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مرحبا بالصديق إبراهيم إدريس السودانى-الاريتري من الدويم

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10-10-2006, 04:25 AM

Ibrahim Idris
<aIbrahim Idris
تاريخ التسجيل: 08-18-2006
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Re: مرحبا بالصديق إبراهيم إدريس السودانى-الاريتري من الدويم (Re: Ibrahim Idris)

    كمتابعة لصفحة النعي السابقة أنقل لكم أخر حوار للفنان الفقيد ابراهام، هناك بعض الرؤى و ألأفكار التي عرضها في حواره قد تكون مدخل لمعرفة المرحلة التي وقف عندها هذا الفنان الرائع:


    Interview with Abraham Afewerki
    by:Issayas Tesfamariam, Jun 9, 2006





    Abraham Afewerki is considered Eritrea’s versatile and multi-talented musician. He has a latest CD release entitled, “Semai” (Sky). Here are the excerpts:





    First, I would like to start by congratulating you on your wonderful and brilliant CD. And second, I would like to thank you for taking a time off from your busy schedule and to do this interview. Highly appreciated.



    Issayas: Let me start by asking you about people’s reactions to your latest CD. Have you heard any reactions from people about the CD yet?



    Abraham: Yes. I wanted to have feed back from people and I have used severalmethods to collect them. One of the methods that I have used to collect reactionsfrom people all over the world is through a new web site: www.negarit.com. So far, I have received thousands of messages. Overall, the reactions that I have collected are very positive and extremely encouraging. However, some people have expressed very constructive criticisms from which I'm learning a lot. It was not possible for me to accomplish everything in one CD of 11 songs, but I have a great deal of homework to do in my next productions. I would like to take this opportunity to thank everybody for his or her honest feed back and support.



    Issayas: I read on the cover of your CD that all the songs were recorded in Asmara. The quality of the sound with your strong voice, excellent musicians is crisp and professionally done. Was the cover also done in Eritrea?



    Abraham: Most of the songs preliminary were played and recorded in the US with the musicians in Washington DC. Then the entire project was transferred to the studios in Asmara, to be completed and mixed at Speedy Studio by Yemane Kidane (Except for one song which was recorded and mixed at Mega Mix by Isaak Abraham). The mastering was done in the USA. Mulugeta Haile and I designed the cover in Washington, DC You cannot imagine the amount of work, time, energy and money spent on this project.



    Issayas: I can certainly imagine that. To tell you frankly, I have hard time deciding which one is my favorite. I also like the balance you have in the CD between guaila and non –guaila songs. How long did it take to produce? How, when and where do you write the lyrics, etc.? For example, writers, musicians and etc. have different niches (comfort zones) to do what they do best. What is your niche? Do you get the inspiration on the spot or think about it, and voila, four o'clock in the morning, a new song is created!



    Abraham: I don't really know exactly. Most of the time, inspirations and good songs come to my mind at the wrong moment when I cannot write, record, or take a note. When that moment is over the song and the inspiration is over.



    However, what matters for me is mainly the topic and the angle or view that I want to discuss of a particular subject within a certain song. Then I might decide the type of beat, genre, speed, and sound etc. We are talking about inspiration, which is hard for me to understand and to explain.



    Issayas: So far, what I have heard are two kinds of reactions about your latest release. One reaction is that the CD sounds almost the same as the previous ones. The second reaction is that that you are taking Eritrean music into a higher dimension. I am of the opinion of the second group. What is your response?



    Abraham: They might be right. Despite my great efforts to improve my performance and present a production of higher level, I might have ended up making it very similar to my previous works. It is not easy to make two or more works coming from the same person, very different between them. I don't even know if it is right to make them completely different in sound, in style, and etc. However, I'll try to take to heart their opinions and do something different in the future. Thanks for the honor on the second reaction; I would have loved to have that capability. I believe that this is a task that could be accomplished by an entire movement of dedicated artists.



    Issayas: I agree that it has to be a larger movement at the national level that can accomplish the aforementioned feat. But it must start somewhere and your role in it is crucial and very important. When I bought your CD, I did not have to think about whether the CD is good or bad. I bought it instantly because I know from your previous releases, that you are trying to move Eritrean music forward into the international arena. How can Eritrean music be known in the world music circles like Malian, Cape Verdian, Senegalese, Nigerian, Malagasians and etc.?



    Abraham: It is doable. It is about planning and working hard. We could make plans based on our specific characteristics as a nation, on our history, our present situation, our strengths, weaknesses, opportunities, threats, and etc. We need to formulate a common vision and work for a common mission. I don't mean that we don't have them now, but I cannot say that we are following an organized and coordinated plan. I think our specific musical position within the global community requires well-planned mission in order to achieve what other countries have achieved. This plan could be effective if it enjoys special attention and support that it deserves from several ministries and governmental agencies of Eritrea. I'm sure we can make Eritrean music take part in many international events and media outlets.



    Issayas: Not too many people know that but you are the first Eritrean musician to have an internationally known record company produce your music. Can you tell us about that?





    Abraham: This is an example of what I have just said earlier. If it was possible for me to get access in the international arena 16 years ago without any considerable help from any Eritrean organization; imagine what we can achieve if we work on it at the national level.



    Issayas: Starting and ending “Sedray” (the second song) with imbilta is brilliant. I think incorporating traditional instrument (in this case the imblita) with modern instruments that the band plays is very creative. Why did you choose the imbilta?



    Abraham: You might already know that I love our traditional instruments so much that

    I have tried to incorporate them in my previous publications as well. You probably know that I have been working to enhance the performance of the krar since 1987. You can check for some of my krars' pictures on the photo-gallery section of www.negarit.com. As for the choice of imbilta on "sedray", it is aimed to hit two targets in one song. First, Embelta is an instrument played mainly at weddings, which is an occasion whereas lots of family members from everywhere gather and celebrate. It is a happy occasion that leave lots of memories, supported by photographs and video images. Second, the intention is to make the sound of imbelta support the imagination of the listener to visualize family members in a happy moment, at the same time giving me the possibility to partially incorporate such a great instrument in a modern guayla. I had to record a few notes from a great imbelta player, Mr Berhane, and elaborate all the notes in the computer one by one, to tune them and to synchronize them with the rest of the instruments. I have done the same for each and every note of the live koboro and live claps used on this album. It is a very time consuming process. At last I would like to share with you a concern that I have: if we keep going the way we are going now, how many young embelta players (or shambiqo, wata, meleket, etc. players) will we have left 20 years from now?





    Issayas: That is a legitimate and a dire concern. Your krar designs don't only look elegant but also have ergonomic look. How many designs of krars have you done so far? Why do you think we need to change the krar? How do you design your krars? In addition, I really like your web-site. It has an exquisite look and what I really admire

    is the creative way of how the downloading of the web-site is done, via one of your krars. Very creative!



    Abraham: Let me start with "why do we need to change the krar?” The answer is on the aforementioned word that you have used to describe its look. Ergonomic is a word, which I have never heard before or know the meaning of. What I'm trying to do, is to enhance the krar’s performance by eliminating some of its limitations of being pentatonic, which is being limited to one scale, each time. I initially have added a board, which is positioned in a way that one can press the strings while playing it. That way one can have more than 5 notes, and be able to change tuning scales much faster. Recently, I have incorporated a tuning machine on it so that it can function all the time, including during stage performances and intervals. I have also reduced its size and weight. Since 1985, I have done four major designs. However, the most significant change started in 1987 with the introduction of the blue colored krar. I haven't really finished it yet.



    Now, as to your question of how I design my krars, I do the work at home when I have time. Firstly, I design a sample with the changes I have in mind. Secondly, I create a sample in a flat board of any light material. Thirdly, I go to any wood work shop to use their machinery until I come up with a final krar, which will be subjected to many minor and time consuming adjustments. Unfortunately, my prototype is also my final krar, because I cannot afford to keep making new ones after each and every modification. However, it would be possible to have various prototypes and modifications when and if one enjoys professional support at the industrial or organizational level. It requires a lot of time, money, woodworking experiences and facilities. In this case, it makes it even harder for me since I don't have any experience with woodworking, nor garnered support from anyone, financially. Also, I have not succeeded in attracting the attention of any Eritrean or International organizations on this matter.



    I would like to thank you for your encouraging complements about my work and the web site www.negarit.com. I established a small production company called Negarit Productions, which will work for and with several artists. I thought that the Production Company needed a professionally designed web site, regardless of the significant cost. I consulted a professional web-design company, Fusionmax of Akilas Yemane. By the way, they did a wonderful job. We are working to make this web site accessible in Eritrea by June 10, 2006 and complete the hard work of updating and improving it with time. Based on what we have discussed, it is understandable as to why I wanted the krar to be ubiquitous as a design icon all over the pages of the web site.



    Issayas: Do you have any other plans to incorporate other traditional instruments in your upcoming songs?



    Abraham: Yes, Definitely.



    Issayas: What do you think Eritrean musicians, audience etc. need to do in order to transcend Eritrean music into the next stage?



    Abraham: To make plans and to work hard to implement them. In my opinion, there is no other secret. I'm sure we can make it.



    Issayas: I am sure we will have another conversation (interview) when you come up with your next release. Again, I really would like to thank you for your time and for giving us the opportunity to interview you. Is there any thing you want to add?



    Abraham: Thanks a lot to you, Issayas, to Shaebia.org, to the readers of this conversation, and mainly to my beloved fans.


    Issayas: Thank you and good luck with the CD. Look forward to your new creative work.





    © Copyright 2001-2005 www.shaebia.org


    يتبع
    إبراهيم

    (عدل بواسطة Ibrahim Idris on 10-10-2006, 10:11 AM)
    (عدل بواسطة Ibrahim Idris on 10-10-2006, 10:15 AM)

                  

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