Télahun Gäííäíä T.G.

was buried in the cemetery of the

T.G. (4qS#y KOO , given name Dandana; b. 27 ÷Qéddést Íéllase Cathedral in Addis Abäba.
September 1940, Addis Abäba, d. 19 April 2009, His funeral, attended by many state officials, was
Addis Abäba) was an Ethiopian singer, whose translated on state television. He is survived by
many epithets included “King of Ethiopian pop” members of his family, which throughout his life
and “King of the Stage”. He received a lifetime included six wives and 15 children.
achievement award for this from the Ethiopian Src.: Speech of Télahun Gäííäíä on receiving an honorary
doctorate, 23 July 2005; interview with Télahun Gäííäíä
Fine Art and Mass Media Prize Trust as well as at Yared School of Music, 17 January 2002; television in-
an honorary doctorate from Addis Ababa Uni- terview with Télahun Gäííäíä, September 2002; letters
versity (2005). of condolence by Girma Wäldä Giyorgis (21 April 2009,
T.G. was born to Oromo parents, Ayyaano Hagär Féqér Tiyatér, file 238, Ref. 331/65) and Mäläs
Guddata and Gete Gurmu, and raised in Wäliso Zenawi (20 April 2009).
by his grandmother. When his mother remarried Lit.: Addis Nägär no. 2, 79, 25 April 2009 (Special Is-
sue); Kiros Òaylä ÍÉllase, Eulogy for Télahun Gäííäíä,
Gäííäíä Néguíe, T.G. was baptized and assumed read on 23 April 2009; Qum Nägär no. 8, 87, April 2009;
his Christian name. Simeneh Betreyohannes, Music and Politics in 20th Cen-
Already in Wäliso, he was known for his tury Ethiopia: Empire, Modernization and Revolution,
musical talent. At the Ras Gobäna Daci School M.A. thesis, Addis Ababa University 2008.
(previously Giyon School), he became the star Simeneh Betreyohannes
of the school band, which was organized by
the Sudanese director Shidad. There, he met his Cat. D = 500
future mentor, Eyuýel Yohannés, from ÷Hagär
Féqér Tiyatér. In 1953, T.G. joined Hagär Féqér Orig. 705 words
Tiyatér, where he began working with singers now 498 words
such as Férew Òaylu and Däse Wäleléññ. In 1956,
he joined the ÷Imperial Bodyguard orchestra. stylistically revised
From that time, T.G. influenced the develop- information on parents/name added
ment of Ethiopian modern music through mas-
terful elaboration of traditional songs and styles.
He became the most charismatic and imitated
artist due to his vocal style, with its tremendous
range of dynamics, manipulation of extremely
long notes, embellishment of melodies, and use
of witty lyrics that related to everyday life.
T.G.’s contributions to Ethiopian music in-
cluded over 450 songs covering a wide variety
of themes, such as love, nature, nationalism, eco-
nomics, and social issues. For his critical texts,
he was arrested under both ÷Òaylä Íéllase I and
the ÷Provisional Military Administrative Coun-
cil (Därg).
His songs in ÷Oromiffaa paved the way for
other Ethiopian languages to come to the popu-
lar music scene.
T.G.’s name became a trademark for his associ-
ates and contemporaries involved in the produc-
tion of his songs.
T.G. repeatedly mentioned his unhappiness
during his lonely childhood, the trauma of his
mother’s murder, the health problems resulting
from his diabetes, and the loss of close friends.
In his last years, he established the “Télahun
Gäííäíä Initiative for Diabetic Victims Venerable
Children Association”.