Wednesday, March 4, 2026
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Maritu Legesse’s new album’ Yigemasheral

Without a doubt one of Ethiopia’s most talented and celebrated traditional music singers Maritu Legesse released her new album entitled “Yigemasheral. Those who have a firsthand knowledge of her latest work,which was released on Sunday June 24 , say it is an excellent piece of work and makes an good gift for people who love traditional music. Maritu Legesse is dubbed as queen of Ambasel Music in Ethiopia.

Does International Cooperation Require Shared Values?

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The common norms on which international cooperation has been based for seven decades are increasingly being challenged not only by rising powers, but also by the countries that once promoted them. Does that mean that countries have no choice but to steel themselves for a coming age of dysfunctional alliances, proxy conflicts, or even war?
Between escalating trade disputes and the divisions at the G7’s summit this month, the breakdown of global governance has become starkly apparent. The United States can no longer be counted on to uphold, much less enforce, existing rules, and countries more broadly cannot be assumed to agree on, much less adhere to, a common set of norms. Does this mean the rules-based world order is doomed?
Over the last seven decades, democratic values have underpinned efforts, led by the US and Europe, to deepen international cooperation. Since the end of the Cold War, when the West claimed victory for liberal democracy, US and European leaders have often cited “shared values” in forums like NATO and the G7 (known as the G8 until Russia was suspended in 2014 for breaching those values in Ukraine).
But the world has changed. Russia no longer needs to be part of the club of Cold War “victors” to advance its geostrategic interests. China was never a member, and yet it has risen to the status of a major world power. These countries, along with other major emerging economies, are increasingly challenging the geopolitical dominance the West thought it had secured.
Even more potent, however, is the challenge coming from within the West itself, where anti-establishment political forces in the US and Europe are winning support by contesting long-accepted values and forms of cooperation.
To be sure, despite the United Kingdom’s Brexit vote and America’s unilateral diplomacy and trade tariffs under President Donald Trump, the West has not abandoned the notion of shared values. After Trump attempted to bar citizens from seven Muslim-majority countries from entering the US, German Chancellor Angela Merkel said the policy was “not justified.” She was speaking at a press conference alongside Swedish Prime Minister Stefan Löfven, who called it “deeply regrettable.” Löfven then pointed out that Sweden and Germany “share fundamental values” and emphasized the European Union’s “important role for values and human rights.” Merkel, for her part, has cited the importance of shared values in responding to challenges like international terrorism.
But it is folly for European powers to believe that they can rely on shared values to achieve international cooperation, just as it was folly for the West to believe that accession to the World Trade Organization would somehow turn China into a liberal democracy. European countries are unlikely to persuade China, Russia, or the Trump administration to adopt their worldview.
This does not mean that international cooperation has become impossible, much less that countries have no choice but to steel themselves for a coming age of dysfunctional alliances, proxy conflicts, or even war. Instead, it means that cooperation must be anchored not in shared values, but in shared long-term strategic interests. The imperative for countries now is to determine what their long-term strategic interests are; how they overlap (or not) with those of others; and what systems of mutual accommodation could help to advance them.
In assessing shared interests, trade is an obvious area of concern. Trump’s imposition of tariffs on steel and aluminum imports is undoubtedly popular with at least some of his base, but it has infuriated America’s closest allies, which have already begun retaliating.
Economists predict that the Trump administration’s tariffs will cause over 400,000 job losses in the US – which translates to 16 losses for every one job saved in steel and aluminum. This approach clearly is not in anybody’s long-term strategic interests, even if it does offer short-term political benefits.
Countries’ consideration of their strategic interests must also focus on technology. Google and Alibaba now compete for the world’s top computer engineers, many of whom are European, in order to win the race to control the world’s data, develop quantum computing (on which the next generation of encryption will rely), to create more profitable applications of artificial intelligence.
Europeans have become dependent on such companies, which are all based in China or America. Yet Europe has focused more on enforcing shared values in the tech sector – namely, by strengthening data privacy regulations – than on developing a long-term strategy to become competitive. Defining such a strategy could help Europe to identify areas for mutual accommodation.
A third area with potential for strategic cooperation is development aid and investment in the world’s poorest and most fragile states. Such cooperation is essential to combat terrorism, human trafficking, and migration. Yet here, too, countries are acting against their own interests, with the US and Europe cutting aid budgets and trying to control immigration at the border.
Meanwhile, China is making major investments in poorer countries, but in ways that the US and Europe consider anathema. Whereas the US and Europe approach development from a poverty-reduction and good governance standpoint, China places a higher priority on supporting infrastructure development as part of its industrial policy. It has even acquired infrastructure in distressed eurozone countries like Portugal and Greece – a move that reflects a lack of strategic thinking on Europe’s part.
But neither approach will succeed without mutual accommodation. That is the implication of conclusions reached in April by the LSE-Oxford Commission on State Fragility, Growth, and Development, chaired by former British Prime Minister David Cameron. As the Commission’s report argues, all major powers need to adopt a more pragmatic and patient approach which is focused not on long lists of impossible objectives, but on local needs and capabilities.
In a promising move toward strategic accommodation, China has established an International Cooperation Agency to accompany the country’s ambitious Belt and Road Initiative. The new body will allow aid to “play its important role in great power diplomacy.” The US and Europe now need to do more to develop their own long-term strategic objectives and to seek new ways to achieve cooperation internationally.
Systems of mutual accommodation that facilitate the realization of shared interests are possible. If established international organizations are no longer sufficiently trusted to carry out this function, the US and Europe may well need new domestic arrangements. For example, former US Secretary of State Henry Kissinger has proposed a permanent office within the White House for managing relations with China. As values-based global governance continues to deteriorate, the need for such mechanisms of continuous interaction could not be more urgent.

Ngaire Woods is Founding Dean of the Blavatnik School of Government at the University of Oxford.

FINE ART 101

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In order for Ethiopia’s rapidly growing creative class to gain traction the artist community must be supported. There is a plethora of art for sale at tourist shops and cafes and for those that can afford it there is fine art by local professional artists. Many do not realize that the artist only gets around a quarter of the sale amount writes Dr. Desta in her inaugural column at Capital:

When one thinks of Ethiopian art and what to buy, the mind’s eye roams through a range of iconic and stylized paintings from cross-carrying priests; to lush landscapes dotted with meskel flowers; and beautiful afro-wearing women in traditional dress. Such art is affordable and in abundance at touristy shops, restaurants and cafes; produced by talented local artists. On the other side of the spectrum is contemporary fine art. These works tend to express social, political and cultural narratives in the form of paintings, sculptures, photography etc. and are usually created by art school graduates. Prices range from five to six figures and are mostly sold and exhibited in art studios, galleries and museums. Both genres have a place in society. However, my focus is on fine art in the context of cultural development as an integral economic driver in Ethiopia and Africa in general.
By myriad accounts, Ethiopia is ‘Africa’s fastest growing economy’ and according to E&Y Cultural Times,“…a growing middle class controlling more disposable income…urbanization, coupled with the development of cultural activities, is also fueling the emergence of a new economic class…”.  Urban Studies experts label this sector the “creative class” which includes architects, engineers, IT developers, and other knowledge-based professionals. In order to assure Ethiopia’s effective inching towards a flourishing art industry, edification of this sector is essential. Some 101 questions include: Which artist should I buy and why? Why is fine art so expensive? Can’t I buy art because I love it? What is the difference between buyers and collectors?
Artists choose to express ideas through various media. For instance, award-winning photographer Aida Muluneh has a ubiquitous artistic kwankwa converging graphic design, photography, and painting. While renowned painter, Merid Tafesse, is known as King of Charcoal for his prodigious appropriation of the medium, routinely used for studies and sketches. Then Tesfahun Kibru, innovatively, creates metal and rubber sculptures and paintings through industrial up-cycling. So when choosing, take time to research the artists’ media, process and motivation to help deepen the connection and understanding, as your purchase will be displayed in your home or office for years. Another approach for choosing an artist is the “message”. Some artists choose to focus on social or political issues from gender and equality to environment and identity. Collecting such art popularizes the message and the messenger.
Contemporary art marks time, place and circumstance, and as related to cost, is viewed as an investment yielding benefits for buyer, artist and society. “When you buy art through a gallery the chances of the work scaling up is increased, ensuring your investment,” says Mesai Haileleul, Co-Founder Addis Fine Art Gallery. The Louvre in Paris, Tate in London and Met in New York, pillars for tourism, welcome millions of visitors to view Monet, Picasso, or Basquiat, all of whom started in obscurity. So once you find your artwork, assess a few variables to help with the valuation. Did the artist attend art school and if so where? Where is their work exhibited and how long have they been selling/showing? What is their current price point of works? Does the artist have media presence? Who else is collecting their work? Is there academic review? Is art their exclusive profession? Did you know that artists signed to galleries may earn a mere 25% of the sale price after their expenses and pay up to 50% commission to galleries? The commission covers costs receptions, development, promotion, staff, space and approximately 45% in taxes.
The love of art, the evocation of a memory, aspiration or current situation that speaks to the soul, triggering the spontaneous urge to buy, is the best. This is what helps distinguish between buyer and collector, in my experience. Buyers tend to purchase art for investment or intent to re-sell at some point. Collectors usually maintain their works for successive generations; and/or loan their works to museums; and/or share with the public through exhibitions and catalogues. Both buyers and collectors are important for the industry.
Finally, the Addis Ababa art scene is currently a multi-million birr sector, employing hundreds of youth and women, with potential for billions. According to Richard Florida, urban studies theorist, “…the creative class is the incarnation of the triptych ‘Technology, Talent and Tolerance,’…a key motor of growth…in urban areas…”. So get out those check books and let’s start filling these new buildings, houses and apartments with contemporary fine art.

Dr. Desta Meghoo is a Jamaican born Creative Consultant and cultural promoter, curating major exhibitions in Ethiopia and abroad over the past 13 years, since settling in Addis Ababa as Managing Director of the Bob Marley Foundation, producing Africa Unite/Bob Marley’s 60th Birthday. She is also the Liaison to the African Union for the Ghana based, Diaspora African Forum.

Semegn Tadesse Simegn

Name: Semegn Tadesse Simegn

Education: College Drop Out

Company name: ARMA INVESTMENT GROUP

Title: General Partner

Founded in: 2015

What it does: We do business viability research

HQ: Addis Ababa, Ethiopia

Number of employees:  Twelve

Startup Capital:    20,000  birr

Current capital:  200,000 birr

Reasons for starting the business: Need to build an Empire

Biggest strength: Research, development and charisma

Biggest perks of Ownership: Pushing the limits of my capacities

Plan: Opening the biggest private equity firm

Biggest challenge: Unstable economy

First career: Visual design

Most interested in  meeting:  Warren Buffet

Most admired person:   Elon Musk

Stress reducer:  Reading History Books

Favorite past-time:  Motorsports (Racing)

Favorite book:  Mastery by Robert Greene

Favorite destination:  Scandinavian countries

Favorite automobile: Mercedes Benz G-Class AMG G65 2018