Early Life and Career to 1960
Family Background
Tesfaye was born in a place called “ Anjet Fabreca”, in addis Ababa on April 21, 1940. He was from a conservative and religious but modern family. His father was called Ato Abebe Damte and his Mother was Woizero Atsede Gezmu Tesfaye was the first child in the family. His parents chose the name Tesfaye., which  literally means “My hope.” He was born with medical assistance at “Hakim Bora hospital” (currently called Ras Desta Damtew Hospital), along the North-west part of Addis.
      
     Ato  Abebe damte (Tesfaye Father)          Woizero  Atsede Gezmu (Tesfaye Mother)          
1.1 Early Life
Tesfaye was the first born of the family. In addition, his parents were feudal as a result their income was high. Due to these factors, Tesfaye enjoyed a luxurious child life. They tried to fulfill his material needs;- however, they never allowed him to play outside their compound and so, he didn’t have a friend in his earliest life. Being alone at home, he used to play with lavish figures, cartons and other playing materials for a child. In addition, his parents bought him some expensive clothes and Italian model shoes.
When he was old enough for education, his parents employed a teacher in their house to teach “Fidel” (it is the first stage of studying that emphasises on mastering of the Geez Alphabet) and “Dawit” (it is a stage when an individual can read the psalms of David) to him. After the accomplishment of such education in his house, Tesfaye joined modern education at Alliance Francaise School in 1947. In this school he stayed for a couple of months due to his parents decision. They saw and chose other alternative in (Lycee) Gabre Maryam Franco-Ethiopian school where French and English  languages were offered as compulsory subjects. Due to this fact, they agreed that Tesfaye must learn such foreign languages. This was in 1947 and lasted until 1953.
Apart from such language courses, Dancing, Comedy, and short plays were also given as compulsory areas of study. Especially, sport and music were given with great emphasis. The songs that were highly favored by the school were foreign oriented, especially that of French and English. Such songs were sung by the students regularly. The only form of Amharic music that was allowed for the students to sing everyday was the National Anthem of Ethiopia. He was highly inspired by his education in this school and gradually his curiosity of Art increased very much. Gradually, his participation in music, Dancing and short plays became common phenomena.
His parents including Tesfaye spent their leisure time by watching theatres in the former city council theatre (Mazagajabet”).Thus, besides his talent, such experiences also influenced Tesfaye to divert from theoretical academic education to that of practical art and literature. In his words, Tesfaye confirmed the idea as follows.
There was a plan to nominate and employee new artists for Hayle Sellasse I theater (the present day national theatre) before completing the construction of the building. This theatre house was planned to be completed and inaugurated in the silver jubille of Emperor Haylesellasse’s coronation that was aimed to celebrate in 1955. For that in 1954, new youngsters were required and a notice which says:- “The government needs youngsters for the sake of giving training on theatre and music by sending them to Austria and so, interested individuals are required to register”. This notice, above all, initiated Tesfaye who soon after registered according to the requirement of the notice. Then after, he sat for entrance exam and passed the exam by standing first out of all the candidates. During that time, he was at Grade 7 and 14 years old.
3.1 The influence of Francis Zoleveker
After passing the entrance exam, Tesfaye directly gave his life for art by completely stopping his regular academic education at lycee School. But, his parents misunderstood that he was not in a position of learning his education. After about a Years’ training in the former city council theatre, he became a regular employer with a 60 birr salary per month at the end of 1954. Then, he bought some expensive clothes and shoes by himself and as a result, his parents became suspicious. Finally, he revealed all things what he kept secret from his parents without fearing them. The notice, which initially called for recruiting youngsters and then sending them to Austri however, was unsuccessful Instead; the government took another alternatively which was bringing an Austrian instructor to Ethiopia. Accordingly Francis zoleveker, came to Ethiopia as per the request of the .Government. He was an influential man in teaching the concept of art. His primary aim was to develop the concept of art and to change the attitude of the society about it.
Zoleveker was a teacher of music and theatre so that he imparted his knowledge to the selected artists. His approach and general ability inspired Tesfaye and his friends. In addition, he had a very high aspiration to develop Ethiopian theatre and music.bing very much interested in the teaching  of Zoleveker, Tesfaye developed as well as strengthened his a knowledge and skill of acting, writing lyric and plays, composing music and other related artistic concepts.
National Theatre 1951 E.C

In September 1955 Tesfaye and other artists were transferred from city council theatre to the newly established Haylesellase I theatre (a long South-East part of Addis). At this time his duty was acting. This was partly due to the fact that most of the plays were directed by Zoleveker so that he participated in all plays. After Zoleveker had left Ethiopia in early 1960’s, Tesfaye abandoned acting. In short Zoleverker was a man that played a significant role in Tesfaye’s profession.

 
  • Early Career
Many artists including Tesfaye were transferred from the former city council theatre to the newly established Hayle sellasse I theatre (National theatre). Some of the senior artists that shifted at that time were:- Mekonnen Abebe, Getachew Debalqe, Tesfaye Sahilu (Ababa Tesfaye), Asnakech Worku and Awlachew Dejene. Besides Zoleveker, Tesfaye adopted and acquired a profound knowledge and skill from these senior artists. He was the youngest of all the artists of Haile sellasse I theater, however, he had a friendly relation with all.
The first play in his history of acting was “Dawit Ina orion” which was presented at silver jubille of Emperor Hayle – Sellase I coronation and in the inauguration day of the theatre hall itself, in 1955. The play was written and directed by Endalkachew Mekonnen and Zoleveker respectively. In the play he played a senators role. In that day top government officials including the Emperor were invited to watch the play. In addition, his father was also one of the invited guests.
Tesfaye Abebe right Side Mekonen Abebe left on “sene seklet” Drama at National Theatre 1949 E.C

When acting out such a senator’s character, Tesfaye used some make up which was imported from abroad.  So his father never expected him in the play. But, when the play came to an end and the participants introduced themselves to the audience, Tesfaye was exposed in front of his father. In the evening his father talked to him very angrily because he wanted Tesfaye to continue his education, but Tesfaye tried to convince him. His mother, on the contrary was pleased by him.
After his first appearance on thes stage, the ground became fertile for him. Shortly afterwards, between 1956- 1959, he participated in various plays such as “Hannibal” written by Kebede Michael, “Tewodros” written by Blata Girmachew, and “Sina-siklate” which was a translation work by Ambassador Jemal Abdu. All these plays were directed by Zoleveker.
Various necessary materials for the plays were imported. Besides, the Emperor himself gave various gifts to the actors at different times. For instance, for those actors who participated in the play “Dawit Ina Orion”, the emperor presented gold necklace to each actor. This clearly shows that how the emperor gave high respect and emphasis to field of Art.
Along with acting, Tesfaye also wrote various articles, poems and journals and sent them to Ethiopia Radio. Besides, he was also learning to play a piano. Until 1959, he stayed in the National theatre. After wards, he wanted to shift from acting profession and immediately joined the Imperial body guard (Kibure Zabagna) to serve as a journalist. His duty was reporting the daily activities of General Mengistu Neway, who was the commander-in-chief of the body Guard. He moved with Mengistu and reported what he saw. He even reported in the front page of the newspaper, “Watader-Inagezew” (literally means solders and the time). The newspaper was published with two weeks interval.
Generally, the newspaper dealt with the activities of.soldier’s At the period, the newspaper was somewhat modern. However, he stayed only six months in this profession. His salary in this profession was 100 birr.
In 1960, he left the Imperial Body Guard and joined the police orchestra which was found at its infancy stage during the time. This was the third place of work that he changed until his age of twenty. After he had joined the police orchestra, he coordinated and made the orchestra more popular within a short period of time. His position was  General Manager of the theatre and music division. Due to this, his salary reached to 150 birr.
Tesfaye’s Major Achievement in art and Literature (1960 – 1974)
3.1 As a play writer and a Director
Particularly, Tesfaye was an all rounded man in the field of Art. He was a play writer, a play director, music lyricist, music composer, musical instrument player and to some extent a literary book writer. Even if he no longer continued in his ability of writing novels, he wrote and published one successful and fashionable book entitled, “Yefatana Guzo” (temptation journey) that was published in 1964.

Tesfaye also seems to have been categorized in the group of out-standing play writers. In his play, he usually raises societal, political, economical and historical issues. Tesfaye embarked on writing a play in 1964 and the title of his first play was entitled, “Menor Bicha Ayibakam” (existence is not enough). The theme of the play was about to live only for one self was not adequate for individuals rather they must struggle and dream for the country’s future and better life of the society. It was performed in Hager Fikir theatre; however, after  two weeks interval it was prohibited by censorship.
Then after, between1967–1973, he wrote other popular plays that made him more notable. To mention some of them:- “Yatiqur Dimtsa” (The voice of blacks) in 1967, Yaware falasta” (Talkative philosopher) in 1971, “Hiwot Yalaw Baddin” (the living of Dead body) in 1972, “Tsara- Manafist” (Anti spirit) in 1972, and “Yanigat Kokab” (The start of dawn) in 1973.
         
Yewere Felasfa Theatre 1962 E.C
“Yatiqur Dimts” was a play that deals about apartheid and Nelson Mandella’s life. It was written based on his direct experience with Nelson Mandella himself. In early 1960’s Mandella came to Ethiopia for military training. At that time, he arrived at police station in Kolfe branch. Unfortunately, the police orchestra was located in the same compound as a result Tesfaye and Mandella were able to establish friendship. To quote Tesfaye words in this regard:-
Based on Mandella’s information, he wrote this play which gave a great admiration from the audience. According to one informant, Getachew Debalqe who was assistant director of the play, said that “ our society didn’t have any knowledge about Apartheid so based on the play many of us got a profound knowledge”. The play had various songs, one of this is
That is to mean, the color of an individual never made man greater or lesser with each other.
The plot of the play “Yaware falasfa” was dealt with a corrupt and irresponsible bureaucrat manager, by the name falasfaw Birzo who finally sank in embarrassment. The play therefore aimed at reducing the number of such unaccountable administrators in those days. It was a three hour play and presented at “Hagar Fikir” in Sunday’s regular programmed. The main character, felasfaw Birzo was represented by Wagauehu Nigatu who became more popular then wards.
The 1960’s and early 1970’s was a period of Ethiopian student movement. Their opposition was accompanied by the famous slogan ‘Land to the tiller’. In favor of this idea of students, he wrote the play “Hiwot Yalaw Beddin” that states the grievances of peasants because they were exploited by the feudal of that period. Even the peasants couldn’t get to earn enough for existence. Besides, the play narrates the comparison of peasants and tenants life with the comfort and luxurious conditions of the feudal of that period. The other play, “Tsara Manafist” aimed at criticizing the dissemination of prostitution.
Before vthe decline of the autocratic rule of the emperor’s regime, that is between the mid of 1973 to the mid of 1974, he wrote other plays that made him even to the extent of the most popular and fearless writer of the period. “12 Hibdochi Bakatama” (Tweleve mad’s in the city) which was a comedy play. The other was “Tiraw Bajoniya” but of all, the play “BashaDamte” became the most acceptable and got more appreciation from the audience. This play was written based on the true story of the Wello famine. By doing so, he tried to expose the government’s negligence on this disastrous famine. The play was directed by assistant professor Tesfaye Gessese, instructor of A.A.U. in theatrical art department, explained the theme, “Basha Damte” clearly details the carelessness of the feudal regime on the  Wello famine which was followed by loss of so many people’s. he added that it was a play that instigate people’s emotion. However, the play was out lowed by censorship, but after the 1974 revolution in the same year it was presented at Hager Fikir Theatre. Then after the play was presented in different provinces of the country as a result the people had got the access to know some features of the famine.
Furthermore, Tesfaye also belonged to one of the distinguished play directors. As I notifies in the preceding chapter, most of the skills in play directing was adopted from Zoleveker. As a director, he directed more than fifteen plays, but most of them were his own plays. These were “Manor Bicha Aybakam”, “Yawarefwasfa”, “Hiwot Yalaw Baddin”, “ Tsara Menafist”. Besides he also directed other play writer’s works, such as “Sirahi Yawtashe” in 1966 which was written by Samuel Motbaynor and “Faradkugne Barasse” that written in 1967 by Yalew Mengistu.
When he directed the plays, he diversified the styles in various moods. His approach and technique of directing was based on fitting with the then generation. In addition, when the play was directed, he had a healthy relationship with actors that trained the play.
2.2 As a Music Lyricist and Composer
In his life time, Tesfaye wrote above 500 music lyrics but due to lack of some written materials it is difficult to state the exact years when most of the songs were written. Of all the singers, Hirut Bekele placed as first to use him large number of music lyrics that reached about thirty-one. Some of these are:- “Fikir Yasalam Aklilnat”, “Ethiopia Hgerachen” “Hiwot Inda Shakla”, “Hisu Lig Yane Naw” and “Ethiopia” which is a popular song of sovereignty.
Literally, it means being an Ethiopia is a proud. It also shows the presence of one’s patriotism of Ethiopia. the glory of the nation, which characterized by free and historic, heard and widespread throughout the world.
That is to say, until his/ her death, people tried to win the life struggle. In her interview in 1964, Hirut argued that “of all my songs, I highly like “Hiwot ende shakla” because it has a great and detail message
”Alemayehu Eshete was the second singer who used a number of Tesfaye’s poems. To list a few “Mariegn Biyeshalaw” “Yanigat kokab”, “Yaltasab fikir”, Seyawkulish Atawki” and soon were among the typical works of Tesfaye.
                         
Artist AlemaYehu Eshete                                             Artist Hirut Bekele

Muluken Melesse was the other singer who used his poems. Muluken started his entrance to the police orchestra in 1965.shortly afterwards, he became among the best singers of the country. This was due to the fact that, he played three popular songs. These were “Imbuway Lomme Maslogni”, “Ya Liginet”, and “Inate Sitwaldagne” These songs were written and composed by Tesfaye.
This songs implies the disappointing circumstanced of an individual in their life-time. In short, Muluken’s latter popularity in one way or another directly linked with these early songs. Tesfaye was wrote songs poems  to Tilahun Gesesse and Mahemud Ahemed title is “Yam Siyama” , “Sew manen Yemselal” , “Meche New Hgeren Yemayew”        
                          
          Artist Tilahun Gessese                                                   Artist Mahemud Ahemed
                                                      
Muluken melese  1955 E. C                                  Alemayehu And Hirut 1954 E.C
Zeritu Getahun’s song “Enkutatatashi” which released in 1966 was also among marvelous lyrics of Tesfaye. This song still has a great acceptance from the audience. In addition to this, “Tezta Ba Posta” and “Yatibab Ababa” were also other carrers of him that sings by her. Moreover, these three songs were composed by Tesfaaye. Other singers like Tesfaye Mekuria, Tesfaye Tessema,Tadele bekele
            
Artist Zeritu Getahun                                 Artist Tadele Bekele     

                                                                  Artist Abeba Desalegn

tesfaye’s role and contributions in the theatre and music (1974 – 2005 E.C)
3.1 Tesfaye and Edgat theatre center
In the 1960’s Mathewos Bekele established the first theatre training center in Ethiopia. He was an educated and modern man. Based on the role – model of this pioneer personality, Tesfaye aimed at establishing a theatre training center and intended to carry out in his spare time. This was in early 1970’s when he was permanent employer of police orchestra. Then after, he wanted a permanent place for the foundation of the theatre center. For that purpose he requested permission for his close friend, Tesfaye Gessese in early 1974. At the time, Tesfaye Gessese was a General Manager of Hager Fikir Theater. Then, Tesfaye Gessese gave a place at “Kew club”, a small hall that found inside Hager Fikir compound. As a result, this fulfilled Tesfaye’s aspiration.
After wards, Tesfaye nominated forty youngsters, based on the announcement posted. It was followed by the establishment of “Edgat theatre center” in 1974
The club founded with the goal of giving theatrical training for those interested persons without any payment. Wagayehu Negatu, Tekle Desta, Alemu Gebreab, Fikadu Teklemaryam, Surafel Gashaw, Fantu Mandaye, Zenebech Tadesse (Chirakarashi), Tirufat Gebreyes, Nigussu Zewege, Behailu Mengesha were among those forty early nominated members of the center. Besides Tesfaye, these early trainees were also belonged to early members of the center. All these first-born artists were the product of the center. Most of the trainees in the time were students and workers. Due to this fact, they were trained and served the center with their spare time. Theses forty trainees. Were divided into two groups based on their duty. These were chorus singers and theatre trainers. Based on this, Tesfaye gave a training one day for chorus and one day for theatre by interchanging.
Following some months of theoretical and practical training, these inception artists started to show their programs in different places. For instance in 1975 on the
1975 E.C the first youngest members performed on Abyot Adebabaye
Inauguration day of Abiyot (meskel) square in Addis, they presented a chorus by this many audiences supervised by their deeds. In addition they started to perform theatrical works at Hager fikir. Subsequently, the center started to move in different parts of the country and exhibited various play to the society. However, the center faced a differently after a three years interval from the establishment. When the Red-terror came to exist, the government ordered to close the center. As a result, Tesfaye forced to close the center until the restoration of peace and order. This was in 1977 and lasted until 1981. During the time, fervent supporters and members of EPRP (Ethiopian people’s Revolutionary Party) were found in the center.
Afterwards, some of the artists were employed in different places. Tekle Desta, Sirak Tadesse, and Alemu Gebreab were taken by the then General manager of national theatre, Laureate Tsgaye Gebremdihn, this was because, he already knew them in different plays that they performed, and he also saw them In time of training when he
                                   
                 Artist Sirak Tadesse                                                       Artist Fikadu Teklemariyam

         
                                                                      Artist Alemu Gbere Abe

Artist  Fantu MandoYe                                                                                              Artist  BehaYlu Mengesha

Was a guest there? Others, Surafel Gasahaw, Fekadu Teklemaryam, Alazar Samuel SeyoumTefera also joined the city council theatre. As a result members of the centers were dispersed in these particular periods of five years (1977 – 1981).
The center re-established once again in1982, but the place that allowed previously was prohibited. As a result, they forced to use the hall of Keble’s. In this decade (1980’s) the number of members increased at large. The period was characterized by lack of permanent place for the center.
In 1994 the center has got a better and permanent place at Africa Andinat Primary and junior school that were given voluntarily by the school administration. This place was found along the central part of Addis near to “Piassa. In the same edget theatre center was also referred as “yeTesfaye Abebe Ye theatre maderaja art center.

Travel to north Ethiopian more cities
  To show Tesfaye abebe theatre “sak besak”
  1985 E.C

Travel to north and south Ethiopian more cities
 To show Tesfaye Abebe Theatre “Yedem Kelebete” 2000 E.C

        With students in school
                        2004 E.C

After the trainees get enough theoretical and practical knowledge from Edget theatre center, they will proceed to the second category that is “Ye Tesfaye Abebe Ye Theatre maderaja”. Afterwards, the member are believed to be a professional artist and able to participate in different artistic activities.
After the year of 2000, the number of individuals who asked to center the center were increased at alarming rate. This was after the transmission of “awdasab” (It is a Television program that dealt with those personalities who played the eve of 2001, his deed and contributions in the center and out of the center was presented.
In this period even some interested individuals came from Gondar, Bahirdar, Jijiga, Harer, and AsebeTeferi and joined to the center. These amateur members have lived with their relatives and have got a chance to train in the center. One of such individuals was Mahider Moges, from Hirna, who joined the center in 2001 after watching the center’s activity attentively in “Awdassab” program. She described her stay, “Above all, I learned a lot in Ethics and Endurance which were the main elements of Art. Currently she started to participate in different plays.
There are criteria’s for gaining membership in the center. First and foremost, the trainee should be disciplined. That is to say, he/she must be free from addiction like smoking, using drugs, chewing chat etc. Tesfaye argued that this was the major reason for the trainee of the centers to reach in success with in a short period of time. The other requirement was that, measuring of an individual whether he/she is devoted for art or not. After this the persons were expected to be active participant in different activities of the training. The first two to three months were a time of pre-evaluation. It was followed by accepting the individual as a full member.
His approach in the center should be like a child-father relation. The trainees call by the nick-name “Father”, that is to mean our father in the profession. In its thirty – one years, the center has been produced so many well-known persons that played a tremendous role in the history of theatre in 1970’s, 1980’s 1990’s and 2000’s.
3.2 His success and Failures
Besides the first-born artists, the center produced-young, skillful and energetic artists who became the milestone of the present day art. A best example in this regard was:-Tewodros Tesfaye, Shemelis Abera, Haragewoin Asefa, Belen Getachew, Zinash Getachew, Tesfu Birhane, Shewanesh Molla, Aster Alemayehu, Melese Woldu etc. moreover, the following two successive table give a clear elaboration and confirmation of this fact.
Table 1
 
Name
Working Place
Job Status
Additional
1
Wogayehu Nigatu
National Theatre
Actor
Dead
2
Tekle Desta
>>>>
Actor& Director
Abroad
3
Sirak Tadesse
>>>>
>>>>
Dead
4
Alemu Gebrea’b
>>>>
>>>>
Dead
5
FikaduTeklemariam
>>>>
Actor
 
6
Fantu Madoye
City council theatre
Actor
 
7
Surafel Gashaw
>>>>
Actor& Director
Dead
8
Hana Terefe
Ras Theatre
Actress
 
9
Nigussu Zewge
Ras Theatre
Actor
Dead
10
Meaza Birru
National Theatre
>>
Dead
11
Behailu Mengesha
City council theatre
General Manager
Dead
12
Tirufat Gebreyes
E.T.& Radio
Journalist
 
13
Alemtsehay Bekele
Ras Theatre
Actor & Director
 
14
Izra Abate
Yared Musical School
General Manager.
 
 
 
 
 
 
Table 2
 
Name
Working Place
Job Status
Additional
1
TewodrosTesfaye
National Theatre
Actor & Director
 
2
Shimelis Abera
Mega Amphitheatre
Actor
 
3
Haregewoin Assefa
National Theatre
Actor
 
4
Tigist Wasihun
Ras Theatre
Actor
 
5
Zinash Getachew
Hager Fikir Theatre
Actor
 
6
Belen Getachew
Hager Fikir Theatre
Actor
 
7
Tesfu Birhanu
Hager Fikir Theatre
Actor
 
8
Shewanesh Molla
City council theatre
Actor
 
9
Aster Alemayehu
Ras Theatre
Actor
 
10
Fitsum Asfaw
Radio Fana
Journalist
 
11
Rahel Assefa
Ethiopian Television
Actor & director
 
12
Heywot assefa
Italia Rome
Model & Actor
 
13
Mersha Getahun
Privately
Actor
 
14
Melese woldu
Advertiser
Actor
 
15
Ayalkebet Teshome
Privately
Actor
 
16
Kidist Tesfaye
Ab Promotion
G.Manager
 
17
Daniel Tegegn
National Theatre
Actor
 
18
Tariku Baba
Privately
Actor
 
19
Yegerem Dejene
Privately
Actor
 
20
Tigiset Girma
Privately
Actress
 
21
Mesay Tefera
Privately
Actor
 
22
 
 
Actor
 
 

 

 

In a row: Artist Hana Terefe, Artist Alazar Samuel,  Artist Tewodros Tesfaye,  Artist Tigist Bayu,                           Artist Melese woldu, Artist zerfe Edris, Artist Haregwoin Assefa, Artist Shimles Abera,                                        Artist Seble tefera, Artist Tesfu Berhane , Artist Hirut kiros, Artist zinash Getachew, Artist Belen Getachew

3.3 His Contributions in Theatre and Music
Tesfaye was a remarkable man in Ethiopian art history. He was many persons rolled in one. He was a theatre trainer, a play writer, music lyricist, Music instrument player, composer, director and program introducer. His all rounding deeds in the last half a century were too great. General Manager of city council theatre in 1980’s Getachew Tarekegn, said that “Like Tesfaye, I have never seen any person who devoted most of his life time to Art.
In nation news paper, Abone Ashagre who is instructor of A.A.U argued that, the contribution of Tesfaye for the development of Art was many and these deeds made him to be placed at a higher level. In the previous decades, Training the amateus had an advantage in spreading the profession of art by increasing the number of individual who entered in the profession. That is to say, previously the society had a negative attitude towards art as a result Tesfay’s training enabled to increase the number of individual that joined the profession. It must be known that, all these deeds were done in a difficult and exhaustive time. Abone, future, added that, all Tesfaye’s contributions were done without any support.
Tesfaye have been scored about fifty- years in the field of Art. He celebrated his Golden jubilee at last year in the national theatre. These programmed was prepared by those artists who have been trained at the center in the last thirty one years. The programmed was performed at September 23, 2004.
Internal view of the Art center
Culture and tourism minster award 1980 E.C          Life time award 1997 E.C
Best Ethiopian Father Award on Father’s day ceremony       and
Ethiopian culture and tourism minster And Addis Ababa deputy mayor Big Respect on his 70th birth day
 
His 50 years on art Life Anniversary at National Theatre 1999 E.C
Addis Ababa University senate asked him to received letter of honorary degree  2004 E.C
     He received honorary degree from Prime minster Haylemariyam Desalegn
 

In a row: Artist Alemtshay  Wedajo, Artist Tekle desta, Artist Alemtshay Bekele, Artist Negusu Zewge                Artist Abrham Kenaw , Artist Rahel Assefa, Artist Kidesete TesfaYe, Artist Mersha Getahun,                                 Artist Ayalkebet Teshome, Artist Feleke Tasse, Artist Gulema Shimles, Artist Yohanes Feleke