Ethiopia boasts a long tradition of producing collectable artifacts unique to its various cultures. Ethiopians produce modern handicraft work often of a high standard and at an affordable price, and there are also a number of older items, which may command premium prices. In recent years though certain outlets (principally airports and upmarket hotels) have decided to widen their offerings to what is often called Airport Art, basically modern fraudulent “ethnic-like” artifacts, occasionally well made and superficially attractive. These are almost all made in the Far East and have no connection at all with Ethiopia. A little homework helps to distinguish the authentic from the fraudulent.
It is always best to buy at source if possible (baskets in Harrar, agilgels in Bahar Dar or Zeghie, Jimma stools in Kaffa, stonework in Axum, falasha goods outside Gondar, calabashes in the Omo valley and so on) but there is little that cannot also be found somewhat more expensively in Addis, in particular halfway up Churchill Road, in the streets around Tewodoros Square and in the tourist section of the Mercato. In particular the tourist should consider supporting Ethiopian trade, by buying basketwork and agilgels, silver and crosses, textiles, falasha(Beta Israel) goods, religious paintings and manuscripts, woodwork, gourds, choicho and calabashes, stonework and pottery.
Basketwork
Ethiopians have used their skills as basketweavers for generations, and to provide a variety of containers for daily use, even including fluids. Different sorts of grasses are used, but the technique is the same, tight coils made up of straight grasses bound in flat grasses and sewn on to itself as the coil gets larger. The smaller and finer the coil the better the effect. Into this basic coil are then woven coloured grasses to create often very intricate patterns. The work is very complicated as it needs a three dimensional view at all times.
Harrar is said to be the home of the best basketmakers but in truth good examples can be found throughout the north. The Aderi people of Harrar do however have a tradition of 14 sorts of baskets for dowries, and the Arab style houses usually have many old naturally coloured baskets in pride of place on their walls, but these are difficult to buy and command premium prices. More modern pieces need the same level of skill,but the colours are now produced chemically, so they can often look somewhat too garish for European tastes. A good compromise is to buy modern work in natural tan only. They are freely available in the markets.
Agelgils
Agelgils are a sort of picnic basket, to carry injera, and are covered in leather with leather straps. They are manufactured in two styles, dark brown leather and a lighter dappled animal skin, and can be bought freely in the Bahir Dar and Lake Tana region. There is also a pretty long basket made from coarser grasses, woven around 15-40 longer stalks of reeds, usually striped in shades of black, brown and tan.
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Crosses
Only an unobservant person would fail to recognise the importance of crosses of intricate design to the Christian Amharas and Tigrinyas of the north. Smaller ones are used for personal adornment, larger ones for churches and for ceremonial purposes. Many metals are used, and the finish on cheaper metals can seem quite crude at times. The best crosses are the ones made of silver, and usually cut from old Maria Theresia dollars of 1780, once a very common form of coinage in rural Ethiopia.
Crosses of all types are still being produced, so that a tourist does not need to feel that he or she is robbing a church of its ancient heritage. Several books list the types of Ethiopian crosses after their putative town of origin, so there are so-called Axum crosses, Lalibela crosses, Gondar crosses and so on, but it is not really clear that they “belong” to that town. Gold is mined in Ethiopia in small quantities, but is only rarely to be found in Ethiopian jewellery, silver and baser metals are the norm. There is another type of silver ornament found in Eastern Ethiopia, and this is the intricate silverwork of Yemeni and Arab craftsmen, which is popular amongst the Aderi and the Afar. It is not cheap but very decorative.
Textiles
The typical white to off-white clothes of the highland Ethiopian are easy to buy in any market. They are usually of cotton and woven in Ethiopia. The Shamma is the ubiquitous cloth of the male wrapped around their heads and shoulders on cold mornings. For women there is a more elaborate version with a colourful border, also often made into a dress. The price varies according to the thickness of the border. In Harrar the women prefer to wear colourful cotton textiles imported from India. Decorative rugs are made in the woollen factory town of Debre Berhan, usually in shades of brown and tan. They depict simple designs, such as a stylised lion or house, and are of somewhat coarse material.
Clothing in Ethiopia includes traditional garments as well as modern fashion styles, accessories and cosmetics. Ethiopia has a rich history for textile production due to its cotton production. Textile outputs include handcrafted translucent shemma cloth made of Amhara embroideries. Habesha kemis is made of woven material worn by women. It is usually designed in white color outfit and widely used by the general population, becoming the most accepted dress in Ethiopian culture. Similar to the female Habesha kemis outfit, men's garments consist of well-designed woven patterns. Although the colors vary, the outfit is mostly white and usually cozy. Bernos is adapted and worn by Ethiopian and Eritrean highlanders. The Bernos is also worn by highlander élites and often seen more importantly in social status. The gabi is a thicker garment, with four layers of fabric.
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Falasha (Beta Israel) Goods
The Falasha were potters, specialising in black terracotta figurines of daily life usually adorned with the star of David. These are very collectable, although not very robust. The better quality figurines are pre-airlift but difficult to find, and there are also pre-Peace Corps and post-Peace Corps designs, as help was given by American potters to make Falasha figures more professional and longer-lasting. When the original potters were airlifted out, standards dropped enormously but there are signs now of a sort of revival, and they are beginning to be collectable again, although there can now only be a few Falashas left. They tend to be sold at a more or less fixed price but this is very low by Western standards. They are however still just as difficult to get home in one piece.
Religious Paintings and Manuscripts
Here one needs to be fairly careful, as many genuinely old manuscripts and church paintings are on the market, probably taken from the plentiful supplies of Orthodox churches. However there is, parallel to the genuinely old, a movement to recreate modern versions, with freshly painted icons and copies of manuscripts on parchment. This seems to me to be a legitimate endeavour. Mostly religious themes are covered but there are others, in particular the strip cartoon renderings of the story of Menelik 1, the son of Solomon and Sheba, which is a quirky and very Ethiopian theme.
Woodwork
There is a long tradition of wooden items for the household, some of which make good and popular purchases, for example wooden containers for liquids. The most famous product of the Cordia is the three legged Jimma stool, made out of a single block of wood. It is hard and not easily worked, and larger specimens have a rarity value. The standard stool is not too expensive, but those with straight or curved backs command a premium. Another good purchase is the widely played Gebede or Kalaha game, which is often made out of a piece of Cordia. The Ethiopian version has 12 hollows in two rows of 6, with a larger hollow on the left and the right, one for each player. The game involves emptying a hollow, distributing the stones therein in a fixed pattern round the board, in such a way that the last stone ends in an empty hollow,thus entitling that player to take further stones from his opponent. The game contains no element of chance at all.
Gourds, Choicho, and Calabashes
In the Omo valley the men of many tribes have elaborate hairstyles which would be damaged if they slept on the ground. They therefore carry with them headrests, which they often offer to tourists for cash. These headrests are made out of one piece of wood and usually have a braided leather handle for carrying around with them. Particular in the south and west gourds or calabashes are dried for use as containers for liquids and dry goods. The top is cut off and often decorated with basketwork or glasspearls. In the Omo valley and around Gambela they are often incised with geometrical patterns or very occasionally with pictures of animals, and dirt rubbed in to give a black pattern. They come in all shapes and sizes depending on the growth of the original fruit, and are often ornamented with leather straps for easier carrying. They are surprisingly sturdy, although bulky for carrying on planes.
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An interesting variation is the Choicho, which is a calabash (or occasionally a terracotta pot) decorated with cowrie shells and leather, and used traditionally to collect and store milk. Some of the better ones are very ornate indeed, and not as utilitarian as one might expect.
Stonework and Pottery
Stoneware is produced near Axum, usually effigies of Solomon and Sheba or icons. The most common beautiful pottery products coffee pots (Jabana), water pots (Ensira, Massero, Gan), cooking pots (Dist, Setate), eating chopped meat pan(YeKetfo Taba), eating roasted meetpan(Yegel Tibis), baking pan (Mitad) mostly in the rural parts of the country. In the modern pottery products like drinking small cup (Kubaya, Sini), flower cups, other household utensils made of clay ornaments useful for antique value.
Other Items
Other items can be bought of course. Jewellery is as popular amongst tourists as it is among the Ethiopian population. Amber is expensive and found mostly in the East around Harrar. Elsewhere cheap coloured glass pearls are easy to find. And finally, popular gifts for those back home are berbere, incense, tea and coffee. Berbere can be bought in any supermarket in Addis, and it is worth buying the most expensive sort. It comes in rather larger packages than a Westerner might want, but tastes good in goulash for example. Incense is a little harder to find but is usually to be found in a good market. Tea comes in two varieties, Addis Tea and Wushwush tea. Both are good and ridiculously cheap. Coffee is of course Ethiopia’s number one export. It tastes magnificent in Ethiopia, but some tourists report that it doesn’t taste the same back home in Europe.
Ethiopian Jewelry
Ethiopian jewelry stands as a testament to the country's rich cultural heritage, blending ancient traditions with intricate craftsmanship to create stunning pieces that reflect the diversity and vibrancy of Ethiopian culture. From the bold colors of traditional tribal adornments to the intricate filigree work of Christian crosses, Ethiopian jewelry captures the essence of the nation's history and identity. Ethiopian jewelry mirrors the nation's diverse heritage, with each region offering distinct styles and techniques. In rural areas, tribal jewelry holds sway, not merely as embellishments but as markers of identity, status, and cultural belonging.
Beyond mere adornments, Ethiopian jewelry embodies a living heritage, preserving centuries-old customs and beliefs. Ethiopian jewelry stands out for its intricate designs, blending the nation's dynamic history with modern influences. Crafted with meticulous skill, artisans utilize traditional materials like silver, gold, bronze, ivory, amber, precious stones, and beads to create a stunning array of adornments, including necklaces, bracelets, earrings, crosses, and amulets. Gold, in particular, holds a special place in Ethiopian jewelry traditions, dating back to the illustrious Empire of Axum. Historical records reveal its multifaceted use, from jewelry to decorative objects. Throughout Ethiopian history, gold has been synonymous with pride, prestige, beauty, wealth, and self-worth.
The evolution of Ethiopian jewelry is deeply intertwined with the country's religious diversity, influenced by the interplay of Christianity, Islam, and Judaism. Christianity, with its roots dating back to the 4th century in Ethiopia, has left a significant mark on Ethiopian jewelry. Cross-pendants became iconic symbols of faith, worn by believers to express their religious identity. Similarly, Islamic influences are evident in bridal necklaces worn by Muslim women and prayer beads used during Muslim prayers. Moreover, Ethiopian jewelry reflects social hierarchies and marital statuses within certain tribes, serving as markers of identity and status within family and community systems.
In recent years, Ethiopian jewelry has experienced a revival, with artisans blending traditional techniques with contemporary designs to create unique and innovative pieces. Ethiopian jewelry has also gained international recognition, with designers showcasing their creations on the global stage and attracting a growing audience of collectors and enthusiasts. Ethiopian jewelry serves as a celebration of the country's cultural diversity, reflecting the rich tapestry of traditions, beliefs, and customs that define Ethiopian society.
Weaving in Ethiopia
Weaving in Ethiopia holds a rich tapestry of history, cultural significance, and artistic craftsmanship that has been woven into the fabric of Ethiopian society for centuries. Ethiopian weaving has deep historical roots, dating back to ancient times. Archaeological findings suggest that the practice of weaving has been an integral part of Ethiopian civilization for over two millennia. One of the most iconic weaving traditions in Ethiopia is associated with the ancient city of Aksum, where evidence of sophisticated looms and skillful craftsmanship has been discovered.
Weaving communities in Ethiopia face various challenges, including limited access to markets, lack of infrastructure, and the need for sustainable practices. Weaving in Ethiopia goes beyond a mere craft; it is a cultural expression deeply embedded in the identity of various ethnic groups across the country. Different regions in Ethiopia boast distinct weaving styles, patterns, and color palettes, reflecting the diversity of the country’s ethnic groups. The vibrant colors and symbolic motifs in Ethiopian textiles often convey messages related to identity, social status, and historical events.
Traditionally, weaving in Ethiopia has been a skill passed down through generations, with women playing a central role in its preservation. Ethiopian weaving is characterized by its meticulous craftsmanship and the use of traditional techniques passed down through generations. Handloom weaving remains a prevalent method, with weavers using techniques like backstrap and foot-treadle looms. Many Ethiopian weaving patterns and motifs have symbolic meanings deeply rooted in cultural and religious beliefs.
While preserving traditional techniques, contemporary Ethiopian weavers are also adapting to modern trends and markets. Ethiopian weavers often use natural dyes derived from plants, roots, and minerals to color their threads. Ethiopian weaving is renowned for its distinctive styles and patterns, and there are several popular examples that showcase the artistry and cultural richness of the craft.
Examples of Ethiopian Weaving
- Netela: The Netela is a traditional Ethiopian shawl or scarf worn by both men and women. It is typically made of cotton or silk and features intricate patterns along the borders.
- Tibeb: Tibeb refers to the traditional Ethiopian dresses adorned with vibrant embroidery. These dresses are often worn during special occasions, ceremonies, and celebrations.
- Gabbi or Shamma: The Gabbi or Shamma is a large rectangular cloth worn by Ethiopian men. It is commonly made from cotton and features bold stripes and patterns.
- Bulayi: Bulayi is a type of handwoven cotton fabric with a distinctive checkerboard pattern. It is often used to make traditional skirts and wraps.
- Gabi: Similar to the Gabbi or Shamma, the Gabi is a handwoven cotton cloth, but it is smaller in size. It is commonly used as a wrap or blanket and is known for its softness and comfort.
- Church Tapestries: Churches in Ethiopia are adorned with intricately woven tapestries, often depicting religious themes and biblical stories.
- Mesob Covers: Mesobs are traditional Ethiopian tables used for serving meals. The covers for these tables, known as Mesob Covers, are often handwoven and feature bright colors and geometric patterns.
- Ethiopian Baskets: Weaving extends beyond textiles to include baskets and rugs. Ethiopian baskets, known as Mesob, are intricately woven and come in various shapes and sizes.
Opportunities to Learn About Ethiopian Weaving
- Ethnological Museums: Museums across Ethiopia, such as the National Museum in Addis Ababa, showcase a rich collection of traditional textiles and artifacts.
- Craft Centers and Workshops: Various craft centers and weaving cooperatives exist in cities and rural areas, offering hands-on experiences for visitors.
- Cultural Festivals: Attending cultural festivals, such as Timket (Epiphany) or Meskel (Finding of the True Cross), provides an immersive experience into Ethiopian traditions, including weaving.
Challenges and Opportunities in Ethiopian Handicrafts
Besides to the immense traditions, glamor of Ethiopian artifacts has international market opportunities or higher demands. Homemade products are mostly vibrant palpable cultural tourism, environmental friendly in its method of processing, which made from naturally safematerials, though authentic cultural products, some quality standards and guidelines require technical specialized attention for participants’ capacity. Women have more involvement enrolment in the homemade products and essential to scale up simply at their home level.
Among the crucial problem that cottage industry encountered to develop itself: limited promotional opportunities of poor crafters, labor intensive with low income, lack of equipment and working space, skill transmission potential gap between domestic craftsmen and urban centers, poor market links, global cultural burden, undermined the long historical and cultural diverse values of artifacts, lack of strong strategic sustainable partnership for private sectors, lack of copyright-branding systems for indigenous knowledge.
Table Summarizing Ethiopian Traditional Materials and Their Uses
| Material | Use | Region |
|---|---|---|
| Grasses | Basketwork (containers for daily use) | Harrar, Northern Ethiopia |
| Leather | Agelgils (picnic baskets), clothing, wall decorations, furniture covers | Bahir Dar, Lake Tana region, rural areas |
| Silver | Crosses, jewelry | Northern Ethiopia |
| Cotton | Shamma, Habesha Kemis, Gabi, Netela, other clothing | Highland Ethiopia, Debre Berhan |
| Terracotta | Falasha figurines | Outside Gondar |
| Wood | Jimma stools, Gebede game, headrests | Kaffa, Omo Valley |
| Gourds/Calabashes | Containers for liquids and dry goods, Choicho | Omo Valley, Gambela |
| Stone | Effigies of Solomon and Sheba, icons | Axum |
| Clay | Coffee pots (Jabana), water pots (Ensira, Massero, Gan), cooking pots (Dist, Setate), eating pans (YeKetfo Taba, Yegel Tibis), baking pan (Mitad) and household utensils | Rural parts of the country |
