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Ethiopian Modernism: a Subaltern Perspective

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Ethiopian Modernism: a Subaltern Perspective ETHIOPIAN MODERNISM: A SUBALTERN PERSPECTIVE A Dissertation Presented to the Faculty of the Graduate School of Cornell Univeristy in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Elizabeth Wolde Giorgis February 2010 © 2010 Elizabeth Wolde Giorgis ETHIOPIAN MODERNISM: A SUBALTERN PERSPECTIVE Elizabeth Wolde Giorgis, Ph.D. Cornell University, 2010 Recognizing that the beginning of the discourse of modern Ethiopian history is of urgent concern, this dissertation examines Ethiopian modernism’s strategy, its limits, structures of exclusion and the totality of this experience. Focusing on prominent artists who are widely believed to be the pioneers of Ethiopian modernism, this research reveals the discursive and philosophical limitations and drawbacks of Ethiopian modernism, and its interpretation in the Ethiopian imaginary. Engaging with non- Western contexts of modernity, it interrogates modern Ethiopian art within the debates and parameters of African modernism, and thus establishes a space to analyze specific visual languages of Ethiopian modernist expressions. It evaluates how Ethiopian artists engaged principal questions of the meanings of Ethiopian culture within the matrix of modern art. In relation to such imperatives and concerns, this dissertation raises the following questions: How did the meanings of Ethiopian literary texts and popular languages perform in articulating Ethiopian modernity and modernism, and how did this discourse relate to the hegemonic narratives of Western modernity and modernism? How did these texts and languages manifest themselves in diverse temporal and spatial situations of Ethiopian modernism? How did power relations condition the production, dissemination and reception of these texts and linguistic expressions? By positing such questions, this dissertation not only examines the intellectual and cultural contexts of the making of Ethiopian modernity, but more importantly, looks at Ethiopian modernism along with its local and global trajectories and contentions. This research is also a first attempt in Ethiopian scholarship that historicizes the making of Ethiopian modernity and modernism from perspectives of discourses and cultural practices. It investigates the nature and parameters of Ethiopian modernity and modernism through the linguistic complexities of popular language and literature that play out in forms of collective expression and performance. Picking up on diverse, tenuous and culture specific notions of the production of discourse, such as the notion of the ‘nation’, it examines the texture of the beginning articulation of Ethiopian modernity and its subsequent trajectory. It explores Ethiopian modernity through a critical framework that intersects with local and global discourses of modernity. Consequently, it interrogates the implications of the canonical meaning of Ethiopian modernity and modernism as it covers the assumptions and heuristics that have shaped the grand tradition of Ethiopian political thought. Ultimately, this dissertation argues for an alternative Ethiopian modernism that critically interrogates how the history and cultures of the non-Western ‘Other’ engage the larger context of modernism. It emphasizes that the meaning of Ethiopian modernism can only be consequential if it is examined through changing conditions of the ideologies of formal and conceptual representations that fortify such changes BIOGRAPHICAL SKETCH For many Ethiopians who escaped the Marxist junta’s slaughter of thousands of young people and settled in the West, the notion of citizenship and belonging to their country had permeated itself in an unstable and paradoxical identity. On the one hand, they could not escape recalling their nation’s recent past of trauma and anguish and on the other they wanted to deny this contemporary tragedy to give order and structure to the place they have imagined at a distance. The terms and conditions of their identity required an imaginative way of dealing with loss. Conceptions were made and remade with unremitting rupture and continuation, and they constantly negotiated a way through varieties of memory, only to end up creating an even more increasingly fragmented and fractured identity. While their idealistic dreams faded at a young age as purges, torture and witch hunts forced them to find refuge elsewhere, most of them struggled not to be reminded of the cause of their predicament and instead found refuge in a romanticized memory of the past that gave them temporary solace from their quandary. For many of them, this was the only way they could sustain citizenship and belonging to a nation that in reality they no longer knew. Many guarded these memories with silence. Elizabeth Giorgis was a product of this displaced generation of young Ethiopians who immigrated to the United States at a young age fearing persecution, genocide and torture. Although her adopted homeland gave her sanctuary and protection, she lived as a dislocated soul for twenty-seven years remembering and at the same time denying the trauma and genocide of her past. Her birth place was hence imagined and frozen in time. This conflict prevented her from seeing the actual dynamics that had shaped her country during her long absence. 1995 was her first attempt to return to Ethiopia after twenty years of absence. She went to Ethiopia to be confronted by a nation’s reality that iii had gone through detrimental transformations. She went back three times after that and with each visit she managed to shatter the fantasies of a romanticized past that had burdened her for so long. Each visit removed the ambiguous experiences of diaspora and instilled in her that she could actually contribute to the well being of her country if she returned. September 11 also became a decisive factor. It was a day that forced her to deploy herself to explicit and instrumental purposes that could serve her country. She was one of those people who worked at the World Trade Center and was in the building on that day of mayhem. She was one of the fortunate ones who escaped but not without witnessing the loss of many colleagues and along with their loss, a déjà’s vu reminder of the ultimate cruelty of mankind. She left Ethiopia during the time of the ‘Red Terror’ of the military junta. The ‘Red Terror’ of the Marxist junta lasted throughout the 1970s and human rights group say that 50,000 people were killed. Indeed, September 11 brought back many painful memories, but this time memory desired to be instrumental for change. She decided to embark on a profession that would enhance social change through creativity and cultural discourse. She had finished both her undergraduate and graduate studies in the United States. She had worked as a banker for over seventeen years in the United States; as an Assistant Vice President for Bank of America in Northern California and as Assistant Vice President Loan trader for Mizuho Corporate Bank (Japan’s largest bank and the world’s largest bank) in New York. She abandoned banking after September 11 and acknowledging that cultural and political identity were intricately connected in the part of the world that she came from, decided to pursue a graduate degree in Museum Studies at New York University, hoping to manage a cultural institution in Ethiopia. She realized that the production of institutions that engaged in discourses of culture and history were crucial not only to positive progress against violence which still engulfs Ethiopia, but also to the political health and development process of her country. After iv graduation, she was offered a job to head the Institute of Ethiopian Studies at Addis Ababa University, the premiere research center, museum and art gallery of the country. She moved back to Ethiopia in 2004. Indeed, she could not reconcile the massive poverty and the breakdown of communities that had in the main formed the context of her country during her long absence. Her move nevertheless made her realize the ironies of the diasporic self that entangled itself with a romanticized notion of the past and that consistently failed to recognize a recent history of debt, mass migration and civil war. During her three years tenure at the Institute of Ethiopian Studies, she had turned the institute from being a purely academic center to a vibrant venue of dialogue. She again returned to school, this time to Cornell University to pursue her PhD in History of Art and to consequently fill a gap in the scholarship of Ethiopian art history. She returned to the institute after two years academic leave and currently serves as its director. She hopes to publish the outcome of this dissertation to serve as an ideal supplement to her dream of cultural discourse and dialogue, which she believes can significantly contribute to the challenges facing peace, cooperation and stability. v ACKNOWLEDGEMENTS I will always be proud of being a student of Cornell University’s History of Art and Visual Studies graduate program, and I appreciate the financial support of the University that funded my graduate study. I owe gratitude to many people who involved themselves in helping me undertake this dissertation. I wish to thank Professors Salah Hassan, Susan Buck-Morss and Iftikhar Dadi for supervising my graduate work. This dissertation would not have been possible without the expert guidance of their advice. I particularly want to thank Professor Salah Hassan, the chair of my dissertation committee, for his encouragement and trust in me. His never ending support has been there since the early 1990s when I started to write about Ethiopian art. Had I not made the acquaintance of Professor Salah Hassan, I would not have pursued my graduate study. It was he who persuaded me to advance my studies, and I cannot thank him enough for his friendship, trust and support. My field work could not have been possible without the support of the staff of the Institute of Ethiopian Studies. I am thankful for having received much assistance from the librarians of this esteemed institute where I was fortunate enough to be its director during the course of this research.
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