Introduction

When strolling down Churchill Avenue in Addis Ababa, it’s hard to miss the towering Tiglachin Monument. Also known as the Derg Monument or Our Struggle Monument, it was built to pay homage to the Cuban and Ethiopian soldiers who died in the 1977-78 Ogaden War. In Amharic, Ethiopia’s official working language, Tiglachin” translates to “Our Victory” or “Our Triumph.”

Before Addis Ababa’s skyline was dominated by modern high-rises, the Tiglachin Monument stood as a prominent landmark, visible from various vantage points across the city center. The memorial still looms over the cityscape, serving as a polarizing reminder of Ethiopia’s communist era. It has a story to tell – one of war, ideology, and international alliances that shaped the nation’s history.

A brief history of the monument

The Tiglachin Monument was conceived during a politically turbulent period in Ethiopia’s history and deeply rooted in political ideology. Inaugurated on September 12, 1984, it was constructed to mark the 10th anniversary of Emperor Haile Selassie’s overthrow by the Marxist Derg regime¹, which sought to align Ethiopia more closely with Soviet ideology.

Mengistu Haile Mariam, who led the Derg regime, developed a strong interest in North Korea’s political ideology². Following a visit to North Korea in 1983, where he met with Kim Il-sung, Mengistu became particularly impressed with the Juche ideology and North Korea’s approach to propaganda and personality cults.

This influence manifested in several ways in Ethiopia, including Mengistu’s adoption of similar leadership styles and changes in his public image. Following the North Korean model, he emphasized the construction of monuments, control of media, and organization of mass games³.

Mengistu’s photographs were prominently displayed in villages, state-owned cooperatives, government offices, and other public spaces across the country. While many African leaders of the time were drawn to various socialist ideologies, Mengistu’s embrace of North Korean-style propaganda and personality cult was particularly strong and distinctive.

This period saw significant Soviet influence on Ethiopian politics, culture, and military engagements, including the Ogaden War⁴ (1977-1978), where forces from Ethiopia and Cuba, a fellow Marxist state at the time, fought together against Somalia. The monument reflects these geopolitical dynamics.

Design, materials & structure

Crafted by Mansudae and coordinated by Soviet architect V. Savchenko, the Tiglachin Monument is a masterclass in communist chic. This massive complex, sprawling across 50,000 tiled square meters of prime Addis real estate right in front of the Black Lion Hospital, features a central 50-meter high pylon surrounded by tiled areas, memorial walls, and beautifully landscaped gardens.

At the heart of the complex stands the main pillar, an obelisk-like spiral crowned with a red star symbolizing Marxism-Leninism, the official ideology of the regime at the time. It sports a statue featuring three armed figures (two men and a woman) brandishing the hammer and sickle flag.

The pillar’s back is adorned with an enormous depiction of the Hero’s Medal, the highest award of Ethiopian Communists, weighing 700 kilograms and measuring 2.7 meters in diameter. At the center of this medal is the iconic hammer and sickle symbol, unmistakably representing the communist ideology that the monument embodies.

Fronting this central pillar is a striking statuary group, featuring a large flag accompanied by two armed men and one armed woman, embodying the socialist realist style with its depiction of ordinary people taking charge of their destiny.

At the base of the statue, raised lettering in Amharic, Ethiopia’s official language, reads: “The deeds of the heroes who fell in the struggle for the life and honor of our homeland and our revolution are immortal.”

On either side of the main pillar are two significant wall reliefs, each telling a part of Ethiopia’s revolutionary story.

The left wall relief portrays the revolutionary process, incorporating scenes of famine that have plagued Ethiopia’s history. It begins with Emperor Haile Selassie I on horseback, seemingly ignoring the suffering of hungry people – a reference to past famines and food insecurity issues in the country.

While the specific 1984-1985 famine postdates the monument’s September 1984 inauguration, Ethiopia had experienced several severe famines in the 20th century, including in the 1970s, which likely influenced this depiction.

In the relief, there is a depiction of the slogan “Meret Larashu” or “Land for the farmer”. This references a significant policy of the Derg regime, which distributed rural land to farmers and nationalized urban land after 1975. The relief shows none other than Colonel Mengistu Haile Mariam, the Derg leader, addressing a crowd of citizens. He stands at a podium, gesturing towards the assembled people.

The scene then transitions to a protest with the words “Down with imperialism” in English, showing protesters overthrowing the throne, a symbol of the Ethiopian Empire.

The right wall relief depicts liberated Ethiopians ready to support the troops guided by Mengistu Haile Mariam, prominently featured in his snazziest military uniform, with various buildings including the National Bank of Ethiopia visible in the background.

The scenes are rich with symbolism, showing workers and farmers in the foreground, some raising their fists in solidarity. The relief’s style is typical of socialist realism, emphasizing the strength and unity of the working class. The crowded composition and forward-leaning figures create a sense of movement and revolutionary fervor.

This artistic representation encapsulates the Derg’s political narrative, showcasing their land reform policies and anti-imperialist stance as central to their revolutionary ideology.

Further to the left and right of these murals are two small squares displaying photos of Cuban martyrs, a nod to the alliance between the Ethiopian regime and Fidel Castro’s Cuba during the conflict.

Over the years, the Tiglachin Monument has faced periods of neglect and disrepair, reflecting the changing political sentiments in Ethiopia. However, recent efforts have been made to restore and maintain the monument, including the construction of the Adwa Museum around it. Sadly, the once majestic fountain in front of the monument has stopped working and is in terrible condition.

In recent years, following a trend seen across Addis Ababa, the monument complex has been enhanced with colorful nighttime illumination, adding a new dimension to its visual impact.

The monument’s style, reminiscent of Soviet-era memorials, seems almost like a foreign object with little connection to Ethiopian reality. It could easily be mistaken for a monument in Warsaw, Moscow, or any former Soviet-dominated European country, illustrating the widespread influence of this style during the 20th century.

Some of the sculptures and art pieces at the memorial were actually donated by the North Korean government in 1984, courtesy of the Mansudae Art Studio⁵. It was one of North Korea’s first monumental gifts ⁶ to Africa.

When comparing the Tiglachin Monument to other Soviet-influenced artworks, its scale and intricate design stand out. The monument’s combination of Soviet realism and local Ethiopian elements makes it unique.

Interestingly, this style of monumental art is not confined to Ethiopia. A strikingly similar monument stands in front of the National Heroes Acre in Harare, Zimbabwe. This Zimbabwean monument features a statuary group that is almost identical to the one in Addis Ababa, with its three full-length figures positioned in front of a large flag.

Inspiration & symbolism

The monument’s style is a mishmash of Soviet architecture, modernism, and brutalism — art with a side of concrete and political messaging. The symbolism here is not so subtle, with plenty of revolutionary imagery, spreading the narrative of class struggle and international comradeship.

This blend of art and ideology provides a unique insight into the Derg regime’s efforts to cement its legacy through public art. Its imposing presence on Churchill Avenue is a testament to the era’s architectural ambitions, combining monumental scale with intricate detailing.

The creative minds behind the monument

The renowned North Korean Mansudae Art Studio played the primary role in its creation. As the main designers and executors of the monument, Mansudae was responsible for the statuary and artistic elements that define the structure. Known for their monumental works across Africa, Mansudae brought their distinctive style to the project, skillfully blending Soviet realism with local Ethiopian elements.

While Mansudae led the artistic vision, Soviet architect V. Savchenko served in an advisory capacity on the project. Savchenko provided valuable expertise in Soviet architectural principles and offered guidance on integrating the monument into Addis Ababa’s urban landscape. His involvement helped bridge the gap between North Korean monumental art and Soviet architectural influences.

Savchenko was known for combining modernist and brutalist styles in his work, an approach evident in the Tiglachin Monument’s design. His architectural portfolio extends beyond this project, with another notable example being the Hotel Mir in Kharkiv, Ukraine.

Historical backdrop

The Ogaden War, also known as the Ethio-Somali War, began in July 1969 when Somali forces, led by Siad Barre and initially supported by the Soviet Union, invaded Ethiopia and controlled most of the Ogaden region, including Jijiga. The tide turned on February 26, 1970, when Ethiopian forces launched a decisive counterattack at Mount Karamara.

This battle marked a turning point, with Ethiopian troops reclaiming Jijiga and ultimately forcing the Somali army to retreat. The war saw widespread participation from Ethiopians across the country, who united under the call to defend their nation’s sovereignty. Notably, 16,000 Cuban forces provided crucial support to Ethiopia during this conflict, strengthening an alliance that would later be celebrated in the monument’s design and name.

The Ethiopian Air Force played a pivotal role in the victory, significantly diminishing the Somali military’s capabilities. This hard-won triumph over external aggression became a source of national pride, leading to the erection of the Tiglachin Monument as a symbol to the sacrifices made and the international solidarity experienced during this challenging period.

Korean soldiers in Ethiopia?

While this YouTube video below offers an interesting 7-minute introduction to the monument, it makes an unsubstantiated claim about North Korean military involvement. There is no credible historical evidence of North Korean soldiers directly fighting in the Ogaden War.

While not confirmed, some sources suggest North Korea may have sent military advisors to Ethiopia, but this is significantly different from sending combat troops. It’s important to distinguish between North Korea’s artistic contribution to the monument and any alleged military involvement in the conflict itself.

Public reception & controversies

Following the fall of the Derg regime in 1991, the new government under the Ethiopian People’s Revolutionary Democratic Front (EPRDF) reassessed the monument’s significance. Its role shifted from a symbol of the communist era to a historical landmark, representing a complex and controversial period in Ethiopia’s past.

The public reception of the Tiglachin Monument has been mixed. While it is recognized as an important historical and cultural landmark, it also serves as a reminder of a controversial and repressive period in Ethiopian history.

Some view it as a symbol of national pride and international solidarity, while others see it as a relic of a brutal regime. The presence of North Korean art, donated by the Mansudae Art Studio, adds another layer of complexity and controversy and raises questions about the cultural and political implications of accepting such contributions.

Critics argue that the monument glorifies a regime marked by repression and conflict. The architectural style, though grand, may not resonate with those who suffered under the Derg’s rule. The artistic and architectural choices reflect a specific ideology that may not align with the current values and historical interpretations of many Ethiopians today.

Final words

Despite its controversial origins, the Tiglachin Monument remains a significant cultural landmark. It serves as a reminder of Ethiopia’s complex history and the international alliances that shaped its modern era. Locally, the Tiglachin Monument is a significant cultural landmark, representing a complex period in Ethiopian history.

Globally, it stands as an example of the spread of Soviet architectural and artistic influence during the Cold War. The monument’s ties to both Ethiopian and international history make it an important subject of study for understanding the cultural exchanges and geopolitical strategies of the time.