INTERVIEW
Singer Aster Aweke
Ethiopian Review
July 1997
ER. How and when did you start your music career?
Aster. As a young girl, I remember I loved to sing whenever the occasion arose or didn’t. I remember whenever the teacher stepped out of class for a minute or two, I would get up on the teacher’s desk and sing and dance and get the other kids to join in. Needless to say, I used to get disciplined frequently and harshly. The neighborhood girls use to seek me out to sing for them or to sing with them the many traditional Ethiopian songs, especially around holidays like anQžõõv (Ethiopian New Year). Later, I remember that I used to sneak into the Genet Hotel night club (I was only 12 or 13 years old) and hide behind the stage and watch very attentively the singer’s performance and later go home and, in front of a mirror, try to mimic the singer that I just saw perform. The great Bizunesh Bekele was my favorite singer to mimic in front of the mirror. I later met her and she gave me words of encouragement and advice, which live with me to this day. In late 1970s, I was hired as a singer/dancer by the contemporary music department of the Hager Fikir Theater.
Q. Before coming to the United States, were you a full time musician in Ethiopia?
A. Yes, I was a full time singer. Before I left Ethiopia in 1981, I had released several albums on cassette to a generally good review. The last album I recorded while in Ethiopia (which was officially released while I was flying out of Ethiopia) was an album entitled Munaye, which apparently received very favorable response from the music lovers back home.
Q. Where did you sing in Ethiopia? Was your family supportive?
A. First at Hager Fikir Theater and later at clubs and hotel such as Continental Hotel, Hotel D’Afrique, Wabi Shebele and Ras Hotels, accompanied by Continental band, Hotel D’Afrique band, Shebele band, and Ibex band before they became known as Roha band, respectively. At first, my family was totally against my musical career choice. Back then families did not want singing (Azí°Nt) as a profession for their kids because it was considered undependable and keenly comparable to beggingthis is true still today in some families. As a teenager, their disapproval of my career choice meant that I could pursue singing only without my family’s knowledge. Later, my family eventually accepted my career choice and supported me wholeheartedly and I largely credit them for my success.
Q. Why did you come to the United States?
A. I came to the U.S. to further my education. I thought then that my singing career was behind me and my new aspiration was to secure higher education in America. Soon after I arrived in the U.S. in 1981, I settled in the Bay Area in California. I actually enrolled in English language classes. I was miserable. It didn’t take long for me to realize my only true calling was singing. Soon after I moved to Washington, D.C., where the largest number of Ethiopians reside, hence a great chance to earn a living as a singer.
Q. Which song or album is your favorite of all time? Why ?
A. Songs, especially songs that I write, are like my children, it feels as I have given birth to them. As such, it isn’t possible for me to favor one over the other. However, the song that evokes the greatest emotion in me is the song entitled “am HGr ALo” (I Have a Country Too). I wrote the song shortly after I arrived in the U.S. at the height of feeling homesick. I had come to realize that life in America was not what it was cracked up to be. Some people in my surrounding looked down on my culture. I missed my family, friends, the foodfinding injera was not as easy thenthe coffee drinking ceremony… life in Ethiopia in general. Around that time I spent a lot of time, crying and wishing I could go back home.
The process of writing the song and later recording it was an emotional therapy for me. I think this is one of the advantage of being a song writer/performer. Nevertheless, after recording it in 1983, I rarely performed it on stage because I would get too emotional when I tried to sing it. However, I recently performed it on stage at the “Hagere Music Tour” in Addis Abeba. The album I am most proud of artistically speaking is Kabu, which was released in 1991 by Columbia Records. In the album, I explored a tiny portion of Ethiopia’s immensely rich and varied musical heritage. It is the work that seemed to have attracted the most attention, especially from FRnÄÏc (foreigners).
Q. You have added unique and modern styles to traditional Ethiopian songs. What makes your music different and so popular, particularly among young Ethiopians?
A. I have been asked this question several times before. I think I write songs that allow me to go here and there range-wise. I get easily bored when I sing a song at the same range. On stage, I get this incredible energy from the audience. I get very restless. I think that might be why especially young Ethiopians relate better to my material.
Q. What were your earlier songs?
A. “Yene Neh Woye,” “Ene Lante Biye,” “Yesera Lebeshene,” “Gela Gela,” “Genenu,” “Besebara Fole,” “Ho Ho Gela”… Are you sure you want me to go on?
Q. Are they available in the market now?
A. No. They are being digitally remastered. They will soon be available in the market via Barkhanns Records. I have written and performed over 170 songs released on 19 albums (3 of them on the compact disc format). I wrote 99% of the melodies and wrote or co-wrote most of the lyrics I ended up recording.
Q. What advise do you give to the emerging new artists?
A. Never let anyone tell you cannot do it; pay your dues; never stay in one place, musically. You have got to be pleased with the material first. You have got to love and enjoy your music. Never think of it in terms of a job.
Q. When you visited Ethiopia recently, there were thousands of people who showed up to welcome you at the Addis Abeba Bole International Airport. How did you feel when you arrived there after sixteen years of residing abroad?
A. As the date of my departure, December 24, 1996, got nearer, I was filled with anticipation. I had trouble falling asleep. Even though I fly a great deal on business, I think because of my fear of flying, I normally fall asleep in the plane. However, this time around it didn’t happen. After I got off the plane and entered the airport terminal, I was mobbed by the employees of the Ethiopian Airlines and other workers at the airport, as well as passengers who happened to be there. We kissed and hugged. Somehow, amid all the confusion, I was able to sign a few autographs. As I left the terminal, I was taken aback by the thunderous, hysterical chants coming from a sea of people holding large banners that read “Welcome Home Aster,” “We Love You,” among others. For a minute I thought I was dreaming, especially since I had not slept for about 40 hours straight. I was overwhelmed by the whole experience and started to sob out of joy.
As I headed toward the section of people at the front who were screaming the loudest, and got to see their faces and greet them, I realized they were just babies, barely sixteen years old. I had to fight my tears really hard and share with them a smile instead. This particular experience is especially emotional for me because these kids, who probably got there very early on or fought their way through the crowd to stand at the very front row and greet me with their screams and self-made banner, were not even born or were in diapers when I left my country 16 years ago. The love I saw in their faces will stay with me the rest of my life.
My attitude regarding expectations of the reception when I arrived in Addis Abeba was, I better see some welcoming party after all the music I sent to them over the last sixteen years. What awaited me was indescribable. They have earned the right to getting more music!
Q. Four years ago, Jemanesh Solomon’s interview in Ethiopia opened a huge discussion on your new music style among other issues. Having this in mind, how did your audience in Ethiopia respond to your style of music?
A. Her too. In Ethiopia, at my press conference, I was repeatedly asked by journalists, no: They wanted me to admit I wrote the song “Esti Lenurbet” to avenge myself for things she said about me. To bring up to speed some of your readers who might not be up on this gossip, Jemanesh Solomon is an artist based in Ethiopia who came to the U.S. with a theater troupe and happened to attend my show in Oakland, California in 1993 during the 10th Annual Ethiopian Soccer Tournament. She apparently had come to my dressing room and had her picture taken with me. She went back home and gave an interviewthe picture was used as an evidence that she in fact had met mein which she allegedly said that all Ethiopians she met in the United States hated my music and during my performance everyone sat on their chairs and ignored me while they got up and went wild during other artists’ performances. More over, she allegedly said that she visited me in my dressing room and asked me why I don’t return to Ethiopia and perform for my adoring fans? I was reported to have responded by saying, that people don’t like my new style of music and if I return to Ethiopia that I was scared that I might get attacked. Of course none of it is true.
What I like to say is that music is not just a commodity you just buy and sell. It is pure, clean, and yes, to me, even sacred. It fulfills the emotional senses. Music is about passion. It is life enhancing, even intoxicating. I respect it too much, therefore I cannot use it as an instrument to attack anyone. I respect it because I believe it is a God given gift and a vocation I was born to pursue with a passion. Instead, I use my music for wholesome purposes, such as lifting peoples sprites when they are down, source of pure unadulterated joy and as a force that brings people together.
Even before I arrived in Addis Abeba on December 26, 1996, apparently a debate was raging in the newspapers between those who wanted me to perform the earlier songs such as “Gela Gela,” “Genenu,” “Gomlale,” “Besebara Fole”… to name just a few, and the ones who wanted me to perform only the more recent ones, “Ebo,” “Sebebu,” “Esti Lnurbet,” “Segno” … When I heard about it the obvious solution was the sets will consist of half of the earlier songs and half of the more recent ones.
Regarding the fans’ response in Ethiopia to my songs, I’d rather let your readers decide for themselves after they view the video and hear and feel the energy of the music on compact discs that will be released soon.
As far as the heated discussion about my new musical style concerned, I think it is more aptly described as evolving musical style. Musical styles change. They change here in the United States, Europe and everywhere else, so why shouldn’t it change in Ethiopian music? Everywhere you go kids today generally listen to a lot of Rap and Hip Hop but not to late 60s or early 70s Motown sound. Back then, the kids were absolutely crazy about the Motown sound. The point is, each generation has musical style, hair style, dress style, etc., that it calls its own. As an artist, I am influenced by the music I listen to, the energy and reaction that is bounced back from the audience during a performance. In general, the music I release at a given time reflects the mood I am in and the surrounding and the interaction between the two.
People run up to me and tell me that they prefer my earlier songs. I suspect the reason is what I stated earlier and because of nostalgia. When you listen to an old song, it does take you back to the moment and period when you first listened to the song, just like a perfume. It might bring memories of your first love, kiss, etc. I predict the teenagers of today will come up to me in 15-20 years time and say the same.
Q. There were accusations of linkage with the current government against your sponsor, Afro Life Entertainment, that organized your concert in Ethiopia. Is there any validity to the accusations against your sponsor? If there is, did you know about it before you went to Ethiopia?
A. I think the right term for the role they played is promoter and/or organizer. I think questions regarding Afro Life Entertainment should be directed to them. However, if you are asking my opinion, I don’t think there is any linkage with the present government. The company I signed the contract with is based in Los Angeles and is registered in the State of California as an entertainment concern. As your readers might be aware, a concert of this magnitude can only be effectively promoted by radio and television since private newspapers are generally not found outside Addis Abeba, and even in Addis Abeba not everyone uses the papers to obtain information. If the organizers of the show had government linkage, then how does one explain the unprecedented policy of Ethiopian Television refusing to advertise my concerts at the published advertisement rate and the total news blackout by the government owned media about my arrival in the country, or the concerts, or anything else that had to do with me? This included specific instruction to Ethiopian radio not to mention my name in any shape or form or to play any one of my songs, none of my music videos to be shown on television. I think this unprecedented action invalidates the accusations.
Q. Did you know if your sponsor had any deal with Fana Entertainment?
A. Again, I think this question should be directed to the organizer/promoter of the concerts. Besides, I don’t know of an entertainment concern by that name.
Q. There is also a controversy that emanated from the fact that several displaced homeless people had been chased off by police from Jan Meda in Addis Abeba to clear a large area for your concert. How true is that?
A. It is absolutely false that the stated reason for the removal of the homeless people from the section of Jan Meda was to clear an area for my concert. At a press conference I gave on January 22, 1997, in Addis Abeba this was the first question asked of me. Since I had been away from Ethiopia for 16 years and had not been to Jan Meda, I was totally caught off-guard. I responded by saying I couldn’t give an answer because this was the first time I am hearing about it. The spokesperson for the organizers of the concerts vehemently denied that the organizers had anything to do with this incident. And in fact the organizers had reached an agreement with the displaced homeless people to help at the concert area. Right after the press conference, we contacted the administrators of Jan Meda and this is the English translation of what we received in writing. “Even though the area was designated for horse races, it hasn’t been possible to utilize it for such purpose due to the fact that displaced homeless people have been using it as a shelter and this is causing damage to the Ethiopian Equestrian Federation, according to complaints lodged by the Federation with Region 14 Administration’s Social Welfare Department.” According to the Federation’s General Secretary, Ato Sebhatu Tadesse, the displaced homeless people were removed following a favorable decision by Region 14 Administration to the Federations’ complaint.
Of all the vicious lies the people and organization that are engaged in a campaign to smear my name this one is definitely the worst. Obviously, the attempt is to put the responsibility for removing the people from Jan Meda that have already faced so much misery on me despite the fact that individuals and organizations have come forward and taken full responsibility for their actions.
First of all, as most of your readers know Jan Meda is a vast open field. The area required for the concerts was a fraction of what is available.
Secondly, the area where the concerts took place was not where the displaced people had settled.
Thirdly, it is interesting and curios that Ato Sebhatu Tadesse’s letter dated 1995, requesting the removal of the displaced people was acted upon by the authorities shortly before the concerts in 1997.
If people want to continue to speculate, despite the facts presented, the homeless may have been removed to clear more area for the annual celebration of epiphany where about a million people converge at Jan Meda on January 15about 2 weeks prior to the concert.
Q. As an artist of an international stature, how did you see the development of music, dance and art in general in Ethiopia?
A. I was in Addis for only two months. Most of my time was spent rehearsing for “Hagere Music Tour” or quality time with family and friends. So I can’t possibly give a thorough assessment of what is out there. In general, I think art appreciation has increased in the general population compared to when I was there. Closer to home, in the music area, out of the six band members that accompanied me in the Hagere Music Tour, on base Henock Temesgen, on keyboards Teodros Makonnen, on drums Daniel Barnes and on saxophone Ray Carless, the two were home grown talents: Yared Tefera, a saxophonist and Kibret Zekewos, a guitarist, are first-rate musicians. Of course, a young vocalist by the name of Dawit (Messay) Melesse, who supported me during the tour by opening for me, has a very bright futurebesides great talent, he is willing to take risks, musically. I think there has been tremendous progress in the dance area since my days at Hager Fikir Theater some twenty years ago.
During my stay in Addis, I was invited to my “home” a reunion of sorts at Hager Fikir where it all started for me. I was actually sitting, watching a performance taking place at the very same stage where I first performed. I could see myself 20 years back an Afro teenager, innocent, not very confident, ready to dance and sing her heart out. It was an amazing feeling. There were 12 professional dancers selected from various dance companies who accompanied me in “Hagere Music Tour.” They are amazing… world-class comes to mind. Especially Kuribachew, affectionately referred to in Addis as Kuri.
I was fortunate and honored to meet Ato Abate Mekuria who directed the choreography of the 12 professional dancers and the 200 amateur dancers, as well as produce the video shoot of the “Hagere Music Tour.” Extraordinary talent. A Multifaceted individual. Before my recent trip to Ethiopia, my knowledge of Ato Abate was that we both appeared on the same BBC documentary presentation in the late 80s entitled “Under the African Skies.” One of the major accomplishments of my recent trip home is meeting Ato Abate Mekuria and establishing both personal and professional relationships with him. We have agreed to work on a major project but we don’t want to say too much about it yet.
I went to see the musical play written, directed and produced by Ato Abate entitled “Shoeshine Boy.” It is a Broadway material. People like Ato Abate Mekuria have done heroic deeds to keep the torch of art to continue to glow in Ethiopia.
Q. There has been some talk that you are preparing to release an album in English. If this is true, when is it going to be released?
A. True. My Arabic speaking friends say “Einsha Alah!” (God willing). It will be released when God wills it.
Q. What is your future plan as an artist?
A. To continue to entertain my fans worldwide with new releases and live shows. My long term plan includes locating new talents within the Ethiopian community and developing, nurturing and guiding them so that not only to serve their community but eventually compete at the international level. To help me accomplish that, I have set up a record label, Barkhanns Records, which initially will focus on my releases but gradually will include other artists.
Those readers who wish to learn more about the record label may visit us at http://www.barkhanns.com.
Q. Do you have any messages to our readers?
A. First, I would like to take advantage of this rare opportunity and say melkam adis amet! Happy Ethiopian New Year! I recently went to Ethiopia after sixteen years abroad because I missed my country, family and friends, just like many of your readers. The opportunity to show my profound love and sincere appreciation to my people who believed and supported me since day one by performing for them became available and I took it. I did not go home recently because I support the present regime. I was not making any political statements by going home. I was simply home sick.
In a day and age where anyone can anonymously fax, e-mail and post in the internet any thing, people in our community who are engaged in the honorable and mostly thankless service of journalism should be especially vigilant in the way they process information they receive regarding other people. Not only should they rigorously ascertain the credibility of their sources, but they should also make every effort to report on differing view points as well. Most responsible journalists actually would not report a story about an individual unless they have had a chance to discuss the story with the person or his/her representatives.
I would like to use this opportunity to express my appreciation to Ethiopian Review for giving me this forum to tell my side of the story regarding my recent trip home. For me this is demonstration of respect not only for my individual rights, but also for your readers and the profession as a whole and I thank you sincerely.
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The above interview has been conducted by ER staff.
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