Aida Buzuayehu - International Community School of Addis Ababa

legitimize the solomonic dynasty, and ordinary women as housewives and helpmates of
men, who all hold a significant place in Ethiopian art”. In summary, most of the art
work during this era had hidden messages that reveled daily life as well as the daily
activities and pursuit of the average Ethiopian Christian woman. All of these women
weren’t given the opportunity to get proper art training due to various unfortunate
circumstances. Instead they were to stay home and fulfill household tasks while
receiving theological education simultaneously. Its crucial however to note that these
women although not given the same opportunities as men, in terms of a higher
education, were active advocates of other creative traditions typically produced by
women (Teklemichael, 4). Things like pottery, basket making, textile weaving and
embroidery. Sadly the people that produce these fabulous items are very rarely
considered ‘artists’ (Teklemichael, 4).
The five contemporary artists I have chosen to examine go by the names of
Woyzero Lemlem Gebremeskal, Emahoy Wolate-Yohannes Sebehatu, Yordanos
Berhanemeskal, Elizabeth Habte-Wolde and Merikokeb Berhanu. Woyzero Lemlems’
love for art like most artists began at a young age. “She began painting by using
charcoal to draw pictures of animals and people on the mud walls of her
house” (Teklemichael, 5). It was a priest passing by her home that discovered her talent
and advised her to travel from her village to the nearest city to pursue her dreams of
becoming an artist. Although Woyzero Zelalem lacked former art training as well as a
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