yelibenwork ayele

ETHIOPIA


Joined October 18th 2007

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WHO IS WHO IN ETHIOPIA?

January 16th 2008 11:12
The question of titles
By Yelibenwork Ayele

The proliferation and inappropriate use of titles in Ethiopia was the topic of a series of discussions the Ethiopian Writers Association started this Thursday. The interior of the Blue Nile Book Store, adorned with books neatly arranged on shelves lining the walls, seemed the perfect setting for the association of writers to bring up the issue.

"The dean has decided that Student Elfneh's case be closed on the grounds that ..." (from a bulletin board in a college)
"A year later, Pastoralist Settler Elfneh drove his cattle to ..."
"... abstract paintings by Artist Elfneh ..."
"A collection of poems by Artist Elfneh..."
"Poet Critique Artist Elfneh ..."
"Engineer Elfneh, Carpenter Elfneh, Janitor...

Everyone has a name signifying their trade, academic status or achievement. One who goes to school is a student. Another, who instructs the student, is a teacher or a lecturer, an assistant lecturer, a graduate assistant.

The award organization founded by Emperor Haile-Selassie, now under the present government, awards honorary doctorates and a sum of money to professionals who excel in their fields. And the Addis Ababa University has conferred honorary doctorate upon Kebede Michael, the poet, Haddis Alemayehu, the author, and Tilahun Gesese, the singer.
However, these people have never introduced themselves as Author So and So or Playwright So and So.

In the field of art there are professional and honorary tittles conferred upon individuals by international award organizations like Nobel and Pulitzer.

The discussion of Writers Association on Thursday focused on such words as author, choreographer, composer, translator, film producer, actor, poet, vocalist, cartoonist, humorist, poet, journalist, playwright, artist, and critique prefixed to names of individuals as if these were titles.

Blurbs and comments on the back cover of books are sometimes signed as Author-Translator-Peace Ambassador So and So, or Playwright-Producer-Actor So and So. It has become common to see scripts submitted to the Writers Association for evaluation come with such lengthy titles. However, the scripts usually turn out to be the first ever for the writer.

Abere, from the Association, pointed out that the Ethiopian media had been using the English word 'artist' indiscriminately as title for writers, painters, poets, sculptors, singers and so on, whereas Amharic radios transmitted from Germany (the DW) and USA (the VOA) use the proper Amharic words for each form of art and the professional who practices it. “Has the Amharic language migrated with a few Ethiopians to Europe and USA?” he wondered.
Media personnel here, both print and electronic, have influenced the public in the use of the word "artist". But the media are also influenced by the painter, poet or the "artist" they interview.

Some individuals introduce themselves as Artist X and insist the title always be attached to their name on all media. This is very true, especially in Ethiopia. This writer has encountered people who made phone calls to the office to complain because titles were not prefixed to their names. And it was not for titles like Dr. or Professor but "engineer" and "artist".
Sisay Negusu, author of Amharic novels like “Sememen” and “Yeknat Zar” said during the discussion that an individual's ego was usually at the root of insistence for the use or misuse of titles.

John Travolta is a pilot by profession and an actor by career. Western media however do not dub him "Pilot-Actor Travolta" but simply refer to him as Travolta, the actor, only a noun phrase set off by commas.

A person's profession, one in which they earned a certificate and their career, may not always match. For example, an eye specialist may work as a counselor in a humanitarian organization. Then, would such a person be called Counselor So and So?

Sisay says that no one needs to be a title monger. The quality of a person's work, when it stands the test of time and the judgment of the audience, will earn him the respect that no honorary title can bring. Behold Shakespeare, Michael Angelo. Emily Dickinson, Tolstoy, Dostoyevsky and other notable writers. "We do not refer to any of these great writers by a title. Yet, we respect them for their timeless works."

If titles have to do with profession, then from guard and janitor to manager all names of trade are going to become titles.

In the Amharic language, most words that qualify persons according to their profession are adjectives derived from verbs whereas their English equivalents are not. The English words singer, lyricist, poet are all nouns. The problem, as pointed out by one of the participants at the discussion, arose mainly because of mass failure to distinguish between ordinary Amharic adjectives and honorary titles.

In his closing remark Getachew Belete, the president of Writers Association, said that the discussion had only begun. It would continue at the Association's hall and deliberate on the issue in depth and detail until it is settled once and for all.

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No room for benefit of doubt?

October 18th 2007 11:59
By Yelibenwork Ayele

I find the response from a group of disabled persons to what Sayat Demise, Miss World Ethiopia 2004, had said on radio a week ago too inappropriately sensitive. And their demand for apology is outrageous.

Sayat, winner of the 2004 Miss World Ethiopia beauty contents, stands accused of saying offensive words in reference to the disabled on radio. Words should by no means be twisted to give the meanings not intended by the speaker or writer. Listeners and readers may misunderstand and sometimes they can't help it.


According to the Wednesday issue of the Amharic Reporter, all Sayat said was that she had been a victim of rape at the age of 13 and had now no fear of publicly speaking about it. And what she was quoted as saying regarding her courage was roughly something like "even the disabled survive (or was it "live"?) let alone people like us."


It should be taken into consideration that answers for questions during an interview are not premeditated. They are spontaneous and anyone speaking spontaneously has no time to consider the implication and unintended meaning some of their words might bear.


Even in writing, in which writers have the time to revise their work and refine it and purge it of any idle or offensive idea, there wants not some inappropriate expressions.


Are her accusers faultless in their accusation against Sayat when they say that she trampled the rights of millions? Why are people so hasty to twist a set of well-meaning words? Even if Sayat's words potentially had the meaning they ascribed to it, is there no room for tolerance positively considering that she actually meant no offence?


As a civilized woman, when anyone complains about what she said on radio, Sayat could have easily apologized if her conscience had convicted her of having hurt peoples' feelings. Or, if she was not convinced of having done anything wrong, was it not easy to explain her meaning, by giving a press release, instead of trying to avoid phone calls, before that group of people voiced their anger to the Reporter?


In this article, I will not presume to explain what exactly Sayat meant by that phrase the disabled found so offensive. And I don't mean to represent or defend her either. But as one gets to know about this scenario only from the Reporter and has not listened to the program hosted and broadcast by Fana FM 98.1, it is not easy to fathom Sayat's meaning. The "offensive" phrase, read in isolation, is a bit ambiguous and therefore subject to private interpretation or intentional misinterpretation.


The Amharic quotation in the Reporter might mean that even the disabled survive rape or there may be rape victims even among the disabled.


Are people never allowed to use comparisons to make their points clear? If what Sayat said meant that even the disabled could survive rape and speak about it or against it without fear and was drawing the conclusion, though indirectly, that surviving rape and speaking about it were harder for the disabled than for those who are whole, is she not right?


I personally say that some, if not all, of the disabled that I came across have the tendency to take certain actions or words spoken to them or about them by those who are whole, too personally.


There is no earthly reason why some disabled persons get easily angry at those who are whole, sometimes even without cause. Once, I saw a young disabled man who limped on crutches as he walked. Suddenly he tripped and fell. He tried get to his feet and could not. But when a passerby, out of real concern and pity, stooped to lift him up, the disabled man gave him a mean look and then shoved the helping hand away.


Tewedros Tsegaye, a poet and one of the disabled, said to the Reporter that he was sorry that Sayat spoke thus about the disabled while she claimed to be fighting for women's rights. What kind of a criticism is that? What do the disabled have to do with women's rights? And, was Sayat speaking about the disabled? If we set our hearts on finding fault with what people say instead of focusing on their motive and message, we can find fault even in words from a poet who was responding to what he heard Sayat say on radio and who, unlike Sayat, had time to be angry, savor his feeling and premeditate what he had to say when expressing his anger. Then why should anyone raise eyebrows on what Sayat said spontaneously?


There is nothing wrong with expressing anger. There's nothing wrong with feeling hurt or offended. However, the object or subject of anger has to be one that genuinely merits it. Trying to give a person an unattractive image, as Tewoderos did, is impolite. Poets obviously are better in their choice of words and in the ability to foresee in what several unpleasant ways they could be interpreted if chosen without care. And definitely Tsegaye the poet should have been better than Sayat in his choice of words.


Why did he have to say that Sayat intentionally said those "bad" words in an effort to achieve her own personal ends? Whatever "personal ends" she had in mind, would utterance of a few words spoken on the radio help her achieve them?


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