Tag: Ethiopia

Journeys: the Art of Emebet Belete

This article about artist Emebet Belete was first published in the “Intelligencer,” Belleville Ontario’s daily newspaper (2018-10-17).

By Kathryn MacDonald

“Creating art is constant reflection: I love finding the perfect colour to express a mood, or to balance a painting so that I can look at it again and again and lose myself in the scene.”

Emebet Belete in studio (1 of 1)
Emebet Belete in her studio.

Emebet Belete is a world traveller, a woman who was born in Ethiopia where her career as an artist began and who moved from East Africa through South Africa and Zimbabwe, Eretria and Egypt, Europe and finally to Canada in 1997 where she earned Fine Art and Education degrees from Queen’s University. In 2008, she taught art in Tianjin, China, returning to Canada to settle in Belleville in 2013.

“In school I learned about Ethiopian art. I was fortunate to have a good art teacher. My parents were very supportive and I had a studio in our family’s yard.” Unfortunately, that studio burned down, but it was replaced, and Emebet continued to create art out of the materials she could gather together. These early roots have since branched into collages in which she explores her Canadian context.

Birch 2
Birch (collage)

Emebet Belete’s philosophy lives in her art. Her intention to seek something mysterious and lasting through colour, mood, and balance draws viewers deep within the work. In “Birch,” our eyes are pulled from the foreground birch, past the evergreen, deep into the depths of the Canadian landscape. This is also true of “By the Door,” a painting in which she captures a doorway into Debre Berhan Selassie, one of Ethiopia’s most beautiful churches.

Emebet Belete By the Door (1 of 1)
By the Door (acrylic)

As with the Canadian scene, we find a story unfolding. Here we see the hot colours of Africa and our eyes are drawn to the partially open doorway to wonder what lies beyond. The white-robed figure looks forward, while we see only his back. We enter with him. We can read the painting in different ways. Perhaps we see the fading frescoes or the ceiling of winged cherubs within the mid-15th century church. Or perhaps, instead of a sanctuary to contemplate, our mind focuses on the dark beyond the open door, on the unknown future. Art expresses a vision of the artist, but it also welcomes viewers with ambiguity, sparking curiosity and enlarging knowing.

DSC_0033
In Ethiopia’s Colours

“Art is a journey for me. I can see paintings…watercolours I’ve done. They relate to my life, my experience, my background. I like to put things together, to go deeper, to learn who I am.”

I glanced at the table between us. It is covered with work-in-progress and bits of birch bark and paper. “So your life is a collage, like your art?”

“Yes, it is.”

 

Emebet Belete is preparing for a show at the Modern Fuel Gallery, Kingston, Ontario, Canada, January 2019. It will explore “white space and mood. I’ll use traditional fabric from Ethiopia” combined with music—Seongah and Jimmy by Neil Diamond—“that I listened to again and again and again.”

For more about Emebet’s art, please see her website: Emebet Belete.

Intelligencer - Emebet Belete

A Young Life: without sentimentality or cynicism (Notes from the Hyena’s Belly by Nega Mezlekia)

“I was born in the year of the paradox, in the labyrinthine city of Jijiga. After a three-year absence, the rains had come, swelling the rivers and streams. The clay desert, as dry as the skin of a drum, became green once more. Queen Menen, wife of King Haile Selassie, lay dying. She was as reluctant to leave this world as I was to leave the womb.”

Nega Mezlekia tells a tale that spell-binds, and he does it with dark humour – an extraordinary feat for the story of Ethiopia’s coup and counter-coup history. The first paragraph sets a tone Mezlekia maintains. In Notes from the Hyena’s Belly we journey into a child’s world of paradox, a world in which innocence and awareness, love and cruelty co-mingle. We glimpse the roots that nourish a precocious, curious and stubbornly confident boy as well as the socio-economic-political reality of Ethiopia – accomplished with lightness (even through life-threatening situations). Mezlekia shows us how deep this complex duality runs: “In Ethiopia,” he writes, “poetry is second only to the achievements of kings. Poets are sought after and treated with great reverence by the ruling class. …The most popular form of poetry, known as the kinae, offers one message to the untrained ear and another to cultured listeners.” Notes carries on the tradition.

Mezlekia is a skilled, insightful poetic writer, one who has mastered nuance and the twist that both informs and surprises. His language and rhythm, his lack of sentimentality and cynicism carry us through Ethiopia’s sad history as we keep turning pages. Mezlekia provides insight into his journey from boyhood shenanigans into manhood within a revolutionary and war-torn context. He has written a powerful story of lost innocence and of survival.

Notes from the Hyena’s Belly goes beyond the personal story; it offers insight into what it is to be human, a connection and an awakening for each reader. On the one hand, this biography is specific to Mezlekia, but it also tells a story that is far too common across the post-colonial African continent and, I’m afraid, even beyond. We can draw parallels to what is happening in the world today.

Given the skilful writing and master storytelling, it is little wonder that Notes from the Hyena’s Belly: An Ethiopian Boyhood won Canada’s prestigious Governor General’s award for literature (2000). (It was published in the U.S. simply as Notes from the Hyena’s Belly.) Highly recommended.

19 Notes From the Hyena's Belly

Available through your local bookstore or online: Notes From the Hyena’s Belly