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“Finding Sally”: Exploring Ethiopian Archives on a Personal Quest.


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An Interview with Director Tamara Dawit

This month, we were lucky enough to exchange with the Canadian-Ethiopian director Tamara Dawit about her new documentary “Finding Sally” that premiered on the Hot Docs 2020 selection for CBC Canada in the middle of the COVID crisis.

In “Finding Sally“, Tamara Dawit explores the sudden disappearance of her aunt Sally in the summer 1973, after Sally became a communist rebel with the Ethiopian People’s Revolutionary Party (EPRP) and subsequently topped the Ethiopian government’s most wanted list. How did this young girl from an upperclass family get caught up in her country’s revolutionary fervor? How does a family process surviving the loss of someone without knowing what really happened to her?

Tamara Dawit

Going beyond the family’s quest for answers, Dawit’s film raises important questions about identity, idealism, engagement and belonging, and contributes to broadening the dialogue about this tragic time in Ethiopian History.

Thanks to a creative patchwork of family pictures and footage especially from Ethiopian Archives, Dawit paints a sensitive portrait of Ethiopia during the Red Terror in which personal trajectory meets collective history. Archive Valley was delighted to interview her about her work and her use of Ethiopian archives to tell her story.

First of all, congratulations about your film “Finding Sally”. Could you tell us about the story of your aunt Sally? Why did it remain a family secret for so long?

TD : “Finding Sally” is my investigation into the life of an aunt I didn’t know existed and 1970s Revolutionary Ethiopia the period she vanished in. Sally was a young woman who came from a privileged upper-class family who became a communist rebel with the Ethiopian People’s Revolutionary Party. Idealistic and in love, Sally got caught up in her country’s revolutionary fervour and landed on the military government’s most wanted list. She went underground and her family never saw her again.

I don’t think Sally’s existence was kept secret from me on purpose I think it was due to the pain and trauma attached with remembering her. When things are painful you can often subconsciously suppress them and in Ethiopia there is very much collective silence about what happened to many people during the revolution.

A film produced by Catbird Productions / Gobez Media

Why do you think it was the right time to tell her story and open the dialogue about this tragic time of Ethiopian collective memory?  

TD : It is important for Ethiopian audiences to release this film now especially as Ethiopia prepares for a federal election. I want to use the film as a conversation started (between generations) to reflect on the past and to learn from the past in order to move forward.

Many Ethiopian families, not only my own lost relatives who were killed, jailed or tortured under the Derg leadership and thus carry painful baggage attached to that period. In Ethiopia we need more content and discussion and remembrance to contribute to the national healing.

By doing this documentary film, what did you learn about your country and its people?

TD : I spent a lot of time researching the Ethiopian revolution and the Red Terror (period of sustained state killings) that included reading any books, reports I could find. As well as talking to many people especially those who knew my aunt or where connected to the communist group she had joined.
As a result of this I learned about the ideology of the student movement, the role of women, the gruesome details of the Red Terror, the political maneuvering of the Derg junta and also about the lasting impacts of that period today on Ethiopians and Eritreans.

Could you share some insights into how you got the film funded?

TD : The film was funded entirely in Canada via mostly broadcaster and federal film funds. In any case financing a film is a long and slow process. But I spent the time before pitching producers and applying to funds to do the full research on the films period, storyline and also available archives in order to have a clear package on how the story would be told visually.

The film shows a beautiful and realistic picture of life in Ethiopia back in the 70’s. How did you manage to visually recreate that ?

TD : In this respect I think I was lucky to have a large family archive of photos to draw upon and well a good amount of footage in the Ethiopian Broadcasting Corporation archives and some international sources to draw on.

For much of the film archive in the film we did have to work closely to in some cases totally rebuild the sound design to improve the quality of the experience. As well a lot of the Ethiopian archive is not the raw file but clips which are set against music or with voiceover which is also why we had to rebuild the sound.

Did you work with an archive researcher? Could you tell us about the collaboration between the two of you?

TD : Yes, I worked with an archive researcher in Canada to search internationally for archives and to license some of the international archives that I was already aware of. I handled the sourcing of archives from within Ethiopia. I gave the archivist a list of key date, events and images that I knew or thought may exists to search for.

Strangely the hardest archive to source diverse images of was actually Ottawa, Canada I in the late 1960s early 1970s.

How did you use archives and more specifically Ethiopian archives to bring Sally to life?

TD : We used film archives to illustrate both Ethiopia and Canada in the 1970s. This enables viewer to see the time and places that Sally lived in. I think also for many viewers this is their first time seeing such extensive images of Ethiopia in this period.

I really aimed to show how modern Addis Ababa was in the 1960s/1970s before the revolution in many cases I think looking similar to many European cities in that era. Additionally, I careful used archives to bring the viewer into the room to see the overthrow of Emperor Haile Selassie and the rule of the military junta which followed.

I also used photo archives to show Sally’s family life and childhood prior to becoming a revolutionary (after which as she lived in hiding there are no images of her) and photo to show the brutality of the state sponsored killings in Ethiopia.

You pointed the fact that it was important for you to preserve an Ethiopian point of view. Did you managed to gather all the archival material you needed in Ethiopian archives? Where did you dig?

TD : Yes, the entire film is told through the POV of Ethiopian characters and more specifically women. This is because we don’t often hear from women when telling the history of Africa and we do often hear about African history from white academics.

The situation and upkeep of Ethiopian archives is something that needs support, similar to many other African nations. We have a lot of photo, film and radio archives but the material is not well sorted, preserved or digitized. So this made for a slow process to access materials for this film but I was able to work directly with the state TV and press agency archives to gather the content which originated from Ethiopian sources.

Again like a lot of African archives it is often housed in Europe as the footage was collected by foreign governments and stringers.

Now that the documentary has been premiered, how do you plan to reach the Ethiopian audience?

TD : I am setting up a large impact campaign to support the release of the film to Ethiopian audiences in Ethiopia and in the diaspora. The film will have a short theatrical run in Ethiopia, tied to discussions and a national tv broadcast.

Part of this work is also to dub the film into more Ethiopian languages to make the film more accessible for school screenings (with a discussion guide), community group screenings and tv broadcasts in Ethiopia on regional broadcasters.

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The Right Footage

Archives and Cinema: Jerry Lewis’s Forgotten Film “The Day the Clown Cried”


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Legendary comedian Jerry Lewis, famous for roles in early color comedies such as The Nutty Professor and The Bellboy passed away August 20, 2017 at the age of 91. While well-known for his slap-stick style of Comedy and upbeat, larger-than-life persona, many are unfamiliar with Lewis’ involvement in an unreleased motion picture which he both directed and starred in. While known by an auteur by many, portraying complete control over the many collaborative projects he signed his name onto, this is one aspect of Lewis’ career that remains a mystery to many.  (más…)

Featured Archives

‘footage berlin’: Bridging East and West, Past and Present through Archives


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Can you share a little bit of history about rbb and the ‘footage berlin‘ collection? How does its history set it apart from some of the other major collections in Germany?

rbb media is the commercial side of Berlin-Brandenburg’s broadcasting arm, and we feature collections of tv programs from three archives:

The first is the rbb television archive with material from the city of Berlin and the region of Brandenburg, including TV programs from the former SFB (Radio Free Berlin) in (West) Berlin from 1955 to 2003, and from ORB, the East German broadcaster in Brandenburg after reunification from 1991 – 2003. rbb emerged from the merger of these two broadcasters in 2003 – a bridge between East and West.  (más…)

The Right Footage

A “Long Strange Trip” with Archival Producers Annie Salsich & Jim McDonnell


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Bob Weir and Jerry Garcia recording an early album in 1966. Photo courtesy of Roberto Rabanne.

The summer of 2017 marks the 50th anniversary of “The Summer of Love,” when over 100,000 people, largely consisting of post-beat-generation youth who came to be known as “hippies,” converged on San Francisco’s Haight-Ashbury Neighborhood. The summer came to be defined by experimental rhetoric against the government, experimental drugs consumed by fans and musicians alike, and experimental music, performed at festivals like the now-legendary Monterey Pop Festival by groups like The Who, The Grateful Dead, The Animals, Janis Joplin, and Jimi Hendrix. The 50th Anniversary of the Summer of Love also coincides with the Anniversary of the Grateful Dead’s exponential rise to fame, as masterfully portrayed in Amir Bar-Lev’s six-part documentary on the band, “Long Strange Trip,” executive produced by Martin Scorsese and released in January 2017.  (más…)

Archive Valley

Four ‘Historic!’ Days at the Documentary Market #SSD17


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Today, Archives in Motion looks back at the 28th edition of Sunny Side of the Doc (19th-22nd June 2017). The documentary market takes place every year at the Espace Encan, close to the harbor of La Rochelle in France, and gathers media professionals during a four-day program that includes debates, master classes, unique screenings, and for this year’s edition, the latest productions featuring historical content. The 28th edition, which was celebrated under the theme ‘Historic!’, focused on history and innovation with an emphasis on the renewal of the historical documentary genre.  (más…)