‘Cherakersh’

In praise of Ethiopia’s Leading Lady

By Mina Yirga

In the 1940 and 50’s, the participation of women in the arts – and Ethiopian theatre in particular – was insignificant. Thanks to Ethiopia’s culture, women were left with no choice but to be bashful and bury their talents for fear of social isolation.
During that time, a bold and gallant female idol, Zenebech Tadesse, appeared to break through the glass ceiling in Ethiopian theatrical history.
At a young age, Zenebech used to cut classes to see stage performances at the theatre. While waiting for her big opportunity, she used to amuse her classmates at the Alliance and the Swedish Mission schools by acting in classes.
At the age of 13, Zenebech went to Matios Bekele, the then director of Hager Fiker Theater, to plead for admittance. At first they simply ignored her, thinking her too young without seeing her talent.
But this never stopped her from chasing her dream. Lucky enough, Zenebech was accepted at Hager Fiker Theatre in 1953 and given the role of a serf in the play ‘Gezae Worke’. The minor character she played somehow blossomed and so began her inspirational career.
During her 50 years of professional experience as an artist, musician and dancer, both at Hager Fiker and the National Theatre, Zenebech was an iconic figure and is remembered most for two things: her famous song ‘Lomi Bewerewer’ and her nickname ‘Cherakersh’. Cherakersh literally means ‘an animal without a tail’, but applied to Zenebech came to mean her energetic and powerful presence.
There are two stories explaining this name. Some say Negatwa Kelkaye, one of the senior artists at Hager Fiker Theatre, used to get offended by Zenebech’s jumpy manner.
The other version attributes the name to the late Emperor Haileselassie. It was a common trend
at the Hager Fiker Theatre to celebrate the Emperor’s birthday or Coronation anniversary with activities when different artists would present bouquets of flowers.
When it came to Zenebech’s turn, the theatre held its breath, terrified that her behavior would disgrace them in front of the Emperor.
Eyoel Yohaness,, former director of the Hager Fiker Theater trained her for 15 days on how to walk with grace and on how to be humble around the Emperor, Ministers and Royal family. When it was time, she ignored everything she had learnt and entered the palace full of charm and smiles to present her bouquet.
Her trainer and supervisors was terrified that he might lose his job over such an outburst.
The Emperor instead was amazed by her easygoing approach and courage and remarked by saying ‘Cherakersh’, making light fun of her. Later on she was even awarded with the golden bracelet from the Emperor’s own hand.
Over the years, Zenebech, alias ‘Cherakersh’, grew famous and beloved among her enthusiastic fans.
No one could possibly image Zenebech was a mother of six after seeing the keen artist dancing energetically to the song ‘Lomi Bewerewer’.
Zenebech performed traditional dance shows and more than 20 plays in Ethiopia and abroad until her retirement in 1992. She never gave up her profession even after her retirement, working on TV dramas and movies with different companies.
Zenebech was a genuine artist. She had the magical control over the audience and the stage until her sudden death on March 16, 2007.
When recalling their time with her, her friends, family and fans become emotional and unable to finish their sentences. They have enough things to say about ‘Cherakersh’ to fill up a book if written …
Here is a short list of comments by her fans, long-time colleges and family:
“I knew artist Zenebech Tadesse back in 1967’s. I was a young fellow who has entered the music world. She had a good name and fame at Hager Fiker Thearer. I don’t have words to express her deeds … as an artist she has every quality ... born with talents… she cannot be easily forgotten…..”
Artist Ayalew Mesfin
“I got hired at Hager Fiker Theatre as an amateur artist in 1969. Back then the amateurs had no clue as to where to go and what to do. Even our salary was not encouraging. Zeni saw our passion for the art and used to give us words of encouragement and advice on how to upgrade our career. I remember Eyole Yohannes former director of Hager Fiker Theater admiring her for her proficiency ... we used to make an effort to be as good as her… she is different on and off the stage … you cannot walk on the street with her … you won’t reach your important appointment without getting late … she never passes a single person without greeting them”
Artist Meron Abate
“Joining the National Theater was my favorite opportunity since I came to know my long-time fan Zeni….apart from our similarity in our profession…..we were inseparable….she keeps my secret.. most of all she is my sister, mother and friend”
Artist Desta Gebrae
“In 1977, I was among the young artists who has joined Hager Fiker Theatre. She likes encouraging upcoming artist. I can say I am among them. Zeni became any character she played. She was the most talented. Even after her retirement she never wanted to abandon her profession … she has helped many young female artists to join the theatre world.”
Artist Cherotaw Kelkaye
“Though I had passed the entrance exam at the Hager Fiker Theater, I used to get scared to perform on stage… and I wished to have Zeni’s daring on stage. Zeni gave me that strength … she was an energetic, talented artists… she always liked to stand up tall and didn’t want to play minor characters…we worked together for almost 23 years…her magic power is not only on stage but in her social life as well….”
Artist Abrar Abdo
“I don’t really know how I can express Zeni…..she was wonderful, fun to be with….. we were together for almost 50 years …she was an artist with a kind heart..”
Artist Girma Bisrat
“A humorous artist … No one can ever replace Zeni. She will always be missed.”
Artist Kebede WoldeGiorgis
“A renowned artist with 50 years of professional experience who used to work at Kendiel Betae Tewnate with amateur artists who hadn’t even seen a stage …Zeni fulfilled the acting principle. She won her audience…she used to dominate artists that performed with her. She can fill the whole stage by herself. It’s hard to find an artist with such quality”
Artist Ayalneh Mulatu

Rotaract Abugida assists an exhibition

By Tsion Aklilu

Thirty artists presented their work at Alliance Ethio-Française on Friday March 23, 2007; the exhibition will be closed today.
The artists have presented their different and unique work with the assistance of alliance Ethio-Francaise and Rotaract club of Abugida UUC.
The displaying of the paintings are different than the previous time. In actual gallery exhibition at the Alliance only few, not more than ten artists were allowed to display their two pieces at a time because of lack of space. This time, the coordinators have managed to put two tents at the compound and dropped the paintings with harmonic light.
“Art Village”, was expected to include different sculptures, photographers, and painters. Unfortunately, only the painters and a one sculptor occupies the space provided. President of Rotaract Abugida club, Negede Gezahegn said, “We have invited all kinds of artists to contribute their different works at the occasion, but it seems only the painters to win the limitation we set.” Alliance has given the priority for those who have never showed their work at the gallery before.
Every one of them were recommended to display only four of their piece at a time. More over they were advised to carry some back up materials for the rest of the show since the purchase of the works were ready to be taken right away.
The artists have come up with different creative way of paintings.
Rotaract club of Abugida UUC has assisted the occasion with the recommendation from Alliance. Volunteerism club-Rotaract Abugida was established in 2003 at Unity University College. It is a club based on community service. So far, Abugida has participated in the national campaign of Polio eradication, environmental protection and blood donation.

“Anqelba” at Asni Gallery

By Tsion Aklilu

Remember as a baby carried on an “Anqelba” on the back of your mom. Not only does it hold you tight but also makes you sleep with the harmonic sound it creates with the beads at the bottom.
It is no more a baby pouch; it has also become the symbol of care and protection. A Greek artist has presented her paintings on this material and on iron sheets at the Asni Gallery. Martina Anagnostou makes her core of painting the sex workers in Northern part of Ethiopia, specifically on the border between Ethiopia and Eritrea.
She says, “These people have come here looking for better life and got trapped in life. However, they still got the spirit and I wanted to reflect this with the materials and colors I choose.” The woman with lots of energy looks at the paintings with full of passion and it feel as if she had her moment with these people. Martina has the chance to see this people since she works in advocacy; she has the chance to visit them out an interval of every three months.
She has managed to mach the colors she uses
with the color of the baby pouches. More over, she has her own reason to use the colors “my taste for colors was not that big, now I have used different colors”, and pointing at one of a woman portrayed with a red eyed red back ground “this for example, I make it red to show her emotion and anger.”
Martina, 36, was born in Athens, Greece. She has presented solo and group exhibitions in different European countries.
Art is hole that opens ones mind to the world explains Martina, “It keeps me awake at night and drives me to make strange objects…it is the great irony of this world we live in and its stringent polarities.”
For the artist, the Anqelbas are symbols of protection and at the same time, they are a trap.

Africa 2000

Benin

Africa 2000 is a special section that will appear regularly up to the Ethiopian millennium festival and through out the millennial year. Africa 2000 features a brief arts and culture profile of each AU member state. Capital believes that an enhanced awareness of the rich diversity of Africa will help in making the New Ethiopian Millennium a truly African celebration. We hope that Africa 2000 will, in a modest way; educate, inform, update and help promote intra-Africa relations as envisioned by the 8th Ordinary Summit of AU Heads of State.

A brief history
Sandwiched between giant Nigeria on the east, slender Togo on the west and buttressed to the northeast by Niger and northwest by Burkina Faso, Benin is not often seen in the limelight. It is a relatively prosperous and hugely fertile small nation, although it has had its fair share of coups and some serious instability.
Benin is a new name adopted in 1975 replacing the more evocative Dahomey, as it was called upon independence from France in 1960-ending over a century of colonial domination.
Prior to being incorporated into French West Africa in the late 19th century, present day Benin was the site of one of Africa’s greatest empires- the Kingdom of Abomey, which reached its zenith in the 17th century.
Benin’s post independence history is characterized by one of Africa’s last old school leaders– President Mathieu Kerekou. In the fifth coup in Benin’s history, this powerful political figure assumed power and gravitated to the east, declaring Marxism Leninism in 1974 until renouncing it in 1989. In what surprised and pleased many Africa watchers, Kerekou conducted and lost in 199, Benin’s first ever democratic elections in 30 years. He made a come back democratically when he was re elected in 2001. President Mathew Kerekou is regarded in West Africa as an elder statesman of great charisma.

Vital Facts
Area: 112,620sqkm
Topography: mostly flat with dense vegetation, hot humid coast
Population: 7,649,360
Distribution: 46% urban
Principal ethnic groups: Fon, Adja, Yoruba
Principal religions: indigenous 50%, Christian 30%, Muslim 20%
Government: republic
Head of state and Government: President Mathieu Kerekou, since 1996
Capital city: Cotonou( administrative), 820,000,, Porto Novo( constitutional) 238,000
Economy: textiles, food processing, chemicals, construction materials, agriculture
Gdp Grwoth: 5%
Per capital GDP: 1200 USD
Literacy: 40.9%
Currency: CFA Franc-525.28=1 USD
Life expectancy: 51.5 male, 53.8 female
AIDS RATE: 1.9%

Facts and figures are the latest available at time of publication and may not necessarily be the most accurate .

Angelique Kidjo

KIDJO grew up in Ouidah, Benin, a country in West Africa that sits snugly between Togo and Nigeria. She was born into a musical family; her mother is a choreographer and director of a theater group, her brothers are instrumentalists – and at the age of six she was singing and dancing in her mother's company and later joined her brothers' group, the Kidjo Brothers Band, where she sang a variety of Benin-style songs. Growing up in Benin exposed her to a rich variety of music. She was heavily influenced by the traditional folk styles and love songs of the country - epic songs full of allusions to the history of the villages and the rituals and voodoo ceremonies of the older generation - but, perhaps more importantly, she was listening to the new urban African music percolating up from South Africa and the Westem songs ranging from James Brown, Aretha Franklin to Jimi Hendrix that she heard on the radio. The formidable South African vocalist Miriam Makeba was a great influence on the young Kidjo, so much so that Angelique, who was already making a name for herself, recorded an adaptation of a Makeba song for Benin radio. Her first hits followed and she toured the Ivory Coast.
It wasn't until Kidjo made the trip to Europe, however, that her career came alive. It was Cameroonian producer, Ekambi Brilliant, who suggested that Angelique move to Paris to record and the singer left Benin for Europe. Paris in the Eighties was the breeding ground for the new African music. African artists, freed from the constraints of African tradition yet incorporating their roots with Western styles, were generating revolutionary sounds. Delicately plucked guitars were mixing with rock drums and lyrics were tackling more worldly issues. Makossa from Cameroon, soukous from Zaire and mbalax from Senegal was being injected with a new attitude and was taking over the dancefloors. Kidjo was in her element. When she first arrived she sang and recorded with a group called Alafia and then joined the jazz- tinged band, Pili Piii. She later recorded two jazz albums with Pili Pili and played with them at the Montreux Festival in 1986. In the same year she joined forces with bass player and composer Jean Hebrail, and together they worked on their own music. Through regularly working at the Baiser Sale in Paris she also met many African and Antillean musicians and was able to form her own group and release her first solo album, Parakou.
Parakou is an album that bubbles with makossa, zouk, soul and reggae rhythms, pinned around traditionally-styled lyrics and melodies, with Kidjo's powerful voice ringing throughout the tracks. Not content to rest on her successful beginnings though, Angelique wanted to push her music even further and integrated the styles even more closely on her second album, Logozo, which was released on Mango Records. Logozo, recorded in Miami, is state of the art Afro-funk. It mixes driving dance rhythms and punchy grooves with infectious melodies and sophisticated instrumentation. And if the music wasn't enough, the grand master of world music, Manu Dibango added his curly saxophone lines on a couple of tracks as did jazz sophisticate Branford Marsalis. With all its modern fluency, Kidjo didn't forget her roots and added a traditional Benin acappella song and a commanding version of the well known African traditional song Malaika.