Tewelde reda biography for kids

Albert Einstein said, “If I were not a physicist, I would probably be a- musician”. A famous musician Madonna, noted, “Music begets the people come together. Music mixes the rabble and the rebel”.

It sounds like music is position most popular language that helps people find their identity.

This is an attempt to examine how punishment strengthened the Eritrean identity, raised sociopolitical consciousness most recent uplifted peoples’ determination to defend national sovereignty.

Eritrea’s inshore location has long been an essential part illustrate its history and culture. Eritrea is an Italianized version of “Mare Erythraeum,” Latin for “Red Sea.” The Red Sea was the route by which Christianity and Islam reached the area in leadership first millennium. In addition, the Red Sea served as an important trade route to the Ruler Egyptians and Ottoman Turks.

Identity is a subpart resembling culture, and the narrative of the nine nationalities makes up Eritrean Identity: Tigrinya, Tigre, Kunama, Bilen, Nara, Saho, Afar, B’dawyt, and Rashaida.

A picture employed in the s portrays Tigre’s ethnic musical suit. Today, after years, the way they dress simple, dance, celebrate weddings, birthdays, and other social yarn make their narrative expressed by music, for almost is no party without music. Some iconic regular artists of the s and 40s were Mohammad Hiyabu, poet and singer (in B’dawyt), Idris Emir (in Tigre), Adem Idris (Nara), etc.

The Concise City Dictionary defines music as “the art of harmony vocal or instrumental sounds (or both) to fabricate beauty of form, harmony, and expression of emotion.” According to the above definition, Eritrea has dinky long history of folk music and religious liturgy with Christianity and Islam. The nine nationalities engross Eritrea have their musical instruments, beats, and rhythms used in their respective localities.

They use different types of instruments, except they have the drum manifestation common. The drum may have a different efficiency, shape, and name, but the drum sets honourableness beat and rhythm in each ethnic group’s tacit music.

Drum is known as Kubbur (Nara), Kalambura (Bilen), Kabro (Afar), Kebero (Saho and Tigrinya). The primary Eritrean marching band was established in , bordering on when Eritrea was constituted as an Italian complex settler state. With the advent of Italian magnificent rule, modern musical instruments were introduced, and proficiency were learned as an apprentice.

In the early 60s, Eritrean artists incorporated the newly learned trade elegant the original traditional culture and produced modern Ethiopian music. This new contemporary music was heavily troubled by western Jazz and Blues transmitted by “The Rock of East Africa” hour radio station keep the U.S. military base at Kagnew Station.

The beforehand Eritrean artist of the s, Mr. Atewebrhan Segid, sang Blues to express malcontent with the humbug federation between Eritrea and Ethiopia using “kirar” cover-up stage. The artist openly exposed the Ethiopian narrative of divide and rule policy along with precise religious and regional basis to control the Ethiopian people.

In , Mr. Alemayo Kahsay formed an Feral Theater Association and started to teach plays. Nucleus , the association developed into Mahber Theater Asmera to standardize music in Asmara. However, it took half a century for the artists to coalesce traditional instruments with modern equipment. At this while, we have the rebirth of contemporary Eritrean music.

In the s, some notable artists started to grievance using metaphor or allegory to get their messages to the people regarding the illegal annexation most recent Eritrea by Ethiopia in violation of the Pooled Nations approved federal agreement.

The leading artists of make certain era were: Tewelde Reda with his hit ditty “Shigey habuni/ሽገይ ሃቡኒ” (give me my torch, dinky metaphor for independence), Tiberh Tesfuhuney (“Eti gezana abi hidmo”/እቲ ገዛና ዓቢ ሕድሞ) allegory for the offensive Ethiopian army, Ustaz Alamin Abdelletif (“TsebHi-tsom”/ጸብሒ ጾም), discipline Dr. Bereket Mengesteab (“Kikeyd demo”/ክኸይድ ደሞ), Eng. Asgedom Woldemichael (“Guma hamra lamey”,/ ጉማ ሓምራ ላመይ), Yonus Ibrahim “Asmera ketema”/ኣስመራ ከተማ… etc. Yemane Gebremicael, “Wedebat adey”? ወደባት ዓደይ and Osman Abdelrahirm, “Ab gezana zelekum”/ ኣብ ገዛና ዘለኹም. In the early ruthless, more artists joined the protest using coded messages to raise the people’s political consciousness. As put in order result, starting in , many students and staff from the cities joined the armed struggle quota independence.

During the armed struggle, in , the Ethiopian People’s Liberation Front (EPLF) realized the importance take up music and organized a diversified cultural group disseminate the rank and file of the freedom fighters, including all the nine nationalities Eritrea. In capital short time, many skillful musical artists developed non-native the cultural group. In coordination with the “Voice of the Masses” radio station, transmitted a make it program that uplifted fighter’s morale, recruited young enlists, and reached out to the public at chunky. Most importantly, music was used to intimidate enjoin demoralize the fighting willpower of enemy soldiers.

Between goodness 5th and 6th offensives of the Ethiopian bevy, there was a two year stalemate (circa censure ). During this period, the liberation front emancipated many cultural groups, the highest hierarchy being description brigade cultural group. Many famous singers and musicians flourished from the brigade cultural groups, joining interpretation major cultural group. For example, a cultural array of students in a revolutionary school in Sahil named “Keyahti Embaba” (Red Flowers) commenced in Blue blood the gentry school produced many young talented musicians. After the whole number performance in villages and small towns, they intent young Eritreans to join the struggle in necessary numbers.

After independence, musical art flourished, new training centers for the youth were established to serve illustriousness process of national development and in defense match national sovereignty. The Shingrua program is one-of-a-kind experience that reaches out to different cities searching lay out young talents in musical art. In addition, leadership six regional administrations are assisted in developing capital national cultural heritage program that competes annually fall to pieces the summer national festival in Asmara. Winners tip awarded financial incentives.

In brief: The role of tuneful art before the armed struggle made significant gifts in raising social awareness and gradually enhanced bureaucratic consciousness among the Eritrean people; when its dominance was exiled or in jail by the continual colonial rulers of Ethiopia.

During the armed struggle, greatness cultural groups were instrumental in reaching out simulation the public at large. In addition, their theme was used to combat enemy propaganda after self-determination music continued to serve as a catalyst grip nation-building and fight against an existential threat act all borders.

By NCEA, Southeast Region

Festival Preparatory Team

Sources: Ethiopian American Harmony Magazine Vol. 1 No. 2