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Sub-Saharan Africa Must Turn Crisis Into Reform

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Sub-Saharan Africa is entering a harder economic era. After a relatively strong 2025, the region is now facing the combined pressure of war-driven commodity shocks, tighter financing conditions, and steep cuts in official development assistance. The IMF’s April 2026 Regional Economic Outlook is clear: the old model of relying on external support, public spending, and repeated stabilization cycles is no longer enough.

This is not a call for pessimism. It is a warning that hard-won gains can quickly erode if policymakers respond to today’s crisis with delay, fragmentation, or business as usual. The region still has room to act, but the response must be sharper, more coordinated, and more focused on building resilience from within.

The first priority is to protect price stability and the poorest households. The IMF notes that food, fuel, and fertilizer shocks are already feeding inflation and threatening food security, while aid cuts are hitting health, education, and humanitarian programs hardest. Governments should therefore avoid broad, untargeted subsidies and instead use temporary, well-designed support for the most vulnerable, while keeping monetary policy focused on anchoring inflation expectations.

The second priority is fiscal discipline with purpose. For many countries, the temptation will be to borrow more, postpone reforms, or cut public investment to plug the gap left by aid. That would be the wrong lesson. The IMF warns that many states already face high debt risks and limited fiscal space, so governments need to protect essential social spending, improve public financial management, and strengthen revenue mobilization rather than simply searching for new debt.

Domestic revenue reform is no longer optional. The region has the lowest tax-to-GDP ratio in the world, and aid dependence has made many budgets more vulnerable than they should be. Tax administration, customs modernization, reduced leakages, and better compliance can raise revenues without crushing growth, but these reforms require political will and public trust.

The third priority is to shift decisively toward private-sector-led growth. The IMF argues that sub-Saharan Africa’s growth has often depended too heavily on commodity booms or public investment, neither of which has delivered durable convergence with richer economies. The next phase must focus on governance, simpler business regulation, stronger external-sector policies, and a better investment climate that can crowd in private capital and create jobs.

That means governments should make it easier to do business, not harder. They should reduce bureaucratic bottlenecks, strengthen contract enforcement, improve state-owned enterprise performance, and open more space for competition. These are not abstract reforms; they are the foundations of productivity, export growth, and investment confidence.

Regional integration also has to move from slogan to strategy. In a world of higher shipping costs, trade disruptions, and volatile geopolitical conditions, African economies need bigger regional markets, more reliable logistics, and deeper financial systems. The African Continental Free Trade Area can only deliver if countries lower barriers in practice, modernize customs, and align rules that currently keep goods, capital, and ideas from moving efficiently across borders.

At the same time, policymakers should rethink how they finance development. The IMF rightly points to blended finance as one of the few scalable tools available in a constrained global environment, especially for projects that can attract private investment if risk is reduced. But blended finance will only work if countries improve project preparation, transparency, governance, and macroeconomic credibility.

There is also a digital opportunity hiding inside the crisis. The IMF notes that artificial intelligence could boost productivity, but only if countries invest in electricity, broadband, data governance, and skills. For many economies, this is a chance to leapfrog some stages of development—but only if digital policy is treated as core economic policy, not a side issue.

Aid cuts make the case for domestic resilience even stronger. External partners still matter, especially for humanitarian support and fragile states, but sub-Saharan Africa can no longer afford to build public services on a fragile external foundation. The task now is to protect the most essential programs, diversify financing, and build institutions that can deliver services even when donor priorities change.

The region has been through repeated shocks over the past six years. That history should not produce fatalism; it should produce urgency. The countries that emerge strongest from this period will be those that use the crisis to reform faster, govern better, and invest in the systems that make growth broad-based and durable.

Sub-Saharan Africa does not need a new diagnosis. It needs execution. The choice is whether this moment becomes another lost decade of adjustment—or the start of a more resilient economic model built on domestic reform, regional integration, and private-sector dynamism.

Merid Tafesse to present solo mixed-media exhibition “Refraction” in Addis Ababa

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Ethiopian artist Merid Tafesse is set to showcase a new solo mixed-media exhibition titled “Refraction” at the Alliance Ethio-Française Addis Ababa from April 26 to June 25, 2026.

Curated by Desta Meghoo, the exhibition will run at the Alliance Ethio-Française’s Piassa branch, with free entry for visitors. It will be open Tuesday to Sunday from 12:00 p.m. to 6:00 p.m.

Described as a solo mixed-media experience, Refraction will present Merid’s latest artistic work through a visual language that appears to explore identity, perception and layered expression. The exhibition’s promotional artwork features a striking close-up portrait rendered in vivid blues, browns and reds, suggesting a bold and introspective artistic approach.

The exhibition is being held with support from several partners, including the French Embassy, Habesha Creative, Louvre Grand Hotel and BGI Ethiopia.

Renowned Ethiopian artist and educator Behailu Bezabih dies at 66

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Ethiopia’s art community is mourning the loss of acclaimed artist and educator Behailu Bezabih, who passed away on April 10, 2026, at the age of 66.

Behailu, an Assistant Professor at Addis Ababa University’s Alle School of Fine Arts and Design, was widely regarded as a pivotal figure in the evolution of modern Ethiopian art. Over a career spanning several decades, he became known for blending Ethiopian cultural traditions with modern and experimental artistic approaches.

Born in Addis Ababa in 1960, Behailu studied at the Alle School of Fine Arts and Design, graduating in 1980. He later returned to the institution as a faculty member, where he played a key role in shaping generations of artists. In addition to his teaching, he served as Associate Dean for Research and Technology Transfer, contributing to the school’s academic and institutional development.

Behailu was among a group of visionary artists who helped redefine Ethiopia’s contemporary art scene in the years following the fall of the Derg regime. He was also a founding member of the influential Dimension Group, which played a significant role in introducing new artistic expressions and dialogue in the country.

His work was particularly noted for its sense of spontaneity—an approach he often attributed to insights gained during his three decades of teaching children at Hiwot Berhan Elementary School. This experience shaped both his artistic philosophy and his commitment to nurturing creativity at an early age.

Beyond Ethiopia, Behailu’s work gained international recognition, earning him a place in exhibitions and artistic platforms abroad and further cementing his legacy as one of the country’s leading modern artists.

Soul and Sole: A Tesfahun Kibru Experience

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Tesfahun Kibru is an artist who embodies relentless creativity. He takes no breaks, whether in his choice of shoes, clothing, or his commitment to experimentation. Through his work, he seeks to reform or challenge existing cognitive and productive relationships, opening new pathways for the future of Ethiopian art. His latest exhibition at The Space Ethiopia gallery, curated by Dagim Abebe, is historically significant on multiple levels.

Firstly, Tesfahun is now represented by The Space Ethiopia gallery and its visionary leader, Frehiwot Demssie. This marks a crucial milestone in his career, establishing his presence in galleries and art fairs that began in Johannesburg and are rapidly expanding. Artists require professional representation, and for a free spirit like Tesfahun, maturing like fine wine, embracing such a partnership signifies a transformative new chapter.

Secondly, this exhibition continues the experimentation that began during his time at Dima NETSA in the Ethiopian Tire and Rubber Economy Plant, where Rubber Art and Zegetism first emerged. Professor Bekele Mekonnen has written about this evolution. Followers of Capital may remember Tesfahun’s show in April 2018, which celebrated Capital Newspaper’s 10th anniversary and featured Zegetism, Rubber Art, and sculptures. An article in the show’s catalogue discussed the genesis of Zegetism, Rubber Art, and synergy. Now, eight years later, the works have evolved significantly, showcasing a remarkable leap in creativity.

Zegetism stands as a unique fusion of science and art, inviting us to dive into the depths of experimentation and creativity. It represents a pivotal contribution of this generation to Ethiopian art, much like Maître Afwork Tekle’s innovative use of stained glass techniques in painting. What makes Zegetism extraordinary is its redefinition of painting, both in terms of its materials and outcomes. Following Professor Bekele’s insights, we can say that Tesfahun has revitalized the works of Skunder Boghossian, breathing new life into ancient scrolls through Zegetism, elevating Skunder’s painterly techniques to new heights.

The works of Zegetism are not only mind-blowing but also fertile ground for further experimentation.

Rubber Art is an act of creation resulting from the synergy of art and industry. While science divides and classifies, art unifies across labor divisions. The techniques involved in Rubber Art, utilizing industrial vulcanization machines and meticulously prepared textile collages, are a marvel to behold. This represents the manufacturing of art in an industrial age. Notably, Marx analyzed capitalist society by examining its basic commodity form, leading to his magnum opus, “Das Kapital,” which meticulously builds the organism from its cells. Tesfahun begins with the shape of the sole, observing how the harmonious movement of soles creates figures that resonate with the soul. This revolutionary movement in art positions Tesfahun as a vanguard of the avant-garde. We witness Tesfahun’s magnum opus in Zegetism unfolding in real time, where “sole” and “soul” become intertwined themes.

Tesfahun is a rigorous logician in his medium, championing his free spirit for all to see. You are warmly invited to the exhibition, which runs until April 29, 2026. In the meantime, join us for a lively discussion with the artist on the afternoon of April 25, 2026, at The Space Ethiopia Gallery, located at the Ethiopost Headquarters.