(First published in Africa is A Country; Sept. 24, 2015)

Michela photo

Borderlines (2015) is Michela Wrong’s debut novel. Taking the perspective of a British narrator named Paula, it tells the tale of a newly-independent fictitious African nation named North Darrar, which relapses into border conflict with its neighbour. Although the country is never mentioned, Wrong’s North Darrar looks very much like the real African nation of Eritrea. The story very much seems like a fictionalized account of events and anecdotes that took place in Eritrea in the last decade, events which Wrong has written extensively on in other publications.Continue reading

(First published in Agenda for International Development Oct. 23, 2015)

PEN Eritrea\

A man reading the newspaper at the caravanserraglio in Asmara. Photo: © Andrea Moroni.


Eritrea has increasingly being known as a place of repression and tragedies in the global media, especially after the Lampadusa shipwreck disaster in October 2013. Some have dubbed the country “Africa’s North Korea” for its worst human rights record among nations, while Eritrean local refer to it as a place “where it is only safe to talk about football.”Continue reading


(First published in Arteidolia; June 2016)


Predictably, Eritrea has hit the bottom list (#180), two years in row, in World Press Freedom Index in a report compiled by Reporters Without Borders. Compounding to the absolute information control and monotonous recycling of propaganda are centralization of the arts or abating independent artists through ubiquitous censorship. Enough has been written about the media and centralization of information; therefore, I will share my firsthand account of how the body of arts and censorship operate.Continue reading

(First published in Music in Africa; March 10, 2016)

A long history of censorship, combined with the state’s comprehensive control of the arts sector, has crippled the Eritrean music industry. This unfavorable environment has forced many musicians into exile in other countries. Many of them do not return, while the young continue to flee. This text provides an overview of Eritrean music in exile.


Exiled Eritrean star Abraham Afwerki, who died tragically in 2006. Photo: YouTube


During the pre-independence and colonial era, Eritrean music was characterised by an emotional intensity that prescribed a love for life and nation. It set the tone for the nation’s struggle against repression. Shortly after Ethiopia’s illegal subjugation of Eritrea began after the second World War, Eritrean singers refused to sing as Ethiopian citizens. Haile Selassie’s rule made every effort to ban and discourage Eritrean musicians from performing in national languages such as Tigrinya, which was a source of nationalistic fervor at the time.Continue reading