Over the last 60 years, Eritrea has fought and won a difficult battle for independence. One
\nwould think that after gaining a new found freedom a nation would promote the freedoms of its
\ncitizens, but that was not the case for Eritrea. Heavy censorship on anything the government deems as
\ntraitorous to Eritrea, it fiercely limits the kinds of media that Eritrean citizens were easily able to consume.
\nMusic is a catalyst for emotion that heavily influences the human perception and governments banning
\nspecific types and genres will cause listeners to have a warped understanding of the truth.
\nBorder disputes regarding modern-day Eritrea began around 1880 after Italy was given Eritrea
\nand Ethiopia by Egypt. Ethiopia also claimed Eritrea, and they also claimed that they were independent
\nfrom Italy. This led to high tension in the area that remained like this until after World War II when
\nGreat Britain was given control over both Eritrea and Ethiopia after Italy\u2019s loss. The land remained in
\ncontrol of Great Britain for around 14 years when it was then decided by the United Nations that the
\nterritory would be set free and allowed to rule over themselves. During this process Ethiopia claimed
\ncontrol over Eritrea despite protests from Eritreans. Not long after, the Eritrean Liberation Front was
\ncreated because Ethiopia forcefully annexed them, with help from the UN, and deprived them of their
\nautonomy.<\/p>\n
It did not take long for issues to arise among the ELF and the first Eritrean Civil War began.
\nThis conflict stemmed from internal power struggles, religious disputes, and ideological differences
\nwhich eventually led to the formation of the Eritrean People\u2019s Liberation Front. Throughout the
\nEritrean fight for freedom, these two groups had many disputes and would fight again in the second
\nEritrean Civil War where the ELF was defeated. After 30 years of fighting against Ethiopia, a vote was
\ncalled by the UN where an overwhelming majority voted for the independence of Eritrea from
\nEthiopia (FMR).<\/p>\n
Only eight years after Eritrea was granted freedom, the first official president, Isaias Afeworki,
\nbanned all independent media and allowed only state-approved media to be published. This ban
\nwas put in place just a week after 9\/11 occurred, and Afeworki used the worldwide uprise it caused to
\ntake attention off of the dictatorship that he intended to create. Now all media across the nation is
\nheavily controlled and monitored by the state. With these heavy restrictions Eritrea has only three
\nsanctioned radio stations and two sanctioned TV stations for citizens to watch (USDoS). These restrictions reach further than just media, there are also heavy restrictions on freedom of speech and religion with only four being recognized and permitted by the government. Only two years after the initial ban even more restrictions were spread orally including a ban on all Amharic music throughout the nation due to the years and years worth of disputes between the two nations (Solomon).
\nDespite the restrictions placed on media both traditional and pop music are widely popular
\nacross the nation. One of the most renowned Eritrean music artists was the the late Abraham Afewerki
\nwho was know was known for his Tigrinya \u2013 language primarily spoken in Eritrea and is found most
\noften in the highlands \u2013 music style (Zere). One of his most popular works is \u201cAbela\u201d which is a folk, pop song about love. The song tells the story of a man in love with a woman, and he has pinned over
\nher just wishing she would have given him a chance. By the end of the song it seems to have been too
\nlate. Now, all he is left with is bitter loneliness and the nostalgia of the love he still holds for her. It is
\neasy to understand why a song like this would resonate so much with the people of Eritrea. Afewerki
\nuses a calming and purposeful melody that initially leaves the listener with the impression of happiness
\nhighlighting the feelings of love that he holds. The impression from traditional African music can be
\nheard in the way Afewerki uses vibrato and trills. The Eritrean government values all media that
\npromotes the values and ideologies of the nation and songs like these that are able to incorporate
\ntraditional music with a more modern mix are crucial for them pertain the pride that many citizens
\nhave for their nation.<\/p>\n
The Eritrean government sees any media that does not pertain to their standard to be
\ndetrimental to its citizens. By heavily monitoring what information is public authoritarian nations,
\nsuch as Eritrea, are able to control the narrative by perpetuating false and propagandized information.
\nWhen particular media is orchestrated for prolonged periods of time agendas and beliefs become
\ncemented into people\u2019s minds from their developmental years shaping the way the think and view
\neverything (Dragomir). Processes like these are integral for all totalitarian governments to ensure
\ncomplete control and loyalty from its citizens. A common way that these types of governments control
\nmedia is by specifically promoting traditional music that originates from the country or from a culture
\nthat many people will deeply resonate with. Eritrea takes this to the next level where all Amharic music
\nwas banned despite the many similarities between it and the Eritrean traditional Tigrinya music. Even
\nthough the ban was not heavily enforced for around 10 years, around 2018, the Eritrean government
\nbegan to punish those who played it in public. Amharic music originates from a region in the central
\nhighlands of Ethiopia which is geographically near Eritrea. It is often characterized by its use of five
\nnote scales, as well as, a syncopated rhythm (Tegbaru). These same characteristics are also often found
\nin traditional Eritrean music. Despite these similarities, Eritrea still went through with the ban proving
\nhow at this ban was never about the music, but rather a vendetta against an nation that has been
\ndeemed as an enemy of the state.<\/p>\n
The government\u2019s restrictions were put in place as an effort to preserve classical Eritrean
\nculture from being influenced by any party that does not fit the values of the nation. An album titled
\nEritrean Classical was published in 2018 and contains many songs in the traditional style of Eritrean
\nmusic that suit the government\u2019s values. One such song is \u201cMiskin Wad Amir\u201d. This song, composed
\nby Idris Wad Amir, relies on many different instruments such as the krar and the kebero drum. The
\nkrar is a bowl-lyre important to both Eritrean and Ethiopia and can be played by plucking or
\nstrumming. Kebero drums are a two headed drum and one side is larger, often representing the divinity
\nof god, while the smaller side often represents humanity highlighting how religion is integrated into
\neveryday culture (Ahadu Studios). \u201cMiskin Wad Amir\u201d also invokes a feeling of happiness through
\nIdris Wad Amir\u2019s use of a syncopated rhythm and a catchy melody leaving a lasting impression on any
\nfirst-time listener.<\/p>\n
Music education is utilized by many nations worldwide as a method to teach young children.
\nThere are many benefits to music education as it teaches discipline while also increasing
\nneuroplasticity and brain function (Kraus). This approach is on the rise in Eritrea and foundations like
\nthe ELCE School of Music are working primarily on modern musical instrument practice (In-House
\nEast Africa). Programs like these will work to instill the value of classical music and other Eritrea media
\nonto children and these feelings will most likely stick with them for the rest of their lives. While
\nimportant to overall education, programs like these can also be used as a form of propaganda. In other
\ncountries\u2014like North Korea, Russia, or China\u2014classical music is taught as the right type of music
\nwhile simultaneously pushing down more experimental and nontraditional styles. This is done as a
\nmeans of preserving culture from negative influences as deemed by each nation. Due to the heavy
\ncontrol and censorship of media, as music education develops, Eritrea may begin to use this method
\ndue to its success in other totalitarian countries leading to the indoctrination of citizens from their
\nmost developmental years.<\/p>\n
Even though it may seem that Eritrea inflicts these restrictions without imposition, there are
\nmany Eritrean people who are standing up to the government\u2019s censorship. Within the last ten years,
\nthere has been a mass diaspora of emigrants due to the nation\u2019s leadership and policies. Eritrean already
\nhas a significantly smaller population compared to that of the rest of the world, and it is estimated that
\naround one-third of Eritrea\u2019s natural born population, which is around 6 million, live abroad (Poole).
\nMany of whom leave to seek asylum from the severe repression of human rights.
\nThe diaspora led to many people of different professions and cultures to flee to a safer country.
\nOne of the primary professions that left during the diaspora was the nation\u2019s artists and musicians.
\nSpecifically, President Afeworki\u2019s heavy restrictions on what arts can be published pushed many of
\nthese artists to their breaking point causing them to flee. While the music that comes from inside the
\ncountry focuses more on love and happiness, the music of those who have fled tells a different story.
\nThese songs focus more on revealing the true nature of the Eritrean government. Even though, both
\ntypes of music rely on the same style and instruments, like Amharic music, songs of a more progressive
\nnature are banned from being played in the country. One such song \u2013 composed by Mihreteab
\nMichael, Andit Okbay, Kiflom Yikealo, Haile Gezu, Luam Kiflom and the Chura Band \u2013 titled
\n\u201cNguyeyelu\u201d or \u201clet\u2019s make a run for it\u201d discusses Eritrea now and attempts to empower the youth to
\nfight together to make a change. Deep lyricism is one of the most popular forms of communication
\nfrom these types of musical artists, and it is utilized as a way of promoting reflection about who you are
\nand who your country wants you to be. In the lyrics they urge young listeners to do something with
\ntheir lives and to not waste it nor let themselves be suppressed of basic human rights (AIM). Songs like
\nthese can have a major impact on young audiences who have only ever known what their countries have
\ntaught them. Critical thinking and proper judgements can be made individuals once they have been
\nable to see the reality they live in, not just the fabricated world that has been created for them.
\nMusic is an artform that can be used in a myriad of ways to both hide or reveal the truth.
\nWhich approach used relies primarily on the person or party in control of it. Music is entwined so
\nremarkably deep in the human brain allowing it to cause a listener to feel any particular way the song
\nwants. Because of this when fascist regimes come to power one of the first things they do is constrain
\nthe media that citizens are allowed to consume. The Eritrean government has followed this model
\nindicating that they view all non-state media to be a negative influence toward their citizens and what
\nthe government wants them to believe. By eliminating outside contact and media they can create an
\necho chamber praising the nation relentlessly, regardless of what the truth actually is. The right to art
\nand self-expression is one of the fundamental human rights that everyone, no matter who or where
\nthey are, should be able to possess.<\/p>\n
Works Cited
\n\u201cEthiopia-Eritrea: Statelessness and State Succession – Forced Migration Review.\u201d Forced Migration
\nReview, 27 Aug. 2024, www.fmreview.org\/southwick\/.
\n\u201cEritrea \u2013 20 Years of Dictatorship, Two Decades with No Independent Media | RSF.\u201d Rsf.org,
\nrsf.org\/en\/eritrea-20-years-dictatorship-two-decades-no-independent-media.
\n\u201cEritrea – United States Department of State.\u201d United States Department of State, 20 Mar. 2023,
\nwww.state.gov\/reports\/2022-country-reports-on-human-rights-practices\/eritrea\/.
\n\u201cHistory of Eritrea | Events, People, Dates, Map, & Facts | Britannica.\u201d Www.britannica.com,
\nwww.britannica.com\/topic\/history-of-Eritrea.
\nPoole, Amanda. \u201cSevere Repression in Eritrea Has Prompted Decades of Exodus.\u201d
\nMigrationpolicy.org, 7 Apr. 2025, www.migrationpolicy.org\/article\/eritrea-refugees-repression.
\nSolomon, Salem. \u201cIn Eritrea, What\u2019s Unsaid Is as Important as What\u2019s Said. | Africa Talks.\u201d
\nAfrica-Talks.com, 12 Feb. 2013,
\nwww.africa-talks.com\/2013\/02\/12\/in-eritrea-whats-unsaid-is-as-important-as-whats-said\/.
\nAccessed 29 Mar. 2026.
\n\u201cServices 2.\u201d Ahadu Studios, www.ahadustudios.com\/instruments.
\nStaff, AI. \u201cThe Flourishing Resistance Songs of Eritrea.\u201d [AIM] Asmarino Independent Media, 28
\nJuly 2017, asmarino.com\/articles\/151-video\/4935-the-flourishing-resistance-songs-of-eritrea.
\nAccessed 24 Apr. 2026.
\nHouze 8
\nTegbaru, Dawit. \u201cEthiopian Music Modes (Ki\u00f1it).\u201d \u12e8\u12a2\u1275\u12ee\u1335\u12eb \u1219\u12da\u1243, 16 July 2022,
\nmusic-of-ethiopia.pubpub.org\/pub\/v1v1u0fy\/release\/2.
\nYohannes Gedamu. \u201cEthiopia and Eritrea Are on Edge Again: What\u2019s behind the Growing Risk of War
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\ndemocracyinafrica.org\/ethiopia-and-eritrea-are-on-edge-again-whats-behind-the-growing-risk-
\nof war\/.
\nZere, Abraham T. \u201cWhatever Happened to Afwerki\u2019s Comely Face? Eritrean Music in an Age of
\nYouTube | African Arguments.\u201d African Arguments, 13 Feb. 2018,
\nafricanarguments.org\/2018\/02\/whatever-happened-to-afwerkis-comely-face-eritrea-music-in-a
\nn-age-of-youtube.<\/p>\n