Category Archives: Uncategorized

“ACT & PUNISHMENT: THE PUSSY RIOT TRIALS”— Protesting For Human Rights

 

“ACT & PUNISHMENT: THE PUSSY RIOT TRIALS”

Protesting For Human Rights

Amos Lassen

“Act and Punishment” is a feature-length film that is written and directed by Evgeny Mitta and features Pussy Riot band members Nadezhda Tolokonnikova, Mariya Alyokhina and Yekaterina Samutsevich, who were jailed in 2011 in Russia after protesting the country’s human rights oppression and specifically targeting the election of Vladimir Putin as president of Russia and the Russian Orthodox Church’s ties to him.

The film begins after their release from prison and follows their evolution from political activists to punk-rockers that gained worldwide attention after their widely seen concert at the 2014 Winter Olympics in Sochi, where band members were attacked by Cossacks who were hired as security at the Games. The film follows the Russian band as they took a stand against Putin and his oppressive regime. While three members were sentenced to prison for 2 years, this documentary explores their moral victory.

Russian activists Nadezhda Tolokonnikova and Ekaterina Samutsevich decide to separate from the well-known activist group Voina and create their own group named Pussy Riot that would express their ideas of female independence and bring together activism, feminism and punk rock music. Pussy Riot quickly drew public attention after a show in Red Square where they accused the Russian authorities of sexism.

The performance landed them in a police station and much mass media attention. Pussy Riot then decided to conduct a punk rock church service in the Moscow Cathedral of from journalists and cameramen who managed to film it. Three of the girls were arrested and threatened with seven years in prison, as a number of world stars express their support for the artists including the Red Hot Chili Peppers, Paul McCartney, Madonna and Franz Ferdinand. They were offered freedom if they agreed to confess and repent for their “crime”. Of course they refused and the court sentenced them to two years in prison. Their defeat in court became their moral victory, as Pussy Riot were cheered on by thousands of their new-found fans and supporters worldwide.

“MY ART”— Meet Ellie Shine

“MY ART”

Meet Ellie Shine

Amos Lassen

Ellie Shine is a 65-year-old single artist living in New York City. She has a good life: a stable teaching job, successful friends, and a loyal, aging and handicapped dog named Bing. As her dream of a respectable place in the art world becomes more elusive, her frustration about her lack of recognition begins to feel urgent.

Shine looks to gain inspiration and tranquility as she house sits for a friend in upstate New York. She uses the adjoining barn as her workplace where she stages elaborate recreations of classic movie scenes, (i.e. “Some Like it Hot” and “A Clockwork Orange”). Her business surprisingly evolves into possible pleasure when Ellie invites three local men (two gardeners and a lawyer) to participate in her art. The three become romantically interested in Ellie but she is determined not to interrupt her work.

This is a film filled with heart and charm. Its only agenda is to tell a sweet story of likeable people on a journey of self-discovery. At one point in director Laurie Simmons’s “My Art”, New York City art teacher Ellie (Simmons) and Frank (Robert Clohessy), a landscaper and sometime actor who Ellie has recruited for her latest project, are seen dressed as Marilyn Monroe and Clark Gable, respectively, and preparing to recreate scenes from John Huston’s “The Misfits”. Ellie responds that, while it’s impossible for them to ever be Monroe or Gable, they should nonetheless impersonate the two screen legends simply to see what happens. Despite the sheer vagueness of this explanation, which essentially shows Ellie’s approach to the multimedia project she works on throughout the film, it unintentionally explicates the feeling that, like Ellie, Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.

Ellie’s project begins once her school year ends and she travels upstate to house-sit. She meets and befriends small towners, including Frank. Wisely, Simmons never shows Ellie as being more intelligent or cultured than the townsfolk, but the scenes that don’t involve Ellie at work suffer from something being missing. In one scene, Frank’s landscaping assistant, Tom (Joshua Safdie), and the latter’s wife, Angie (Parker Posey), have a discussion that offers an intriguing glimpse into a relationship marked by unresolved problems and unacknowledged insecurities. Part of the fun of the film is the way the film is staged. Simmons never really elaborates on Ellie’s life and aesthetic ambitions beyond suggesting that the woman seeks to escape from a reality that has her struggling to keep up with the times, a point undermined by a monologue in which Ellie declares how content she is with her life making the recreations feel superficial. And since the reason for why Ellie is working on this specific project remains ambiguous, it’s as if Simmons merely wishes to see herself in other people’s films—which makes the possessive title paradoxical.

When our dreams fail to be realized, cinema calls to us with the promise of sanctuary. For a couple hours, we escape into the lives of others. One of the most refreshing things about Laurie Simmons’ similarly provocative feature directorial debut, “My Art,” is in how it challenges the very notion of what constitutes a happy ending. 

Though Simmons is a renowned artist with a career spanning over four decades, she is best known to moviegoers as the real-life mother of Lena Durham.. “My Art” has been described by Simmons as her attempt to explore the mind of a sixty-something female artist on her own terms, and while her performance is just as deftly understated, it contains different layers of intrigue.

The final moments of “My Art” may seem tragic at first glance, until we realize that the “happy ending” for this is different from what we have come to expect. Simmons ends her film on an assuredly optimistic note, as Frank and Ellie watch their dreams becoming realized, all the while standing apart, facing separate directions.

“#artoffline”— Art in the Internet Age

“#artoffline”

Art in the Internet Age

Amos Lassen

It is very difficult not to wonder what happens to art in the Internet age. “#artoffline” brings together philosophers, artists and exhibition makers who believe that endless reproduction liberates art from “a muddled art market and an undemocratic exhibition circuit.” Then there are critics who wonder whether the urge for physical objects is really just a nostalgic fetishism. Digital technology has completely transformed the experience of art forever.

Walter Benjamin, the German philosopher, argued in 1936 that “the technological reproducibility of artworks changes the nature of art in an essential sense – the aura of the work could not possibly survive such doubling.” Almost everyone you hear in #artoffline disagrees with Benjamin. They think that, in the era of the internet and virtual reality, the demand for authenticity is no longer relevant. They see the focus on the value of physical objects as a kind of fetishism. The questions remains whether the internet can liberate art. “#artoffline” explores many views in order to let us decide what they think is good for the future of contemporary art. Do we lose something if the physical artworks disappear?

The film was made by the Columbian artist and director Manuel Correa and produced by Emil Olsen from Norway. The interviewees include a variety of artists and curators who discuss issues related to the field of art’s use of the Internet as an arena for artistic production, but most of all as a dissemination tool. Among the key arguments in the film we find is the claim that the Internet contributes to democratizing the arts: through the algorithms of “like” logic, it dissolves curatorial power and allows room for additional voices in the conversation.

This is a sixty minute documentary project featuring interviews with artists, curators, philosophers, collectors and critics who understand that we live in a networked world: today, taking selfies or photographing artworks is an integral part of the experience of visiting a museum; the works photographed can be transmitted in a matter of seconds. As an artist this is fascinating, because you can access and quickly see what other artists around the globe are producing. Although some of our interviewees believe that the acceleration of images poses a risk of homogenizing art production, the Internet also comes with tremendous potential for the transmission, circulation and development of theory.

The film illustrates the ways in which digital technologies are also aiding the creation of new audiences, and fostering a participatory culture that exists outside of traditional institutional spaces for art.

“SEIJUN SUZUKI: THE EARLY YEARS”, Volume 1— First Time on American Video or DVD

“Seijun Suzuki: The Early Years: Vol. 1”

First Time on American Video or DVD

Amos Lassen

This is a collection of the youth movies of Japanese director and iconoclast Seijun Suzuki. What we really see here is the evolving Suzuki’s style of the B-movie. Suzuki is best known for the cult classics “Tokyo Drifter” (1966) and “Branded to Kill” (1967).

“The Boy Who Came Back” (1958) and we see the first appearances of Nikkatsu Diamond Guys and regular Suzuki collaborators Akira Kobayashi and Jo Shishido. Here, in one of the films Kobayashi is cast as the hot-headed hoodlum fresh out of reform school We also see is a story of a young student who hooks up with a down-at-heels traveling circus troupe. “Teenage Yakuza” (1962) stars Tamio Kawaji as the high-school vigilante protecting his community from the extortions of mobsters from a neighbooring city. “The Incorrigible” (1963) (also known as ”The Bastard”) and “Born Under Crossed Stars” (1965) are both based on Toko Kon’s novels about young love and represent Suzuki s first films set in the 1920s era and later celebrated in his critically-regarded Taisho Trilogy.

 

 

 

 

“THE SECT”— Horror

“THE SECT”

Horror

Amos Lassen

 

“The Sect” was the Italian actor-turned-director  Michele Soavi’s third feature film his best-loved film. It opens in Southern California at a hippy commune that allows a Manson type (Tomas Arana) into their midst and soon thereafter find themselves slaughtered. We then  move forward to Frankfurt, Germany in 1991 and meet Miriam (Kelly Curtis), a humble primary school teacher and spinster whose life takes a turn for the bizarre when she accidentally hits an old man named Moebius (Herbert Lom) with her car. Taking him back to her home rather than a hospital, she helps the strange elderly gent back to health. But as things get weird and it becomes apparent their paths may not have crossed by accident. It seems that sinister occult forces are at work all around Miriam, and that fate has some big surprises for her. In this country the film went by the title “The Devil’s Daughter” and this gives us a pretty big hint even if the film itself does not seem anxious to give too much away at first.

Miriam is a pretty schoolteacher who lives alone with only her pet rabbit for company.

After taking the old man home, he seemingly collapses and dies, but not before infecting her with a bizarre parasite and opening up an apparently bottomless pit in her basement. It turns out that the old man is the cult’s leader, and that their plans involve impregnating her with the Antichrist.  To say anymore will ruin  the film for those who have not yet seen it.

“The Sect” is a visceral experience and one that defies a literal explanation

“THE END”— A Different Approach to Gay Erotica

“The End”

A Different Approach to Gay Erotica

Amos Lassen

Barcelona born and Berlin based director, Noel Alejandro uses taboo breaking art in his films. “The End” is his newest movie that sits on the line between art and pornography and how you see it depends on your definition of the above two categories.

“The End” brings us mourning as a poetic composition for “Javier – an obsessed artist who is grieving after the death of Ivan and who overdoses on additions and feelings until his lattermost move takes him to an emotional purgatory. Javier experiences sorrow as a combination of memories and instinct. Peace would eventually draw the artist away from the lute and release him from his shade, but first, he needs to confront his personal demons and to take one last drop into the lusty pleasures of the flesh.”

Alejandro describes the film as is a visual trip connecting the most human feelings to sex and desire. “There’s something special on the rift of sensuality and emotions“, he says about the film.

“ALABAMA BOUND”— LGBTQ Family Rights in the South

“ALABAMA BOUND”

LGBTQ Family Rights in the South

Amos Lassen

“Alabama Bound” looks at LGBTQ family rights in the South over the last decade.  The film gives an intimate view into the lives of three lesbian families in Alabama as they set precedents and fight the courts for their children during the time that federal marriage equality comes to a head. This is the story of a powerful community living with both frustration and hope in a conservative state, where the line between church and state is very thin .

Cari and Kim fell in love, decided to make a life together, and have a family in Mobile, Alabama.  Eleven years ago, Kim gave birth to their son Khaya, who was born with a hole in his heart and he required open-heart surgery.  When the medical staff at the hospital refused to train Cari in how to care for her son because they did not recognize her as a parent, she knew she had to fight to protect her family.  Cari and Kim are not activists by choice.

Kinley had married her male childhood best friend when she was quite young.  They had a child together before she came out.  She could not afford legal representation in her divorce and lost custody of her son to her ex-husband and his new wife.  When her son called her in tears after having been whipped by his stepmother, Kinley felt compelled to try to regain custody.  After taking her son to the emergency room, Kinley was granted temporary custody by DHR. She and her wife soon found their marriage on trial in a lengthy custody fight in family court where Kinley lamented, “the judges here prefer to give a child back to an abusive parent or step-parent instead of a lesbian.” 

Patricia Todd is an only openly-gay Alabama State Legislator and a champion for non-discrimination laws that protected LGBTQ citizens from losing their jobs because of their sexual orientation.  Patricia originally ran for election after testifying at a committee meeting about same-sex marriage in the State Capitol in 2005. She felt that nothing would change until an LGBTQ representative sat at the table with the decision-makers in the state. 

Even though marriage became settled law in 2015, Alabama’s LGBTQ families are still in jeopardy. Alabama Supreme Court Chief Justice Roy Moore led the charge to reject the federal rulings recognizing same-sex equality. Judge Moore ordered probate judges, who report to him, to stop issuing marriage licenses rather than grant them to same sex couples. Lawmakers continue to introduce bills that would authorize discrimination in marriage licensing and adoption.

Alabama is one of 28 other states across the country where there are no legal protections for LGBTQ citizens from losing their job, housing, or access to public accommodations.  On May 3, 2017, Alabama Governor Kay Ivey signed a bill into law making it legal for private adoption agencies to follow faith-based policies— such as not placing children with gay couples. While much of the nation has moved toward LGBTQ equality, many states have become involved in conflict, and families have suffered. 

Patricia Todd serves as the state of Alabama’s governing body’s sole LGBT voice.  Kay and Cari wage a nearly decade-long fight to obtain legal recognition for Cari as a parent of Kay’s then-infant son.  Kinley and her wife Autumn fight repeated court delays and judicial hostility to regain custody of Kinley’s son after she learns the boy’s step-mother has been physically abusing him. The years of endless court delays prevent Kinley and Autumn from even planning a simple family vacation.  Kay’s son spends his childhood watching strange adults deny his parental relationship with Kay and Cari.

Certainly the subjects of the film could find more socially welcoming states elsewhere.  But their love for their home state means fighting to make it a welcoming place. Cary and Kim blazed a trail for other same-sex couples that wanted to have equal rights in their marriages, including parenthood.

What sparked their case was the realization that Khaya only had one legal parent,” and that “There were no protections for us. This was never “about marriage equality until the state made it that way.”

This is about the whole state. This is about every single gay person who has been denied rights throughout history.”

 

“THE INSULT”— Sectarian Divisions in Lebanon

 

“THE INSULT”

Sectarian Divisions in Lebanon

Amos Lassen

Ziad Doueiri’s “The Insult” is Lebanon’s entry for the Academy Award. The film looks at Lebanon’s sectarian divisions with a riveting courtroom drama that shows how even minor interpersonal tensions can boil over into national traumas. While the issues it engages are timely and important, the film is excellent in every aspect.

Doueiri came of age in Lebanon in the 1980s when the country was driven by civil war. While it has been nominally at peace since then, there are still different ethnic and religious groups that bear longstanding animosities toward each other. Those at the center of “The Insult” are Christians, who comprise 40 percent of the population, and Palestinians— refugees who have been in Lebanon for many years and now comprise ten percent of the population. The conflict at the drama’s center is so personal, visceral and universally recognizable; it could take place anywhere. The story depicts a cascading series of insults, but the initial one takes place on a Beirut residential street. Tony Hanna (Adel Karam) is a thirtysomething mechanic with a pregnant wife, who while watering plants on his apartment’s balcony, he inadvertently splashes a construction crew on the street below. The crew’s foreman, Yasser Salameh (Kamel El Basha) notices there’s an illegal pipe on Tony’s apartment and offers to fix it. After Tony slams the door in his face, Yasser has his crew fix the pipe anyway. When Tony sees this, he smashes the new pipe. Witnessing the destruction from the street, Yasser yells up at Tony insulting him.

The insult (calling Tony a “fucking prick”) sets the story in motion. One man shouts an insult at another, who’s infuriated and demands an apology. The other man is urged by his boss to apologize so that everyone can move on. Initially he seems inclined to do it, but when the time comes, he’s unable to. Things escalate and the men end up in the first of two courtrooms where they will face off against each other.

Without a doubt, the confrontation has a lot to do with the two male egos involved. Tony is a brawny hot-head while Salameh is a taciturn, grim-faced guy whose stoic mien seems to cover a deep sense of grievance and resentment. It also matters that Tony is a right-wing Christian and Salameh is a Palestinian. In the early scene where Tony slams his door in the face of a man who’s offering him some free help, there’s no mention of religion, ethnicity or politics; but when we look back on it, you can easily surmise that Tony wouldn’t have done this if he’d been addressing a fellow Christian. When Salameh goes to Tony’s garage to apologize, the TV is blaring a right-wing Christian politician about the presence of Palestinians in Lebanon. As the conversation quickly dissolves into hostility, Tony fiercely says, “I wish Ariel Sharon had wiped all of you out,” meaning the Palestinians. For that, Salameh hits him in the gut, assuring that the battle will have a bitter future in the legal arena.

By the time their second trial happens, each man has become a cause for their respective people. Tony is represented by a large legal team headed by a famous Christian trial lawyer and Salameh’s defense is mounted a brilliant young attorney who seems to exemplify the opinion we hear that it’s “trendy” for liberal and left-wing Christians to take up the Palestinian cause.

As the second trial unfolds, it provokes violent outbursts both inside and outside the courtroom, and sensational media coverage that stokes sectarian passions across Lebanon. With their combination of personal and political animosities, the film’s highly charged courtroom scenes are riveting and revelatory. Much of their power obviously results from Doueiri’s skills as director. The film is a culture-rattling event that threatens to explode tensions left over from the Lebanese civil war.

The Lebanese civil war is one of countless nesting outgrowths of the modern formation of Israel. Wars, negotiations, and smaller skirmishes, overseen by outside countries with their own inherent interests, left countless Palestinians without a country. And Lebanon was among the places they landed, forming refugee camps that have become permanent—such as the camp that Yasser is helping to rebuild in the film. Lebanon’s political liberals are sympathetic to the Palestinians, while the political right stokes the fires of nationalist resentment. These tensions should remind Americans of their own fights, particularly over the legacy of slavery and immigration.

“ICONS AMONG US: JAZZ IN THE PRESENT TENSE— Contemporary Jazz

“Icons Among Us: Jazz in the Present Tense”

Contemporary Jazz

Amos Lassen

When “Icons Among Us: Jazz in the Present Tense” originally aired on The Documentary Channel in April, 2009, it was a much-heralded and long overdue look at jazz as a modern art form with a history; one that, much as its spirit has always been, relentlessly breaks down artificial borders of gender, genre and culture, and continues to renew and redefine itself. It’s possible to now see jazz as a global entity without ignoring its undeniable roots in the African-American tradition, a point that directors Lars Larson, Peter J. Vogt and Michael Rivoira do in this theatrical release of the film. Trumpeter Terence Blanchard says “History will tell a tale…there’s a movement about of some young guys, that’s the quietest revolution in jazz I’ve ever heard in my life.” The film then proceeds to show the size of this “quiet revolution” with artist interviews that, in addition to Blanchard, include big names like Herbie Hancock, Wayne Shorter, Bill Frisell, Wynton Marsalis, Nicholas Payton, Greg Osby and Donald Harrison. But for each high-powered jazz name, there’s footage with emerging artists like Aaron Parks, whose appearances onstage with Blanchard show just one example of how jazz is evolving thanks to the mentoring of artists like Blanchard.

Jazz has always been an oral tradition, passed along from elder to younger in a fashion hearkening back to tribal tradition; but with the club scene drying up in many cities, it’s increasingly difficult for young musicians to get to established players. Parks’ success, despite the unmistakable building blocks he showed when Blanchard recruited him at the age of 18, is a direct result of lessons learned on the bandstand with his mentor. How people perceive jazz is a subject takes up a great deal of the film. The film also touches on the controversies that continue to plague a form that has always been hotly debated. Bebop was hated when it first emerged, as was free jazz; now both of these are the standard against which contemporary innovations are sometimes erroneously measured.

The film shows that there’s still plenty of work to be done and suggests that even when the reverence to the tradition is overt, as it is in some cases (and, in others, not), the music being made today is music of today, and not something so tightly tied to that tradition that it loses its creative edge. Interviews with artists like Matthew Shipp and Greg Osby only further position that, while not denying the tradition from which it came, it’s equally important, in some ways, to reject it, so that the music is unencumbered and free to move forward.

Many feel that this is the best documentary on jazz that’s ever been produced. In just 90 minutes it makes it clear that there’s never been as exciting a time as right now, with artists from around the globe ensuring that jazz will not only remain viable and vital into the future, but that it will continue to reshape and reinvent itself in ways that nobody can predict.

It was filmed at various locations including New Orleans, New York, Vancouver, Los Angeles, San Francisco, London, Barcelona, Amsterdam, Portland, and Seattle. What started as a documentary about up-and-coming contemporary jazz artists is actually a celebration of the roots of the creative process and is “a huge part of our US identity.”

Artists and other contributors include:

Clarence Acox

The Bad Plus

Jeff Ballard

Paul de Barros

Marco Benevento

Will Bernard

Brian Blade & the Fellowship Band

Terence Blanchard

Richard Bona

Matt Cameron

Matt Chamberlain

Anat Cohen

Avishai Cohen

Ravi Coltrane

Jamie Cullum

DJ Logic

daKah

Amy Denio

Karl Denson’s Tiny Universe

Dirty Dozen Brass Band

Dave Douglas and Brass Ecstasy

EST

Bill Frisell

Garage a Trois

Garfield and Roosevelt High School Jazz Bands

Robert Glasper

Greyboy Allstars

Russell Gunn

John Gilbreath

Herbie Hancock

Roy Hargrove

Donald Harrison, Jr.

Harry Bu McCage

Dave Holland

Red Holloway

Wayne Horvitz

Charlie Hunter

Vijay Iyer

Ali Jackson & Ted Nash

Jacob Fred Jazz Odyssey

JazzReach

Ashley Kahn

Robin Kelly

Frank Lacy

Brady Lahr

Living Daylights

Joe Lovano

Lionel Loueke

Jessica Lurie

Wynton Marsalis

Medeski, Martin, and Wood

Stanton Moore

Jason Moran

Idris Muhammad

Jovino Santos Neto

Greg Osby

Wendy Oxenhorn

Aaron Parks

Gretchen Parlato

Nicholas Payton

Danilo Perez

Courtney Pine

Tineke Postma

Chris Potter

Bobby Previte

Julian Priester

Dafnis Prieto

Dianne Reeves

Damion Reid

Eric Revis

Kurt Rosenwinkel

Jorge Rossy

Joe Russo

John Scofield

Matthew Shipp

Wayne Shorter

Skerik

Tom Skerritt

Soulive

Esperanza Spalding

Melvin Sparks

The Tiptons

Christopher Thomas

Lee Townsend

Huub van Riel

Johnny Vidacovich, George Porter, & Eric Krasnow

Robert Walter

George Wein

Bugge Wesseltoft

Miguel Zenon

“ROARING ABYSS”— A Musical Journey Across Ethiopia

“ROARING ABYSS”

A Musical Journey Across Ethiopia

Amos Lassen

“Roaring Abyss” is a feel-good film that takes us on a musical journey across Ethiopia, where there are “Ninety million people in the second most populated African country” who in eighty different languages. on both sides of the Rift Valley.”

Quino Piñero directed this beautiful film in which musicians celebrate their lives through music, and Piñero celebrates that too, along with celebrating their talent, passion, and dedication to preserving traditional music. From the terrific opening song we can guess what sort of journey awaits us. There is a pattern— first we see film of everyday life in a section of Ethiopia while we hear music, then we see the musicians. We understand that every one of these songs, no matter where it was recorded, is a performance because they have been recorded in front of microphones for posterity. After the performance we get more of the same, with that pattern occasionally interrupted by interviews with some of the performers.

“A song is for many things, not just dancing.” Songs remind us of those we love and they bring back memories of those who are far away or gone. We are reminded of what we have experienced. Memories happen to music.

Piñero used four camera operators, three sound recorders, and five translators to capture traditional music before it begins to disappear, and as he does so we also see everyday life in Ethiopia’s streets, markets, farms, forests, and isolated villages.

There is no voiceover to spoil the experience, no musicologists or anthropologists to contextualize what we’re seeing. Our director trusts the people and the music. Aside from the musician interviews, which are presented with subtitles in English, we see indigenous tribes living as they live, talking in one of those 80 languages, and no context seems necessary. Piñero creates a visceral experience that makes us feel as if you’ve just experienced the film, rather than just watching it.

I was reminded of television travelogue shows, where the purpose was to expose peripatetic audiences to distant lands and different cultures—all designed to broaden their knowledge of the world and cultivate an appreciation for how diverse our world is, and how our own culture compares.

Piñero combines unobtrusive, fly-on-the-wall documentary-style filming with art-house shots of the landscape and life as it’s lived in Ethiopia. We not only get a feel for the importance of music in everyday life, we also learn about the music itself.

The sound and picture quality are excellent and the whole experience of the film makes us feel that the world became larger, older and wiser and how lucky we are to be a part of it. This is because of the musicians we meet here:

  • Hagerignya Band
  • Awassa Sidamo Ibahal Aderash Band
  • Mezjeng Tribe
  • Weldie Almaw
  • Dorze Music Group
  • Yem Tribe
  • Tigray Police March Band
  • Harar Policemarch Band
  • Kaffa Band
  • Maekel Bahil Tigray
  • Yohannis Tadesse
  • Awrus Traditional Band
  • Mebtu Adugna
  • Azmari Bet Band
  • Hidase Habru Traditional Band
  • Damot Azmaribet Band
  • Wello Bahil Amba Band
  • Gashe Chane
  • Gashe Assefa
  • Yayneabeba Nigus
  • Hadiya Bahil Band
  • Hammer tribe band
  • Hadiya tribe band
  • Wetayita tribe band
  • Basketo tribe band
  • Bena tribe band
  • Marako tribe band
  • Gurage band
  • Mursi tribe band
  • Surma tribe band
  • Konso band
  • Sambe Gore Band
  • Ato Mengesha Abera
  • The Three Azmari Kids
  • Harar Adagar Band
  • Anyuak tribe/Nuer tribe
  • Shenen Gibe Band
  • Selam Band
  • Tigray Arts College Band
  • Jazzmaris