Zenebetch Tadesse was one of the great icons in the golden era of Ethiopian drama and music. She has epitomised glamour and gained reputations for her liberal attitude toward love, in contrast to the traditional Ethiopian puritan attitudes. And yet, Zenebetch was also an artist in control of her destiny, as this old magazine article shows. The article that came out in Menen magazine in 1967 casts fresh light on her life – her thirst for knowledge, a joie de vivre and a forceful will to shape her own future.
An Intimate Talk With Zenebetch
Whether dressed in the traditional shama styled with modern touches, or in western dress, vivacious, statuesque, Zenebetch Tadesse, on stage or off, is Ethiopia’s leading theatrical personality. She portrays everything that is contrary to Ethiopia’s long tradition of reticent women. Yet she is popular. In fact, she is the most popular actress in Ethiopia.
Why? Isn’t this a contradiction? Why do the people of Ethiopia love her wherever she goes? Why do they accept and admire her and her work? In an intimate talk with Zenebetch Tadesse we find some of the answers to these and other questions.
Let’s face it- the life of any successful stage performer in any country is hard, tedious and difficult. Along with talent, a would-be performer must have the perseverance and endurance and, above all, patience.
Lovely, 34-year-old Zenebetch is a successful performer who possesses all these qualities and more. She grew up at a time when the stage performer –whether a singer, dancer or actor- was not recognized or supported and was often misunderstood. This attitude is slowly changing-thanks to people like Zenebetch and Ato Eyouale Yohannes, the famous playwright and head of drama and stage at the Ethiopian Patriotic Association.
Zenebetch recalls as a child she felt something marvellous and exciting about the stage and performing. As a student, she attended the Alliance Française and the Swedish Mission Schools. Whenever possible, she always participated in school plays and drama.
Her favourite childhood experience was playing hockey from school and going to watch to Eyouale perform. She never dreamt she would one day have the chance to be on stage.
After her school years Zenebetch went to Ato Eyouale and asked to become an apprentice, in the theatre. He taught her how to sing, to dance, to walk, to talk, in short all the arts of a successful actress.
These first years with the Ethiopian Patriotic Association were difficult ones. Zenebetch said after each performance she used to cry, not just for herself but for everyone, especially Ato Eyouale, who worked so hard. People did not seem to realize that she and her contemporaries genuinely loved their work; that performing is not something that’s dirty or low. Zenebetch sees her art as an expression of Ethiopia’s tradition and culture, acted out through song, dance or drama.
In recent years more Ethiopians have had an opportunity to go abroad for education and, more important, for exposure to the arts and the stage. On returning, they’ve had a different opinion about artists and performers. Today, there’s more support, better attendance, and fuller appreciation of the performing arts.
A chain reaction has begun. More support means more money. More money means better paid performers. Zenebetch recalls, “In the old days we couldn’t perform well on empty stomachs. We couldn’t look like professional performers-how could we with our low salaries.”
Zenebetch feels the times are chaining as she performs more, often than not, to a packed house. The future looks bright, especially if the evolution in the performing arts continue as it has in the past few years. One of her chief ambitions is one to make films. She is presently studying acting, drama, voice diction, and camera techniques under Eyouale. Her followers predict if Ethiopia ever has a film industry then Zenebetch will surely be sought.
The famous actress has had many memorable occasions in her career. One about two years ago, the Ethiopian Patriotic Association gave a performance celebrating His Majesty’s birthday. The house was packed and Zenebetch was the star performer. She felt that night all her dreams had come true. The audience loved her and gave her several standing ovations.
As member of the Ethiopian dramatic group she has had many opportunities to perform abroad. Places she and the group have given performances include, the Sudan, Kenya, Tanzania, and Senegal among African nations. They have also travelled to the Soviet Union and the People’s Republic of China. Everywhere the people loved them and invited them back.
Again we ask the question, how can Zenebetch be accepted by everyone? Perhaps because there are more educated Ethiopians? This may be part of answer. But what about the less educated Ethiopian who love Zenebetch –and there are many.
Zenebetch had to this to say about all Ethiopians and their changing attitudes. She feels that the long tradition of the reticent, shy, retiring female is not natural. It is a situation that exists from habit, from an imposed belief. Deep down both men and women love to dance, sing and be merry. The less educated populace can admire, respect, and enjoy an actress, who through hard work and perseverance has gained what they have not achieved. Perhaps Zenebetch is loved because through the art she is able to express emotions of love and joy other people cannot or dare not acknowledge. Perhaps in many respects, Zenebetch is loved because she lives for audience; because she portrays what her audience would secretly like to be.
The modern, educated Ethiopian through exposure to the creative arts, is learning that through the dance, the song, or the drama, that Ethiopia has a heritage and a tradition that can be expressed through these forms. More and more Ethiopians are realizing, Zenebetch believes, that she and her fellow performers are making a worthwhile contribution to Ethiopian society, literature, and culture, here and there.
Zenebetch feels the figure most responsible for the changing attitudes towards the performing arts is Ato Eyouale. Zenebtch has a great deal of admiration and respect for this playwright and teacher, who through love of his craft has contributed so much to the theatre in Ethiopia. As a protégé of the great Eyouale, Zenebetch feels she would not be the star that she is today without him.
The actress said that Eyouale always tries to convey to the audience what she and the other performers are doing. Before each performance he gives a talk to the audience, and tells them about the production that is about to be presented. He tells them about the cast and the significant contribution each of them is making to Ethiopia. He has written plays dramatizing the plight of actresses and actor- non-acceptance in the Ethiopian society.
Personal hardships and heartbreaks are not rare in the lives of great artists. For their success and popularity, there are always sacrifices and a price to pay.
Zenebetch has no achieved success without her share of heartache. In private life, Zenebetch, mother of four young boys, is divorced from her husband. The controversial question is asked in most countries, can a woman be wife, a home maker, or a mother and have a career?
In Zenebetch’s case, it was not possible. Zenebetch said, “I want the best for my sons, as every mother wants the best for her children. It was a very difficult decision to make- to divorce my husband. He wanted me to give up the stage completely and stay at home. I just couldn’t give up what I strived and worked for, for so many years.”
The long hours of practice and rehearsal, the years of arduous training and the demanding work of performance are among the many sacrifices the actor and actress must endure for the sake of their audience. In Zenebetch’s case, she has also sacrificed a full family life. Perhaps audiences can sense something of the trials and tribulations artists undergo. Perhaps this, too, helps explain why Zenebetch, above all other performers, is loved and accepted by Ethiopian audiences.
Pat Bell-Murray
Menen Magazine Vol. XI, No. 2 December –January 1967