceramicist. His work became seen and continues to be seen as an art form rather than a product with a utilitarian function. Ato Mamo’s artwork and career as the founder and curator of the National Museum of Ethiopia has also had a lasting legacy on Ethiopian artists, including Sofia Temesgien Gobena.
This article will discuss Ato Mamo’s influence on changing the perception of ceramists and ceramic art in Ethiopia, as well as his influence on the career of his cousin Sofia T. Gobena, who passed away in 2003. This article will further discuss how Sofia’s family is seeking to promote the notion of ceramics as an art form in Ethiopia.
Mamo Tessema was born on August 24, 1935 in Nekemet, Wollega, Ethiopia. He graduated from Teacher’s Training School at His Imperial Majesty’s Handicraft School in Addis Ababa. After studying in Ethiopia, he went to the U.S., where he attended the Alfred University, and the New York College of Ceramics. He received his Bachelor’s of Fine Arts and Masters of Fine Arts from Alfred. At Alfred, Ato Mamo’s studies were not limited to ceramic design, he also studied wood carving, painting, sculpture, welding, graphics, lithography, photography, furniture design, and history of art, among other things. Thus, Ato Mamo’s studies provided him with a well-rounded background in art, which is reflected by his artwork.
Above Left: “Warrior,” welded steel sculpture by Mamo Tessema (Photo credit – National Archives, Contemporary African Art from the Harmon Foundation, select list
number 239).
Above Right: “Welded Bird,” welded steel sculpture by Mamo Tessema
(Photo credit – National Archives,Contemporary African Art from the Harmon
Foundation, select list number 240).
Ato Mamo’s work has been exhibited in a number of locations including at the: Alfred Guild at the State College of Ceramics; 1961 UNESCO exhibit; Temple Emanu-El in Yonkers, New York; Washington Heights branch of the New York Public Library; Hampton Institute and Commercial Museum in Philadelphia. The latter five exhibitions were done through the assistance and/or sponsorship of Harmon Foundation, which during its existence from 1922 to 1967, played an instrumental role in promoting the awareness of African art in the U.S. Ato Mamo has also exhibited his work in other countries, including in Ethiopia.
“The Capture,” woodcut. By Tessema, Mamo (Photo credit – National
Archives,Contemporary African Art from the Harmon Foundation, select
list number 237.
After returning from studying in the U.S., Ato Mamo became well-known as a ceramist. This resulted in Ethiopians beginning to appreciate ceramics as an art form. To this day, when Ethiopians think of ceramics as an art form, Ato Mamo immediately comes to mind.
Ato Mamo also taught at the Handicraft School after his return to Ethiopia. Ato Mamo further embarked on the ambitious and worthy project of establishing the Ethiopian National Museum, the first museum in the country. Among the purposes of the Museum were to demonstrate the illustrious art and culture of Ethiopia to visitors, and to educate Ethiopian children about their rich history. As the founder and curator of the museum, Ato Mamo traveled throughout the globe, presenting Ethiopian artifacts to the world.
It can be said that his influence is felt by many now, when one travels through the bustling art scene in Ethiopia. There seems to be a greater appreciation of artwork as new private galleries are opened. Ato Mamo saw the importance of Ethiopian art and history, and the need to archive it. For this Ethiopians should be grateful.
Sofia T. Gobena Sofia at her Masters of Arts Show
Sofia Temesgien Gobena was born in Addis Ababa, Ethiopia, on August 18, 1964. She came to the United States of America in July 1972 with her parents, Abebetch B. and Temesgien Gobena. She received her Bachelor of Arts degree in Psychology from Antioch College in Ohio, and a Master of Arts in ceramics and glass from the University of Wisconsin at Madison. She also completed her work for her Master of Fine Arts at the University of Wisconsin. Sofia unexpectedly passed away at the age of 38, though in her short life she was a prolific creator. Here are but few samples of her work.
To learn about ceramics in Ethiopia, Sofia visited one of the traditional ceramics producing stations. Sofia’s art professors and colleagues described her artistic abilities as transcendent and the kind of talent that comes around perhaps once a decade.
During Sofia’s visit to a traditional ceramics station
in Ethiopia.
Although Sofia’s life was brief, she was a prodigious artist, leaving behind numerous paintings, sculptures, glasswork, and ceramic pieces that are testaments to the beauty of her creative spirit. While some of this work had previously been seen during her Master of Arts show that was held in Madison, Wisconsin, her artwork received greater exposure at an art show that was held on June 18-20, 2004, in Washington, D.C. at the WorldSpace Corporation. The art show was put together by her family, with the assistance of Mamo Tessema.
Sofia’s influences in ceramics were the well-known U.S. ceramicists Peter Voulkos and Daniel Rhodes. Mamo Tessema was also an important influence in Sofia’s art. The Sofia T. Gobena Foundation was established in Sofia’s memory. The purpose of the foundation is to distribute funds to educational institutions in the United States and abroad that support and encourage the promotion of ceramic arts. Contributions have already been made to the Addis Ababa University Art Department to develop a ceramics department.
In sum, Mamo Tessema’s art work and legacy as the founder of the Ethiopian National Museum has had a significant influence on Ethiopia and artists. One such artist was Sofi a T. Gobena, in whose name a foundation was established to promote the ceramic arts.
— About the Author: Lydia Gobena, sister of Sofia T. Gobena and a cousin to Ato Mamo Tessema, is a trademark attorney and partner at Fross Zelnick Lehrman & Zissu, one of the top intellectual property law firms in the world. She is also a jewelry artist based in New York City.
Addis Journal: Stencil Paintings for the Ethiopian Music Festival
The picture above is a stenciled portrait of Alemayehu Eshete, a renowned Ethiopian vocalist, being displayed at an exhibition in Addis at Alliance Ethio-Francaise’s gallery starting from Friday, May 15 as a part of the 8th Ethiopian Music Festival.
The work by French painter, Pierr Dumond, (known by his artistic name Artiste-Ouvrier) is based on a photograph from Abyssinia Swing, showing Alemayehu in his youth as a nineteen-year old obscure singer.
The second portrait based on a photo taken six months later illustrates the
singer’s stunning transformation that came with his new-found fame and an
Elvis Presley look.
The acrylics works are highly detailed stencils and silk screened on canvass. Artist-Ouvrier’s technical skill in combining emphatic brushstrokes with photographic imagery has captivated viewers.
The artist has also displayed other portraits of Ethiopian musicians such as Tilahun Gessesse and a group portrait of Tilahun Gessesse, Mahamoud Ahmed, Bizunesh Bekele.
The collections are among the 600 works that Artist-Ouvrier has been doing since
March 1, 2009 in preparation for the Music Festival.
The Festival which opened on Friday this year has chosen to honour two composers and arrangers, Sahle Degago and Lemma Demissew, two prevalent figures of “Swinging Addis “,”unfairly erased from collective memory”, according organizers.
Sahle Degago has spent his whole musical career among the Imperial Bodyguard Orchestra. An inspired melodist, a delicate songwriter and above all an arranger as sophisticated as prolific, he was the main architect of the successes of other members of the Orchestra such as Tilahoun Gessesse, Bezunesh Bekele or Mahmoud Ahmed, according to the promotional brochures.
The career of Lemma Demissew bloomed in the shade of the Army Band. Contrary to Sahle Degago, who was strongly Ethiopian in his approach, Lemma Demissew was often a feverish modernist, deeply inspired by the electric wave born on the other side of the Atlantic Ocean. A pianist, a composer, a singer, he will also remain, for our music lovers’ soft little hearts, the beloved arranger of many of Mahmoud Ahmed’s or Alemayehu Eshete’s anthological vinyl records.
——–
Publisher’s note: This piece is re-posted from the Visual Poets Society’s blog with permission.
Above:The 1656 painting “The Pellkussen gate near river
Vecht in Utrecht” by Jan van Goyen is seen in this image
released by City Museum IJsselstein, Netherlands, Tuesday
May 12, 2009. Art thieves broke into a museum in a small
Dutch town and stole six 17th- and 19th-century Dutch
landscapes. City spokesman Mark de Kok says three of the
stolen paintings were river scenes by Jan van Goyen, a
Rembrandt contemporary. De Kok said two more paintings
were damaged when the thieves dropped them as they
escaped. He said the burglary took place overnight. Monday.
It was the second art heist this month in the Netherlands.
AP
Tues., May 12, 2009
AMSTERDAM – Thieves pried open the emergency door of a small Dutch museum with an iron bar and made off with six 17th- and 19th-century landscape paintings — the second major art heist in 10 days in the Netherlands. Read more.
Review: Ethiopian Artist Elias Simé at Santa Monica
Museum of Art Above:Simé walks among some of his sculptures at the
Santa Monica Museum of Art. Credit: Michael Robinson
Chavez/LAT.
To step into the fantastically jam-packed installation now at the Santa Monica
Museum of Art is to step into another world: a nuanced universe suffused with compassion, sensuality and wisdom, a place so far removed from the cold calculations and multi-tasking distractions of life in Los Angeles that it seems you have to be a specialist (or very privileged) to go there.
It’s all too easy to see the 60-plus sculptures, 40-odd paintings, seven thrones and five wall reliefs by Ethiopian artist Elias Simé as an anthropologist would: ingenious artifacts from a fully formed culture fundamentally different from our own and probably part of a way of life being squeezed out by global consumerism.
But “Elias Simé: Eye of the Needle, Eye of the Heart” is nothing of the sort. Read more.
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