CRAFT STORIES | AFRICA | ETHIOPIA | WEAVING
The Spiraled Precision of Contemporary Basketry in Addis Ababa
Ethiopia’s craft traditions sit among the most continuous in Africa, shaped by strong regional identities and long histories of exchange across the Horn. Fibre work has a central place in this culture. For centuries, women have carried specialist knowledge in weaving, spinning, and basketry, creating objects tied to food, hospitality, ceremony, and everyday order. These were household skills first, with aesthetic codes that travelled through families and communities. Coiled basketry belongs squarely in this lineage.
Across Ethiopia, circular trays and lidded forms have been used for serving, storage, and gifting; the mesob, associated with injera and shared meals, remains the most recognisable symbol of this tradition. While regional styles vary, the structural logic is consistent and demanding. A core of bundled plant fibre is coiled outward in a continuous spiral. Each new ring is stitched to the last with cotton thread.
The maker controls the final shape through two variables that are easy to describe and hard to master: the thickness of the coil and the tension of the stitch. Over a large surface, small inconsistencies become visible quickly.
Pattern is part of the construction rather than a surface addition. The stars, chevrons, and stepped diagonals common in Ethiopian pieces rely on counting and planning as the circle expands. Because circumference increases with every row, motifs must be adjusted so borders land cleanly and designs remain balanced across scale. A strong piece shows control from centre to edge: even spacing, stable coil thickness, and a rim that sits flat after days of work.
In recent years, the craft has moved into more structured workshop settings, particularly around Addis Ababa. This shift has not replaced the domestic tradition. It has added a professional framework that supports larger formats, consistent finishing, and a broader range of colour palettes. The technique remains the same; the conditions for learning and earning have expanded. For many makers, the biggest change is access to training that breaks the craft into teachable stages: pattern counting, tension control, joining methods, and finishing standards.
Janet Mulugator is part of this newer generation. She joined a workshop environment about seven months ago and trained on site. Before that, she had some familiarity with the craft from the village but at a smaller, informal scale. Her description of the learning curve is practical: keeping stitches even, stopping thread from pulling too tight, and understanding how scale changes pattern accuracy. With training and steady repetition, the work became easier and more reliable.
Janet estimates that a large finished piece can take around five days. That number clarifies what sits behind the clean geometry of a finished tray. It is sustained, close work that depends on precision rather than speed. She also frames the job in direct terms. This is her livelihood. It supports her household. She can bring her child with her while she works, which makes the craft viable as long-term employment for mothers.
The story of Ethiopian coiled basketry today is one of continuity reinforced by structure. The craft remains rooted in hosting, home life, and regional identity. Formal training allows makers like Janet to sharpen technique, scale up confidently, and earn steady income. The finished objects carry that history in plain view: traditional construction, disciplined pattern systems, and a place in contemporary life that still respects their original purpose.
Words and Images by Harrison Thane
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