Music of Eritrea
Eritrea is a country in the Horn of Africa. Perhaps the most famous Eritrean musicians in history are Edris wad Amir, Ibrahim wad goret, Edris M.Ali, Zainab Bashir,Fatima Ibrahim, Engineer Asgedom Woldemichael, Wad Asheikh, Bereket Mengisteab, Yemane Baria, Osman Abderrehim, Alamin Abdeletif and Atowe Birhan Segid, some of whose music was banned by the Ethiopian government in the 1970s. Also of note is Bereket Mengistab, who has had a lengthy career, and 1960s legends Haile Ghebru and Tewolde Redda. The latter was one of the first electric guitar players in the Horn region, a singer, and reportedly a writer of the famous Eritrean independence song “Shigey habuni”, with an allegedly coded political love theme.
Eritrean music is distinguished by its unique rhythm. Modern popular stars include Wad Asheikh, Saeed salih,Fatima Ibrahim, Bereket Mengistab, Teklé Tesfa-Ezighe Tekele Kifle Mariam (Wedi Tukul), Tesfai Mehari (Fihira), Osman Abderrehim, Abrar Osman, Abraham Afwerki, Yemane Ghebremichael, Idris Mohamed Ali, Alamin Abdeletif, Tsehaytu Beraki, Atewebrhan Segid and Berekhet Mengisteab.
Modern Eritrean popular music can be traced back to the late 1960s, when the MaHber Theatre Asmara began to produce stars like Osman Abderrehim, Alamin Abdeletif, Yemane Ghebremichael (also commonly known as Yemane Baria), Jabber, Ateweberhan Seghid, Yonus Ibrahim, Tsehaytu Beraki, Tewolde Redda, Teberh Tesfahiwet and Tukabo WeldemariamTukabo.
Since then, some musicians, like kraar-player Dawit Shilan, Yohannes Tikabo(aka Wedi Tukabo), Dehab Faytinga (also commonly known as Faytinga), Asmara All Stars and Temesgen Gebreselassie (also commonly known as Taniqo) have helped to incorporate the core indigenous Eritrean musical elements in popular music. Imported styles of music from Europe, North America, and elsewhere in the Horn region, are also very popular in urban areas of Eritrea.
Traditional Eritrean Tigrinya dancing involves two main styles of dance. In the first which is called ‘quda’, the dancers form a circle and slowly circumambulator or move around in an endless circular motion to the rhythm of the music. Then, they cease the circular musical flow/motion and dance in pairs or 3’s facing each other for a short while before resuming the circular motion in a file again. During this time, they shuffle their feet to the beat of the music and bob their shoulders in a rhythmic fashion. Female dancers usually move their shoulders more than the male dancers. Towards the end, the musical tempo increases and the drum beat quickens to signal this musical crescendo. The dancers round off their dancing by facing each other in twos and threes and moving their shoulders faster. This can also involve jumping and bending one’s knees, as well as going down to the floor to sit in a squatting position while bobbing those shoulders and moving the head sideways to the strong drum beats.
In the second style of dance, two groups (often a group of men and a group of women) line up and face each other. The dance features a skipping step to the music. Periodically, the two groups will change places, dancing across the floor and passing each other in the process.
Traditional dances practiced by Eritrea’s other Afro-Asiatic communities include those by the Saho, which involve jumping on each leg in rhythm with the beat. The related Afar, Tigre, Bilen and Hidareb have similar moves. Additionally, the Rashaida also have their own unique dances.