Addis Ababa University’s storied grounds came alive last week as the country’s premier institution revived its long dormant Cultural Festival. From February 5th through the 7th, students and faculty were treated to performances by renowned artists as well as presentations exploring the influence of culture in academia and society.

The festival, which was last held seven decades ago, has resumed with two pillars at its core. The first features artists of all disciplines, from drama and music to poetry, chorus and more. Half of the performers are AAU alumni while the other half are selected guest artists.

In an inclusive spirit, students and faculty from any department—whether engineering, medicine or otherwise—were also invited to showcase their artistic talents. Performances took place at AAU’s cultural center, which reopened just six weeks prior after years of dormancy.

The second component centers research with papers addressing topics such as the current state of culture and art in Ethiopian universities, the development of art and culture nationally, and culture’s contributions to communities across the country.

Initiated by Samuel Kifle (PhD), the recently appointed interim AAU president and state minister of education, the festival’s revival aims to underscore art’s importance for all. In his opening remarks, Samuel asserted that art is essential for everyone in all non-art related fields.

“A medical doctor who has exposure to art, does not only medicate but also heals patients. An engineer who is filled with art, can build houses and infrastructure good for humans,” Samuel said.

Over the three day event, Addis Ababa University served as a hub for cultural exchange and appreciation. Audience members were particularly delighted by venerable artists who graced the stage with their exceptional talents, adding prestige to the program.
Legacy artists like AyalnehMulat, GetnetEnyew, and BadeluWaqjra stirred souls with poetry weaving together Ethiopia’s past and present. These renowned figures received their formative training at AAU’s once-robust cultural center before budget cuts forced its closure, lamentably stunting the growth of the nation’s art sector.

The Addis Ababa Circus Group brought levity through daring acrobatics blending Ethiopian influence with international flair. Their performance brought widespread delight, underscoring the enduring popularity of circus in the country.

Across the festival’s run, attendees immersed themselves in an array of cultural experiences. Traditional music, dance and cuisine offered a taste of Ethiopia’s rich tapestry. It served as an occasion for communities to connect, share customs, and forge lasting bonds – a testament to the successful celebration of diversity.

The university’s cultural center also featured promising youth.
Beyond the veteran artists and circus group, the Center’s own young talents took center stage. In a showcase curated by the university, their collective musical performance infused the atmosphere with youthful exuberance.

Among the highlights was a rendition of the beloved song “Enkuan des alachu,” evoking nostalgia and joy.

Beyond artistic showcases, researchers converged to present scholarly work, emphasizing the event’s multidimensional dynamic of creative expression and intellectual inquiry. It provided attendees with a holistic experience that brought Ethiopia’s rich cultural traditions to the forefront.

Reflecting on the Role of University Cultural Centers, Assistant Professor Tesfeye Eshetu, Director of the Addis Ababa University (AAU) Cultural Center, highlighted the important role that university cultural centers play in nurturing and preserving Ethiopia’s rich artistic and cultural heritage.

He emphasized the power of research and creativity in advancing these cultural values while also strengthening connections between academic communities.

“The absence of such cultural festival and the closure of the AAU cultural center, has had a huge negative impact on the growth of the industry. So, many students are passionate, interested and coming,” said Tesfaye, enthused about the resumptions.

With the goal of fostering collaboration among institutions, the multi-day event in the capital promoted unity and solidarity among participants from varied backgrounds. As it concluded, it cemented lasting memories and relationships – fulfilling AAU’s focus on cultural understanding and intellectual exchange.

In a bold public demonstration of cultural pride, AAU hosted the cultural festival, showcasing the talents of the nation’s youth while laying the foundation for future international partnerships. It showcased the talents of the nation’s youth while establishing the foundation for future partnerships, according to Tesfaye. The annual tradition will rotate between partner institutions.

Looking ahead, plans are underway to elevate the festival to an international stage, further establishing Ethiopia as a leader in global culture and creativity.

The festival marked a milestone in establishing the “National Association of Cultural Centers of Universities,” signifying collective efforts to promote preservation and exchange nationwide. By coordinating centers, this initiative aims to strengthen unity among Ethiopian universities, paving the way for future collaborations and mutual growth.

The AAU Cultural Center traces its roots back decades as the Emperor Haile Selassie Cultural Center. Over time, it has nurtured the talents of singers, composers and orchestras, cementing its status as a beacon of artistic excellence.

Its storied collection reflects this heritage, including works by renowned artist Gebre Christos Desta, whose legacy continues to inspire generations of Ethiopian creatives.

As the center takes on a leadership role in shaping cultural exchange, its national responsibility becomes increasingly important. By spearheading initiatives like the association of centers, it is establishing an inclusive and vibrant cultural landscape celebrating diversity while fostering unity and understanding among Ethiopians.

As Tesfeye stated, “We now stand on the verge of hosting a great national festival, the first of its kind.” With support from AAU leadership, veteran artists and enthusiastic students, the inaugural festival marks the beginning of a new chapter defined by collaboration, innovation and unity.

Next year, another university will assume host duties for the annual inter-university event. 17 institutions have already signed up. The next host will be selected through the university consortium. Ethiopia is home to nearly 49 institutions of higher education in total.

Habesha dress is a traditional clothing that has been worn in Ethiopia and Eritrea for centuries. It is handwoven and made from cotton and is especially worn during celebrations and holidays. One of the seasons to purchase Habesha dresses is during the upcoming days of the Ethiopian New Year. Habesha dresses are also selling on the international market. For instance, people can order their Habesha dresses from online stores like Etsy. The peak season for Habesha dresses is usually during Timket more than Enkutatash (the Ethiopian New Year). And the place to go to for Habesha dresses is Shiro Meda; however, nowadays, many habehsa dress shops can be found in shops all around Addis Ababa.

When making a Habesha dress, the cotton is first spun into yarn by the Dewari. Then it goes to a Shemane (weaver), who makes the traditional clothes. And then there is the hand sewing of the different types of colorful patterns or Tibeb into the dress. This entire process, depending on the discipline of the workers and the design, takes about 20 – 25 days to make one Habesha dress. Customers appreciate that the traditional dress is hand-made, and the material used to make the dress is usually of high quality. The material is cotton and there are different kinds such as saba, fetil, menen, weldeyes, etc.

Mostly the peak season to buy Habesha dresses is during holidays and weddings. Many of the sellers said that New Year is not a high season; however, during Timket (Ethiopian Epiphany), Christmas and Easter there are way more customers. Usually, Habesha kemis cost around 3,000- 10,000 birr depending on their design and the quality of materials.

However, nowadays, Chinese manufacturers are making cheaper counterfeit dresses by printing the Tibeb pattern on the dresses; something that is infuriating many in the business as well as customers.

According to Marta Debouch, owner of Yarrow Hand Woven Design, the Chinese manufactures that are counterfeiting Ethiopian Habesha dresses should be considered illegal. “They are stealing our culture that we have had for years by creating fake or artificial Ethiopian traditional dresses,” she told The Reporter, adding that the government should take action.

Marta said that she would go as far as calling it “modern colonialism”. She continues to explain saying: “It isn’t about the money or the business, but it is generally damaging the positive image of Ethiopia, when another country starts making our own traditionally handmade clothes.” She personally designs every clothes in her store, and even if there is a patent law, she asserts that it used to cost eight dollars to get one designed approved. And that, according to her, is highly expensive for local shops so the government should find a solution for protect Habesha dress designs from being stolen.

Other Habesha dress sellers located in Shiro Meda share similar frustrations. Some such as Biruk, an employee of Kiyab Habesha dress shop, believe that the Chinese counterfeit dresses are not as much desired as the handmade traditional clothes; however, in the beginning it did hurt the market. Now people are well aware of the counterfeit clothes as opposed to the authentic ones so it doesn’t affect the market as much any longer. However, Chinese companies are upping their game and producing more alike material so it can still be confusing for customers.  Aynalem and Betty, Biruk’s neighbors in the shop next door, Aden Traditional Clothes, believe that the Chinese dresses have badly hurt the market because of the price difference and some people do not know the difference between the two.

Unlike the traditional handmade habesha dresses, Chinese manufactures copy the design and make it in factories with materials that are lower in quality than cotton. Unlike cotton, the material they use are not weatherproof and hypoallergenic or even comfortable. So, the difference between the two, according to the those in the business, are the quality and the material used to make the dresses. The cost is of a genuine Habesha dress ranges above 3,000 birr while, the replica is sold for just 1000 birr or less.

Unlike some sellers, Marta, an employee of Designer Shewa, a shop which is located in Shiro Meda, believes that the customers know the difference between the authentic and the Chinese-made. She says that people do prefer the traditional handmade habesha dresses. People sometimes buy the counterfeit dresses for coffee ceremonies but not for holidays. Similar to her, Hagos, the owner of Debretsion Shop, located in a different part of Addis Ababa, told The Reporter that women prefer the authentic one because the Chinese counterfeit does not have the same grace as the original Habesha dress.

Many of the sellers and owners of Habesha dresses claim that this year business has been slow because of the changes in the country and the economy. And Habesha dress shop owners such as Hagos claim that working with weavers is hard as some lack discipline while others lack the skills. He claims that it would be good if the government could organize short-trainings for people working within this field so the products will have better quality, which, in turn, will help the market to develop within the international market.

Wudnesh Hailu (PhD), who admires Habesha dresses greatly, says that she enjoys Habesha dresses and frequently wears them to events, holidays and on Sundays. She says that it is comfortable to wear during any season of the year and even abroad. She adds that Habesha dresses are made from cotton, so it is also good for the skin. Wudnesh told The Reporter that she feels sad that Chinese manufactures are creating counterfeit habesha dresses. It hurts the economy of the traditional weavers badly and it is not even good for the health of those who wear the counterfeit ones as the clothes are not made of cotton but polyester. Scientifically, cotton is known to be good for people’s health. She said that the government should protect Habesha Kemis as it does with coffee and trying to do with teff, because Habesha dresses are unique only to Ethiopia.

“Patenting Habesha dresses is a necessary step that the government should take to protect Ethiopian Culture,” Wudnesh said, recommending that creating awareness regarding the issue and creating associations can bring change. In addition, she recommended that the government can also increase taxes on the imported counterfeit Habesha dresses from China.

Contributed by Sesina Hailou

On the last day, and last Sunday of the month of March, Ermias Davidson Ashegdom Aka Nipsey Hustle was shot dead in front of his clothing store “The Marathon”leaving his fans around the world saddened and despaired. Leaving his wife and two children behind, 33-year-old rapper Nispey Hustle was known for his efforts to raise awareness on issues like gang violence and dedicated his life to this mission.

Born of an American mother and an Eritrean father, Ermias’s prominence extends beyond the American borders, touching the lives of millions of Ethiopians and Eritreans around the globe. “I initially became a fan because of his Eritrean heritage,” admits Ambaye Michael Tesfaye, young Ethiopian business owner, “but, I simply grew to admire and respect him greatly once I learned more about who he was as a person.”

Making the headlines on every major news outlets,a candlelight vigil was immediately organized the followingday of his shooting, with a flyer rapidly circulating on social networks. Organized in the same lot where his life was taken away the day before, the vigil ended in a stampede after a fight broke out, leaving a dozen of Nipsey’s fans injured. In the same spirit of remembrance, memorial services in his honor were held throughout the globe, predominantly organized by Eritreans or Ethiopians.

In Addis Ababa, his tribute was paid in the dark parking lot of Village Café, where hundreds of young Ethiopian and Eritrean fans gathered to commemorate the life and death of the Eritrean American artist on Saturday, April 8, 2019. In a proceeding of speeches and poems written by his most devoted fans, Ambaye says, “we just wanted him and his family to understand that we, here in Addis Ababa, are praying for them in these terrible times.”

Robel Tekel, art instructor at Ethiopian arts and crafts, performed a live painting of Nipsey Hustle and was then auctioned off for 17 thousand birrs. Along with some donations from fans, the funds raised went to Yenat Fana Charity, at Berhane Zare School, in order to secure 3000 lunches, all donated on behalf of Ermias. Fana is a social, private institution based in Addis, devoted to the comprehensive protection of children. According to the owner of Village Café, Brook Solomon, it was important to “send our brother off in the respectful manner he deserves”. For Brook, Nipsey Hustle taught him to believe in himself while remaining humble and hard-working.

With his tracks resonating throughout most of the night, a table was set up in front of the venue with flowers and candles, as well as framed images of the late rapper. A slide show of his photographs was also projected on two big screens behind his memorial table. “You can tell that he has touched the lives of many” explains a young fan attending the vigil. He further adds “I didnot think that many people would come out for him.”

Nipsey Hustle has touched the lives of many young Americans, and by being “Eritrean” he has pulled the American dream closer to Africans, along with the success story that comes with it, and made it seem more attainable for millions of young immigrants living in the US, but for Africans on the continent as well. Nipsey has always been proud of his Eritrean roots, and as recently as last year, he sat down with President Isaias Afwerki of Eritrea and when asked what it meant for him to be Eritrean, Ermias answered “more than anything.”

Nispey Hustle was known for his commitment to spreading positivity within his L.A neighborhood but around the world as well through his music. Surprisingly, Nipsey was planning to meet with LAPD officials the following day of his shooting, feeding the conspiracy theories that his murder was not related to gang violence. Alongside Jay-Z’s team of Roc Nation, both rappers were dedicated to easing gang violence with Commissioner Steve Soboroff as well as Chief Michael Moore.

Nispey Hustle was not the only Eritrean and/or Ethiopian out there making music. Young rapper Aminé, born and raised in Portland, Oregon is half Ethiopian and half Eritrean. In a tweet Aminéposted the next day of Nipsey’s death, he said, “Nipseyinspired this little Habesha boy every day.” According to Ebony Magazine, Tiffany Haddish, a comedian, born of an Eritrean father expressed her condolences to her compatriot. His death has shaken the music industry.

Police have since identified and arrested the suspect of Ermias’s murder, 29-year-old Eric Holder, and charged him with two counts of murder and attempted murder according to the Los Angeles County district attorney’s office. He has since pleaded not guilty, yet, if convicted, Holder would face a maximum sentence of life in prison. Chris Darden, his defense lawyer, who was famous for being the prosecutor in O.J Simpson’s murder trial declined to comment.

Ed’s Note: The writer is on an internship program with The Reporter. He can be reached via his email address aneguede@gmail.com.   

Contributed by Amanuel Neguede

For many Africans, the discrimination they face is not simply rooted in prejudices; and analyzing and understanding where the discrimination begins is important for young Africans to proudly wear their hair the way they want, without the need to abide by international, mostly western standards of beauty. In order to sensitize and shed some light on these perplex issues that lay beneath the surface, a group of panelists at “Let’s talk about dread locks” focused on issues Africans deal with on a daily basis at home.

SawaraworkTafari is a 42-year-old photographer in Addis Ababa working for Addis Fortune Newspaper. He has been wearing his hair in dreadlocks style for 9 years and it now reaches his lower back. At work, Sawarawork never felt like he was being discriminated against, yet on the streets, many have mistaken him routinely for a marijuana smoker, even though he isnot. He has never been asked to cut his dreadlocks for work, neither, and he isnot sure if he would ever cut them if a job opportunity presented itself. For Sawrawork, his dreads are the representation of an “Ethiopian way of life”.

Let’s talk about dreadlocks -an art exhibition/colloquiumwas held on Saturday, March 9th with hopes of raise awareness about the perception of identity andnatural hair throughan open conversation about culture, identity and hair style connotations’ that comes with it. In honor of the International Women’s Day, the panel discussion gathereda small crowd in Eleni Gabre-Mahdin’snew rentableoffice space – Blue Space.

The short seminar curated by Desta Meghoo (PhD), revolved around the impact that hair styles might have on women and youth of African descent and the importance that “no one has the monopoly on beauty” in the words of Wessen Celine, one of the attendees of the event, has for Africans. That is precisely what Meghoo highlights in her children book entitled “I Love Locks,” which celebrates African culture and heritage.

Breaking the mold of indoctrination, the seminar unveilednarratives of culture and identity from an academic, artistic, spiritual, theological, psychologicaland human rights point of view, through the lenses of a panel composed of a psychotherapist and life coach, ZaharaLegesse-Kaufmann; a contemporary artist,MeridTafesse;the regional gender advisor to UNOHCR, Victoria Malokaand a Pastor from an international Ministry, Zerubbabel Beta Mengistu aka Pastor Zee.

According to Meghoo, “Wearing natural black hair impacts opportunities for employment, housing, education and even health care”;Even for qualified women inacademia. Although the 11thCircuit Court of Appeals ruled against such discriminations, refusing to hire someone because of their hairstyle, it still remains common in the work space around the US. “I have to wait until I secured a job before I get my dreads,” expressed Samrawit Bekele, research analyst at SETAWEET, a feminist organization based in Addis Ababa.

Embracing natural beauty is no longer just about making a fashion statement. With growing numbers of discrimination and ostracizing due to hairstyle, accepting and embracing natural hair has become a way to raise cultural, financial and even political issues for women like Samrawit who realize that wearing her hair naturally might impact her status and ability to get employment.

While some might struggle to find a job because of the hairstyle they chose to wear, some others do not seem to have a problem with it. “I have never gotten a negative remark at work,” says MeheremMelakou, a category Manager at Ethiopian Trading Enterprise (AlleBejimla). He further explains, “All I have ever gotten were compliments”. Meherem believes that because he has fully incorporated his hairstyle, and that it has become a part of his identity, people tend to shift the focus on his attitude and character rather than his dreadlocks.  

In Ethiopia, each region of the country reveals a different hairstyle. “You could easily identify which region someone comes from just by looking at the hairstyle. And while some coiffures might denote social statuses, others believe that educating African children to embrace their roots and their natural hair is the key to eliminating stereotypes and insecurity in women who may be more comfortable to wear their hair in hairstyles in a way that is more “accepted” by society – breaking their confidence to walk to a job interview with anAFRO – the seminar wanted to preserve and welcome natural hair while drawing attention to the fact that, in the words of panelist Pastor Zee, “If identity is broken, very little can be fixed”.

Ed’s Note: The writer is on an internship program with The Reporter. He can be reached via his email address aneguede@gmail.com.

Contributed by Amanuel Neguede

In all that has become of the old Addis, what are becoming hard to differentiate are these venues from each other.

The old venues that used to cater to live music have dwindled and then disappeared in recent years. The azmari houses, the jazz clubs that came about near Bole International Airport two decades ago have now been replaced by skyscraper buildings and shining hotels, mimicking those found in Dubai, United Arab Emirates, and other gulf cities.

The old era of Emperor Haile Selassie I that gave away to the superstars, such as Mahmoud Ahmed and Tilahun Gessesse, to the Derg era and re-introduced almost three decades age are almost now history.

Enter Mama’s Kitchen Club, Restaurant and lounge!

An immaculate specious club, restaurant and lounge located not far from the main Bole Road, near Wolo Sefer off Ethio-China Street within a neighborhood that is in transition, from a once sleepy area to that is with all buildings and less green space, the club trying to change the night life of the capital, complimenting what is out here.

Just a year after it opened, the club is unique inside interior coupled with noted hospitality; the club is bringing some of the grooves of the capital come to life.

Mama’s Kitchen has been one of the top rated places to dine in the capital. Mamas Kitchen, according to their patrons, is one of the best hangout places in Addis. Also known for its five course meals, the Mama’s Kitchen Royal Lounge at Wollo Sefer is where people can also enjoy live music section every night with local and international artists backed with some of the best bands in town.

A fusion of the eerie rhythms of ancient Ethiopian tribal music with the soulful undertones of jazz and the funky bounce of Afrobeat, Ethio-jazz had its heyday in the 1950s and 60s but in recent years has been making a slow but unmistakable comeback in the country’s capital.

Ethio-jazz is now played on the radio and taught at all the capital’s music colleges, and a new crop of musicians is beginning to flower as a result. And it is these musicians that are finally performing at the city’s premier jazz club, Mama’s Kitchen   

“I am the product of the Derg era, where I spent my youth fast removed from clubs with live music like that of my parents’ generation,” explained Yohannes Tessema, as the imitation sounds of Muluken Melesse played from stage. “I am glad I found such a place inside Mama’s Kitchen club, instead of being at grocery store or shinny clubs, listening to loud music, to enjoy and unwind.”

With its unique extravaganza night life, artifacts and an array of live music of the famous and aspiring Jano Band and the legendary Alemayehu Eshete with Abegaz Shiota’s crew and many others, Mama’s Kitchen club has become a destination for the young and old, the affluent and the visiting diasporas, tired of pre-recorded music elsewhere, but preferring the live music of the old, the way Addis Ababa used to be-with its lively music, unique hospitality, preserved in the memories of the older generation.

“When I moved to Washington DC, I was young and spent much times in clubs listening to the likes of Ephrem Tamru and Tewodros Tadesse. I lived the experience and when I returned to Ethiopia, I expected to experience that and more, but I was sad when that did not happen. But this club has given me hope that we can experience some of that,” said Kirubel Girma, a returnee from the United States.

The club, an off spring of the famous restaurant, opened a year ago after being in hiatus at its old location on top of the DHG building on Bole road. Like its current location, Mama’s Kitchen on DH Geda had a wood-and-glass bar on the fourth floor of the innocuous shopping mall near Bole International Airport. It hosted an array of artist like the queen of Tizta Bezawerk Assfaw, but its abrupt closing disappointed many. It was a surprise when it was introduced back.

“I am excited, this unique place has been built in Addis as a place where I can take my own parents and visiting friends and make the memories of live music last,” said Kidist Lemma as her words are swallowed inside the sound of Jano Band. “Listen. I was getting tired of the club scene, not much of a drinker at the many lounges and now, I can come, unwind and meet interesting people.”

Following the success of its offering in Addis Ababa, with a busy and crowded restaurant in bole near Edna Mall, there is a plan to open such an established club and other restaurants in the other areas, with the future plan of expanding in other parts of the continent. 

I’m slightly disoriented because it’s my first day back at work after my 3-week visit to Ethiopia and I am struck with nostalgia, yearning to hear the shared-taxi conductors shouting “Kazanchis-Kazanchis-Kazanchis”, the Ethiopian pop music blaring from each and every vehicle on the road and the cries of “Hey Ferengi!” from the shoe-shiners lining the streets. Being at home is as much as a culture shock as it was on my first morning making the journey to The Reporter office in Bole.

At work my team flock around, happy to see me, relieved that I’m back and full of questions about my trip. One person gives me a big hug saying they were glad I was back safe and that they were worried about me while I was away. Of course, it is natural to worry about someone when they are travelling, but this concern was because everyone was convinced that I would get kidnapped/sick/killed visiting Ethiopia!

I soon set them right, this misconception is something I and everyone who visits the country needs to dispel. I must admit, at the beginning, I was a bit wary when out on my own because I had been warned (by the people I was staying with) about pickpockets and that I should not carry valuables around. And yes, one of the other volunteers did get their phone stolen although she was in the midst of a massive crowd at an open-air event; but to be honest there is that risk in any city anywhere in the world. I guess she was just unlucky.

I soon worked out that Addis Ababa is not a city of vagabonds and thieves, and that the people travelling in my shared taxi or walking along the street were ordinary people going about their ordinary business just like me! In fact, every single person I met, whether they are security guards checking my bag at the mall, my Projects Abroad contacts or a fellow passenger in the taxi, was so helpful and friendly that I felt safe in all parts of the country that I visited. This is especially true when I went to the Afar Regional State to visit the Danakil, the small team (a guide, cook and driver) I and five others were with were fantastic and it felt like they really went the extra mile to ensure we had a truly memorable time.

When my colleagues finally allowed me to sit down my photos were the next topic of conversation. As mentioned in my previous article ‘Coming to Ethiopia!” the general impression in the UK is that Ethiopia is a desert “where nothing ever grows, no rain or rivers flow” (lyrics from the 1984 Band Aid song “Do they know it’s Christmas?” released to raise funds for the victims of the Ethiopian famine at that time). Again, it is my duty to bust this myth as I was literally awestruck at the landscapes; from the rolling hills around Addis, the mountains of Lalibela, the volcanic scenes around Erta Ale, to the colourful out-of-this-world landscape in the Danakil Depression. I can honestly say that I’ve not experienced such diverse environments in any other country I have visited.

The photos of the sulphur lakes were marvelled over … “Are those colours real?”, “You look like you’re standing on a bed of meringue!”. The rock churches of Lalibela, along with the wonderful views of the farmland and valleys, also drew similar cries of wonderment. Who knew Ethiopia was so amazing? Well they do now!

Of course travelling in Ethiopia is not for the faint-hearted, especially if you are going to go to the Danakil. For someone who has never travelled before landing in Addis is an overwhelming experience; dealing with the noise and pollution, not to mention the altitude, and seeing the poverty and basic living conditions of the majority of citizens. Similarly, trekking 9.5km up an active volcano in the dark in 30 degree heat or sleeping out under the stars lying on a bed frame with animal skins for slats in the middle of the desert is not for everyone.  However, this rawness, for want of a better word, is what I came for.

The world is becoming smaller and places that are relatively untouched by excessive tourism and commercialism are getting harder to find.  I wanted an adventure and to live a little outside my comfort zone for a few weeks, and that is what I got. For me, the reward more than outweighed any risks highlighted in the UK Foreign & Commonwealth Office travel advice. My trip has shown me that there is so much untapped potential in this amazing country, and I will be encouraging everyone I know to make Ethiopia their next holiday destination!

I will sign off with a quote by Anthony Bourdain that perfectly sums up my feelings about my visit: “Travel isn’t always pretty. It isn’t always comfortable. Sometimes it hurts, it even breaks your heart. But that’s ok. The journey changes you –it should change you. It leaves marks on your memory, on your consciousness, on your heart, and on your body. You take something with you … Hopefully, you leave something good behind”.

Ed.’s Note: Elizabeth Mooney is a volunteer at The Reporter.

Contributed by Elizabeth Mooney

Aron Senay is looking to dominate. He sells a lifestyle, not just handbags. The carefully designed handbags and accessories, largely targeted at female customers, craft a personality. The visual advertising of his brand Negesti indicates as much. Fierce looking women and handsome men are ready to conquer and flaunt, their bags serve as weapons of destruction, and of desire.

Named after his grandmother, Negesti is a relatively new brand in the market. Created in 2017 and showcased in the Creative Futures and FA254 fashion design contest, Negesti is steadily gaining traction, largely driven by Aron’s unflinching dedication to fashion.

“I like fashion. My grandmother Negesti was from Nazareth and she always wore white. Somebody notices who you are because of how you dress. It shapes a personal narrative,” he believes.   

His brain is an encyclopedia of fashion. An afternoon spent with Aron can be quite educational to one unversed in fashion. Designers’ names, aesthetics, African, European, American, ideals fashion houses are built on, haut couture … he has consumed it all. Negesti is a fairly new venture for him, having worked in event management and design for the past few years. “I’ve been sketching since I was a baby. My childhood dream was to take over 2 houses. I wanted to design for Chanel. But I’m only 75 days old.” He hopes to create an internationally recognized brand.

“Tom Ford never sowed a day in his life,” says Aron, mentioning the American fashion designer and previous creative director at luxury fashion houses like Gucci and Yves Saint Laurent. Technical skills are no longer as necessary if a designer has the artistic vision in mind and the tools to express it to the craftspeople. But he has a workshop where he handcrafts each item he sells. He also designs clothes on special order.

“We don’t have to go backward when we have come so far. We shouldn’t have to keep relying on government or foreign investment to support creative industries. A simple idea on a piece of paper can create millions of jobs. But, it doesn’t create a handful now.”  

As with several other creative sectors in Ethiopia, fashion is uniquely open to any passionate individuals willing to invest their time and money. Western brands like H&M have chosen Ethiopia for its cheap labor. While fast fashion has engulfed the world with cheap material to be replaced every season (thereby contributing to a global pollution crisis), there is growing room for local products made by local designers. Mafi, Yefikir, Yohannis Sisters and a few other brands create ‘high-end’ items for a largely wealthy clientele.

“There should be a clear demarcation between designers and manufacturers,” he adds. He is referring to designers that create authentic pieces in contrast to ‘ones that Google image search and make a hundred replicas of one piece’. Aron specially alters a piece to match his client’s personality, each handbag an echo or an amplifier to an inner identity. Carrying a Negesti handbag is a statement; not an item a woman is saddled with because pockets aren’t enough.

“International fashion is new all the time. Fashion can’t be a luxury in Africa. We can’t run it that way. Visually and brand-wise, it needs so much work. People want to tackle it as a business. They didn’t get into it because they love fashion. If you don’t love fashion don’t work in it. If you want to help designers, set up an investment firm.”

Although a new designer in the city, he knows everyone. Of course, the local fashion community is rather small. “They all know me because I’m loud. They would have crushed me if I wasn’t talented. We need to work together to understand each other’s strengths and weaknesses. We need a cycle of learning and teaching from younger and older designers.”

His description makes Ethiopian fashion seem cutthroat. And Aron is competitive. Each Negesti item is built to his own standard of excellence. “You should never take yourself seriously but take your work seriously. We should be revising all our forgotten standards. Perfection did not come from the west. Same knowhow was applied to build Axum or Lalibela. I don’t let the French tell me I have standards. I don’t need anyone to tell me I have standards,” he says.

Aron laments the lack of creativity in the local fashion scene. “We see the same cuts, ponchos every time. 80 percent of designers just recreate the 1980s. It all comes down to what you’re making–it’s not interesting enough. You need to be challenged.”

He contends that Ethiopian designers have not yet mined Ethiopia for fashion inspirations. “We have limited Ethiopian culture to tibeb. We have condensed 3000 years of history and hundreds of cultures to tibeb. ‘Ethiopian’ isn’t defined. “He mentions Japanese Designer Fei Kawakubo’s house Comme des Garçons and the continued influence Japanese design principles have had on high-end fashion, seamlessly blending the east and the west.

But he also gives credit where credit’s due. He appreciates Hub of Africa, fashion incubators in Addis and talented designers with great vision including Osman Mohammed and designers like Mafi who he says paved the way for emerging artists.

Of course fashion in Ethiopia is very different from the west or even the rest of Africa and Aron is aware of that. “The fashion scene is negligible. Shiro meda and merkato dominate the market. It needs to be more accessible. People shouldn’t have to pay 300 birr to attend fashion events. I don’t like brands that call themselves luxury brands. Let the thing speak for itself. It’s good to hear from people and have a conversation.”

He also adds that Ethiopian society, more specifically designers, don’t respect women enough. “Fashion in Ethiopia is not feminist enough. That’s one of the problems.” And what does he want Negesti to be? “I want an army of tiny Negestis dominating. I want to see them defending themselves on the street. Doing whatever they want. It’s not about disrespecting Ethiopian culture. It’s about working with in the culture.”

Well, not this ferengi! Always seeking a unique experience, the opportunity to visit the biggest market in Africa was not to be missed. Billed as a hectic, noisy, crowded, colorful place full of anything you can think of, the Mercato did not disappoint.

Just getting there was a challenge. Fighting for a place in a shared taxi at Kazanchis I felt lucky to get a seat at the front, even if two of us were squashed into a space made for one. On the approach to the market the traffic crawled along bumper to bumper. Thinking it might be easier to walk, a quick look out the window told me that would be impossible to get out as all the vehicles were literally inches apart all competing for a tiny gap they could shoot through to get ahead of their neighbor.

Relieved to have got there in one piece, stepping out of the taxi, I almost got knocked over by a man carrying seven or eight large plastic barrels on his shoulders. Note to self: remember to look where I’m going at all times! Looking in all directions, clutching my bag in a vice-like grip (having been warned on numerous occasions about pickpockets) the road was successfully crossed.

At this point, I should mention that I am not attempting to navigate my way around alone; I’m in the company of a knowledgeable local who I could not do without. For any adventurous tourist reading this please don’t be tempted to go by yourself unless you speak Amharic or have been there before! As anyone will tell you the Mercato spans several square miles, and like the Minotaur’s Labyrinth in Ancient Greece there is a real danger of getting lost and ending up seeing out the rest of your days wandering round the maze of streets and alleyways in never-ending confusion.

The Mercato is not really a place to browse aimlessly. Along the main thoroughfares are general shops but there are distinct areas to buy specific goods, so a plan is needed. I had set myself a mission, to find five items that you would never see in a market in the UK and find out a bit about the items and the people selling them.

Time was of the essence, however as you can imagine it’s impossible to get anywhere fast inside the Mercato. If you are not dodging men with impossibly large loads on their heads, avoiding getting run over by a line of fast-moving donkeys or attempting not to trip over a pile of tomatoes with their owner sitting at your feet, you are watching your step on the uneven pathways and trying not to bump into other shoppers all at the same time!

Not far in, I came across item No.1: a man called Mama putting the finishing touches to a mattress he was hand-making to order. Made of cotton, there was 1,200kg of rough cotton inside a covering of strikingly decorated heavy bag. Each kg of the filling cost 100 Birr, the outer cover 270 Birr and the labor 300 Birr making the selling price a mere 1,770 Birr (@£50). If I had a suitcase big enough I would have placed an order there and then!

Moving on we came across the handicraft section, an indoor market full of stalls with brightly colored wares. One stall that caught my eye was selling hand-woven baskets, made of grass that had come from different parts of the country. In the UK we mostly rely on plastic containers for storage so it was interesting to find out more about them. Hannah explained to me where each originated and their purpose – a food cover from the south, a woolen basket for decoration from the north, and baskets to store injera and other items. They ranged from 20 Birr (<£1) up to 500 Birr (@£15) so I bought a little one to brighten up my house and remind me of my visit.

My companion told me that there were metal works in the market, something I was very intrigued about so we set off in the general direction and came across item No.3: the charcoal stove. This is definitely not something you see in the kitchen at home! Kidan had been running the stall for 15 years and sold wholesale as well as to the public. The stoves are made from clay and metal and come in different sizes for different purposes – a small one for burning waste, a medium-sized one for coffee and cooking and a large cooking one. At 300 Birr (@£9) for a big one I was tempted, however I think I would have difficulties sourcing charcoal at home let alone getting it on the plane!

After picking our way through some winding passageways the sound of hammers on metal reached our ears. In a narrow, rocky, downward sloping alley we came across the metal works. In tiny huts on either side of the path men were surrounded by scrap metal which they buy, straighten out with a hammer and brute force and sell on. Each hut is rented by an individual or two who run their own business; the man we spoke to had been doing it for over 20 years. It is a hard, back-breaking and dangerous job and we took care picking our way back up the path avoiding the pounding hammers, and metal rods sticking out everywhere threatening to trip us up.

It was almost time to go and on our way back to the main road we came across a woman selling rope made from banana leaves, something I’ve never seen before. Maraganesh was from the South and every Monday and Friday she receives a delivery from her village. She sells the rope to people who sell gypsum, who mix the two together to make plaster used in house building. The rope can also be used inside mattresses and she was also selling the banana leaves themselves, which can be used for cooking.

I was sad to leave as I’d had an interesting and exciting morning and could have explored further, I’m not sure the same could be said for my companion who seemed relieved to be on our way.

My experiences at the Mercato will forever stay with me and I wonder what it will be like in 20 years’ time; whether it will be the vibrant and diverse place that exists today…who knows, I may be back to find out!

Ed.’s Note: Elizabeth Mooney is a volunteer at The Reporter.

Contributed by Elizabeth Mooney

Of course pasta and Italian food is not new to Ethiopia; a legacy of the Occupation, the oldest restaurant in Addis opened in 1948. Located in the Piazza district, its doors are still open today and celebrities such as Brad Pitt, Angelina Jolie and US Presidents have eaten there.

Residents these days have a higher level of disposable income and as a consequence eating out has become more accessible to a wider population, therefore there is much competition for business. Seeking to rise to the top of the popularity stakes, some restaurant owners have marketed their own unique selling point (USP) to bring in business; cue the Makush Gallery on Bole Road.

Tesfaye Hiwet established Makush Gallery some sixteen years ago in collaboration with an Italian chef, who was also a family friend. At the time, restaurants for foreigners were few and far between in the city, and this venture provided somewhere for them to eat as well as an opening for local artists to display and sell their work. Over the years, the business has become very successful. They now manage over 70 artists, many of them from the Ale School of Art and Design as well as those who are self-taught.

Makush’s work with charities and NGOs has taken Ethiopian artists all over the world. Closer to home, the Restaurant is defined by the good quality and sheer variety of food on its menu. Walking into the Restaurant at lunchtime, the place is buzzing with activity. Waiters are seen dashing around delivering steaming plates of food, people laughing and chatting—clearly enjoying their experience and surroundings amongst the vibrant art work displayed on the walls.

They have fostered good relations with various tour companies since the inception and their clientele ranges from tourists, local workers, companies booking working lunches, ex-pats and officials, many of whom visit time and time again. One such patron is David Mulchi Panico, Ethiopia’s Honorary Consul to the Kingdom of Spain, who has dined here regularly during his visits to Ethiopia over the last seven years. Tucking into a delicious-looking appetizer he explains that as well as being interested in the art and artists (he was involved in facilitating an exhibition in Madrid), he continues to return because of the excellent menu, the homemade pasta and wonderful service.

It is true to say though that a meal at the Makush Gallery is likely to be above many city-dwellers’ budget; three courses plus drinks would cost at least 400 Birr. A more affordable option could be Pastag, a brand new Italian Restaurant in the Haya Hulet area near the Addis Hiwot Hospital.

Asasahegen Asefa is Pastag’s owner and chef, and his USP is the authenticity of his dishes. Trained as a chef in Italy, he was resident there for 13 years before bringing his expertise back to Ethiopia earlier this year. His restaurant has a cozy feel, indeed you would be fortunate to find a table during the lunchtime rush as there is only seating for around 25 people!

There is an open kitchen at the back where hungry workers can watch the food being prepared while they wait. Pastag’s specialty is the lasagna, with three different versions to choose from. Visiting the Restaurant before customers start to arrive, you will find the freshly-made specials sitting on the side ready for the day.

The menu itself is small but perfectly formed. Alongside the lasagna, pasta, and sides there are a selection of salads, of which the Insalata Formaggio (cheese salad) is a firm favorite. This is quite possibly because of the selection of genuine Italian cheese imported directly from Italy, which add authenticity to the taste of the dishes. Catering mainly for local office workers and ex-pats living in the area, a meal at Pastag is very reasonable with a main coming in at 150 Birr, a side between 30-50 Birr and a salad at 105 Birr.

Pastag’s dream is to one day own four or five restaurant chains in Addis; this aspiration brings us to the concept of a restaurant chain. Increasingly, as a country develops, foreign investment starts to appear in all areas of society and the impact of international chain restaurants changes the economy.

Of course, investment is essential, however, economic growth can only occur if the money remains in the country and benefits the local community. As large international chains move in, due to economies of scale and greater buying power, they can source products cheaply which means they can sell cheap and over time begin dominate the market. The inevitable result is that local businesses begin to fold as they can’t compete.

Starting a chain of restaurants is a logical consequence for a successful sole trader and, as such, the ‘home grown’ chains should be supported. These business owners are more deeply rooted in the society around them, and are likely to purchase ingredients and services from within the community as opposed to sourcing the majority of their products abroad. In this way, the investment stays within the local economy. One such local chain is Bella Pasta and Pizza.

Matias Beza started his business at home, cooking a variety of cuisines for people in his local area. The feedback on the Italian food was so positive that he decided to specialize, and opened his first Bella seven years ago. It was so successful that a second restaurant was opened in Bole four years later.

Speaking to the Bole manager, Melese, he explains that their USP is providing quality food at an affordable price; and everything apart from the spaghetti and penne pasta is locally sourced. The tagliatelle and sauces are homemade offsite and delivered to the restaurant each morning and then the food is cooked to order onsite.

Their aspiration is for people when they think of Italian food to think “Bella”, and their slogan is “When you are in Bella, you are family”. There is a welcoming atmosphere as soon as you walk in and the staff greets you in a friendly and courteous manner.

The decor is in the European style with pictures of Italian landmarks on the wall, and lunchtimes will find the place packed with locals of all ages, as well as the odd tourists. Chatting to a couple of students who attend the local Medical College, they say that they visit quite often for lunch as “The food is awesome!”

Every day there are different specials and their ‘Combo’ meals are popular. The Combo with Lasagna costs 166 Birr and their signature Bella sauce with pasta around 155 Birr. It appears that Bella have managed the balance of quality and affordability effectively as they will soon be opening a third restaurant.

So why do restaurant owners decide to open Italian restaurants and why are they so popular? It could be argued that Italian food is now firmly part of the culinary landscape, in Addis at least, illustrated by the sheer amount of successful outlets available. In a growing culture of eating out that is both affordable and enjoyable, it seems that a visit to a favorite Italian is now very much part of modern life.

Ed.’s Note: Elizabeth Mooney is a volunteer at The Reporter. 

Contributed by Elizabeth Mooney

My first venture abroad was in the mid-90s, when I visited Indonesia, India and some parts of south-east Asia. Since then, I’ve explored other South-east Asian countries, various countries in central and South America, the UAE, Japan and Northern (Morocco and Egypt) and Southern (South) Africa; but central, west and east Africa has always been a mystery. Many of these countries are reported to be dangerous for westerners. Indeed a quick look at the UK Foreign and Commonwealth Office website for easy/central/west Africa,it advises against all travel or essential travel only for many of these places.

Last year (2017), I discovered an organization called Projects Abroad while researching a 3-month round-the-world trip, and I undertook a short volunteering teaching placement on the Galápagos Islands. On my return home I was looking through the worldwide projects available and came across opportunities in Africa. Having observed the conservation work in Galapagos, I thought I might work on conservation in Kenya and finally get to see the Africa in my head.

Along with the awesome landscapes, there are vast mountains, rivers and volcanoes. Having studied Geology for a short period at University, I have always been interested in volcanoes and have been lucky enough to visit active and dormant volcanoes in Indonesia, Japan, Costa Rica and more recently Nicaragua. I once watched a program on lava lakes (active magma bubbling up in a volcano crater) and one image stuck in my head of a lava lake in an inhospitable landscape somewhere in Africa. 

I found out that there was one such lava lake in Ethiopia, called Erta Ale, in the Danakil Depression. Not knowing much about Ethiopia, I began to do some research and suddenly came across amazing stories about rock-hewn churches in Lalibela, saw images of the Simien Mountains and found out that a fossil of the earliest human being was also found in Ethiopia in Afar Regional State a place called Hadar. This wealth of history and rich landscapes was too appealing to resist; I decided to visit Ethiopia instead and found a short tour that would take me to Erta Ale.

My current job is in administrative management; however,following my round-the-world trip last year, I started to keep a journal about my experiences and really enjoyed the creative writing aspect. Therefore a placement as an intern at The Reporter sounded like an interesting experience to have in Addis Ababa, to learn more about the culture and share what I learn with others back home; thus my 3-week trip was born.

Remembering the conceptions of Ethiopia being a developing country, landing in Addis I was expecting the airport to be chaotic and crowded, a bit like in Kathmandu (Nepal) where it is all hustle and bustle. However, I waited in an orderly queue to get my passport stamped, having already purchased my visa, collected my baggage and went out into the warm sunshine to find my pick-up waiting in the parking lot; All very easy and stress-free.

It was a Sunday so we drove through the light traffic, stopping off for a cool glass of water at a cafe, before arriving at my host’s house. Having stayed in many different places in the world, I was not sure what to expect. Last year, I spent a short time at a homestay in Nicaragua in a village on one of the islands, and a few nights on a remote farm in Uruguay. Both places were very basic in comparison to my home in the UK, and having been advised that the accommodation here would be similar, I was interested to see where I would be staying. It is true to say that my host’s house does not perhaps have the amenities I am used to, but the comfy bed and warm hospitality I received more than makes up for it.

Fully expecting the traffic to be busy on Monday morning I was pleasantly surprised. While it was busy, there is an order to the traffic and it is nowhere near the near-death experience it can be on, say, the roads in Hanoi or Ho Chi Min City in Vietnam with all the bicycles and motorcycles that dodge in and out and often drive on the pavement!

Having only been here for a couple of days I know I’ve not yet started to experience life in Addis, and Ethiopia, to the full. It’s true to say that I’m a little apprehensive about having to navigate the city on my own in pursuit of finding out what it has to offer. Maybe this is healthy and natural and I should heed my instincts while I’m getting to know the people and culture. There are very real dangers that a lone woman may face in any big city, but hope that my positive experiences so far will continue.

Ed.’s Note: Elizabeth Mooney is a volunteer at The Reporter.