Eskista: Ethiopia's Dance of the Shoulders

The band strikes up a fast rhythm: a kebero drum, a masinqo fiddle, a krar lyre, perhaps an electric keyboard. A dancer steps forward. Her feet barely move, but her shoulders begin to bounce up and down, quicker and quicker, until they seem to vibrate. Her chest pulses forward and back, and her neck slides from side to side, as if her head were floating. Another dancer joins her, facing her, matching every movement, and the audience claps, ululates and calls out encouragement. This is eskista, the shoulder dance of the Ethiopian highlands.

What is eskista?

Eskista (also spelled iskista) is an Amharic word usually translated as "dancing shoulders" or "dance". It refers to a style of dance in which the movement is concentrated in the shoulders, chest and neck, rather than in the feet and hips.

Eskista is most closely associated with the Amhara people of the north-central highlands, but shoulder dances are found among many peoples of Ethiopia and Eritrea, including the Tigray, Oromo and Gurage, each with its own style. The movements vary from region to region:

• In Amhara styles, such as the dances of Gondar and Gojjam, dancers bounce and roll the shoulders rapidly, often with sharp movements of the neck.
• In Tigrinya dances of Tigray and Eritrea, dancers often move in a circle with shoulder movements, rhythmic stepping and clapping.
• Oromo dances can feature dramatic neck and head movements, especially among women, with braided hair swinging.
• Gurage dances are known for their fast, energetic footwork as well as upper-body movement.

How it is danced

Eskista looks simple from a distance, but it requires great skill and control. Dancers must isolate the shoulders, chest and neck, moving each independently while keeping the rest of the body relatively still. Good dancers can make their shoulders move so fast that they seem to tremble.

Eskista is often performed by pairs or groups, sometimes in a friendly competition, where dancers challenge one another to move faster or more intricately. At weddings and celebrations, guests may dance in turn before the bride and groom.

Music for eskista

Eskista is danced to many kinds of Ethiopian music:

• Traditional music, played on the masinqo (single-stringed fiddle), the krar (lyre), the washint (flute) and the kebero (drum). In the cities, azmaris, the singer-musicians we described in our story on azmaris, play for dancers in small bars and clubs called azmari bets.
• Modern Ethiopian pop, which often keeps the distinctive rhythms and scales of traditional music.
• Ethio-jazz and the classic recordings of the 1960s and 1970s.

Ethiopian music is often based on pentatonic scales (five-note scales) called qenet, and on rhythms such as the chik-chika, a lively 6/8 rhythm associated with Amhara dances.

Where you see it

Eskista is everywhere in Ethiopian life:

• At weddings, the most important occasion for dancing.
• At holidays and festivals, such as Enkutatash (New Year), Meskel and Timket.
• In restaurants and clubs, especially in Addis Ababa, where cultural shows present dances from different regions.
• In the diaspora, from Washington, D.C. to London and Tel Aviv, where Ethiopian communities keep the dance alive.
• On social media, where eskista videos are popular, and on television music videos.

Meaning and history

The origins of eskista are not documented, but shoulder dances appear to have deep roots in the highlands. Some people interpret the shoulder movements as expressions of joy, strength and pride; others link them to traditional warrior dances or to agricultural and pastoral life. As with many traditional dances, meanings vary, and people dance eskista above all for celebration and community.

The dance was popularised nationally in the 20th century through radio, television, national dance troupes and the music industry of Addis Ababa. Ethiopian national theatre and dance companies presented dances from different regions on stage, bringing regional styles to new audiences.

Learning eskista

Eskista is famously difficult for beginners. The key is to relax the arms, keep the feet planted, and let the shoulders move up and down from a loose, upright posture. Teachers often say it takes practice and patience, and that the best way to learn is by dancing with others, especially at a wedding.

Why it matters

Eskista shows how much expression a human body can achieve with only a few movements, and how dance can carry identity and joy across generations and borders. From village weddings in Gojjam to nightclubs in Addis Ababa and community halls in the diaspora, the rapid bounce of the shoulders is one of the most recognisable symbols of Ethiopian culture.

Further reading

• Kay Kaufman Shelemay, "Ethiopia," in Ruth M. Stone (ed.), The Garland Encyclopedia of World Music, Vol. 1: Africa (Garland, 1998)
• Francis Falceto, Abyssinie Swing: A Pictorial History of Modern Ethiopian Music (Shama Books, 2001)