Tag Archives: Tommy T

Prester John: Medieval Ethiopia’s Mythology and History

Tadias Magazine

By Ayele Bekerie, PhD

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Published: Monday, November 23, 2009

New York (TADIAS) – Prester John Sessions is the title of the first solo album of Tommy T Gobena, a talented and innovative global musician, who, I believe, is succeeding in his attempt to grasp the meanings of his diasporic sojourn vis a vis his Ethiopian roots. This article is inspired by the title of his album and is written to express my solidarity with his visions and dreams. The essay attempts to construct a historical narrative of what Ethiopian historians call the Zagwe Dynasty and the Medieval Hatse (King of Kings or Emperors) States, for they were two significant historical periods that are not only directly connected to the legend of Prester John, but they are remarkably endowed with religious tales and accomplishments. It is my contention that these two periods might help us understand the historical dimension of what Tommy T calls ‘Prester John Sessions.’

In his interview with Tseday Alehegn of Tadias Magazine, Tommy cites Graham Hancock’s The Sign and the Seal as a source for the title of his album. In Hancock’s book, he learned about a legendary and powerful Ethiopian king named Prester John, who was sought as an ally by European rulers of the medieval period. Europeans persistently sought the king with the hope of establishing an alliance against Moslem forces who occupied Jerusalem. The strong global sentiment for the legendary Ethiopian king became a source of inspiration to Tommy T, who used the name as a title of his album. In so doing, Tommy T has elevated his artistry by composing music linked to medieval Ethiopian history.

Who is Prester John? According to John Reader, “the earliest-known reference to Presbyter Iohannes (medieval Latin, meaning Prester, or Priest John) appears in an 1145 CE manuscript of Otto, Bishop of Freisingen, referring to him as a powerful Christian priest-king ruling a vast empire vaguely supposed to be somewhere in middle Asia.” The priest-king is equivalent to Hatse of Ethiopia or Pharaoh of ancient Egypt or Kandake of Meroé. It is a collective term that is assigned to divined rulers. Kandake was the title for women rulers of Meroé in the present day Sudan.

Ethiopia of the medieval period often designated geographically as a part of ‘Indies.’ Munro-Hay cites what he calls “the mediaeval planispheres and portulans” who identified Ethiopia as the “Indian land of rumor and legend.”

The earliest reference to Prester John corresponds in the Ethiopian chronology to the period of the Zagwe Dynasty (1137-1270 CE), a dynasty that thrived in Lasta, northern Ethiopia and its seminal achievement, the rock-hewn Lalibela churches, is now recognized as a UNESCO world heritage site, which means that the churches are internationally protected and preserved so that successive generations would be able to enjoy the marvels of architectural feat. The kings of the Zagwe Dynasty presided over an excavation of eleven churches from a single rock. These churches were carved in the twelfth century and they are still in use for mass and other religious activities. In other words, the churches are an enduring expression of devotion to faith and a constant source of global fame.

The kings of the dynasty built churches in Lasta so that Jerusalem continues to live. In fact, the eleven rock-hewn churches built in Lasta are called the churches of the second Jerusalem. The dynasty’s achievement has reached Europe. In fact, they have contributed to the invention and perpetuation of the legend of Prester John.

On the other hand, some historians trace the name Prester John to one of the kings of the Maji. Jasper, one of the kings, is known as Prester John and all his successors assumed the title thereafter. According to this account, the title Prester was chosen “because there was no degree in the world more elevated than the priesthood. The name John was selected in reference to John the Baptist or John the Evangelist,” writes Munro-Hay, citing the story in the Book of the Three Kings (the Maji).

Furthermore, a map published by Sebastian Munster at Basle in 1544 locates the kingdom of Prester John in the northern highlands of present day Ethiopia. Prester John is also mentioned in maps drawn in an earlier period, such as the Egyptus Novelo map of Florence (1454) and the Mappomondo of Venice (1460). This particular period corresponds to the period of the ‘restored’ Solomonic Dynasty. It is also known as Shoan Dynasty. This period has produced great Ethiopian emperors, such as Hatse Yekuno Amlak (1270-1285), Hatse Amda Tsion (1314-1344), Hatse Dawit I (1382-1413), Hatse Yishaq (1414-1429), Hatse Zer’a Ya’qob (1434-1468), Hatse Libne Dengel (1508-1540), and Hatse Tserse Dingel (1563-1597). The Dynasty, which was founded by Hatse Yikno Amlak in 1270 in Shoa, the central highlands of Ethiopia, had 26 Hatses and lasted for 302 years. According to Tadesse Tamrat, “the borders of this kingdom extended roughly to the northern districts of Shoa in the south, the region east of Lake Tana and the upper Blue Nile in the west, and the edge of the Ethiopian plateau in the east.”

The Hatses are divined and their power is defined in the Fetha Nagast, or Law of the Kings. Their power is both ecclesiastical and civic. Kebra Nagast, or the Glory of Kings, on the other hand, is a sacred text linking the genealogy of the Hatses to Menelik I, the founder of the Solomonic Dynasty.

In the period of the ‘restored’ Solomonic Dynasty, “there were also Muslim principalities in the area, along the coast from the Dahlak archipelago in the Red Sea to the Somali town of Brava on the Indian Ocean.” The Muslim principalities were strategically located and benefited a great deal by controlling trade routes in the region. Tadesse observes that “by the end of the thirteenth century, powerful Muslim communities had emerged which were to constitute various well-organized principalities and states: the most important in the interior were Shoa, Ifat, Fetegar, Dawaro, Hadya, Bali and Adal.”

The Sultans of Muslim communities entered in both peaceful and hostile relations with the Hatses of the Ethiopian plateau. During the medieval period, they managed to maintain their autonomy, even though most of them were obliged to pay tributes to the Hatses. Some of the Hatses chose peaceful coexistence with Muslim principalities, while others used force to convert the Muslims to Christianity. In the sixteenth century, a rebellious Muslim leader emerged and succeeded in conquering vast regions controlled by Hatses. The Muslim leader was Imam Ahmed, who defeated the army of Hatse Lebne Dengel at the Battle of Shimbra Qure.

According to Ayele Teklehaymanot, ‘love for things Ethiopian’ began in Europe in the middle Ages. Europe desperately searched for the legendary Pester John in the Indies, which was a geographical term of the time that refers to eastern Ethiopia (India and the Arabian Peninsula) and western Ethiopia (the Horn of Africa, and north east Africa). The Europeans were desperate in their desire to wrest back Jerusalem from Jihadist occupiers. It is also important to note that the geographical interpretation of Indies also placed Ethiopia in Asia. For instance, Honorius D’Autumn, at the beginning of the XII Century CE, asserts: “Sunt vero termini Africae: nilus ex parte orientis…” To Giovanni Battista Brocchi of the fifteenth century CE, the subjects of the ‘Prester John’ were distinguished as Ethiopians and Indians.

“In the year 1400 King Henry IV of England sent a letter to the ‘King of Abyssinia, Prester John.” Tadesse Tamrat, the eminent Ethiopian historian and author of the definitive book, Church and State in Ethiopia (1972), identified the Ethiopian king for whom the letter addressed to as Atse Dawit, the father of the famous and learned emperor Hatse Zer’a Ya’qob, who authored several sacred books. Historians are not certain whether the letter reached Hatse Dawit. However, a copy of the letter is found in the British Royal archives. Portuguese and Roman writers of the middle Ages translated Hatse to mean priest-king.

The genesis of Prester John, as I indicated earlier, coincides with the period in Ethiopian history that may be characterized by a great deal of religious revivalism. This period includes the Zagwe Dynasty of Lasta and the ‘restored’ Solomonic Dynasty of the central Ethiopian highlands. Temporally, the period extends from eleventh century to the sixteenth century of the Common Era. During this time, the Ethiopian rulers were directly involved in the teachings, writings and administration of the Orthodox Tewahedo Church.

It is also important to note that the period was a period of the consolidation of Islamic states and sultanates. One might add that it was also towards this period that history recorded the internal turmoil that resulted in the rearrangement of the region with irreversible settlement of the Oromos on the central and northern highlands of Ethiopia. Their concept of Gudficha made it easier for diverse ethnic groups on the highlands to interact with the Oromos. Islamic states have also expanded beyond the traditional borderlands and lowlands of the country.

The Late Stuart Munro-Hay in his book Ethiopia Unveiled: Interaction Between Two Worlds, extensively documented the meeting of Europe and ‘Prester John.’ According to Munro-Hay, in 1427 the ‘Prester John’ sent two ambassadors, one Muslim and one Christian, to Valencia to see Alfonso V, king of Aragon (Spain). ‘Prester John’ Yeshaq or Hatse Yeshaq ruled an empire that had seventy-two kings; twelve were Muslims and the rest Christian. What is notable about this account is that ‘Prester John’ appeared to have succeeded in presiding over both Muslim and Christian states. His decision to send Muslim and Christian emissaries to Aragon may suggest the prevalence of peaceful co-existence of Muslims and Christians in Ethiopia. ‘Prester John’ did not participate in the ‘crusade’ to liberate Jerusalem, perhaps unwilling to disrupt the peace he established in his multi-religious empire.

King of Aragon’s envoy to Ethiopia carried with him a letter dated 15 May 1428 to “the most eminent and most victorious monarch, the lord Ysach [Yeshaq], son of David, by the Grace of God, Presbiter Johannes of the Indies, master of the Tablets of Mount Sinay and the Throne of David, and king of kings of Ethiopia.” The letter, which is still available at the Aragon Archive in Barcelona, Spain, hints at that time a strong Ethiopia whose leader was victorious and who also, sought trade and diplomatic relations with Europe. Hatse Yeshaq even suggested marriage alliances with the Aragon royal family. It might be worthwhile to note that the earliest written reference to Somalia is found in a praise poem written in Amharic for Hatse Yeshaq, whose empire reached the northern Somali coast.

Several Arab historians and geographers profusely documented the history of the Hatse Medieval States, apart from local large historical documents and royal chronicles, their deeds. The Arab historians narrated in greater details the powers and territories of both the Hatses and the Sultanates. We also learn that the Hatses sent emissaries and letters to Europe in order to establish diplomatic and trade relations. The Hatses have fought with the Muslim states and often settle their political disputes by acknowledging their relative power position.

Ibn Yaqub in 872 wrote about the Hatses’ control over the Dahlak islands on the Red Sea. Masudi in 935 reported that Hatses controlled the port of Zeyla in the Gulf of Aden, as well as the Dahlak Islands on the Red Sea. Ibn Hawkal in 970 agreed with the reporting of Masudi.

The geographer Idris included northern Somalia as part of the sovereign of the Hatses. Another Geographer Ibn Said in the thirteenth century identified the Wabe Shebele River as a divider between the territories of Ethiopia and Azania. According to Ibn Said, the northern half of Moqadishu was under the rule of the Hatses. Ibn Fadal Alah Omari in the fourteenth century wrote about the vast empire of the Hatses. The territory extends from Indian Ocean to Gulf of Aden to Barka Valley of northern Eritrea. The fourteenth century Ethiopia had ninety-nine big and small states governed by kings and sultanates. These states paid their tributes to Hatses or king of kings of Ethiopia.

The Arab historian Omari included the following states under the sovereign of Hatses: Somhar, Hamasien, Nara, Tigrai, Sehart, Amhara, Shoa, Damot, Genz, Adasso and Mora. The South Eastern territories have also paid tributes to the Hatses. These territories were: Yifat, Dewaro, Arababani, Hadiya, Sharka, Bale and Derra. These historians have also documented the presence of fifty linguistic groups within Medieval Ethiopia.

Historians also researched the accounts of Portuguese travelers. Some even suggest that the legend of Prester John inspired the Portuguese to build ships and navigate the oceans. Given the fact that the Portuguese travelers were among the first foreign visitors received by the Hatses, it was clear that they took the legend very seriously. For instance, Francisco Alvares, who visited Ethiopia for six years at the time of Hatse Lebna Dengel’s rule, referred to him as Prester.

Among the Hatses, Amde Tsion was regarded by far the most powerful. He ruled over both the Christian and Muslim states. The Aragonese king Alfonso V noted in his letter dated 18 September 1450 identified Hatse Zer’a Ya’qob as the ‘most illustrious and most serene prince Lord Jacobo, son of David, of the House of Solomon, Emperor of Ethiopia.’ According to Mersea Hazen Wolde Qirqos, Hatse Zer’a Ya’qob was highly educated. He sponsored the translation of several sacred books from Arabic to Ge’ez. He also authored several holy books himself. According to Richard Pankhurst, “Imperial power was probably at its greatest during the time of the great centralizing emperor Zar’a Ya’qob (1434-68).

It is worthwhile to note that the Medieval Hatse rulers have established governance over the multi-ethnic and multi-religious nation-state. It can be argued that the seeds for modern state of Ethiopia may have been sown much earlier than what is usually believed. Tommy T’s ‘Prester John Sessions’ is a glaring reminder of our persistent quest in our long history, for transforming a shared time and space into one Ethiopia.

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This article is well-referenced and those who seek the references should contact Professor Ayele Bekerie directly at: abekerie@gmail.com

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Tadias Interview with Tommy T (Thomas T Gobena)

Tadias Magazine

By Tseday Alehegn

Published: Friday, October 16, 2009

New York (TADIAS) – Tommy T (Thomas T. Gobena), bass player for the New York-based multi-ethnic gypsy punk band Gogol Bordello, has released his first solo album entitled The Prestor John Sessions. The album includes collaborations with Gigi, Tommy T’s brother & bassist Henock Temesgen, members of the Abyssinnia Roots Collective, and a bonus remix including Gogol Bordello bandmates Eugene Hütz and Pedro Erazo. Tommy describes The Prestor John Sessions as “an aural travelogue that rages freely through the music and culture of Ethiopia.” His debut album features the diversity of rhythms and sounds of Ethiopian music – as multi-ethnic as has become the Lower East Side Gypsy band that has taken the world by storm. Who else but Tommy would produce an Oromo dub song featuring Ukranian, Ecuadorian, and Ethiopian musicians? We spoke to Tommy T about life as a Gogol Bordello member, the influences on his music, and the story behind The Prestor John Sessions. Normally Tommy T punctuates everything he says with so much humor that it’s difficult not to be immersed in sporadic moments of pure laughter. His message in this interview, however, remains serious: Are you ready to change the way you listen to and classify music?


Tommy T (Thomas T. Gobena). Photo by Linda Fittante.

TADIAS: Tell us a bit about yourself. Where you grew up, who were the main influences in your life? How you got into music?

Tommy T: I grew up in Addis and moved to the United States when I was 16. I can say that we didn’t have access to a lot of western music at that time except for the work of artists such as Michael Jackson and Madonna. But my brother, Henock was into music and he had an acoustic guitar. I never thought of being a musician then, but I would often play with my brother’s guitar…it was just a toy. But when my brother came to America and became a professional bass musician and sent back an album that he worked on called Admas I started to think about music in a more serious way. I don’t want to say the album was futuristic, but it was quite a forward-looking album. For its time it was unique in combining Ethiopian with Reggae, Samba and various other sounds. It came out as a limited edition and only on vinyl. I was going to school at Saint Joseph’s in Ethiopia at the time and some of my friends played in the school band. I was around them a lot and learned about music from them as well. I never had a formal music education. I just picked up guitar and then switched to bass when I heard my brother play bass guitar on the Admas album.

TADIAS: Any idols?

Tommy: I really don’t have many idols but the closest one is Bob Marley. And it’s not just the music but also his message. Listening to Bob Marley & the Wailers I was introduced to their bassist – Aston “Family Man” Barrett. A lot of the melodies that people love in Bob Marley’s songs wouldn’t mean anything without the bass line. “Waiting in Vain” is one example where the bass line is the melody. Aston is one of my strongest influences. When I came to the United States my brother introduced me to Motown songs. That’s how I discovered bassist James Jamerson, perhaps one of the greatest bassists of all time. He was a legend by any account. I eventually also spent time with Bill Laswell who produced Gigi’s albums. I saw how he produced music and sound in his studio, which has shaped my interpretation of music. I’m into ALL these people (laugh).

TADIAS: Before you joined Gogol Bordello you worked with several other artists and managed an independent label. What was that like?

Tommy: Actually, I had a label with my brother called C-Side Entertainment. The whole idea was to give mainstream access to African artists. Obviously we started with our own people, such as members of Admas band. I then worked with Gigi and Grammy-nominated singer Wayna as a manager, and I was able to broaden my knowledge and my network.

Tadias: Your label C-Side Entertainment. Where does the name come from?

Tommy T: You know music records have an A-side and B-side. We are the C-side – the third dimension. Or should I add the undiscovered dimension. .

TADIAS: What adjectives would you use to describe your tour experience with Gogol Bordello?

Tommy: (laughs) Beautiful Life!

TADIAS: Can you elaborate?

Tommy: Why? I get to play in front of millions of people. In a world where there are so many things going wrong, this is one moment where music makes you feel inclusive, not excluded. We have band members from nine different countries and together we create a universal vibe. We have good people who come to see us play. Yesterday I played in Spain, then today another country. Different people, different language but same energy. It’s beautiful. It’s music without boundaries. We put on one of the best shows and it’s always fun. I also just want to say that in 2007 the BBC Awards for World Music went to Gogol Bordello in the Americas category, and to Ethiopia’s Mahmoud Ahmed in the Africa category. That was a great moment.

TADIAS:: What do you love most about playing music?

Tommy: People. I love people. I love hanging around people. I’m really the worst sort of loner. Music forces me to be with different people – from the fierce to the funny to the philosophical. Music is the best way to be with people – at least for me.

TADIAS:: What do you love least about touring?

Tommy: You know I love everything about touring. Of course there are always advantages and disadvantages, the disadvantage being that you’re away from home a lot and it gets physically tiring. It’s hard work. No time to get sick. No time to bullshit. If you have a 9-5 job you can call in sick sometimes.

TADIAS: Right.

Tommy: You better make sure you’re dying if you decide not to show up and play at a concert. There are thousands of people who buy tickets, and band members who are relying on you. With Gogol Bordello I tour 9 to 10 months out of the year. And being considered one of the best shows you have to come out full force, give 100% every night.

TADIAS: You just released your first solo album. Can you tell us how long you’ve been working on it?

Tommy: I’ve always thought of doing my own album, but I can say that I started sculpting this work about three years ago. I started going into the studio and it basically took us the past two years to finish the whole album.

TADIAS:Where was it recorded?

Tommy: In several studios in D.C.

TADIAS: Who are the some of the artists that you collaborated with and featured on your album?

Tommy: Some of the musicians are old friends, those whom I used to play with while I was living in the D.C. community. My friend Zaki plays with the Abyssinnia Roots Collective for example. I also feature singer Gigi, and Masinko player Setegn. I produced the songs “Brothers” and “East-West Express” with my brother Henock. And the bonus remix of the Oromo dub features my Gogol Bordello bandmates Eugene Hütz (Ukranian) and Pedro Erazo (Ecuadorian).

By the way, all the songs are given titles that help teach something about Ethiopia. For example the track Eighth Wonder has a Wollo beat, which is from the region where Lalibela – the Eighth Wonder of the World is located. I expect people to buy a record and read and learn something new. Music is a way to educate. The Beyond Fasilidas title is in reference to the castles of Emperor Fasilidas of Gondar, which used to be Ethiopia’s capital city in the 17th century. The music on this track uses traditional beats from the Gondar region.

TADIAS: There is also the Ethiopian literary tradition known as Sem Ena Worq (Wax and Gold). The tracks are modern songs carrying the diverse and rich sounds of Ethiopian music, as you say “the nuggets culled from one of the oldest cultures on earth, presented in all their shining beauty.” And so is the album title The Prestor John Sessions.

Tommy: The whole thing came about when I was reading Graham Hancock’s the Sign and the Seal. And in that book Hancock mentions that around the era of the Crusaders there was an unknown king that was sending letters throughout Europe about the might and massiveness of his army and his treasures. Initially Europeans thought this king was from Asia so they went to India to look for him. Eventually they figured out that he was from Ethiopia. They didn’t know his name so they dubbed him Prestor John. There are of course so many other versions of this legend. But once I heard the story I said there is nothing else that I could call this album but The Prestor John Sessions.

TADIAS: So the album cover is Tommy T as Prestor John?

Tommy: You got it. (laughs). Prestor John is the symbol that I use to bring Ethiopian culture to the rest of the world. I’m writing music that incorporates the rhythms of Ethiopia but is also multi-ethnic and global, much like the work that Gogol Bordello creates, taken to the next level. The music is Ethiopian, dub, jazz, reggae – it’s music without boundaries.


The Prestor John Sessions album cover.


Tommy T. Photo by Bossanostra.

TADIAS: What would you like to say to your fans and to Tadias readers?

Tommy: First I would like to say, listen to the music and give it a chance. The music that I put out is sort of representative of my life – starting with the song “Brothers,” which I produced with my brother Henock. The last song is one that I made with Gogol Bordello. I think it’s all great work. I know a lot of people enjoy listening to Ethiopian music, and mostly what they know is the Ethiopiques CD series. I think it’s about time that we include and represent more sounds, and I’m trying to introduce those diverse Ethiopian sounds. I hope it’s a true representation. I hope I won’t let anybody down.

TADIAS: In your spare time…what else besides music keeps you going?

Tommy: I don’t know man. I’m always around music. Whether I’m out at a club or at home. I do read once in a while, but I don’t want to make it sound like I do that all the time. Besides, coming out of a tour you need time to unwind and I spend quite a lot of time at home or visiting friends. But even then, I’m always around music. I’m always working on music. I don’t think that I could be without it.

TADIAS: Are there any upcoming gigs that you’d like to mention?

Tommy: I’m thinking of doing a CD release party possibly in D.C. and New York around Thanksgiving weekend. It’s not confirmed yet, but it may happen on the 27th and 28th since I’m going to be home on break from tour. For Christmas, Gogol Bordello will be playing in New York at Webster Hall for three nights. This is a time to expand your mind and lose your soul (laughs). I’m just making fun. It’s great music and it defies any kind of boundary. It’s one of the best shows that you’ll ever see. The best three nights.

TADIAS: Congratulations on your album Tommy!

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The Prestor John Sessions are currently available exclusively on itunes. Purchase and download a copy and leave a comment!

Watch: Gogol Bordello – Wonderlust King (on David Letterman)

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