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About power, leadership and management

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Last week we saw elections in Bangladesh and the Democratic Republic of Congo, while elections in Afghanistan were being postponed. What struck we while watching the news coverage of these elections is that the media consistently referred to power. It is about getting into power, remaining in power, handing over power and so on. I guess this illustrates the misunderstanding that many have about what it means to be elected by people to govern a country. To lead a government is in my opinion not about being in power; it is instead about having been given the trust, the confidence, the mandate to serve the people, lead a government and manage its resources well. If this is not so the case, then we do not have to refer to a process called elections, during which all sides claim fraud even before the first votes have been counted. Getting into power seems to me is the result of forcing oneself into position, rather than seeking a mandate. It is leaders and good managers who will be given a mandate instead, based on their vison and track records. We need both leaders and managers, not power mongers. What do we then mean by leadership and management, whether in government or business? Some time ago I wrote in this column about leadership and we looked into the difference between leadership and management as follows:
Leadership Management
Leaders are people who do the right thing. Managers are people who do things right.
Leadership is about coping with change. Management is about coping with complexities.
Leadership has a sense of movement about it. Management is about handling things, about maintaining order, about organization and control.
Leaders are concerned with what things mean to people. Managers are concerned about how things get done.
Leaders are the architects. Managers are the builders.
Leadership focuses on the creation of a common vision. Management is the design of work. It’s about controlling.

Looking at both columns again, we need to realize that both management and leadership are vital and that one without the other is not sufficient. In other words, with much attention focusing on leadership today, we must not neglect the importance of management. What is interesting to observe is that leaders, the visionaries, often have a hard time managing. They therefore better delegate the management of the company or the organization to people whose strength lies in management. The point is you can lead people, not things. Things – not having the freedom to choose – are managed and controlled, like money, costs, information, time, structures, systems, processes, inventory, assets, facilities and tools for example. Sometimes people choose to be managed under their own leadership, not exercising their ability and freedom to choose. Leadership in comparison, is communicating to people their worth and potential so clearly that they come to see it in themselves. How to do this well is not that easy though and here follow some suggestion that may help in exercising effective leadership.
An effective leader must be able to communicate. Great leaders have the ability to visually communicate their message to people and they understand that one of their key tasks is to find ways to grow people. You see, you can’t do it all by yourself and it is therefore important to find a way to get much of your vision seen, implemented and added to by others. The leader sees the big picture but (s)he also sees the necessity of sharing that picture with others who can help in making it reality.
An effective leader is creative in handling problems. The ability to creatively find solutions will determine the success or failure of each difficulty. Key is to use a crisis as an opportunity for change. Like every coin has its flipside, most problems bring along a window for opportunities. When we begin to look for opportunities through these windows which we never saw before because we are comfortable or caught in the situation we are in, we will begin looking at things positively and learn to be creative, sometimes referred to as “thinking out of the box”.
An effective leader is a generous contributor. Turning our mindset around, the measure of a leader is not the number of people who serve him/her but the number of people (s)he serves. Real leaders have something to give and they give it freely.
An effective leader acts consistently. People need to be able to depend on their leaders. The moment a leader becomes inconsistent, people will lose their confidence and will stop trusting that person. And this is something we see happening around us all the time, even at home where parents are strict on a certain issue today and allow the children to do the very same thing tomorrow. In the process the children begin to lose respect for their parents and find ways to take advantage of their parents’ inconsistent behaviour. Similarly, people would rather follow a leader they disagree with than one they agree with but is constantly changing positions.
Now, leadership is not something set aside for senior executives who perpetuate the prevailing mindset that says: “The boss does all the important thinking and decision making around here.” No, everyone can be a leader, regardless of position as longs as we take our own responsibility and live by principles that guide our personal leadership. Remember the proverb that says:
He who thinks that he is leading and has no one following him is only taking a walk.

Ton Haverkort
Sources:
“Be a People Person – Effective Leadership Through Effective Relationships” by John C. Maxwell , “The 8th HABIT – From Effectiveness to Greatness” by Stephen R. Covey

From San Francisco to Addis Ababa with Meklit Hadero

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The rising Ethiopian-American singer-songwriter, Meklit Hadero, is to showcase her works in Addis Ababa at the Alliance éthio-française on January 11. The young artist who is known for her fused beats of Tizzeta and Jazz which she describes as emanating from “in-between spaces”. She will also perform at Selam Festival on January 12 which will be held at Atse Tedros Stadium in Bahir Dar.
Meklit is also known for her Nile Project, founded along with Egyptian ethnomusicologist Mina Girgis, in which she set out to explore the music of the Nile basin, pulling influences from countries along the river, from Uganda, Kenya, Tanzania, Ethiopia, South Sudan, Sudan, and finally to Egypt. The project brings together hip-hop, traditional and contemporary music, with instruments and traditions old and new. As she says, “My work on a lot of levels is about multiplicity.” Their new record is Aswan.
Meklit, who sings in English and Amharic, born in Addis Ababa, fled with her doctor parents to the United States in hopes of escaping the years of violence that followed Ethiopia’s 1974 revolution. She was raised in Iowa and Brooklyn.
Meklit’s album – When the People Move, the Music Moves Too – was released June 2017 receiving rave reviews and quickly reaching #4 on the iTunes World Music Charts, #1 on the NACC World Charts and #12 on the World Charts in Europe. It was also named one of the 100 Best Albums of 2017 by the Sunday Times UK, one of the Best Soul Albums of 2017 by Bandcamp and amongst the 10 Best Bay Area albums of 2017 by KQED. These 11 songs were deeply inspired by Mulatu Astatke (the Godfather of Ethio-Jazz). The entrance is free and the show will be at 8 pm.
Feedback about her songs:
“Meklit is one of those rare artists with the power to bridge genres, geography, and generations.” – Google Music
“Soulful, tremulous and strangely cinematic, Meklit’s voice will implant scenes in your mind – a softly lit supper club, a Brooklyn stoop, a sun-baked road. Close your eyes, listen and dream.” – Seattle Times
“Meklit… combines N.Y. jazz with West Coast folk and African flourishes, all bound together by her beguiling voice, which is part sunshine and part cloudy day.” – Filter Magazine

Colorful life

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Inspired by the color that the sun makes and places like the Semien Mountains artist Therese Humeau has called Ethiopia home for the past year. The well-traveled painter studied in Paris and spent time in Israel before coming here and her art has been exhibited globally. She plans to show some of her works born during her time here and others in an exhibition at the Alliance Ethio-Française. A mother of two, she graduated from the Ecole Nationale des Beaux-Art de Paris, studied at Ecole du Louvre and taught Art History as well. Capital sat down and spoke with her about her philosophy, life and creative work.

Capital: Tell us about your work, how did you start painting?
Therese Humeau:
My attachment to painting started during my early childhood enjoying what my grandparents collected in our house. Back in France one of my grandparents was a painter and the other had a good painter friend. There were many collections that impressed me, mostly flower and abstract paintings. At first I was just painting as a hobby and then, when I reached the age of 25 and was living in Paris I would paint my children as they went about their day. When I joined art school things became different. I would copy a model sitting in front of the class and paint the most approximate version of what they looked like. As my painting developed I would create what I felt inside and express my ideas. Art school was supposed to take five years but it took me only three to finish. So education helped me to get the most out of my talent. This was the moment I became a professional artist.
Capital: How would you define your art work?
Therese:
For me sticking to realism is important which means people, landscapes and stills. When I paint flowers I know that they are silent creatures but their particle of beauty speaks loudly. I also draw movements. I remember painting only black and white for a year. I didn’t touch colors that year just so that I would follow my heart. My paintings are a description of my sentiment. What I painted in black and white turned to be terrible and confusing for me so I transformed it into order and mosaics. The later pieces impressed people and I ended up showing them in exhibitions throughout the world, in places like Mexico, Budapest and Belgium. My paintings can be defined as very close and attached to my internal feelings and expressions. But I also believe that without knowing the past we can’t represent the present. It’s always good to be linked to the history of art. It always tells us how humanity expressed itself back then through the years and through civilizations. My stay at the Ecole du Louvre also stressed the history of art. Being aware of various cultures also will widen your view, as it did mine, India, Japan and Africa have their own colors.
Capital: What inspires your paintings?
Therese:
Life inspires me to do my painting. Life is a fight and Israel is a good example. Yes, it is the country of peace and spirituality but with a continuous fight. So my paintings are always inspired by these life colors. And here in Ethiopia, the color has always inspired me. The attachment I have with the reality is the origin of my art and here in Ethiopia, it took a few months for me to get that connection which I am intimate with now. I arrived in Ethiopia last November and it was very difficult for me to rebuild all the relationships and as you know, we in Israel we are very connected socially. This nation is very colorful; even white traditional clothes are decorated with hot and living colors. The flowers, the sky, the light, and the spirituality have always impressed me. The spirituality here is similar to Israel and that’s also my inspiration. As you can feel and notice I make lots of colorful squares which sometimes turn into crosses.
Capital: But you do a lot of abstracts and abstract is not reality.
Therese
: Abstract is the internal reality of the painter, how sensitive they can be and their thoughts that are expressed. If you brush to paint on your desk, it is an art. One of my teachers back in the Ecole Nationale des Beaux Art de Paris art school was famous for having paintings that were something but did not represent anything. I also experienced this internal journey when I decided not to touch a color for a year.
Capital: Tell us about your teacher who trusted you with your original paintings and told you to carry out your own exhibition?
Therese:
That teacher was a man who was attached to realism, he was an old painter. He portrayed reality in a very simplified manner. If he wanted to display colors he cut them to pieces. So this is my teacher, who inspired me. I had an exhibition in Paris in a big church which has a cross on the side and I made that art as the cross affected me. After I came to Ethiopia I went back to cross paintings. I really want to create them. When I moved to Israel I couldn’t paint for a long time. It was too difficult for me which led to doing ceramics. I went to a studio of women working with ceramics who let me do what I wanted to do. It’s not ceramics which you do every day rather it’s art. But when I arrived in Ethiopia and decided to bring my stuff I thought what shall I do? The little colorful crosses sparkle. In Ethiopia, the woman is in white but colorful. The fruits, the flowers, the trees, everything is colorful because the sun makes the color powerful and strong. What surprised me is that people are not surprised by the Ethiopian things I do here. I make one Ethiopian piece every day.
Capital: Do you travel throughout the country or have you only observed life in Addis?
Therese:
As I told you I am always attached to reality and the landscape from the Semien Mountains are among the examples. The light was amazing there. When I travel I am very impressed. Ethiopia is very beautiful which inspires me. But sometimes I can’t draw it as it becomes too beautiful. I really want to see Ethiopia but, sometimes I like to keep my ambitions because it is always great to have that ambition for me to be motivated by my paintings. Now I plan to go to Lalibela with my friends. Someone already told me that I am making the concept of Lalibela in my pieces which makes me eager to see it. Art is very far from intellect because it mainly flows in our unconsciousness.
Capital: Do you have any plans to display your work here in Ethiopia in the coming months?
Therese
: Yes, I will have an exhibition at the Alliance Ethio- Française in spring. We aim to be the biggest as the place is huge. But that can be extended to other exhibitions following that. I hope to have an exhibition with Ethiopian painters.
Capital: What are your biggest challenges when you paint?
Therese:
For me, painting is love and pleasure. Life and pleasure are my subjects. I have to confess that I am not as disciplined as some artists. I don’t wake up in the morning and sit down and draw. But if I am inspired I can’t sleep. And sometimes when I see my pieces I can’t believe I did them. I believe there is some internal power which guides you in any art. But that doesn’t mean that it’s this easy and you just let it go. It is not easy as life is difficult. When I came a year ago, it was difficult. But now I feel very much attached to Ethiopia. The main reason for my attachment is the spirituality of the Ethiopian people which is the same as the Israeli people. So it is not as easy as we think to be attached to ambition.
Capital: What is the best moment in your art? Is it when you create or when you finish or when people see and respond or when you sell?
Therese:
Creation is the most important part for me. Not only for painting but in everything; It could be cooking. And when you create it’s not that you just create all of the sudden; it takes a lot of hard work. And for us women, over the years, it has not been easy to be successful. But now we can give many other things to the world besides babies. We have strong emotions that include our spirituality. So the fact that I am able to create makes me happy and when I see it later, I sometimes doubt if I was the one who did that. When somebody purchases some art from me it is recognition.
Capital: Is there anywhere special in the world you would like to display your work?
Therese:
I haven’t thought of this until you asked me but the Hope Orphanage in Ambo popped up in my mind. I visited them nine months ago and I loved them. We created with the children and then we made an exhibition. It was exciting to be with them.
Capital: What about your life ambitions?
Therese:
I like to make the people closest to me happy. I always love to make people see the beauty. When I was back in France I remember we had a discussion in our workplace about what the most important things in our lives were. Showing beauty was my answer. The beauty of the people against the societal standards based on age and other standards is what I show in my paintings. The beauty of each person is beyond society’s standards. Each person is beyond the age of the conventions.
Capital: Do you feel blessed to have this talent?
Therese:
Yes. When I was in art school 25 years ago I asked myself if I should do what was popular at the moment, which was black and white. There was no kindness and it was a darker moment based on the end of the 10th century. I decided to do something other than the classical things. I did an exhibition in Paris in this big church and I put the painting on the floor and one person with mental illness walked on it. It was so surprising but it inspired me to live with the art. The official art in the 19th century was to participate annually in big exhibitions.
Capital: What is official art?
Therese:
It is art-recognized by the powerful people, the rich people who buy the art. But for me, art is official art when it touches your heart or when you feel it. In the 20th century, especially in Paris, it wasn’t about being touched rather it was about knowing. The work of the art was exaggerated. It was all an endorsement creating what is official art. So the impressionists came opposing them and they said we want to do what we like. The name impressionist came after one journalist mocked them for making such an expression. The impressionists broke the rules and started to show their art in different places. It is very difficult to make money. This is the difficulty between what is subjective and objective or official and unofficial.
Capital: How do you determine the price of art?
Therese:
When I was in art school whenever someone liked my art pieces I would give them as a gift and one of my teachers asked me this question which changed my view toward pricing. How do you buy your shoes? So you have to at least earn as much as the price of your shoes. When you begin to sell some paintings the people will not buy them if they are too expensive or too cheap. The issues of size will be raised also. So it is complicated.
Capital: Do you believe art is a luxury or a means for society to express itself?
Therese:
The art must be a way forward for society. Also, art represents what society is going through. It is the same in all kinds of art including dance and music. But what is society? It is different characters. So the art may be in advance of the consensus of society. The artists might not even understand what they are doing. There are lots of painters who are in advance of the society. And some would like to show just the beauty of society. That’s why I like ceramics it is so simple as you can touch it. You know art coming from the Greek word means technique. When you are an artist you are the technician.
Capital: Have you ever lost the courage you have now and told yourself that you don’t belong in this profession?
Therese:
It is not possible for me not to paint but there might be times that I don’t show people. I used to paint in my bedroom and also in a very big studio. If I feel dark inside or weak I can’t paint. So sometimes I may not paint but I don’t give up painting because I need to feel secure.
Capital: If you had to pick one piece of your all-time favorites which one would you choose?
Therese:
A painting of my children I did when they were sleeping.
Capital: What about global art?
Therese:
I love Japanese art even their garden art. I also like the American Cy Twombly. I also love protocol. I love land art during the 7th century. It is very natural.

Snaps of the holiday

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Eyob survives by selling small household items on Addis Ababa’s busy Mexico Avenue. Last week the teenager spent most of his time dodging police cracking down on street vendors near the exhibition.
Exhibition time means better business for salespeople like Eyob because overflow from the markets often bring him extra customers.
“I might make three times as many sales near the exhibitions than I would on regular days,” said Eyob. “People coming in and out of the bazaar will often buy from vendors like me because we will carry items they don’t have at the bazaar or we can offer them at a cheaper price.”
Even though the location is the same, the exhibition has changed with the times. With the digital age, it is harder to find as many cameramen taking instant ‘Polaroid’ pictures; a popular money making endeavor previously.
Now opportunistic thieves have taken advantage of the opportunities posed by so many people in such a small space. It is common to see police arresting criminals for attempting to break into cars close by the exhibition or those pick pocketing inside the venue.
The exhibitions mean that three times a year people selling fast food and drinks make good money.
Cereal and vegetable rolls that usually go for ten birr at regular markets were being sold for 20 birr at this year’s Christmas exhibition and bazaar, organized by Habesha Weekly. Throughout the exhibition food prices were jacked up.
Habesha Weekly managed to host slightly higher than 500 businesses in this exhibition. They won the bid from the city chamber by paying 26.2 million birr for 21 days. The average rent price per sqm is 11,000 birr according to Samson who is the marketing and public relations head.
“We tried for many years to win this procurement and this year finally we managed to get both the Christmas and Easter exhibitions,” he stated.
The Exhibition Center & Market Development Enterprise floated the bid between a few operators but Habesha Weekly offered a record price for the 23,000sqm at the exhibition.
For a long time people shopping at the exhibitions have complained that the prices are higher there than at local markets. Businesspeople at the exhibition counter that they have they are paying a lot for the booths so they have to charge more.
There is an average flow of 30,000 visitors per day and on the weekends that number rises to around 60,000 according to Samson who expects to host over one million visitors by the end of the exhibition.
Habesha Weekly would like the Addis Ababa Chamber of Commerce (AACSA), which owns the center to stop basing the procurement on financial offers.
“If the procurement process also takes a technical evaluation into account it could lower the financial offers and the savings would be passed onto the customer,” said Samson.
Entertainment and event organizer, Jorka, partnered with Addis Park to hold a different exhibition. Addis Park rents spaces to 200 businesses. They pay 6,600 birr per square meter. This is the second year they have done this.
Well known artists including Dawit Melllese, Mikael Bleayneh, Dawit Negu and Asge Dendesho performed at concerts which were held every day. Estimates are that around a million people will attend the event.
They are hoping that the expanded space at their venue will create a more enjoyable shopping experience. Each cell is separated by five meters.
“Our focus is to set the standard for exhibitions. We would like to have exhibitions and trade fairs in more places and more often,” said Biruk Zenebe who works for Jorka. “We are also planning to enter the catering business by diversifying our services and extending our operations to the regional level.”
Biruk would not say how much it cost them to rent the space but he did say that they negotiated to make sure the park met standards and worked to help maintain the park. Both exhibitions had games and activities for children. Habesha featured the original character robots from Jurassic World, which are currently touring the globe.
The Jurassic World Dinosaurs are robots up to 12 meters high. They will remain at the exhibition center until Easter, according to Samson. After the company won the bid to host this year’s exhibition it started long-term negotiations with the organizers. The characters had to travel from China through Djibouti and got to the exhibition late.
“We decided to take the entertainment in the exhibition to the next level,” said Samson. “It will give the children the opportunity to become curious about Dinosaurs were like. Visitors will be able to take pictures with the robots, fell their heartbeats or play with them, which gives our kids a new and educational experience.”
For those shopping for more practical items, you can get a five-liter jar of cooking oil for 100 birr les at both exhibitions.
Butter was being sold between 250 and 320 birr at different markets and as usual fresh butter costs more. Sheno was in the most demand and if you want butter from a different region it will cost you more as well.
Living hens have gone down in price since the previous holiday at Shola market. They range from 270 to 200 birr. Eggs ranged from 4 to 4.30 birr which also is a decrease from the Ethiopian New Year, when they were sold for five birr.
“I have been in the egg business since 2004 and this year the holiday seems very good and calm compared to the New Year’s market when eggs reached record prices,” said Abera. “There is no scarcity in the supply of eggs and there is also a good demand thank God,” said a former athlete and business person.
Spices are also among the highly consumed items during the holidays. Mekelesha, a combination of spices that go into many sauces, was being sold at its previous price 500 birr per kilo. Chili pepper costs 70 birr without the spices. Red pepper goes for between 70 and 80 birr depending on the quality. Spices are in high demand as the holidays get closer.