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Shadey Festival in Sekota: Agaw Women Reclaim Heritage Amid Cultural Marginalisation
Sekota, Wag Himra Zone
As the sun rose over the hills of Wag Himra Zone, the streets of Sekota burst into color, music, and movement. The Shadey festival, celebrated annually from August 22 to 25, is more than a cultural gathering; it is a powerful assertion of Agaw identity in a country where minority cultures often struggle to be heard.
Shadey, named after the tall grass tied around young women’s waists, is both adornment and symbol fertility, vitality, and a deep connection to the land.
But beyond its beauty, the festival is an act of cultural resistance. For centuries, the Agaw people, one of Ethiopia’s oldest ethnic groups, have faced political marginalisation, their language and traditions overshadowed by dominant national narratives. Today, Shadey stands as a living declaration that their heritage endures.
The festival is unmistakably youthful and female-led. Girls twirl through Sekota’s streets, grass swaying, voices singing songs passed down through generations. In a country where women’s public presence is often constrained, Shadey allows Agaw women to occupy the centre stage not as passive participants in culture, but as active custodians of their collective memory. Elders watch proudly, aware that each dance step and melody is a small act of defiance against cultural erasure.
Sekota’s communal celebrations dances, music, feasts, and intricate beadwork also highlight the political stakes of cultural preservation. Minority groups like the Agaw face pressures from both centralisation and neglect, with many traditions fading as younger generations migrate to urban centres. Shadey is a rare public assertion of identity, a reminder that cultural survival is inseparable from political visibility.
Yet the festival’s authenticity is now under threat. In a controversial move, some Amhara elites have begun to celebrate Shadey in towns such as Bahirdar places where the festival has never historically been observed. Critics argue that these attempts are less about appreciation and more about cultural reclamation, erasing the Agaw origins of the festival and replacing it with an imitation disconnected from its history. Local observers note that many participants in these new celebrations lack understanding of the rituals, dances, and symbolic significance, highlighting a deeper disregard for Agaw cultural heritage.
Shadey in towns such as Bahirdar places where the festival has never historically been observed
“This is not just a festival,” says an elder observing the celebrations in Sekota. “It is a statement: we exist, we matter, and our culture will not disappear quietly.” In this light, Shadey transcends festivity it becomes a subtle but firm political act, challenging Ethiopia to recognise and protect the rich tapestry of minority traditions that define its history.
As the sun sets over Sekota, the laughter, song, and movement leave an impression that resonates beyond the town. Shadey is not just a celebration of heritage; it is a quiet but unmistakable demand for recognition, a protest against cultural marginalisation, and a declaration that the Agaw people will continue to assert their rightful place in Ethiopia’s cultural and political landscape.
