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[PANEL] 1214 ANTHROPOLOGICAL STUDIES ON SONGS, MUSIC AND POETRY
TSEHAYE Hailemariam, Founder of Virtual Dance Museum, Oslo, Norway
MEZGEBU Belay; Martyna RUTKOWSKA; HEWAN Semon
FEUDING AND THE ‘MYTH OF MASCULINITY’ AS EXPRESSED THROUGH THE TRADITIONAL VERBAL ARTS IN EASTERN GOǦǦAM, AMHARA REGION [Abstract ID: 1214-01]
People in northern and north-western Ethiopia traditionally associate ‘masculinity’ with the determination not to surrender to enemies, hardships, or other challenges that demand physical strength. It is likewise related to the readiness to vow vengeance and the ability to take revenge. Based on ethnographic research carried out among Goǧǧame Amhara peasants, this paper discusses how the emic concepts of masculinity (or the myth of masculinity) are reflected in the traditional oral discourse and how this dis-course may fuel feuding. It documents a genuine collection of masculine names, proverbs and sayings, war chants and songs, and idiomatic expressions through which aggressive masculinity is encouraged and defensive, peaceful or faint-hearted behavior is discouraged. The study sheds light on the verbal dimension of male gender socialization and feuding.
TRACES OF ETHIOPIA IN REGGAE SONGS [Abstract ID: 1214-03]
Reggae music came into worldwide popularity in the 70's and 80's mainly thanks to its first bard - Bob Marley. He like many other adepts of this genre was Rasta. In the other words he believed, that the last Emperor of Ethiopia - Haile Sellasie I whose pre-coronation name was Ras Tafari Mekonnin was a kind of a prophet or god and his country, Zion, was 'The Promised Land for Black People'. These beliefs are known after the Emperor's name - Rastafari. From the very beginnings of this way of life the music was present in it and played a great role at community gatherings and rituals. The rasta movement emerged in the first half of 20th century in Jamaica. Today, more than 80 years later, it is still alive and attracts new adherents which are known for their creativity and artistic skills. Many of them make music which is soaked in their African and even Ethiopian identity. Through their music they promote Ethiopia and Ethiopianness keeping this country in the centre of attention of the Rastafari community.
ጩኸት ብቻ (ČUKÄT BƎČA): ‘JUST NOISE’ POPULAR MUSIC IN POST-2005 ADDIS ABEBA AND ITYOṖIYAWINNÄT [Abstract ID: 1214-02]
This paper attempts to show the role of art in navigating new forms of identities and its significance in tracing changes that youth go through in Addis Abeba. Through an analysis of the popular music scene, I will argue that the industry is emblematic of deep socio-cultural and political chaos in contemporary Addis Abeba through a discussion of two key features of the music industry, namely, nationalism ‘ኢትዮጵያዊነት Ityoṗiyawinnät’ and poor aesthetic quality, identified as ‘ጩኸት ብቻ Čukät Bǝča just noise’. Thus, this study assesses the way young urban dwellers maneuver societal expectations as well as economic and political conditions to shape and re-define their identity.