Herrana Addisu’s “River” Refers to Ethiopian Beauty Standards – Essence

What does visibility seem like? Growing up in Ethiopia, SheaMoisture Grant– Filmmaker and artist Herrana Addisu’s work is devoted to shedding light on women in conflict and wonder standards in her home country. This can also be the case in her latest film, supported by Tina Knowles. “[River is] “It’s a story that I’ve been writing in my head my whole life because it’s the foundation of my life and my livelihood as a child,” Addisu tells ESSENCE.

After winning the Blueprint Grant last August, SheaMoisture has taken on the role of a creative agency Chucha Studio to produce a movie that might bring to life a narrative that the black community could relate to. Focusing on culturally and politically sensitive topics—from access to water and education to ancestral lessons, forced marriages, and wonder standards—Adisu took the funds back to Ethiopia (to work with an area production house Dog Movies) tell her story.

“I wanted the film to have these complicated conversations that we don’t always have in this day and age,” she says. For example, Ethiopian stick-and-poke tattooing (often known as “Niksat”) is a typical tradition that runs through each of her pieces. “Growing up, I always thought it was beautiful,” she says. “But there’s a certain reluctance to do it, because a lot of women don’t feel like they’re consenting to have a permanent tattoo.”

Referencing cultural and traditional views of beauty, she cites spiritual icons of black hair within the church as a central theme. “Our old Bibles and paintings that I grew up seeing are of black angels and they have mini afros,” says Addisu, who placed them on the actors alongside cornrows, scarves and hairdos. “My blackness was so obvious to me that I wanted to show that in the film as well.”

But as an artist, she also embodies the sweetness she captures. After shooting in Ethiopia, Adisu returned to New York to take part in the series alongside .[Photographer] Kendall Bessant I had the concept to test my limits in doing this cone on my head,” she says. “It’s very easy to push those limits to a certain extent once you’re behind the lens after which in front of it.”

In one photo, she props her chin on a jewellery stand, her hair bouffant, and in one other, her curls are in front of a riverscape, alluding to the source of life within the film. “Water flows in the global South, especially in the rivers of Utopia, are very important not only in rural communities but also in urban ones,” she says.

But the river can also be a source of vulnerability for ladies, who’re exposed to violence, kidnapping and trafficking as they carry water. “I thought that was a powerful catalyst that brought the whole aspect of the film together.”