By Eyob Asfaw
On 4 October 2020, the ‘HOHE chapter’ continued the webinar series on the works of Tsegaye Gebremedhin for the third round. Being a last round, the moderator -Wondwosen Adane provoked the discussion with the rare question as to ‘what qualify Tsegaye as a puzzled poet and what departure really made in the literary landscape as observed through his works?’. In reaction to Tsegaye’s critique, the commentator- Michael reacted as Tsegaye’s word power originated from the bitterness feeling he felt and undifferentiated solidarity with his contemporary society.
From its onset, critics and literary families alike characterize the poetry works as a litmus test for Ethiopian social value and pathological test kit for moral decay we are facing as the society. In his 1977 play called ‘Hahu be sedist wer’ (to mean ‘reciting alphabet during infancy’), there is a protagonist Jelu Moro (to mean ‘the Silly ‘Moro’) but ended up to be interpreted differently to the dismay of the author. While Tesgaye meant to immutability of popular voices through subjecting Jelu Moro for non-verbal and silent expression of disappointment. To make matters worse, critics mistook the character ‘Jelu Moro’ to wrongly attribute with Tsegaye’s inability to let his characters speak verbally in artistic manner. On the over-simplification of what authors can face in their defiance to authoritarian leaders, one can remember that former USSR’s Joseph Stalin executed folk poets who sympathized for the then Ukraine. A curious reader can appreciate how Tsegaye stood defiance in the face of Dergue authoritarianism undoubtedly escaped possible sacrifice and torture other than 
alleging Tsegaye on unfounded and ill criticism. Appreciably, art creates pathways for rebellion against tyranny, avenues for political understanding and solidarity among coalition builders. Understandably, art teaches us that lives other than our own have value.
As antidote to unfounded criticism, the commentator – Michael Shiferaw contended that, It is none other than a futile exercise to belittle Tsegaye as someone deficient of word power and incapable to meaningfully crafts creative dialogue in his play. In a similar resonance, Abera Lema, a seasoned author and friend of Tsegaye, make a compassionate comparison with what Alexander Pushkin (1799 – 1837) faced a critic in his contemporary Russian literary families. By then, his critique repented for their ill-founded criticism. At last, the critiques builds a consensus that Russians ought to elevate their literary capacity to better understand the works of Pushkin other than lamenting on sophistication of his works.
On the second half of the webinar the discussion delved to uncover as to what narrative of Ethiopia was portrayed through Tsegaye’s work. Michael contends that ‘Hahu wey Pepu’ ( to connote ‘alpha omega of the social and political change’) ‘Esat Woy Abeba’( to mean ‘fire or flower and ‘ Pop Peter’ were illustrative enough to understand what Tsegaye’s constantly conveys his narratives. One can recall that the monologue of ‘Pop Peter’ was a eulogy on an Ethiopian bishop (1892-1936) martyred in defiance to Italian fascism in 1936. For Wondwosen, unlike many other authors, Tsegaye works emphasized on national issues embedded in his clear tendency to engage on grandiose super structural issues other than routine infrastructures of social life. For Michael, in much of his works, Tsegaye doesn’t portray unrealistic utopia without healing structural wounds and redeeming national condemnation.
On another treatment, Tsegaye’s works attested his resemblance to Linguistic Anthropologist for his scheme to uncover the folk cultures through the prism of literature. Tsegaye’s ‘Collision of Altars’ and ‘Oda of Oracles’ are notable to admonish Tsegaye’s anthropological lenses where he interplayed old and emergent east religions and animism. To the shame of authors with shallow understanding on the folk culture’s, Tsegaye’s encyclopedic comparison went afar back 1,500 years to enlist the infamous ‘zorastrianism’ to the indigenous Oromo ‘Geda’. Exceptionally, for Michael, through mediating those play’s in English, Tsegaye meant to convey the intangible cultural treasure for the outside world.
In short, much of Tsegaye’s work are neither studied well by scholars nor understood by the folk peoples. On the webinars, in a similar treatment of Pushkin, the ‘HOHE Chapter’ commentators build a consensus to elevate the competency of reader and audience to understand well what Tsegaye intended to convey through his works.
Call for Elevating Audience’s Competency to understand Tsegaye Gebremedhin’s works
Paperless e-system
Webb Fontaine’s team of international experts and technicians were on the ground for 3 years in Ethiopia to assist the Ethiopian Customs Commission (ECC) staff with the deployment of Webb Fontaine’s eCMS that was designed and customized for this project and rolled out across all operational ECC stations in Ethiopia. It is also available online for all trade users (carriers, declarants, companies, etc.)
The fully paperless e-system caters for social distancing rules without hindering the capacity of customs officers to assess and access submitted documents. In addition, ECC removed the need for physical submission of documents by adopting Webb Fontaine’s facevet Officer Desk module, allowing full digitalisation of documents.
Pascal Minvielle – Executive Director, Technology & Projects Implementation – Webb Fontaine Group is at the heart of Webb Fontaine’s technological innovation strategy. Based in Dubai, UAE, he leads the largest Research and Development centres in the industry in France, Armenia, Philippines and Ukraine. He talked to Capital about the implemnntation of the project. Excerpts;
Capital: Can you tell us what you have done to support Ethiopian Customs Commission?
Pascal Minvielle: In 2015 we were contracted by the Ethiopian Customs Commission (ECC) to digitalize Customs procedures, the project was funded by the European Union. The Customs Commission floated a tender to improve and modernize the Customs procedures for import and exports. Following the tender, we were awarded the contract and started work in 2016.
From day one, this project was a collaboration and partnership with the Ethiopian Customs Commission. Together we reviewed, assessed and then built the new Customs clearance system to address all the project requirements specified by ECC in a Business Project Review (BPR).
The new system has been live and in use for the last two years, and has achieved a great deal for not only Customs and Trade but for the country as a whole. The technologically advanced system modernizes and simplifies Customs procedures. Bringing together faster clearance, risk management, enhanced control through digitalisation, they are now able to have complete and transparent processes, and improved control across the board.
The advantages are clear to see: dwell times are significantly reduced which means the Customs clearance process is two times faster than before. With simpler and optimal processes Customs can clear goods, faster and more efficiently. 
With more control and trade facilitation, revenue has increased dramatically. Ethiopia Customs Commission has been able to increase Customs generated revenue by over 30%, this is a major asset in the context of the economic growth of Ethiopia.
To achieve this, we are proud to have worked hand in hand with the Government during the design and implementation phases as we teamed with the national project team not only in Addis but in all workstations of the country.
Capital: how do you evaluate the capacity of employees of the Customs Commission in terms of the operation of the technology?
Pascal Minvielle: Ethiopia Customs Commission are leading the way in terms of digitalisation. The system is designed specifically on requirements put together by them. Additionally Webb Fontaine has provided more than 1000 hours of training and upskilling for Customs on technical and operational aspects.
They are fully trained and now conversant with risk management techniques, valuation assessment, inspection using the paperless system. ECC is now able to monitor the system and has developed a sense of ownership.
Capital: corruption is the major problem in Ethiopia Customs Commission does your system has on this?
Pascal Minvielle: The system provides complete control, transparency and visibility of all transactions. Goods are now tracked at every step of the Customs process.
Capital: the other problem here in under invoicing, does the system have some kind of way to detect this?
Pascal Minvielle: Customs digitalisation removes all manual steps in the Customs clearance process, this means a reduced chance for errors and fraud. The system itself includes specific tools for tracking irregularities and under invoicing practices.
For this purpose, ECC is actually using one of the system modules called Value Declaration Details or VDD which we have installed and customized for them; it is controlling online all prices which are entered by the traders, so if you declare let’s say 10,000 birrs within your Customs declaration, the system will look automatically into a data base of previous entries spotted though Ai and will send an alert to the customs assessor which will increase back the price so yes, there are internal valuation controls within the system which prevent under valuation, this is one of the contributor that increase revenue by 30 percent. It’s more focused on valuation control and transparency and also trade facilitation.
Capital: Is there anything you want to add?
Pascal Minvielle: Ethiopia is the second most populous country in Africa that has huge economic growth, we strongly believe this country is at the forefront of modernisation and digitalisation in the region. We are proud and humbled to work with such a fantastic team of experts at the Ethiopian Customs Commission. What we have achieved together, the vision that the Ethiopian Customs Commission have is an honour to be a part of.
Kedija Zeynu
Name: Kedija Zeynu
Education: BA degree
Company name: Z- electronics and spare parts
Title: Owner
Founded in: 2019
What it does: Sell different kinds of electronics
HQ: Around Merkato
Number of employees: 1
Startup Capital: 150,000 birr
Current capital: growing
Reasons for starting the business: Financial freedom
Biggest perk of ownership: I have goals
Biggest strength: good in promoting myself
Biggest challenging: Working capital
Plan: Developing my business
First career: None
Most interested in meeting: Sheik Mohamed Hussein Al Alamoudi
Most admired person: My Father
Stress reducer: Time with friends
Favorite past time: Time with my family and friends
Favorite book: Quran
Favorite destination: Saudi Arabia
Favorite automobile: Ford
ART & PUBLIC SPACES THE ROAD TO SOCIAL COHESION
“…this field is very rich…than piling up concrete, if we build such a project for art, our human moral development will be hastened.”
Prime Minister Dr. Abiy Ahmed
Designed in three months by Addis Ababa University students, alum and UMBC Graphic Design Professor, Genet Abraham; and built in a few following months, the Entoto Yehizibi T’ibebi Ma‘ikeli (Entoto Public Art Center) opened with a grand group exhibition including Addis Ababa University Alle School of Fine Art and Design alum’s art, gracing the inaugural event. Curated by Alle School of Fine Art Team, with works on loan from four generations of the finest Ethiopian artists including Gebre Kristos Desta, Yohannes Gedamu, Desta Hagos, Mulugeta Tafesse, Bahailu Bezabu, Tadesse Mesfin, Daniel Taye, and Merid Tafesse to name a handful, it was indeed a dream come true for us art aficionados. The Entoto Public Art Center is designed with high ceilings, natural lighting, climate control and more, setting an international standard for exhibitions in Addis, the diplomatic capital. In a cordial and brotherly exchange between the art loving Prime Minister Abiy Ahmed and Art School Director, Agegnehu Adane, sentiments were shared that says it all.
Agegnehu Adane: “For this useful project, you did, I want to thank you on the name of the artists.”
PM Abiy: “Maybe you forgot I did promise you last time.”
Agegnehu Adane: “No I didn’t forget, but I didn’t expect it to happen this fast.”
PM Abiy: “You deserve even more this is not enough…this field is very rich…than piling up concrete, if we build such a project for art, our human moral development will be hastened.”
Agegnehu Adane: “Long life, I am proud of you.”
PM: “Long life for you too, live for your country.”
Dubbed the lungs of Addis, Entoto’s newest additions are manifestations of the PM’s commitment towards nation building through the arts with like-minded cohorts such as curator, anthropologist and sheer creative genius, Meskerem Assegued, co-founder of Zoma Museum with Elias Sime. Zoma Park Mender, also a new addition to Entoto Park, features winding manmade rivers, walking paths, children spaces, restaurants and more. Meskerem states, “As a nation, we have a potential to realize what looks like the impossible. Therefore, we can make poverty history by working hard for the betterment of all Ethiopians.” She further states, “When we change our mindset, our journey towards prosperity would be successful; wealth is not only about cash but also all about attitudinal change. Change in mind is a way for all-inclusive development.” I have been a major fan of Meski’s for 15 years, watching her put her shoulder to the wheel while keeping her eyes on the prize; and after decades of digging in her heels, she has created yet another organic and holistic space which has employed over 150 people with opportunities for more employment in the near future. This is what happens with solid public private partnerships; success for all. This is NOT about trickle-down economics.
Pardon the pun, but while we are not out of the woods with political and geo-political goings on playing out, one thing is for sure, Ethiopian art and green spaces have a champion in the young Nobel Prize winning PM. He is facilitating the fulfilment of what us art activists and professionals have asserted for some time; art is transformative and creative spaces build social cohesion. Dr. Abiy, appears tuned into the principles of socio-spatial theory, particularly in urbanism, which speak to how infrastructure and society interact. In the case of Addis Abeba, parks and public access to art go hand in hand, as exemplified in social spaces such as Unity Park, Brotherhood Park and now Entoto Public Art Center; operating both as products and producers of change in urban settings, fostering social cohesion. The International Journal of Environmental Research and Public Health states, “Reviews of the relationship between nature and health suggest that social cohesion is positively influenced by the presence and quality of urban green spaces such as parks and forests.” While Arizona State University’s HeeKyung Sung argues, “…arts and cultural facilities, strategies, productions, and consumptions are important for community revitalization, which contains processes and outcomes that enhance social, cultural, and economic development.”
So here it is, unfolding before our eyes, the vision of Emperor Haile Selassie I whose opening speech at the Art School in 1958, which I often quote, “A purely materialistic art would be like a tree which is expected to bear fruit without flowering, and to sacrifice grace and beauty for mere utility. As We have stated time and again, it is easy to begin, but hard to finish, and We express on this occasion both Our happiness at what We see here today, as well as Our strong hope to see this work which is now begun bearing fruit in the near future.”
Dr. Desta Meghoo is a Jamaican born
Creative Consultant, Curator and cultural promoter based in Ethiopia since 2005. She also serves as Liaison to the AU for the Ghana based, Diaspora African Forum.
