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@ -308,9 +308,9 @@ Sudan will be set free!*"[^29] Three decades of hate speech used on
generations of people was an easy and effective way to turn people
against each other. NCP promoted ethnic, religious, and social
discrimination and justified hatred and violence against minorities and
refugees. Government propaganda polarizing the country aroused distrust
refugees. Government propaganda polarized the country and aroused distrust
between different ethnic groups while emphasizing the supremacy of
Sudan\'s Arabic-speaking Muslims at the same time. Ethnic identification
Sudan\'s Arabic-speaking Muslims. Ethnic identification
has been used by al-Bashir\'s regime for decades, dividing the country
and fuelling inequality. During the civil war in Darfur, the rebel
tribes were called by the government "Black Africans". In opposition to
@ -321,7 +321,7 @@ people closer under the slogan: "We want a country free of racism!"
[^31] Young activists created a new quality of communication
and collective disobedience. No one felt excluded, and a concept of
peaceful demonstrations, so different from the terror used by the
security apparatus, appealed to all people. Perversely, al-Bashir\'s
security apparatus, appealed to all people. The opposition to al-Bashir\'s
rule formed a fertile ground for the unification of all Sudanese people
and pushed them to act as one.
@ -339,8 +339,8 @@ race-based politics that the al-Bashir regime was known for. The friends
of the young Darfurians identified them as peaceful students rather than
terrorists.[^35] In response to such a despicable attempt to spark
ethnic riots, protesters called for unification with a special message
to the government: You racist egomaniac! We are all Darfur![^36] As a
counter-narrative to the regime propaganda, artists embraced Sudan's
to the government: *You racist egomaniac! We are all Darfur!*[^36] As a
counter-narrative to the regime's propaganda, artists embraced Sudan's
cultural diversity and appreciation for uniting differences. One of the
murals by Mughira, a fine arts student, shows a series of figures
standing next to each other in traditional and contemporary clothes and
@ -441,11 +441,11 @@ Alaa Salah next to the sign: "My grandmother was a Kandaka." In a
powerful way, this picture emphasizes Sudanese women's strength.[^49] These words were also chanted during the demonstration,
empowering, and connecting generations of women walking together. On a
mural painted by artists Amir Saleh and Belal Abdelrahman it is stated:
"Our history returns back with Kandaka". It shows a woman wearing a
*Our history returns back with Kandaka*. It shows a woman wearing a
helmet and brandishing a sword for her enemies.[^50]
Sudanese artist Yasmin Elnour's Instagram account is Kandaka Khronicles.
The nickname is inspired by the Kushite queen. Her works beautifully and
harmoniously draw from Nubian traditions and combine ethnic aesthetics
harmoniously draw on Nubian traditions and combine ethnic aesthetics
with modern symbols.
![‘Kandaka Factory’. Credit: Yasmin El Nour’s aka Kandaka Khronikles. Source: https://www.instagram.com/p/B6gu7tBHds7/](../static/images/roxana/Fig14.jpg "‘Kandaka Factory’. Credit: Yasmin El Nour’s aka Kandaka Khronikles. Source: https://www.instagram.com/p/B6gu7tBHds7/")
@ -457,8 +457,8 @@ The art piece "Kandaka factory\" emphasizes the
participation of women in strikes (Figure 5). She traces the women\'s
ancestry back to the pyramids of Ancient Kush, where she placed the
factory producing all the brave Sudanese warriors. With the art piece
\'Women rights?\' Yasmin asks where are women\'s rights, and why are
Sudanese women second-class citizens? Yasmin Elnour writes on her
\'Women rights?\' Yasmin Elnour asks where are women\'s rights, and why are
Sudanese women second-class citizens? She writes on her
Instagram account: *\"A surprising status quo in the old stomping ground
of the Kandakes - Nubian Warrior Queens that fought off foreign powers
and steadfastly ruled the Kingdom of Kush. We cannot blindly accept
@ -468,8 +468,8 @@ glowing spirit of our female ancestors.*"[^51]
A collage by Mahammed Mahdi shows women in white tobes and modern
clothes marching with their fists raised in protest and as signs of
anger. Above them, in the air, as if freed and freely soaring upwards,
there is a woman in white and next to her the inscription: "Long live
the women's struggle!"[^52] The artist emphasizes women's daily battle
there is a woman in white and next to her the inscription: *Long live
the women's struggle!*[^52] The artist emphasizes women's daily battle
for equality, free speech, and fair governance (Figure 6).
![Graphic by Mahammed Mahdi reading ‘Long live the women's struggle’. Source: https://kultwatch.se/wp-content/uploads/2019/03/866BFC8F-AF67-4463-8BDA-08D5CAD648B6-760x1024.jpeg](../static/images/roxana/Fig15.jpg "Graphic by Mahammed Mahdi reading ‘Long live the women's struggle’. Source: https://kultwatch.se/wp-content/uploads/2019/03/866BFC8F-AF67-4463-8BDA-08D5CAD648B6-760x1024.jpeg")
@ -528,7 +528,7 @@ powerful and direct message: beware of women's power.
# Online Art
A new generation of young activists looks back to the Girifna movement,
A new generation of young activists looks back to the Girifna (meaning 'we are fed up') movement,
founded by students in Khartoum in 2009, for inspiration. Their fight
shifted the protest onto completely different tracks than those known
from previous uprisings. Girifna volunteers organized just before the
@ -581,7 +581,7 @@ replace public media, which had no information about this event.
The live-streaming massacre on 3 June 2019 was an unprecedented case
made possible by the courage of the protesters who shared photos and
videos in social media. Journalists producing "Africa Eye" for BBC have
collected several videos from the RSF\'s attack in a shocking short
collected several videos from the attack by RSF in a shocking short
documentary about the revolution.[^63] The documentary shows the
ruthless and planned actions of the militia and the terror of the
protesters. Live posts on Twitter reported a minute-by-minute escalation
@ -595,13 +595,13 @@ explaining the origin of the word 'kaizan' (metal mug) and why the
Sudanese use it as a name for the government (see also below). This
series is aesthetically appealing and, for those from abroad, also very
informative. Enas Satir put a broader context on Sudan's situation in a
simple and clever manner.[^64] She writes on one of her drawings: "If
Sudan was a person, it would by now be gravely ill" next to a metal cup
simple and clever manner.[^64] She writes on one of her drawings: *If
Sudan was a person, it would by now be gravely ill* next to a metal cup
('Kaizan') filled with blood.[^65]
Under al-Bashir\'s rule, any political expression was forbidden, so
artists developed a way to spread anti-government content, in an
indirect direct way. However, during the uprising, the freedom of
indirect way. However, during the uprising, the freedom of
expression replaced all restrictions, and artists finally could speak
their minds, and via social media they could reach people anywhere.
Visual and audio-visual forms of documentation attracted a larger group
@ -640,7 +640,7 @@ category.[^67]
**~~Figure 7. Adaptation of 2020 World Press Photo by Yasuyoshi Chiba. Credit: Merghani Salih. Source: https://twitter.com/Merg_Salih/status/1251875224838176771/photo/1~~**
A famous slogan appearing on social media: \"Make Sudan Great Again\",
A famous slogan appearing on social media: *Make Sudan Great Again*,
on the background of monumental buildings from the Kush period, is an
ironic comment on Donald Trump's slogan "Make America Great Again", but
it also emphasized the reliance on the powerful Sudanese ancestors
@ -657,7 +657,7 @@ Kordofan.
The global movement #BlueForSudan started in solidarity with Sudanese
martyr Mohamed Mattar, whose favourite colour was blue. An
artist known as Kandaka Khronicles, created a photomontage with a young
artist known as Kandaka Khronicles (see above), created a photomontage with a young
boy crying in a boat floating on a bloody river. It is a
homage to those killed in the crackdown and their families. The dark
blue backdrop honours Mohamed Mattar, the boy's endless tears remind of
@ -675,7 +675,7 @@ A graphic by Jaili Hajo is a collage of a viral photo made on the
streets of Khartoum. In a pickup truck used by security services lies a
protester knocked over on the car\'s back but still holding the Sudanese
flag high in the air. On the car roof, covered by the waving Sudanese
flag, stands an enormous figure of al-Bashir (Figure 29). He is not
flag, stands an enormous figure of al-Bashir. He is not
essential for the artist; his face does not even deserve to be shown; he
is only a symbol of oppression. The artist thoughtfully depicts the
sense of fear that people must have felt when faced with the armed
@ -709,13 +709,13 @@ graphic entitled 'Fallen' presents the symbolic metal cup, "Kaizan" (see
above) damaged by bullets, dropped on the ground or thrown away, thus no
longer needed.[^71] This art piece resembles a movie poster,
and as with any poster of that kind, we can find out that "Kaizan Fall"
was produced and directed by Sudanese people -- a very clever artistic
was produced and directed by Sudanese people -- a clever artistic
move. Another point of inspiration from pop culture is the reference to
the KFC restaurants: The slogan "Al-jidād al-iliktrūni" means "The
electronic chicken", and it is referring to people hired by the regime
to spread fake news on the Internet. In a satirical manner, the
revolutionaries created posters portraying Omar el-Bashir on a KFC
flyer, where KFC was replaced by KEC (Kaizan Electronic Chicken).[^72] Who is 'Kaizan'? It is a traditional mug made of steel and
flyer, where KFC was replaced by KEC (Kaizan Electronic Chicken).[^72] What is 'Kaizan'? It is a traditional mug made of steel and
called 'koz' (singular of Kaizan). There are different theories on why
Sudanese started calling the ruling party \'Kaizan'. Alshaheed Alimam
Alhassan Albana, the Muslim Brotherhood founder, once said: "*Knowledge