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On October 4, 2025, a historic and deeply symbolic moment unfolded for Eritrean culture. During a solemn ceremony in Stockholm, organized by the Association of Eritreans for Culture and Art, a number of distinguished Eritrean artists were honored for their lifelong contributions. The day was more than just a ceremony—it was a reclaiming of a people’s story, a tribute to those who, through their art, have carried a nation’s dreams through struggle, exile, and the trials of time. It was a moment filled with emotion and justice.

For the first time in many years, the spotlight was turned toward the cultural figures who, for decades, have preserved Eritrea’s collective memory through music, poetry, and performing arts. These artists carried not only melodies—they carried the hopes of their people. Their works embodied cultural resistance, served as a living record of the struggle for freedom, and stood as a spiritual anchor for generations both within and beyond the homeland.

The Association as a Guardian of Heritage and FutureFöreningen Eritreaner för Kultur och Konst Formed in January 2025, in connection with a memorial dedicated to the legendary and beloved artist Osman Abdelrhim, the association emerged from conversations among a group of committed individuals who, inspired by Osman’s life’s work, recognized the need to create a platform for preserving and developing Eritrean cultural heritage. Soon, more people joined the initiative, and a meeting was called to bring the vision to life.

Forming a non-profit association is never without challenges. Yet, despite obstacles, these passionate pioneers succeeded—thanks to their determination, cooperation, and shared belief in the power and importance of culture. It is with deep gratitude that I wish to express my appreciation to the board members who took responsibility and carried out this significant and meaningful step.

The establishment of the association marks a new chapter in the history of the Eritrean diaspora. Through their work, the young generation of Eritreans demonstrates that they are ready to take on the responsibility of both preserving and renewing their cultural heritage. Their commitment is living proof that the artistic contributions and legacies of their predecessors will not be lost to the passage of time.

They understand that cultural heritage does not belong only to the past—it is a compass for the future. By honoring their predecessors, they strengthen the bonds between generations and rebuild a collective confidence that has long been suppressed. In their hands, culture is given new life, and the hope for a vibrant, dynamic, and inclusive Eritrean identity is kept alive for generations to come.

Hussien Mahammed Ali – A Legend in Eritrea’s Cultural and Political History

According to a brief interview conducted by Zein Skokai, the Eritrean artist Hussien Mahammed Ali began his musical career in the 1970s. His first known song, “ሉላ በደት ምንየ” (Lula Bedet Minye), was performed in Asmara and marked the beginning of an artistic journey that would intertwine with Eritrea’s modern history. Shortly thereafter, Hussien joined Eritrea’s liberation struggle, where his music took on a new and deeper significance—not merely as artistic expression, but as a tool for resistance, hope, and national cohesion.

In societies that have endured colonialism, war, and struggles for independence, art is rarely just a form of entertainment. Instead, it functions as a social and political instrument, a form of cultural resistance, and a lifeline for collective survival. In Eritrea, music, poetry, and theater during the liberation war (1961–1991) became central components of the fight against Ethiopian occupation.

Songs such as “ሻዓብ ኤርትራ ስብር ውደ፡” (Sha’ab Ertra Sibr Wede – “The Eritrean People Shall Prevail”) served not only as patriotic hymns but also as mobilizing calls and moral compasses. They reinforced collective identity and conveyed the message that liberation was not merely a military endeavor, but also a cultural and existential struggle.

Through such artistic expressions, language, history, and national self-perception were preserved during a time when they were at risk of being erased. For the Eritrean diaspora, forced to live in exile, music became a symbolic bridge to the homeland—a sanctuary where the sounds of home and memories of the struggle could endure. Listening to voices like Hussien Mahammed Ali and his contemporaries was, for many, a reminder of origin, suffering, and hope.

Hussien Mahammed Ali and his generation of artists can therefore be described as the chroniclers of history—not with ink, but with melodies, rhythms, and words. Their work constitutes a living archive of Eritrea’s modern history—from the fervor of liberation and the triumph of independence in 1991 to the subsequent years of trials, disappointments, and longing for reconciliation.

Hussien Mahammed Ali is thus not merely an artist, but a symbol of the resilience of the Eritrean spirit. Through his artistry, he has helped shape the nation’s collective memory and strengthen the cultural identity that continues to serve as a cornerstone for both the homeland and the diaspora.

Artist Hussein Mohammed Ali – a living national treasure and Dehab Faytinga!Public Participation and the Presence of People’s Representatives at the Event.

First and foremost, I would like to extend my heartfelt thanks to Kristina Björk, whose commitment to Eritrea has remained unwavering despite the political and social divisions that have characterized Eritrean society. It is often said that Kristina Björk demonstrated greater loyalty and dedication to Eritrea’s liberation struggle than many Eritreans themselves. Her contributions were both practical and moral—she even allowed her son, while still a teenager, to participate in the work of the ELF (Eritrean Liberation Front).

Kristina Björk was also actively involved in raising financial support for the Eritrean liberation movement through street collections and collaboration with various non-profit organizations, including ”Sida”. It is therefore my hope that the Eritrean community will one day recognize and honor Kristina Björk with an official award for her significant contributions to Eritrea’s fight for independence. The event was also attended by several prominent figures and representatives. Among them were Arhe Hamednaca, former member of the Swedish Parliament, and Negash Osman, Chairman of the ENCDC (Eritrean National Council for Democratic Change), along with numerous veterans from the former liberation movements ELF and EPLF.

In addition, many young people and ordinary citizens participated. The venue was completely full, and it had been a long time since I had witnessed such a large turnout from Eritreans at a similar event. This reflected not only the strong community engagement but also the shared longing for unity and dialogue within the Eritrean diaspora.

A Bittersweet Tribute.

The celebration carried a palpable duality—a merging of pride and sorrow. What at first appeared as a tribute to the pioneers of Eritrean culture simultaneously served as a reminder of the price many of them had to pay.

Several of the artists and cultural figures who once laid the foundations of Eritrea’s cultural identity could not attend in person. Many have passed away, others are in the final stages of life, and some have fallen silent or withdrawn after years of marginalization and personal trials under various forms of oppression.

Having their relatives step forward to receive honorary awards on their behalf gave the ceremony a special intensity—a mixture of reverence and melancholy. It became a symbolic act of posthumous recognition, an acknowledgment of lives marked by struggle, sacrifice, and often unpaid dedication to the preservation of culture. In this way, the ceremony transcended the purely festive and assumed the character of a collective act of remembrance. It created a space where the past and present met, where the cultural struggle emerged not merely as a historical process but as an ongoing moral and emotional legacy. It reminded us that cultural development rarely occurs without suffering—and that it is precisely these individual and collective experiences that shape a nation’s soul and shared self-understanding.

Summary

The honorary award ceremony on October 4, 2025, was more than just a formal event—it was a symbolic reclaiming of the story of Eritrea’s cultural struggle. It was a profound acknowledgment of the artists who, through their voices, brushes, and words, helped shape the nation’s consciousness and soul. This moment carried a special power, where history seemed to breathe in the present. Songs from the mountains and city streets in exile came together in a shared tone of gratitude and respect. It was a reminder that art, born of both suffering and love for freedom, can never truly die. It continues to live on, as a pulsating heartbeat in the nation’s collective memory.

At the same time, I wish to express my deep appreciation to the board of the Eritreans Association for Culture and Arts. Their dedicated work and strong commitment made this day possible. They have not only met the demands of the present but also laid the foundation for future development—for our children and grandchildren. We are aware that some aspects, such as event announcements in different Eritrean languages, were not completed this time. However, we see this as a valuable lesson and an opportunity to grow. With experience and collective effort, we will continue to improve and deepen our work in the future.

In conclusion, I would like to honor the board, which with dedication, patience, and collaboration, planned and executed this significant endeavor. Their work demonstrates that when we act together—with respect for our culture and history—we can create something that will endure far into the future.

October 5, 2025

Stockholm