The Gurage people are a Semitic-speaking ethnic group inhabiting Ethiopia. According to the 2007 national census, its population is 6,867,377 people, of whom 792,659 are urban dwellers.
This is 5.53% of the total population of Ethiopia, or 9.52% of the Southern Nations, Nationalities, and Peoples' Region (SNNPR).
Hailu Fereja - Esherrerre
(Guragigna Music)
The Gurage people traditionally inhabit a fertile, semi-mountainous region in southwest Ethiopia, about 125 kilometers southwest of Addis Ababa, bordering the Awash River in the north, the Gibe River (a tributary of the Omo River) to the southwest, and Lake Zway in the east. In addition, according to the 2007 Ethiopian national census the Gurage can also be found in large numbers in Addis Ababa, Oromia Region, Dire Dawa, Harari Region, Somali Region, Amhara Region, Gambela Region, Benishangul-Gumuz Region, and Tigray Region.
The groups that are subsumed under the term Gurage originated in the Tigray region of Ethiopia as the descendants of military conquerors during the Aksumite empire. The Gurage languages, which are not always mutually intelligible, belong to the Semitic branch of the Afro-Asiatic language family. Some of these have been influenced by neighbouring Cushitic languages. The Gurage are mainly Christian—members largely of the Ethiopian Orthodox Tewahedo Church—and Muslim.
Settled agriculturalists, the Gurage centre their lives on the cultivation of their staple crop, the Ethiopian, or false, banana (Ensete ventricosum), prized not for its “false” (or inedible) fruit but for its roots.
The languages spoken by the Gurage are known as the Gurage languages. The variations among these languages are used to group the Gurage people into three dialectically varied subgroups: Northern, Eastern and Western. However, the largest group within the Eastern subgroup, known as the Silt'e, identify foremost as Muslims.
01 - Aster Aweke - Ebo (8:02)
02 - Mahmoud Ahmed - Gichamue (4:38)
03 - Ashenafi Zeberga - Sriway (5:55)
04 - Behailu Kassahun - Ayo Eshururu (5:38)
05 - Biruk Befekadu - Sebelbelata (3:59)
06 - Ashenafi Zeberga - Segele (4:56)
07 - Mikiyas Negussie - Be3ste (4:51)
08 - Reshad Kedir - Amama (4:46)
09 - Yared Negu - Yemerkato Arada (3:56)
10 - Mykey Shewa - Aegba (ኤግባ) (4:15)
11 - Mewded Kibru - Yawe Way (5:57)
12 - Teddy Yo - Guragaeton (3:55)
13 - Desalegn Mersha - Waywato (5:16)
14 - Jossy Gebre - SebenSema (4:44)
15 - Hailu Fereja - Esherrerre (5:21)
16 - Feleke Maru - Ker (4:51)
17 - Wendi Mak - Yene Mar (5:26)
18 - Temesgen Gebrgziabeher - Yemeskel Let Mata (5:36)
Saluting the greatest Ethiopian “Masinko” man and dissident artist Shambel Belayneh
by Getahune Bekele | South Africa
“Enlighten the people generally, and tyranny and oppressions of body and mind will vanish like evil spirits at the dawn of the day.” -TJ
Behold, he is daring, he is a rebel and the fearsome black lion is roaring.
“Endyaw zerafewa endeyaw zerafewa,
Ye Gondern meret ye humeran meda,
Tedanegbet enji mech dagnebet bada.
Wede temari bet temeleshi kine,
Wendoch kewalubet ewelalhu ene.”
Millions of his fans often say Shambel Belayneh is the undisputed successor to the late legendary entertainer Assefa Abate of “Yematibela Wef” fame. But some go a bit further and compared this larger- than- life character to US patriotic songs and country music icon Lee Greenwood, the man who sang the timeless and the most recognizable “God bless the USA”.
Back home in Ethiopia where his songs are totally banned, even the most unpatriotic snobs will agree that Shambel Belayneh’s latest patriotic hit titled “BEKA” with its lively melody and widespread appeal, is as rabble rousing as the 1865 hit “Marching through Georgia” by Henry Clay work.
Rebel artist Shambel Belayneh is no Demimondaine. Patriotism is his peculiarity. His natural milieu is that of patriotic artists. As we Ethiopians begin to see a whiff of freedom in the air, only Shamble’s miscellaneous hits are going to unshackle the minds of millions of undemonstrative citizens and propel them towards freedom, liberty and fraternity.
This courageous crowed puller and Masinko genius, Shambel Belayneh, always gets enthusiastic support from his passionate fans hungry for mesmerising and delightful folk music feast. Homesick Ethiopian exiles and refugees, who complain of weariness from labour, love the manner in which he renders his music to them, with great majesty and amazing fluency. Cheering them up by the soothing dreamlike sweet melody.
As the godfather of traditional patriotic songs of Ethiopia, Shambel’s ambient music is easy to connect with. It has the power to uplift the soul, awakening in us the spirit of compassion and love, independence, rebellion and even anger. It also vanishes our blues or conjures up memories of our great past in anti-colonial struggle. Shambel’s song awakens the hero in us to surmount all obstacles and Marches us off to war. – To a just war of liberation.
One die-hard fan who danced to “Tekebresh Yenorshew” hit later described the experience by stating “the brooding melancholy that had settled over my mind was charmed away by the power of Shambel Belayneh’s Masinko and when my adrenaline peaked, my torment was lifted after which i saw my beloved Ethiopia in flesh.”
Selam Haile, 29, an Ethiopian student in Pretoria-South Africa, calls Shambel Belayneh a singing Nightingale who pours out a thrilling melody that leaves a lasting joy in the heart.
Although some “Azmaries” inadvertently get the credit, Shambel Belayneh is the only patriotic singer who never tried to wheedle Ethiopians in to accepting brutal repression and slavery in the past 24 years.
A born revolutionary and selfless patriot, Shambel is not a tiresome pedagogue, singing about yester year Ethiopia and yester year greats only. He fearlessly magnifies our current magnificent sons and daughters, immortalises those who watered the trees of freedom with their precious blood.
We all know that music powerfully touches our lives. It moves, enchants energizes and heals us. But it can also jar and twist us, filling the heart and the mind with gloomy thoughts, distracting us and saturating our thinking with undesirable propaganda. I remember how a certain singer we Ethiopians have unutterable love for, recently gave us an immoral song called “Gomen Betena”. The unforgettable trash was a direct call on ordinary Ethiopians to just eat cabbage in peace rather than fight the ruling elite to get some nutritious luxuries. As cadre singer, the man was clearly trying to press upon our consciousness that the regime currently ruling Ethiopia is undefeatable. He further advocated through his song that we should not rebel against the system but settle into depressed complacency.
In the past 24 years, we have seen a plethora of Ethiopian artists, who wholeheartedly fought tyranny through their music giving up and surrendering to the rulers. They flew home after striking dodgy deals with feared TPLF agents.
However, shortly after landing in Addis, they were deplorably used as well- oiled ethnocentric propaganda machinery which guerrilla- markets hatred and ethnic disharmony in the Ethiopian society. –A deserved job for being led by their avarice and betraying their principles.
No wonder some so-called “traitor-artists” incurred the wrath of this sunshine patriot Shambel Belayneh. During his recent fundraising concert in the US, Shambel mocked and belittled singer-turned cadre, Solomon Tekalign, calling him the dog of TPLF shadow propaganda minister Bereket Simeon; – “ Solomon Tekalign ye Bereket wusha.”
As much as he is meek, convivial or as those close to him say, an Angel with temperance and humility virtues, no one stands before Shambel Belayneh when he is pissed off. Once this writer was at the receiving end of his red-hot rage for not delivering the Masinko to his hotel room on time. The next day he accepted my sincere apology with mischievous smile but kept drivelling on about it for hours. “Respect the folk music magnate and he will respect you back” am told by his producer, Daniel.
Nonetheless, given how he has been treated by the Diaspora for the past two decades, the hardship he had to endure in the name of Ethiopiawenet, at times struggling to keep the wolf from the door, the man who seems betrothed to his beloved Ethiopia for eternity, doesn’t rage at the injustice of life in exile. Even when i pressed him to say more, he was outwardly calm and betrayed no sign of discomposure; an unparalleled hero in almost every aspect with unmatched resilience and courage.
When below-average, mammon worshiping singers got their reward for praising tyranny and ethnic apartheid, Shambel Belayneh, the rock, refused to sell his soul and chose to suffer for the sake of Ethiopia. He rejected the millions dangled before him to join the club of immoral millionaires with the contempt it deserved.
Hence life in the US hasn’t been rags to riches for Shambel Belayneh as in the writings of novelist Horatio Alger Jr. Instead, it was a transition from relative obscurity to an instant fame as symbol of resistance, with his star shining hundred times brighter than any other artist of our time.
We Ethiopians fondly remember how Shambel Belayneh burst onto the scene several moons ago, straight from the mountain- top Eden of northern highlands. Who will forget how his folk music masterpiece titled “ye Zenaye” came cascading down like the mighty waters of Geon from the majestic mountains of Abyssinia. In that memorable song of two melodies of one tapestry, the young shepherd likened a certain drop-dead gorgeous girl (probably his boyhood sweetheart) to the sweet-smelling tropical plant called Demakese, a natural remedy for cold and frostbite.
“Ende Demakese medhanit neberch”… was a jewel among Shambel’s other lilting and rhythmic songs that would never fade away from our memory. What a blessing was that he picked Masinko rather than the flute, normally associated with the romantic names of Abyssinian shepherds.
However, currently, Ethiopians are imploring him for more patriotic songs as the struggle for freedom moves to another level.
“Tekebresh yenorshew babatochachin dem,
Enat Ethiopia yedefereh yewdem.”-
Is on everyone’s lips from New York and Johannesburg all the way to the Eritrean desert, our new home. We have got our war and the freedom train is in motion. We are heading north to join PG-7 and our commander-in-chief, his Excellency Prof Berhanu Nega, whom we affectionately call the “desert fox”.
We salute you Shambel Belayneh and kings to you. We shall never forget you and the battle cry is reverberating……
Demere Legesse was born on February 19, 1969 from his father Legesse Tesema Bilhate and his mother Debre Beshah Ayele. He was born in Agarfa, Bale in a small town called Galema Hebeno. He attended grade 1 up to 6 in Galema Hebeno Sefera Mender School, 7 and 8 in Agarfa Melestegna Primery School, 9 and 10 Batu Terara Secondary School, 11 and 12 in Addis Abeba Nifas Silk and Maremiya Betoch School.
In February 8, 1987 he traveled to Addis Ababa and employed as a police officer in Maremiya Betoch. After 6 month military technical course in Aleltu he was introduced as a vocalist in Maremiya Police Orchestra. After working for 14 years from 1987 to 2001 in Maremiya Police Orchestra he formed his own music band named DL Band. He handled numerous music concerts and matrimonial festival for bride and bridegroom in Ethiopia and for those who come from America, Canada, Europe, Australia and different countries.
Demere Legesse - Awdamet
Demere is one of the members of Yellow Page which is Ethiopian musicians community. He has a great roll in Ethiopian musical industry of wedding and culture. As a mater of fact he presented cultural and nuptial music such as Kana Zgelila (Special Church Song), Melkam Kelebet (Reggae Style Nuptial Music), Awddeamet 2001, Awddeamet 2003, Kotu Malo, Sendelewa, Burtukkee, and others.
Back in Maremiya Betoch Orchestra, Demere found his soul mate Etenesh Girma Bogale and married in March 18, 1990. One year later they have their first baby Nathnael in May 1991, the second baby Abel in October 1996 and the third Rodas in August 2008. And now Demere has 3 children and 3 houses plus personal band.
Demere’s discography:
In 1996 his first wedding album – Mirt Yeserg Zefenoch (Best Wedding Music)
In 1997 second modern album - Taxi
In 2000 third Amharic cultural album – Mirt Yebahl Zefenoch (Best Cultural Music)
In 2001 forth album contains nationality and wedding records – Des Yilal
In 2004 fifth Amharic cultural album - Wegen Alegn
Walias Band (sometimes spelled Wallias Band; Amharic: ዋሊያስ ባንድ?) is an Ethiopian Jazz and funk band active from the early 1970s until the early 1990s. Formed by members of the Venus Band, Walias backed up many prominent singers with a hard polyrhythmic funk sound influenced by western artists like King Curtis, Junior Walker and Maceo Parker. In 1977 they recorded one of the few albums of Ethiopian instrumental music in collaboration with vibraphonist Mulatu Astatke, whose role as a bandleader and composer was also a major influence on Ethiopian popular music.
In 1981 Walias became the first modern Ethiopian band to travel to the United States, playing on a tour with singer Mahmoud Ahmedprimarily to audiences of Ethiopian refugees. Four members—Girma Bèyènè, Mogès Habté, Mèlakè Gèbrè and Hailu Mergia—stayed in the U.S. and formed a new group called Zula Band in favor of returning to live in Ethiopia under its dictatorship. Mergia took work in Washington DC driving a taxi cab and released solo cassette tapes of traditional Ethiopian music played on analog synthesizer, electric piano and accordion. The remaining members—Yohannes Tèkola and Tèmarè Harègou—continued to play together under the Derg dictatorship for another decade.
Hailu Mergia and Walias Band 1970
In the late 1990s Walias Band found a wider audience in the west when the French label Buda Records reissued much of the group's music on the Ethiopiques series of compact discs. Their instrumental, 'Musicawi Silt', became a popular dance number and has been covered by a number of artists.
The Walias Band's name derives from the walia ibex, an endangered species of the Capra genus native to the mountains of Ethiopia. They share no members with the similarly named Ibex Band who also backed up Mahmoud Ahmed during the same epoch.
