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Fendika, a historic Ethiopian nightclub cherished as a monument to the nation’s traditional cabaret culture, faces an uncertain future. The establishment recently narrowly averted demolition, but its continued existence hangs in the balance. Two decades ago, the neighborhood of Kazanchis in Addis Ababa boasted 17 Azmari bets, performance venues for the esteemed azmari musicians, with Fendika as one of its illustrious representatives. Presently, Fendika is the sole survivor in this rapidly changing cultural landscape, as affirmed by Melaku Belay, the 43-year-old proprietor and director of the establishment.
Azmari, akin to medieval troubadours, are peripatetic poet musicians originating from the pastoral heartlands of Ethiopia. Their craft includes extemporaneous song creation performed on the masenqo, a monochord bowed lute, an embodiment of raw musical simplicity constructed from wood, horsehair and rawhide. Azmari compositions are abundant in metaphoric sophistication and dual interpretations, often indulging in comedic satire aimed at audiences, societal figures and even powerful authorities, thereby representing a rare manifestation of uninhibited expression within the Ethiopian cultural context.
Under the vigilant stewardship of Melaku, a globally acclaimed dancer and choreographer who assumed control in 2008, Fendika metamorphosed into a vibrant cultural locus. Its unassuming façade and weather-beaten walls, adorned with discolored posters, belie the pulsating creative heartbeat within. Its premises house a library, a gallery promoting burgeoning Ethiopian painters and a stage for dynamic performances. It also serves as a gathering place for Ethio-jazz performers and traditional musicians.
As per Luana DeBorst, an Addis-based American researcher and a regular at Fendika, the establishment functions as a unique sociocultural microcosm, providing valuable insights into Ethiopia’s ethnically diverse traditions. She argues that in a country grappling with ethnic border delineation, Fendika’s inclusive ethos serves as a potent unifying force.
The premier draw of the establishment is Ethiocolor, an ensemble founded by Melaku in 2009 to grace several stages in Europe and the United States. The ensemble consists of artists from varied generations and regions, with a goal to blend tradition with modernity and celebrate the cultural heterogeneity of Ethiopia’s 80 plus communities.
Melaku, who discovered Fendika a quarter-century ago driven by his passion for dance, has an extraordinary journey from being a homeless school dropout to becoming the esteemed director of the establishment. His ascent, fueled by the earnings from his performances at Fendika and sustained through sleepless nights on the club’s floor, has been punctuated by his determination to provide a platform for his employees to explore their artistic talents.
Fendika’s existence was jeopardized last month when the municipal government revealed plans to demolish the property to make way for an upscale hotel, symbolizing the relentless development drive that has been reshaping Addis Ababa since 2008. However, following widespread protests, the municipality offered Fendika a temporary respite, allowing Melaku an opportunity to propose a sustainable development plan for the land. Melaku’s ambitious vision includes a multi-story edifice adjacent to Fendika housing a performance hall, recording studios and an artists’ residency.
Although securing finances for this lofty plan might prove time-consuming, Melaku, nurtured by his long-standing romance with Fendika, remains undeterred, exuding confidence that the cultural beacon will continue to stand proudly in defiance of the onslaught of urban development.
With AFP
