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Author: Michigan State University Museum Baskets (Finjaan Gaar) Name of Maker: Amina Ismail Sherif Ethnic Affiliation: Harari Date of Production: ca. 1993 Locale: unknown Country: Ethiopia Dimensions: h. 11.5 inches Media: plant fiber, pigments Collector(s) / Donor(s): Raymond Silverman & Neal Sobania MSUM Accession #: 7557.274.1 & 7557.274.2 The Collector(s) / Donor(s) Raymond Silverman, curator of “African Connections,” is an associate professor of art history at Michigan State University. He also serves as adjunct curator for the African collections housed in the University’s two museums. From 1979 to 1989 his research was focused in the West African countries of Ghana and Côte d’Ivoire, and from 1990 to the present, in Ethiopia. This object is one of several hundred artifacts that Silverman and Sobania commissioned and collected in the course of conducting research for the 1994 Michigan State University Museum exhibition, Ethiopia: Traditions of Creativity. Collector(s) / Donor(s) Statement: Silverman Neal Sobania is Professor of History and Director of International Education at Hope College in Holland, Michigan. After spending three years as a Peace Corps Volunteer in Ethiopia, he returned to graduate school, completing a Ph.D. at the University of London dealing with the history of the Dassanetch peoples of northern Kenya. Since his Peace Corps experience in Ethiopia in the late 1960s, he has been a avid collector of African material culture and possesses a significant collection of Ethiopian and Kenyan artifacts. For the last eight years, he and Silverman have been collaborating on a number of projects dealing with the visual cultures of Ethiopia. Collector(s) / Donor(s) Statement: Sobania The Object(s) Harar is an ancient walled city in eastern Ethiopia. Formerly, all Harari girls, as part of growing up, learned to weave baskets. In fact, before marrying, a young woman is expected to produce a set of specific types of baskets that she brings to her marriage as a form of dowry. In addition to their aesthetic appeal, these baskets function as utilitarian objects serving as covers for wooden and pottery containers, and as containers themselves. They also play an important role as markers of a woman’s social status. Upon entering a Harari house, one encounters a public sitting area whose walls are covered with baskets and other containers owned by the woman-of-house. Specific types of baskets represent different events in the a woman’s life and these are positioned in specific locations on the walls. Thus, one can “read” the arrangement of baskets and learn a good deal about a woman–whether or not she is married, whether she is widowed, how many of her sons are married, as well as the the relative prosperity of the household. Formerly, all women might have spent a few hours a day weaving baskets as part of their daily routine. But today, most Harari girls pursue a primary and secondary school education, which does not leave them enough time to learn to weave these baskets. Since the demand for marriage baskets still exists, a number of women, like Amina Ismail Sherif, have become professional, full-time basketmakers. This pair of baskets were produced for Michigan State University Museum by Amina in 1993. They are a type of basket known as finjaan gaar, a small lidded container used for holding candy, gum, or incense. Further Information Books and Articles Elisabeth-Dorothea Hecht. “Basketwork of Harar.” African Study Monographs [Kyoto], Supplement (18), 1992. Elisabeth-Dorothea Hecht. “The City of Harar and the Traditional Harar House.” Journal of Ethiopian Studies 15 1982: 57-78. Sidney R. Waldron. “Harari.” Muslim Peoples: A World Ethnographic Survey, edited by Richard V. Weekes, 313-19. Westport: Greenwood Press, 1984. Sidney R. Waldron. “Harar: The Muslim City in Ethiopia.” Proceedings of the Fifth International Conference of Ethiopian Studies, Session B, edited by Robert L. Hess, 239-57. Chicago: Office of Publications Services, University of Illinois, Chicago Circle Campus, 1979. Richard Wilding. “Harari Domestic Architecture.” Art and Archaeology Research Papers 9 1976: 31-37. Ahmed Zekeria. “A Harari Art: Basketry Through the Eyes of Amina Ismael Sherif.” Ethiopia: Traditions of Creativity, edited by R. Silverman, pp. 46-63, 258. Seattle: University of Washington Press, 1999. Internet Resources Artist Profile for Adamu Tesfaw from Ethiopia: Traditions of Creativity Richard Wilding. “Harari Domestic Architecture.” Art and Archaeology Research Papers 9 1976: 31-37.

Literary Criticism. 1999, 335 pages. The man being shaved is a Harari tailor called Hussein, a gentle, grizzled man. This village, above Harar on the Egon plateau, was the final stage.

323 pages. He crops up in three of the obscure outposts that feature in the story: St Helena, Batavia, and Harar, the cradle of coffee itself.

The party, which consisted of three British officers and fifty Indian troopers, arrived safely in Harar and saw the last batch of Egyptian soldiers.

At Harrar, the largest town of East Africa, they were amicably received by the Egyptian governor, Abdallah.

Encyclopaedia Britannica: a dictionary of arts, sciences, and ...: Volume 11 - Page 454 William Harrison De Puy - 1891 - Full view Harar has long been the seat of a considerable commerce, though before the Egyptian conquests the merchants had to ... The rainy season at Harar begins about the 15th of March, and lasts for six months, the heaviest rains occurring ... books.google.com - Book overview

History of Harar and Other Moslem Kingdoms in Ethiopia

This book is available online

The book is available online

Harari words and their corresponding Amharic words (Harari to Amharic dictionary).

Harari proverbs and their definitions. The Book is written in Geez alphabets.