Abubakar Asheikh: an Eritrean musical icon in 60s Ethiopia

Abubakar was born and raised in Keren in the mid-1930s, during a pivotal period in the nation’s history: the end of Italian colonial rule and the beginning of British administration. From a young age, he was captivated by music. The gramophone in his household may have exposed him to western music, while Sudanese soldiers accompanying the British forces introduced him to Sudanese music. His sole ambition in life was to become a musician. However, his conservative Muslim family, with ties to the nobility of Habab, opposed his passion for music. At the time, music as a profession was culturally frowned upon. Despite this, he was resolute in pursuing his dream, regardless of the cost. Abubakar was known for his kindness, often caring for his extended family and showing concern for his employees and customers, even those who had overindulged by the end of the night at his nightclub in Addis Ababa.

As a young boy, he was a mischievous adventurer, unafraid to stand up to those who mistreated him, including teachers he held in disdain.

Abubakar’s narration provides valuable insight into the experiences of the local population during the intense and strategically significant Battle of Keren (Cheren), which took place from 3 February to early April 1941. This conflict involved British, Indian, Free French Forces, and the Sudan Defence Force opposing the Italian colonial army, supported by Eritrean Askari. The Battle of Keren was a crucial episode in the Allies’ campaign against the Italian occupiers in Eritrea. Thousands of men from both sides fought across steep gorges and mountain passes, vying for control of the roads leading to the city and, ultimately, the path to the capital, Asmara. On the outskirts of Keren lies the Keren War Cemetery, maintained by the Commonwealth War Graves Commission (CWGC). It remains the sole enduring reminder of the conflict and one of the earliest structures established after the Second World War. Adjacent to the rows of headstones stands the Keren Cremation Memorial, which honours Indian soldiers who were cremated in accordance with their faith and are commemorated by name.

Abubakar sheds light on the experiences of the local population during the war, as they hid from relentless air raids and sought refuge in nearby villages. The once-dominant Italian soldiers, now desperate, begged for civilian clothes and occasionally resorted to threats to secure food as they attempted to flee to Asmara. The city was littered with lifeless bodies, and its inhabitants found themselves trapped in the conflict between two European powers waging war on their land.

Abubakar first encountered the Oud, a traditional stringed musical instrument prominent in Sudanese, Middle Eastern, North African, and Eastern Mediterranean music, in Keren, likely through Sudanese soldiers who accompanied the British forces. He fell deeply in love with the instrument. Abubakar’s grandmother used to call him Sendelay in Tigrait, meaning “Gift of Incense,” which later became the title of a book written by his American wife, Judith, in 2004. He narrated its contents to her. Abubakar met Judith in Addis Ababa, where she worked as a secretary in the office of Saleh Hinit, an Eritrean who served as Ethiopia’s Minister of Post and Telecommunications. This encounter took place during the Derg’s takeover in 1974. Abubakar’s first wife, Almaz, was from Asmara, and together they had several children.

During his teenage years, Abubakar relocated to Asmara, where he showcased his talents at the Odeon and Asmara theatres. He was selected to provide Oud background music for the film Eva Nera, which was shot in Asmara by an Italian film company.

Abubakar’s talent caught the attention of the producers, who were so impressed that they offered to help him enrol in a music school in Italy. With this opportunity in mind, Abubakar set out for Massawa, intending to board a ship to Italy. However, his elder brother became aware of his plans and intervened to stop him.

Abubakar provides valuable insight into the early human trafficking routes and operations used to reach Saudi Arabia. In search of better opportunities, Abubakar departed from Massawa, crossing the Red Sea to Saudi Arabia aboard a sambuk, a traditional wooden vessel. The boatman charged five British pounds for the two-day journey, which took them to Jazan. After a two-day rest, they paid 12 Yemeni rials to join a camel caravan on foot to Jeddah.

After eighteen months, Abubakar returned to Massawa by ship, where he entertained locals for a time before heading back to Asmara. However, with the formation of the Eritrean Liberation Front (ELF) and the rise of guerrilla activities in the city, musicians faced increasing challenges as Ethiopia imposed censorship on songs in Eritrea. Abubakar relocated to Addis Ababa with others to continue his music career.

Some of these artists went on to compose major hits for Tilahun Gessese, Buzunesh Bekele, and Mahmoud Ahmed. It was Abubakar who discovered Mahmoud Ahmed’s talent when he was working as a shoe-shine boy outside one of the clubs where Abubakar performed. He later introduced Mahmoud to the Imperial Bodyguard Band. According to the book, Abubakar composed more than 300 songs, including marches for the Imperial Guard such as Shegietou (“Sweetheart of My Life”).

He performed with the Imperial Bodyguard Band not only in Addis Ababa but also travelled with the band to Russia, China, and Japan, accompanying the emperor. Other Eritrean artists who performed in the Imperial Bodyguard Band included Girmay Solomon and Colonel Girmay Hadgu, both of whom also composed several songs.

In Addis Ababa, Abubakar’s talent was recognised by Eritrean Colonel Girmay Hadgu, a member of the Imperial Guard who had served in the Ethiopian contingent in Congo. Girmay introduced him to General Mengistu Neway, the Commander of the Ethiopian Imperial Guard, and to Girmamye Neway, who had returned from Jijiga and was seeking musicians proficient in Arabic music. Both tested Abubakar’s musical abilities on the violin, mandolin, guitar, and Oud.

He blended Sudanese music with Ethiopian melodies, impressing his audience with his skills. They asked Colonel Girmay Hadgu how much they should pay him. Girmay suggested they match his own salary of 150 Birr per month, and they agreed. According to Abubakar, Tilahun was earning 100 Birr at the time. The Neway brothers, who had recognised Abubakar’s talent, later spearheaded a failed coup against Emperor Haile Selassie in 1960. Both were leftists aiming to transform Ethiopia into a modern state. Following the coup’s failure, they were executed by the emperor.

On his first day as a civilian working with the Ethiopian Imperial Guard, Abubakar composed the melody for his first hit, My Eyes Always Follow You. It is believed to be Wub Ainama, a song with a distinctive style and rhythm that was quite innovative at the time. The song was sung by Tilahun Gessese. Mengistu Neway summoned Abubakar to his office, rewarded him with a bottle of whiskey, and gave him a bonus of 80 Birr for the song.

Abubakar’s other melodies include Yefikir Shemani (Weather of Love), sung by Buzunesh Bekele; Hiwetye Anchi Bemohonesh (You Are My Life), performed by Tilahun Gessese; Ingudaye Nesh (You Are the Fruit of My Life), also sung by Tilahun; Gara Ser New Betish (You Live by the Mountain), performed by Teshome Meteku; Kefu Ayenkash (May Nothing Harm You), sung by Tilahun; and Ingudaye Nesh (You Are My Mother), among many others.

In July 1978, after the Derg’s takeover made life increasingly difficult, Abubakar and his family left Addis Ababa for the United States. Before their departure, they sold the Venus Night Club. Through the book, we gain a glimpse of the hardships faced in Addis during the Red Terror period.

The book is a fascinating account of Abubakar’s musical career, his contributions to Ethiopian music, and his reflections on key historical developments. It provides insights into Eritrea during the early 1940s to the early 1960s and Ethiopia during the reign of Haile Selassie and the early years of the Derg.

Abubakar passed away in the United States on 2 November 2000.