DOCSLIB.ORG

Kunst Und Tourismus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kunst Und Tourismus r DEUTSCH-ÄTHIOPISCHER VEREIN E.V. e t t GERMAN ETHIOPIAN ASSOCIATION ä l www.deutsch-aethiopischer-verein.de b s n o i t Ausgabe Februar 2005 a 2222200322003252003Nove m r o f n I Kunst und Tourismus Handel mit illegal erworbenen fast aussichtslos, etwas dagegen zu unternehmen. Das gilt jedenfalls so lange, wie die betroffenen Länder nicht Kunst- und Kulturgegenständen ihre Polizei- und Zollstellen damit betrauen, auch außer Landes gebrachten Kunstteilen nachzufahnden. Bernhard Schulte-Kemna Ein möglicher Weg könnte nämlich sein: wenn in Deutschland eine Anzeige erstattet wird, dass ein alter Die Schlagzeile „Ethiopian Heritages increasingly oder bedeutender Kunstgegenstand z.B. aus Äthiopien trafficked“ weiter hinten in dieser Ausgabe der in einer Galerie oder Internetversteigerung zu finden ist, „Informationsblätter“ verdient Beachtung! kann die Polizei dieses Teil zeitweilig sicherstellen. Allerdings muss dann innerhalb von wenigen Wochen Sie benennt ein Problem, dass es zwar schon immer aus dem Herkunftsland glaubhaft gemacht werden, latent gab, dass in Zeiten von Ebay und anderen woher der sichergestellte Gegenstand stammt, und ob Internet-Verkaufsplattformen aber Ausmaße annimmt, bzw. wie er kriminell abhanden kam. Danach kann es die nicht anders als mit Plünderung der Kulturschätze dann zur Gerichtsverhandlung kommen. Die gängige in vielen Regionen der Welt bezeichnet werden kann. Praxis ist leider noch so, dass bei den wenigen Und das betrifft praktisch alle Regionen der Welt, wo es angezeigten Fällen und Nachfragen deutscher alte Kulturen gab, sei es in Mexiko, Peru, Italien, dem Polizeistellen in den Herkunftsländern überhaupt keine Irak, Ex-Jugoslawien oder eben auch Äthiopien. Antwort zurückkommt. In der Regel werden die Hintergrund ist, dass meist Menschen in den reichen Zuständigkeiten nicht geklärt sein und es wird keine Nationen den Besitz von Kultgegenständen anstreben, Fachbehörden geben, wo derartige Vorgänge deren Bedeutung ihnen nichts sagt und die auch diese zusammenlaufen und weiter bearbeitet werden. Kultur nicht wertschätzen. Sie wollen aus Aber auch für Deutschland ist die Rechtslage alles Sammlerleidenschaft oder vielleicht auch aus andere als eindeutig. Gilt normalerweise der Grundsatz ästhetischen Gründen sich mit exotischen gemäß BGB, dass man „kein Eigentum an gestohlenem Gegenständen umgeben. In der Regel dürfte deren Gut“ erwerben kann, so gibt es doch Ausnahmen. Dieser Motivation nicht darin liegen, Verbindung zu einer Kultur genannte Grundsatz kann z.B. durch Verjährung zu schaffen, sondern allenfalls darin, sich von der entfallen. Wer nachweisen kann, dass er vor 10 Jahren eigenen Kultur abzuheben oder abzugrenzen. „im guten Glauben“ (d.h. ohne zu wissen, dass es Hatte man in früheren Zeiten dafür bei einer gestohlen war) ein Teil erworben hat, dem ist das Urlaubsreise das ein oder andere Erinnerungsstück im Eigentumsrecht nicht streitig zu machen. Ähnliches gilt Gepäck mitgebracht, gibt es heute gut organisiert (über auch in Versteigerungen mit einem amtlich bestellten allgemeine Geschäftsbedingungen) und mit Zustellung Versteigerer. Wer einen Zuschlag von ihm erhält, ist frei Haus grenzenlose Auswahl zwischen Mali, Marokko, neuer Eigentümer – ohne wenn und aber. Tschad etc. und zwar immer mit dem Kick, das Ganze als „Schnäppchen“ erjagen zu können. Wo diese Teile herkommen, wie sie in den Handel kamen, wer dadurch geschädigt wurde, das alles interessiert diese Menschen nicht. Ihnen ist nur das „Haben“ wichtig – und zwar leider Inhaltsverzeichnis oft sogar ohne Sinn und Verstand. Schade! In den allermeisten Fällen dürften es an irgendeiner Stelle kriminelle Machenschaften sein, die den Handel Illegaler Kunsthandel 1 ermöglichen. Entweder sind es einfach alte, bedeutende Reading Ethiopia through its Art 2 Kulturgüter, deren Export verboten ist. In anderen Fällen Art News 4 sind es Raubgrabungen, Museumsplünderungen, Art Links 8 Diebstähle oder illegale Verkäufe von Tourism News 9 Gemeinschaftseigentum, das nicht hätte verkauft Tourism Links, Bücher 12 werden dürfen. Aktivitäten von Äthiopien-Initiativen 13 Links, Termine 15 Doch trotz des möglicherweise kriminellen Verschiedenes 17 Hintergrundes kommt man dieser Art von Handel nur Seven Days Update 19 ganz schlecht bei. Denn wenn die kriminelle Handlung Äthiopien-Konferenz 5. und 6.3.2005 28 im Herkunftsland passierte, dort aber nicht verfolgt werden konnte, in Deutschland hingegen alles nach den Gesetzen des Staates und der Kaufleute abläuft, ist es Seite 1 Da sich die staatlichen Stellen in Deutschland dieses iconic images, to contemporary fine art in which wachsenden illegalen Handels aber bewusst sind, wurde language symbols become monumental images on für Februar 2005 zu einer Konferenz nach Frankfurt canvas. eingeladen, bei der die verschiedenen, möglicherweise befassten Stellen auf den gleichen Wissensstand The Emergence of Ge’ez gebracht werden sollen, und wo Vorgehensweisen Among the many countries of Africa, Ethiopia is unique abgesprochen werden sollen. as having the continent’s only ancient written language Bei diesbezüglichen Fragen sind entweder die jeweiligen system. More than twenty-five hundred years ago, the Landeskriminalämter oder größere Polizeidienststellen people of the Axumite Kingdom, in what today is the ansprechbar. In der Zwischenzeit kann man nur northern highlands of Tigray province, spoke a Semitic versuchen, mehr Öffentlichkeit für das Thema zu language called Ge’ez, read and written, like Western schaffen und man kann hoffen, dass die betroffenen languages, from left to right. Länder - wie z.B. auch Äthiopien - eigene Fachbehörden Axum was a vital center in the ivory trade and at a einrichten, um diesen Handel zu unterbinden. Denn wie crossroads of trade routes for merchants from Greece so oft gilt: Computer und Internet beschleunigen die and Egypt in the Eastern Mediterranean; South Arabia Prozesse kolossal. Und wenn erst mal der Markt and Yemen on the Red Sea; and Persia and India in the „abgeräumt“ ist, gibt´s auch nichts mehr zu schützen. Near East. According to scholars, the Axumite Kingdome was established sometime between the seventh and third centuries BCE, as migrating Sabeans, a people from South Arabia, crossed the Red Sea and settled around “Reading” Ethiopia Axum. The Sabeans, speaking a Semitic language related to Phoenician and Hebrew, with an alphabet Through Its Art almost devoid of vowels, found among the Axumites a local language with an organized written system. Over by Patricia L. DiRubbo time, Axum’s indigenous language absorbed elements of Visiting a foreign country where I can’t read or speak the Sabean and evolved into Ge’ez and the Ethiopic script, language, I found one option is to “read” the culture’s art. with a syllabary of 228 symbols. In addition to On my recent trip to Ethiopia, where the lingua franca is introducing a system of coinage, and later the symbols Amharic, amidst more than eighty other distinct of the cross, Axum’s greatest contribution to Ethiopia’s languages and two-hundred regional dialects, I explored cultures was an organized system of communication. a treasure trove of inscriptions and cultural forms that On the site of ancient Axum, archeologists have gave me an introduction to the country’s history and its unearthed stone sculptures and remains of temples that long and ancient tradition of two-dimensional art. skillfully blend words and images. These earliest Ethiopia is one of the few countries in Africa with an sculptures and architectural fragments, estimated to be established tradition of paintings; in fact, it’s even hard to from the fifth to fourth centuries BCE, bear inscriptions in find masks, woodcarvings and other sculptural artifacts what is thought to be Sabean. Several of these artifacts that we usually associate with African art. are now housed in the National Museum in Addis Ababa. Two particularly striking pieces are: a female statue, The country’s tradition of incorporating language into thought to be from a temple to a moon goddess; and an visual arts spans the centuries, from the religious and altarpiece, presumably from the same or a similar spiritual traditions that use literal texts to underscore temple. “Reading” the elongated, geometric inscriptions carved in stone, I detected tales of major migrations and the probable influence of Greek, Arabic, Hebrew, and Phoenician on Ge’ez and the Ethiopic script. Even with no literal understanding of the symbols, I appreciated the artistic interplay of word and image, and wondered about the intent of the sculptors and carvers. Why did they include words? Were they simply following tradition? Or, Herausgeber: in their belief system, were words more than simply Deutsch-Äthiopischer Verein e.V. identifiers, naming objects? Were words, instead, c/o Rudolf Schoppmann, Am Bildstock 31 imbued with magical powers? While we can only 48317 Drensteinfurt speculate on why they included texts on stone, I sensed that, for those early sculptors, language had both beauty Redaktion: H. Storck, I. Hartmann and power. The inscriptions in stone, prominent on Redaktionsanschrift: temples and worshipped deities, bore witness to the E-Mail: [email protected] human lives that created them. They had language; they had power; and they left their “mark.” Die „Blätter“ des Deutsch-Äthiopischen Vereins Word and Image in Religious Art erscheinen 3 Mal im Jahr. The rise of Christianity in Ethiopia in the third to fourth Die Kosten pro Ausgabe betragen 5,50 Euro inkl. centuries AD inspired what would become a long Porto,
Load more

Recommended publications
  • Local History of Ethiopia an - Arfits © Bernhard Lindahl (2005)
    Local History of Ethiopia An - Arfits © Bernhard Lindahl (2005) an (Som) I, me; aan (Som) milk; damer, dameer (Som) donkey JDD19 An Damer (area) 08/43 [WO] Ana, name of a group of Oromo known in the 17th century; ana (O) patrikin, relatives on father's side; dadi (O) 1. patience; 2. chances for success; daddi (western O) porcupine, Hystrix cristata JBS56 Ana Dadis (area) 04/43 [WO] anaale: aana eela (O) overseer of a well JEP98 Anaale (waterhole) 13/41 [MS WO] anab (Arabic) grape HEM71 Anaba Behistan 12°28'/39°26' 2700 m 12/39 [Gz] ?? Anabe (Zigba forest in southern Wello) ../.. [20] "In southern Wello, there are still a few areas where indigenous trees survive in pockets of remaining forests. -- A highlight of our trip was a visit to Anabe, one of the few forests of Podocarpus, locally known as Zegba, remaining in southern Wello. -- Professor Bahru notes that Anabe was 'discovered' relatively recently, in 1978, when a forester was looking for a nursery site. In imperial days the area fell under the category of balabbat land before it was converted into a madbet of the Crown Prince. After its 'discovery' it was declared a protected forest. Anabe is some 30 kms to the west of the town of Gerba, which is on the Kombolcha-Bati road. Until recently the rough road from Gerba was completed only up to the market town of Adame, from which it took three hours' walk to the forest. A road built by local people -- with European Union funding now makes the forest accessible in a four-wheel drive vehicle.
    [Show full text]
  • The Paintings in St. George Church in Addis Ababa As a Method
    Studies of the Department of African Languages and Cultures, No 49, 2015 ISSN 0860-4649 Hanna Rubinkowska-Anioł University of Warsaw The Paintings in St. George Church in Addis Ababa as a Method of Conveying Information about History and Power in 20 th - century Ethiopia 1 Abstract: In one of the most important churches in Addis Ab- aba (Ethiopia), there is a panel containing several paintings. They are exact copies of photographs showing Emperor Haile Sellasie I during the war against Italy (1935-1941). The paint- ings were copied from frequently published, and thus well- known, photographs, which served imperial propaganda to show the Emperor’s role in fighting for Ethiopia’s independ- ence. Using the paintings as source material, it is the aim of this article to discuss specific propagandistic methods applied in Ethiopia under Haile Sellasie to transmit a message about power and history, and to present the intended image of the Emperor to his subjects. Keywords : Ethiopia, visual representation, St. George Church, Haile Sellasie I, Italo-Ethiopian War Introduction In St. George Church, one of the main Addis Ababa churches, there is a panel of paintings presenting scenes from the Italo- Ethiopian war (between 1935 and 1941). The paintings were made as a reminder of the role Haile Sellasie I (the emperor of Ethiopia from 1930 to 1974) performed in regaining Ethiopia’s independence. The pictures were meant to testify to the Emperor’s services to the nation and emphasize his right – frequently undermined by his opponents – to rule the country after independence was regained. They also con- 1 The author thanks Dr.
    [Show full text]
  • Signature Tune Tetteh- Lartey
    II AR TS AND AFRI Ci\. II No.; 90 (5R 53 S090G) ANN'JUNCEMENT AND SIGN/~ TURE TUNE ALEX TETTEH-LARTEY : Welcome from Alex Tetteh-Lartey to "Arts and 1-\frica" nnd to our guesT, todoy from Ethiopia. SIGNATURE TUNE TETTEH- LARTEY: Now! don't suppose that anywhere on the continent of Africa has generated more myths, more fnntnsies, more legend.3 than whnt was until recently, the Kingdom of Ethiopia. ETHIOPIAN TRADITIONAL MUSIC TETTEH- LARTEY: Everyone who's been to Ethiopin enthuses a.bout the beauty of the country o.nd so it isn't surprising tho.t the people who live there sing its praises. In thls music the singers ond doncers of the Notional 'Troupe are expressing their feelings about the hillE= of Amho.raland, the central ploteau. ETHIOPIAN TRADITIONAL MUSIC TETTEH-LARTEY: But i~ the last year or so it has been the realities ro.ther than t he wonders of life in the country tho.t h~ve been foremost in the minds of people. The terrible drought, especially in Wallo Province, and the political changes that included the deposing of the Emperor Haile Selassie have found expression in the arts - in music, in art and in the theatre. Now , at the time, "Arts and Africa" reported on a mus­ ical drama performed for the fjrsT, t ime in the early days of the revolution with the thought-pr:)Voking t itle "The Ethiopic.n, Who Is He? You may r emember the melo.ncholy song of t:i1e old mo.n r efusing to obandon his drought-stricken f arm.
    [Show full text]
  • Afewerk Tekle As Remembered by Richard and Rita Pankhurst
    Afewerk Tekle As remembered by Richard and Rita Pankhurst Afewerq Tekle was Ethiopia’s most celebrated artist. Born in the old Šawan capital, Ankobar, on 22 October 1932, he was the son of Ato Tekle Mammo, a minor court functionary, and Woizero Felekech Yematawork. As a small child, Afewerq was seriously wounded during the Italian invasion. After the Liberation, he was enrolled in Addis Ababa’s Patriots’s School, together with the children of other Ethiopian Patriots. He was subsequently selected as one of the first students to be admitted to the newly established, élite Haile Selassie I Secondary School at Kotebe. There he studied with sons of the nobility and other youngsters destined to play important roles in post- war Ethiopian government. IN 1944 Richard’s mother, the British Suffragette, Sylvia Pankhurst, visited this school. She had been editing New Times and Ethiopia News – a publication in support of Ethiopia since 1936, and was on her first trip to the country. One of the school’s teachers showed her Afewerq’s exercise-books. They included several interesting sketches, which showed signs of considerable artistic promise. She took a particular interest in these, having studied art herself but, much to her regret, had given it up to dedicate herself to political campaigning. In the summer of 1947, Afewerq, then aged fifteen, was selected for further education in Britain – one of a number of chosen Ethiopian students to be sent abroad. On arrival at the airport in London there was no one to meet them, as it was a public holiday and the Ethiopian Legation had not been informed of their arrival.
    [Show full text]
  • Senegal & Gambia, Addis Ababa, Plus an Add-On for Lalibe
    African Focus Inc. Organized Cultural Tour to Africa Summer 2017 - Senegal & Gambia, Addis Ababa, Plus an Add-On for Lalibela and Axum in Northern Ethiopia Itinerary for June 18 – July 5, 2017 17 Day Tour Package with Air Transportation, Plus Many Inclusions Join Dominique DiPrima on her 2nd Annual “African Focus Inc.’s” Journey to the Motherland with a focus on the path that Africans followed before being sent across the Atlantic to the Americas during the centuries when abducting and selling black people grew the economic wealth for many, many countries in Europe, in the Americas and even in Africa. She will be doing live KJLH Front Page broadcast discussions with her audience and travelers throughout the journey about the experience. DAY 1 – Sunday, 18 June (Flight Begins After Midnight or 19 June) Depart Los Angeles and travel to Addis Ababa, Ethiopia, Africa on Ethiopian Airline Check in at airport 3 hours before flight is scheduled to depart, check baggage, clear security and board Ethiopian Airline flight for departure to Addis Ababa. DAY 2 – Tuesday, 20 June Arrival / Welcome to Addis Ababa, Ethiopia Arrive in Addis Ababa, Ethiopia early in the morning. Clear customs and transfer from airport to your hotel. Have breakfast at hotel, check into your room around noon and rest for a few hours. Addis Ababa Half Day City Tour Mid-afternoon, embark on a sightseeing city tour of Addis Ababa, capital of Ethiopia. Ride up “Entoto Mountain” (3100 meters above sea level) to have a look at panoramic down-view of Addis Ababa and the palace of Emperor Menlik II.
    [Show full text]
  • Patronage and the Theological Integrity of the Ethiopian Orthodox
    Johnson, Edwin Hamilton (2011) Patronage and the theological integrity of Ethiopian Orthodox sacred paintings in present day Addis Ababa, Ethiopia. PhD thesis, SOAS (School of Oriental and African Studies). http://eprints.soas.ac.uk/13152 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Patronage and the Theological Integrity of Ethiopian Orthodox Sacred Paintings in Present Day Addis Ababa, Ethiopia Edwin Hamilton Johnson Thesis submitted for the degree of PhD in Art History 2011 Department of Art History School of Oriental and African Studies University of London 1 2 Acknowledgements In addition to giving thanks for the guidance I received from my supervisor Dr. Tania Tribe, I would like to also thank Dr. David Appleyard and Dr. Charles Gore for their advice and support. A special thank you also goes to Professor John Picton, Professor Richard Pankhurst and Rita Pankhurst as sources of iconic inspiration to pursue the study of African art history and Ethiopian culture respectively.
    [Show full text]
  • “NATIONAL MUSEUM of ETHIOPIA” by Girma Bulti
    ADDIS ABABA UNIVERSITY SCHOOL OF GRADUATE STUDIES THE STATE OF PAINTING COLLECTIONS At THE “NATIONAL MUSEUM OF ETHIOPIA” By Girma Bulti April, 2016 Addis Ababa ADDIS ABABA UNIVERSITY SCHOOL OF GRADUATE STUDIES THE STATE OF PAINTING COLLECTIONS AT THE “NATIONAL MUSEUM OF ETHIOPIA” By Girma Bulti Adviser Kassaye Begashaw (PhD) A Thesis submitted to the Department of Archaeology and Heritage Management In partial fulfillment of the requirements for the Degree of Master of Arts in Ethiopian Studies (Museum Studies) April, 2016 Addis Ababa ADDIS ABABA UNIVERSITY SCHOOL OF GRADUATE STUDIES DEPARTMENT OF ARCHAEOLOGY and HERITAGE MANAGEMENT THE STATE OF PAINTING COLLECTIONS AT THE “NATIONAL MUSEUM OF ETHIOPIA” APPROVED BY BOARED OF EXAMINERS This is to Certify that We Have Read this Thesis and that in Our Opinion it is Fully Adequate, in Scope and Quality, as a Thesis for the Degree of Master of Arts in Ethiopian Studies (Museum Studies) NAME SIGNATURE Date _________________________ ___________ ___________________ ADVISER _________________________ ___________ ___________________ INTERNAL EXAMINER _________________________ ___________ ____________________ EXTERNAL EXAMINER Abstract The state of painting Collections at the ―National Museum of Ethiopia‖ By: Girma Bulti The main objective of this study is to create understanding and identify the problems of painting collection, documentation, acquisition, and conservation of painting at‖NME‖ fine arts storage room. The methodology used to address the research. To this end, in order to gather the data, interviews were conducted among eighteen people who are relevant to the field of art. On top of this questionnaires were distributed among seventy-five people. After careful analysis and investigation of the data obtained, the research has revealed that there were problems of acquiring, acquisition, accession, documentation, conservation and handling of painting collection in ARCCH Cultural Heritage Collection Directorate.
    [Show full text]
  • Imperfect Journey, Imperfect Cinema “A Fast, ‘Zinging’ Shot Scares the Baboon!”
    Africa Development, Volume XLII, No. 4, 2017, pp. 121-150 © Council for the Development of Social Science Research in Africa, 2018 (ISSN: 0850 3907) Imperfect Journey, Imperfect Cinema “A fast, ‘zinging’ shot scares the baboon!” Tekletsadik Belachew* Abstract This article focusses on key themes in Haile Gerima’s Imperfect Journey, which, despite being one of the most important African documentaries, is often neglected by film critics and historians.1 Abba Gerima, the traditional playwright, dramatist, historian, and epic-poet, is discussed through selectively translated passages from two historical masterpieces that he originally wrote in Amharic and English translations. Abba Gerima’s and Haile Gerima’s historical and artistic texts are critically examined across history, aesthetics and the three mega themes of Imperfect Journey in order to understand how Abba Gerima’s vision is carried forward in the cinematic works of Haile Gerima. Résumé Cet article porte sur les thèmes clés du Voyage imparfait de Haile Gerima, qui, bien qu’étant l’un des plus importants documentaires africains, est souvent négligé par les critiques de cinéma et les historiens. Abba Gerima, le dramaturge traditionnel, historien et poète épique, est décrit à travers des passages, traduits de manière sélective, de deux chefs-d’œuvre historiques initialement écrits en amharique et traduits en anglais. Les textes historiques et artistiques d’Abba Gerima et de Haile Gerima seront examinés de manière critique à travers l’histoire, l’esthétique et les trois méga thèmes du Voyage imparfait pour comprendre comment la vision d’Abba Gerima est reflétée dans les œuvres cinématographiques de Haile Gerima. Prologue of Imperfect Journey In the prologue of Imperfect Journey (1994), three skillfully blended artistic features grace the storytelling: the stained-glass art, griot’s provocations, and the song of hope.
    [Show full text]
  • Press Release a Group Exhibition 14Th February – 30Th March 2019
    Press Release A Group Exhibition 14th February – 30th March 2019 The Gallery of African Art (GAFRA) is pleased to present a group exhibition featuring the following artists: CHIEF NIKE DAVIES-OKUNDAYE - Nigeria Chief Nike Davies-Okundaye was born in 1951 in Ogidi-Ijumu, Kogi State, Nigeria. She was brought up amidst the traditional weaving and dying practice in her native village of Ogidi in Western Nigeria. Chief Nike’s artistic skills were nurtured at a young age by her parents and great grandmother who were musicians and craftspeople. She spent the early part of her life in Osogbo, which is recognised as one of the major centres for art and culture in Nigeria. During her stay in Osogbo, indigo dying and Adire production dominated her informal training. Chief Nike is the founder and director of four art centres which offer free training to young artists in visual, musical and the performing arts. She is the owner of the largest art gallery in West Africa, compromising over 7,000 artworks. The centres also serve as a rich source of knowledge for traditional arts and culture to scholars and institutions. Nike is known all over the world for promoting her designs through exhibitions and workshops in Nigeria, USA, Belgium, Germany, Austria, Italy, and the United Kingdom. Chief Nike Davies-Okundaye’s reach as a visual artist also extends to her collaborations with fellow Nigerian artist Chief Tola Wewe. A partnership stretching back many years, Chief Tola has described their practice as ‘a visual copula; a kind of lyrical romance on canvas’. Chief Nike lives and works in Lagos, Nigeria.
    [Show full text]
  • ECFG-Ethiopia-2020R.Pdf
    About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for success. (Photo a courtesy of Wikimedia). The guide consists of 2 parts: ECFG Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global environment. Part 2 presents “Culture Specific” Ethiopia, focusing on Ethiopia unique cultural features of Ethiopian society and is designed to complement other pre-deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location. For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact AFCLC’s Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. All human beings have culture, and individuals within a culture share a general set of beliefs and values.
    [Show full text]
  • World Bank Document
    Public Disclosure Authorized 't iMXX='k!tl!.5(l=..- .'p;^b,1 Public Disclosure Authorized I,~~~~*{' j~~~~~~~~~~~~~ '; Public Disclosure Authorized ZObgI~~~~~~~~~~~~~~~~~~~~ INEW4OINs SN)IIUV~~~.' Public Disclosure Authorized The cover paintinlg, "The Re-awakening of the African People,' by Afewerk Tekle, is used bv permission of the artist. The painting is in the collection of the Ethiopian National Museum. A F RI CA'S M O M E N T James D. Wolfensohn Presidenzt The World Bank Group Address to the United Nations Economic Commission for Africa Addis Ababa January 27, 1998 M.I.-M-7-7-; ~~~~~~~g- aaNl1 ' . ,.,E 1 s0;0 1 want to say at the outset how much I appreciate the very generous words of introduction by Dr. Salim, Secretary-General of the Organization of African Unity (OAU). They are helping me get over the nerves I feel being in this hall where 35 years ago, 31 of the historic leaders of Africa signed the OAU charter. Ben-Bella, Houphouet-Boigny, Nkrumah, Nyerere, Senghor, and all the towering figures I see on the beautiful mural that adorns this hall. Their images encourage and stimulate me to try and do more for the development of this great continent. CROSS-CURRENTS AND STEREOTYPES have much to learn. The continent of Africa is a very difficult place to describe in a few words. It is a place of enormous con- trast; a place on which it is very hard to get a handle. A place where any positive statement is likely to be contradicted somewhere on the continent; a place where any negative statement is likely to be con- tradicted somewhere else.
    [Show full text]
  • DECEMBER, 1964 DECEMBER, 1964 American Society of 15 East 40Th
    DECEMBER, 1964 DECEMBER, 1964 American Society of 15 East 40th Street New York 16, N. Y. NEWSLETTERVOL. 7 NO. 3 Affiliated with the Socidt6 Africaine de Culture whose Journal is Prdsence Africaine (Paris) AMSAC Sponsors Exhibit and Lecture by Leading Ethiopian Artist At the opening Afewerk greets E. Harper Johnson, artist and illustrator, who is currently working on the book on African history being written by Professor William Leo Hansberry. Professor Hansberry, as Alewerk, was a recipient of one of the Haile Selassie I Prize Trust awards last fall. Dr. John A. Davis, President of AMSAC, is on the right. At an opening held on November 24th the works of Afewerk Tekle of Ethiopia were formally shown in New York for the first time. The AMSAC-sponsored exhibit of sixty-three of Afewerk's oils, monochromes, gouaches, pencil drawings and stamp designs remained on display at the Carnegie Endowment Building through November 29th. The 150 people who attended the opening were also able to meet the artist, who was in the United States as a participant in the State Department's Foreign Leaders Prgoram. Afewerk Tekle, at the age of 32, is one of the leading artists of Ethiopia. "When we realize how young Afewerk Tekle is," Dr. Richard Pankhurst of Haile Selassie University has said of him, "it becomes clear that the contribution of this versatile and prolific artist to Ethiopian and world art is only beginning. But already by his creative imagination and his hard work he is an example to his generation: a man of vision and a man of energy." Trained in London at the Central School of Arts and Crafts and at the Slade School in the University of London, Afewerk has combined in his paintings, sculpture,,mosaics, drawings, stamp and costume designs, what he has learned from the international movement in art as well as from the traditions of Ethiopian painting.
    [Show full text]