A post about Ethiopia that is not about Meles Zenawi’s regime. Next week (Tuesday 7 till Sunday 12 December 2010) the inaugural Addis Photo Fest, featuring a group of African and African diaspora photographers, takes over the Ethiopian capital. (The festival is curated by the young, photographer Aida Muluneh). One of the highlights is a retrospective of the work of London-based Shemelis Desta, who was official photographer to the Emperor of Ethiopia, Haile Selassie, from the early 1960s until Selassie was overthrown in a military coup in 1974. The photo above was taken in 1971 and shows the newly ordained second Patriarch of the Ethiopian Orthodox Church, Abune Theophilos, kissing Selassie’s hand as a sign of respect and gratitude. To learn more about Desta’s work and his impact, see here, here and here (The latter is an online gallery created by one of Desta’s two sons).

Below are two more of Desta’s pictures: When Britian’s Queen Elizabeth came to visit Selassie in 1965 and when Fidel Castro came to see Selassie’s conquerer, Mengisto Haile Mariam in 1977.

Further Reading

The people want to breathe

In Tunisia’s coastal city of Gabès, residents live in the shadow of the phosphate industry. As pollution deepens and repression returns, a new generation revives the struggle for life itself.

After Paul Biya

Cameroon’s president has ruled for over four decades by silence and survival. Now, with dynastic succession looming and no clear exit strategy, the country teeters between inertia and implosion.

Leapfrogging literacy?

In outsourcing the act of writing to machines trained on Western language and thought, we risk reinforcing the very hierarchies that decolonization sought to undo.

Repoliticizing a generation

Thirty-eight years after Thomas Sankara’s assassination, the struggle for justice and self-determination endures—from stalled archives and unfulfilled verdicts to new calls for pan-African renewal and a 21st-century anti-imperialist front.

The king of Kinshasa

Across five decades, Chéri Samba has chronicled the politics and poetry of everyday Congolese life, insisting that art belongs to the people who live it.

Drip is temporary

The apparel brand Drip was meant to prove that South Africa’s townships could inspire global style. Instead, it revealed how easily black success stories are consumed and undone by the contradictions of neoliberal aspiration.