Ethiopia is edging toward approving a comprehensive national policy for its creative industries, an effort that could reshape how the country values, protects, and develops its artistic and cultural sectors. The proposed policy framework seeks to bring literature, visual arts, film, music, fashion, and digital arts under a single strategic umbrella, signaling a shift from fragmented oversight to a coordinated vision.
The draft policy, currently under review, reportedly reflects proposals submitted by artists and creatives themselves. At a time when creative industries are among the fastest-growing sectors in the global economy—contributing significantly to income generation, employment, and export earnings—Ethiopia appears ready to treat creativity not merely as cultural expression, but as economic capital.
Kumera Negash, Lead Executive for Art and Creative Development Expansion at the Ministry of Culture and Sport, describes the document as “state-of-the-art,” noting that it aligns with international standards, including those of UNESCO. “The intention is to guarantee that Ethiopia’s creative industries are defined and structured in line with global best practices while remaining rooted in local realities,” Kumera said.
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According to him, the initiative emerged from persistent calls by the creative community. Rather than drafting separate policies for each artistic field, a study commissioned by the Ministry recommends a unified framework. “The push gained momentum after artists and industry representatives met with Prime Minister Abiy Ahmed (PhD) last July, where concerns about rights protection, infrastructure, and market access were raised,” Kumera noted. He added that the draft has been finalized following policy direction from the Prime Minister.
The proposed policy expands the definition of creative industries beyond the traditional triad of music, theatre, and film to include literature, gastronomy, traditional dance, fashion, interior design, circus arts, cartography, digital arts, and cultural festivals. By broadening this scope, policymakers aim to formally recognize sectors that have long operated informally, creating systems that protect artists while capturing significant economic value.
“Plans include strengthening theatres, amphitheaters, cinemas, and arts schools,” Kumera said. “The corridor development initiatives in urban centers have already created visible spaces for paintings, sculptures, and performance art, suggesting an emerging integration of culture into city planning.”
At the core of the draft policy is the protection of economic rights, particularly royalty payments. “The main objective of the policy is to safeguard royalties and other economic rights for creative professionals,” Kumera stressed. He emphasized that experienced artists played a central role in shaping the draft through various consultations.
Royalty payments are not entirely new to Ethiopia. Five years ago, the Ethiopian Intellectual Property Office announced that broadcasters would be required to pay annual royalties to musicians and producers. However, while enforcement remains a challenge, Kumera argues that the new policy strengthens institutional backing. Advances in digital technology also offer opportunities to improve tracking systems and ensure transparent distribution.
Yet, not all stakeholders are fully convinced.
Despite the government’s optimism, prominent industry figures are raising alarms about the policy’s structure and the government’s history with independent bodies.
Yirgashewa Teshome, Director of the Ethiopian International Film Festival, criticized what he described as the government’s inappropriate move to dissolve various professional associations, arguing that the establishment of such bodies is a constitutionally guaranteed right.
“The government cannot dissolve associations, as they are independent professional bodies representing filmmakers, journalists, health workers, economists, and theatre artists, among others,” Yirgashewa said. He recalled the dissolution of the Ethiopian Film Corporation during the tenure of the late Prime Minister Meles Zenawi as evidence of a problematic pattern of restructuring.
Yirgashewa specifically opposes the plan to bring diverse fields under a single umbrella association. “Had I participated in the draft policy discussions, I would have raised this concern,” he said, arguing that disciplines like film, music, and visual arts are too distinct in structure and professional identity to be merged. “These are fields studied up to the PhD level; they are substantial in their own right.”
Yirgashewa is not alone in his caution. Composer and music pioneer Dawit Yifru, President of the Ethiopian Musician Association, noted that the draft has not been widely circulated. “Since we’ve not seen the document, we cannot assess its usefulness,” he said, drawing comparisons to a national film policy approved a decade ago that saw little systematic evaluation. For Dawit, meaningful reform depends on implementation rather than aspiration.
In the visual arts community, perspectives are cautiously optimistic. Siyoum Ayalew, a visual artist and former president of the Ethiopian Visual Artists Association, participated in three days of discussions reviewing the draft. He noted that artists raised concerns about the classification of creative centers and the need to properly identify professionals within the framework.
Taxation emerged as a pressing issue. “Many visual artists who attempt to operate formally encounter complex and burdensome tax procedures,” Siyoum said. High import duties on materials—such as paints, canvases, and specialized tools—have further constrained the sector. Because of high costs and foreign currency shortages, suppliers are often unwilling to import fine arts materials, forcing artists to rely on lower-quality local alternatives. Siyoum and his colleagues have proposed reducing tariffs and streamlining regulations to encourage entrepreneurship.
Infrastructural shortages also persist. While Addis Ababa hosts several venues, many lack consistent programming. “Government-administered galleries are scarce,” Siyoum noted, adding that the Alle School of Fine Arts and Design remains the country’s only dedicated institution of its kind.
To address these gaps, Kumera mentioned a proposal to create a Creative Industry Council and a potential Creative Industries Federation. “Bringing diverse sectors under one umbrella could reduce fragmentation and promote collaboration,” he remarked.
Ethiopia’s copyright framework has evolved slowly since the 1960s. While a 2004 proclamation and subsequent amendments made royalties mandatory, effective enforcement still requires more institutional “teeth” and public awareness.
Beyond regulation, market development is crucial. “Star-rated hotels and private institutions are increasingly purchasing paintings, creating domestic demand,” Kumera said. He maintains that the policy will finally provide the unified strategic structure needed to turn this “golden time” for the creative industry into a lasting economic engine.
For a country whose cultural heritage spans ancient ecclesiastical art to contemporary digital expression, the approval of this policy signals more than just administrative reform—it is a bid for a new cultural economy. Whether it translates into tangible change remains to be seen.
