The portrayal of COVID-19 in Ethiopian song lyrics

Abstract

The portrayal of COVID-19 in songs varies greatly depending on the artist. This study examined COVID-19 lyrics in songs in Amharic from the perspective of artistic communication. The songs are a form of emotional release that provides comfort and hope in difficult times. They raise awareness and educate Ethiopians about the importance of taking precautions, such as wearing masks and following social distancing guidelines. The songs intend to bring people together, strengthen communities, and instill a sense of solidarity. However, the study found that the portrayal of the pandemic in the lyrics is limited due to audience representation, framing, messages, cultural contextualization, and artistry. This leads to listeners misinterpreting multiple aspects of the pandemic. The analysis of the lyrics related to COVID-19 provides important insights into how the pandemic has been portrayed in the country’s cultural production.

Keywords:

• amharic
• COVID-19
• culture
• ethiopia
• framing
• lyrics
• message
• song

PUBLIC INTEREST STATEMENT

The portrayal of COVID-19 in lyrics varies greatly depending on the artist. This study examined COVID-19 lyrics in songs in Amharic from the perspective of artistic communication. The songs are a form of emotional release that provides comfort and hope in difficult times. They raise awareness and educate Ethiopians about the importance of taking precautions, such as wearing masks and following social distancing guidelines. They bring people together, strengthen communities, and instill a sense of solidarity. However, the study found that the representation of the pandemic in lyrics is limited due to audience representation, framing, messaging, cultural contextualization, and artistry. This leads to listeners misinterpreting the multiple aspects of the pandemic. The representation of COVID-19 in lyrics should reflect a wide range of human experiences and emotions, including fear, hope, loss, and resilience. Singers should sing about the multiple aspects of the pandemic and its impact on society.

1. Introduction

Songs depict social, economic, political, and cultural phenomena. They promote dialogues and serve as an instrument of social change, education, and entertainment. They warn, educate, entertain, heal, and influence individual, community, and societal behavior (Sopaheluwakan & Amri, 2020). Songs inspire society to consider new ideas and develop fresh cultural norms. Following the outbreak of COVID-19 in 2020, Ethiopian singers produced songs to raise awareness about the pandemic, promote empathy and understanding, and inspire positive change (Shibru, 2020).They facilitated early intervention and control of the pandemic. By portraying the knowledge, attitudes, customs, and behavior of society in their lyrics, singers shaped social attitudes and beliefs to create a better world. They educated, influenced, and shaped community health. They emphasized the social and behavioral components of the pandemic to bring about individual, group, community, and societal behavioral changes such as knowledge, attitude, and norm (Van Bavel et al., 2020). The goal was to overcome the crisis and create a healthy society.

Songs become an instrument of health education. According to Karamouzian et al. (2020),songs provide health-related discussions. They encourage individuals, groups, communities, and society to be healthy (Baratè et al., 2020). At the beginning of the pandemic, individuals, the government, and NGOs initiated song composition. The songs served to promote social change. Their communication varied depending on the medium and genre used (Shibru, 2020).They communicated messages through a range of elements, including emotions, teachings, and abstractions. The songs expressed the messages of the pamphlets in different ways. Their purpose was to impact society through the social behavioral change model.

Unfortunately, the lyrics in songs in Amharic related to COVID-19 have their pitfalls. The singers hardly understand the characteristics of the pandemic in relation to their audiences. According to Kimberlin (1994), a music production team should know the listeners’ knowledge, attitude, and culture regarding the pandemic before releasing songs. Van Bavel et al. (2020) suggest that songwriters should be aware of the culture in which the songs are being written before transforming songs into lyrical frames, messages, and art forms. Lyrical compositions influence audience behavior, attitudes, knowledge, information, and action. In contexts where knowledge of art is limited, it can be hard for people to comprehend lyrical contents. Conversely, overly didactic messages can be boring for listeners.

Societies perceive the relationship between melody and lyrics differently (Banda & Mambwe, 2013).Some singers perform a song happily, while others sing it sadly. Sad melodies with happy lyrics and happy melodies with sad lyrics may influence listeners’ feelings. Concerning these competing views, Benson (2020) argues that a lyric produces a melody. The lyric is a body and the melody is like a cloth. The language of the song should match the melody. Rich language in the lyrics is necessary to give the music a lengthy life. The words of the songs are arranged in such a way that they create a musical tune. Kimberlin (1994, p. 646) states “In Ethiopia, text is considered more important than the music. A new song is defined as one with a new text usually set to an existing melody.”. In this matrix, lyricists presented COVID-19 in imaginative frames, messages, cultural contexts, languages, musical compositions, performances, genres, styles, and melodies. The melody and the lyric might be in harmony or disharmony.

To better understand society’s emotional and psychological responses to the pandemic, researchers have been studying songs related to COVID-19 (Shibru, 2020).These songs range from amateur tracks on YouTube to music videos by famous artists. Oral literature also plays a significant role in documenting various pandemics throughout history including COVID-19. Researchers may analyze the lyrics, musical styles, and interaction patterns to gain insight into the impact of COVID-19.These songs reflect the emotions, fears, and hopes of society during this unprecedented time. The cultural impact of the pandemic and how people responded to it through the arts will be explored through the analysis of these songs. The songs provide a unique perspective on the impact of the pandemic and are being used by researchers to better understand society’s psychological and emotional responses (Benson, 2020).

Examining how COVID-19 is portrayed in lyrics requires careful analysis and active listening. It begins with finding songs that mention the pandemic and then analyzing the themes, emotions, and messages the lyrics convey. Factors such as the artist’s perspective and the target audience, as well as the use of language, metaphors, and symbolism, can be examined. By comparing different songs, the similarities, and differences in the portrayal of COVID-19 can be determined. The cultural and social context in which the songs were created must also be considered. Likewise, Benson (2020) examined songs related to the pandemic based on musical genres, styles, purposes, and production chains.Garrett (2020) examined language use, styles, contexts, narrative structures, and thematic values of songs. These studies used cultural, thematic, and content analyses with psychological, sociological, and psychosocial approaches. They found that songs portraying the pandemic reflected historical events and contexts. Overall, the study of the portrayal of COVID-19 in songs provides valuable insights into how people process and respond to the pandemic through music. To date, no study has been conducted in Ethiopia on the portrayal of COVID-19 in songs in Amharic. The portrayal of the pandemic in lyrics has not been well understood.

This research argues that while songs alone cannot completely contain the spread of COVID-19, they play an important role. They can serve to remind people to wash their hands, wear masks, and distance themselves physically. Songs convey important messages that are easy to understand and memorable and ultimately contribute to the fight against the virus. The lyrics can bring about behavioral change in individuals, groups, communities, and society (Van Bavel et al., 2020). In this way, the study of lyrics is beneficial to individuals, groups, communities, society, government, and healthy organizations to curtail pandemics (Sopaheluwakan & Amri, 2020). Missing the analysis of lyrics affects the efforts of music stakeholders to provide their services to society. This study looks into how lyrics represent, communicate, and shape people’s understanding of the disease. The study is important for those in the song industry and can have an impact on culture, leading to advances in society in dealing with social problems.

2. Methods

The objective of this research was to analyze the portrayal of COVID-19 in lyrics in Amharic. The study aimed to understand the themes and messages conveyed through the lyrics. The study was based on a qualitative case study design. Dozens of songs related to COVID-19 were produced in Ethiopian languages. However, this study examined five viral music videos in Amharic. The songs were chosen for their relevance to the study and their popularity with Ethiopian audiences. These songs are Tinsae and Mimi’s (2020) እጅ እንንሳ(Let us bow down), Helen et al. (2020) በዓለም ጥላ(In the shadow of the world), Bre Bright (Director) (2020) ነጻ መድኃኒት(Free Medicine), Esubalew’s (2020) አናልፈዋለን ተጋግዘን (We will pass it through solidarity) and (Tilahun, Abebe, & Kebede, 2020) ኮሮና ተዘጋጅቶልሻል ውሃ እና ሳሙና(Corona, water, and soap are ready for you). The songs were broadcast on state and private televisions, radios, and social media.

The lyrics served as the data sources. The texts were memoed, segmented, coded, transcribed, translated, and given code definitions. To understand the lyrics, the video songs were watched and listened to several times. Then, the coded data were analyzed using predefined interpretive criteria as a complementary analysis. The titles, themes, words, phrases, sentences, content, images, symbols, settings, stories, characters, moods, and synchronization of the lyrics with the videos were coded, categorized, thematized, and analyzed based on the research objectives. Various codes were developed as part of the investigation, and these codes were then transformed into categories. Three themes were created from the categories. Based on the study’s objectives, the data were examined. The study did not include confusing verses. Finally, the findings were discussed in light of the most recent social behavioral change theory literature.

Since the source language of the lyrics is Amharic, the transcribed data were translated into English using cultural translation. The five types of translation equivalence such as denotative, connotative, text-normative, pragmatic, and formal equivalence were considered. In the study, descriptive and interpretive analyses were conducted concurrently and sequentially. Pattison (2009) discussed lyrical elements such as title, speaker, voice, subtlety, monologs, stories, conversation, the personal and sociopolitical context of a song, time (past, present, future), point of view (perspective), setting, mood, musicality, conflict, figures of speech, and themes for lyrical interpretations in four iterative approaches. First, a textual analysis was conducted, followed by a contextual analysis, which included social, economic, political, and cultural aspects. Second, the context analysis was supported by the social behavior change model theory. Third, psychosocial reading addressed the textual and contextual analyses relevant to the main questions of the study. Finally, the recurrent steps provided social behavioral interpretations.

3. A History of Ethiopian Song in Amharic

It is difficult to pinpoint the origin of Ethiopian secular and religious music because of conflicting views and limited research on the subject. There are a variety of theories about the origins of sacred and secular songs in Amharic (Kimberlin, 1994). It is believed that Amharic was used as a spoken language for centuries before it was recognized as a written language in the 1300 Ethiopian Calendar (Bahru, 2001). Amharic is a language with a rich cultural and intellectual heritage and a wide range of literary works. Because it is the most important language in Ethiopia, millions of Ethiopians can access the messages contained in its texts through a variety of media. Dating the origin of secular songs in Amharic is a difficult task, but researchers have struggled to determine the beginning of modern recordings associated with these songs (Bahru, 2001). Kassaye (1997) claimed that Alemayehu Eshete’s 1974 album was the first cassette recording produced in Ethiopia by a recognized record label. Before that, there were only a few vinyl albums.

From the time when Amharic became a written language until the middle of the 20th century, Ethiopian music was mainly transmitted orally.Popular secular music was the responsibility of itinerant poet-musicians known as “azmaris”.Despite their significant contribution to the growth of secular music, they were eventually driven out of the market by the introduction of scheduled music and radio (Kassaye, 1997). The lyrics of the azmaris were known for their ambiguity, which they achieved through the use of comedy and entertainment to convey emotions, life experiences, and social issues. During the reign of Emperor Haile Selassie, patriotic sentiments, educational issues, moral decay, and political instability were the main themes of Amharic songs. During the Dergue era, both revolutionary and non-revolutionary songs were produced. Love was a common theme throughout history, but under the Ethiopian People’s Revolutionary Democratic Front (EPRDF), a coalition of four ethnic parties that was in power from 1991 to 2018, political unrest, migration, and love were the three main themes of songs in Amharic (Bahru, 2001; Kassaye, 1997).

Contemporary songs in Amharic combine elements of folk songs and traditional melodies with Western instruments.The lyricists blend various cultural influences to create a musical style unique to Ethiopia. The lyrics often allude to the socio-economic and political problems of the country. Through the use of metaphors and symbols, they offer a subtle insight into the country’s history, economy, and culture. The songs address a wide range of topics, including love, grief, humor, patriotism, and politics, and the content and style of the songs change over time according to internal and external influences (Kassaye, 1997). Pattison (2009) argues that a song expresses feelings and ideas through the use of rhythm, melody, harmony, and timbre. It can be an abstract art form that exists on its own or with lyrics. Pattison (2009) explains that lyrics are meant to be read, while songs are meant to be heard.

4. Prominent COVID-19 memories in Ethiopia

The Ethiopian government reported the first case of COVID-19 on 14 March 2020. In response to this, individuals, groups, communities, social institutions, and the government took measures to address the spread of the virus. Healthcare providers, religious leaders, government and non-governmental organizations, artists, news outlets, and the general public were prepared to take action against the pandemic (Getaneh et al., 2020). The government set up free telephone lines for citizens to call and ask about or share concerns related to COVID-19, and it announced a state of emergency, shut down schools, and imposed lockdowns in certain regions a month later. Hospitals tried quickly to prevent the spread of the coronavirus. Ethiopians became aware of the virus through news sources outside of the country before the pandemic arrived in Ethiopia. They saw on television how many people died every day, how many died in hospitals alone, how graves were getting harder to find, and how gravediggers were in limited supply (Ayenew & Pandey, 2020; Baye, 2020).

The international media coverage had affected the Ethiopians’ psychology before the pandemic attacked the country. Fear, helplessness, death, defiance, and emotion hung in Ethiopia’s sky. People became irrational and felt the futility of life. Everyone perceived the pandemic in their worldview and beliefs. Some singers saw the pandemic as God’s wrath. Patients hid for fear of stigmatization. Some suspected patients disappeared from health facilities. According to Ethiopian National Television, a girl in the town of Arbaminch committed suicide for fear of testing positive, but the test came back negative (Getaneh et al., 2020; Shibru, 2020).

Following psychological warfare, government and social voluntarism played a significant role in the pre-crisis period of the pandemic. The wealthier members of society helped feed the poor. The wealthy during the lockdown covered employees’ salaries. The youth provided information on how to reduce COVID-19 hazards. They gave food and toiletries to the poor and disadvantaged (Zikargae, 2020).They shared health information.Volunteerism and senior government officials played an important role in mitigating the impact of the pandemic on the poor. High-ranking government officials informed the public about the pandemic by driving through the streets and speaking into microphones.The government took in street children and beggars in safe places. It made major efforts in teaching, diagnostic testing, house-to-house tracing, isolation, quarantine, and treatment of those who became ill, and announced COVID-19 protocols after schools reopened (Baye, 2020).

The closure of the country’s international borders, screening mechanisms at Bole International Airport, and the quarantine with its few drawbacks were encouraging. The Ethiopian Ministry of Health, in collaboration with the Ethiopian Public Health Institute and regional health bureaus, reported daily COVID-19 confirmed cases, deaths, and a national and regional statistical summary (Baye, 2020). The Ethiopian Ministry of Education prepared songs for school children. However, the adherence to social distancing guidelines, hand washing, mask-wearing, and public health measures such as placing water pots and soaps indoors and outdoors, has decreased over time. The negligence of society towards the disease became rampant (Ayenew & Pandey, 2020).

The pandemic impacted every sector. The private sector was particularly paralyzed. Employees lost their jobs. Day laborers starved, and obtaining employment seemed impossible. The pandemic led to an increase in violence against girls. Because of restricted movement and orders to stay home longer, some girls were trapped in abusive households. School closures meant that they were separated not only from school but also from teachers and others who could have noticed and reported the abuse (Zikargae, 2020). Girls and women were abused in their homes. Some students became pregnant and some got married. Indeed, the partial lockdown improved family relationships. Many changed their business model and began importing COVID-19 personal protective equipment and supplies. Hotels, canteens, government agencies, transportation systems, religious institutions, and lovers changed their outdated ways. The pandemic engineered people’s social lives, the culture of society, politics, economics, identity, and life (Garrett, 2020).

In general, the pandemic went through three phases-the pre-crisis phase, the lockdown phase, and the recovery phase. The Ethiopian government responded quickly to the pandemic. However, the social situation, transportation infrastructure, markets, shortage of doctors, overcrowded hospitals, and laboratory constraints made combating the pandemic challenging. As a resource-saving measure, patients stayed at home for at least two weeks straight. Contact tracing, quarantine, and patient support were measures used to control the spread of infectious diseases.

5. Social-Behavioral Change (SBC) model

Health communication is associated with the social and behavioral model paradigm. The theory explains that electronic and print health communication should evaluate the behavior of the individual, group, community, society, and social structure. Communication promotes and protects public health and well-being (Karamouzian et al., 2020). It deals with gender equity, community access, and service utilization, policies and resource allocation, and a supportive environment. Individuals learn about health-protective behaviors through health communication. Healthy communication encourages people to adopt health-protective habits and strengthens social bonds. It maintains a supportive environment and strengthens and expands access to services (Van Bavel et al., 2020).

By knowing the variables that influence behavior and how behavior change occurs, healthy communication aids in the design, implementation, and evaluation of programs. The theory examines individual behaviors such as information, motivation, agency, and norms (Wang et al., 2020). The theory examines interpersonal behaviors such as individual changes that result from interpersonal communication and support from partners, friends, family, or a health care provider. It focuses on community, organizational, and service-related health challenges. It examines the influence of the media and policymakers on individual and group norms, attitudes, beliefs, laws, and policies (Benson, 2020). It examines community norms and opinion leaders and how members of networks, associations, and societies view products and services.

In this study, the social behavioral model is used to examine the framing, messaging, and cultural reconstructions of COVID-19 in the lyrics of songs in Amharic. SBC theory supports social change programs at the individual, interpersonal, community, and societal levels. All these four levels of communication are interrelated. Society and its institutions have a reciprocal relationship. They influence the behavior and beliefs of individuals, who in turn influence the larger social and institutional groups to which they belong. SBC focuses on behavioral determinants such as knowledge, attitudes, service utilization, risk perception, benefits, self-efficacy, social support, descriptive norms, and emotional responses (Wang et al., 2020). The theory improves access to accurate health information. It promotes normative changes to support health-protective behaviors. It influences policy and encourages people to adopt healthy habits. It enhances positive community responses to health challenges by improving the quality of provider-client relationships (Karamouzian et al., 2020). A health communication intervention explains how and why people act in different ways. It has a positive impact on health; however, communication without aesthetic qualities is meaningless (Lehman, 2020).

This study uses the following framing and cultural concepts. Goffman (1974) uses a photo frame to explain frame analysis.A communication source defines and constructs each element of communicated information. Framing is how individuals, communities, and society organize, perceive, and communicate about reality (Goffman, 1974). It is the selective representation of an issue, social problem, or social issue by favoring one interpretation over another. The components of framing theory are society, medium, audience, and effects. Framing can have cognitive, emotional, or behavioral effects. The framer conveys a message to a specific audience. The following sequences—message, audience, messenger, medium, context, moral and conceptual roles—are essential. Framing is a technique used to present a topic in a certain way to control audience perception. While it can be advantageous in drawing attention to a topic, framing can also have drawbacks for large audiences (Andreatta & Ferraro, 2012).

Culture encompasses the symbols, language, beliefs, values, and artifacts of society (Callender et al., 2020). It is dynamic and fluid. Symbolic interactionism is concerned with culture and the interactions and behaviors of people (Goffman, 1978). It influences not only our language, but also the gestures we use to communicate, the distance we maintain when speaking to one another, and the values we hold, to name a few (Andreatta & Ferraro, 2012). There is no society without culture. Neither society nor culture can exist without the other. A culture is a collection of beliefs, practices, and artifacts of a group, whether tangible or intangible; society, on the other hand, is the social structure and organization of people who share those beliefs, practices, and artifacts. There are cultural universals that are common to all societies (Goffman, 1978).

6. Framing COVID-19

Ethiopian singers released COVID-19 songs after the Ethiopian authorities confirmed the first Corona Virus case. The songs aimed at helping a wide audience with no specific demographic characteristics. The lyrics depicted the characteristics of the disease in the early months. The lyricists drew inspiration from the COVID-19 pandemic reported by international media, incorporating themes such as rising cases, deaths, the impact on society, and the bravery of frontline workers in their work. Their lyrics are emotive and thought-provoking. They wrote their lyrics in light of the global setting. They had little room to study the local settings. They acted quickly to safeguard society from the outbreak. The lyricists were no longer able to understand the local circumstances. They embraced the disease’s worldwide contexts. The lyricists depicted the pandemic idealistically rather than factually.

Framing describes how social problems are constructed. It involves emphasizing certain parts of social problems and neglecting others. People use frames to make sense of what is happening in space and time. Uspensky’s (1973) plane analysis is well-known for this fact. An in-plane and out-of-plane speaker have different perspectives. The speaker can be near or far and the focus is different. The shift in perspective has a framing effect. Selecting a few components of reality and putting them together in narratives emphasizes a particular point of view (Goffman, 1974). That is, frames aim to make the audience think, feel, and decide in a certain way by foregrounding certain ideas. The following section focuses on how COVID-19 is framed in lyrics in Amharic. Lyricists used psychological distress, precautions to be taken against the pandemic, and a positive outlook to frame the pandemic.

The pandemic brought with it a psychological burden. The COVID-19 pandemic caused widespread panic, fear, economic recessions, death, and devastation. The virus led to massive economic and social crises, resulting in social dislocation and people struggling with masks, social distancing, and pandemic exhaustion. The pandemic created fear and robbed us of what we once had. In the early days of the pandemic, people in cities like Addis Ababa stayed home and missed their friends. The pandemic redefined love, social interaction, and permissiveness. In the lyrics of Tinsae and Mimi (2020), the narrator is afraid of the disease, but her husband advises her to avoid fear. This underscores Van Bavel et al. (2020) idea that family support can help maintain prosocial behavior in times of crisis. The lyric goes:

ፈራ ፈራ … .ፈራ

አለ ሆዴን … ፈራ

ይሄስ ምንድን

ይሆን እንዴ

አንተየ የየዓለሙ ዜና አንድ የለውም ደና፡፡

Frightened Frightened… Frightened My stomach is so troubled.What is it?Is that so?There is no good news in the world.

The spouse agreed to take care of preventing the pandemic instead of being fearful. The wife remarked that the news on the globe was terrible. Her mood was anxious. She believed the world would soon be in turmoil. Ethiopians were terrified by the COVID-19 coverage in the international media, and the fear spread more quickly than the pandemic itself. The speaker’s concern stemmed from the news she heard from around the world. She feared the isolation አንተየ እረ ፈራ ሆዴ አትራቀኝ ዘመዴ(My sweetheart, please bear with me, I am scared.). Similarly, in Bre Bright’s, the speaker advises society to avoid fear: ሳንጨናነቅ ራስን መጠበቅ፤ መጠየቅ፣ ማወቅ፣ ቀድሞ ነው መጠንቀቅ፡፡ (Let us defend ourselves without tension; the first step is to ask and learn.). The above two lyrics show us how these early songs were framed with fear and anxiety. At the start of the pandemic, the singers intended to appeal to people’s emotions. In this regard, they were right. However, by the time these songs went viral, COVID-19 risks were already very common in many contexts in Ethiopia. There are no lyrics in this study that deal with the pandemic in the hospital, school, hospital, or family. This is not to say that the songwriters acted inappropriately, but rather that they could have anticipated the extent of the disease in the coming months before making defensive statements. Tilahun, Abebe, and Kebede (2020) assumes that only hand washing prevents the spread of the virus. However, later evidence has shown that social distancing and mask-wearing can be effective in reducing transmission and controlling the spread of the virus. The lyrics barely described the pandemic in terms of estrangement, separation, nostalgia, loss of loved ones, and emotional disturbance. According to Uspensky’s (1973) frame analysis, Ethiopian lyricists promptly characterized the pandemic without considering the later Ethiopian complex situations. Yet, the lyrics helped the listeners understand the pandemic from their perspectives.

All the lyrics portrayed protective measures against the disease. They mentioned hand washing, social distancing, and staying at home, although wearing masks and disinfectants were not mentioned (Director, 2020; Esubalew, 2020; Tilahun, Abebe, & Kebede, 2020; Tinsae & Mimi, 2020). While some lyrics failed to mention specific precautions such as disinfecting materials, it was important to consider the broader context of public health messages and the role of songs in conveying a range of messages related to the pandemic. Only the song by Tilahun, Abebe, and Kebede (2020) pointed out the need to be careful when coughing and sneezing. The lyrics explained how to use a mask to cover the mouth and nose, and how to avoid touching faces, eyes, and objects. In contrast, Helen et al. (2020) presented vague precautions እያወቁስ ከማለቁ መች ይከፋል መጠንቀቁ (Instead of dying knowingly, it is good to be careful.)as a strategy to combat this pandemic. The singers were vague when they said, “to be careful” (መጠንቀቁ). Tinsae and Mimi (2020) used the word caution (መጠንቀቅ) in the verse አንችየ ፍራት ምን ሊበጅ መጠንቀቅ ነው እንጅ(My darling, fear is harmful; caution, on the other hand, is healthy). They were not clear about how the pandemic spread and how listeners proceed with caution. They also treated the frequency of different protective mechanisms in the lyric inappropriately. They mentioned social distancing once in the last line of the lyrics. The lyrics placed great emphasis on hand washing and gave limited treatment to social distancing and staying home.

In the early days of the outbreak, the Ethiopian media influenced public opinion by urging people to stay home and avoid public gatherings. They insisted on closing schools, ventilating transportation, massive testing, hospitalization, and self-isolation as protective measures. Esubalew (2020)pointed to these protective measures and collective efforts to combat the pandemic by educating family members about the pandemic. However, his social distancing expression ጠበቅ ጨነቅነቅ ካለ ቦታ (from a crowded area) was vague. The word crowded in his verse was ambiguous. It referred to the ordinary notion of crowded, such as religious gatherings, open marketing, high school graduation assemblies, busy public places, and so on. Two or three people who disregard the rules of social distance could transmit the virus. A social distance of two meters was not depicted in the verse. Conversely, Tilahun, Abebe, and Kebede (2020) expressed social distancing in meters: ሳልና ማስነጠስ መኖሩን ካወቁ ቢያንስ ለሁለት ሜትር ከስፍራው ይራቁ(Stay at least two meters away if you know someone is coughing or sneezing.). Director (2020) prevention mechanisms were general and might not be specifically applicable to Corona Virus. His lyrics were a general warning for human well-being, not specific to COVID-19:

ዱብ ዱብ ነፃ መድኃኒት

እንቅልፍ እረፍት ነፃ መድኃኒት

የጠዋት ፀሀይ ነፃ መድኃኒት

በቂ ውሀ ነፃ መድኃኒት

ንፁህ አየር ነፃ መድኃኒት

ፍቅርማ ነፃ መድኃኒት

በቂ ምግብ ያለው ለሌለው ፍቅር ግድ ይበለው፡፡

ምክንያቱም አለ ሌላ ጤና፡፡ የህሊና ጤና፡፡ የልቦና ጤና::

Jogging is free medicine

Sleep, rest, free medicine

Morning sun, free medicine

Sufficient water, free medicine

Fresh air, free medicine

Love, free medicine

Those who have enough to eat, please give to those who do not have enough to eat, and love others.

For there is another health. The health of conscience, the spiritual health.

Hugging and handshakes were forbidden during COVID-19 to stop the virus from spreading. COVID-19 spreads by airborne droplets when an infected person sneezes, coughs, or speaks. Eliminating such physical contact was therefore a precaution to stop the transmission. It was also advised to keep a social distance and wear masks to prevent transmission. Following these recommendations inhibited the virus’s spread and protected oneself and others. The traditional gesture became a protective etiquette in Ethiopia. In the song by Tinsae and Mimi (2020), the husband refused to shake his wife’s hand. But she was dismissive and annoyed. He pointed out to her that the proper greeting now was a bow, not a handshake. Physical proximity and handshakes resulted in death. Esubalew (2020) and Tinsae and Mimi (2020) describe the historical change in social life from attachment to distancing. Handshaking before COVID-19 was a symbol of love, affection, attachment, consent, and cooperation. The singers described how the corona changed a person’s loveable environment into a mechanical life. They emphasized that they distrusted their hands. The lyrics of the song ሿሿ (Let us wash our hands quickly) in Tinsae and Mimi (2020) had primarily a hygienic meaning, although some said it had a political meaning related to political deception:

እጅ መስጠት ማለት … ሿሿመማረክ ነውና … … .ሿእጅን መጠበቅ ነው … .ሿሿየሰሞኑ ጤና … .ሿSurrender entails. … .wash hands speedilyBeing a captive…… wash your hands speedilyPlease keep your hand safe… wash your hands quicklyWashing hands promptly is the health of this era.

Esubalew (2020) urges society to support health professionals and the government. He emphasizes the importance of working together to combat the pandemic. The lyrics focus on the mitigating factors of the pandemic in the Ethiopian context. Large numbers of Ethiopians in urban areas rely on informal day-wage jobs to survive, making it difficult for them to maintain social distancing and stay at home. The country has limited transportation infrastructure. In addition, Ethiopian culture places a high value on socializing and group gatherings, which has exacerbated the prevalence of COVID-19. Many Ethiopians attend crowded religious gatherings, weddings, and funerals, which pose a high risk for transmission of the virus. Therefore, the Ethiopian population’s lifestyle makes them more vulnerable to the COVID-19 pandemic, which will lead to the rapid spread of the virus throughout the country.

When the pandemic first started, the media’s primary attention was on linking COVID-19 to those who had chronic illnesses like diabetes, asthma, etc. They portrayed it as largely affecting the elderly and it had little effect on children. Many songs did not mention the symptoms of the disease, except for Tilahun, Abebe, and Kebede (2020). Tinsae and Mimi (2020) say that the disease is global; therefore, the remedy must also be global. They emphasize the importance of global and local actors working together. The pandemic is recontextualized from both a local and global perspective. The lyrics voice social solidarity as እንተየ ችግር ቢያክል ጋራ መፍትሄው በጋራ (My dear, however big the problem, let us solve it together).

According to Wang et al. (2020), any behavioral change consists of three components, namely the level of change, the process of change, and the targets of change. The levels of change are at the individual, interpersonal, community, and societal levels. The process of change is at the psychological, psychosocial, cultural, and social levels. The targets of change are personal behaviors, social networks, and community norms. The warnings of Esubalew (2020) and Helen et al. (2020) refer to the actions of the individual. The lyrics place a great deal of responsibility on individuals in the fight against the pandemic. Songs can also address groups, the community, and society as a whole to encourage behavioral change. In contrast, in the lyrics of Tinsae and Mimi (2020), the spouse, peers, partners, family environment, etc. are interpersonal and the change is psychosocial. The expression እጅ እንንሳ (Let us bow down) shows a social change at the normal level. The lyrics reflect the norms of the individual, the group, and the community. The focus is on pandemic prevention rather than the crisis and the effects of the disease.

According to Schiavo (2013), individuals, groups, and society must maintain six types of behaviors to create a healthy society. First, individuals must take preventive measures. They should wear masks, wash their hands, use disinfectants, distance themselves physically, and stay at home. Second, if they have contracted an illness, seek clinical care and interventions. This helps in the early management of the pandemic. Third, they should continue to promote positive behavior toward the pandemic among these individuals. This is described in the lyrics by Helen et al. (2020) and Tinsae and Mimi (2020). This is referred to as “client adherence and collaboration.”. Individuals must support clinical professionals to continue their positive behaviors. Fourth, the behaviors of health care providers, including health posts and clinics, need to be examined. This dimension is not addressed in any text. For cultural reasons, profiteering, incompetence, and ignorance of the pandemic, healthcare providers have their own beliefs and misconceptions. Therefore, their actions must be presented. Fifth, people are encouraged to engage in prosocial behavior like in the songs of Director (2020) & Helen et al. (2020). Tilahun, Abebe, and Kebede (2020) lyrics encourage people to keep their mouths shut and mask their actions. They discourage antisocial behaviors such as social crowding and the inability to wash one’s hands. Finally, the text would have been better suited to present COVID-19 in relation to government action. In all texts, individual, group, community, and societal behaviors are presented as a joint effort in the fight against the disease.

Lyrics change the behavior of individuals, families, peers, communities, service providers, and society. However, people do not always behave the same way. We change our behavior several times a day, monthly, and throughout life (Wang et al., 2020). Hand washing should be done several times a day. The same is true for social distancing and face masks. According to Wang et al. (2020), behavior change requires material needs, partner approval, community support, access to health services, or policy changes. Lyrists should consider these factors to achieve behavior change. They should understand the values and beliefs of the target audience.They should coordinate efforts to effect change at the societal level. The lyrics should have emphasized structural behavior change measures, such as the importation of personal protective equipment, the right to masks and vaccinations, and the responsibility of every official to follow COVID-19 protocols.

All the lyrics portray the light in the tunnel regarding the pandemic. The pandemic has been a global health problem for three years. It has caused widespread illness and death. In the meantime, there is a vaccination. However, lyricists recommend avoiding contact with the virus to avoid getting sick. Although countries have made significant efforts to stop the spread of the virus, such as comprehensive quarantine and travel restrictions, the pandemic continues to spread. Nevertheless, our singers are confident that the pandemic will soon be over. They give us the courage to carry on when the present seems bleak. The singers remind us that we are not alone and that we will all make it together. In their lyrics, they express the hope that we will mostly get through it:

እናልፈዋለን እናልፈዋለንይሕን ቀን እናልፈዋለንበእውቀት በእምነት ተጋግዘንእናልፈዋለን (Esubalew, 2020)We will pass this day; we will pass this dayWe will pass this dayLet us help each other with knowledge and faith.We will pass it.ገስግስ በል እጅ እንዳትሰጥአትደናገጥገስግሽ በይ ይሸነፋልይህም ቀን ያልፋል (x4) (Helen et al., 2020)Go ahead and say it; do not give up.Do not be anxious.Go ahead and say it; it will be defeated.This day will come to an end. (x4)ይም ቀን ይታለፋል አትፍሪ ኢትዮጵያየአይዞሽ ይጠበቃል ጤናሽ በጤናየ … .ውየ (Tinsae & Mimi, 2020)Don’t worry, my Ethiopia, this day will pass.Don’t worry, your health is my health… .Ohበደንብ ከታጠብን እጅን በሳሙናካገራችን ምድር ይጠፋል ኮሮና ኮሮና (Tilahun, Abebe, & Kebede, 2020)If we wash our hands thoroughly with soapCorona corona will disappear from our country

The effects of COVID-19 were evident in Ethiopia. People died, businesses collapsed, and the social order came apart. It is natural for people to feel frightened, anxious, and even desperate during this time of upheaval. The songs resemble the saying, “The darkest hour comes just before dawn”. In other words, there is always hope. That is why some of the melodies of the lyrics were so joyful. The singers forbid the darkness to overpower the brightness. It was important to remember that we were not fighting alone. Many people around the world were working non-stop to fight the pandemic. The lyrics urge us to continue to hope. Let us remember that the sun will rise again and that we can defeat this pandemic by working together. While the hope is beneficial to society, in rare cases it can also be harmful. We have no idea when the pandemic will end. On the other hand, the phrase “we will pass it” implies that we are defeated now and will be victorious in the future.

Helen et al. (2020) lyrics are similar to some of the most popular COVID-19 songs around the world, such as “Six Feet Apart” by Luke Combs, “I Believe That We Will Win (World Anthem)” by Pitbull, and “Lockdown” by Mike Campbell. These lyrics can inspire us to be strong and determined. They are full of optimism and resilience. They remind us that we will beat the virus, even though COVID-19 has wreaked havoc around the world. Hospitals are overcrowded, schools are closed, and people are afraid. But the lyrics give hope that if we all work together, we can defeat the virus. There is a glimmer of hope in the distance. A new treatment could defeat the pandemic.

A pandemic will not be with us forever. The time when the pandemic disappears is uncertain (Shibru, 2020). One day, all the restrictions that COVID-19 brings, such as wearing masks, keeping a social distance of more than two meters, hand washing, and disinfecting our hands, will disappear. Indeed, we will pass it and give hope to the hopeless. The song “We will pass it” has several meanings. It can mean that we will win the battle against the pandemic and that the light will soon come. It implies that we will win the war and rise and be victorious. Overall, the selected lyrics organize COVID-19 into three major frames, namely the cause of society’s psychological stress, the protective measures society should take to contain the pandemic, and the hope society dreams. They portray the pandemic using analogies to war, defense, attack, and logistics.

7. Piecemeal Messages

With so many messages daily coming related to COVID-19, it is hard to remember them all. Lyrics are the best strategy for remembering a message (Garrett, 2020). They are more memorable, catchy, and personal, and convey a certain feeling to the audience (Karamouzian et al., 2020). The lyrics remain in the listeners’ minds long after they have heard them. The keywords or phrases help people remember the messages (Chitando & Chitando, 2008). Another important aspect is how catchy the song is and how personal our lyrics are (Heffner et al., 2021). Songs are intimate because they are sung and not read on a screen. This makes them more effective and memorable than other forms of communication. Lyrics are an effective way to get our messages across. The title of each of the selected lyrics reveals the messages.

The core message of any song is the content of the message (Karamouzian et al., 2020). Once we have identified our audience and our goals, the next step is to design the message. Our message should be short but still convey the main idea. One sentence can be a summary of the lyrics. The remaining sentences can be supporting ideas. According to Aisenberg (2020), the central argument is different from the scientific results or findings of the study. This is the point of interest for our audience. Our focus is our specific communication. Prioritizing the message is the key to good communication. A good central message is compact. It has a lot of meaning in relatively few words. The idea should be impactful. It expands to have an impact. A good, clear central message is something we remember and expand into a larger number of ideas (Aisenberg, 2020; Karamouzian et al., 2020).

The selected lyrics convey a lot of information to the audience, such as facts, instructions, recommendations, backgrounds, and contexts. Humans cannot remember everything. A key message eliminates the superfluous elements until the audience is left with only one main idea (Garrett, 2020).A good key message is not about completeness and specificity. It is about removing the non-essentials. In this way, lyrists should tap into the knowledge of the audience. In Tilahun, Abebe, and Kebede (2020) lyrics, the singers provide information about knowledge that is familiar to the audience—hand washing. This central message is in a process of action. It states that water and soap are ready for you. It does not motivate listeners to wash their hands. Lyrists must expand on the basic message and its implications based on the listener’s understanding. A memorable message is clear and actionable. A central message is the distillation of knowledge on a topic. To define a central message, we need to remember all the important ideas we know. Identifying the different groups of ideas is the first step in figuring out the central message. Lyricists should take COVID-19 blanks and write down different ideas to select a central message.

Lyrics should express a single thought. Deviation from this style of writing may result in ambiguous communications. Writing lyrics with many true sentences about the pandemic is not good communication. To make our point, we need to organize our thoughts. Sometimes lyricists present us with evidence and arguments but do not address the topic (Heffner et al., 2021). We need to structure our writing from the audience’s point of view, not from the lyricist’s point of view, to decipher the topic. We should write the point in a progressive format, with a central message, a main support point, and several support points or facts, all of which must be connected in a structure (Pattison, 2009).There must be a point in each stanza. Each stanza provides supporting evidence. In the song by Tinsae and Mimi (2020), the prosody of each of the lyrics works together to reinforce the basic message of the song, which is let us bow. Prosody is consistent with Aristotle’s concept of artistic unity (Pattison, 2009). In Helen et al. (2020) lyrics, the umbrella symbolizing the world is contrasted with the rest of the piece. Unlike the choruses, the verses change more throughout the song. According to Pattison (2009), the unique musical motif of a song is usually found in the chorus, and a verse is designed to complement the chorus. The chorus provides the central idea of the song. A pre-chorus is usually used to separate the verse and chorus.

The choice of point of view by a lyricist determines the relationship between the singer and the audience. There are four possible points of view to choose from. Third-person narration, second person narration, first-person narration, and direct address. The point of view controls our distance from the world of the song. It can be thought of as a movie camera that allows the audience to view the world of the song from different distances, from long shots to close-ups. Every time a lyricist puts pen to paper, he/she has to respond to a few basic inquiries such as who is speaking in the lyrics, is the singer personally involved?, is the singer inventing a new character?, what kind of relationship should the character have with the viewers? (Pattison, 2009, pp. 130–133). Pattison (2009) discusses different types of song narratives, including the direct address where the singer talks to the audience or another person. This creates a personal connection and is often used to convey emotions rather than facts. This technique is utilized in the lyrics of Helen et al. (2020) and Tinsae and Mimi (2020) in their direct address to the audience. This type of storytelling is compared to close-up photography and creates a more intimate and emotional experience for the listener.

The development of ideas in the lyrics can vary greatly, depending on the author’s intent. Generally, lyrics may begin with a theme or idea that the lyricist wishes to express. As the song progresses, the ideas may become more complex or evolve into a narrative or emotional landscape. As the song progresses, the singer may introduce new themes or explore secondary ideas to expand the meaning and depth of the song. Ultimately, the development of ideas in a lyric is an organic process that reflects the songwriter’s unique voice and creative vision, and the result is a powerful work of art that can speak to listeners on a deep level. In the song by Tinsae and Mimi (2020), it is described that in the past, bowing was the traditional form of greeting in many Ethiopian cultures. This was often accompanied by various hand gestures and words of respect. However, over time, the handshake became the standard greeting in cultures and is still widely used today. Currently, due to the COVID-19 pandemic, handshaking is discouraged due to the risk of spreading the virus. Instead, people are encouraged to greet each other with a smile, a nod, or a wave. Overall, greeting etiquette has changed significantly over time. The concepts of past, present, and future are integral to the message of Tinsae and Mimi’s Song.

The relationship between the title of a song and its stanzas can vary greatly, depending on the lyricist’s intent. In some cases, the title serves as a guiding theme that runs through the stanzas. In other cases, the title serves as a connecting point between the stanzas, uniting them and placing them in context. The relationship between the title and the verses is often complex and multi-layered and can depend on the artistic choices of the songwriter. Ultimately, the title and verses work together to create a cohesive piece of music that conveys both emotion and meaning. In the lyrics of Tilahun, Abebe, and Kebede (2020), however, there is no significant progression of ideas. Each stanza deals with the same theme. The first stanza of Director (2020) and Tilahun, Abebe, and Kebede (2020) songs does not introduce the idea of the song quickly. The tempo of the song increases steadily. The individual stanzas of the song do not match the title of the lyrics. The concept of the addresser-addressee relationship is a common element in songwriting. In many songs, the singer or songwriter assumes the role of addresser by directly addressing the listener or a specific person in the song, which can create a sense of intimacy and emotion between the listener and songwriter. However, the lyrics of Tilahun, Abebe, and Kebede (2020) hardly give any context between the addresser and addressee.

The messages of some of the selected COVID-19 lyrics are vague. The melodies, the compositions, the performers, and the redundancy of the words prevent the listeners from understanding the messages (Tilahun, Abebe, & Kebede, 2020). The musical features dominate the songs. The song lyrics sometimes do not make sense. A phrase like አጉል ከመጃጃል (Instead of a badly timed fool) in Tinsae and Mimi’s (2020) lyrics does not make sense. A good COVID-19 song should convey a powerful message to its listeners by educating, inspiring, and providing hope to those affected by the pandemic. When evaluating the beauty of a COVID-19 song in Amharic, the melody, lyrics, and impact on the audience are important factors to consider. Catchy and easy-to-remember melodies are desirable while thought-provoking, evocative, and inspiring lyrics are crucial. Additionally, a successful COVID-19 song should convey a sense of unity, hope, and solidarity in the fight against the pandemic. However, most of the songs examined in the study failed to capture the human’s fighting spirit against the pandemic.

Tilahun, Abebe, and Kebede (2020) do not have a clear position on the pandemic. They list the factual characteristics of the disease but do not have a specific position. Perhaps their primary intent is to convey that water and soap are essential for COVID-19 prevention, but the point may not be valuable to a person who knows this value. Some of the points made in Esubalew’s (2020), and Helen et al. (2020) lyrics are incoherent. Songwriters sometimes become incoherent in their lyrics to evoke a feeling or add a sense of complexity to their work. They may use repetition and stream of consciousness to create a rhythm and draw the listener in and make them feel something. Also, incoherence can add an element of mystery to a song and create a sense of intrigue. Through this technique, songwriters can convey a feeling or message that would not be possible with coherent lyrics.

Ethiopians who do not know the idiomatic expressions of እጅ እንንሳ (Let us bow down) cannot understand the lyrics of Tinsae and Mimi (2020). It may not work equally in all places. The messages in Esubalew (2020) & Helen et al. (2020) have several flaws, such as ambiguous messages, incomplete listings, and out-of-sync music clips with lyrics, melodies, and performances for framing. The lyrics have an uneven distribution of emphasis and are aimed at a wide audience. The good thing is that all lyrics call the audience to action (Tinsae & Mimi, 2020). Each text needs to be clear and should contain multiple meanings to give the audience a lifelong taste. They envision the general public taking preventive action, although some of the songs are target-specific in their messages. The songs ask listeners to take steps to prevent the disease; however, not all preventive measures are mentioned. Even the measures mentioned refer to a specific social group in society and leave out other social groups. In the songs, a healthy life is promised if listeners take action. In the song lyrics, the protective measures against the pandemic are formulated in an educational rather than a creative format.

Stories have a beginning, middle, and end to convey a message. They can unravel or leave us hanging in the air. Sometimes they present the idea as a circular repetition. The structure of the narrative can change the message the listener receives. Kolbert (2017) in her article “Why facts do not change our minds” argues that beliefs, not facts, are better at changing people’s minds. Tinsae and Mimi’s (2020) storytelling presents multiple sides of an issue from different perspectives. Listening to all points of view can lead to better communication rather than miscommunication. Depending on the audience, we build the story differently. The protagonist and the impact of the story depend on how we build our story. In Bre’s song, the narrator creates empathy with words and feelings:

በቂ ምግብ ያለው ለሌለው ፍቅር ግድ ይበለው፡፡ምክንያቱም አለ ሌላ ጤና፡፡ የህሊና ጤና፡፡ የልቦና ጤና::Those who have enough to eat give it to those who have nothing to eat and love the others.For there is another health. The health of conscience, the spiritual health.

When writing a COVID-19 song, it is important to be original and avoid clichés. The lyrics should acknowledge the listener’s fears and struggles while emphasizing hope and resilience. The language used should be simple and clear. Collaborating with other artists or organizations could help reach a wider audience, but the key to success is finding a balance between the seriousness of the situation and expressing positivity and perseverance (Pattison, 2009). A song can build the lyric story in eight arcs, namely stasis, trigger, quest, surprise, critical choice, climax, reversal, and resolution. Stasis refers to the equilibrium of the story at the beginning as ጤና ጤና ጤና ነው ዋና (health, health, health is the key). This is the exposition of the story in which the protagonist lives happily. The characters and the setting are introduced. The main character does not influence the triggering factors. The outbreak of the pandemic is a triggering factor, which is the main factor for the beginning of the rising action. The quest follows because of the rising action that results from the trigger. The quest is the direct result of the story trigger. Regardless of whether the trigger is positive or negative, it affects the protagonist’s quest. If the trigger is positive, it leads the protagonist to a better life; if the trigger is negative, it leads him back to his normal life. Surprises are unexpected events during the protagonist’s quest. They can be positive, but most often they present a challenge to the protagonist to accomplish his task. Surprises must be used intentionally. They may consist of the introduction of new characters who may or may not help the protagonist. They must be unexpected to the listener (Pattison, 2009). In any lyrical story, the protagonist must make an important decision. The decision leads the protagonist to a climax, which is the highest level of suspense for the listener. The reversal is the result of the critical decision and the climax. Finally, the resolution refers to when the protagonist reaches a new standstill. The characters learn an important lesson in their lives (Helen et al., 2020; Tilahun, Abebe, & Kebede, 2020).

Lyrics should treat the pandemic scientifically and artistically. If one dominates the other, the audience could be misled to bring about the intended socio-behavioral changes (Wang et al., 2020). Helen et al. (2020) and Tinsae and Mimi’s (2020) lyrics attempt to portray the pandemic through melody, and performance. Sometimes artists focus on a single aspect of COVID-19, such as social distancing, masks, hand washing, quarantine, etc. However, in Ethiopia, where resources are scarce, lyricists may incorporate multiple themes into the lyrics, which need to be encouraged. Text, music, video, creativity, and infotainment can all be used when communicating prevention strategies. Messages should reflect the local context. In the selected lyrics, the messages, language choices, story construction, media formats, and scenic descriptions are unsynchronized.

8. Cultural contexts of the lyrics

The set of shared values, beliefs, traditions, and customs of people is called culture. It represents the different ways people express themselves (Andreatta & Ferraro, 2012). Songwriters who write lyrics about the culture they know well can write more authentic and credible songs. When they write about personal experiences and feelings rooted in shared cultural knowledge, they can better convey the nuances and subtleties of the culture. This type of writing can create a strong connection between the artist and listeners who have had similar experiences. It can also be a source of pride and validation for the artist to share their unique perspective with others. The benefit of writing about one’s own culture is that it can help bridge cultural divides and foster a deeper appreciation and understanding of other perspectives. Eventually, lyrics steeped in cultural knowledge provide artists with an effective way to share their experiences and emotions with an audience that can relate, fostering greater connection and cultural appreciation (Banda & Mambwe, 2013). The lyrics by Esubalew (2020), Helen et al. (2020), and Tinsae and Mimi (2020) are about overcoming adversity and leaving the past behind. The lyrics encourage people to overcome and not fall into the virus. Songs influence our feelings and thoughts in a way that no other medium can. This is especially true when the lyrics are based on our cultural background.

Unlike the lyrics of Tilahun, Abebe, and Kebede (2020), the lyrics of Tinsae and Mimi (2020) have more time to experiment with new rhythms and melodies that use traditional Ethiopian culture. The song is reminiscent of Ethiopian culture. The singers advocate for Ethiopian culture throughout the world. Regardless of the message, this song touches a large number of people and makes a big difference. The lyrics define the traditional Ethiopian cultural identity. Through a deep understanding of the cultural norms, values, and beliefs of the audience, lyricists can create a song that resonates with their listeners and speaks to their experiences and concerns. It touches the heart and soul of the listener. Similarly, Director (2020) song about free medicine reflects Ethiopian culture. Through a deep understanding of the cultural norms, values, and beliefs of the audience, lyricists can create music that resonates with listeners and speaks to their experiences and concerns.

The Ethiopian lyricists have depicted the pandemic in cultural reconstructions. They have packaged what they want to convey into a lyrical story so that the goals and core messages make sense to the audience. The story of the lyrics in Tinsae and Mimi (2020) conveys empathy to the audience. The titles, genres, audience, and keywords suggest a catalyst for social change. The storyboard illustrates the sequence of lyrical stories. The story ranges from fear, bad news, support, caution, and a traditional form of greeting to avoiding a handshake. Listeners may deviate from their previous views. Storytelling in a cultural context is commendable.

Creating pandemic lyrics based on traditional songs allows for a more culturally appropriate and effective approach to communicating important public health messages. By using familiar melodies, listeners can easily engage with the new lyrics, leading to better dissemination of pandemic protection messages. In addition, traditional songs provide a strong cultural connection that underscores the importance of communities coming together during difficult times, promoting social cohesion and inspiring collective action. The emotional resonance of traditional songs can also provide a sense of comfort and familiarity and help reduce stress and anxiety. Overall, using traditional songs to deliver pandemic messages provides a unique opportunity to connect with people through shared cultural experiences and nostalgia, ultimately helping to strengthen public health efforts.

Ethiopians composed songs and oral poems for historical pandemics such as Spanish flu (called Yehidar Beshita by Ethiopians), polio, HIV/AIDS, and rinderpest. However, some COVID-19 songs in the mainstream media are in a modern musical style. The lyrics, instrumentation, and melody should all contribute to the perception of the song’s meaning. When these elements change, sometimes the way we interpret the messages of the songs changes. Songs and culture have gone hand in hand since ancient times. They have been used to express cultural identity and feelings. They convey messages about specific cultures (Banda & Mambwe, 2013).

Lyrical stories based on the culture of the listeners bring about social change. They cause a change in knowledge, attitudes, norms, and cultural practices. Unlike dry arguments and facts that listeners hear, stories can change society. Empathy in a story can change society. The contrasting stories of the spouses and their struggle against the pandemic in Tinsae and Mimi (2020) can influence listeners. The husband drives the story. One feels empathy for the wife whose point of view the songwriter portrays. The pandemic is presented in the current and past cultural context of Ethiopia. The lyrics interpret the pandemic for the needs of the current generation. As Pattison (2009) says, lyrical stories are not the same in every historical period and political milieu.

Social behavioral change theory is a framework that helps understand how and why individuals and groups adopt or reject new behaviors. It can be applied to the study of COVID-19-related songs in several ways. One way is to examine the role of social norms in shaping behavior concerning COVID-19. Social norms are unwritten rules about how people should behave in a given situation, and they can have a powerful influence on behavior. The songs in Amharic reflect and reinforce social norms related to the pandemic, such as the importance of wearing masks and social distancing. Another way to apply social behavior change theory is to examine the role of communication in shaping behavior. Effective communication is a key component of social behavior change, and the COVID-19 lyrics in songs in Amharic serve as a means of communicating about the pandemic. The lyrics in Amharic educate people about the risks associated with COVID-19 and the importance of preventive measures.

Social behavior change theory also highlights that perceptions of vulnerability, severity, rewards, and barriers influence individuals’ behavior. All of the selected lyrics could change the way people view their vulnerability to COVID-19, the severity of the disease, the benefits of precautions, and the challenges they face. Finally, when examining how emotions influence behavior, social behavior change theory can be invoked. For example, Tinsae and Mimi’s (2020) lyrics are used to elicit emotions such as fear, optimism, and solidarity. Overall, social behavior change theory provides a useful framework for examining lyrics. However, it should be noted that the effectiveness of lyrics in changing behavior can be limited by several factors such as the relevance of the song, the cultural context, and the target audience.

Lyricists convey meaning to the audience by using the audience’s culture and symbols. Andreatta and Ferraro (2012, p. 34) explain that what we do, think, and have is a culture. They explain that the three verbs (have, think, and do) correspond to the three main components of culture. The culture of a society, including visual elements, costumes, religions, and symbols, tells pandemic stories. The symbols in Esubalew’s (2020) lyrics create empathy that can bring about social change. The dressing culture, colors, words, scenes, and visual elements create meaning. The characters in Helen et al. (2020) combined with detailed images, sights, sounds, smells, and feelings create empathy. The songs in Esubalew (2020), Tilahun, Abebe, and Kebede (2020), and Tinsae and Mimi (2020) reinforce, challenge, reveal, enhance, and correct the culture of the society. Esubalew (2020) portrays the mindset and practice (doing) of the Ethiopian people towards the pandemic. Culture contributes to health, illness, and malaise. Tinsae and Mimi (2020) use the hands as a cultural symbol to prevent the pandemic. The hand, arm, and front paw represent power, authority, victory, defiance, Trump, and strength. The lyric warns that stretching forth the hand shows weakness, defeat, and fall. Director (2020), Esubalew (2020) & Tilahun, Abebe, and Kebede (2020) suggest that bowing becomes a standard method of greeting. They claim that handshaking signifies arrest, submission, and abandonment. They associate viral infection with being in captivity.

ዋጋህን ሳይቀምሰው፡፡ ሆ በል! ሆ በል! ሆ!እጅህ አታድርሰው፡፡ ሆ በል! ሆ በል! ሆ!Defend it before it costs you, say oh, oh, oh, oh!Let it not reach your hand … oh say, oh, oh, oh, oh!እጅ መስጠት ማለት … ሿሿ መማረክ ነውና … … .ሿSurrender entails. … .wash hands speedilyBeing a captive…… wash your hands speedilyጠበቅ ጨነቅነቅ ካለ ቦታእጅ ንሱ ከወገብዎ ለሰላምታFrom a congested and overcrowded placeBow to greet others

Perhaps the fundamental aspect of culture is symbolism. In the above lyrics, hand represents the collective wisdom of past generations. The shared meaning of our symbols allows us to communicate with each other with a minimum of uncertainty and misunderstanding. According to Andreatta and Ferraro (2012, p. 34), culture is “that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society.”. The lyrics portray a slice of these components of culture. The lyrics convey messages through the culture of the people. They portray the messages through people’s thinking, doing, and having.

Even the lyrics that depict the pandemic in a cultural context are obsessed with the thinking approach and ignore the doing and having in culture (Tilahun, Abebe, & Kebede, 2020). Our artists still consider lyrics as a literary concept and neglect visual and performing concepts. In fact, lyricists have done a good job of highlighting health guidelines such as wearing masks, social distancing, messages of hope, and encouragement. However, they should reflect on how they portray these guidelines in the different cultural contexts of Ethiopia. Ethiopia is a diverse country in terms of culture, language, ethnicity, etc. The lyrics portray Ethiopia’s modern, diversified society as monolithic. They associate mass culture with mass society. According to Karamouzian et al. (2020), a songwriter should know how to capture health knowledge locally and disseminate it nationally and globally. Indeed, good art satisfies the masses. Elitist art cannot be useful during a pandemic.

Overall, most lyrics in songs in Amharic reconstructed the pandemic according to universal health guidelines. The lyricists were right because it was helpful to write about these guidelines. In the early stages, the various impacts of the pandemic on the individual, the group, the community, the society, and the country were not well understood. It would have been more helpful if the lyricists had considered the cultural realities in Ethiopia to help contain and slow the spread of the pandemic. It was important to understand how people in different cultures reacted to the pandemic. For example, people refused to be vaccinated because of cultural or religious beliefs. The lyrics could interfere with religious and cultural thinking. Without understanding the perspectives and cultures of others, a deep dialog is not possible.

9. Conclusions

The purpose of this study was to examine the portrayal of COVID-19 in songs in Amharic. The study examined the framing, messages, and cultural construction of the pandemic depicted in songs using social behavioral change theory, framing, and cultural concepts. The study found that the framings, messages, and cultural constructions were limited to a few aspects of the pandemic. COVID-19 is a critical social problem throughout Ethiopia. However, songwriters focus on the prevention and control mechanisms of the pandemic. The lyrics address the psychological impact of COVID-19 on the population. The lyricists’ perspective on the disease is reductionist. They vaguely describe the environment in which individuals, groups, communities, and societies interact with the Corona Virus. Most lyrics do not show the pandemic in the family environment, in the interaction between spouses (romance), husband, wife, child to mother or child to child, or child alone at school, home or village, or in confinement. In fact, Tinsae and Mimi (2020) show the Corona Virus in a family setting. The framing of the lyrics is one-sided. The lyrics exacerbate the problem and place less emphasis on the persons and the environment in which the pandemic occurs.

According to Van Bavel et al. (2020), every social problem involves someone, somewhere, doing something. In other words, a social problem involves a particular population behaving in a particular context. The lyrics address the Ethiopian mass audience without having a specific goal to address the pandemic. This makes the lyric unfocused. In fact, the lyricists use different lyrical narrative mechanisms, language styles, linguistic features, and literary techniques to convey the messages of the pandemic. However, in representing the pandemic, they lacked new messages. They followed the formats of pandemic pamphlets and brochures. The lyrics provide little insight into the experiences of frontline workers, patients and their family lives, government support, human relations, the new way of life, etc. The portrayals of fear, hope, loneliness, separation, incarceration, stay-at-home order, mental disorders, and mental health in the lyrics lack creativity. Songwriters could have written lyrics with new themes. The study concluded that the selected lyrics inadequately reflect the pandemic. The songs circulated on national and regional radio, TV, and social media are more or less identical in terms of framing, message, and lyricism. Of course, Tinsae and Mimi’s (2020) is more viral on Ethiopian state media than on COVID-19.

As for the recommendations, other researchers should examine the lyrics and songs using different theories and musical elements. Nowadays, the ongoing TV shows, movies, thrillers, short film anthologies, dramas, amateur content, theater, performing arts, visual arts, websites, children’s literary genres, music videos, literature, and social media have infused the pandemic with different narratives, melodies, and styles. Therefore, researchers should examine how popular culture portrays the pandemic with different genres such as humor, satire, horror, comedy, entertainment, and seriousness. The study of lyrics should not be left only to lyricists, composers, and singers. Health experts, storytellers, and cultural experts should collaborate to make the setting, messages, story elaboration, and cultural contextualization engaging, entertaining, informed, representative, heterogeneous, and diverse. The texts should not only convey messages, but also heal, relax, and soothe the audience. The existing global health policy advocates disease prevention at local, national, continental, and global levels. The songs should portray the relationship between human health and animal health. Even if traditional Ethiopian music is not as dominant in modern popular music as it used to be, our singers should consider it an important part of our cultural heritage and a source of inspiration for fighting the pandemic. Ethiopians may feel alienated from their roots. Telling stories about a detached culture will not impact society. Our artists can mix modern and traditional musical styles to bring about social change. The media has the responsibility to record and disseminate these traditional songs. The government should establish multiple media platforms, depending on the geographical context and audience awareness. The impact of the songs on the audience should be also evaluated.

Finally, the singers in this study sing in groups. Only one singer sings solo. Choral singing may be better suited than soloists to induce behavioral change. The different performances and voices of the singers (live or studio recordings, mixing, editing, re-mastering, etc.) in an ensemble could have a positive effect on the songs. Future researchers can investigate how group singers compared to solo singers/soloists/influence audiences for social change. Young and child listeners may want to act out/perform the songs they hear. Thus, other researchers can investigate the relationship between musical preferences, style, and function. They can investigate the relationship between live musical performances, live concerts, and behavioral changes. The portrayal of Corona Virus in various art forms expands our understanding of how it is socially constructed. Overall, the study recommends that its framing be studied by different actors.

Acknowledgments

I am very grateful to the reviewers of Cogent Arts and Humanities for helpful suggestions during the writing of this study.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Balew Demissie

Balew Demissie works at Addis Ababa University, College of Performing and Visual Arts, School of Theatre Arts. His teaching and research interests include Ethiopian and African literature, theater, film, art and culture, with a special interest in the sociology of Ethiopian and African literature. He received his Ph.D. and Master’s degree in literature with excellent research grades from Addis Ababa University. He completed his dissertation entitled “Social Issues in Contemporary Amharic Drama: A Sociological Approach” He was the Director of Public and International Relations at Addis Ababa Science and Technology University. He was also one of the lead researchers and editor-in-chief of Ethiopia’s 15 years Education Roadmap. He is also now a communication and publication consultant at the Policy Studies Institute. With a bachelor’s degree in English, an M.A. and a Ph.D. in literature, he is a professional in education, communication, media production and research. He is also the author of scholarly books and articles.