إبراهيم الحسناوي = إبراهيم الحسناوي

𝙇𝙞𝙗𝙮𝙖’𝙨 𝙖𝙣𝙨𝙬𝙚𝙧 𝙩𝙤 𝘽𝙤𝙗 𝙈𝙖𝙧𝙡𝙚𝙮 𝙘𝙧𝙤𝙤𝙣𝙨 𝙤𝙣 𝙖 𝙙𝙞𝙨𝙘𝙤, 𝙛𝙪𝙣𝙠, 𝙖𝙣𝙙 𝙧𝙤𝙘𝙠-𝙞𝙣𝙛𝙡𝙚𝙘𝙩𝙚𝙙 𝙧𝙚𝙜𝙜𝙖𝙚 𝙖𝙡𝙗𝙪𝙢, 𝙪𝙨𝙞𝙣𝙜 𝙩𝙝𝙚 𝙜𝙚𝙣𝙧𝙚 𝙖𝙨 𝙫𝙚𝙝𝙞𝙘𝙡𝙚 𝙛𝙤𝙧 𝙥𝙧𝙤𝙩𝙚𝙨𝙩 𝙖𝙜𝙖𝙞𝙣𝙨𝙩 𝙤𝙥𝙥𝙧𝙚𝙨𝙨𝙞𝙤𝙣 𝙖𝙣𝙙 𝙘𝙚𝙡𝙚𝙗𝙧𝙖𝙩𝙞𝙣𝙜 𝙋𝙖𝙣-𝘼𝙛𝙧𝙞𝙘𝙖𝙣𝙞𝙨𝙢.
“Hesnawi crafts restless grooves with evident buttressing from a reggae foundation. Highlighted across the LP is how Hesnawi essentially pioneered such an effortless synthesis between traditional Libyan music and Jamaican reggae stylings, plus the endlessly disparate funk, jazz, and disco accents which firmly situate Hesnawi in a league of his own.
In many countries, reggae was a widespread fad before its popularity gradually subsided. In Libya, however, the genre remained popular since its initial introduction in the late 1970s. Reggae’s thematic throughlines like references to Pan-Africanism, liberation, and the end of oppression and exploitation resonated—and continues to resonate—forcefully amongst a Libyan audience. To this day, you will find countless bands playing variations of the genre as are there Facebook groups with predominantly Libyan members sharing old and new reggae tracks with ten-thousands of members. And no matter who you ask, chances are high that the genre’s popularity in Libya will be largely attributed to one man: Ibrahim Hesnawi.