Armenian orphans and Ethiopian music

Armenian orphans and Ethiopian music

Contribution and development

Armenians have been living in Ethiopia for centuries; however, their contribution to the local music during the tenure of Emperor Haile Selassie I (1930-74) is the most interesting episode of this presence. PAN tells how Armenians found a place in the Ethiopian musical environment and promoted its development.

PanARMENIAN.Net - Haile Selassie I (July 23, 1892 – August 27, 1975), born Tafari Makonnen Woldemikael, was Ethiopia's regent from 1916 to 1930 and Emperor of Ethiopia from 1930 to 1974. Among the Rastafari movement, whose followers are estimated at between two and four million, Haile Selassie is revered as the returned messiah of the Bible, God incarnate. Beginning in Jamaica in the 1930s, the Rastafari movement perceives Haile Selassie as a messianic figure who will lead a future golden age of eternal peace, righteousness, and prosperity.

Rita Marley, Bob Marley's wife, converted to the Rastafari faith after seeing Haile Selassie on his Jamaican trip. She claimed in interviews (and in her book No Woman, No Cry) that she saw a stigmata print on the palm of Haile Selassie's hand as he waved to the crowd which resembled the markings on Christ's hands from being nailed to the cross—a claim that was not supported by other sources, but was used as evidence for her and other Rastafari to suggest that Haile Selassie I was indeed their messiah. She was also influential in the conversion of Bob Marley, who then became internationally recognized. As a result, Rastafari became much better known throughout much of the world. Bob Marley's posthumously released song "Iron Lion Zion" refers to Haile Selassie.

In 1916, when Tafari Makonnen became de facto ruler of Ethiopia, the country’s development and modernization began. During a trip to Europe in 1924, he stopped over in Jerusalem, where he met a group of Armenian orphans, who survived the Genocide in the Ottoman Empire. These kids were destined to have a big role in the development of Ethiopian music.

Tafari Makonnen’s wife Menen Asfaw was in Jerusalem in April 1923. She met with Armenian Patriarch Yeghishe Tourian to congratulate him on Easter and also paid a visit to the Armenian neighborhood. She was accompanied by Araxi Yezechian, the manager of a royal carpet plant, whose husband headed Ethiopia’s secret service. Empress Menen’s mother was the god mother of Araxi’s daughter, Anna. Enjoying close ties with the royal family, Araxi offered Menen to see Araratyan orphanage which hosted over 400 children from Van and Erzerum.

“When she saw us, she couldn’t hold her tears. She didn’t stay long and was taken back to the hotel. I was surprised because I saw an unknown black queen and disappointed because the meeting ended so quickly,” one the orphans, Noyemzar Malkhasian-Vardanian said when remembering visit.

Menen Asfaw made a donation to the orphanage and promised to help the children. Upon returning to Ethiopia, she told her husband about the orphans and asked him to do something. Next year, Tafari Makonnen himself visited the orphanage in Jerusalem and watched the performance of a wind band there. Being much impressed by the talent of the young musicians, he offered the orphanage administration to let him take the children and create a royal orchestra. The administration could not refuse, as the Regent also obliged to cover the travel expenses and provide accommodation and funds for the orphans.

On September 6, 1924, the orphan musicians led by their supervisor arrived in the Ethiopian capital Addis Ababa, where they were met by officials and members of the Armenian community. On the next day, they were received by the Regent, who pledged to assist them in every way. Soon, a royal orchestra was formed and named Arba Lijoch (40 boys) under the guidance of Genocide survivor Kevork Nalbandian (1887-1963).

The orchestra gained popularity and in 1926, by the Regent’s order, Nalbandian composed the country’s anthem. On November 2, 1930, they performed during the coronation of Regent Tafari as Haile Selassie I, the Emperor of Ethiopia.

According to experts, Arba Lijoch made a great contribution to the development of music trends in Ethiopia. Although there existed some wind bands in the country before the boys’ arrival, they mostly played folk instruments. Armenian musicians performed numerous concerts, while the locals started mastering new instruments.

During the Italian occupation of Ethiopia from 1936 to 1941, the orchestra ceased performing; however Kevork Nalbandian and some of its members continued their activity. In the war time, Armenian musicians traveled to the front to raise the morale of the Ethiopian army.

Besides the royal orchestra, Nalbandian, who held a captain’s rank, initiated formation of Ethiopian royal guards. Since 1946, he headed the music band of Addis Abbaba Theater. One of the members of Arba Lijoch, Karapet Hakalmazian, came to lead the capital police orchestra in 1828. Hagop Manukian headed the same orchestra in 1950-60, while Karpis Haykazian founded the first Ethiopian recording studio.

In 1954, Nalbandian founded Yared music school at Addis Abbaba University to raise a new generation of musicians and reveal modern trends. His nephew, Nerses Nalbandian, who arrived in Ethiopia in 1930s, inherited the helm in 1949. Upon the Emperor’s request, he became the head of the royal orchestra. Being a musician himself, Nerses played violin, piano and saxophone. A composer and conductor, he participated in all significant events of the Ethiopian music life.

Following his uncle, he succeeded in combining the best traditions of the Ethiopian folk music and western classical and jazz motives, what especially helped worldwide promotion of Ethiopian jazz.

Samson Hovhannisyan / PanARMENIAN.Net
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