የመጨረሻው ፀባዩ የተለየ ያደርገዋል። እንደ ብዙ ቁሳቁስ በሩቅ የሚታይ አይደለም። ከሳብጀክቱ (የሰው ልጅ) ጋር ይዋሃዳል (embodied)።

የትውስታም ሰሌዳ ነው።

አርኪዮሎጂስቶች በጥንት ጊዜ የተሰራ ቁስ አግኝተው በመሳሪያቸው መርምረው የእነዚህን ቁሶች ምንነታቸውን ያነባሉ። ተፎካካሪ ወይም የሚጋጭ ትርጉም ቢሰጣቸውም መረጃ ይሆናሉ።

አፄ ሰንደቅአላማ የፈጠረው ጤፍ ተፎካካሪዎች የሚሻሙበት ጽላት (Icon) ነው።

እንጀራ በሆነ መልክ ወገናዊነትን ያመልጣል። ተፎካካሪዎች ሁለቱም ይሽቱታል።

በልቶ የማያድር የለም። የድንጋይ ላይ ጽሑፎች ሲጠፉ፣ ሲቃጠሉ፣ ሲዘረፉ፣ ከቦታ ቦታ ተላልፈው ሲጠፉ፣ እንጀራን ማንም ሊያሸሸው ባለመቻሉ እዚህ ደርሷል። ብዙ ዘመን የኖረው ሰንደቅአላማ መቃብር ላይ መገኘቱ ረዥም ዕድሜ ከእሱ መዋሱ ምሳሌ ይሆን?

፠፠፠

የእንጀራን ታሪክ ልፃፍ ብል ከሁለት ገጽ የበለጠ አይሄድም። እሱን መፈለግና ማብራራት የምግብ አንትሮፖሎጂስቶች ስራ ነው።

ከእንጀራ የምዋሰው ነገር ቢኖር፣ ለሕጽናዊነት ሕልውና ማስረጃ (ontological status) የሚጠቅሙኝን የልዋጭ ወይም ስነ-ትዕምርታዊ ሴማዮቲክ መደምደሚያዎችን ነው። የዚህ አይነት ነገር ስላልተሰራ በመጠኑ ራሴ መልፋት አለብኝ። ራሴ ስለፋ ደሞ ያልሰለጠንኩበት መስመር ስለሆነ የሆነ ነገር መግደፌ አይቀርም። እና በአጭሩ እንጀራ መሳሪያ እንጂ የአላማዬ የመጨረሻው ግብ አይደለም።

፠፠፠

Injera is a panel of memory – a three dimensional sculpture.
What is usually lost either in human culture or nature is usually found or discovered…….

Interpreting the past texts/materials to understand the roots of human nature (in our case our country and society) is done routinely.

Freud did it with Oedipus. What he analyzed was a drama.

Jung did it by analyzing dreams, fairy tales and mandalas.

Freud compared his work to paleography, archetypal excavation, translation, the decipherment of ancient languages.

Many people quote books to justify contemporary events. Yet, books are or may be tainted or be victims of competitive interpretations. What the ancient Ethiopians/Sendeq Alama did was create a shared icon for both sides of the competitors, a bread like injera, that subverts partiality and ideologies.

It is quoted every day and competed for. Why not we find the hidden meaning, the mistir (ምስጢር) of this innovation?

The place of injera in the general process of cultural evolution is important. The memories of the old were embedded in the injera, an element which both the powerful and the weak shared.

In other words, History was embedded into the need and necessities of everyone. When visible direct representations (petroglyphs, thick parchments, language) expired through violence and prejudice, the subtle modest injera was carried to today on the backs of simple farmers, potters, ladies, mabukias, metad etc.…

What Hitsinawinet does is retrieve these memories by abstracting them into ‘simple forms’ of circles, labyrinths and hexagons.

Injera is the most complete form of representation.

It is visual (like painting)
It is tactile (like sculpture)
It is tasted etc.….

Injera is a survivor document, an edible brana (ብራና).

What histinawi fiction tells us is to go deeper into the authentic memories of the writer, the characters, and nation and connect them.

…….
A.R.
2012/ 2014/ 2016