What does ethnicity mean in the context of the history of modernity?  What does modernity mean?  Is development and modernity the same? (No.)  These are the types of discussions Elizabeth W. Giorgis passionately dives into.  Associate Professor Elizabeth teaches, “Theory and Criticism” at Addis Ababa University’s (AAU) College of Performing and Visual Arts and the Center for African Studies.  She has been doing so for 13 years.  Elizabeth recently authored a book, “Modernist Art in Ethiopia,” which was shortlisted for the African Studies Association UK Fage and Oliver prize for original and outstanding scholarship on Africa.  The winner will be announced on September 9, 2020.

Born in Addis Ababa, the lady with black and silver waves in her hair and intense eyes for seeing not just art but deeper into culture no longer labels herself “diaspora.”  Over a decade ago she returned to her homeland with a new way of thinking.  She attended Morgan State University for her undergraduate degree in political science.  Elizabeth was a banker for 17 years—Bank of America in San Francisco and (the Japanese) Mizuho Corporate Bank in New York City.  She was assistant vice president in both places.  Elizabeth was on the 48^th floor of one of the World Trade Center buildings on 9-11, took a phone call in the lobby, and ran out in the madness…all the way to the Brooklyn Bridge.  “I never liked banking anyway.  That day I just decided I need to get out of this.”  So she went to graduate school at New York University (NYU), focusing on museum studies.

Returning home was an opportunity that came with many difficulties.  When Elizabeth completed her degree, she got a call from Professor Andreas Eshete to return for work in Ethiopia as director of the Institute of Ethiopian Studies (IES) at AAU.  She had returned for two weeks in 1995, but moving after never having spent much time here was a challenge of its own.  Her brothers encouraged her so she returned.  The first year, 2005, was tough.  “They made my life hell,” she said of colleagues.  People do not look at your merit but make judgments such as, “The president put her in the place.”  There have been inept men in past holding such positions, but nobody questioned them!  She was ready to go back but held on.

Elizabeth has taken many artistic and cultural education paths.  Through IES, which functioned as a research center, Elizabeth set up a graduate program called Ethiopian Studies with the help of other people.  She was with the institute until 2013, and dean of the College of Performing and Visual Arts for two years.  Elizabeth was instrumental when—for the first time—32 works by the late Gebre Kristos Desta were brought to Ethiopia.  Under Professor Andreas’ and her jurisdiction, the team negotiated to bring his work to Ethiopia, opening the Modern Art Museum Gebre Kristos Desta Center, the agreement allowing the German Culture Center to have a site on the university campus.

Eventually, the graduate program in Ethiopian Studies at IES department was closed.  “Continuity is so problematic in this country,” Elizabeth said.  Because there is no institutional memory, the education quality dwindles.  “(I am) very concerned with the education quality in this country…where students can not differentiate relationship between ethnicity and global capitalisms,” she said.

While she was at the IES Elizabeth took a two-year leave to pursue her PhD at Cornell University, completing it in 2010:  History of Art and Visual Studies.  “Ethiopian Modernism” is the focus of her dissertation.  Looking back at her Cornell experience, Elizabeth said it was very interdisciplinary.  Being a woman in academics is difficult, Elizabeth said, because you are not considered an academic on the same level of the men.  “We are shaped by all these contexts,” a product of the environment.  The phrase that a woman is like a man to identify greatness is very problematic, she said.  Let us look to Empress Taitu and other leaders—legends—to teach us about ourselves and our abilities.

“Art history is not only cultural history but it is also constitutive of political and intellectual history,” Elizabeth affirms.  “But cultural history has also rarely been studied.  We have to culturally historicize ourselves in connection with the economic structures of our country.  For instance, we can only understand the culture of patriarchy if we understand the larger economic infrastructure of patriarchy.  We have to elevate the discussion of women for example from this perspective.”

At this point in history, why isn’t Ethiopian art appreciated as much as one may think it should be?  Elizabeth said, “We are taught to understand Van Gogh….  We are not studying Ethiopian art.  (In) 1960 (it) was completely different; there were also critics engaged.  The education system itself brought out intellectuals.”  Now the nouveau-riche are buying art, most not understanding the depth and looking at it as competition.  Ethiopian art has a lot of history.  The work needs wide and critical perception, and there are some artists who understand this, she said.  Digging deeper into “art,” cultural history is severely neglected, she said.  We have to understand how cultures are related and formed, the way we live and have lived.

Why and how Elizabeth chose this path brings up Eskinder Boghossian, “One of the prominent artists” at the time and one who used to be a great friend, she said.  He definitely helped ignite the interest.  “I never thought I would be this much involved,” Elizabeth said.  On a day-to-day basis, Elizabeth said she deals with very difficult critical studies.  “Students don’t know African scholarships (and) giants…Frantz Fanon, Mahmood Mamdani…it just pains me.  This shows the quality of education; ‘developmentalist’ type of education.”  Eventually, her students become her friends, she said.  “I mentor them; have seen some of them succeed.”

Leadership means critically addressing the world, Elizabeth said.  It means being in touch economically, culturally, and socially with the globe…not with your country, she said.  Value means, “Engaging the world.  Justice.  People should live equally, justly.  (We) must understand, ‘What are the infringements on justice?’”  Her philosophy of life is the same.  She speaks of equality as a human being and of women specifically.  “We want to be human like the rest of humanity.  Why are we oppressed?  Why are we not considered human?”

Elizabeth’s family—her parents, brothers and sister—are her role models.  “They encouraged me to be an independent thinker,” she said.  She is the youngest of seven children.  From her parents and her childhood she learned, as a woman, to be ferociously independent because women have fought against a lot of setbacks in this country.  Elizabeth admires, “The cultural intellectuals of this country.”

When thinking about success, Elizabeth said she wants to revel in a life significantly lived and strive for the human condition to be changed for the better, particularly in Ethiopia.  It is time for “noble” humanity and a different perspective from the usual to be considered.  She would like to attain some kind of significance in this world through her work.  Identifying her family first for her success, Elizabeth appreciates Professor Andreas for giving her an opportunity to come to this country and work—particularly a woman.  Coming to Ethiopia is her most important accomplishment, she said.  “(I) have become a completely different human being.”

Being an academic is how Elizabeth gives back to the community.  “Teach.  Write.  (I) can be an activist (if the right cause is found).”  Elizabeth is very involved in mentorship through Setaweet, a feminist movement in the capital.  She also collaborates with different universities such as Cornell and the University of Cape Town as well as the Africa Institute of Sharjah.  Elizabeth’s op-ed, “Race and Race Matters,” was published in Addis Standard on June 4, 2020.

Do you believe women support each other?  “No,” Elizabeth said.  Besides men colleagues, women gave her a hard time in the past.  “They told me to tone it down… (You are too strong).”  Their reaction often was that something she said was culturally inappropriate.  They didn’t acknowledge the positivity in firmly expressing herself.   “When you think you get the support of women, you don’t.”  Now, women are better, she added.  “It is how we are shaped.  You can’t blame them.  You are supposed to be meek.  They are ok with me now.”

Do women need to support each other? Why or why not?  Of course we need to elevate each other, Elizabeth said.  “That is the only way we bring a cohesive activism against the patriarch.  (We) have to understand each other.”  For women to realize their potential, Elizabeth’s way of giving back is mentorship.  She writes about women and gender.  Her next book is on gender—how women are represented in the cultural history of this country.  One doesn’t need to go back to the 18^th century to discover the messages in women’s voices and how women are represented.  There are current novels.   She is reading a lot of novels lately.

In her leisure time, the art expert often gathers groups of people at home; discussion, music, and films are enjoyed.  She watches a lot of movies.

Elizabeth said she knows AWiB has been around a long time, lectures and discussions are held, and the organization has sustained itself.  She congratulates Nahu; her work is commendable.  Elizabeth said she is, “An admirer.”

What Elizabeth has learned over the years and aims to pass along to the younger generation is, “Teach.  Critically look at the world so we don’t get into the trouble we are getting in now.” 

She is most thankful for being alive.  “Grateful I can do what I want to do!” Elizabeth exclaimed.

AWiB appreciates Elizabeth for taking time out of her busy schedule to share her inspirational story.

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