The National Theatre event that brought together the traditional sounds of Japanese instruments and vibrant Ethiopian melodies was a remarkable celebration of cultural diversity. Set against the backdrop of historical and cultural elements from both nations, the evening showcased the shared richness of their heritage.

Organised by the Ethiopian Art Club of Japan, led by Junko Yamamoto and Daniel Nigatu, the stage was set for a cultural celebration that transcended differences, creating a truly international atmosphere. Arriving early allowed me to explore the surroundings, taking a nostalgic journey through the legendary Lion of Judah statue, a shoeshine near Ras Hotel, and a quick stop at Addisu Tafach Pastry for a snack.

When I returned to the show, elegantly dressed ushers adorned with beautiful embroidery welcomed a diverse audience. Opening statements from the Moseb and Coderanny bands, along with officials and the Japanese Ambassador to Ethiopia, set the tone for an evening celebrating the union of two distinct musical traditions.

Japan has a long history of being an isolated island nation that managed to preserve its independence, while Ethiopia is known as the African nation that was not colonised during the scramble for Africa. I believe it paved the way to showcase their unique culture and history. While each nation has its distinct characteristics and contributions to the world, I was surprised to pick points of comparison. Both countries have a rich cultural heritage with unique traditions and customs. They both have a strong tradition of arts and crafts with tea ceremonies, ikebana (flower arranging), and calligraphy in Japan being somehow similar to Ethiopia's coffee ceremony, traditional music, dance and handwoven crafts.

Traditional clothing is an essential aspect of their cultural identity. I was at the edge of my seat as the two bands garbed in their respective cultural attires. Moseb initiated the evening with captivating traditional instruments, showcasing breathtaking dances. They elegantly hovered on the stage much to the delight of the spectators with the climax of the piece as girls performed in the extremely difficult neck-spinning manoeuvres followed by a thunderous applause.

Coderanny took the stage next, enchanting the audience with their unique blend of traditional Japanese instruments and a mesmerising vocal performance by soprano Freddi Tsukamoto. It was accompanied by the instrumental players which constituted Kazuhisa Akiyama, on the Shamisen and Plectrum (guitar), Kanako Mikado on the Fue (flute), the flamboyant Chan Yuka on the Taiko (barrel drum) and Katsumi Tanaka on the guitar. The hall once again erupted in explosive applause at the end of the first show.

When the guitarist made a brief introduction to a Japanese Coal miner's folk song called Tanko Bushi, it was a bit of a history lesson about the now-defunct industry, that was deeply entwined in the collective psyche.

To put an icing on the cake the folk song is accompanied by a distinct choreographed dance. I was captivated by the demo when asked if they were interested to learn the dance which was replied with an affirmation. As the music started and the song was played, part of the audience emulated the moves by the band on stage. It was a moment of great connection, as different nationalities fumbled to stay in line.