Ethiopian People Research Paper

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Ethiopian People Research Paper

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Impact of leadership styles on teaching and learning process in Imo State. Mediterranean Journal of Social Sciences, 5 4 , — Omar, W. Transformational leadership style and job satisfaction relationship: A study of structural equation modeling SEM. Roul, S. Sadeghi, A. International Journal of Business and Social Science, 4 8 , — Shibru, B. Transformational leadership and its relationship with subordinate satisfaction with the leader The Case of Leather Industry in Ethiopia. Interdisciplinary Journal of Contemporary Research in Business, 3 5 , — Stogdill, R. Handbook of leadership. New York: Free Press. Tadesse, D. The rule of law in the indigenous traditional Gada system.

Tsegay, T. Advancing Women in Leadership, 33 , 75— Wahab, J. International Education Studies, 7 13 , 40— Waters-Bayer, A. Daldal: Dams to trap silt and water, on Irob innovation in northern Ethiopia. Yahaya, N. Relationship between leadership personality types and source of power and leadership styles among managers. It aims to popularize this not very well known dance and to show one of the brightest sides of Ethiopia — its cultural heritage! Intention artwork — the intention of the artwork is to transmit certain ideas, religious beliefs, historical events, ancient stories, emotions, thoughts and to express them trough a peculiar way of body movements performed on a certain musical background. One of the main dance motives and movements that are implemented in the ritual of performing of Eskesta are as follows: the Shepherd and his herd, religious commitment and praying Coptic dance, Jewish roots and as a matter of meditation.

The extraordinary diversity of dances is a result of different cultures and people, often organized horizontally grouped in space in comparison to the European people who are vertically stratified. According to some analysis, the Ethiopian dances are not divided according to their function, but according to their uniqueness and individuality.

Therefore, there are over unique dance movements across Ethiopia and its regions. The motives and characteristics of the dance are often interchanged during the dance by the performers of the variety of war songs, hunting songs, Shepherd songs, love songs and work songs. The best dancer is appointed to the leader of the group and respectively the best singer. Economical, cultural and political values — the cultural values are one of the most sharply outlined ones. They represent the importance of this peculiar tribe heritage preserved through the centuries. These significant movements are having a great impact on the Ethiopian indigenous society as a whole.

Some of the ideas and themes in this dance are actually inspired from the relations between the genders, work life and religion. It also is said that this dance was invented because of the snakes. On the other hand, in the sphere of indigenous Ethiopian music the influence of the rattlesnake while shaking its tail the sound it produces has created a certain way of singing as well. Furthermore, other symbols and rituals that can be described are these connected with the costumes which each dancer wears. Technique — dance performed both from men and women with their head, neck, chest and shoulders, shaking in specific ways; the music played during the dance is often produced with the traditional Ethiopian instruments like krar, flute, drums and mesenko.

The dancers sometimes sing or in some places of the dance utilize the silence in order to stress out some prevailing moments of the dance. There are however some variations depending on the areas in which this dance is performed — Wollo, Gondar or Gojjam. Artwork as it came into being — tribal dance having its purpose to express a religious ritual having its deep roots in the Ethiopian and Jewish cultural heritage.

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