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@ -157,15 +157,26 @@ Entry in Khartoum of a train from Atbara full of people chanting: "*The
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dawn has come, Atbara has arrived*" has become one of the 2018-2019
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revolt symbols. This event is also a reference to the October 1964
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strike, when citizens from Kassala boarded their freedom train to
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Khartoum to help oust General Abbūd from power (Figure 2).[^15] One of
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Khartoum to help oust General Abbūd from power.[^15]
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**~~Figure 1: 'Train'. Credit: Mounir Khalil. Source: https://twitter.com/TheMantle/status/1166501152537620480~~**
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One of
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the most recognizable images of the train is the art piece by Mounir
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Khalil (Figure 3), which captures the joy of the people on the train and
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Khalil (Figure 1), which captures the joy of the people on the train and
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the tense anticipation of the crowd gathering at the tracks.[^16]
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Hussein Merghani (Figure 4) immortalized this moment in a painting
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Hussein Merghani (Figure 2) immortalized this moment in a painting
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showing hundreds of people welcoming the train filled with waving flags.
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Merghani's painting exudes strength, energy, and a sense of community --
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it reflects the atmosphere in Sudan during the revolution.[^17]
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**~~Figure 2: 'Freedom Train'. Credit: Hussein Merghani. Source: https://www.usip.org/blog/2020/11/how-art-helped-propel-sudans-revolution~~**
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Protests broke out in Sudan in December 2019, calling for the stepdown
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of President Omar al-Bashir and his regime.[^18] In particular, large
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numbers of young people, especially women, took to the streets. The
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@ -202,13 +213,17 @@ civil society during the protests. Even threats of arrest and attacks on
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protesters did not stop Sudanese citizens from going out in the streets.
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The dramatic situation in which the Sudanese found themselves and the
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exhaustion of their trust in the government is shown in Khalid Albaih's
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artwork (Figure 5).[^20] In his graphic, people are queuing for bread
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artwork (Figure 3).[^20] In his graphic, people are queuing for bread
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and other necessities and this queue ends with a bomb. The graphic is
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inspired by everyday life because people are forming a tight queue.
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There is already a fuse lit at the end of the queue, illustrating that
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citizens' patience has its limits, that the process of social awakening
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has already started, and that there is no turning back.
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**~~Figure 3: Cartoon by Khalid Albaih. Source: https://kultwatch.se/wp-content/uploads/2019/03/KhalidAlbaih_QueuingBomb_Sudan.jpg~~**
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In the face of widespread frustration and anger, president al-Bashir
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dissolved the government and appointed military officers in its place to
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avoid stepping down from power. However, on April 10, a military coup
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@ -303,7 +318,7 @@ them, the Sudan army was identified as Arabs.[^30] Attempts to implement
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the same ethnical division on young people impacted the social response
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and became a double-edged weapon. The opposite, as expected, brought
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people closer under the slogan: "We want a country free of racism!"
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(Figure 6)[^31] Young activists created a new quality of communication
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[^31] Young activists created a new quality of communication
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and collective disobedience. No one felt excluded, and a concept of
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peaceful demonstrations, so different from the terror used by the
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security apparatus, appealed to all people. Perversely, al-Bashir\'s
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@ -329,8 +344,7 @@ counter-narrative to the regime propaganda, artists embraced Sudan's
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cultural diversity and appreciation for uniting differences. One of the
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murals by Mughira, a fine arts student, shows a series of figures
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standing next to each other in traditional and contemporary clothes and
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headgear -- symbolizing participation in protests regardless of origin
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(Figure 7).[^37]
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headgear -- symbolizing participation in protests regardless of origin.[^37]
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Racism in Sudan is a complex issue due to the mixture of various
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populations. Deep-rooted racism, discrimination, and intolerance are the
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@ -364,7 +378,7 @@ the perception of social divisions by the Sudanese themselves. There is
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no consent to racist propaganda in these artworks.
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On 8 April 2019, Lana Haroun took the photo of Alaa Salah in front of
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the military headquarters in Khartoum (Figure 8). The iconic photo shows
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the military headquarters in Khartoum. The iconic photo shows
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Alaa Salah standing on the car's roof, with her hand up, leading the
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chant and making the crowd cheer together.[^43] Alaa Salah was then a
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22-year-old architecture student who advocated for women\'s rights. Her
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@ -400,11 +414,11 @@ Ali Hamra's cartoon where Alaa Salah replaced the Statue of Liberty on
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the pedestal, al-Bashir runs away in panic upon seeing her. Kesh Malek's
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mural presents Alaa Salah standing among the flashes of mobile phones
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commemorating the event with a slogan next to it: "*Liberty is not a
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statue anymore. She is alive with flesh and blood"* (Figure 9). In an
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statue anymore. She is alive with flesh and blood"*. In an
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impressionist manner, a painting by Fatima Abdullahi shows Alaa Salah
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raising her arm in the air amidst a mostly female crowd of protesters,
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holding their phones with a flashlight, which creates a magical glow and
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gives the picture a nearly mystical expression (Figure 10). Of course,
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gives the picture a nearly mystical expression. Of course,
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Alaa Salah is one of the thousands of women taking part in the
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revolution, standing up against uniformed men. However, this image
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became viral, and Alaa Salah became an icon of the revolution, a symbol
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@ -416,20 +430,19 @@ the streets again when needed.[^47]
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**~~Figure 11. An adaptation of Bint El Sudan perfume label. Credit: Amado Alfadni. Source: https://twitter.com/shambat2000/status/1251838673362001921/photo/1~~**
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**~~Figure 4. An adaptation of Bint El Sudan perfume label. Credit: Amado Alfadni. Source: https://twitter.com/shambat2000/status/1251838673362001921/photo/1~~**
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A unique adaptation of Alaa Salah as
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"The scent of the revolution" was created by artist Amado Alfadni
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(Figure 11). He transformed Sudan's iconic Bint El Sudan perfume label
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(Figure 4). He transformed Sudan's iconic Bint El Sudan perfume label
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into a clever revolutionary message.[^48] A billboard with a photo of
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Alaa Salah next to the sign: "My grandmother was a Kandaka." In a
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powerful way, this picture emphasizes Sudanese women's strength (Figure
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12).[^49] These words were also chanted during the demonstration,
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powerful way, this picture emphasizes Sudanese women's strength.[^49] These words were also chanted during the demonstration,
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empowering, and connecting generations of women walking together. On a
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mural painted by artists Amir Saleh and Belal Abdelrahman it is stated:
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"Our history returns back with Kandaka". It shows a woman wearing a
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helmet and brandishing a sword for her enemies (Figure 13).[^50]
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helmet and brandishing a sword for her enemies.[^50]
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Sudanese artist Yasmin Elnour's Instagram account is Kandaka Khronicles.
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The nickname is inspired by the Kushite queen. Her works beautifully and
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harmoniously draw from Nubian traditions and combine ethnic aesthetics
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@ -437,11 +450,11 @@ with modern symbols.
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**~~Figure 14. Figure 14: ‘Kandaka Factory’. Credit: Yasmin El Nour’s aka Kandaka Khronikles. Source: https://www.instagram.com/p/B6gu7tBHds7/~~**
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**~~Figure 5: ‘Kandaka Factory’. Credit: Yasmin El Nour’s aka Kandaka Khronikles. Source: https://www.instagram.com/p/B6gu7tBHds7/~~**
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The art piece "Kandaka factory\" emphasizes the
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participation of women in strikes (Figure 14). She traces the women\'s
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participation of women in strikes (Figure 5). She traces the women\'s
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ancestry back to the pyramids of Ancient Kush, where she placed the
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factory producing all the brave Sudanese warriors. With the art piece
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\'Women rights?\' Yasmin asks where are women\'s rights, and why are
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@ -457,13 +470,16 @@ clothes marching with their fists raised in protest and as signs of
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anger. Above them, in the air, as if freed and freely soaring upwards,
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there is a woman in white and next to her the inscription: "Long live
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the women's struggle!"[^52] The artist emphasizes women's daily battle
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for equality, free speech, and fair governance (Figure 15).
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for equality, free speech, and fair governance (Figure 6).
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**~~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~~**
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Artist Alaa Satir focused on the socio-political aspects of women\'s
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lives in Sudan. Her series of cartoons, \"*We are the revolution*\",
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honours female protesters\' centrality in uplifting and sustaining the
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resistance through their strength, courage, and commitment (Figure
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16).[^53] In her graphic, she also refers to Sudan\'s Independence Flag,
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resistance through their strength, courage, and commitment.[^53] In her graphic, she also refers to Sudan\'s Independence Flag,
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which no longer represents the state. Gaafar Nimeiry replaced this flag
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with the tricolor black-white-red flag with a green triangle at the
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hoist in 1970. The Independence Flag, as seen on the Alaa Satir
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@ -482,11 +498,11 @@ the enormous influence of women who took the fight to the streets and
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for whom giving up is not an option. One of the murals with the
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inscription: 'We are the revolution, and the revolution continues'
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portrayed women in traditional clothes with their hands raised and their
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fists clenched in a gesture of victory (Figure 17).[^55] Another mural,
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fists clenched in a gesture of victory.[^55] Another mural,
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painted on a blue background, shows a woman with a raised hand in a sign
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of victory with slogans next to this like: 'Freedom, peace, and
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justice', 'Tasqut Bas' and 'Ladies, stand your ground; this is a women's
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revolution' (Figure 18). The artist writes about the events in Sudan:
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revolution'. The artist writes about the events in Sudan:
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"*We are not here just to overthrow a political regime but the corrupt
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social system that came along with it, that targeted women and used all
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techniques to try and push them backwards!*"[^56]
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@ -499,8 +515,7 @@ embodiment. The character is deeply rooted in Sudan folklore -- Habouba,
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grandmother and caretaker. He adopted a photo of an older woman in a
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traditional headdress, with a calm expression on her face, curious eyes,
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and a face bearing traces of work and time -- like Sudan itself, tired
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and aged but still with a sparkle in the eyes looking to the future
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(Figure 19). This video mosaic is available online and even now makes an
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and aged but still with a sparkle in the eyes looking to the future. This video mosaic is available online and even now makes an
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unforgettable impression on the onlooker.[^57]
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An anonymous female artist who adapted Banksy's \'Mona Lisa with rocket
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@ -508,7 +523,7 @@ launcher\' created a mural deeply inspired by pop culture. After all,
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Banksy\'s London mural was referring to Da Vinci\'s 'Mona Lisa'. The
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mural in Khartoum shows a figure whose outline resembles Banksy's 'Mona
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Lisa', but her face is that of a Sudanese woman with a scarf on her head
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and a rocket launcher in her hands (Figure 20). This simple image has a
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and a rocket launcher in her hands. This simple image has a
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powerful and direct message: beware of women's power.
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# Online Art
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@ -559,7 +574,7 @@ the lack of information about the situation in the country in the media.
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In his collages, he compares public television news with photos from
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protests, showing how the reality on the streets of Khartoum is
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diametrically different from government propaganda broadcasted on
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television (Figure 21).[^62] In one of his collages, we see people
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television.[^62] In one of his collages, we see people
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injured after the June 3 2019 crackdown. In a manner, such artworks
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replace public media, which had no information about this event.
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@ -582,7 +597,7 @@ series is aesthetically appealing and, for those from abroad, also very
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informative. Enas Satir put a broader context on Sudan's situation in a
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simple and clever manner.[^64] She writes on one of her drawings: "If
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Sudan was a person, it would by now be gravely ill" next to a metal cup
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('Kaizan') filled with blood (Figure 22).[^65]
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('Kaizan') filled with blood.[^65]
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Under al-Bashir\'s rule, any political expression was forbidden, so
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artists developed a way to spread anti-government content, in an
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@ -615,43 +630,46 @@ We can distinguish references to the history of Sudan, be it ancient
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(the kingdom of Kush) or more modern (independence and earlier
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revolutions). For example, a collage by Merghani Salih with a young boy
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reciting poetry during protests superimposed on Kushite pyramids refers
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to the ancient history of Sudan (Figure 23). It is an adaptation of the
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to the ancient history of Sudan (Figure 7). It is an adaptation of the
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photo entitled 'Straight Voice,' a powerful image made by Yasuyoshi
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Chiba, who won World Press Photo in 2020, in the Photo of the Year
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category.[^67]
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**~~Figure 23. Adaptation of 2020 World Press Photo by Yasuyoshi Chiba. Credit: Merghani Salih. Source: https://twitter.com/Merg_Salih/status/1251875224838176771/photo/1~~**
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**~~Figure 7. Adaptation of 2020 World Press Photo by Yasuyoshi Chiba. Credit: Merghani Salih. Source: https://twitter.com/Merg_Salih/status/1251875224838176771/photo/1~~**
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A famous slogan appearing on social media: \"Make Sudan Great Again\",
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on the background of monumental buildings from the Kush period, is an
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ironic comment on Donald Trump's slogan "Make America Great Again", but
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it also emphasized the reliance on the powerful Sudanese ancestors
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dominating in north-eastern Africa during the Kushite period (Figure
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24). The people of ancient Nubia were captured as slaves by Egypt. Then
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dominating in north-eastern Africa during the Kushite period. The people of ancient Nubia were captured as slaves by Egypt. Then
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the power dynamics between Nubia and Egypt shifted, and Kush ruled Egypt
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as pharaohs of the 25^th^ Dynasty (about 747--656 BCE). Thus, art
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as pharaohs of the 25th Dynasty (about 747--656 BCE). Thus, art
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teaches history; the Sudanese cannot live in chains, and they are
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capable to regain their freedom. Ben Jones, with his artworks, alludes
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to modern times in world history. His graphics portray al-Bashir and his
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military allies as Nazis (Figure 25). It is a powerful and terrifying
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military allies as Nazis. It is a powerful and terrifying
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combination, but it is indisputably associated with the racist rhetoric
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of the NCP authorities and the genocide committed in Darfur and
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Kordofan.
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The global movement #BlueForSudan started in solidarity with Sudanese
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martyr Mohamed Mattar, whose favourite colour was blue (Figure 26). An
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martyr Mohamed Mattar, whose favourite colour was blue. An
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artist known as Kandaka Khronicles, created a photomontage with a young
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boy crying in a boat floating on a bloody river (Figure 27). It is a
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boy crying in a boat floating on a bloody river. It is a
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homage to those killed in the crackdown and their families. The dark
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blue backdrop honours Mohamed Mattar, the boy's endless tears remind of
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the ongoing aggressions against peaceful protesters. Also, 'Blue Night'
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by Mounir Khalil, an impressionist painting, shows people waving flags
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against a starry sky background. It is a beautiful art piece full of
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tranquillity and dedicated to those fallen during the uprising (Figure
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28).
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8).
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**~~Figure 8: 'Blue Night'. Painting by Mounir Khalil. Source: https://pl.pinterest.com/pin/635992778614196359/s~~**
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A graphic by Jaili Hajo is a collage of a viral photo made on the
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streets of Khartoum. In a pickup truck used by security services lies a
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@ -671,25 +689,25 @@ brother, people worldwide were shocked and mobilized against the
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impunity of the security services in Sudan. Artists decided to react
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too.[^69] The 'Hanz' graphic designer on his Twitter account condemned
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this event and asked for public support to the mother of the two boys,
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one of which was still in intensive care at the hospital (Figure 30).
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one of which was still in intensive care at the hospital (Figure 9).
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**~~Figure 30. Death 3-year-old boy Muayed Yasir. Credit: Hanz. Source: https://twitter.com/mr_hanzala/media~~**
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**~~Figure 9. Death 3-year-old boy Muayed Yasir. Credit: Hanz. Source: https://twitter.com/mr_hanzala/media~~**
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Mustafa Alnasry created a poignant graphic of Bashir dancing on stage
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during his '1 Million People March' organized to underline people\'s
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support for the government. Alnasry shows the coldly calculated dance of
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the President, posing as a kind leader, at the same time, ruthlessly
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attacking peaceful resistants (Figure 31).[^70]
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attacking peaceful resistants.[^70]
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Drawings inspired by pop culture reached the most remarkable popularity
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online. For example, in the work of Ibrahim Jihad (known as hxmaside),
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there is a reference to the Transformers' universe of the DC comics. His
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graphic entitled 'Fallen' presents the symbolic metal cup, "Kaizan" (see
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above) damaged by bullets, dropped on the ground or thrown away, thus no
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longer needed (Figure 32).[^71] This art piece resembles a movie poster,
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longer needed.[^71] This art piece resembles a movie poster,
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and as with any poster of that kind, we can find out that "Kaizan Fall"
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was produced and directed by Sudanese people -- a very clever artistic
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move. Another point of inspiration from pop culture is the reference to
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@ -697,8 +715,7 @@ the KFC restaurants: The slogan "Al-jidād al-iliktrūni" means "The
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electronic chicken", and it is referring to people hired by the regime
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to spread fake news on the Internet. In a satirical manner, the
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revolutionaries created posters portraying Omar el-Bashir on a KFC
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flyer, where KFC was replaced by KEC (Kaizan Electronic Chicken) (Figure
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33).[^72] Who is 'Kaizan'? It is a traditional mug made of steel and
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flyer, where KFC was replaced by KEC (Kaizan Electronic Chicken).[^72] Who is 'Kaizan'? It is a traditional mug made of steel and
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called 'koz' (singular of Kaizan). There are different theories on why
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Sudanese started calling the ruling party \'Kaizan'. Alshaheed Alimam
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Alhassan Albana, the Muslim Brotherhood founder, once said: "*Knowledge
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@ -713,8 +730,7 @@ made without any inscriptions because the image itself is universal and
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does not need any explanation. Khalid Albaih shows how General Mohamed
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Hamdan Dagalo, also known as Hemeti, climbs on the corpses of the
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Sudanese people to attain power (symbolized here as a throne).[^74] A
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pile of bodies wrapped in shrouds is a very powerful and upsetting image
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(Figure 34). In a violent manner, the artist addresses the civilian
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pile of bodies wrapped in shrouds is a very powerful and upsetting image. In a violent manner, the artist addresses the civilian
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casualties, which are part of the brutal rise of Hemeti to power in
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Sudan. Hemeti, together with general Abdel Fattah al-Burhan, are
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responsible for armed attacks in Darfur and took part in the war in
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@ -728,7 +744,7 @@ with revolutionary slogans. The event recorded by the phone of an
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onlooker set in motion a wave of satirical cartoons ridiculing the
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absurd attempts of the government to keep order on the streets. This
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image transformed into all sorts of memes and cartoons to mock the
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soldiers and express disrespect for their actions (Figure 35).[^76]
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soldiers and express disrespect for their actions.[^76]
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Participating in sit-ins was associated with the risk of an attack by
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the security forces using tear gas and rubber bullets and all kinds of
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@ -757,7 +773,7 @@ walls, streets, public transport, fences, and even trees and animals.
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Anti-government slogans appeared in every space that it was possible to
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draw, even the smallest ones. The slogan "Tasqut bas" addressed to
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el-Bashir and his regime can be translated as: "Just fall, that's all"
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or "You'd better fall" (Figure 36).[^78] This slogan was repeated and
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or "You'd better fall".[^78] This slogan was repeated and
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hash-tagged many times on different kinds of brochures and online
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flyers. Almost equally famous was: \"Ash -shaab yurid isqat an-nizam",
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which means: "The people want the regime to fall".[^79] It appeared on
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@ -780,7 +796,7 @@ dates and places of protests, comments on current events, revolutionary
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slogans or symbols, and glorifications of the martyrs. Women, for
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example, used the henna painting (traditionally made before weddings)
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and designed anti-government slogans or images on the hands or feet of
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protesters (Figure 37 and 38).[^81] Also women wove revolution symbols
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protesters.[^81] Also women wove revolution symbols
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into their traditional clothes, adding victory signs or "Tasqut bas"
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slogans to their toubes, which gained over the years representative
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status as a reminder of feminist values fought by their mothers and
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@ -793,7 +809,7 @@ people and spreading the revolutionary messages. Such a message can be
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found on a mural in Khartoum, which is an interesting adaptation of
|
||||
[Eugène'a
|
||||
Delacroix](https://pl.wikipedia.org/wiki/Eug%C3%A8ne_Delacroix)', 'La
|
||||
Liberté guidant le peuple' (Figure 39). The accompanying text reads: The
|
||||
Liberté guidant le peuple'. The accompanying text reads: The
|
||||
revolution will go on. These artworks were an expression of despair and
|
||||
hope. They were born out of a desperate need for change and the
|
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necessity of speaking the truth. Street art, impermanent and unique,
|
||||
|
|
@ -807,7 +823,7 @@ streets of Khartoum.[^83] Diab painted murals and immortalised the
|
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memory of Sudanese killed by security forces during the uprising.
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||||
Sometimes the families were taking part in creating the martyrs\'
|
||||
portraits, which allowed them to add something personally to commemorate
|
||||
their loved ones (Figure 40). The portraits are reminders of the loss
|
||||
their loved ones. The portraits are reminders of the loss
|
||||
and sacrifice, of government brutality and their disrespect for human
|
||||
life, and the price of freedom and democracy.
|
||||
|
||||
|
|
@ -833,8 +849,7 @@ responsible for Ahmed al-Khair\'s death were sentenced to death, a crowd
|
|||
rallied outside the court in Omdurman. This event went down in history
|
||||
as a moment of national mourning from which Sudanese rose resiliently.
|
||||
After the revolution ended, Ahmed\'s story was taught in schools and
|
||||
drawings of his face appeared on the walls of school buildings (Figure
|
||||
41). These paintings were often painted over by the security services
|
||||
drawings of his face appeared on the walls of school buildings. These paintings were often painted over by the security services
|
||||
but were always recreated by the people, determined and in strong
|
||||
opposition to the regime\'s brutality and their efforts to censor
|
||||
history.
|
||||
|
|
@ -843,7 +858,7 @@ The 3 June 2019 massacre has left a deep mark on everyone who
|
|||
participated in the sit-in and watched the live streaming. RSF militia
|
||||
forces opened fire on unarmed protestants, beat many of them, and raped
|
||||
48 women. In their works, Galal Yousif and Amel Bashier condemned
|
||||
cruelty and rape as tactics for pacifying women (Figure 42). Following
|
||||
cruelty and rape as tactics for pacifying women. Following
|
||||
these events, the African Union degraded Sudan's rights as a
|
||||
member.[^85] The daily news about atrocities committed by the RSF is
|
||||
reflected in the artists\' work following these events. The mural of
|
||||
|
|
@ -852,8 +867,7 @@ shouting or screaming. Above them, huge hands try to silence the figure
|
|||
in the centre. The inscription in Arabic on the side explains: "You were
|
||||
born free, so live free."[^86] Yousif painted several murals in
|
||||
Khartoum. One of them was placed under the bridge near the sit-in and
|
||||
depicts screaming figures with horrified and distorted faces (Figure
|
||||
43). The incomprehensible anxiety can be compared with Edward Munch\'s
|
||||
depicts screaming figures with horrified and distorted faces. The incomprehensible anxiety can be compared with Edward Munch\'s
|
||||
'Scream'.[^87]
|
||||
|
||||
Colourful murals, graffiti, sculptures, and installations within the
|
||||
|
|
@ -879,11 +893,11 @@ Empty tear gas canisters that were used to separate protesters have been
|
|||
transformed into flower vases, containers, or electrical
|
||||
connectors.[^88] There was an impressive increase of photos on social
|
||||
media showing an endless creativity, among these one may pick the
|
||||
\"tasqut bas" slogan made with tear gas canisters (Figure 44). The
|
||||
\"tasqut bas" slogan made with tear gas canisters. The
|
||||
protesters were utterly changing the functions and common perceptions of
|
||||
military equipment, almost straightforwardly saying objects themselves
|
||||
are not dangerous but only become so in the hands of dangerous people.
|
||||
An example is a photo of a ring made from a bullet (Figure 45). Art,
|
||||
An example is a photo of a ring made from a bullet. Art,
|
||||
therefore, did not embellish reality and did not avoid showing the
|
||||
violence and terror in which everyday protesters functioned.
|
||||
|
||||
|
|
@ -891,7 +905,7 @@ In 2019, merchandise with symbols of the revolution started to appear in
|
|||
the street markets. They were mainly produced abroad by the diaspora,
|
||||
but some handmade products also circulated, albeit in a limited range,
|
||||
also in Sudan: stickers, phone cases, bags or T-shirts on which symbols
|
||||
and hashtags spread the message of the revolution (Figure 46). Street
|
||||
and hashtags spread the message of the revolution. Street
|
||||
art became popular and functioned as a reference to political ideas and
|
||||
the current situation in the country.
|
||||
|
||||
|
|
@ -969,7 +983,7 @@ a bit our perspective on the events. We want to hear their stories and
|
|||
find out how they became torturers for those they should protect.
|
||||
Abu'Obayda Mohamed, known as OXDA, in his graphic shows the burning
|
||||
Khartoum, where the militia's attack on the sit-in on 3 June 2019 took
|
||||
place (Figure 47). The graphic was created a year later with a
|
||||
place. The graphic was created a year later with a
|
||||
dedication to all the fallen and the shed blood on the dangerous road to
|
||||
democracy. Also, in 2021, the anniversary of the June 3 massacre was
|
||||
celebrated, emphasizing that the memory of these events is still alive,
|
||||
|
|
|
|||
Loading…
Add table
Reference in a new issue