By: Yildiz Subuk, Staff Writer
Content warning: brief mention of genocide.
The Middle East and North Africa (MENA) film festival, held at the VIFF centre, has had an expansive catalogue of unique films and documentaries which capture stories from these regions. Tezeta, directed by Aramazt Kalayjian and Garegin Papoyan, unveils the rich contributions that Armenians have made to Ethiopian history. The film focuses on the power of nostalgia, and how music evokes longing emotions that connect them to their identity.
The filmmaker’s journey starts with an obsession with a picture. In the photo are 40 Armenian orphans, survivors from the Ottoman Empire’s Armenian genocide, who were adopted by an Ethiopian emperor, Haile Selassie, to start an orchestra. While the film seems like it may explore the lives of the orphans, the unheard testimonies of their relatives, or their history, it instead uses it to set a tone. Audiences see the story of one of the last Armenian artists in Ethiopia, Vahe Tilbian, unfold. The brief use of the photograph sets a powerful narrative in motion.
Tilbian’s story is one of personal conflict. He struggles with identity and a drive to keep making music despite loving the art. While Tilbian was born and brought up in Ethiopia, his Armenian pigment is much lighter than those around him. Since much of the Armenian community in Ethiopia left for North America and Europe after the Derg military took over in 1974, Tilbian is one of a few still left. He loves the culture and music scene, and his concern has less to do with entering mainstream charts and more to do with reaching a point where he doesn’t feel out of place with his identity. Audiences are presented with three stages of the musician’s career, seeing his personal conflict unfold, but also seeing the profound ways in which he navigates his goals through music.
“While the film seems like it may explore the lives of the orphans, the unheard testimonies of their relatives, or their history, it instead uses it to set a tone. Audiences see the story of one of the last remaining Armenian artists in Ethiopia, Vahe Tilbian, unfold.”
As the filmmakers journey through Addis Ababa, the capital of Ethiopia, audiences discover the story of a jazz club that united many musicians like Alèmayèhu Eshèté (dubbed as “Ethiopian Elvis” in the film) and Mulatu Astatke, the man known as the creator of “Ethio-jazz,” which blends the melodious symphonies of traditional Ethiopian music with jazz. We see these musicians perform and cherish the space before it unfortunately burns down in 2015. The musicians talk about the experiences of performing in the jazz club, expressing their grievances. Through this space, they channeled memories in the form of their music. While this story is not directly related to Tilbian’s, it’s a great way to explore another avenue of the grander narrative, shifting from a personal story to one about community and space.
As the documentary reaches its final chapter, the theme becomes clear. Without giving too many spoilers, the conclusion is a rewarding testament to Tilbian’s devotion to his craft, as well as a poignant reminder of the meaning music scenes take on over the years.
While Tezeta is an ambitious depiction of the Ethiopian music scene, it left me yearning for more information about the history of the Armenian orphans seeking refuge in the country. Ethiopia’s first national anthem was written by Kevork Nalbandian, who is of Armenian descent — which would have been a great addition to this documentary. Although the film had some great narratives about the current music scene, more details about the past may have been an effective addition.
