The Power of the Pen and Voice of Laureate Tsegaye

By Fitsum G.

April 12, 2007

Laureate Tsegaye Gebre-Medhin was definitely one of the true sons of Ethiopia, ardently nationalist but also a believer in the indissolubility of being Ethiopian and African. He firmly believed in the unity of all black people having studied various disciplines throughout his life: business and commerce, law, anthropology, mythology, literature and languages. His studies confirm to him that Ethiopia is the cradle of human kind. In a rare interview he once stated: “…You don't begin knowing yourself halfway. You don't start from Europe, because Europe started from Africa. It started in Ethiopia and Egypt. Mythology started from Ethiopia and Egypt. This land is a museum of man's ancient history. They look at us; they watch us, the Europeans, the Americans, the other nations, with this tremendous fascination. They are awestruck by the unique practices of our church, of our Islam, of our ancient pre-Judaic worship…. Ethiopia shall come into her own again. Democracy shall triumph. The law will have the upper hand, not tribalism. With the law and with democracy, the people shall have the upper hand. We are suffering; we suffer because of littleness and because of greed, imperial greed, the partitioning again of Africa. But empires who consume with blind greed have throughout history been consumed by the power of the people. The Greeks have, the Romans have, so have many empires. But the nation by the people, to the people, and for the people will triumph again. A simple human being. Conscious of African history, African civilization, African culture. Conscious of world civilization, world culture, of equality, of world brotherhood, I think that has been what the ancient history of Africa, the ancient history of Ethiopia has meant to us.” Poet Tsegaye was perhaps the most outstanding poet that Ethiopia has known in his generation. His death just more than a year ago in the US (where he had been undergoing medical treatment for his kidneys) created huge emotion here. Many people, admirers of Tsegaye regret that his death was not covered by the national media as much as his work and reputation would have suggested, and they doubt if there was not some deliberate indifference if not outright censorship of a splendid image of the poet by a certain public media. Definitely a kind like Tsegaye may not manage to penetrate the hearts of any authority as he would have a lot to observe, pinpoint and criticize. And yet Poet Tsegaye has served faithfully his country in various capacities outstandingly for at least four decades. Few people could claim to represent or impersonate Ethiopian theatre better than him.

Many people have reportedly stated that it was never easy to talk to or interview Laureate Tsegaye, nor is it easy to understand his works, his poetry, or his language. But on one count there are no disagreements whatsoever: Tsegaye’s visceral love for his land, for Africa and for the culture that these lands have produced. Having written more than fifty plays, translated the classics of Shakespeare and Molière into Amharic, Laureate Tsegaye remains a unique prototype in Ethiopian literature, a true advocate of the poor, an activist of human rights. He abhorred violence and oppression and was as candid as ever in expressing such feelings of his as are of course all genuine artists. Their genius does not admit fear, deception nor retreat. His famous pride in his origins has found him a good ally in the person of Statesman, Poet, and Former President of Senegal Leopold Sedar Senghor who died in 2001 at the venerated age of 95. Senghor and Tsegaye were friends and tried to develop the idea of ‘Negritude’ on similar premises, moving along more or less the same wavelength.

Tsegaye has served under the Emperor, the Derg and the current regime but never declined nor hesitated from expressing his critical ideas within his popular plays. And these hardly pleased incumbent authorities. That was why his pen was seen as irreverent to authority, if not a threat. And no government could afford to underestimate the power of his pen or ignore it totally. At times, he has faced criticism, persecution, condemnation, besides imprisonment and deprivation of some of his privileges he would have deserved in his position as a major popular, creative talent. In fact, Laureate Tsegaye seems to have received more recognition and awards outside Ethiopia than at home confirming the old Latin adage: nemo profeta in patria, (no one is hailed as prophet in one’s land of origin).

Tracing back his life, the young Tsegaye first showed his talent in the theatrical art when he prepared a play and staged it in school in the presence of the Emperor at the early age of thirteen in his native Ambo. The Emperor was so impressed that he handed Tsegaye with his personal wrist watch! Since then, Laureate Tsegaye has been conferred with several awards and has been invited to grace numerous conferences and assemblies of people of the profession throughout the world. Tsegaye was the youngest winner of the Haile Selassie I Prize Trust Award at 29, and one of the latest awards he received was from Norway Writers Association called the ‘Freedom of Expression Award.’

There are people who assert that in any other country in the world, Poet Tsegaye would have been given the maximum place in the history of that country’s literature. His works would have been studied and analyzed with maximum exposure by the national media. Educational establishments would have publicized his works using them as a sort of standard for emerging Ethiopian talents. Circles and clubs would have been established bearing his name. There would have been several awards named after him and even the most prestigious theatre would have deserved to be named after him. Perhaps it is too early to make any judgments in this regard today. But in the meantime the rediscovery of Tsegaye’s verses thanks to these recent releases is a valuable point of departure. And to know that only few people have had real access to Tsegaye’s work or know the exact dimensions of the same means adds even more value and appreciation to the work released. In a way, Poet Tsegaye’s plays were the voice of the poor, the voice of the voiceless. He searched for universal truths, universal values. He thought of his country in general and united terms not for one ideology nor one nationality or sector of society. In fact, his ideas went beyond the national boundaries to an African and Black set of values. In other words, his perspectives were very wide, encompassing the value of man, the human kind rather than limiting himself or his thoughts to a certain village of the world. His passion for anthropology must have taught him a lot.

Many people might find a bit difficult to comprehend well Tsegaye’s creation, his picturesque language, the unfamiliar words, but those who have come to study Tsegaye’s mind and literature could explain it to others. It is a pity that there is no center named after this giant poet specializing in his works. In this country it is easier to find glory and fame if one showed some prowess in music or sports rather than excellence in some academic discipline. Paradoxically, Laureate Tsegaye is much more than an athlete or musician, and his words seemed destined to posterity without fading in their significance.

That is why we were all thrilled to have found out that a recording of his voice was made readily available recently. To comment on or explain Tsegaye’s works would need full understanding and knowledge of their background and language beside the passion of reading them repeatedly. Nonetheless, we can briefly outline what is included in the recording. Tsegaye describes it with his own words, in his own voice. He introduces the six pieces written in Amharic, English and Oromiffa as ‘just an experiment’ suggesting that the endeavour was about to be too late as he was ageing. But he did recognize its significance and has used a prelude to the pieces by describing the circumstances of the writing, the why, where and when. His voice is intact and expresses neatly his intimate emotions, practically as a professional actor.

One of the pieces dedicated to the braves, illustrious Ethiopian patriot killed by the Fascists in 1939 Abune (Archbishop) Petros is definitely impressive and touching. Petros was then the religious father of the nation and died heroically rejecting and cursing Fascism urging Ethiopians not to submit to it. He paid the maximum sacrifice and Poet Tsegaye describes the final hours and minutes of such national hero in his poem. Ethiopia might have had several Petroses but this particular one is lauded and commemorated for ever also thanks to the Mighty Pen of Tsegaye.

Tsegaye’s credit for Abune Petros is famous and it is one of the most widely acknowledged works of the poet. But it is also one of the saddest ones. Ethiopians of this generation have the chance to realize that today’s freedom which they enjoy is also a result of certain sacrifices such as that of the Abune. Tsegaye’s words in Petros Yachin Se’at, (Petros at that particular instance, just before being facing the execution squad of the Fascists), the pre-death moment of suffering in his own words, is really agonizing and unforgettable. For that alone, the CD would be worth buying and conserving. But the recording contains other verses as well that refer to various themes and conditions of Ethiopian society and life: ‘Unity in silence’ Abren Zim Enbel), a praise for a traditional Oromo hero (Ilmemeda Aba Gedda) in Oromiffa, a praise for Aesop, an African legend, in English, and two other pieces that refer to national geographic locations, the river Awash and the national open market in central Addis, ‘Merkato’. Tsegaye’s usage of his voice has given exceptional strength and flavour to the works rendering them unforgettable. Definitely, the recording deserves to be accorded due attention and credit, and not only by the lovers of literature. It is welcome by all, an inspiration for the current generation. Poet Tsegaye is the pride of Ethiopians and we honour him with pleasure and gratitude.