by Abel Shifferaw
In honor of Ethiopian History Month (okay there is no
such thing really, everyday is Ethiopian History Month with me) and a new
documentary that’s in the works called Tezeta (The Ethiopian Armenians) let’s
take a look back at the captivating origin story of modern Ethiopian music… In
1924, the Prince of Ethiopia, Ras Tafari (yes, the religion was named after him),
visited Jerusalem. While walking through the Armenian Quarter with his
entourage, he came across a marching band of forty children. Their talent made
a profound impression on the young prince. Upon inquiring about the young
musicians, Tafari learned they were orphans of the Armenian genocide and with
permission from the Armenian Patriarchate of Jerusalem, adopted them, bringing
the Arba Lijoch (Forty Children in Amharic) as they came to be known, back with
him to Addis Ababa. It was to be the beginning of a musical renaissance in
Ethiopia that unfolded and developed throughout the next few decades.
***
In honor of Ethiopian History Month (okay there is no
such thing really, everyday is Ethiopian History Month with me) and a new
documentary that’s in the works called Tezeta (The Ethiopian Armenians) let’s
take a look back at the captivating origin story of modern Ethiopian music.
Not too long ago, I wrote about Buda Musique’s
Éthiopiques, a collection of rare jazz, soul, funk and traditional folk records
from Ethiopia’s past. The collection has brought Ethiopia’s rich and diverse
musical legacy to the masses a world over and has caught the attention of other
musicians, particularly hip hop artists and producers. I compiled a short list
of artists that sampled from the collections many compilations.
In 1924, the Prince of Ethiopia, Ras Tafari (yes, the
religion was named after him), visited Jerusalem. While walking through the
Armenian Quarter with his entourage, he came across a marching band of forty
children.
Their talent made a profound impression on the young
prince.
Upon inquiring about the young musicians, Tafari learned
they were orphans of the Armenian genocide and with permission from the
Armenian Patriarchate of Jerusalem, adopted them, bringing the Arba Lijoch
(Forty Children in Amharic) as they came to be known, back with him to Addis
Ababa. It was to be the beginning of a musical renaissance in Ethiopia that
unfolded and developed throughout the next few decades.
Tafari provided the Arba Lijoch a musical education along
with stipends and housing. They came to form the Royal Imperial Brass Band,
beginning a tradition in modern Ethiopian music of heavily using brass
instruments. The Arba Lijoch were trained by musical director Kevork
Nalbandian, also an orphan of Armenian descent. Impressed by their progress and
skill, Selassie asked Nalbandian to compose a national anthem for Ethiopia and
on the November 2, 1930, coronation day, the anthem, Marsh Teferi was unveiled
with the Arba Lijoch performing and Prince Ras Tafari becoming the Emperor of
Ethiopia, King of Kings, Haile Selassie I.
Nalbandian and his nephew, Nerses Nalbandian, would go on
to lay the foundation of orchestral brass bands into Ethiopia’s musical fabric,
a sharp turn from traditional stringed instruments like the pentatonic scaled
krar. It was from this foundation that artists such as Mulatu Astatke built
walls and installed a roof upon, incorporating traditional Ethiopian folk
music, religious music, western jazz and funk to create the distinctly
Ethiopian sound of Ethio Jazz.
The genre of Ethio Jazz has recently been experiencing a
resurgence, but don’t call it a comeback.
After Haile Selassie was overthrown and the military
junta called The Derg came into power a curfew was enforced, effectively
shuttering the bustling jazz scene in the many night clubs that dotted the
capital. Even after The Derg was overthrown in 1991 and the curfew was
dismantled, the culture of calling it a night early had stuck with many
Ethiopians and has only began to change in recent years.
But music wasn’t the only area in which Armenians
influenced Ethiopia.
The Ethiopian-Armenian connection runs deep, but
hopefully not deep enough to put you to sleep (Ice Cube reference). They have
traded with one another for centuries. They also both were among the first
countries to convert to the then new religion of Christianity and even practice
the same branch of orthodoxy. Even their alphabets are similar.
Tezeta (The Ethiopian Armenians) discusses the
Armenian-Ethiopian connection is currently in production and directed by Aramazt
Kalayjian.
Watch the trailer here:
https://youtu.be/B0xBybuEOgY
The creators of the film describe it as being about:
…the tremendous impact of a small minority of people on
the culture of a nation; the struggle to retain cultural identity and remain a
viable community; and the role that music played in serving as a bridge between
two cultures.
We started collecting footage six months ago in Addis
Ababa, Ethiopia. During this time, we became acquainted with many Ethiopian
Armenian community members whose families have lived in Ethiopia for several
generations, as well as others touched by the Armenians’ profound legacy.
Particularly compelling is the mark Armenians have left on the musical
landscape of Ethiopia, which is why we’ve chosen to focus on this aspect of the
story.
To date, we’ve conducted forty-five half-hour to
hour-long interviews with Ethiopian Armenians, as well as Ethiopian musicians,
historians, and clergymen. Our interviews have been in French, Amharic,
Armenian, & English. We’ve filmed concerts, recitals, & church
ceremonies. We’ve photographed places and people relevant to the story.
We’ve
come a long way but we have a lot more to go!
Armenian Ethiopians, although small in number have made
significant contributions to Ethiopian music, culture, art and politics (see:
Matthew The Armenian).
Make sure to watch the twelve minute trailer for the
documentary and be on the lookout for more news about the film’s release.
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