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Debre Berhane Selassie

Debre Berhan Selassie an easy stroll 2km northeast of town. Despite its walls hosting the nation’s most vibrant ecclesiastical artwork, it’s the ceiling that captures most visitors’ imaginations. Think of Mona Lisa’s smile and multiply it 104 times!

Debre Berhane Selassie Debre Berhane Selassie

www.afewerktekle.com

A Dedicated Website for The World Most Honorable Maitre Artiste World Laureate IOM.CH Afewerk Tekle will be launched by StudioNet as part of its social responsibility program.

www.afewerktekle.com www.afewerktekle.com

Erta Ale, the living Shield Volcano

Erta Ale is a very remote and rarely visited shield volcano in the Afar region of East Africa.

Erta Ale, the living Shield Volcano Erta Ale, the living Shield Volcano

Mulatu Astatke

The Father of Ethio Jazz: Mulatu Astatke

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Churches in Ethiopia

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Churches in Ethiopia Churches in Ethiopia

Kay Kabaro: Simien jackal

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Kay Kabaro: Simien jackal Kay Kabaro: Simien jackal

Beautiful Scenery of Ethiopia

Awasa , southern Ethiopia’s largest city, is 100km further south and sits on the shores of attractive Lake Awasa. With plenty of facilities, a great fish market and row boats to boot, Awasa is a great place to stop.  

Beautiful Scenery of Ethiopia Beautiful Scenery of Ethiopia

Gonder: Medieval castles of Ethiopia

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Gonder: Medieval castles of Ethiopia Gonder: Medieval castles of Ethiopia

Treasures from Ethiopia

 

The collections of the Victoria and Albert Museum include a number of Ethiopian objects and images. Many of these are associated with a British military expedition undertaken to Ethiopia (then known as Abyssinia) in 1867-68, which ended with the ransacking of the Ethiopian Emperor's fortress at Magdala. Not all of the objects, however, are straightforward products of plunder. Indeed, the stories behind the acquisition of the photographs, textiles, jewellery, religious and other artefacts held by the V&A reveal a complex web of people, places and politics brought together by conflict. This article presents the stories which lie behind some of these objects and contrasts the personal experiences of those caught up in the conflict with the way in which the 'Abyssinian Expedition' was presented to the British public. This article highlights just some of the objects and images associated with the Expedition which can be found in the V&A's collections.

 

Personal histories

The Ethiopian Prince Alamayou was one of the casualties of the conflict. He is pictured (on the right), aged seven, in a photograph taken by Julia Margaret Cameron after he had been brought to England following the death of his parents. Alamayou's sad story was reported in the British press and attracted the sympathy of many, including Queen Victoria who arranged for the state funding of his education. He was popularly cast as a romantic and melancholy figure, as is apparent in Cameron's photograph. Alamayou's death of pleurisy at the age of 18 was described by the Queen as 'too sad'. His image appears in four places in the V&A's collections; in the Cameron photograph, on two cartes de visite and in a photograph pasted into a family album.

Alamayou's guardian in England was a British army officer and colonial official, Captain Tristram Charles Sawyer Speedy. Speedy was well-acquainted with the Prince's homeland having travelled to Ethiopia in 1860 to assist his father, the Emperor Tewodros II (Theodore), with military training. Whilst there Speedy developed a strong affinity with the Ethiopian people; he learned to speak Amharic and adopted native dress. In 1868 he returned to serve as civilian interpreter to the British expedition. Back in England, the six foot five, red haired and bearded Captain made an unlikely but affectionate guardianfigure to the slight Prince.

 

Speedy appears in a photograph by Cameron in the V&A's collections. Wearing Ethiopian dress, he stands over a reclined unidentified African man, with a spear in his hand, apparently playing out a fantasy of conquest (the photograph has been titled 'Spear or spare'). The mount carries the handwritten caption 'Báshá Félíka' meaning 'speedy'; the Amharic name given to Speedy by Tewodros. Speedy's relationship with the Ethiopian people is also reflected in a small collection of objects given to the Museum by his goddaughter in 1936. Unfortunately the stories behind how he acquired the engraved silver and iron handcrosses, silver anklets, hairpin and ornament have not been recorded although it is possible the objects may have royal connections. Further items formerly in the collection of Speedy are held by the British Museum.

Speedy was not the only European to make the acquaintance of the Ethiopian Emperor. In the years before the Expedition Tewodros had been an admirer of Europe and its technologies, particularly those used in the manufacture of arms. He had formed close associations with the British traveller John Bell, who visited Ethiopia in the early 1840s, and Walter Plowden, the first British consul to Ethiopia, who arrived in 1848. However, by the 1860s Tewodros had become frustrated by a lack of support from Europe for his campaigns against Turkish expansion on the Red Coast. In 1864, in an attempt to prompt the British and French governments into action, he took a number of Europeans hostage including the second British consul, Captain Cameron. Queen Victoria sent a letter to Tewodros seeking their release but her envoy, the civil servant Hormuzd Rassam, was also captured. Following parliamentary debate, Britain began to plan a punitive military expedition. Under the leadership of General Sir Robert Napier, in 1868 the expedition marched to Tewodros's fortress at Maqdala and a brief battle took place nearby. Britain won the conflict, but not before the captives were released and Tewodros himself had committed suicide.

Tewodros's suicide on the eve of the storming of his fortress left a widow, Queen Woyzaro Terunesh. She requested that her son, Prince Alamayou, and she be escorted by British forces toher native province of Semyen, in northwest Tigray. However, as the party reached Haiq Hallet on 15 May 1868, the Queen died, apparently of lung disease. A report in the British press described 'Her funeral [which] took place next morning in the great church at Chelicut … The women of her household, showing her robe, her ornaments, her slippers and her drinking cup, beat their breasts, tore their hair, and scratched their cheeks, shedding tears of real grief as they bewailed her death' (Illustrated London News, 1868). The Queen's possessions, which were listed by the British political agent at Aden (Yemen), were sent on by ship to the Secretary of State for India at the India Office, London. They were given to the South Kensington Museum (later V&A) in 1869 and included two cotton robes lavishly embellished with silk embroidery; a shawl; silver bracelets, anklets and rings; two 'amulet' necklaces of leather, silver and amber and a silver hair pin with decorative finial.

The Queen's possessions, the collection of Ethiopian objects formed by Captain Speedy and the photographs of Speedy and Prince Alamayou, provide a tangible link to people whose experiences of the conflict in Ethiopia strayed from the official narrative. In the British public sphere, however, these disparate experiences were written over by a unified and triumphant tale of conquest. The second part of this article reflects on the public presentation of the Abyssinian Expedition.

Public narratives

Given the great complexity and expense of the Abyssinian Expedition, which involved more than 13,000 men, 30,000 animals and a journey of some 400 miles, it was necessary to engage the support of the British public. This was largely achieved through recounting a patriotic tale of a great imperial power overcoming a hostile territory and 'barbarian potentate'. Significantly, the expedition was one of Britain's earliest military operations to be captured via the relatively new science of photography. Two sets of photographic stores and equipment were sent from England by the Royal Engineers' Establishment and used to record the landscapes, camp scenes and leading individuals associated with the expedition.

The V&A's collections include at least seven photographs taken by the Royal Engineers from a series of 78. Three of these are panoramas, painstakingly formed by pasting together three photographs. One records the expedition camp at Zoola (Zula). Taken from a high vantage point, it captures the huge amount of equipment and technology required for such an expedition. Feats of engineering were a particular focus for visual record and the Zoola image includes part of a British-built railway line which ran ten and a half miles inland. Another photograph in the series presents a view up the Sooroo Pass, or 'Devil's Staircase' as the Assistant Field Engineer charged with forging a path through it, is said to have called it. It took four companies three months to construct a ten-foot-wide cart road up the pass.

Images such as these were disseminated through official and unofficial reports, museum displays and the British press as evidence of Britain's military and technological powers. The Illustrated London News published numerous engravings of the Expedition. Some were based on the Royal Engineers' photographs, others on sketches made by the newspaper's Special Artist in the field, William Simpson. The V&A holds two Ethiopian handcrosses which were donated to the Museum by Simpson's wife following his death. Both carry the inscription 'Abyssinian Cross 1868 William Simpson' and presumably fulfilled a function somewhere between medal and souvenir.

Military personnel involved in the Expedition were encouraged to make drawings and reports. On the orders of the Secretary of State for War, Major Trevenen James Holland wrote the only official account of the expedition with a military colleague, Sir Henry Montague Hozier. Record of the Expedition to Abyssinia was published in two volumes in 1870. Holland may be the vendor of several Ethiopian items to the South Kensington Museum in April 1869 including a pair of silver anklets, a 'Galla' (Oromo) necklace, a pair of earrings and two processional crosses.

 

Following the defeat of Abyssinian troops, British forces entered the Magdala fortress with the aim of collecting anything of value to be later auctioned off to raise money for the troops. They were accompanied by Richard Holmes, an assistant in the department of manuscripts at the British Museum, who removed a number of objects - manuscripts, regalia, religious antiquities and other material - from the imperial treasury and from the Church of the Saviour of the World. Holmes also made a sketch of the face of the dead Ethiopian emperor, which was reproduced in the British press and in popular print formats such as carte de visite. A golden crown and chalice initially acquired by Holmes from a soldier were deposited with the South Kensington Museum by H.M. Treasury in 1872. Recent scholarship has suggested that they were commissioned by Empress Mentewwab for a church she founded in Gondar in 1740. Today these items can be seen on display at the Museum, in a gallery which highlights the role of precious vessels of gold and silver in religious rites and ceremonies.

Today, the Abyssinian items are valued for their beauty, craft and religious significance but an 1868 display at the South Kensington Museum entitled 'Abyssinian objects from the Emperor Theodore, Lent by the Queen, the Admiralty and others' was clearly intended to celebrate an imperial conquest. No list of exhibits survives but an essayist in the Gentleman's Magazine described the display as a 'show-case full of victorious trophies, "spolia opima" of our late enemy, his Majesty King Theodore'. Another noted the inclusion of a portrait of the dead Emperor's head, presumably based on Holmes' sketch. Even 20 years later a Guide to the South Kensington Museum noted that 'vestments and garments' on display had been 'captured during the Abyssinian campaign under Lord Napier of Magdala'.

The objects and images described in this article, then, have fulfilled many different functions - religious, ceremonial, decorative, documentary and political - and their current home at the V&A represents one stopping-off point on a turbulent historical journey. In the 21st century, as in the 19th, they make a conflict distant to us in time and place more tangible and immediate. The material also challenges the idea that the 'Abyssinian Expedition' was a clear-cut clash between 'them' and 'us' and provides an unsettling reminder of the imperial processes which enabled British museums to acquire the cultural assets of others.

 

 

Source: www.vam.ac.uk

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