Tadias Magazine

Tadias Magazine

By Tadias Staff

December 2nd, 2024

TADIAS (New York) – Fifty years ago, the discovery of Lucy placed Ethiopia at the heart of the story of humanity. As we celebrate this remarkable milestone, Tadias is honored to feature Professor Yohannes Haile-Selassie, a trailblazing Ethiopian paleoanthropologist and director of the Institute of Human Origins at Arizona State University.

Known for his pioneering fossil discoveries, including Ardipithecus kadabba and Ardi, Prof. Haile Selassie is a strong advocate for “decolonizing paleoanthropology,” championing the essential role of African scientists and institutions in the study of human origins.

We recently interviewed Prof. Haile-Selassie to explore the significance of Lucy and discuss the ongoing transformation of the field.

TADIAS: Prof. Yohannes, in scientific terms, what does Lucy mean to you and the broader field of paleoanthropology? Why is she still significant even half a century later?

Professor Yohannes Haile-Selassie: Lucy (“Dinknesh”) is recognized among the paleoanthropological community as one of the most iconic early human ancestor fossils that redefined how we understood our evolutionary history before the 1970s. Even though she was discovered 50 years ago researchers are still studying her bones using new analytical methods and advanced technology, such as CT-scanning, and generating additional data. I don’t think scientists will ever stop studying her because she keeps providing new information either about herself or some other newly discovered fossils.

TADIAS: What do you think Lucy’s discovery has meant for Ethiopia’s identity as the “cradle of humanity,” and how has it shaped the global understanding of human origins?

Prof. Haile Selassie: As an Ethiopian-born human origins researcher, I think Lucy, or Dinknesh, is one of the main sources of pride for all Ethiopians. It is where it all began, humanity, and figuratively every human being living today can trace their origins back to Ethiopia. Therefore, One shouldn’t wonder why Dinknesh is one of the main reasons for Ethiopia to dub itself as “The Land of Origins”. Dinknesh was the first early human ancestor fossil that made every human being on the face of the earth ask where they came from. Right after her discovery, her name became a household name, widely talked about in the media, many books written about her (her discoverer, Don Johanson, deserves credit for popularizing Lucy).

Dinknesh (Lucy) is 3.2 million years old, and at the time of her discovery fifty years ago in 1974, she was the oldest known human ancestor showing that walking on two legs is more ancient that previously thought. The earliest fossil evidence of human ancestors before her discovery was younger than 3 million years, based on discoveries from South Africa. Her antiquity, combined with how much paleoanthropologists were able to learn about her skeletal anatomy, the earliest phases of human evolutionary had to be re-written. The debates among scientists created enormous public interest on human origins, Her discovery also inspired the search for even more older human ancestors in new areas, which later resulted in the discovery of human ancestors that are twice as old as herself.

TADIAS: Your work has focused on groundbreaking discoveries like Ardi and Ardipithecus kadabba. How do these findings connect to Lucy’s story, and what new insights do they offer about our ancient ancestors?

Prof. Haile Selassie:: Ardipithecus kadabba is one of the earliest human ancestors currently known in the fossil record. It is dated to between 5.8 and 5.5 million years ago. Ardi is a partial skeleton from 4.4 million years ago. By the way, Ardi is a shortened version of her genus name Ardipithecus, and her species name is Ardipithecus ramidus. These two species are older than Lucy by more than 2 million years, and 1.2 million years, respectively. They were also found in the Afar region some 50 miles north of Lucy’s site.

They are connected to the Lucy story in two ways. First, the discovery of Lucy inspired survey and exploration in search of even older ancestors, and the discovery of the area where Ardipithecus kadabba and Ardipithecus ramidus were found was a result of that inspiration. Secondly, Lucy’s species, Australopithecus afarensis, did not directly descend from Ardipithecus kadabba or Ardipithecus ramidus. Instead, it descended from a species known as Australopithecus anamensis, a species that lived between 4.2 and 3.8 million years ago. However, her species’ ancestor is believed to have descended from Ardipithecus ramidus, which descended from Ardipithecus kadabba. Therefore, yes, she is related to both.

TADIAS: You’ve spoken passionately about “decolonizing paleoanthropology.” Could you share what this means in practice and why it is important for the future of human origins studies?

Prof. Haile Selassie:: Let me first start by explaining what “decolonizing paleoanthropology” means to me as well as I believe to others. The root word of “decolonizing” has a historically profound and repulsive meaning and applying it in any form to paleoanthropology, a scientific discipline that touches all of humanity, could sound like garbling the very meaning of the word. However, when some paleoanthropologists talk about “decolonizing paleoanthropology”, however sensitive it might sound, it is about changing the way we study our origins from one that is dominated by few (mainly western scientists) to one that is more inclusive, especially scholars from the countries where the fossil evidence is coming from and enable them to contribute meaningfully and tell the human story equally. One cannot deny that almost all of the fossil evidence for the earliest phases of human evolutionary history comes from Africa. Unfortunately, there were no Africans who were involved in studying the fossils until the late 1980s. Their role prior to that was facilitating research for western scientists and serving as laborers in the field. This has started changing slowly and many African paleoanthropologists are emerging now but there is still serious lack of training opportunity for local scholars, not to mention the lack of infrastructure for adequate training in their own countries, access to resources is limited, and community engagement is minimal. The future of paleoanthropology is going to depend on how we resolve these issues which, of course, are not limited to Africa.

TADIAS:  What steps can be taken to empower African researchers and institutions in this field? How do you see the role of local communities and governments in advancing this effort?

Prof. Haile Selassie:: Empowering African researchers and their institutions starts with their governments and other stakeholders building the basic infrastructure necessary for paleoanthropology training programs and laboratory facilities. These are not things that individual researchers would be expected to do. However, researchers could help institutions by developing higher degree training programs and securing equipment that goes to the laboratory. African researchers need to increase public awareness on why understanding our past is important for the present and our future. What is needed is a concerted effort by bringing various stakeholders and researchers together with a common goal. African researchers and institutions should also make sure that local communities are informed and engaged in all activities in the areas where they live in.

TADIAS: Lucy has inspired generations of scientists and the public alike. What do you hope her legacy will be for the next 50 years, especially for young people interested in science and discovery?

Prof. Haile Selassie:: Lucy (“Dinknesh”) is an iconic treasure to all of humanity. Each of us could easily connect with her as our common ancestor. Her legacy for the last 50 years has been providing us with a wealth of information on how we became who we are today. Her inspiration of discovery will continue for many generations to come. Discovery and science are inseparable and discoveries can only be made by exploring new things.

TADIAS: Finally, as someone who has spent your career uncovering the story of humanity, what excites you most about the future of paleoanthropology? Are there any upcoming projects or areas of research you’re particularly looking forward to?

Prof. Haile Selassie:: Paleoanthropology has now become multidisciplinary. It is not about bones and stones anymore but also about past environments, climate change in the past, early human behavior, and how it relates to us today and to our future. Technological advances are allowing us to study ancient human ancestor fossil remains in ways that we couldn’t have thought possible when Lucy was found. For example, advances in genetics are now helping us extract ancient DNA from fossils and understand the genetic basis of various diseases that affect us today. Therefore, I would say that Paleoanthropology has a bright future, and it is becoming more exciting than ever.

I continue to do my fieldwork in the Afar region of Ethiopia and every fossil specimen that I find has some exciting story What I am looking forward to is my next field season in January.

TADIAS: Thank you so much, Professor Yohannes, and best wishes from all of us at Tadias. 

Prof. Haile Selassie: Thank you!

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Related:
Lucy 50—A Year for Human Origins – Institute of Human Origins

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Tadias Magazine

Updated: March 17th, 2023

New York (TADIAS) — Last month, Amref Health Africa hosted a sold-out ArtBall and Auction in New York, which celebrated the art and culture of African, Pan-African, and Black communities from the United States and Africa. The event honored world-renowned Ethiopian-born artist Julie Mehretu and benefited a youth empowerment program in Ethiopia called Kefeta.

The ArtBall showcased a wide range of artworks including paintings, sculptures, and photographs from various artists, such as Ethiopian American artists Helina Metaferia and Tariku Shiferaw. Tariku presented Julie with the Rees Visionary Award, recognizing her outstanding contribution to the art world.

Julie Mehretu at Amref Health Africa’s 2023 ArtBall & Auction. (Surface Mag)

Brooklyn’s Bunna Cafe hosted an Ethiopian coffee ceremony during the event, which also offered a variety of East and West African cuisine, beverages, and live music for guests to enjoy. (Photo: Courtesy of BFA)

“I am super-humbled by the work that Amref does,” Juile told the gathering. “After these last few years, we know more than ever, including those of us who aren’t usually on the frontline of healthcare, the imperative of healthcare and healthcare equity.”

Julie praised Amref’s work, noting that they have created a possibility where cultural work is made by Africans for Africans. The event brought people together and showcased the beauty of African art and culture while promoting positive change.

We had the privilege of attending the ArtBall and are excited to learn more about the Kefeta project in Ethiopia. We will be sharing an in-depth highlight of this remarkable initiative in the near future. We hope that more events like this continue to bring people together and promote positive change.

See photos: Inside Amref Health Africa’s Annual Auction and ArtBall – Surface Mag

Photo via Surface Mag

Photo via Surface Mag

Photo via Surface Mag

Photo via Surface Mag

More photos: Inside Amref Health Africa’s Annual Auction and ArtBall – Surface Mag

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Related:

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Okay Africa

Having grown up in Ethiopia all his life, Fitsum Shebeshe had never known what it was like to travel outside of Hawassa where he was born. When he went outside the country for the first time, on a visit to Mozambique for an informal arts training program, his eyes were opened to brand new experiences and he wanted to learn more about the possibilities that were waiting for him beyond the borders of his home country, and, indeed, outside of Africa. While working as an assistant curator at the National Museum of Ethiopia, he applied to arts school in the US. Upon acceptance, he was given a scholarship to complete his Masters of Fine Arts in Curatorial Practice at Maryland Institute College of Art.

Based in the Washington DC area, Shebeshe work has centered on roles as both a curator and painter. He is currently the gallery director at Harmony Hall Regional Center in Fort Washington, Maryland, where he spoke to OkayAfrica about his hopes for the exhibition.

Read the interview at okayafrica.com »

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Press release

The Africa Center

States of Becoming On view through February 26, 2023

The concept for States of Becoming evolved from curator Fitsum Shebeshe’s lived experience following his 2016 move from Addis Ababa, Ethiopia to Baltimore, Maryland and his subsequent firsthand knowledge of the weight of cultural assimilation. Confronted with a different society, Shebeshe encountered a wide range of existential questions that shaped his relationship to institutions and culture. Shebeshe also had the realization for the first time that he was viewed as belonging to a minority because of the color of his skin, and a newfound awareness of the profound impact the traditional and conservative culture he grew up with in Ethiopia had on his personal sense of individuality.

Having found kinship among cultural practitioners from the African Diaspora who shared his experience, Shebeshe has united 17 artists with States of Becoming who either came to the United States over the past thirty years or who are first-generation born. The artists represented in States of Becoming relocated from twelve countries in Africa and one in the Caribbean–Ethiopia, Ghana, Ivory Coast, Kenya, Liberia, Mauritania, Nigeria, Senegal, Sierra Leone, Sudan, Trinidad and Tobago, Tunisia, and Zimbabwe–with roots in cities across the U.S., including New York, Washington, D.C., New Haven, Detroit, and Los Angeles.

Video screen shot of artwork by one of the featured Ethiopian artists Kibrom Araya. Other Ethiopian artists highlighted in the show include Helina Metaferia, Amare Selfu and Tariku Shiferaw. (The Africa Center)

Like Shebeshe, each artist in the exhibition has had a unique relationship to the U.S. context, which is reflected in their work. States of Becoming explores these artists’ perpetual process of identifying, redefining, and becoming themselves in both local and global contexts, opening up perspectives into multiple states both geographic and emotional in a constant flux of social and cultural adaptations. The exhibition presents work across mediums including painting, photography, sculpture, installation, and video, that express the many different ways in which identity is remade and reimagined. For instance, Nontsikelelo Mutiti looks to hair braiding salons of the African Diaspora, and Amare Selfu moves from figuration to abstraction to express transformation as a result of relocation. These distinct experiences produce a sense of hybrid culture emerging out of real and imagined genealogies of cultural, racial, national, and geographic belonging.

Artists: Gabriel C. Amadi-Emina, Kearra Amaya Gopee, Kibrom Araya, Nadia Ayari, Vamba Bility, Elshafei Dafalla, Masimba Hwati, Chido Johnson, Miatta Kawinzi, Dora King, Helina Metaferia, Nontsikelelo Mutiti, Yvonne Osei, Kern Samuel, Amare Selfu, Tariku Shiferaw, and Yacine Tilala Fall.

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Learn more at www.theafricacenter.org.

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Tadias Magazine

By Tadias Staff

Updated: May 7th, 2022

New York (TADIAS) — A master class led by renowned Ethiopian filmmaker, Haile Gerima, will take place on Saturday, May 14 at 11:30am as part of Film at Lincoln Center Events & Talks during the 2022 New York African Film Festival. The event, which is free and open to the public will be held in the Elinor Bunin Munroe Amphitheater.

The class, titled “Cinema of Liberation: From Inception and Execution to Exhibition,” will center on the content, form, and aesthetics of liberation cinema, empowering one’s particular narrative logic and the construction of audiences for partnership in liberation.

RSVP here for the program.

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Tadias Magazine

By Tadias Staff

Updated: March 9th, 2022

New York (TADIAS) — The U.S. debut of two recently released Ethiopian documentary movies and an historic Ethiopian-American courtroom drama are part of the lineup at the 2022 New African Film Festival, which is set to kick-off this month in Silver Spring, Maryland.

Organizers announced the “American premieres of powerful Ethiopian documentaries Among us Women and Stand Up My Beauty” in a press release highlighting this year’s program that promises to showcase “the vibrancy of African filmmaking from all corners of the continent and across the diaspora to the Washington, DC, area.”

The annual festival, which celebrates its 18th anniversary this year, takes place from March 18 to 31 at AFI Silver Theatre and Cultural Center in downtown Silver Spring.

The press release added: “This year’s fully in-person festival features 28 films from 17 countries, including five U.S. or North American premieres.”

The featured films include A Fire Within [ፍትህ], the groundbreaking Ethiopian-American courtroom drama executive produced by Liya Kebede and directed by acclaimed filmmaker Christopher Chambers. Organizers note that the screening of A Fire Within will feature a Q&A with Chambers.

Below are descriptions and trailers of the Ethiopian films courtesy of AFI Silver Theatre.

A FIRE WITHIN

Special Features: Q&A with filmmaker Christopher Chambers following the March 20 screening

[ፍትህ]

After suffering through the Red Terror, a dark time in Ethiopia’s history during which many educated young people were tortured and murdered, Edgegayehu “Edge” Taye fled to the United States in 1989 as a refugee. Settling in Atlanta, she found work at a hotel, only to discover that the very man who was responsible for her torture in Ethiopia was also working there. Along with several friends who were victims of the same man and are now all living in the U.S., Taye embarks on a landmark human rights case to bring their tormentor to trial. Executive produced by Ethiopian actress and activist Liya Kebede, this incredible and chilling true crime documentary shines a light on a painful time in Ethiopia’s history and reveals the healing power of restorative justice. Winner, Audience Award, Best Documentary, 2021 Atlanta, Naples and North Dakota Human Rights film festivals. DIR/SCR/PROD Christopher Chambers; PROD Ermias Woldeamlak. U.S./Canada/Ethiopia, 2021, color, 85 min. In English and Amharic with English subtitles. NOT RATED

No AFI Member passes accepted.

Run Time: 85 Minutes
Genre: Documentary
Opening Date: Sunday, March 20, 2022

U.S. Premiere

AMONG US WOMEN

Sat, March 26, 12:25 p.m.; Wed, March 30, 7:00 p.m.

The first feature-length documentary by German director Sarah Noa Bozenhardt and Ethiopian filmmaker Daniel Abate Tilahun follows Hulu Endeshaw, a young Ethiopian farmer who is awaiting the birth of her fourth child and finds herself caught between the modern and traditional systems of midwifery in place in her rural village of Megendi. On one hand, she regularly attends checkups at the local health center, where staff are fighting high maternal mortality rates. On the other, Hulu is apprehensive of a system in which she feels unheard and turns to the traditional midwife Endal Gedif for support and comfort. Surrounded by many varying female perspectives, Hulu wrestles with the roles she is expected to play as a mother, a wife and a woman. To unravel her personal wants and needs, she takes the film’s narrative into her own hands, exploring her burning past and her uncertain future. Both because of her fellow women and despite them, Hulu holds onto the desire to define her own path, and gradually unveils the secrets she has kept close to her chest. In English and Amharic with English subtitles. NOT RATED

STAND UP MY BEAUTY

Special Features: North American Premiere

Nardos, an Azmari singer from Addis Ababa, dreams of telling stories about the lives of ordinary people through her music. In her search for stories for her songs, she meets Gennet, a poet who lives on the streets with her children. As Nardos puts the lives of Ethiopian women, their visions and power at the center of her creation, the documentary dives deeper and deeper into a rapidly changing country. (Note courtesy of Deckert Distribution.) Official Selection, 2021 Locarno Film Festival. DIR Heidi Specogna; PROD Heino Deckert, Rolf Schmid. Switzerland/Germany, 2021, color, 110 min. In Amharic with English subtitles. NOT RATED

Run Time: 110 Minutes
Genre: Documentary – music
Opening Date: Saturday, March 26, 2022

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Learn more about the festival at AFI.com

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6ix Buzz

Abel Makkonen Tesfaye started out as a quiet mysterious artist from the 6ix, but eventually grew to become one of the greatest artists of our generations.

With multiple albums under his belt, and with his most recent album “Dawn FM” to add to the collection, the Scarborough native shows no sign of slowing down.

Here are six things you didn’t know about The Weeknd.

1. He is very proud of his Ethiopian heritage

Abel Tesfaye was born to Ethiopian immigrants in Scarborough. He was raised mostly by his mother and his grandmother, which is why the first language he learned was Amharic.

He’s shared in interviews that as he grew older, he learned that his heritage acted as subconscious inspiration.

“Ethiopian music was the music I grew up on,” he told VMan in an interview. “Artists like Tilahun Gessesse, Aster Aweke, and Mahmoud Ahmed. These are my subconscious inspirations. ‘The Hills’ was the first time you actually heard the Ethiopian language in my music.”

2. He and a few other XO members founded a creative arts incubator in Toronto

A few years ago, The Weeknd and business partners La Mar Taylor and Ahmed Ismail launched an incubator in Toronto. Their goal was to create a place that could help encourage young creatives to chase their passions, the same way they did when they were younger.

The founders are responsible for many creative advancements locally and nationally, even participating in Prime Minister Justin Trudeau’s announcement of $221 million to support Black business.

The positive changes made by HXOUSE don’t include the several hundreds of thousands, sometimes millions, that The Weeknd has donated on the side.

Read more »

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Tadias Magazine

By Tadias Staff

Updated: December 18th, 2021

New York (TADIAS) — Ethiopia’s superstar Teddy Afro has been named one of President Barack Obama’s favorite artists.

The former U.S. President listed Teddy’s new single ‘Armash’ አርማሽ (ቀና በል) in his annual playlist released this week featuring his favorite songs of the year.

“I’ve always enjoyed listening to a wide variety of music, so it’s no surprise that I listened to a little bit of everything this year,” Obama said in a Twitter post. “I hope you find a new artist or song to add to your own playlist.”

I've always enjoyed listening to a wide variety of music, so it’s no surprise that I listened to a little bit of everything this year. I hope you find a new artist or song to add to your own playlist. pic.twitter.com/g6kBzAbrZG

— Barack Obama (@BarackObama) December 17, 2021

Listen: TEDDY AFRO – አርማሽ (ቀና በል) – [New! Official Single 2021] – With Lyrics

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ETHIOPIA’s APPEAL TO THE LEAGUE OF NATIONS

Haile Selassie
June, 1936.
Geneva, Switzerland.

“I, Haile Selassie I, Emperor of Ethiopia, am here today to claim that justice which is due to my people, and the assistance promised to it eight months ago, when fifty nations asserted that aggression had been committed in violation of international treaties.

There is no precedent for a Head of State himself speaking in this assembly. But there is also no precedent for a people being victim of such injustice and being at present threatened by abandonment to its aggressor. Also, there has never before been an example of any Government proceeding to the systematic extermination of a nation by barbarous means, in violation of the most solemn promises made by the nations of the earth that there should not be used against innocent human beings the terrible poison of harmful gases. It is to defend a people struggling for its age-old independence that the head of the Ethiopian Empire has come to Geneva to fulfil this supreme duty, after having himself fought at the head of his armies.

I pray to Almighty God that He may spare nations the terrible sufferings that have just been inflicted on my people, and of which the chiefs who accompany me here have been the horrified witnesses.

It is my duty to inform the Governments assembled in Geneva, responsible as they are for the lives of millions of men, women and children, of the deadly peril which threatens them, by describing to them the fate which has been suffered by Ethiopia. It is not only upon warriors that the Italian Government has made war. It has above all attacked populations far removed from hostilities, in order to terrorize and exterminate them.

Watch: 1936 Emperor Haile Selassie of Ethiopia Addresses League of Nations

At the beginning, towards the end of 1935, Italian aircraft hurled upon my armies bombs of tear-gas. Their effects were but slight. The soldiers learned to scatter, waiting until the wind had rapidly dispersed the poisonous gases. The Italian aircraft then resorted to mustard gas. Barrels of liquid were hurled upon armed groups. But this means also was not effective; the liquid affected only a few soldiers, and barrels upon the ground were themselves a warning to troops and to the population of the danger.

It was at the time when the operations for the encircling of Makalle were taking place that the Italian command, fearing a rout, followed the procedure which it is now my duty to denounce to the world. Special sprayers were installed on board aircraft so that they could vaporize, over vast areas of territory, a fine, death-dealing rain. Groups of nine, fifteen, eighteen aircraft followed one another so that the fog issuing from them formed a continuous sheet. It was thus that, as from the end of January, 1936, soldiers, women, children, cattle, rivers, lakes and pastures were drenched continually with this deadly rain. In order to kill off systematically all living creatures, in order to more surely to poison waters and pastures, the Italian command made its aircraft pass over and over again. That was its chief method of warfare.

Ravage and Terror

The very refinement of barbarism consisted in carrying ravage and terror into the most densely populated parts of the territory, the points farthest removed from the scene of hostilities. The object was to scatter fear and death over a great part of the Ethiopian territory. These fearful tactics succeeded. Men and animals succumbed. The deadly rain that fell from the aircraft made all those whom it touched fly shrieking with pain. All those who drank the poisoned water or ate the infected food also succumbed in dreadful suffering. In tens of thousands, the victims of the Italian mustard gas fell. It is in order to denounce to the civilized world the tortures inflicted upon the Ethiopian people that I resolved to come to Geneva. None other than myself and my brave companions in arms could bring the League of Nations the undeniable proof. The appeals of my delegates addressed to the League of Nations had remained without any answer; my delegates had not been witnesses. That is why I decided to come myself to bear witness against the crime perpetrated against my people and give Europe a warning of the doom that awaits it, if it should bow before the accomplished fact.

Is it necessary to remind the Assembly of the various stages of the Ethiopian drama? For 20 years past, either as Heir Apparent, Regent of the Empire, or as Emperor, I have never ceased to use all my efforts to bring my country the benefits of civilization, and in particular to establish relations of good neighbourliness with adjacent powers. In particular I succeeded in concluding with Italy the Treaty of Friendship of 1928, which absolutely prohibited the resort, under any pretext whatsoever, to force of arms, substituting for force and pressure the conciliation and arbitration on which civilized nations have based international order.

Country More United

In its report of October 5th 193S, the Committee of Thirteen recognized my effort and the results that I had achieved. The Governments thought that the entry of Ethiopia into the League, whilst giving that country a new guarantee for the maintenance of her territorial integrity and independence, would help her to reach a higher level of civilization. It does not seem that in Ethiopia today there is more disorder and insecurity than in 1923. On the contrary, the country is more united and the central power is better obeyed.

I should have procured still greater results for my people if obstacles of every kind had not been put in the way by the Italian Government, the Government which stirred up revolt and armed the rebels. Indeed the Rome Government, as it has today openly proclaimed, has never ceased to prepare for the conquest of Ethiopia. The Treaties of Friendship it signed with me were not sincere; their only object was to hide its real intention from me. The Italian Goverment asserts that for 14 years it has been preparing for its present conquest. It therefore recognizes today that when it supported the admission of Ethiopia to the League of Nations in 1923, when it concluded the Treaty of Friendship in 1928, when it signed the Pact of Paris outlawing war, it was deceiving the whole world. The Ethiopian Government was, in these solemn treaties, given additional guarantees of security which would enable it to achieve further progress along the specific path of reform on which it had set its feet, and to which it was devoting all its strength and all its heart.

Wal-Wal Pretext

The Wal-Wal incident, in December, 1934, came as a thunderbolt to me. The Italian provocation was obvious and I did not hesitate to appeal to the League of Nations. I invoked the provisions of the treaty of 1928, the principles of the Covenant; I urged the procedure of conciliation and arbitration. Unhappily for Ethiopia this was the time when a certain Government considered that the European situation made it imperative at all costs to obtain the friendship of Italy. The price paid was the abandonment of Ethiopian independence to the greed of the Italian Government. This secret agreement, contrary to the obligations of the Covenant, has exerted a great influence over the course of events. Ethiopia and the whole world have suffered and are still suffering today its disastrous consequences.

This first violation of the Covenant was followed by many others. Feeling itself encouraged in its policy against Ethiopia, the Rome Government feverishly made war preparations, thinking that the concerted pressure which was beginning to be exerted on the Ethiopian Government, might perhaps not overcome the resistance of my people to Italian domination. The time had to come, thus all sorts of difficulties were placed in the way with a view to breaking up the procedure; of conciliation and arbitration. All kinds of obstacles were placed in the way of that procedure. Governments tried to prevent the Ethiopian Government from finding arbitrators amongst their nationals: when once the arbitral tribunal a was set up pressure was exercised so that an award favourable to Italy should be given.

All this was in vain: the arbitrators, two of whom were Italian officials, were forced to recognize unanimously that in the Wal-Wal incident, as in the subsequent incidents, no international responsibility was to be attributed to Ethiopia.

Peace Efforts

Following on this award. the Ethiopian Government sincerely thought that an era of friendly relations might be opened with Italy. I loyally offered my hand to the Roman Government. The Assembly was informed by the report of the Committee of Thirteen, dated October 5th, 1935, of the details of the events which occurred after the month of December, 1934, and up to October 3rd, 1935.

It will be sufficient if I quote a few of the conclusions of that report Nos. 24, 25 and 26 “The Italian memorandum (containing the complaints made by Italy) was laid on the Council table on September 4th, 1935, whereas Ethiopia’s first appeal to the Council had been made on December 14th, 1934. In the interval between these two dates, the Italian Government opposed the consideration of the question by the Council on the ground that the only appropriate procedure was that provided for in the Italo-Ethiopian Treaty of 1928. Throughout the whole of that period, moreover, the despatch of Italian troops to East Africa was proceeding. These shipments of troops were represented to the Council by the Italian Government as necessary for the defense of its colonies menaced by Ethiopia’s preparations. Ethiopia, on the contrary, drew attention to the official pronouncements made in Italy which, in its opinion, left no doubt “as to the hostile intentions of the Italian Government.”

From the outset of the dispute, the Ethiopian Government has sought a settlement by peaceful means. It has appealed to the procedures of the Covenant. The Italian Government desiring to keep strictly to the procedures of the Italo-Ethiopian Treaty of 1928, the Ethiopian Government assented. It invariably stated that it would faithfully carry out the arbitral award even if the decision went against it. It agreed that the question of the ownership of Wal-Wal should not be dealt with by the arbitrators, because the Italian Government would not agree to such a course. It asked the Council to despatch neutral observers and offered to lend itself to any enquiries upon which the Council might decide.

Once the Wal-Wal dispute had been settled by arbiration, however, the Italian Govemmcnt submitted its detailed memorandum to the Council in support of its claim to liberty of action. It asserted that a case like that of Ethiopia cannot be settled by the means provided by the Covenant. It stated that, “since this question affects vital interest and is of primary importance to Italian security and civilization” it “would be failing in its most elementary duty, did it not cease once and for all to place any confidence in Ethiopia, reserving full liberty to adopt any measures that may become necessary to ensure the safety of its colonies and to safeguard its own interests.”

Covenant Violated

Those are the terms of the report of the Committee of Thirteen, The Council and the Assembly unanimously adopted the conclusion that the Italian Government had violated the Covenant and was in a state of aggression. I did not hesitate to declare that I did not wish for war, that it was imposed upon me, and I should struggle solely for the independence and integrity of my people, and that in that struggle I was the defender of the cause of all small States exposed to the greed of a powerful neighbour.

In October, 1935. the 52 nations who are listening to me today gave me an assurance that the aggressor would not triumph, that the resources of the Covenant would be employed in order to ensure the reign of right and the failure of violence.

I ask the fifty-two nations not to forget today the policy upon which they embarked eight months ago, and on faith of which I directed the resistance of my people against the aggressor whom they had denounced to the world. Despite the inferiority of my weapons, the complete lack of aircraft, artillery, munitions, hospital services, my confidence in the League was absolute. I thought it to be impossible that fifty-two nations, including the most powerful in the world, should be successfully opposed by a single aggressor. Counting on the faith due to treaties, I had made no preparation for war, and that is the case with certain small countries in Europe.

When the danger became more urgent, being aware of my responsibilities towards my people, during the first six months of 1935 I tried to acquire armaments. Many Governments proclaimed an embargo to prevent my doing so, whereas the Italian Government through the Suez Canal, was given all facilities for transporting without cessation and without protest, troops, arms, and munitions.

Forced to Mobilize

On October 3rd, 1935, the Italian troops invaded my territory. A few hours later only I decreed general mobilization. In my desire to maintain peace I had, following the example of a great country in Europe on the eve of the Great War, caused my troops to withdraw thirty kilometres so as to remove any pretext of provocation.

War then took place in the atrocious conditions which I have laid before the Assembly. In that unequal struggle between a Government commanding more than forty-two million inhabitants, having at its disposal financial, industrial and technical means which enabled it to create unlimited quantities of the most death-dealing weapons, and, on the other hand, a small people of twelve million inhabitants, without arms, without resources having on its side only the justice of its own cause and the promise of the League of Nations. What real assistance was given to Ethiopia by the fifty two nations who had declared the Rome Government guilty of a breach of the Covenant and had undertaken to prevent the triumph of the aggressor? Has each of the States Members, as it was its duty to do in virtue of its signature appended to Article 15 of the Covenant, considered the aggressor as having committed an act of war personally directed against itself? I had placed all my hopes in the execution of these undertakings. My confidence had been confirmed by the repeated declarations made in the Council to the effect that aggression must not be rewarded, and that force would end by being compelled to bow before right.

In December, 1935, the Council made it quite clear that its feelings were in harmony with those of hundreds of millions of people who, in all parts of the world, had protested against the proposal to dismember Ethiopia. It was constantly repeated that there was not merely a conflict between the Italian Government and the League of Nadons, and that is why I personally refused all proposals to my personal advantage made to me by the Italian Government, if only I would betray my people and the Covenant of the League of Nations. I was defending the cause of all small peoples who are threatened with aggression.

What of Promises?

What have become of the promises made to me as long ago as October, 1935? I noted with grief, but without surprise that three Powers considered their undertakings under the Covenant as absolutely of no value. Their connections with Italy impelled them to refuse to take any measures whatsoever in order to stop Italian aggression. On the contrary, it was a profound disappointment to me to learn the attitude of a certain Government which, whilst ever protesting its scrupulous attachment to the Covenant, has tirelessly used all its efforts to prevent its observance. As soon as any measure which was likely to be rapidly effective was proposed, various pretexts were devised in order to postpone even consideration of the measure. Did the secret agreements of January, 1935, provide for this tireless obstruction?

The Ethiopian Government never expected other Governments to shed their soldiers’ blood to defend the Covenant when their own immediately personal interests were not at stake. Ethiopian warriors asked only for means to defend themselves. On many occasions I have asked for financial assistance for the purchase of arms That assistance has been constantly refused me. What, then, in practice, is the meaning of Article 16 of the Covenant and of collective security?

The Ethiopian Government’s use of the railway from Djibouti to Addis Ababa was in practice a hazardous regards transport of arms intended for the Ethiopian forces. At the present moment this is the chief, if not the only means of supply of the Italian armies of occupation. The rules of neutrality should have prohibited transports intended for Italian forces, but there is not even neutrality since Article 16 lays upon every State Member of the League the duty not to remain a neutral but to come to the aid not of the aggressor but of the victim of aggression. Has the Covenant been respected? Is it today being respected?

Finally a statement has just been made in their Parliaments by the Governments of certain Powers, amongst them the most influential members of the League of Nations, that since the aggressor has succeeded in occupying a large part of Ethiopian territory they propose not to continue the application of any economic and financial measures that may have been decided upon against the Italian Government. These are the circumstances in which at the request of the Argentine Government, the Assembly of the League of Nations meets to consider the situation created by Italian aggression. I assert that the problem submitted to the Assembly today is a much wider one. It is not merely a question of the settlement of Italian aggression.

League Threatened

It is collective security: it is the very existence of the League of Nations. It is the confidence that each State is to place in international treaties. It is the value of promises made to small States that their integrity and their independence shall be respected and ensured. It is the principle of the equality of States on the one hand, or otherwise the obligation laid upon smail Powers to accept the bonds of vassalship. In a word, it is international morality that is at stake. Have the signatures appended to a Treaty value only in so far as the signatory Powers have a personal, direct and immediate interest involved?

No subtlety can change the problem or shift the grounds of the discussion. It is in all sincerity that I submit these considerations to the Assembly. At a time when my people are threatened with extermination, when the support of the League may ward off the final blow, may I be allowed to speak with complete frankness, without reticence, in all directness such as is demanded by the rule of equality as between all States Members of the League?

Apart from the Kingdom of the Lord there is not on this earth any nation that is superior to any other. Should it happen that a strong Government finds it may with impunity destroy a weak people, then the hour strikes for that weak people to appeal to the League of Nations to give its judgment in all freedom. God and history will remember your judgment.

Assistance Refused

I have heard it asserted that the inadequate sanctions already applied have not achieved their object. At no time, and under no circumstances could sanctions that were intentionally inadequate, intentionally badly applied, stop an aggressor. This is not a case of the impossibility of stopping an aggressor but of the refusal to stop an aggressor. When Ethiopia requested and requests that she should be given financial assistance, was that a measure which it was impossible to apply whereas financial assistance of the League has been granted, even in times of peace, to two countries and exactly to two countries who have refused to apply sanctions against the aggressor?

Faced by numerous violations by the Italian Government of all international treaties that prohibit resort to arms, and the use of barbarous methods of warfare, it is my painful duty to note that the initiative has today been taken with a view to raising sanctions. Does this initiative not mean in practice the abandonment of Ethiopia to the aggressor? On the very eve of the day when I was about to attempt a supreme effort in the defense of my people before this Assembly does not this initiative deprive Ethiopia of one of her last chances to succeed in obtaining the support and guarantee of States Members? Is that the guidance the League of Nations and each of the States Members are entitled to expect from the great Powers when they assert their right and their duty to guide the action of the League? Placed by the aggressor face to face with the accomplished fact, are States going to set up the terrible precendent of bowing before force?

Your Assembly will doubtless have laid before it proposals for the reform of the Covenant and for rendering more effective the guarantee of collective security. Is it the Covenant that needs reform? What undertakings can have any value if the will to keep them is lacking? It is international morality which is at stake and not the Articles of the Covenant. On behalf of the Ethiopian people, a member of the League of Nations, I request the Assembly to take all measures proper to ensure respect for the Covenant. I renew my protest against the violations of treaties of which the Ethiopian people has been the victim. I declare in the face of the whole world that the Emperor, the Government and the people of Ethiopia will not bow before force; that they maintain their claims that they will use all means in their power to ensure the triumph of right and the respect of the Covenant.

I ask the fifty-two nations, who have given the Ethiopian people a promise to help them in their resistance to the aggressor, what are they willing to do for Ethiopia? And the great Powers who have promised the guarantee of collective security to small States on whom weighs the threat that they may one day suffer the fate of Ethiopia, I ask what measures do you intend to take?

Representatives of the World I have come to Geneva to discharge in your midst the most painful of the duties of the head of a State. What reply shall I have to take back to my people?”

June, 1936. Geneva, Switzerland.

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Related:

UPDATE: At the UN Africa Stands With Ethiopia Amid EU’s Latest PR Stunt

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UNESCO World Heritage Centre, United Nations

Rock-Hewn Churches, Lalibela

The 11 medieval monolithic cave churches of this 13th-century ‘New Jerusalem’ are situated in a mountainous region in the heart of Ethiopia near a traditional village with circular-shaped dwellings. Lalibela is a high place of Ethiopian Christianity, still today a place of pilmigrage and devotion.

A pilgrimage to Lalibela’s churches. (Getty Images)

Getty Images

Getty Images

Brief synthesis

In a mountainous region in the heart of Ethiopia, some 645 km from Addis Ababa, eleven medieval monolithic churches were carved out of rock. Their building is attributed to King Lalibela who set out to construct in the 12th century a ‘New Jerusalem’, after Muslim conquests halted Christian pilgrimages to the holy Land. Lalibela flourished after the decline of the Aksum Empire.

There are two main groups of churches – to the north of the river Jordan: Biete Medhani Alem (House of the Saviour of the World), Biete Mariam (House of Mary), Biete Maskal (House of the Cross), Biete Denagel (House of Virgins), Biete Golgotha Mikael (House of Golgotha Mikael); and to the south of the river, Biete Amanuel (House of Emmanuel), Biete Qeddus Mercoreus (House of St. Mercoreos), Biete Abba Libanos (House of Abbot Libanos), Biete Gabriel Raphael (House of Gabriel Raphael), and Biete Lehem (House of Holy Bread). The eleventh church, Biete Ghiorgis (House of St. George), is isolated from the others, but connected by a system of trenches.

The churches were not constructed in a traditional way but rather were hewn from the living rock of monolithic blocks. These blocks were further chiselled out, forming doors, windows, columns, various floors, roofs etc. This gigantic work was further completed with an extensive system of drainage ditches, trenches and ceremonial passages, some with openings to hermit caves and catacombs.

Biete Medhani Alem, with its five aisles, is believed to be the largest monolithic church in the world, while Biete Ghiorgis has a remarkable cruciform plan. Most were probably used as churches from the outset, but Biete Mercoreos and Biete Gabriel Rafael may formerly have been royal residences. Several of the interiors are decorated with mural paintings.

Near the churches, the village of Lalibela has two storey round houses, constructed of local red stone, and known as the Lasta Tukuls. These exceptional churches have been the focus of pilgrimage for Coptic Christians since the 12th century.

Criterion (i): All the eleven churches represent a unique artistic achievement, in their execution, size and the variety and boldness of their form.

Criterion (ii): The King of Lalibela set out to build a symbol of the holy land, when pilgrimages to it were rendered impossible by the historical situation. In the Church of Biet Golgotha, are replicas of the tomb of Christ, and of Adam, and the crib of the Nativity. The holy city of Lalibela became a substitute for the holy places of Jerusalem and Bethlehem, and as such has had considerable influence on Ethiopian Christianity.

Criterion (iii): The whole of Lalibela offers an exceptional testimony to the medieval and post-medieval civilization of Ethiopia, including, next to the eleven churches, the extensive remains of traditional, two storey circular village houses with interior staircases and thatched roofs.

Integrity

The drainage ditches were filled up with earth for several centuries, before being cleared in the 20th century, and have been disrupted by seismic activity. This has resulted in a severe degradation of the monuments from water damage, and most of them are now considered to be in a critical condition.

Structural problems have been identified in Biet Amanuel where an imminent risk of collapse is possible, and other locations need to be monitored. Serious degradation of the paintings inside the churches has occurred over the last thirty years. Sculptures and bas-reliefs (such as at the entrance of Biet Mariam) have also been severely damaged, and their original features are hardly recognisable. All of this threatens the integrity of the property.

Temporary light-weight shelters have now been installed over some churches and these, while offering protection, impact on visual integrity.

Other threats include encroachment on the environment of the churches by new public and private construction, housing associated with the traditional village adjacent to the property, and from the infrastructure of tourism.

Authenticity

The Rock-Hewn Churches of Lalibela are still preserved in their natural settings. The association of the rock-hewn churches and the traditional vernacular circular houses, in the surrounding area, still demonstrate evidences of the ancient village layout. The original function of the site as a pilgrimage place still persists and provides evidence of the continuity of social practices. The intangible heritages associated with church practices are still preserved.

Watch: 60 Minutes Features Lalibela: A place where faith, mystery and miracles coexist

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Related:

UPDATE: Ethiopia Recaptures World Heritage Site Lalibela From TPLF

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Press Release

Addis Fine Art

Addis Fine Art is proud to present Addis Calling IV, our regular group show featuring new works by a selection of exciting talent across Addis Ababa and the Horn of Africa. This year, Addis Fine Art is proud to introduce the following artists: Eyasu Telayneh, Kerima Ahmed, Micheal Hailu, Wendimagegn Demeke, Yasmeen Abdullah and Michal Mamit Worke.

(Courtesy of Addis Fine Art)

(Courtesy of Addis Fine Art)

(Courtesy of Addis Fine Art)

Featured Artists

Eyasu Telayneh’s paintings are scenes into the mysterious private lives of colors, breaking the rhythm of daily life and offering a fresh new view. He uses rapid cognition to absorb visual elements in his daily life, these observations serving as points of entry for his artistic practice. Telayneh is the winner of the Emerging Painters Invitational 2020 prize. His works have been shown in Alliance Ethio-Francaise, Barnard Gallery in Capetown, and Circle Gallery in Nairobi. He works as a full-time artist at his studio on Entoto mountain.

Michael Hailu’s works question the necessity of war in reaction to the outbreak of recent conflict in Ethiopia. He asks the motivation for violence, if war can be justified and if the instinct for violence is natural or through social conditioning. Michael is currently studying Art Education at Ale School of Fine Art, Addis Ababa University. His works have been exhibited at the Modern Art Museum Gebre Kristos Desta Center and other galleries in Addis Ababa.

Wendimagegn Demeke’s paintings use humor and absurdity to invite viewers to deal with complex interrelationships between technology, data privacy, capitalism, conflict, and power. Wendimagegn Demeke’s works have been shown at the National Museum of Ethiopia, Alliance Ethio-Francaise, Pop up East African artists Shanghai, and Arkane Afrika Artcop22, Morocco. He studied fine art at Entoto TVET College. He works as a studio artist, illustrator and teacher.

Symbolism and dreamscapes are hallmarks of emerging Sudanese artist Yasmeen Abdullah’s (1992) idiosyncratic paintings. The figures in her canvases possess a profound sense of interiority that radiates from their person, and shapes the settings they reside in. Inspired by the Palestinian poet Mahmoud Darwish, Abdullah sees her paintings as a visualisation of his sensitive verses. Taking poetry to paintbrush, Abdullah’s works are rich with simile and symbol – a warming ray of light stands as a pictorial metaphor for hope, and ideas take the form of darting fish. The profound effect is a multi-layered world of image and meaning, which begs the viewer to gaze beneath the surface.

Kerima is a full-time studio artist based in Los Angeles, California. She graduated from the Addis Ababa University School of Fine Art and Design in Painting. Her work celebrates Ethiopian culture, drawing on the traditions of Ethiopian painting. Her works have been exhibited in a solo show at the C Art Gallery, as well as a group show in Seattle. In 2013 and 2014, Kerima’s work was featured at the Ethnic Gallery at the Municipal Tower, Columbia City Art Gallery and Tobya Art Gallery in Seattle.

Michal Mamit Worke, winner of the 2020 Lauren & Mitchell Presser Contemporary Art Grant, is figurative painter. Born in Ethiopia in 1982 she immigrated to Israel on “Moses Operation” in 1984 and currently works and lives in Tel Aviv. Worke explores scenes and people from everyday life. Worke explores the act of painting, seeking to dechipher the gaze and questions the power relations at stake. Worke studied at Shenkar College of Art and has appeared in various group and solo shows across Israel at Herzliya Museum and Eretz Israel Museum.

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If You Go:

Learn more at addisfineart.com.

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Popsugar

Letesenbet Gidey had never run a half marathon before, but [this week], she made a debut to remember. Racing at the Valencia Half Marathon Trinidad Alfonso, Gidey smashed the women’s half marathon world record by a margin of 70 seconds, coming in at 1:02:52 (pending ratification).

It’s the fourth (!) world record now held by Gidey, joining her records in the 5K, 10K, and 15K. She also won a bronze medal in the 10K in Tokyo and has a silver world championship medal in that distance.

As for the half marathon, Gidey was all confidence after her history-making run. “I knew I could run this kind of time as my training sessions in the altitude of Addis Ababa have gone very well,” she said afterward, having held a 4:48 per mile pace during the run. Ruth Chepngetich, who recently won the Chicago Marathon, set the previous half marathon record of 1:04:02 earlier in 2021.

What’s next for Gidey? After the race, she hinted that she’s “thinking of competing at the marathon distance,” though she’s not sure when she’ll debut. After adding yet another world record to her résumé, we can only assume she’ll make a splash in that distance, too.

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The Guardian

They are hidden religious treasures that have been in the British Museum’s stores for more than 150 years, never on public display – with members of the public strictly forbidden from seeing them.

Now hopes have been raised that Ethiopian tabots, looted by the British after the battle of Maqdala in 1868, could finally be returned home following a new legal opinion and an appeal backed by Stephen Fry, the author Lemn Sissay and the former archbishop of Canterbury George Carey.

The wood and stone tabots are altar tablets, considered by the Ethiopian Orthodox Church as the dwelling place of God on Earth and the representation of the Ark of the Covenant. They have, everyone agrees, huge spiritual and religious value for the people of Ethiopia.

A letter has been sent to British Museum trustees signed by supporters including Fry, Sissay, the actor Rupert Everett and the former British ambassador to Ethiopia Sir Harold Walker. It says the museum has acknowledged the sanctity of the tabots and has never put them on display, allowed them to be studied, copied or photographed. “Instead, they sit in the vaults, where they remain over 150 years later, unknown to the vast majority of people of this country.”

It continues: “We believe that today the British Museum has a unique opportunity to build a lasting and meaningful bridge of friendship between Britain and Ethiopia by handing the tabots back to the Ethiopian Orthodox Church.”

A number of attempts have been made by Ethiopia to get the tabots returned but the museum argues it is forbidden by the British Museum Act of 1963 to restitute objects in its collection.

Campaigners sought a new legal opinion that proves, they say, that the tabots can be legally returned.

The opinion, seen by the Guardian, has been drawn up Samantha Knights QC and was commissioned by the Scheherazade Foundation. It points out that the 1963 act has a provision that allows disposal of objects “unfit to be retained” and that can be disposed “without detriment to the interests of students”.

It argues the tabots fall within this category, that they have “no apparent use or relevance to the museum”.

The website has no image of them and only the briefest of descriptions. “As such they are currently and apparently always have been in effect treated very differently to the rest of the collection and could be properly said to be ‘unfit to be retained’.”

On the question of detriment to students, no student is permitted to study them, the document says.

Eleven tabots are in the museum collection; nine can be directly linked to British looting after the Battle of Maqdala in 1868, an event that came about after the Emperor Tewodros II had taken British hostages. More than 500 Ethiopian soldiers were killed and the emperor killed himself rather than be taken prisoner.

Hundreds of objects were subsequently plundered. They are in a number of collections. The V&A, which has Maqdala treasures including a gold crown and a royal wedding dress, has floated the idea of a long-term loan.

The British Museum said in a statement: “These documents need to be reviewed and addressed with full consideration, and more time is required before this can be looked at by trustees.”

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The New York Times

Alemayehu Eshete, a soulful Ethiopian pop singer widely known as the “Abyssinian Elvis” who became a star in the 1960s when a cultural revolution took hold of Addis Ababa, died on Sept. 2…

For years under Haile Selassie’s imperial rule, Ethiopia’s music industry was controlled by the state. Orchestras dutifully performed patriotic songs at government events, while defiant bands played Little Richard songs at night in clubs. It was forbidden to record and distribute music independently.

“All the musicians used to work for the government,” Mr. Eshete said in a 2017 documentary about the era, “Ethiopiques: Revolt of the Soul.” “When they told you to perform, you had to perform. We were treated like average workers, not like real artists.”

But in the late 1960s, as Selassie grew old and the grip of his rule loosened, Addis Ababa experienced a golden age of night life and music, and Mr. Eshete became a swaggering star of the so-called “swinging Addis” era.

The sound that dominated this period was distinct: an infectious blend of Western-imported blues and R&B with traditional Ethiopian folk music. It was typified by hypnotic saxophone lines, funky electric guitar stabs and grooving piano riffs.

As a teenager, Mr. Eshete was smitten with American rock ‘n’ roll, and his idol was Elvis Presley, so when he started singing in the clubs of Addis he imitated his hero. He sported a pompadour and wore big collared shirts as he gyrated onstage.

.“I dressed like an American, grew my hair, sang ‘Jailhouse Rock,’” he told The Guardian in 2008. “But the moment that I started singing Amharic songs, my popularity shot up.”

He was soon enlisted in the fabled Police Orchestra, a state-run band composed of Ethiopia’s finest musicians, and he began playing with the ensemble at government functions in the city. After hours, he found refuge in the underground music scene.

In 1969, the defiant act of Mr. Eshete and a young record shop owner named Amha Eshete (no relation) galvanized the scene.

The acclaimed “Éthiopiques” album series, begun in 1997, ignited international interest in Ethiopian music. Two releases in the series are devoted to Mr. Eshete’s work. (Photo: Buda Musique)

Amha Eshete decided to found a label, Amha Records, to commit to vinyl the Ethiopian pop music that bands were performing in clubs. Few musicians were willing to flout the law with him until Alemayehu Eshete stepped forward and offered to record the funky tune “Timarkialesh,” and Amha then had it manufactured as a 45 r.p.m. single in India.

Read the full article at nytimes.com »

—

Related:

Remembering Alemayehu Eshete: Ethiopian Music Legend Passes Away at 80

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Tadias Magazine

By Tadias Staff

Updated: September 15th, 2021

New York (TADIAS) — As the Ethiopian Community Mutual Assistance Association (ECMAA) celebrates its 40th anniversary this year, the organization announced that it will host its popular annual Ethiopian Day Picnic on September 19th in New York City — marking its first live public event since the pandemic.

In a newsletter ECMAA said the gathering this month is a symbol of our capacity to recover from difficulties and persist as a community. “Resilience and perseverance are not valued highly enough [and] we don’t celebrate managing challenges and still standing and growing,” the press release said. “We will celebrate this and ECMAA’s 40th anniversary at the annual Ethiopian Day Picnic.”

The announcement added:

In 1981, a group of refugees who felt that they could decided to gather and figure out how to help those who’ve newly arrived. In 2021, we’re Ethiopians of significantly varying backgrounds living in the tri-state area still creating a community while we rush and struggle through day to day life in New York City.

We’ll get together as a full community in this large setting for the first time since March of 2020…We celebrate still standing after many ups and downs for ECMAA from its inception, we celebrate still standing as a we face a global pandemic that forced us to separate and yet still grow stronger in support of each other, we celebrate our place of birth or heritage even as it struggles with multiple challenges that can shake us, we celebrate the flowers that still bloom, our children that still grow and our community to keeps working at being a resource to the community. We celebrate as we also mourn the losses our community and our country has sustained. We’re long-distance runners – marathoners who keep going despite the challenges that come our way. We are ECMAA and invite you to come honor our past, celebrate life and solidify our future.

(Photo: Courtesy of ECMAA)

(Photo: Courtesy of ECMAA)

The Ethiopian Day Picnic will take place on Sunday at Sakura Park in Manhattan. Organizers urge participants to be respectful and abide by current CDC guidelines in regards to COVID-19. “Although the picnic takes place outside we advise everyone to maintain social distancing and wear masks when not eating or drinking,” ECMAA said. “We all want to have fun and be safe.”

According to the program scheduled activities at the family-friendly outdoor event include fun and games featuring Sem Ena Werk quiz for adults while children “enjoy some dancing and tunes, catch up, with old friends, challenge the kids to tug-of-war, but make sure you’ve met someone you’ve not met before and have some cake.”

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If You Go:

Ethiopian Day Picnic,
Sunday, September 19, at 2pm in Sakura Park in Manhattan.
More info at www.ecmaany.org

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Clash Music

Ethiopian artist Alemayehu Eshete has died, it has been reported.

Born in 1941 the singer rose to fame in the 60s, matching his Ethiopian heritage against jazz improvisation and soulful appeal.

Performing with the famed Police Orchestra in Addis Ababa, Alemayehu Eshete enjoyed his first hit ‘Seul’ in 1961 before forming his own Alem-Girma Band.

Releasing 30 singles across a 15 year period, Alemayehu Eshete became one of the defining Ethiopian artists of his era – at one point dubbed the Ethiopian Elvis.

Political shifts in the country substantively altered the cultural climate, but a new generation of crate-diggers – spurred on by the Ethiopiques compilation series – embraced his music.

Writing, recording, and touring until the very end, multiple reports from Ethiopia have confirmed the passing of Alemayehu Eshete.

Ethiopia: Popular Ethiopian Music Legend Alemayehu Eshete Dies (Allafrica)

Legendary Ethiopian singer Alemayehu Eshete, 80, died in Addis Ababa on Thursday.

Nicknamed “the Ethiopian Elvis”, the musician died of a heart attack shortly after he was admitted to hospital, bringing to an end a musical career that spanned four different political epochs in the country.

He had, five years ago, undergone a heart surgery in Italy to fix blockages in arteries. This forced him to limit his performances.

Born in 1941, the singer was one of the most popular musicians to emerge in the early 1960s. He also played modern Ethiopian music.

Eshete highly influenced Ethiopian modern music through his outstanding pieces that were loved by many. He was actively involved in Ethio-jazz music from the 1960s.

Compose songs

He was among the first Ethiopian singers to compose songs in English and other foreign languages.

“Temar Lije” or “My Son, You Had Better Learn” is one of his popular songs that motivated many to acquire modern education.

The popular song is still used by Ethiopian parents to discipline and counsel their children, and to raise awareness on the importance of education.

In 2015, the song won an award in Germany.

He also won the Lifetime Achievement Award for his work in Ethiopia. His stylish dress code and hairstyle made him popular among the youth in the 1960s and 1970s.

Eshete was one of the first musicians to record music to vinyl in Ethiopia.

Since his death, his colleagues and fans have continued to send messages of condolence.

Prime Minister Abiy Ahmed said: “I’m saddened to hear that Alemayehu Eshete, a role model for many singers, has passed away.”

“Ethiopia will always be honored in his works. Those who worked for Ethiopia will not die, but will rest in glory,” the Prime Minister added.

Timeless tunes

Selam, a Swedish Independent Cultural Organisation, which has an office in Addis Ababa, also paid tribute to Eshete: “We are deeply saddened by the death of Alemayehu Eshete. Known for his best timeless tunes, ‘Temar Lije’ and ‘Addis Ababa Bete’, Eshete was one of the most popular legendary Ethiopian singers. Our most heartfelt condolences to his family and friends”

Born and raised in Jimma, Eshete who was fascinated by Hollywood films. He attempted to go to Hollywood with his friend at a younger age.

He started his journey to Hollywood with his friend with a hundred birr ($ 2) he picked from his father’s pocket. However, before he could achieve his goal, he was caught at Eritrea’s Massawa Port and sent back home. He loved Rock music.

He played much of the English vocals of American vocalists Pat Bonn, Bill Haley and Elvis Presley.

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Tadias Magazine

By Tadias Staff

Updated: August 31st, 2021

New York (TADIAS) — This week Jessica Beshir’s award-winning new film ‘Faya Dayi’ will open at Lincoln Center in New York City.

The two-hour documentary (Amharic, Harari, and Oromiffa with English subtitles), which was released last year to enthusiastic international reviews, is a visual poetic reflection by the U.S.-based Ethiopian Mexican filmmaker on the old ceremonies and process of consuming one of Ethiopia’s most profitable farm products, khat (ጫት ch’at), a leaf chewed for centuries for religious meditations.

(Courtesy photo)

(Courtesy photo)

According to the press release Director Jessica Beshir will participate in Q&As following the film’s showing on Friday, September 3rd and Saturday, September 4th.

The announcement notes:

In her hypnotic documentary feature, Ethiopian-Mexican filmmaker Jessica Beshir explores the coexistence of everyday life and its mythical undercurrents. Though a deeply personal project — Beshir was forced to leave her hometown of Harar with her family as a teenager due to growing political strife — the film she returned to make about the city, its rural Oromo community of farmers, and the harvesting of the country’s most sought-after export (the euphoria-inducing khat plant) is neither a straightforward work of nostalgia nor an issue-oriented doc about a particular drug culture. Rather, she has constructed something dreamlike: a film that uses light, texture, and sound to illuminate the spiritual lives of people whose experiences often become fodder for ripped-from-the-headlines tales of migration. A Janus Films release. A New Directors/New Films 2021 selection.

For in-theater screenings, please review the Film at Lincoln Center in-theater safety and health policies here.

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For showtime and dates please visit filmlinc.org.

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Earmilk

Every so often, an album comes out that feels wholly complete, timeless, and magical. Very few albums are on my list of “unskippables”, and Alt Therapy by Canadian-Ethiopian singer-songwriter Emanuel is one of them. A cathartic listening experience that is moving, intentional, and worthy of being played from cover to cover, Alt Therapy is a new album from the heart of Canada’s blossoming R&B and soul scene that every music-head from the North and beyond has their eye on.

Conceived from a basement in the outskirts of Ontario, Emanuel’s music has travelled across the globe, touching the ears and hearts of millions and even receiving a stamp of approval from prominent figures in entertainment like Kardinal Ofishall and Idris Elba. EARMILK caught up with the prodigy to discuss his creative process, the album’s reception, and his plans for taking “the damn thing worldwide”.

Emanuel took us on the biggest pilgrimage of his musical career yet: the inception his first body of work. With a release date slated for the onset of the pandemic, there were both opportunities and risks in the timing of Alt Therapy’s release. Yet, at a time when he couldn’t play any events or connect with fans on tour, Emanuel was able to create an intimate listening experience that millions of fans found solace in. His very first single, “Need You” received over 6.4 million streams on Spotify alone, propelling his talents to the front and center of playlists and billboards, and marking him as an artist who needed to be heard.

A fan of both the music and the album’s seamless rollout, I inquired about how the album came to be. “Alt Therapy was an album born in 2017 in a basement in London, Ont. From that date till the end of 2019 when I submitted the project, everything was relatively spontaneous. I am always very intentional about how I want my music to sound, I feel when creating an album, you have to plan all you can and pray lightning strikes…” Emanuel details. “I’m not sure how much you can plan for. The whole thing feels like a series of fortunate and unfortunate [events] with abounding grace that leaves me exactly where I need to be.” And it seems like Emanuel is indeed exactly where he needs to be. With the kind of reception most new artists could only dream about, Emanuel has skyrocketed from London Ont.’s best kept a secret, to one of the country’s brightest musical gems.

But the come-up was anything but hasty. Emanuel and his team have been grinding behind the scenes for years. Before “Need You”, Emanuel was building up a devoted circle of supporters, sharing moody tunes on his YouTube channel, and wooing fans at local shows with his insane runs. But Emanuel wanted his words to reach beyond the walls of concert venues, and when it came down to releasing his debut record, Emanuel decided to entrust Universal Music Canada for its official debut, explaining, “I believe it became a question of growth and being able to do what it takes to reach a larger audience. I understand that it takes a village to truly do something great. and I signed in the hope of finding that village in Universal Music Canada.” And it seems he played his cards right. Within months, Emanuel became a multi-million streaming artist who was quickly picked up in the States by Motown Records.

And yet, despite his obvious successes, the numbers and co-signs aren’t what makes Emanuel a class-act––it’s the heart behind his heart. “I want the music to mean self reflection for people,” Emanuel shares. “I want people to recognize Alt Therapy as healing music. Like some of the great musicians of recent past, I want the music [I make] to mark a positive shift in the collective consciousness of the people that listen to the music.” Like the album’s watercolor paintings, each song is handcrafted with artful mastery. Highly in tune with the emotions society has grappled with in current times, Alt Therapy’s lyrics have the power to uplift and unite. Tracks like “I Need A Doctor” embody the angst that comes with navigating life’s uncertainties, while “Black Woman” is a heartfelt ode of appreciation to Black women everywhere.

It’s one thing to take in the sonic excellence of the record and another to appreciate Emanuel’s thoughtful pen game: “My songwriting process is really simple. I love to begin a song by just listening to instrumentation or a beat live off the floor. When I find something that brings me feeling, I begin to freestyle. when I hear something I like, I track it and refine,” Emanuel shares.“I think the hardest records are the ones about subjects I might not be willing to be honest with myself about. There’s an internal struggle that ensues, and a song like “Magazines” is born.” With a remarkable gift of transporting his listeners into his world, Emanuel’s ability to tap into the universal sentiments of surrender is a rarity, and perhaps that’s the reason why so many listeners have found comfort in his music.

Alt Therapy is the perfect crafting of heart, spirit and soul. When praising artists who create with intentionality, Emanuel must be in the conversation. A true storyteller, he’s mastered the art of living and creating in bold colour, and inspiring us to do the same.

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Hyattsville Wire

Meet the Pro Soccer Player Who Grew Up in Hyattsville

Maryland Bobcats FC midfielder Sammy Kahsai got his start in Hyattsville.

Born in Ethiopia, Kahsai moved with his family to Hyattsville at age 7, playing soccer at Hyattsville Middle School and Northwestern High, where he led the team to its first county and regional title and state semifinal appearance since 1995.

“He was so talented, but there weren’t enough, or any, resources to help him elevate to the next level,” a representative for Goalden Generation Management who works with Kahsai, told the Hyattsville Wire. “So he had to take the long route using his skill and old fashioned grit, to hop from level to level.”

After graduating in 2013, Kahsai played for D.C. United’s youth academy, and broke records as a freshman at Washington Adventist University. He was named top midfielder while playing at University of Maryland, Baltimore County, where he graduated.

In 2019, he signed his first professional contract with the Pittsburgh Riverhounds, a second tier team, and the next year he moved to the Maryland Bobcats FC, a tier three team with the National Independent Soccer Association based in Montgomery County.

SAMUEL KAHSAI. (NATIONAL INDEPENDENT SOCCER ASSOCIATION)

Goalden Generation Management, which represents Kahsai, has put together a short documentary about his pro soccer career. You can see a trailer on their Instagram here.

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Reuters

Ethiopian Selemon Barega wins men’s 10,000 metres in all-Africa podium

Ethiopia’s Selemon Barega sprinted the last lap to beat world record holder Joshua Cheptegei of Uganda and win a shock Olympic Games gold medal in the men’s 10,000 metres on Friday.

The 21-year-old Barega powered down the home straight to cross the line in 27 minutes 43.22 seconds, ahead of world champion Cheptegei in 27:43.63.

Jacob Kiplimo, the youngest ever Ugandan Olympian when he ran the 5,000 heats in Rio as a 15-year old, posted a time of 27:43.88 to secure bronze in the first athletics medal event of the Games.

Barega, the 2019 5,000m world championship silver medallist who set the second fastest 10,000 metres time of the year in June, was applauded by the Ethiopian delegation as he smiled broadly on a victory lap with his country’s flag draped around his shoulders.

Cheptegei said he was experiencing mixed emotions.

“I have two feelings. “One is that I’m very happy to have won an Olympic silver medal today,” he told reporters. “But the other side of me is really not satisfied with the result because I came here expecting to win a gold.”

Cheptegei also admitted that 2021 had been tough for him.

“This year was really a very difficult year for me in terms of racing,” he said. “It’s the year that I have lost all the focus, all the belief. There was a lot of pressure and I was feeling it in every moment.”

Uganda’s Stephen Kissa acted as the early pacemaker before dropping out a little over halfway through the race.

“We had a plan for me to go ahead to make it a fast race,” Kissa told reporters. “I thought they were going to follow me but when I looked round they were not there.”

Cheptegei led briefly before dropping back into the pack and Barega seized his chance, moving among the leaders in the last third of the race before hitting the front with a surge on the last lap to secure his surprise victory.

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Related:

Ethiopia Is Back on Top As Selemon Barega Is Golden in 2020 Olympic 10K Final

Tokyo Olympics: Men’s Steeplechase Gold Medal Odds Favor Ethiopia’s Getnet Wale

Ethiopia at Tokyo Olympics: How to Watch Track and Field Live

On Twitter, Cryptocurrency Fans Cheer Ethiopia at Tokyo Olympics

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MET Museum

Known as the father of Ethio-jazz, composer and multi-instrumentalist Mulatu Astatke rose to international fame in the 1970s and 1980s with his unique mix of American jazz and Ethiopian music, drawing comparisons to jazz giants Duke Ellington and John Coltrane. Forced off the road for a time due to the political situation in his homeland, he came roaring back in the 1990s, recording and touring as never before.

Astatke’s music begins and ends with improvisation and is the product of fearless experimentation. Experience the sounds, rhythms, and textures of this pioneer of Ethiopian jazz in The Temple of Dendur in The Sackler Wing in a performance recorded on September 9, 2016, that JazzTimes called “a spirited and entrancing set that spanned his career and spotlighted his gift for shifting fluidly between intricate, sinuous melodies and airy, atmospheric grooves.”

Watch on Facebook or YouTube. Note: No login required.

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If You Attend:

Digital Premiere—Mulatu Astatke at the MET
TUESDAY / JULY 27
7:00–8:40 P.M.
www.metmuseum.org

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BOTWC

A royal couple just launched a new media company to tell stories uniting the Black diaspora.

Prince Joel Makonnen, the great-grandson of the last emperor of Ethiopia, Haile Selassie I, and his wife, Princess Ariana Makonnen, are on a mission to unite the Black diaspora, launching their new media company, “Old World//New World (OWNW).” Inspired by their own story, the media and entertainment company is dedicated to storytelling across various forms, focused on sharing powerful stories that unite and inspire the global Black diaspora.

The name of the couple’s Los Angeles-based media company is a homage to their wedding theme and echoes a sentiment they hope to bring to their projects.

“Ariana coined this statement during our wedding…old-world aristocracy meets new world charm…and it stuck with us. And so we thought the concept…which represents ourselves…we [thought it would be good for] all of our projects to have that same theme, with Africa and the diaspora coming together,” Prince Joel told Because Of Them We Can.

“We’ve always kind of thought of our relationship as a cool Old World/New world mix, taking what’s great, the history and tradition of the old world, and combining it with the innovation and freedom of the new world and we thought through a while about what we wanted to do next…and we decided that a media company would be close to our heart,” Princess Ariana added.

The company officially launched in 2018, focusing on acquiring projects and partnerships that aligned with its mission. Their first project, a children’s book entitled “Last Gate Of The Emperor,” was co-authored by HIH Prince Joel in partnership with Kwame Mbalia. The two are both Howard University grads and came together to tell a story for young children rooted in history that also had an Afrofuturist element.

“Last Gate Of The Emperor” follows a young 12-year-old Ethiopian boy who lives in a distant future, ultimately discovering his royal lineage, which gives him the power to save his city and his people. The story is loosely based on Prince Joel’s life, exploring themes of resilience, family, and bravery with a bit of fun and a whole lot of sci-fi.

“It was definitely inspired by my own life, growing up as a prince in exile. When I was born, there was a really bad revolution that happened in Ethiopia, and we happened to be outside of the country, so my family just couldn’t go back. As a child, I had to struggle, understanding what that meant. My family had taught me all this great legacy, but then also it impacted life, and we just kind of had to survive. And so I wanted to share that experience but in a children’s format,” Prince Joel said.

The book has already hit number one on Amazon’s bestsellers, and the Makonnens have no plans on slowing down. The mission of OWNW is to curate compelling stories that give new narratives to Africa and the diaspora, building a bridge to unite Black people across the globe and pushing positive Black stories to the mainstream.

“With the company, the goal is to tell powerful Black stories… Stories that are always from an empowered place, a place of agency, and it doesn’t mean that traumatic things don’t happen or the history is not complicated, but I think there is always a way to tell a story…that you come through trauma, that you’re resilient, even if it does happen. And then jointly, to really connect the diaspora in a way that we haven’t seen before,” Princess Ariana said.

Ideally, OWNW is looking to build inroads that help Africa feel more like home for those in the diaspora. While people are learning more and more every day, Africa still feels like a faraway concept for many Black people in the diaspora. Through these stories, the Makonnen’s are hoping to help people see themselves more and more.

In addition to the book, more projects are coming down the pipeline, including a biopic, a television series centered around the Ethiopian monarchy, and a romantic comedy based on the Prince and Princesses’ love story.

Currently, they’re looking to connect with all storytellers who may be interested in getting their projects out to the world.

To purchase “Last Gate Of The Emperor,” click here. You can also learn more about “Old World//New World” via their website or follow them on Instagram.

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MIT News

Minutes before finding out he’d been accepted to MIT, Mussie Demisse ’21 was shaking Governor Charlie Baker’s hand. Demisse was at an awards ceremony at the Massachusetts State House, being honored as one of the 2018 “29 Who Shine,” a select group of graduates from the Commonwealth’s higher education system who’d made an impact at their institution and in the community. For Demisse, Bunker Hill Community College, where he’d spent the previous two years studying computer science, represented both. “I really matured there,” he says, explaining that, at one point, he’d held three jobs at the college while also serving on student government and participating in various academic clubs.

Bunker Hill was also where Demisse got his first peek at the rigorous yet vibrant nature of an MIT classroom and began picturing himself in such an environment. In a linear algebra course, Demisse’s professor, Jie Frye, would regularly give out challenging quizzes that piqued his curiosity. “As kind of a motivator she would tell us this is the same quiz that MIT students take,” he recalls. “They’re learning the same material, so don’t beat yourself up, be proud of what you’re able to accomplish.” Demisse asked where his professor had gotten the MIT quizzes.

The answer wasn’t a secret connection, it turned out, but something called MIT OpenCourseWare (OCW). “She was one of my favorite professors at Bunker Hill,” Demisse says. “She emphasized that it’s possible for us to pursue our dreams — which isn’t as much of a thing, I think, in community college. There’s a lot of stigma, and I feel like that sometimes keeps people from applying to things. She was very intentional about making sure that we knew we could, and we should try.”

Demisse says OCW wasn’t the first time his interests had led him to MIT. But it was the final push he needed to apply to the school that he’d long set his heart on. Demisse grew up in Ethiopia, where he’d been involved in the Ethiopian Space Science Society, and when he arrived in Boston after high school, that childhood passion brought him to the MIT Astrophysics Colloquia. Learning that the colloquia welcomed members of the public to their weekly events, Demisse attended for a few months. Though he admits that he could understand only the first 10 minutes or so of every talk, he says, “I saw a part of MIT that was very much about advancing knowledge — done in such a supportive and cooperative way that I thought to myself, ‘Wow, it would be really cool if I could be a part of this community.’”

After the materials on OCW showed him he had not only the drive but the aptitude to turn this dream into a reality, Demisse began researching initiatives like MIT D-Lab, the lab dedicated to designing solutions for tackling poverty, and the Undergraduate Research Opportunities Program (UROP). “That’s when I said, it must be MIT,” he recalls.

Demisse graduated from MIT this spring with a bachelor’s degree in electrical engineering and computer science. But before coming to Bunker Hill and embarking on the path that would lead him to MIT, Demisse longed for opportunities to apply himself in the ways that his linear algebra professor described — to turn his aspirations into actions.

Growing up, Demisse had witnessed the devastating effects of global inequalities like poverty. But Ethiopia was also, he explains, where he’d learned that, when you recognize a problem, it falls upon you to do something about it. When it came time to choose his major at Bunker Hill, Demisse had no shortage of motivation. He knew it’d have to be something that would allow him to serve not only the Ethiopian community but underprivileged communities around the world that share similar challenges. Computer science struck Demisse as the perfect intersection of his goals, interests, and abilities. “It’s kind of a claim of responsibility for the issues that I’ve lived through or seen people that I care about go through,” he says.

Through OCW, Demisse found another outlet to channel this desire to help others. “I became somewhat of an evangelist for OCW,” he says, remembering reaching out to friends in Ethiopia who were also looking for resources to make a difference in their communities.

“I especially targeted the ones that felt like they wanted more, but couldn’t get it,” Demisse says. “And it really made me happy to do that because this is the same complaint I had when I was back home — you acknowledge the problems you know you want to invest yourself in, and you know you can build the discipline, but sometimes you feel like there’s nowhere to exert that discipline, that motivation. And I think OCW and similar platforms really allow you to build your capabilities to do what you can to solve the problem that you think is most important.”

Demisse also credits OCW with preparing him for life as an MIT student. “I think professors at MIT have this way of highlighting how hundreds of years of knowledge was built out — this focus on intuition — in order for students to project into the future, for students to be the next discoverers,” he observes. “And in OCW I saw this. I began to grasp the importance of knowing more than just the facts. Coming to MIT, this was fostered so much more.”

At MIT, Demisse joined the African Students Association, where he found another community to inspire him. He participated in UROP, completing a project with MIT D-Lab, the lab that Demisse had dreamed of joining years before. He’s taken an entrepreneurship class that has given him the tools to think about building social ventures in Ethiopia. Demisse also joined the MIT OpenCourseWare Faculty Advisory Committee as an undergraduate representative.

Bringing insights from his own experiences to the committee, Demisse advocates for more student involvement in the future of OCW. If the goal of OCW is to capture and share with the world as much of MIT as possible, he explains, then engaging the student community is paramount. Demisse also emphasizes the need for OCW, and MIT more broadly, to continue pioneering the open education resources movement. Now that he’s graduated he plans to continue working with OCW, focusing on increasing collaboration with community colleges and increasing access to universities in Africa.

Ultimately, Demisse sees open education resources as a way to bring people hope — the same hope he felt when he opened the email from MIT Admissions offstage at the State House and saw the word “congratulations.”

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Seattle Times

For this special summer section, we asked an array of notable locals what they are looking forward to getting out and going/seeing/doing.

Gabriel Teodros, KEXP Host
& Associate Music Director

This Southend Seattle native and radio host says his neighborhood’s residents who come from many parts of the world have taught him about resilience, and that home isn’t always a place. “Sometimes home is something you carry with you, sometimes you find it in people, and sometimes home is a memory.” He loves seeing all the ways his neighbors hold on to their culture and find new ways to survive and thrive with each other, rooted in the strength of all the places they come from.

The Station

A coffee shop on Beacon Hill that in many ways is the heartbeat of our community. Throughout the pandemic they’ve lent space for people to drop off and pick up food as they need, a shining example of what mutual aid looks like. So many of my fondest summertime memories in recent years also involve gathering with people around coffee at The Station.

Musang

Amazing Filipino food on Beacon Hill. Melissa Miranda opened her restaurant right as the pandemic hit, and she and everyone she works with were able to pivot and turn the restaurant into a community kitchen that gave free food to people, with no questions asked. But the food is AMAZING, and the space looks beautiful, but with COVID we have yet to actually sit inside to eat a meal.

Communion

I have loved Chef Kristi Brown’s food for the last 20 years, since being delighted anytime That Brown Girl Catering was at an event, or any time I was lucky enough to catch Kristi’s hummus stand at the local farmer’s market. Seeing her open her first restaurant in the Central District at the historic Liberty Bank Building is a dream come true, and like Melissa at Musang she was giving away free meals as a community kitchen for so many months during the pandemic. They both are heroes for real.

Cafe Avole

A beloved Southend institution that is now relocating to the Liberty Bank building next to Communion. I feel like I see my whole self anywhere that celebrates both Ethiopian culture and Hip-Hop culture, and Cafe Avole has been like a second home for since they first opened up. They have had the cafe and restaurant closed for most of the pandemic, but I’m so excited to see them open a new space and I can’t wait to get some of the best ful in the city again.

Cafe Melo

This is a new cafe recently opened by the hip-hop duo Fifth House (Hanan Hassan and Toni Banx), just one block east of the Liberty Bank Building. Anytime I see musicians I love open a space for community to gather around food and coffee I’m all the way in. And I hear the juices are amazing.

Hood Famous

Speaking of musicians I love opening spaces, Hood Famous is founded by Chera Amlag in partnership with her husband, Geo of Blue Scholars. Anytime I’ve been in to Hood Famous before the pandemic, it was a beautiful community gathering right in the heart of the International District. Also, I miss the buko pie so much. Amazing desserts all around, really.

Estelita’s Library

Estilita’s used to be on Beacon Hill, and I loved catching Edwin in there at random for conversations and seeing his incredible book selections. They are moving to a new space in the Central District, and I can’t wait to visit and see what grows

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Tadias Magazine

By Tadias Staff

Updated: June 24th, 2021

New York (TADIAS) — Circus Abyssinia will return to the U.S. next year with a new show inspired by Ethiopian Olympic legend Derartu Tulu.

The Children’s Theatre Company in Minneapolis, Minnesota announced that its 2021-22 season features the world premiere of the Ethiopian group’s latest performance.

“We are thrilled to bring you a season that will inspire you, that will delight you, that will take your breath away and start extraordinary conversations,” the theatre’s artistic director Peter C. Brosius said in a news release. “We have been waiting for this moment and so look forward to seeing you all soon.”

According to the announcement, the show titled Circus Abyssinia: Tulu is “a celebration of athleticism that features feats of speed and flight, high-flying acrobatics, hand balancing and juggling backed by the beat of Ethiopian music. It’s inspired by the story of Ethiopian runner Derartu Tulu, the first Black African woman to win Olympic gold.”

(Photo: Circus Abyssinia. Courtesy of Bibi and Bichu Ltd)

Meanwhile, Circus Abyssinia announced on Twitter that they will preview their show this week at Brighton Fringe, the largest annual arts festival in England and one of the largest fringe festivals in the world.

We’re SO excited to officially announce the debut of our new show at this year’s @brightonfringe! We’ll be performing TULU.

– @CircusAbyssinia

Circus Abyssinia Promo from Circus Abyssinia on Vimeo.

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Tadias Magazine

Updated: June 16th, 2021

STATEMENT FROM THE FAMILY OF GETATCHEW HAILE:

Prof. Getatchew Haile passed away on June 10, 2021 in New York City after a long illness.

Prof. Getatchew’s groundbreaking achievements in Ethiopian Studies reshaped the field, and his dedication to his beloved Ethiopia was a source of global renown. He was widely admired for his courage and resilience in the face of significant personal challenges, while his generosity of spirit and joyful embrace of life endeared him to devoted family, friends and colleagues across the world. He leaves behind an enormous legacy and an equally enormous void that will be deeply felt.

Getatchew was born in rural Shenkora, Ethiopia in 1931. His was a modest upbringing that encompassed a period of upheaval and homelessness resulting from the Italian occupation. He was eventually able to enroll at Holy Trinity Spiritual School in Addis Ababa, and at the conclusion of secondary school went abroad for further study. He received a B.A. (1957) from the American University in Cairo, a B.D (1957) from the Coptic Theological College in Cairo, and a Ph.D. (1962) from the University of Tubingen, Germany (where he changed the spelling of his name from “Getachew” to “Getatchew” to ensure proper pronunciation by German colleagues). Upon his return to Ethiopia in 1962, he served briefly in Ethiopia’s Ministry of Foreign Affairs and then taught for ten years in the Department of Ethiopian Languages and Literature at Haile Selassie I (now Addis Ababa) University.

In 1964 he married Misrak Amare, and the two soon started a family. They settled into a life of their choosing as eager members of a generation motivated to advance Ethiopia during a period of post-colonial excitement across Africa.

Their plans were upended in 1975, after the Derg came to power in Ethiopia. Getatchew served as a member of the short-lived civilian parliament, representing his province of Shoa, and in that role was an outspoken advocate for democracy and the separation of church and state. In October 1975, Derg soldiers attempted to arrest him for those views. In that attempt, he was shot and nearly died. Though he survived, he was left a paraplegic.

Thanks to the intervention of many friends, Getatchew left Ethiopia to receive medical care in England, and in 1976 made his way to the Hill Museum & Manuscript Library (HMML) at Saint John’s University in Collegeville, Minnesota. At Saint John’s, he became Regents Professor of Medieval Studies and Curator of the Ethiopia Study Center at HMML, where he was a valued leader and a beloved friend and colleague to many over four decades. Getatchew’s vast knowledge, collegiality, and numerous publications, most notably the volumes of the Catalogue of Ethiopian Manuscripts Microfilmed for the Ethiopian Manuscript Microfilm Library, created an impact on his field rarely witnessed in any discipline. His enormous contributions were well recognized by the wider academic community. Significant awards included the prestigious MacArthur fellowship (1988) (the “MacArthur genius grant”), the first Ethiopian and first African to receive the award; the British Academy’s Edward Ullendorff Medal (2013); election as corresponding member of the British Academy (1987), again the first Ethiopian or African to receive that honor; and board membership of many prestigious academic journals.

Outside his academic work, he was a tireless advocate for Ethiopia through countless articles, speeches and interviews, and as publisher of the magazine Ethiopian Register. He received many awards for this work, for example as one of the first recipients of the Society of Ethiopians Established in Diaspora’s (SEED) annual award (1986) in recognition of his great effort on behalf of Ethiopian culture and history and his struggle for human rights and the recipient of the Bikila Lifetime Achievement Award (2018). He was also a dedicated member of the Ethiopian Orthodox Tewadeho Church which he served in many capacities. Getatchew never let the challenges and constant pain of paraplegia stop him from full participation in life’s pleasures. He always said “yes” to every proposal, from travel for academic conferences to trips to visit family to sunset drinks on the dock of his beloved Minnesota lakeside home. He always answered calls for help and touched many lives as a result. He took joy in the successes of colleagues and mentees and burst with pride at the accomplishments of his children and grandchildren. He appreciated beauty both natural and manmade (his Amharic penmanship was legendary). He was sentimental and cried at graduations, weddings and sometimes for no reason at all. He continually made new friends of all ages and from every conceivable background. Even in his final months, as he was slowly losing his fight against the inevitable, time with him left a visitor energized and uplifted. He was joyful to the end.

In October 2016, Getatchew and Misrak moved to New York City to be closer to their children and grandchildren. From his office in New York, Getatchew continued both his scholarly work and his advocacy for Ethiopia. His final speeches and interviews were given over Zoom – appropriate for a man who loved using the latest technology. He completed his final book earlier this year, and its posthumous publication will be fitting final punctuation to an extraordinary career.

If he had one regret, it is that he was not ever able to return to Ethiopia since departing in 1975. Among immediate family Getatchew is survived by his wife Misrak, his six children, Rebecca (Jean Manas), Sossina (Jeffrey Snyder), Elizabeth (Nephtalem Eyassu), Dawit (Tracy), Mariam-Sena and Yohannes, and ten grandchildren. He held his sisters in-law Hirut Amare and Martha Amare and his niece Teyent Germa especially close.

Getatchew was a deeply religious man, and in recent weeks he let it be known that he was ready to meet his Maker with the words of St. Paul in mind: “I have fought the good fight, I have finished the race, I have kept the faith”. Yes, beloved husband, father, Ababa, brother, uncle, friend, colleague, mentor, our Wondim Tila, ye Shenkora Jegna, you have.

Prayer services will be held on Thursday, June 17, 2021, at Debre Selam Medhanealem Ethiopian Orthodox Tewahedo Church, 4401 Minnehaha Ave S, Minneapolis MN 55406.

Funeral services will be held on Friday, June 18, 2021, at St. John’s Abbey Church, Collegeville, MN, 56321. Visitation from 9:00-10:30am, followed by the service at 10:30am. In lieu of flowers, memorial gifts may be made to the Hill Museum and Manuscript Library, Saint John’s University, Collegeville, Minnesota (www.hmml.org) or to The Getatchew Haile Scholarship Fund at Ethiopia Education Initiatives (www.ethiopiaed.org), whose first project is the Haile-Manas Academy in Debre Birhan, Ethiopia.

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Elle

Liya Kebede Continues Lemlem’s Sustainability Mission With H&M

Some people were born into entrepreneurship, others planned for it. Then, there’s Liya Kebede who considers herself an “accidental entrepreneur.” For most international supermodels, you can almost predict their trajectory—supermodel status, then brand ambassador, then beauty brand or clothing line will follow suit. But Kebede’s path wasn’t that clear cut. When she refers to herself as an accidental entrepreneur, she truly means the launch of her brand Lemlem was a mere coincidence birthed from a stroll through an Ethiopian market street.

“[Lemlem’s] designs share the story of the art of handweaving and amazing talent, diversity, and inspiration to be found in Africa,” she tells ELLE.com via email. During a walk through the Ethiopian market, Kebede noticed a group of traditional weavers struggling to sell their hand-woven garments. Given the name—an Amharic expression that translates to “bloom” and “flourish,” Kebede used her own money to build her team from the ground up to help the weavers do exactly that. Collaboration has been central to the brand’s DNA from its genesis, from employing weavers to combine traditional techniques and Western style, to designer collabs with Moncler, to Kebede’s latest trick: an H&M collection.

Launching today, May 6, in the US and Canada, Lemlem x H&M continues the mission-driven story of celebrating artisanship, creating job opportunities for traditional weavers across the continent. The collection features warm-weather staples (crop tops, caftans, dresses, jewelry and more) that marry H&M’s trend-forward aesthetic with Lemlem’s timelessness, doused in summer brights like yellow, orange, blue, and white. What’s more, H&M will donate $100,000 to the Lemlem foundation to continue providing opportunities for women artisans.

Ahead, Kebede talks her H&M designer collab, finding joy during a pandemic, and advice to “accidental entrepreneurs” like herself.

Joy was hard to find in the past year. How have you been making sure to celebrate joy in your life?

It has been a complicated year but also a time of reflection and learning. And I have found true joy in seeing the ways people have reached out to old and new friends offering support and caring for one another in this time.

A lot of clothing brands were birthed as a solution to a larger problem in fashion. What would you say was the problem Lemlem was created to fix?

Lemlem was created to share the best of the craftsmanship I grew up with at home in Ethiopia – and to help the incredible community of artisans there. That’s what motivated me and it’s the story of Lemlem. I never thought about having my own brand until I suddenly saw it as a solution to create sustainable jobs so traditional weavers from my country could make a good living doing what they love, channeling their incredible skill into the beautiful, modern collections that we sell around the world.

Where does the name Lemlem come from?

Lemlem means to bloom and flourish in my native Ethiopian language, Amharic. When our designer at Lemlem and I were first brainstorming – this name popped off the page at me immediately. Not only did it so perfectly reflect our story and our goals, but it was also a nickname my family used for my daughter when she was little.

How does the H&M x Lemlem collection continue this story?

The collaboration was about combining things we both love to create a joyful collection of beach and swimwear and accessories using sustainable materials.

When H&M approached you about this collaboration, what was the most important thing you wanted to bring to this collection?

From the start, we wanted to make a joyful collection that reflected the story and spirit of Lemlem– and this took on extra significance as we designed this together through the pandemic. We want people to jump to get every piece and have great times wearing them out and making new happy memories as we get out into the sun again.

Why did this collaboration make sense to you?

H&M has been at the forefront of doing cool collaborations with brands for years. So for Lemlem, it was a very exciting proposition to become a part of this. And we appreciate H&Ms incredible global reach. To be able to introduce our brand to the H&M community is a wonderful opportunity.

Where did you draw inspiration from this time around?

The beauty and strength of sisterhood—embracing things that connect rather than separate us—was the central idea that very much inspired me while designing the collection and the campaign.

What was it like designing in collaboration with a huge retailer like H&M versus how you operate on your own?

It was an incredible experience working with H&Ms teams and learning about their processes. When we first started planning back in 2019 I imagined that we would be in a design studio together, brainstorming, looking at fabrics, and fitting together. Designing the collection together virtually during Covid called on our creativity in a different way. We drew from our experience at Lemlem bridging the distance to work closely with our partner weaving workshop in Ethiopia. In the end, I’m so happy and proud of the group effort and what we were able to create.

What is the Lemlem x H&M guide to lounging?

Keep it loose! I love to size up and wear the trousers from our collection with a big shirt or caftan. That’s my repeat look at home.

Read more at elle.com »

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Related:

Vogue: Liya Kebede & Her Daughter Bring A Touch Of Ethiopia’s Artisanship To H&M

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Billboard

Motown’s Ethiopia Habtemariam Is Ready to Fully Execute Her Vision: ‘Stay Tuned

When Ethiopia Habtemariam was appointed chairman/CEO of Motown Records in March, she became the third woman — and only the second one of color — ever to hold the title at a major label. Her ground-breaking appointment also signaled a full-circle moment for Motown: It is once again a stand-alone label, with Habtemariam reporting directly to Universal Music Group (UMG) chairman/ CEO Lucian Grainge. (Previously, she reported to Capitol Music Group chairman/CEO Steve Barnett, who retired at the end of 2020.)

Founded by Berry Gordy in 1959, Motown achieved unprecedented mainstream success through standard-bearers such as Smokey Robinson, The Supremes, Marvin Gaye, Stevie Wonder and The Temptations. Over the years, its roster evolved to include The Jackson 5, Lionel Richie, The Commodores, Rick James, Boyz II Men, Erykah Badu and India.Arie.

Since overseeing Motown’s move from New York to Los Angeles as the label’s president in 2014, Habtemariam, 41, has led entrepreneurial ventures such as the label’s 2015 alliance with Atlanta-based Quality Control, which has yielded hits by Lil Baby, Lil Yachty, Migos, City Girls and Layton Greene. Motown is also home to Blacksmith Recordings (Ted When, Vince Staples) and Since the 1980s (Asiahn, Njomza) as well as Erykah Badu, Kem, Tiana Major9 and Nigerian star Tiwa Savage.

During Habtemariam’s almost seven years at the label, Motown has logged 28 top 40 songs on the Billboard Hot 100 from Lil Baby, Migos, Ne-Yo and others, as well as 28 top 40 albums on the Billboard 200, including projects from Erykah Badu, Kem, Lil Yachty, City Girls and Migos.

Motown’s market share has risen, too, growing from 0.4% in 2017 to 0.59% in 2020 to 0.85% so far this year, thanks to the success of Lil Baby’s My Turn. The Grammy Award-nominated rapper’s second album closed out 2020 as the most popular album of the year in the United States, with 2.63 million equivalent album units, according to MRC Data.

What’s significant about the label’s market-share growth in 2020 and 2021 is that it is largely attributable to recent releases. In the past, catalog has driven Motown’s performance, while current market share — essentially the performance of music released in the 18 months prior to the measurement period — averaged 0.14% from 2015 to 2019, according to Billboardcalculations based on MRC data. In 2020, however, Motown more than doubled that number to 0.32%, and as of mid-April 2021, its current market share was just shy of 1%.

Before joining Motown, Habtemariam began pushing against the glass ceiling in music publishing. She took her first full-time job in the industry in 2001 at Edmonds Publishing, where she worked as a creative manager. She moved to Universal Music Publishing Group in 2003, where she signed Justin Bieber, J. Cole and Chris Brown, and rose to president of urban music and co-head of creative.

She kept her publishing gig when she took on the additional challenge of relaunching Motown, initially as senior vp of the label, in 2011. She continued doing double duty after she was promoted to label president in 2014 and departed UMPG in 2016.

Habtemariam says she’s ready to use her newfound autonomy to fully execute the vision she had for Motown when she arrived. She has spent the last several months staffing up, and, she says, “creating a blueprint” for the label’s future as a global force in recorded music. Last September, Motown opened its first U.K. branch, headed by managing director Rob Pascoe, and in February revived its Black Forum label by reissuing Martin Luther King Jr.’s 1971 Grammy-winning album for best spoken word, Why I Oppose the War in Vietnam. On the music side, Motown’s 2021 release slate includes Migos’ long-awaited Culture IIIalbum as well as projects by two new signees, singer Bree Runway and hip-hop artist Elhae.

Moving forward, Habtemariam says Motown’s approach to A&R will be “signing talent that we think can be the next generation of superstars.” She adds that the label is looking for “career artists. It’s not just about one song or a couple of tracks here and there. There is so much music out there that you must find talent that you believe will cut through.”

How has your job changed now that you are chairman/CEO and reporting to Lucian Grainge?

When I was first approached about Motown, my vision was to return it to operating like a full-fledged stand-alone label and to honor the legacy of the talent that was on the label in the 1960s through the early 2000s. Lucian agreed with me, but at the time we were a team of just four people attempting to accomplish a very ambitious goal. We were part of Island Def Jam, and it wasn’t the right structure, focus and support.

What’s the size of your staff now, and do you still share services with Capitol Music Group and UMG?

I have a team of about 25. Everything is Los Angeles-based, aside from the U.K. office, and an A&R person in Atlanta. And we do share some services through Universal and are still using Capitol’s radio promotions team.

You’ve come a long way.

I now have autonomy and authority over our budgets, how we are developing our artists and building out the Motown team. I’m also thinking more holistically about global strategy for the company.

What is your vision for the Motown of today? You have a very diverse lineup of artists.

It’s about signing talent that we think can be the next generation of superstars — people we think will be career artists. It’s not just about one song or a couple of tracks here and there. And they can be at different stages in their careers. We now have a roster of talent, like Lil Baby with Quality Control, that we want to grow in a certain direction, and we want to build up the next new artists in the same way. There are a few signings that we’re working on now that are exciting, from established acts to artists in the early phases of their careers, like a Tiana Major9. There is so much music out there that you must find talent that you believe will cut through. And then you have to work alongside them to build out their vision, their brand, the story they want to tell and then make great records to support that.

Read more »

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UPDATE: Motown Promotes Ethiopia Habtemariam to Chair & CEO

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Federal Way Mirror

Federal Way Councilmember Lydia Assefa-Dawson announces run for King County Council District 7

Lydia Assefa-Dawson formally announced her campaign to challenge 28-year incumbent Pete von Reichbauer for King County Council, Position 7.

Assefa-Dawson, in her second full term on the Federal Way City Council, believes it is time to take it to the next level in order to reflect the rapid demographic changes and economic challenges facing families in the district, which includes Federal Way, Auburn, Kent, Milton, Algona, Pacific, and unincorporated areas.

“It’s time for new experiences and perspectives to address the changing priorities of struggling families and small businesses in our region,” said Assefa-Dawson. “We have a worsening homelessness crisis, an economy battered by the pandemic, critical infrastructure and transit needs, and our criminal justice system remains burdened with bias and mistrust in too many communities. We can only expect to make needed progress on these and other issues with new voices and leadership.”

Assefa-Dawson has received numerous awards and recognitions for her dedicated service in the region from organizations including King County Housing Authority, National Association of Professional Women, City of SeaTac, the President’s Volunteer Service Award, Bridge Builders Award, and many more.

She points to her own story overcoming great adversity as her motivation to create opportunity and self-sufficiency for families across the region.

“I came to America from Ethiopia over 40 years ago seeking education and in need of medical care after a disability led to my legs being amputated as a child,” said Assefa-Dawson, who works as a Family Self Sufficiency Coordinator at King County Housing Authority, as well as an Economic Resilience Financial Educator and Coach for Survivors of Domestic Violence at the YWCA. “I went on to complete college and graduate school, and raised three wonderful sons, all of whom graduated from local schools. Having suffered housing insecurity and financial hardships along the way, I’ve dedicated my career to helping others receive the critical services and financial literacy needed to stabilize their own lives. I’ll bring these experiences – along with my work on the City Council – to support all the people of the district.”

On the Federal Way Council, Assefa-Dawson serves on the Parks, Recreation, Human Services, & Public Safety Committee and chairs the Lodging Tax Advisory Committee. She served on the Federal Way Human Services Commission before her appointment to the City Council.

Assefa-Dawson serves on the Puget Sound Economic Development District Board, co-chairs the Regional Law, Safety and Justice Committee, and is Vice President of the Ethiopian Community Center. She previously served on the State’s Advisory Committee on Homelessness, with the Committee to End Homelessness, and the Best Starts for Kids Children and Youth Advisory Committee.

“The work I do every day at the local and regional level is directly related to building a strong economy, and more just and equitable communities for all,” said Assefa-Dawson. “I’m proud of my deep commitment to the people of this region, and hands-on experience helping small businesses, working for police reform and trust, and making sure kids and families have the opportunity to thrive.”

Committed to expanding economic opportunity in historically marginalized communities, Assefa-Dawson also co-chairs the Highline Forum, serves on the Equity Group with the Association of Washington Cities and the newly formed Equity & Inclusion Cabinet with Sound Cities Association, and is on the Governance Group for Communities of Opportunity.

“I’m committed to positive, equitable change that benefits everyone. Local families need a voice at the County Council – for jobs and mobility, for affordable childcare and healthcare, and for housing that is safe, affordable, and close to jobs and education,” Assefa-Dawson said.

Assefa-Dawson is launching her campaign with support from fellow local elected officials from throughout the region, immigrant and refugee communities and leaders, housing advocates, and others.

“Representing District 7, I’ll partner with stakeholders at every level, and ensure community has a voice on the King County Council,” said Assefa-Dawson.

Learn more at Lydia4KC.com.

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Editor’s note: This is a press release from the candidate’s campaign
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Related:

In Virginia, Ethio-American Meronne Teklu Launches Campaign for Alexandria City Council

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Press Release

AMSALE RELEASES AMSALE ARCHIVE, A REVIVAL COLLECTION THAT PAYS HOMAGE TO ITS DESIGN DNA, DURING BRIDAL FASHION WEEK

NEW YORK — Luxury bridal fashion house AMSALE today unveiled the AMSALE Archive collection, a revival of five iconic gowns from the past three decades that embody the unique brand DNA established by its late founder, Amsale Aberra, the first Black female member of the Council of Fashion Designers, widely credited as the inventor of the modern wedding dress. The collection is one of storytelling and showcasing the history of AMSALE, but it’s also about writing the future—a future that prioritizes equality in the fashion industry. A portion of proceeds from each archival gown will go toward the Amsale Aspire Initiative at the Fashion Institute of Technology (FIT). Launching this spring, Amsale Aspire is a transformative program dedicated to eradicating racism in the fashion industry by providing scholarships and opportunities for Black students to develop entrepreneurial skills and build successful fashion careers.

“The gowns selected for the Archive collection showcase Amsale’s true design philosophy and the power of her simplicity,” said Chief Creative Officer Sarah Swann. “Each tells a beautiful story of her craftsmanship and attention to a sole focal point.”

The inaugural collection contains five gowns:

A101

As the singular dress with which Amsale launched her first collection three decades ago—and inspired by her own wedding gown—A101 is the icon of AMSALE. Tailored in the house’s signature Duchess satin fabric, the gown has a classic column silhouette and sheer illusion back, and a row of hand-rolled silk rosettes at the low back tops a dramatic pleated train.

BLUE SASH

A signature piece from Amsale’s Spring 2002 collection, this piece represents the ideal something blue. A clean, structured ballgown in lustrous Duchess satin with a drop waist bodice, the statement style has an oversized blue silk taffeta sash that trails down the voluminous skirt.

HARBOR

An icon from the Spring 2013 collection, Harbor features a wide diagonal band across the neckline that creates a one-shoulder cap sleeve, cutting a cool silhouette in silk radzimir. A signature structured bow above a sweeping train and an impeccably tailored fit-to-flare silhouette are nods to Amsale’s design ethos.

LENOX

Embellished by hand and made in AMSALE’s New York atelier, the Lenox gown, revived from the Spring 2014 collection, showcases the dedication to craft instilled by the label’s founder.
Intricately hand beaded straps are the focal point, coming together to form a keyhole opening at the back. The silhouette is statuesque and structured in a soft silk magnolia.

DEMI

An effortless fit-to-flare from the Fall 2015 collection, Demi features a pretty peplum above a figure-flattering crepe skirt that drapes into a sleek train. The sheer illusion back—with a column of covered buttons down the middle—is made with a stretch tulle that molds beautifully to the body, a fabric development inspired by the original A101 style.

“Each of these gowns is still mentioned today by our retail partners as iconic Amsale,” Swann said. AMSALE Archive is more than a seasonal collection; going forward, AMSALE will periodically re-introduce gowns from previous seasons in reaction to demand. With the launch of Amsale Aspire in partnership with the Social Justice Collaborative at FIT, this collection serves a broader purpose: The sale of each AMSALE Archive gown—whether purchased through a partner retailer, online or at the Madison Avenue salon—will be a step toward equality in the fashion industry.

The collection was unveiled during Bridal Fashion Week through an impactful video celebrating the craftsmanship of the design house. Interweaving dramatic imagery of the iconic gowns inside the Manhattan atelier, where each piece is handmade, with archival footage of the late founder discussing her design philosophy, the film pays tribute to the past and looks toward the future of fashion.

AMSALE Archive will be available in AMSALE’s Madison Avenue salon in late April. Chief Creative Officer Sarah Swann and CEO Neil Brown are available for virtual press appointments during Bridal Fashion Week beginning April 5; to set up an appointment, email fallon@amsale.com.

About AMSALE

Founded by Amsale Aberra and Neil Brown, The Amsale Group is one of the world’s leading luxury bridal houses, and widely credited as the inventor of the modern wedding dress. A Black-owned business headquartered in New Your City, with a salon on Madison Avenue, the collections including Amsale, Nouvelle Amsale, Amsale Bridesmaids, Little White Dress and Evening are carried in some of the finest bridal salons and specialty stores worldwide.

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Tadias Magazine

By Tadias Staff

Updated: April 9th, 2021

New York (TADIAS) — This month the 14th edition of Art Dubai took place at Dubai International Financial Centre featuring several artists from Ethiopia and the Diaspora including Tadesse Mesfin, Addis Gezehagn, Tsedaye Makonnen and Tizta Berhanu.

The Ethiopian artists were represented by Addis Fine Art — marking the fourth year in a row that the Addis Ababa and London-based gallery had participated in the global art fair, which was also the first major in-person group exhibition of its kind since the COVID-19 pandemic.

Below are bios of the Ethiopian artists courtesy of Addis Fine Art:

TADESSE MESFIN B. 1953

Tadesse Mesfin (1953) is a giant of the Ethiopian art scene. He holds a unique position as both a figurehead of the Ethiopian modernist movement, and as a long-time educator through his role as a professor at the influential Alle School of Fine Art and Design in Addis Ababa. Among the generations of painters he has taught are Addis Gezehagn, Ermias Kifleyesus, Merikokeb Berhanu and Tesfaye Urgessa.

Mesfin’s latest work is a continuation of his ongoing series celebrating the women who work as small-holder vendors in markets scattered across Ethiopian cities, who can typically be found standing or crouched down with their agricultural produce scattered in front of them, hoping to entice the eye of potential customers. As a visual paean to them, Tadesse places their occupations and personae front and centre, and the viewer is encouraged to appreciate their importance to the communities they serve.

The paintings, at times, resist the limitations of perspective, with the distant figures appearing to float in space between those in the foreground, their forms often abstracted through loosely defined brush strokes. Only their regal, statuesque poses and facial expressions are clearly discernible. Mesfin has stated that his previous fascination with the West-African tradition of mask-making prompted him to create his own “Ethiopian masks” from the expressions found in the faces of the women occupying his canvases. Their pointed chins and captivating stares are a nod to West-African masks; however, the distinctly Ethiopian features give them their own unique appearance. Each figure is carefully weighted in these paintings with a methodical precision born of decades of practise. There is often a central protagonist who is the focal point, slightly off-centre in accordance with the golden section rules of proportion, counter-balancing the figures in the background.

Tadesse Mesfin’s artistic career spans more than five decades. His painterly style has been greatly influenced by his early education under Gebre Kiristos Desta, the pioneer of Ethiopian Modernism and from his seven-year stint in the USSR during the 1980s, where he studied architecture and sculpture in St. Petersburg.

TSEDAYE MAKONNEN ETHIOPIAN-AMERICAN, B. 1984

Tsedaye Makonnen. (Photo: The Artist and Addis Fine Art)

Tsedaye Makonnen is a multidisciplinary artist whose studio, curatorial, and research-based practice threads together her identity as a daughter of Ethiopian immigrants, a Black American woman, doula and a mother. Makonnen invests in the transhistorical forced migration of Black communities across the globe and Feminism. Her work is both an intimate memorialization and protective sanctuary for Black lives. She is the recent recipient of a Smithsonian Artist Research Fellowship, DC Public Library Maker Residency and Art on the Vine’s Savage-Lewis Artist Residency (Martha’s Vineyard).

She has performed at the Venice Biennale, Art Basel Miami, Chale Wote (Ghana), El Museo del Barrio, Fendika (Ethiopia), FIAP (Martinique), Queens Museum, the Smithsonian’s and more. Her light monuments memorializing Black womxn exhibited at the August Wilson Center and National Gallery of Art. In 2019 she was on the front cover of the Washington City Paper’s People Issue. She recently curated a group show with Washington Project for the Arts in DC titled Black Women as/and the Living Archive and is publishing an exhibition book. This August she is exhibiting for Park Avenue Armory’s ’100 Years | 100 Women’ with NYU Tisch & Deb Willis, which was recently featured in Vogue Magazine.

ADDIS GEZEHAGN B. 1978

Addis Gezehagn (b.1978), a long-time artistic presence in Addis Ababa, is known for portraying the multifaceted characteristics of the city’s residents by detailing the external facades of their homes. In his “Floating Cities/ Floating Towers” series, Gezehagn depicts dreamlike deconstructed and layered renderings of the urban landscapes rising above the ground. These compositions made by layering magazine cut outs with acrylic paint, blend the boundaries of fantasy and reality of urban life, blurring the lines between the past, present and future.

Flattened and reductive, Gezehagn’s works imagine cityscapes as towers, or patchworks of colourful doors and gates, the architectural structures seeming to signify a natural, organic network of living spaces. The rootless and ephemeral nature of the layered towers call into question the lives of the inhabitants. Examining the personal and public spaces, the works archive walls and towers destined to crumble, tracing a pattern of classism and social injustice. Gezehagn’s works urge us to think beyond homes as functional entities and offer commentary on the socio-economic context of urban life.

Gezehagn currently lives and works in Addis Ababa, Ethiopia. He graduated from the Addis Ababa University School of Fine Arts and Design with a Diploma and BFA in 2011. His first international exhibtion was in 2017 at 1:54 Contemporary African Art Fair in London which was received with great acclaim. Since then, he has gone from strength to strength, garnering more international interest after having his first sold out solo show at Addis Fine Art’s main gallery in Addis Ababa in 2018 followed by 1-54 Contemporary Art Fair London (2018) and Art Dubai (2019).

TIZTA BERHANU ETHIOPIAN, B. 1991

Tizta Berhanu, Different Life in a Setting, 2019. (Addis Fine Art)

Tizta Berhanu was born in Addis Ababa, Ethiopia in 1991 where she has lived and worked her entire life. She graduated in 2013 from the Addis Ababa University, Alle School of Fine Arts and Design where she studied under the influential modernist painter Tadesse Mesfin.

Trained as a figurative painter, Tizta uses the medium to introspectively delve into human emotions. The figures in her work often express an array of sentiments, some comfort and embrace one another, whilst others are found isolated and searching in the backdrop of the enigmatic canvases. Her paintings are awash with lucid colours which flow across the canvases through the use of heavy undefined brush strokes. By portraying her subjects expressing love, hate, sadness, and loneliness, the observer is invited into moments of vulnerability and intimacy.

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Learn more at addisfineart.com.

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Business of Home

The textile designer bringing Ethiopian craft to a new audience

It might not seem ideal to split a small business across two continents—but for textile designer Hana Getachew it’s essential. To produce her collections of ethically sourced handwoven pillows, throws and linens, the Kingston, New York–based owner of Bolé Road Textiles collaborates with artisans living and working in Ethiopia. For Getachew, the thread has always been there.

Her family left their home in Ethiopia when she was 3, relocating first to Canada for a few years before settling in New York. It wasn’t until Getachew was in college that she returned to her home country to visit family and experienced a deeper cultural immersion. “It ended up being this pretty powerful homecoming that I didn’t anticipate,” she tells Business of Home. “It was seeing all that in its original form, in its undiluted and un-Americanized form, that was really powerful—to go to the source.”

After graduating from Cornell University with a degree in interior design, Getachew spent 11 years at an architecture firm designing commercial interiors and office spaces. Still, she couldn’t shake the impression her trip to Ethiopia had made on her. In 2014, she quit her job and took the plunge—traveling down Bolé Road in her birthplace of Addis Ababa, she hit the pavement to find the partners with whom she would launch her textile business.

“Here I am, I don’t have any credentials, I don’t have a business, and I don’t have a lot of funds. … In retrospect, it’s kind of comical,” she says. “I stuck with the people who were curious and interested and didn’t brush me away.”

Those same artisans and vendors Getachew encountered on that trip are still working with Bolé Road Textiles today. The decision to partner with artisans based in Ethiopia was partly a matter of quality—the weaving looms there differ from those commonly used in the West, requiring a high skill level to create the intricate geometric patterns featured on many of the brand’s pillows. Plus, there’s no formal training for this method—the weavers and artisans, who are predominantly male, are taught by their fathers and grandfathers. Women more frequently serve as the business owners of textile workshops, many of which are formed as collectives that divide labor and share profits equally—including Bolé Road’s partner company.

In most cases, Getachew’s design process begins with a place. Take, for example, the Harar collection, inspired by a city in eastern Ethiopia. The vibrancy of the town’s bustling markets and colorful dress is juxtaposed with the centuries-old walls surrounding it. “How would I create a collection that tells the story of Harar?” says Getachew. “It became these geometric forms from the rigid architecture, to a lot of bold, bright colors from the streetscape.” The result is a striking collection of textiles in vibrant, deeply saturated hues—think fuchsia, cobalt and maroon—marked with lively patterns of intersecting lines.

Since Bolé Road made its debut at the Brooklyn Designs show in 2015, the company’s growth has varied from year to year. However, according to Getachew, that changed this summer—largely due to the push to support Black-owned businesses in the wake of George Floyd’s death and the racial reckoning that followed. She experienced such an outpouring of press inquiries, orders, and requests for partnerships beginning in June 2020 that she began to have frank conversations with those reaching out to her about issues of equity and representation.

“My response has evolved,” she says. “At first, I was just overwhelmed. I came to the conclusion that it will start to feel manageable and digestible if the cards were out on the table—if we were more transparent [in] talking about the bigger context about why this person was across the screen from me.”

Textile designer Hana Getachew in her studio. (Courtesy of Bolé Road Textiles)

Getachew also began to reflect on her own experiences—including the lack of representation during her early years in corporate architecture. She called some of her old colleagues and clients and began a series of conversations that would form the basis of the International Interior Design Association of New York’s newly founded Equity Council, whose mission is “to achieve equity and accountability toward increased diversity and inclusion in the design industry.” Though still in its early stages, the group recently brought on consultants from Racial Equity Partners. It also plans to distribute a pledge later this year, which Getachew says will borrow inspiration from the 15 Percent Pledge (a commitment by retailers to buy 15 percent of their merchandise from Black-owned businesses), while also including steps companies can take to create a more equitable workplace.

Read more »

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The Economist

Qat and conflict: “Faya Dayi” evokes what it means to be young in Ethiopia

CHILDREN BATHING in a shrinking lake. Incense wafting through an open door. The wet slap of mud against a wall. Two boys lying on the ground, staring wistfully at the sky. Like snatches of memory, the images are displayed one after the other.

“Faya Dayi”, a hypnotic new film about life in Ethiopia’s eastern highlands, is less a documentary than a poem, its lyrics set against a sequence of monochrome pictures which languidly unfurl across the screen. The experience is as intoxicating as the leaves of qat, a mild stimulant native to this part of Africa, which is a recurring motif. But beneath the luscious surface is a sombre evocation of the boredom, frustration and anger which afflict a generation of Ethiopian youth.

Read more »

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Related:

IndieWire Review: ‘Faya Dayi,’ Jessica Beshir’s Ethiopia Docu-Drama About Legend of Khat

IndieWire

‘Faya Dayi’ Review: A Hallucinatory Documentary About Ethiopia’s Most Lucrative Cash Crop

Updated: Jan 30, 2021

Ethiopian legend has it that khat, a stimulant leaf, was found by Sufi Imams in search of eternity. Inspired by this myth, Jessica Beshir’s “Faya Dayi” is a spiritual journey into the highlands of the walled city of Harar, a place immersed in the rituals surrounding this plant, Ethiopia’s most lucrative cash crop today. Through the prism of the khat trade, the film weaves a tapestry of intimate stories of people caught between government repression, khat-induced reverie, and treacherous journeys across the Red Sea, and offers a window into the dreams of the youth who long for better lives elsewhere.

For centuries in Ethiopia, the Sufi Muslims of Harar have chewed the khat leaf for the purposes of religious meditation. Over the past three decades, khat consumption has broken out of Sufi circles and entered the mainstream to become a daily ritual among people of all ages, religions and ethnicities, for whom chewing khat is a means to achieve Merkhana — a term that describes the high one gets from what is effectively a psychoactive drug not all that different from Cannabis. It has various mental and physical effects, which include euphoria and altered states of mind. For many, Merkhana is provides an escape from everyday realities, and the only place where their hopes, and dreams can actually exist.

Khat, for most unemployed youth, has become a way to overcome the sense of hopelessness, a way to tune out reality. They are all searching for a seemingly elusive sense of agency, as well as living with the contradictions of loving a land that makes it difficult for them to live in peace.

In the last decade, the crops that Ethiopia primarily exported — teff, sorghum, and coffee — have been replaced by the leafy green. With social significance, it has sustained so many who have worked in the fields for generations. However familiar the work is, some young people who have grown up in its shadow want more for themselves — life away from the fields; life without khat; life entirely elsewhere. They consider leaving home and all they have ever known for something new, far away, and, while perhaps more economically beneficial, lonelier and more isolating.

Shot entirely in stunning black and white, “Faya Dayi” opens with a long shot of a somewhat amorphous, barren landscape, nighttime, dark, crickets providing the only soundtrack, and in the distance a lone figure running playfully, starts to come into view. We see that it’s a child, as he or she runs past the camera. Cut to bewitching shots of elders indoors, some faceless, some not, chanting, giving thanks to God, separating khat leaves from their stems, and, in some cases, pounding them, as incense burns in a pot, the smoke it emits, thick and intense.

And then a lengthy shot of an open doorway, on the other side, an ambiguous view — smoky, cavernous, vast, dark depths — a haunting score providing an exclamation mark. It’s interrupted by a meek female voiceover, almost like that of a child, beginning a story about the Harari legend of a man named Azuekherlaini, who was tasked by God to find the Maoul Hayat (water of eternal life). The fable stretches the length of the film, as the voiceover interrupts intermittently to continue where she previously ended.

But that’s just the dressing on this striking, if enigmatic, transgenerational journey into the highlands of Harar, immersed in the rituals of khat, weaving a tapestry of hallucinatory stories that offer a window into the dreams of youth.

Unfolding more like a hybrid scripted narrative and documentary, the central story of “Faya Dayi” doesn’t follow a straight line, as it occasionally checks in on Mohammed, a 14-year-old, and the film’s presumed primary character, who works as an errand boy for the khat users in Harar. He lives with his father who, like so many in town, chews khat daily and often fights with Mohammed due to the mood swings caused by his addiction. Mohammed becomes anxious for a better life, but to have it, he must make a treacherous journey across the Red Sea to Saudi Arabia.

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Related:

Ethiopia: Director Jessica Beshir’s ‘Hairat’ Selected for Sundance Film Festival 2017

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The Associated Press

The Academy Museum of Motion Pictures is assembling a star-studded cast for its opening gala in September. Italian screen legend Sophia Loren and independent filmmaker Haile Gerima will be honored with special awards, and Tom Hanks, Annette Bening and Bob Iger are being saluted for their efforts to raise $388 million for the long gestating museum, the organization said Monday.

The gala will be held on Sept. 25 as the kick-off to a week of celebrations leading up to the museum’s opening to the public on Sept. 30.

Bill Kramer, the director and president of the Academy Museum, said in a statement that the museum is “committed to celebrating and championing the work of film artists, scholars and professions through our exhibitions, screenings, programs, collections and now, through our annual gala.”

Gerima is acclaimed for his portraits of Black urban life in films like “Bush Mama” and “Ashes & Embers.” The Ethiopian-born filmmaker will be receiving the inaugural Vantage Award, recognizing artists who have contextualized or challenged dominant narratives in film. Loren will be getting the Visionary Award for artists whose work has advanced the art of cinema.

Gala co-chairs include Ava DuVernay, Ryan Murphy and Jason Blum.

Designed by architect Renzo Piano, The Academy Museum of Motion Pictures is located at the corner of Wilshire Boulevard and Fairfax Avenue in the historic Saban Building. Inaugural attractions include an exhibit celebrating legendary Japanese animator Hayao Miyazaki, and Bruce, the 1,208 pound, 25-foot-long, 45-year-old fiberglass shark made from the “Jaws” mold.

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Star Tribune

At 22, Raie Gessesse isn’t waiting to inspire change. Appointed by former Gov. Mark Dayton, she served as a member of the first-ever Young Women’s Cabinet, working to elevate the voices of future female leaders, and received a $2,500 microgrant to invest in her vision as a Women’s Foundation of Minnesota Innovator. She currently trains young women to run for office as Midwest Program Manager for IGNITE National, and aspires to run for office herself someday. She graduated in May from Hamline University with a double major in public health and political science, and hopes to begin law and public policy school this fall. Gessesse is Minnesota-born, but her story begins in a different place.

Q: Let’s start at the beginning. How would you describe your childhood?

A: I was born in Minnesota, but I like to start with my parents’ story. My parents were born and raised in Ethiopia. When my mother was pregnant with me, they received notice that they had won a diversity visa; this is a lottery program that allows people to gain permanent residency in the United States. They first came to Boston in 1998 but heard Minnesota was the place to be to start a job. They arrived here with nothing but a vision and a dream and a baby.

Q: Your lovely name certainly attests to that dream.

A: Raie (pronounced Rah-EE) means “God’s vision.”

Q: I’m guessing that in 1998, your parents faced challenges as emigrants. What have they told you?

A: We have a thriving community now but when my parents came, they were among few Ethiopians. For seven years, they lived in St. Paul in the heart of the Ethiopian community. Growing up, I felt surrounded by my extended family. Then we moved to Cottage Grove, where we’ve been ever since.

Q: Is this when you got an inkling that you were different from your classmates?

A: I grew up believing that this is the land of opportunity. Moving to the suburbs, I still didn’t know I was different until I was made to feel that way because of my braids, complexion, traditional foods. In elementary school, I got pulled out for English Language Learners (ELL). But I spoke fluent English, along with Amharic. My parents had to fight to get me out of ELL. As the only Black girl, I started to feel lonely, isolated, awkward. My household was my safe harbor. I was a smart kid but it was always, “How did you get to be so smart?” Up to college, there was always skepticism about what I could accomplish, always the question, “Are you sure?”

Q: How did your parents comfort you, mitigate that?

A: I remember one conversation with my mom. I was telling her how lonely and isolated I was. She said, “Your identity is your gift.” That was a shattering moment for me. Why am I sacrificing my story and experiences for folks who don’t matter? The story of my life is the product of my parents’ dreams. For four years, I had been straightening my hair every single day. In 10th grade, I let my hair be natural for the first time. I said, no more! I need to re-center myself to when I was 4 or 6, feeling like I could be anyone I wanted.

Q: And?

A: I signed up for a talent show doing traditional dance. I joined the step team. And I founded my high school’s first Students for Justice club, becoming its inaugural president. Shortly after graduating, I was appointed to the first Young Women’s Cabinet.

Q: Tell us about a Cabinet project you spearheaded.

A: In 2019, we championed the Women of Color Opportunity Act at the state Legislature. I wrote and introduced an amendment for paid job internship opportunities; so many internships are offered but I, and many others like me, can’t afford to take on an unpaid position. These are pipelines to future jobs. The act didn’t pass but we’re advocating again this year. No more unpaid internships!

Q: Where were you when you heard that George Floyd had been killed?

A: A friend texted me and I was so overwhelmed. This is in a part of Minneapolis that a lot of us are very familiar with. I was feeling grief, but also was very angry. The Minneapolis Police Department has a history of misconduct. I just couldn’t believe it had to get to this point. For the next few days, I posted to social media e-mails and phone numbers for senators, City Council members, the mayors, attorney general, governor. I saw my role as sharing resources to make sure that everyone knows this is not OK.

Q: Why do you think race is such a fraught topic? Do tragedies such as the death of George Floyd make it easier or more difficult to begin conversations?

A: Those who are not racially oppressed say, “Since I haven’t experienced it, I don’t know what to do with this information.” Yes, this is a land of opportunity and a place of refuge for my family, but it has also not acknowledged an ugly past. That’s hard for a white person — to be part of centuries-long oppression. On the other hand, when we finally get to a place where we can acknowledge the truth, we can move forward. My mom always said, the truth shall set you free. That speaks so profoundly to the moment we’re in right now.

Q: How might you help us engage in this essential conversation in a productive way?

A: Learning is so important. Make sure you’re reading books by authors of color. I’d recommend “How To Be An Antiracist,” by Ibram X. Kendi, and “Hood Feminism: Notes From the Women That a Movement Forgot,” by Mikki Kendall. In your organizations, be conscious about how many people of color are present. Where are they in the leadership line? In meetings, are they participating or hesitant? If it’s the latter, that might mean that it’s not a safe space for them to talk. Create change where you’re at.

Q: Would you share your story about your pre-COVID encounter on a plane? It’s a good lesson.

A: I was on a plane from Chicago to Minneapolis, chatting with a woman. She asked me what my name was. I told her “Raie,” and she said, “That’s more American than I thought.” Like, boom! She couldn’t even see me as a person born and raised in America. I took this as an educational opportunity. I told her all about my childhood.

Q: Did she catch on?

A: She was mortified. She later apologized and realized how her comments were misguided and harmful. As a movement-builder, we need as many allies as we can get. If someone makes a mistake, I can respond in a graceful way that brings her into the conversation. We ended up having this great conversation.

About this series

Beginning today and continuing throughout the year, the Star Tribune’s Inspired section will engage in regular conversations with a variety of Minnesotans on the topic of race.

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Billboard

Ethiopia Habtemariam joins a small circle of women currently holding the title of chairman at a major label.

After six years as president of Motown Records, Ethiopia Habtemariam has been promoted to chairman/CEO of the iconic label.

Habtemariam now reports directly to Universal Music Group chairman/CEO Sir Lucian Grainge as Motown becomes a standalone label.

In a release announcing Habtemariam’s appointment, Grainge said, “Motown is such an important voice and, just as when it was founded by Berry Gordy, its impact continues to be felt around the world. Motown’s resurgence and powerful partnerships under Ethiopia’s leadership has advanced the label’s legacy as home to some of today’s biggest hitmakers and most meaningful voices in music.”

Since overseeing Motown’s move from New York to Los Angeles in 2014, Habtemariam has orchestrated creative and entrepreneurial ventures with various partners including Quality Control Music. In addition to Migos, City Girls, Lil Yachty and Layton Greene, QC’s roster includes Lil Baby whose second album My Turn closed out 2020 as the most popular album of the year in the U.S. with 2.63 million equivalent album units, according to MRC Data.

Motown is also home to Blacksmith Records (Ted When, Vince Staples) and Since the 80s (Asiahn, Njomza) as well as Erykah Badu, Kem and Tiana Major9, among other artists. Both Major9 and Lil Baby are current Grammy Award nominees. “Collide” by Major9 with Earthgang, featured on the Queen & Slim soundtrack, is up for best R&B song. Lil Baby’s “The Bigger Picture” received nominations in two categories: best rap song and best rap performance.

Calling it an “incredible honor to represent and define what Motown is today,” Habtemariam thanked Grainge “for his constant support and guidance over the years; my Motown team for all they have done and continue to do; the Capitol team for their help in building Motown over these past six years; Clarence Avant who has always taught me about the power of responsibility; and Mr. Berry Gordy, for his faith in me to carry on his legacy.”

With her promotion, Habtemariam joins the small circle of women currently holding the title of chairman at a major label including Julie Greenwald, chairman/COO of Atlantic Records, and Sylvia Rhone, chairman/CEO of Epic Records. Jody Gerson is chairman/CEO of Universal Music Publishing Group, while Desiree Perez is CEO of Roc Nation.

“I’m so grateful for this huge opportunity,” Habtemariam tells Billboard, “because there’s been a lot of incredible hard work put in to allow me to get to this space. Coming into this industry, there were so many incredible women that I looked up to within its various business sectors. They gave me confidence and never made me question what I would be able to achieve. And I’m thankful I got to see that. This opportunity is really me standing on their shoulders.

Habtemariam adds, “My goal and my hope is that there’ll be a lot more women that look like me in leadership positions going forward.”

Noting also that Motown “will be a standalone label going forward with some shared services,” Habtemariam says the imprint’s upcoming release slate includes new music from Migos, Tiana Major9, Tiwa Savage, Ne-Yo, Kem, new signee Bree Runway and Erykah Badu, “who has some interesting things that are lining up.” Motown also established Motown U.K. last summer and recently relaunched its Black Forum label, beginning with the Feb. 26 reissue of Dr. Martin Luther King Jr.’s 1971 Grammy-winning album for best spoken word, Why I Oppose the War in Vietnam.

Before joining Motown and being named president of the label as well as executive vp of Capitol Music Group, Habtemariam served as president of urban music & co-head of creative at Universal Music Publishing Group.

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Related:

TIME: Motown President Ethiopia Habtemariam on Steering the Legendary Label Through the Pandemic

Ethiopia Habtemariam, the president of Motown Records, has spent the past year assisting her artists in navigating the painful reality of life offstage while retooling album-release plans. Below is Time Magazine’s interview with Ethiopia. (Photo: Camera Press/Redux)

TIME

Updated: February 7th, 2021

The pandemic rocked the music industry. Live performances, which are such a critical part of driving the business (and making fans euphoric) were quickly shut down last year. Concerts are going to be slow to return. (Who’s up for crowding next to sweaty strangers, yelling at the top of their lungs?) Ethiopia Habtemariam, the president of Motown Records, has spent the past year assisting her artists in navigating the painful reality of life offstage while retooling album-release plans. She helped one artist cope with depression when a much anticipated record was postponed and, in the outbreak’s early days, counseled another to take the virus more seriously. “There was a lot of misinformation about COVID and communities that it was hitting,” she said. Habtemariam remembers one young artist who was still going out on the town telling her, “Oh no, that’s a rich-people thing.”

While live shows floundered, music delivered comfort to people stuck in their homes and apartments. Total audio consumption, which includes streaming and album sales, was up 11.6 % in 2020, according to MRC Data. And for Habtemariam, 41, the past year helped her ongoing mission to make the legendary Motown brand relevant in today’s culture. Back in 2015, she signed a joint venture with Quality Control Music, an influential hip-hop label based in Atlanta, leading to a string of megahits from hot young artists including the Migos, Lil Yachty and Lil Baby. Lil Baby, an Atlanta rapper, singer and songwriter, had the best-selling album of 2020, according to MRC Data, beating out Taylor Swift and the Weeknd. And Lil Baby’s single “The Bigger Picture,” released after the murder of George Floyd, became an unofficial protest anthem played at marches and rallies throughout the country. It has more than 112 million views on YouTube.

Habtemariam, who started her music career as an unpaid intern at 14, recently joined TIME for a video conversation on the pressures of taking over a storied label, the perils of social media for artists and her favorite live venues.

(This interview with Motown Records president Ethiopia Habtemariam has been condensed and edited for clarity.)

So, what have you been listening to, to get through the pandemic?

I went through a phase around April, May, when I was like going down memory lane of my childhood, reminiscing on songs that I grew up on. Middle school, high school years. And it was actually therapeutic in many ways. It kind of helped me get through a lot of the different emotions and feelings that I was having, and also it reminded me of why I fell in love with music.

Rumor has it that you were a big TLC fan.

I still think that they don’t get the credit they deserve because they were so huge! TLC, Aaliyah, Missy [Elliott], Lauryn Hill—I was a massive Janet Jackson fan as well.

I’m a huge fan of music, period. I’m a daughter of immigrants. My parents are both Ethiopian, and I’m Ethiopian American. I grew up in the South. So here I am, this young girl, with a name like Ethiopia; I was a bit of an alien, but music was my salvation. It was my escape, but it was also a bridge for me to connect and build friendships.

How did the pandemic disrupt your release schedule? You still managed to have one of the biggest albums of the year, with Lil Baby’s My Turn.

I remember it vividly because we scheduled some in-stores for him. I remember coming to Atlanta and making sure everyone had hand sanitizer. And then everything shut down, and we had to really come together to figure out how we were going to move forward.

We put it out Feb. 28, and it was massive. The response was incredible; everything was great. And two weeks later, the world shuts down. One of the things that was in the plan was, of course, a huge tour.

Read more »

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Garden & Gun Magazine

Two and a half hours south of Washington, D.C., outside of Columbia, Virginia, in a former three-car garage on the north side of the James River, the designer Jomo Tariku and the woodworker David Bohnhoff are redefining contemporary African furniture. In the studio, African mahogany shavings cover a section of the floor as they collaborate on museum-worthy chairs and stools, and the smell the wood casts off as the day heats up permeates the space.

Born in Kenya and raised in Ethiopia, Tariku came to the United States in 1987. After studying industrial design at the University of Kansas, he eventually moved to the suburbs of D.C., where he works as a data scientist. He based his earliest furniture designs on the three-legged Jimma stools of Ethiopia that he remembered from childhood. All of his pieces tie back to the African diaspora in some way, and many center on his East African upbringing. “When people define African art,” he says, “they think of masks and handcrafts, and old things. There is no space for people like me.”

Tariku bucks against the modern definition of African furniture, usually relegated to pieces with a Eurocentric aesthetic with a twist, such as colorful batik upholstery. Instead, the large spiral horns of the male mountain antelope found in Ethiopia’s Bale region, for instance, inspired his Nyala chair. Highly sculptural in nature, the curving wooden back of the chair seems to defy gravity, serving as a functional marvel. And his MeQuamya chair riffs on the T-shaped prayer staffs used in Ethiopian Orthodox ceremonies, found in rock-hewn churches in the region that date back to the sixteenth century. “I love history,” Tariku explains. “Ethiopia is the only African country that was never colonized. So, my perspective is a little different. Our religious art is still there. So are our old manuscripts in our language, in our handwriting. All of that informs my ideas.”

Tariku had all of these designs in his mind but could not find someone with the skills to build them—he had trouble bringing them to fruition with his own hands. For several years, he sent out emails, hundreds of them, to woodworkers up and down the East Coast, searching for someone to collaborate with who had the talent to build the graceful, elegant minimalist designs that have become his signature. In 2017, Bohnhoff, a regionally renowned furniture maker and woodworker based in Columbia, received Tariku’s email, and the pair decided to meet at a furniture show in Richmond.

When Bohnhoff saw Tariku’s sketch of the Nyala chair, he knew he had to try to build it. Quickly, Tariku saw that Bohnhoff understood the intentions behind his designs, and could take them from two-dimensional renderings to pieces that fine furniture lovers would be proud to have in their living rooms. “I saw the challenge in it,” Bohnhoff says. “I saw the beauty in it. I’m always pulling from nautical culture in my work, and every region has its own seafaring aesthetic. I appreciate learning the details of Jomo’s culture and how it helps him generate ideas.”

Bohnhoff’s own creative journey began at a potter’s wheel in middle school. Struggling with academics, he found solace in using his hands to create beautiful and unusual shapes. When he finished high school, he took to boatbuilding, eventually earning a BFA from Virginia Commonwealth University, and started a career as a boatbuilder, working in shipyards along the way from Maine to North Carolina, studying the art of the curve. Eventually he returned to Virginia, intent on transferring his skills to furniture, freeing complicated pieces from cherry, mahogany, and ash. In his workshop, maple burl logs become masterpieces. The draketail hull of a boat inspired a chair. The interior framework of a canoe transformed into a steam-bent throne.

Designers like Tariku need highly skilled craftsmen like Bohnhoff. The designer works with a few others on certain furniture pieces, but boatbuilding gave Bohnhoff an intimate knowledge of a variety of wood species, and how to bend them to his will without breaking. That technical skill serves him well as his artisanship dovetails with Tariku’s more intricate, curving chair designs, and as they go back and forth on prototypes to refine until form and function perfectly align. While COVID-19 has halted Tariku’s access to furniture shows and showrooms, the duo is currently making each chair to order for interested clients and interior designers—who can inquire at jomofurniture.com—and Tariku is preparing new designs for 2021.

A change in the tide—what they see as the younger generation’s lack of access to apprenticeships and opportunities—has both men worried that relationships like theirs, forged out of mutual admiration for art and a respect for technical skills, are fading. For now, they find solace in creating heirlooms that tell a global story—of Ethiopia, of the Atlantic, and of Virginia. —

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Related:

Spotlight: New York Times Features Jomo Tariku

Opening the Doors of Design (The New York Times)

Contemporary Design Africa Book Features Jomo Tariku’s Ethiopia Furniture

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Curbed

If you pass by a bus shelter between now and June 20, take a closer look at it. You might spy the image of a Muslim man in a Kobe jersey kneeling in prayer next to a motorcycle, or a still life with a toy cart, irises, a light meter, and magnetic letters from the Amharic alphabet. These photographs are part of “New Visions for Iris,” the first public art exhibition by the Los Angeles–based, Ethiopian American artist Awol Erizku. Commissioned by Public Art Fund, the exhibition appears on over 200 bus shelters across New York City (and over 150 in Chicago). Erizku dedicated it to his 1-year-old daughter, Iris.

“[Iris’s] influence on this work is possibility,” Erizku says. “She’s American, she’s Ethiopian, and because I wasn’t able to see these kinds of images growing up, I wanted to make sure she did.” The kind of images he’s referring to include modern representations of Muslim men, African symbols, and his own personal history. “To be honest, I am ashamed I don’t know as much about my culture as I would like, and I wanted to give her these [references] early on.”

(Photo: Courtesy of Public Art Fund, NY and the artist)

The references are also entry points to conversations about religion, spirituality, race, identity, and personal history — conversations that many of us are having since the Black Lives Matter protests, the increase in hate crimes against Asian Americans, and the general upheaval the city has experienced in the past year.

“This exhibition is about coming to terms with fatherhood and having a daughter that’s coming into this world at a very tumultuous year, and finding ways to elicit certain conversations as she’s growing up,” Erizku says.

Erizku first became famous for work that subverted European masterpieces with Afrocentric references, like his 2009 Girl With a Bamboo Earring portrait, which riffs on Vermeer’s Girl With a Pearl Earring painting, and his 2013 portrait series of sex workers in Addis Ababa posed in the manner of Ingres’s odalisques and Manet’s Olympia. His 2015 short film “Serendipity,” which screened at MoMA, featured him smashing a bust of David and replacing it with one of Nefertiti. The 2017 maternity photos he took of Beyoncé — which referenced Madonna-and-child motifs and included original artwork he made the year before in collaboration with the floral designer Sarah Lineberger — nearly broke Instagram. But lately, he’s felt strongly about moving away from the Western philosophies and references he’s been indoctrinated with and creating his own canon. In 2017, his anti-Trump “Make America Great Again” exhibition explored the power of Emory Douglas’s Black Panther logo. This has led him to develop a new visual language he’s calling “Afro-esotericism” — an index of objects, symbols, and people that are meaningful and influential to him: Cowrie shells, African masks and statues, musical instruments, the Qur’an, flowers, and more. This reinvention is also partly a response to how popular his older work has become. His style has been copied time and time again, to the point where he feels like he’s lost ownership of it and it’s no longer associated with him.

Now Erizku’s photographs appropriate the dramatic lighting and saturated colors of commercial advertising, which is designed to stop you in your tracks. He uses it as a kind of bait and switch. Instead of selling you sneakers, he’s inviting you into his cultural universe.

He walked us through a few of the images in the series.

Read more »

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Related:

Spotlight: Ethiopian-American Artist Awol Erizku’s Photo of Poet Amanda Gorman on TIME Magazine‘s New Cover

TIME Magazine‘s new cover features American poet Amanda Gorman, photographed by Ethiopian-American artist Awol Erizku. (Photo of ​Awol Erizku by Jeff Vespa)

Fad Magazine

Updated: February 12th, 2021

AMANDA GORMAN, PHOTOGRAPHED BY ARTIST AWOL ERIZKU FOR TIME COVER.

TIME Magazine‘s new cover features American poet Amanda Gorman, photographed by Ethiopian-American artist Awol Erizku. Erizku is quickly becoming one of the most iconic photographers of our time.

Erizku is a multidisciplinary artist working in photography, film, sculpture and installation, creating a new vernacular that bridges the gap between African and African American visual culture, referencing art history, hip hop and spirituality, amongst other subjects, in his work.

“I was interested in allowing her to own the space that she’s in right now,” Erizku says. “We were going for timelessness, something that felt classical” and tied in to the “resurgence of a Black renaissance.”

It was a special moment for him, too. “Like many who witnessed the recent presidential Inauguration, I was captivated by her poem and her exquisite delivery,” says Erizku, who is based in Los Angeles and has exhibited at institutions including New York City’s Museum of Modern Art and the Studio Museum in Harlem. “For TIME, I wanted to extricate her from the political dimension and immerse it in a more cosmic atmosphere to add to the weight of her words.”

In a separate image featured inside the magazine, Gorman holds a white birdcage in a nod to the birdcage ring she wore on inauguration day. (That ring was a gift from Oprah, referring to previous inauguration poet Maya Angelou’s poem, “I Know Why the Caged Bird Sings.”)

“It needed a layer of depth that only poetry can explain,” Erizku says of the image.

A team of Black creative professionals prepared Gorman for the portraits: Jason Bolden styled her, Autumn Moultrie did her makeup, Khiry provided jewellery and the dress was from Greta Constantine.

The issue features Michelle Obama in conversation with American poet Amanda Gorman, whose poem ‘The Hill We Climb’ read at Joe Biden’s inauguration ceremony touched hearts and minds all over the world. The article, which covers issues such as the role of art in activism and the pressures Black women face in the spotlight, is also accompanied by a video shot and directed by Erizku.

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