Today’s Ethiopia is characterized by contention surrounding symbols of identity, culture, and ideology. From debates about flag designs and emblems to disagreements over national heroes, this generation is no stranger to such issues. Monuments in urban public spaces are also flashpoints, often generating deeply polarized perspectives where one group’s cherished symbol is another’s target for elimination.
Over the past few weeks, a newly built monument on one of the public spaces of Addis Ababa has become a focal point of discussion, particularly among social media users.
Built on Women’s Square, near Adwa Bridge, the project (monument) is owned by Addis Ababa City Government and launched by Prime Minister Abiy Ahmed (PhD) as part of the Kazanchis area Corridor Development Project.
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While the commissioning artist or company is officially undisclosed, The Reporter Magazine‘s sources indicated ‘Tibeb Construction’ as the creator. However, this information has not been independently confirmed by either the firm or the client.
Dedicated to women, the monument depicts a typical Ethiopian woman (recognizable by her garment and hairstyle) gazing into the distance while holding a scale. The project owner states in its description that the monument symbolizes women’s empowerment efforts. The description further explains, “The torch she stands upon signifies victory. The roses encircling the monument represent Addis Ababa—the ‘New Flower’—and the city’s ongoing beautification initiatives.”
Monument in the eyes of experts
Eyob Kitaba, a visual artist and lecturer at Addis Ababa University with experience on a related monument project a year and a half ago, describes the featured woman’s posture as “a typical gesture to focus” and look ahead, artistically symbolizing a strong vision.
The actual monument is much detailed. Beyond the central figure, it features numerous depictions of women. The monument’s base, composed of layers, showcases women from various perspectives and professions, engaged in both blue-collar and white-collar works.
Experts in the field have voiced criticisms concerning different aspects of the monument’s professional competency.
Bekele Mekonnen, a composed sculptor and associate Professor of visual arts at Ale School of Fine Arts and Design of Addis Ababa University, described the monument as “amateurish,” particularly criticizing its excessive detailing for a public urban space. He argued, “It is a monument meant to be seen by many while driving, using transport, or walking. Such intricate details are more suited for a museum exhibit, not for a monument of this scale.”
Eyob concurred with Bekele’s assessment in this regard.
Bekele also questioned the new monument’s material quality, citing a worrying trend in recent constructions. Currently, high-quality materials such as fiberglass, silver, aluminum, and granite are readily available, as seen in the Abune Petros monument located in front of the city government headquarters.
What the Monument Says to the Public
Public interpretation of the monument is widespread, yielding a variety of often conflicting meanings and symbols. One notable social media example suggests the woman with the scale represents mothers demanding justice for their long-missing Dembi Dollo University students.It’s important to note that these interpretations are unofficial and likely speculative. There’s no evidence that the artist or client intended to convey such a message. Despite some humorous interpretations, the monument’s ambiguity has inadvertently increased its public visibility.
As a seeming reaction to the public’s interpretations, numerous social media pages, including those run by the government, its women’s wing, and activists, have begun sharing the city government’s original description verbatim.
The central question persists: Who holds authority over the message conveyed by art in urban public spaces? For Bekele, the answer is clear: a consensus must be reached among the government offices that own the project, independent professionals, and the community. “That obviously does not usually happen,” he observed. “Officials impose whatever they want.”
The issue of Originality
Beyond debates about the artwork’s message and its potential for polarized interpretations, the controversy also centers on originality and artistic ownership.
Eyob has accused the creators of the new monument in the city of directly copying a figure from his own earlier work. He created the monument at the ‘Yenegewa Women’s’ Rehabilitation and Skill Development Center, which features four figures illustrating the hardships faced by women. One powerful depiction shows a rape survivor who, despite the emotional, economic, and social burdens of motherhood, stands strong and looks to the future with her child.
This is the figure Eyob believes has been plagiarized. “The resemblance is clear,” he asserted with frustration. “It’s almost a direct copy. There have been people who thought I was the one who built it, as they thought of it as a replica. It hasn’t even been two years. We need to respect people’s memory and, crucially, creative ownership.”
Adding another layer to the debate, some social media users have countered Eyob’s claims, suggesting his depiction itself bears resemblance to a monument reportedly in Spain, which features a woman in a similar pose. This has led some to question the originality of Eyob’s original work as well.
Experts emphasize that public space art, including monuments, demands thorough planning and the inclusion of diverse stakeholder perspectives, such as the public and professionals. Their long-lasting influence on a city’s identity underscores this necessity.
