Ethiopian pop star Teddy Afro delights fans, irks authorities

Ethiopian singer Teddy Afro at his home in Legetafo, a surburb of Addis Ababa, Ethiopia, on November 27, 2017. (AFP)
Updated 28 December 2017
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Ethiopian pop star Teddy Afro delights fans, irks authorities

LEGETAFO, ETHIOPIA: He may be Ethiopia’s biggest pop star but Teddy Afro hasn’t held a concert in his country for years, some of his songs have been effectively banned, and the launch party for his last album was broken up by the police.
But sitting in the living room of his spacious house outside the capital, Addis Ababa, the 41-year-old musician is relaxed and says he is focused on promoting peace and unity in Ethiopia.
“As a child, I remember that we lived as one nation. We knew a nation that is called Ethiopia,” Teddy said.
“But nowadays, we are identified and called by our ethnic background. And this has already become dangerous.”
Ethiopia has been rocked by widespread anti-government protests over the last two years, killing hundreds and leading to a 10-month state of emergency that was only lifted in August.
In this context, Teddy’s latest album, “Ethiopia,” was released in May and shot to the top of Billboard’s world music chart — despite his songs not being played on state radio and TV.
His lyrics and music videos have often been controversial, and viewed by many as critical of the Ethiopian People’s Revolutionary Democratic Front (EPRDF), a formerly Marxist guerrilla movement that has ruled the country since 1991.
While fans adore Teddy’s catchy melodies and nationalistic, often historical songs, written mostly in the national language Amharic, the authorities — who brook no opposition — view him with suspicion.

A protest anthem

Teddy — real name Tewodros Kassahun — first crossed the authorities in 2005 when his album “Yasteseryal” came out days before an election that descended into violence after the opposition denounced it as rigged.
That album was a homage to the country’s final emperor from 1930 to 1974, Haile Selassie I, and its lead single “Jah Yasteseryal,” questioning whether the government was improving the country, became a protest anthem.
In 2008, the musician was jailed for more than a year over an alleged hit-and-run killing in a case that many fans believe was politically motivated. He has always protested his innocence, saying he was not even in the country at the time of the accident.
While Teddy’s songs can today be heard blasting from bars and buses across Addis Ababa, Ethiopians still fear playing “Jah Yasteseryal” in public, lest they be seen as agitating against the government.
In 2012, Teddy released “Tikur Sew,” an album that took as its theme Emperor Menelik II, whose victory over 19th century Italian colonial invaders is a defining moment in Ethiopian history.
Yet among the country’s largest ethnic group the Oromos, “Tikur Sew” was seen as an affront because it glorified an emperor who brutally absorbed Oromo territory into Ethiopia’s borders.
The backlash was fierce enough that Heineken — whose beers are popular among Oromos — backed out of a deal to sponsor Teddy’s concerts.
But Teddy says he is unbowed.
“There may be groups that have a negative attitude toward the last Ethiopian kings and history,” he said, sat with a sword belonging to Menelik mounted on a wall nearby.
“While respecting their views as a perspective, the fact that they like or dislike my views will not change the truth.”

End of communist rule

Ironically, it was the EPRDF’s takeover of the country that allowed Teddy’s music to flourish, as it ended the brutal communist dictatorship of the Derg, during which nightlife was suppressed.
While some musicians went on to reimagine traditional styles of jazz or dabble in rock, Teddy distinguished himself by making nationalism a centerpiece of his compositions.
When a rumor spread early in his career that he committed the taboo deed of autographing the breasts of female fans, Teddy batted down the allegation by saying that as an Ethiopian he could never do such a thing, a remark that won him admirers across the country.
His songs have urged harmony between Muslims and Christians and lampooned members of the diaspora who return home with nothing to show.
“He’s preaching what he’s living. We like that, Ethiopians like that,” said Eyuel Solomon, program manager for the capital’s Afro FM radio station.
But the authorities remain firmly opposed to helping Teddy showcase his music.
Not only did police halt his launch party for “Ethiopia,” but a planned concert to celebrate the Ethiopian new year was refused permission and he is still waiting for approval to play a concert marking Ethiopia’s Christmas, in early January.
He insists the restrictions and setbacks do not damage his resolve to use his music as a force for good in Ethiopia.
However, his plans to spread his music more widely are likely to anger the government even more.
Teddy says he hopes to perform in the capital of Eritrea, a one-time territory of Ethiopia that is now a bitter foe, believing a performance in Asmara could improve relations between the two countries.
“What we need is the spirit of love, peace and forgiveness. This is because the current problems are the results of historical resentments,” he said.
“We have to shake them off. We have to leave it behind.”


Sotheby’s to auction rare collection of Islamic arms, armor

Updated 05 April 2025
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Sotheby’s to auction rare collection of Islamic arms, armor

DUBAI: On Apr. 29 and 30, Sotheby’s will auction pieces from the Philippe Missillier Collection of Arms and Armor, one of the most important and rarest collections of its kind to come to auction.

The collection, which spans over 100 lots representing more than 500 years of history, features unique and iconic pieces from the Ottoman, Safavid and Mughal Empires. Before the auction, the collection will be exhibited at Sotheby’s Dubai in DIFC from April 7-11 and April 25-28.

It was assembled by Philippe Gilles Rene Missillier (1949-2022), a scholar and collector who spent more than 50 years studying, acquiring, visiting museums and documenting artifacts to master the subject of his interest: Arms of the Islamic world.

In 1988, a large majority of his collection was exhibited in Paris in the exhibition Splendour des Armes Orientales (The Splendor of Oriental Armor), marking the largest exhibition of its kind over the course of the 20th and 21st centuries. The Sotheby’s sale marks the first time his collection is being seen since then.

“This is a landmark sale,” Benedict Carter, Sotheby’s senior director and head of auction sales, Middle East, told Arab News. “For us, this is really the most significant sale in terms of Islamic arms and armor that has been staged.”

A Mughal jade-hilted dagger in the form of a horse, India, 18th century. (Supplied)

Highlights from the collection include weaponry across various Islamic dynasties from Spain to Indonesia, with the star of the auction one of a small group of personal swords belonging to Mughal emperor Shah Jahan, whose reign from 1629-58 marked a period of importance for Mughal architecture and cultural achievements. The sword carries the inscriptions “World-Capturer,” in an affirmation of Shah Jahan’s skills as a military commander. The sword is recorded in the accounts of Venetian traveler Niccolao Manucci, who documented the personal swords of Shah Jahan’s son, Aurangzeb, who most likely inherited it from his father.

The sword’s provenance is fascinating. It entered various prestigious collections during the 19th and 20th centuries, including those of Charles Canning, governor-general and first viceroy of India, and most recently that of George Henry Hubert Lascelles, 7th Earl of Harewood.

Neither Sotheby’s nor Christie’s has staged a standalone sale for arms and armor in about two decades, making the sale significant.

“Occasionally, in our various owner sales every April and October we have (arms and armor) pieces that have come up,” added Carter. “But this is the first time in recent memory that we’ve had a major single owner collection associated with a name that is synonymous with refined taste and deep scholarship.”


Highlights from Art Week Riyadh: Selected works by some of the Saudi artists participating in the inaugural edition

Updated 04 April 2025
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Highlights from Art Week Riyadh: Selected works by some of the Saudi artists participating in the inaugural edition

RIYADH: Selected works by some of the Saudi artists participating in the inaugural edition of Art Week Riyadh, which begins April 6. 

Maha Malluh 

‘X-Rayed 1’ 

The Najd-born artist is one of the most significant figures in the Kingdom’s contemporary scene. Several of her works will be on show at AWR. This one comes from her “X-Rayed” series, in which Malluh used images from an actual x-ray scanner of an actual passenger’s luggage, as would be seen at airport security when possessions are “being targeted and scrutinized,” the artist has written. “What makes these images even more peculiar is that the suitcases contain cassettes (labeled in Arabic) that are linked to dogmatic interpretations of Islamic practice,” she continued. “It is these ideas, when exported, which have led to several social evils, including the export of extreme thinking and rigid philosophy.” Like many of Malluh’s other series, “X-Rayed” examines “my own culture and its transformation from tradition to modernity.” 

 

Lulwah Al-Homoud 

From ‘The Language of Existence’ 

This work forms part of the influential Riyadh-born artist and calligrapher’s “The Language of Existence” series, in which she presented interpretations of the myriad Arabic names of Allah. According to her gallery, it “reimagines language as a universal visual system, transcending conventional meaning to create a new form of communication.” Al-Homoud created this ‘language’ by “deconstructing the letters of the Arabic language by using mathematical squares to compose new codes for each letter. With these codes, I inscribe the 99 names of God,” she has written. “The first step towards enlightenment is to search for the inner. It is this inner truth that leads to the light of knowledge. My art is concerned with the inner veracity of everything. It is a deep look at creation and its hidden rules that led me to the truth of existence…” 

 

Ahmed Mater 

‘Hulm’ (Dream) 

In his 2011 work “Cowboy Code II,” Ahmed Mater used plastic gun powder caps glued onto a wooden board to spell out, in English, the various ‘rules’ he had imagined. In this more recent work, Mater uses the same technique to present the Arabic word hulm, which translates to ‘dream.’ Whether that’s an instruction, a comment on what visitors to Riyadh can experience, or an explanation of his inspiration for the piece is unclear, but it’s one of a number of similar works the 45-year-old Tabuk native — arguably the most influential Saudi contemporary artist — will be presenting at AWR (others include “Hurriya” (Freedom) and “Salam” (Peace)).  

 

Manal AlDowayan 

‘Totem 1 (Dearest Women)’ 

The prolific Dhahran-born artist represented the Kingdom at the Venice Biennale last year (with “Shifting Sands: A Battle Song) and, unsurprisingly, is participating in perhaps the most significant arts event yet to take place in the Kingdom. Among several of her works on display at AWR is this piece from 2018, which AlDowayan has described as “an attempt at creating a permanent memorial of a fragmented moment.”  

She continued: “I look at the symbols used on the covers of books written by the religious men to address women and their bodies. I attempt to reform the symbols into new representations so that the invisible becomes visible.” The work is not, she stressed, “an attempt to critique or analyze history, but more of a totem of healing to help resolve the past in order to engage with the present, and time in general.” 

 

Bashaer Hawsawi 

‘Warm Space 1’ 

Much of the Jeddah-based visual artist’s practice revolves around found objects and mixed media, exploring, according to theartists.net “notions of cultural identity, cleansing, belonging and nostalgia.” Cleansing is the focus of this piece, which — like several other works by Hawsawi — uses the red-bristled broom heads familiar to anyone living in the Gulf and indicative of the remembered daily routines from which Hawsawi draws inspiration for much of her work. Cleansing also carries a spiritual symbolism — the purification of the self — that features regularly in Hawsawi’s work. 


‘Theater Tour’ initiative celebrates local culture across Saudi Arabia

Updated 03 April 2025
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‘Theater Tour’ initiative celebrates local culture across Saudi Arabia

  • Award-winning play ‘Bahr’ debuts in Baha, with performances in Jubail, Dammam, Al-Ahsa to follow
  • New project boosts local theater, community engagement and cultural awareness nationwide

RIYADH: Saudi Arabia’s Theater and Performing Arts Commission launched the “Theater Tour” initiative on Thursday to bring exceptional theatrical performances to cities, governorates and villages across the Kingdom.

The project aims to promote the cultural and performing arts scene while encouraging community engagement, the Saudi Press Agency reported.

The first phase begins with the play “Bahr” (Sea), running from April 3 to May 3, the SPA added.

The production will debut in Baha from April 3-5 at the Prince Sultan bin Abdulaziz Theater in the Cultural Center, before moving to Jubail from April 17-19 at the Royal Commission’s Conference Hall in Al-Fanateer.

It will then continue in Dammam from April 24-26 at the Imam Abdulrahman bin Faisal University Theater, and conclude in Al-Ahsa from May 1-3 at the Society for Culture and Arts’ Theater.

The project is part of the commission’s broader efforts to raise awareness of the theater and performing arts sector, while ensuring that cultural services are accessible in underserved areas and to marginalized communities, according to the SPA.

It also aims to support local theater groups, boost theatrical production and strengthen the cultural sector’s contribution to the national gross domestic product.

Additionally, the initiative fosters investment opportunities and serves as a platform for discovering and nurturing emerging talent, the SPA reported.

The play “Bahr,” written by Abdulrahman Al-Marikhi and directed by Sultan Al-Nawa, has received critical acclaim, winning several prestigious awards, including for best actor, best script, and best overall production at the inaugural Riyadh Theater Festival, as well as best musical effects and best director at the 19th Gulf Theater Festival.


Art Week Riyadh: A ‘constellation of events’ that ‘pushes the boundaries’ 

Updated 03 April 2025
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Art Week Riyadh: A ‘constellation of events’ that ‘pushes the boundaries’ 

  • Curatorial team discuss the aims and intentions behind inaugural edition of AWR 

RIYADH: The inaugural Art Week Riyadh begins April 6 in the Kingdom’s capital. A non-commercial initiative, AWR builds on the city’s already thriving art community while inviting international artists and art lovers to join in. 

Princess Adwaa bint Yazeed bin Abdullah, head of Art Week Riyadh, explained the event’s inspirations and goals in a statement, writing: “Art Week Riyadh is born from a belief in the power of art to inspire, challenge, and connect us. Riyadh has long been a city of growth, and through this platform we hope to contribute to its cultural future — one that is open, dynamic and deeply rooted in both heritage and innovation.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Curator Vittoria Mataresse heads a team including associate curators Basma Harasani and Victoria Gandit-Lelandais and public program curator Shumon Basar who have worked tirelessly across multiple time zones over several months to bring the event to life. 

“It was very important for us to be playful and not have the kind of rigid structure or format we’re used to seeing. Art Week Riyadh sits in between an exhibition and an art fair. It’s really a constellation of events,” Matarrese tells Arab News. “Unlike major art events that often impose universal themes and rely on globally established artists, we wanted to work within the frame of a regional art ecosystem, embracing the textures, the urgencies, the sensibilities of the Arabian Peninsula. We are trying to retrace something which is very specific and, in this way, we propose a critical departure (from the normal) format.” 

Curator Vittoria Mataresse (pictured) heads a team including associate curators Basma Harasani and Victoria Gandit-Lelandais and public program curator Shumon Basar who have worked tirelessly across multiple time zones over several months to bring the event to life. (Supplied)

The theme of AWR’s inaugural edition is “At the Edge” and the event brings together more than 45 galleries from the Kingdom, the wider Arab world, and beyond. There are three main sub-themes: “Everyday Life,” “Landscapes,” and “Motifs.”  

JAX District in Diriyah will host three major exhibitions offering an expansive insight into Saudi Arabia’s cultural identity. A number of established Saudi artists whose studios are based in JAX will also be opening their doors to the public. Meanwhile, in central Riyadh, more than 15 galleries housed in the Al-Mousa Center will present exhibitions, and a wider program across the city will feature several talks and collaborations.  

Gandit-Lelandais, who has worked in the region for more than two decades focusing on contemporary Arab art, tells Arab News: “Art Week Riyadh really is different, because the market and the ecosystem is different. I think it’s about making people stop implementing the European and American formats into different places because they don’t have to fit — the format can be adapted.” 

The team have designed the event as “an umbrella for everyone to gather under,” Gandit-Lelandais says. “It is inclusive and it’s meant to be niche — it is for the public, and for the art enthusiasts and for the collectors. 

“With Riyadh growing so fast, the kind of dialogues that we have built are so important to bring people here, but not with a Western look at how art should be,” she adds. 

Harasani, the lone Saudi in the curatorial team, tells Arab News: “I’m really excited to link our local artists and our local scene (with the world). I think an educational foundation is super-exciting and super-necessary at this time for artists, art practitioners, young collectors and everyone that comes under that umbrella. We wanted to allow these generations of artists from Saudi Arabia to narrate themselves, beyond the usual framework.” 

Lamya Gargash, Lions, The Architect, Bath, UK, 2024, Archival pigment print, 90 x 120 cm, Edition of 3, 1AP. (Courtesy of the artist and The Third Line, Dubai)

While none of the curators live in Riyadh, they all offer a nuanced and sensitive take on the capital.  

“I’ve been working in Riyadh so much that it does feel like a second home,” Harasani says. “Riyadh is culturally different from Jeddah, where I’m from, and it was interesting to delve into the art scene. I thought it would be similar to the Hajazi scene, but it’s completely different. It was a massive learning experience for me to see that — given that we’re all from Saudi — there are so many different ways of working, ways of producing, ways of communicating.” 

Maha Malluh, Sky Clouds, 2009-2015, 100 black polyester gloves filled with polyester and desert sands, praying rugs. (Courtesy of Galerie Krinzinger and Maha Malluh)

Riyadh’s rapid expansion, both physically and culturally, over the past decade contributes to the richness and diversity on show at AWR, the curators say. 

“That’s the beauty of the Middle East, 10 years here is 100 years elsewhere,” Matarrese says. “I think what’s really smart about what Saudi is doing right now is they’ve learned from other people’s mistakes and they’re looking at how to navigate this in a better way. 

“There’s one thing that is important in the DNA of what we are doing,” she continues. “Our visitors are not going to know what to expect. We really pushed the boundaries of what this could be showing; we are trying to deconstruct the conventional display models, to experiment with something else and re-articulate the dialogue between the different parts of the art world.” 

For Harasani, the event is another marker of the artistic progress that has been made in the Kingdom in recent years. 

“This did not exist when I was growing up,” she says. “The fact that we can see our dreams come to fruition now — and (see) bigger projects like Art Week Riyadh — I feel very lucky and privileged to be a part of that.” 


New York Arab Festival returns with diverse lineup

Updated 02 April 2025
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New York Arab Festival returns with diverse lineup

  • The New York-based dance music collective showcases beats from the Arab, Asian, and Pan-African diasporas

DUBAI: The fourth edition of the New York Arab Festival (NYAF) runs from April 1- May 30, with headlining acts including DJ duo Haza Party.

The New York-based dance music collective showcases beats from the Arab, Asian, and Pan-African diasporas. The festival will play host to a special version of the collective’s signature “Haza Souk” event, featuring a lineup of DJ sets, merchandise outlets and food.

On April 8, Palestinian poet Ahmad Almallah will present his latest book “Wrong Winds” while April 13 will see Palestinian rockstar, singer and songwriter Rasha Nahas perform at Brooklyn Art Haus.

A double bill dedicated to the centennial of dancer Samia Gamal will take place at the Jalopy Theatre on April 16, with New York based choreographers and dancers Angie Assal and Soumaya MaRose celebrating the history of the late Egyptian choreographer.

Meanwhile, the NYAF Arab Shorts Film Program at the Bartos Screening will feature the work of filmmakers including Alia Haju and Khaled Jarrar.

From May 1-4, NYAF will collaborate with experimental theater club La MaMa ETC for a “festival within a festival” celebrating Arab artists in four multidisciplinary “happenings” featuring spoken word performances based on texts by the late poets Etel Adnan and Joyce Mansour, dance, music and multimedia visuals. Performers include Andrew Riad, Nadia Khyrallah, Sarah Brahim, and Amr Kotb, among others. 

On May 14,  Lebanese American singer-songwriter H.Sinno’s “Poems of Consumption” — which turns Amazon customer reviews into pop songs — will be presented.

NYAF was established in 2022 to commemorate Arab American Heritage Month and “fight the erasure of Arab and Arab American identities from NYC, a place Arabs have called home for over three centuries,” the festival said in a released statement.