Hosted at the Italian Cultural Institute, the festival began on September 16 with Malaikat Tanpa Sayap (An Angel without Wings) from Indonesia and Gurrumul from Australia. Organized by representative country’s embassies in Ethiopia, 11 feature length films from New Zealand, Azerbaijan, South Korea, Iran, China, India, Turkey, Pakistan and Bangladesh are part of the ongoing festival.

The Iranian film ‘Where are my shoes?’ presented by the Embassy of the Islamic Republic of Iran told the story of Habib Kaveh, an elderly man struggling with Alzheimer’s and the return of his estranged daughter to change the rest of his short life.  The talented Reza Kianian played the protagonist, giving an emotional and highly moving performance.

‘Miss Granny’, presented by the Embassy of the Republic of Korea is a whimsical tale of 76-year-old Oh Mal-Soon as she magically regains her youth and goes on trailblazing adventure. This beautifully shot comedic film shows her joining a metal band, going on dates and making friends with her grandson.

The Japanese anime film Children who Chase Lost Voices, created and directed by Makoto Shinkai is a coming of age story of a young girl who is led into a mysterious other world through her father’s crystal radio.

The nine-day long festival will end on Sunday September 23.

Writer, director and producer of the film Heldana Belayneh has been working on the project for five years. She says she has tried to make a film with a distinctly Ethiopian feel that young children can watch and use as additional historical resource. With costs close to 2.8 million birr to produce, Simet is a riveting tale of the era of princes.

Hardly ever seen in the Ethiopian film industry, Simet broaches a difficult subject for movies thus far. Filmmakers have coddled and underestimated Ethiopian audiences, looking to a cheap laugh and quick buck instead of portraying real or relatable stories. Simet may not be perfectly executed but at least it proves Ethiopian filmmakers have range.

The highlight of the film is Yidnekachew Tesfaye. Playing the villainous Endalk quiet beautifully, his violently shifting moods build the tense atmosphere of the film.

The most charming Meskerem Abera that plays the love interest of Mesfin and daughter of the king of Gojam brightens the tension brought on by Endalk.

The accents of the actors do not strictly abide by their character’s locales and the sparsely decorated palace grounds beg for more attention to set dressing. Writer and director Heldana explains the fluid speech patterns and intermixing of different cultures is intentional. The characters are not distinctly Gondere or Gojame because she intended them to be Ethiopian, unbound by ethnic identities. This rhetoric does seem to obfuscate Ethiopian history, covering up important details. Especially for a period drama, attention to cultural detail should be of paramount concern.

The linguistic choices are easier to understand. It would be difficult for the modern urbanite audience to decipher meaning had the characters spoken in accurate early 19th century Gondere or Gojame Amharic. The modernity of the language and word usage makes the film accessible to a wide range of people.

The well-made soundtrack by Sultan Nuri creates a soundscape that time travels to that specific period and attempts to balance poor sound engineering. The director had opted to add visual effects of the Fasiledes Castle instead of going on location or building smaller replicas. The effects have an almost comedic feel to them but they are thankfully short and do not detract from the flow of the plot.

Bravely defying the formulaic production of Ethiopian cinema, Simet attempts to tell an old tale anew. A commendable venture that is sure to open doors to many filmmakers fearlessly retelling Ethiopian stories.

The festival opened to local and international filmmakers and film enthusiasts alike at Vamdas Cinema and Entertainment in partnership with the Embassy of Brazil in Addis Ababa and the Association of Black Audiovisual Professionals on Wednesday July 18.

The three-day festival kicked off with Carolina, a 2003 short film about the life of black Brazilian author Carolina Maria de Jesus and her struggles with poverty included footage of her increased popularity once her book was published.

This was followed by Kbela (2015), an experimental film by Yasmin Thainá that tackles the issue of representation of black women by focusing on the politics of black hair. This was followed by the seminal short film Spirit in the Eye (1974) by Zózimo Bulbul, a lyrical metaphor for slavery and search for liberty.

Ribiero insisted on the importance of having diverse narratives citing how the photographic representation of black Americans is transformed once black people had access to their own cameras in the 1950s.

Brazil is home to the largest population of people of African descent outside of Africa. As Barreto points out, even though the afro-Brazilian population makes up 56% of the population, representation is low. “It’s never us talking about ourselves. Even Brazilian TV features all white people. Black people are portrayed as thieves, criminals or prostitutes. Dehumanization like this doesn’t allow people to be complex as human beings.”

During the discussion that followed the screening, attendees shared their experience of race and black hair in Kbela, finding it highly resonant to Ethiopian women’s experiences of hair. Barreto agreed with the discourse adding, “Even something as simple as hair is highly political. Even in Addis, security guards check my hair in case I’m hiding something in there.”

Sofarit Mulugeta who also attended the festival expressed her delight at seeing narratives of people she could find relatable. “A lot of film festivals come to Addis and I don’t think they consider the audience. I came because I would like to know about black people in Brazil. Even in my own bathroom there are 20 different hair products lined up. It’s nice to see people that go through the same issues–as women, black people and economically disadvantaged people. It’s a great start.”

The second day of the festival focused on the religious and faith-related cultures of black Brazilians with short films like Òrun Àiyé (2016), Okán Mímò (2017), What I Learn with My Elders (2017) and Letters of May (2018). The final day featured the 2012 favela funk dance documentary Passinho Dance Off –The Movie by Emilio Domingos.

The Indonesian Food and Culture Bazaar – a one day event – was designed to bring members of the diplomatic corps, expats, and Ethiopians together for a day of fun and festivities. This free and open event served as a platform to learn the ways of Indonesia and celebrate diplomacy. Held at the Embassy of Indonesia in Addis Ababa – located off Egypt Street – on May 12, 2018, this all-encompassing event provided an opportunity for people from all around the world to experience Indonesian culture, music, art and most importantly food.

Budi Santoso, Head of Chancery, Indonesian Embassy, said: “The key intent of the bazaar is to promote Indonesian culinary, products, tourism, and culture to Ethiopians, and the growing number of foreigners from the many embassies and international organizations found in Addis.”

What started out as a small gathering of Indonesian embassy staff early morning quickly grew into an intergenerational cultural event that brought together several hundreds of families, foodies, and artisan shoppers for a day of ethnic fare and communicative entertainment.

While arriving at the compound, people received raffle tickets to be used in a lucky draw. Walking past the green landscape towards the gathering hall, guests were side-tracked by the exotic, elaborate sculptures that were carved from stone. Most took a minute to take selfies.

The air was infused with the smell of barbeque. Food was the most popular thing at the bazaar. The food booths showcased a number of Indonesian foods. Among the different kinds of foods, one of the most popular was Chicken Satay (Sate). It is a dish of skewered chicken, marinated in traditional paste for hours and carefully cooked over coals. It was served with a sweet and spicy condiment made from peanuts. Some had it with rice, others with fried noodles.

“Our staple foods are rice, corn and mie goreng (fried noodles),” Agung Wibowo, an Indonesian national, said. “But Rendang,” Agung paused for effect, “is the best food in the world.” Confused by the sceptical faces in front of him, he added: “No, I am serious; it was confirmed by CNN.”  To a certain extent, he was being modest yet sincere. In fact, according to CNN’s 2017: World’s 50 best foods, Rendang was crowned “World’s Most Delicious Food”.

Rendang is a rich and creamy beef stew made by slowly simmering beef in a mixture of coconut milk and several aromatic spices. It is cooked for hours until it is very tender. Because of the time and attention it demands, it is often served at ceremonial occasions and to honored guests.

The majority of the dishes at the bazaar sold for 80 Birr or less. Refreshments such as Eh Teh Manis (a sweet Indonesian iced tea), mango puddings, and Gorengan (fried foods) were presented, among many others.

According to Ochen Isaac, a souvenir aficionado from Uganda, this food and culture bazaar was described as one of the most “impatiently awaited” diplomatic events happening this month. “Apart from the handicrafts and traditional apparels that are being sold, the relaxed food galore and their tantalizing fragrances indeed capture spot-on images of Indonesia.”

The other highlight of the event was the live entertainment, which included traditional Indonesian dance shows and Angklung (musical instrument) plays. The performers were dressed in colorful traditional attires; their dances were dynamic, supplemented with clapping and lots of swift hand movements. Dancers urged attendees to participate in the dances. While some bravely joined the revelry, others were just happy to observe. And those who played the Angklung were happy to give lessons for those interested. Angklung is made from varying number of bamboo tubes attached to a bamboo frame. It produces a rattle-like musical note when shaking the suspended bamboo tubes. This seemingly laid-back instrument attracted a lot of curious individuals.

In a mass full of people wearing an apparel of jeans and t-shirts, it was not uncommon to see individuals dressed in Kebaya.  A vibrant, figure-hugging embroidered blouse for women; it is usually worn with a Batik Sarong that is usually dyed with flower motifs or bright colors and head shawls. And the men, they wore Batik shirts with trousers. Several other nationalities were also dressed in their traditional clothing of their respective countries.

“Batik is one of our country’s most developed art forms. Batik is a method of producing designs by using dying and waxing techniques on natural materials such as silk or cotton,” Amirah Rahmadieta, an Indonesian attendee, described.  “It is comfortable and can be worn in both formal and casual occasions, it a very popular souvenir at the booths,” Rahmadieta said.

In addition to the Batik garments, the booths also sold other numerous souvenirs and products made from companies run by Indonesians.  An exhibition table with banners, catalogues, handbooks and gift items of tourism welcomed visitors. A screen also projected various tourist destinations from Indonesia.

For those who wanted more memorabilia, a pop-up photo booth was setup. It allowed attendees to pick a cloth form the available traditional wardrobe selections and take pictures. People were taking turns to try the outfits and take photos all day.

The event stretched in and out the gathering hall, into the embassy’s vast grounds. After browsing and shopping the entire hall, people went out to relax in the beautiful gardens. The activities that took place inside the hall echoed to the open surroundings and people were paying attention. Every hour or so, as the master of ceremonies announced numbers from the lucky draw, a large crowd went inside, hoping their number gets picked. Unusually, a very large number of lucky individuals went home with a prize.

The event concluded with “Poco- Poco”, a popular Indonesian line dance.

According to Beserat Debebe, creator and writer of the comic, Jember is a character inspired by the life and experiences of young residents in Addis Ababa. Aman’s creation was informed by his friends’ and relatives’ job seeking experiences in the city. “He reflects the story of those that are in the transition period between their college life and adulthood. Cities like Addis typically have a high youth unemployment rate. This often leads to a feeling of disappointment and hopelessness for a lot of ambitious young Ethiopians.”

Illustrated by Stanley Obende, Brian Ibeh and Akanni Akorede, Jember is a cross-continental effort. Beserat says the process has led the team to learn from each other and that “having different perspectives always leads to better decisions. We get to learn about each other’s background culture so it continues to be an enriching experience.” Although scenes in the comic book are set in Addis Ababa and the names are Ethiopian, the characters are an amalgamation of African features.

Their company Etan Comics is a platform through which they hope to introduce African Superheroes to an international audience. It began with the belief that stories are the best learning tools. “They are what move us, make us feel alive and inspire us. With our stories, we aim to broaden your perspective about the world. We encourage you to learn more about different cultures, people, nature and all the amazing intricacies of this world.”

Etan hopes to empower a new generation of Africans by creating superheroes of African origin that share African values and beliefs. “My hope is that through Jember and other future comics, our audiences can find role models they can relate to at a personal level. Due to the lack of representation in Western popular media, which is highly consumed by Ethiopians, young Ethiopians can often be consciously or subconsciously limited in what they aspire to be. I hope our work challenges them to expand their imagination.

I also hope that our comics allow people to reflect on the positive and negative aspects of our culture.” says Beserat. A character in Jember called Mesfin quotes Marcus Garvey “A people without the knowledge of their past history, [origin and culture] is like a tree without roots.”

Etan faces challenges reaching a mainstream audience. Comic books are not a common storytelling medium in Ethiopia and readership is quiet low. The widespread availability of other entrainment channels like television and social media threaten the already underdeveloped reading culture. Comic books offer an entertaining and highly visual alternative to thick volumes. With over 8000 followers on the Etan Facebook page, the reaction in the tightly knit comic book fan community in Addis has been strong. Many are happy with this new beginning and eagerly await the development of the superhero as the story proceeds in the following issues.

Fanuel Leul, 22, a graphic designer and illustrator who has been a big fan of comic books, says Jember is a great start and looks forward to other Ethiopia-inspired comics making their way to bookshelves. Comic books are increasingly becoming a popular medium for visual storytelling and many young digital artists are venturing into the field. Fanuel, who graduated from Alle School of Addis Fine Art and Design, is himself working on his own comic called Qedamawi, studying Ethiopian history and showcasing the country as the ‘land of the brave’. The social media pages of Qedamawi feature Ethiopian patriots such as Emperor Menelik, Ras Alula and those that fought the Adwa war reimagined as superheroes.

The Addis International Film Festival, free and open to the public, took place at four venues, Vamdas Entertainment, Hager Fikir Theatre, Italian Cultural Institute, and the National Archives and Library Agency (Wemezekir). Shining a spotlight on socially significant stories, it was a celebration of documentary storytelling and filmmakers who bring their stories to the public.

This annual, week-long event that lasted from May 1-6, 2018 showcased more than 63 documentaries and 22 short-films. It created a platform for emerging and established filmmakers from around the world who tell human interest stories. It covered a range of socially relevant films about immigration, displacement, poverty and social justice as its theme.

The opening day film, screened around 5pm, was ‘Ethiopiques- Revolt of The Soul’. The film conveys the story of the groovy and beat-driven Soul-Jazz music that mesmerized Ethiopia since the Seventies. Even though it was forbidden by the government at the time, the music made it to the listeners’ ears and hypnotized them. This was until the coup threw the country into civil war and musicians were forced into exile. This could have been the end of Ethiopian music history, but as fate would have it, records fell into the hands of a French music enthusiast, who gave the genre a bustling afterlife with the critically acclaimed 32-record album series “Ethiopiques”.

This highly anticipated film opened in Hager Fikir Theatre and Vadmas Entertainment, and at Vadmas, when the attendance exceeded the cinema hall’s capacity, many were willing to sit on the floor.

Viewers at the festival picked their cinematic journeys; closer to home from Addis to faraway places like Iran, Burkina Faso, the US, France or India. They got to see brave, endearing and flawed characters. They partook in hands-on workshops and participated in multiple question and answer sessions with filmmakers.

The question and answer sessions that followed some of the films like ‘ The Bastard’, ‘From Africa With Love- GreekEthiopics’, and ‘Kerro 40’  were lively and interactive, as the audience wanted to talk about them. Filmmakers introduced their work and discussed the filmmaking process.

 ‘The Bastard’, another anticipated film, tells a story of Daniel Hoek, an Ethiopian who has been convicted for murder. He claims that if his Dutch father had not abounded him, he would have never turned to crime. On the other hand his father, Joop Hoek, is equally certain that he would have been a different person had he not been deserted by his own, Dutch- Indonesian, father. ‘The Bastard’ tells two separate stories of an adult child and his elderly father that are inseparably intertwined. They add up to a very moving narrative about destiny, racism, and about how the lack of a father influenced these lives.

With several sentimental scenes, this story caused some of the audience to get emotional. Some were visibly infuriated by the various racist remarks made by Joop Hoek, and others were secretly sobbing because the story ended with the reuniting of father and son, however not a happy reunion.

Daniel Hoek was present at the screening. At the Question and Answer Session, this very opinionated individual discussed and debated his views with the audience. With his confrontational and controversial attitude towards race, nationality, and recognition he ended up offending several people from the audience.

The documentaries exhibited complement traditional journalism and explore social-related issues with great depth. “Almost all the films I saw focused on known current world issues. They are well documented; and unlike the stories you find on the news, they make you see the stories from the perspective of the people who actually lived the experience; and I think that’s important. The whole experience was kind of enlightening,” Izat Amanuel, a participating audience, said.

According to Selam Teshome, program coordinator, most of the films emphasized on factual storytelling that displayed newsworthy subject matters from all around the world. Having those qualities, she said, was the criteria to participate in the festival. “We accepted submissions until March 15. Our panel of six judges selected 63 films from the 122 submitted. Of the selected movies, five were Ethiopia-related; but only one (A Season for Dancing) was entirely made by an Ethiopian, residing in Addis.”

‘A Season for Dancing’ directed by Moges Tafesse, generated a fascinated crowd at the Hager Fikir Theatre. It tells the story of a 16-year-old Meseret, reconnected to his Ethiopian culture and homeland via the support of his adoptive father.

Throughout the week, people flooded the venues to follow certain anticipated films, some of them were ‘The Battle of Algiers, a Film Within History’ from France, Switzerland, and Algeria , ‘Before Summer Ends’ from Iran, ‘Ta’aug’ from Russia , ‘All governments Lie’ from Canada, ‘As We’re Told’ form Sweden and ‘Edith+Eddie’ from the US,

Addis International Film Festival wrapped up its twelfth edition with a brief Closing Awards Ceremony at the Italian Cultural Institute. This year’s short-film award winner was selected by a vote. The audience left no space for doubts; the film that won was ‘Pottery’ by Dagnachew Woldegiorgis. On a scale of five, most people voted fours and fives.

This five minute film reveals the superior craftsmanship and efforts required to create the ‘Jebena’. Dagnachew, aged 32, showed the process Genet Shewaye, a potter, went through as she transformed mud into a beautiful work of art. His inspiration he said is driven from the concept “Pottery is a creation, and the Potter, its deity.” He won a paid travel expense to an international film festival, although he didn’t decide on the location, he said he is very happy he won.

The award was followed by a music show, networking opportunity and refreshments. It linked like-minded people through their love of independent film and the art of telling factual stories.

Jano Band — a pioneering Ethio-Rock Fusion Band famed for blending melodic Ethiopian styles with powerful metal grooves, heavy guitars, and electronic sounds since 2011, has inaugurated its new recording studio.

For its inaugural launch, the band hosted an invitation-only event featuring an array of guests, esteemed individuals and participating artists.

Tucked back at the end of an alleyway in the Awaré neighborhood, the event took place at the Jano Compound. It sits in a fairly quite spot, barely noticeable from the street. On the evening of the event, invitees went through the beaten pathway to discover an airy compound. It featured a spacious outdoor garden filled with the sweet aroma of coffee and burning wood, a modest villa and a makeshift stage. On the night, while most guests arrived fashionably late; the hosts dressed exquisitely in contemporary Ethiopian attire, were humbly welcoming and expressing their gratitude to their guests.

The event started after the guest of honor, Yismake Worku, a well-known author recognized for his book Dertogada, cut the ceremonial bread. After dinner, Hailu Amerga started to sing a song from their previous album titled “Anchi Hagere”. His distinctive soulful voice and passionate performance moved the crowd.

Song after song, musicians took turns to perform varied styles of songs each stating the inspiration, meaning and messages represented in it. Dibekulu Tafesse, lead singer of the band, described the meaning of their latest album titled “Le-rasih New,” directly translated as “It is for you”. Dibekulu stated the meaning of the title as “one of the ways we can attract the things we want in life is by doing them for others. If you do good or bad, at the end of the day, it is for you.” Dibekulu urged the audience to attract good things by doing well in the spirit of the holiday. 

 “Le-rasih New” represented a wide variety of styles ranging from traditional sounds and instruments to contemporary, modern compositions and everything in between. Comprising of social, cultural and national issues, it created an appeal to a wider range of audience.

Usually, what goes on behind the scenes of the recording industry is masked behind secrecy. Musicians and artists assemble behind closed doors where creativity is done mysteriously before being packaged and publicized. However, Jano’s event proved that a little bit community involvement goes a long way. According to the band manager Samuel Tefera, the guest list comprises of various individuals from all walks of life. “While the guest list contains familiar names, we have also invited locals from the community, people living around the Jano Compound”. Some of the recognizable personalities attending the event were Eleni Gebre-Medhin (PhD), Henok Temesgen, Henok Mehari, Mahlet Afework (Mafi), Shimelis Abera, and Yismake Worku.

Despite the rumors the band members were in a middle of a dispute, the performances made by the band were energetic and expressive. Nevertheless, they were seen working closely together with a noticeable chemistry and throughout the show the guests were visibly engaged. Regarding the rumor about their breakup in 2017, members of the band said in-spite of some misunderstandings the band has not broken up and it will continue to perform in an improved manner with the substitution of some of its members. “It is true that there were some misunderstandings, but the band did not break up. We have solved the problems,” Samuel said about the situation.

Although they stayed off the limelight for several years since their first album release Ertale, Jano remained active touring and working on their latest album. “We have been on tour in the US, Italy, Germany, Sweden, Netherlands, Bahrain, Dubai and Israel,” band members said. And as they have promised, Jano released their newest album this year on February.  The album combines Ethiopian song writing fused with renowned sound engineering from the Bluemusica Studio in Italy and mastering from the Grammy winning Lurssen Mastering in LA, California.

According to Samuel, the project – recording studio at the Jano Compound — was fiscally supported by the tours. “The band also plans to host invitation-only events at the compound every week or two.” He believes the event will demonstrate a positive addition to the city’s creative network and will raise the profile of Jano Band. He also mentioned that the recording studio will be open for practice and rehearsals for artists and musicians at a very reasonable price. In addition to the working studio, the compound has multiple quarters that can serve as accommodations for artists. “We will continue to develop other elements to create a high-end recording studio,” Samuel said.

Samuel added that the band will start touring major towns in Ethiopia starting at end of April. In response to what fans should be expecting in the near future, the band’s female vocalist Hewan Gebrewold said: “We are working on video clips, numerous concerts and tours. We have collaborated with various choreographers, and professionals to create different concepts derived from national issues.”  Haleluya Tekletsadik added: “We also have an animated video clip coming soon for the song ‘Hager Alegn’. Furthermore, we are working on refining our stage performances with the addition of Masinko, Kirar and Washint.”

Towards the end of the show, participating musicians like Andy-Betty Zema performed a couple of stirring songs that made the crowd applaud. But the show was not over until Jano’s female vocalist Haleluya Tekletsadik performed an enticing Somali song that left the crowd in awe.  

Yeabsira Getachew, one of the guests who attended the show, stated: “It was the first band jam I have ever been to but the show was great, the sound from the live show, the performance, and the cozy atmosphere was top notch. It was a great night.”

Sewit attributes the lack of options to the foreign imports that enter the country. “Most of the textile imports come from Taiwan or Thailand where the average body type is not exactly similar to curvy African bodies.” She says.

Mehbuba Kedir, 25, owner of one of the many clothing shops in Hayahulet admits there aren’t many clothing options for plus sized women. Most of the people that come into her shop, both men and women, buy whatever is available because they have no choice, she says. “They don’t look for trendy clothes,” she claims. Most of the items on sale are repetitive and follow the same style. Fast fashion focuses on ‘normal’ sizes because that’s where the most money can be made. She attributes this to a lack of market demand.

Sewit disagrees with this statement. “Supply creates its own demand. People like me have given up on shopping. Even the mannequins outside the stores aren’t representative.”

The experience can be irritating for the plus size/curvy/full-figured/voluptuous woman. The language used can be daunting for the uninitiated. The terminology and etymology involved has been enduringly contentious. Pejorative terminologies like fat are gaining traction among groups reclaiming the word. Plus size, a term that gained popularity in the 1980s to refer to clothes and the size of the individual, has replaced stout, chubby and hefty. Plus size itself has gained a lot of backlash for marginalizing the body as non-normative and disorderly.

Sewit prefers the term curvy. “Our society is not body positive. We have aligned ourselves with western ideals of beauty and the perfect body. African women have curves. “ Beauty standards are not universal. By conflating modernity with stick-thin figures, Sewit says, we have transformed our own ideals of beauty and femininity. Historically, Ethiopian sensibilities of beauty were more inclusive. She herself has not had difficulties adjusting to her new size but the response of others has not been positive. “No matter how much weight I lose I know I’m never going to have that body shape, and I’m okay with that.”

The dozens of shops that line Hayahulet road, shops found in Merkato and Piassa all forget the needs of the full figured. The lack of diversity is not restricted to women’s apparel. Clothing for men and even children can be difficult to find. Ready-made Habesha dresses are a tough reality to face for Sewit. “It is difficult to accept that the thing I love most is no long inclusive of me.” She frequently has had to pay more and work harder to find the right clothes. Habesha garments are increasingly expensive, no longer accessible to the full figured woman unless she’s willing to shell out thousands on a tailored dress.

There are many young local designers Sewit hopes will be more inclusive in their lines. Betselot Zewge, 20, is one such designer. She has always wanted to design clothes and is currently working on a plus size fashion line. She believes there should be equal access to fashion, regardless of size or shape. However, local shops are far behind the size inclusive trend. When shopping in Addis, ready-mades can only be found in ‘standard’ sizes. The few clothes that can be found in larger sizes are for older women. Betselot questioned what other people might want, especially young women her age and decided to create a size inclusive fashion line. Her designs focus on casual and comfortable wear that make women more confident and comfortable.

Plus size apparel has a conservative look, thereby attracting an older age group (40+). No crop tops, not too tight or too short, focusing on hiding the body instead of accentuating its beauty. Most outfits of this kind target an older age group. Or alternatively it is focused on the design ideals of distraction. By adding ruffles, gaudy decorations, or using bright vulgar colors and patterns, it deigns to make the body look more slender. Figure flattery of this sort is neither stylish nor classy.  Betselot has found this to be a real problem. Most of the clothes that fit her also make her look much older than she is.

Sewit is of the mind that we should be more accepting of alternative beauty, be it in clothes, hair or makeup. Elevating plus sized fashion to the status of high fashion is a struggle in the international industry. High fashion, of course, is not necessarily pretty, slendering or figure flattering. Fashion tends to be brave and has something to say about the wearer beyond the body itself. For some though, it can be difficult to look past the body.

Betselot says women are judged based on their size and occasionally insulted or ridiculed by shop owners or attendants. Women her size are habitually neglected even though curves make the clothes more beautiful. There is a lot of fear and discomfort when curvy women shop because they are frequently told there are no clothes that fit them.

According to Betselot modern fashion in Ethiopia isn’t a central concern and doesn’t play a large cultural role. Mining the rich Ethiopian culture with modern fashion integrations, she hopes her work will gain international traction. Her upcoming fashion line Zemenay, which she has been working on for the past year, will launch as part of Poetic Fashion event in April at Fendika Cultural Center.

Creating a democratic and unproblematic shopping experience requires hard work from both designers and consumers. Events like Hub of Africa and African Fashion Week are turning Addis Ababa into a fashion center and showcasing budding designers from the continent. Integrating garments that exceed sizing standards with bodies effectively marginalizes the body. Plus size fashion must gain respect locally and in the fashion industry, Betselot says. “People must learn and understand what we are saying,” Incorporating large sizes into the spectrum of standard sizes available in retail shops is one step towards size inclusivity.

Contributed by Hiwot Abebe

It was followed the next day by the Namibian Perivi Katjavivi The Unseen (2016) on Tuesday, a genre-bending film in three marvelously shot vignettes, half-improvised, half-scripted. The story follows Sara, Anu and Marcus as they attempt to be successful in their chosen careers and become better humans.

The Boda Boda Thieves (Uganda, 2015) by Director Dondald Mugisha aired on Thursday, features the increasingly common means of transportation in African cities the ‘boda boda’ locally known as bajaj.

Director Anisia Uzeyman’s Afro-Punk Dreamstates (Rwanda, 2016) was shown on Friday and follows the story of two artists falling in love. The Director Uzeyman stars in the lead role Indigo and her husband Saul Williams plays the role of Spoonie. The film was shot using two iPhones over 42 days.

The Algerian Director’s Rayhana’s I still Hide to Smoke (Algeria, 2016) confronts gender issues in 1995 Algeria amid civil war and fear of terrorist attacks. Fatima creates a safe haven for all women in a hammam (Turkish bath) in a time of escalating control over women’s lives and international pressures. Rayhana won the award for Best Debut Feature at Raindance Film Festival in 2017 and the audience award at Thessaloniki Film Festival the year before.

According to Tenagne Tadesse, Program Assistant at the Institute, the films were selected on the basis of having been released less than 3 years ago, their coverage of social issues and documenting African realities, as well as the awards they had won and acclaim they had gained thus far.

The aim of the film week is to showcase successful African films and encourage local filmmakers. This is the second installment of African Film Week, the first launched in 2016 with the African Union Culture Department. The Film Week hopes to bring African countries closer by showcasing each other’s works, forming a shared experience and creating opportunities for storytellers.

Leul Shoaferaw, local filmmaker and founder of Eerie Productions Inc., states the week is a tremendous platform to introduce the best of African films to the Ethiopian audience and filmmakers. “I believe this festival will expand my regional and international professional outlooks, nurture my creative capacity and inspire to contribute to the African cinema portfolio.”

Contributed by  Hiwot Abebe 

They call it “the lung of Addis Ababa”. And it does not take long for anyone who sets foot in the area to understand why. With the best panoramic view of the city, Mount Entoto is home to diverse flora and fauna. The taciturn, yet breathtaking Entoto Natural Park is part of the chain of mountains on the northern part of Addis.

The fresh air is therapeutic as one slowly let goes of the hustle and bustle of the city. This meditative site has a huge role in the city’s history as well.

The history goes back to over a century, when Emperor Menelik II chose to have his palace at the mountainous area when he moved to Addis Ababa from Ankober town. It was a strategic move considering the location and rich natural resources of the area.

Soon after the Menelik’s settlement, news spread that people were facing shortage of firewood. So Menelik had to search for a seed that would bear fruit within a short period of time from overseas. Australia’s Eucalyptus seemed to be the right answer and the seed was imported to Ethiopia. Bahir Zaf was the local name given to the plant that overtook Entoto and other parts of Ethiopia by storm.

As promised, Bahir Zaf grew in a few years’ time and people started to use it for building houses. In addition, selling the leaves became a source of income from countless families. Back then, little was known until it was discovered that the plant has a negative impact on the environment.

Bahir Zaf is considered to be a “selfish” variety in the plant world. No other plant can grow within a few radiuses since it absorbs all the underground water. Let alone trees, it is impossible to come across grassland wherever it is planted. Loosing other plant species and water resource wakened people to the hazards nature of the plant. As a result, destroying it became the only option.

Nonetheless, years after the incident, Bahir Zaf still stands proud in various parts of the country. Ethiopian Heritage Trust, a nonprofit organization, formed to protect natural and historical heritages of the country, took the initiative to change this reality. 22 years ago, the association began uprooting eucalypts and replacing it with indigenous seeds.

After reaching an agreement with the Addis Ababa City Administrative, the organization took over Entoto for one hundred years so as to cover 1,300 hectares with indigenous plants. Members of the association, in collaboration with public and private companies, students and volunteers, have been doing that for over a decade now.

In that regard, Mount Entoto has been evolving over the years and nowadays one can see indigenous plants such as Zigba, Tikur Enchet, Korch, Yehabesha Tsid, Yehabesha Girar, Wulkifa and Enbilbay instead of Bahir Zaf. According to Mulugeta Hirpo, head of Heritage Development and Preservation at the Ethiopian Heritage Trust, 500 hectares of the Entoto Natural Park is currently covered with Ethiopian-based florae.

While visiting Key Ber – one of the eight sites in the park – The Reporter witnessed various indigenous plants. 3,200 meters above sea level, the mountain is in a better condition as compared to the previous years. “Uprooting eucalyptus, which had an immense impact on the land, took years. There were no other types of trees as a result of its unfavorable nature. Birds and other animals fled from the park as well,” Mulugeta explains.

He says that the area was highly affected by soil erosion and it has always been exposed to flood. After planting indigenous florae and building a dam barrier that stops the flow of water, they managed to rehabilitate 13 ponds. Animals such as Yemenelik Dikula, Kerkero, Midakua and Gureza have now returned back in the park in search of shelter.

“The loss of natural habitat threatened the life of endemic birds and animals. Now that it is undergoing rehabilitation, they are coming back to the park,” he states. The fortunate condition has also abetted in the growth of seeds that have the nature of living underground for ages, only to grow out on their own.

The indigenous plants cover only one part of the park, whereas the other half is still widely populated with eucalyptus. The plant has been a source of income for many women who have no any other means to support their families. A complete destruction of the plant would mean endangering the livelihoods of many. Thus, Mulugeta suggests there ought to be another mechanism to sustain these households.

He stresses, “Entoto, often referred to as the ‘lung’ of Addis Ababa, needs protection. It is the backbone of the city as it provides clean air and water.” Many say that Addis, which is gradually becoming a concrete jungle, is indeed in need of such natural recreational sites. The city administration has been criticized for lack of proper preservation of parks in the capital including Entoto Park, Hamel 19 Park, Yeka Park, Bole Park and others.

Deforestation has been one of the major problems in Ethiopian natural sites, and the hills of Entoto have been on the list of areas that are strongly affected. Ethiopian forest populace has decreased from 80 percent to four percent in the past years and later on increased to 13 percent. In the case of Entoto, the problem extends to illegal settlement and boarder conflicts too.

According to Ethiopian Heritage Trust board president Likae Kahinat Abayneh Abera, they are currently quarreling over a plot of land that is on the border of Addis Ababa and the Oromia Regional State.

“We have asked to continue working on the part of the park that the region took from us. Since our work has never been restricted to one area or a specific region, we are waiting for their response,” he told The Reporter.

He also stresses that they cannot access their office and parts of the park where they used to process seeds. Such squabbles disrupt the conservation procedure compromising the natural resources. While waiting for a reply from the region and city administration, they are on the verge of building a new hub, despite budget constraints.

Questions related to border arise from various sides including adjacent churches and individuals who have been living in the area for years. Most of these people own pets that continued to impend on the preserved area. The population growth has resulted in habitat destruction through livestock grazing.

Mulugeta says that as long as there is no alternative means for fuel and construction, people will keep exploiting the natural resource. People who are using the pond as a water resource and those visiting the park for recreation are hardly concerned about keeping the area clean. In this regard, the association has a plan to find resettlement areas for the community to reduce contamination.

Around Entoto churches including Saint Mary and Saint Raguel are among the sites frequently visited by tourists. Visitors enjoy the view from the hills and lots of reviews have been written about the area on tourism websites. Therefore, protecting the natural resource of the park in turn secures revenue from tourism.

According to a research, Species Composition, Relative Abundance and Distribution of the Avian Fauna of Entoto Natural Park and Escarpment, by Kalkidan Esayas and Afework Bekele from Department of Natural Science of Gambella Teachers’ Education and Health Science College, 124 avian species belonging to 14 orders and 44 families were identified in the area.

The research reveals that Entoto is one of the important bird areas (IBAs) in Ethiopia. In addition, Entoto and its surroundings have high elevation with a diverse flora and fauna. “This biodiversity has been affected as a result of various natural and anthropogenic threats. This increases the threat for avian species from time to time,” it reads.

It is indicated that the area is unique as the foothills of the mountain consists of volcanic rocks, reddish rhyolite, trachyte, ignimbrites, tuffs, welded tuffs and black obsidian. Moreover, amid the birds residing in the park, five of them are endemic to Ethiopia while 11 are shared between Ethiopia and Eritrea, which will be in grave danger if the vegetation layer decreases. “If the vegetation layer increases the number of available niches for birds also increases and so does the diversity of avian species,” the researchers indicate.

In the research, it is also indicated besides birds, there are also other mammals. In that regard, the Entoto Natural Park can serve as an important biodiversity center. Conversely, the long history of eucalyptus plantation, settlement, deforestation and erosion has left a negative imprint.

Over the years, deforestation of watersheds has resulted in loss of genetic resources, flooding and wood scarcity. Illegal settlements in the park enabled people to have easy access to enter and collect fuel wood. “Therefore, protection of the area is mandatory for wildlife conservation especially for birds to enrich their diversity, abundance and to maintain the natural ecological balance of the area,” it is recommended.

In a world where global warming is the number one concern, many countries are striving to rehabilitate their natural resources. For most of these countries, the restoration process is taking a long period of time bearing in mind the extent of the damage.

Henceforward, in the Ethiopian context the question remains, how far will concerned bodies go to protect the existing natural resources of the country before reaching the desperate point as the rest of the globe?