Thursday Idea, melody and self-determination! – The face of the truth – ✍️ Ibrahim Shaqlawi
When the Venice sounds above all voices and the cultural characteristics are erased before the war ramp, the story is made by the soldiers alongside intelligent creators, between that and who neglects our question: where are the Sudanese creators? Those who have always formed the conscience of the Sudanese nation have paved speech, melody and theater, the paths of patriotism and the consciousness of construction.
Since the triggering of the war shameful on April 15, 2023, the country has witnessed one of its most serious stages, an existential crisis that threatens identity and reformulating Sudanese society according to new equations. In this difficult scene, the cultural scene seems free from these voices to which we are used to moments of the national round, as if fatigue had won them and had lost the attention and conscience of the historical moment.
The absence of the Sudanese creator of the war and distress scene, like a vacuum in a moment that requires more than ever. We taught the history of Sudan that the word was always part of the national struggle, and that the song wrote what the newspapers were not able to do, and the theater said what the platforms do not dare. At the time of the revolution, the street was not to ignite without the voice of Muhammad al -amin, any more than the memory of keeping the dream without the poems of Muhammad al -Makki Ibrahim.
In moments of retirement, Hussein Osis wrote: “Dear, you, my country, despite the harshness of adversity”, his words would be fuel to restore confidence. Poetry was not luxury or entertaining song, but rather a weapon in the battle of dignity that cherished the Sudanese owners of the idea and management, because it was a way to fill the rift when the values that united the diaspora of people have disappeared.
However, this absence is only understood by comparing the experiences of other peoples that have gone through the same tragedy and, with the weapon to preserve the countries of origin, have managed to provide creators. Rwanda’s experience remains a look that we are inspired by lessons and lessons, which in 1994 witnessed one of the most odious collectors in the modern era, showing how the word can become a bridge to cross for the future.
In a society torn apart by ethnic affiliations, art has transformed into a tool for disclosure and confession, used the theater to tell what is not said, and to tell the stories of survivors and executioners in an instant, so the scene was more honest than international and more effective justice platforms to create a common memory. This experience, which has made the creativity composed in the reconciliation process, is suitable as a model close to the Sudanese situation, because the scene is not very different in terms of the nature of the divisions or the depth of the injuries.
In Rwanda, national identity has not been made in political rooms alone, but rather in the cultural space that has rebuilt man. The same goes for Lebanon, the country which had a civil war which lasted fifteen years. There, political theater, music and cinema were platforms to ask the questions postponed: who are we? And why was this country burned? National artists such as Fayrouz and Ziad Rahbani played a unique role in the destabilization of sectarian accounts, in a language that makes fun of absurdity and stripped the contradictions of reality. While politicians failed to treat the division, the art of the Lebanese forum has remained without asking for a sect or a religion … They gathered on the love of the fatherland.
Lebanon and Rwanda, each in its own way, have proven that the creator does not come after the end of the battle, but before, during and after. And creativity is an existential necessity in moments of cracking. It is the most important lesson that Sudanese creators should absorb today. People do not expect their poetry or do not play in context, but rather a technical discourse that brought together the torn memory, and writes what the newsletters are afraid.
Sudan, with its cultural diversity, does not need contradictory political elites as much as it needs a new imagination, and a story that reshapes the rupture of its social fabric, in the language of the country that everyone can. He needs a song that rises, a poem that saves Khartoum from drowning in contradictions, and a piece that brings the diaspora of Kordofan and Darfur, which is about to pass irreversible.
It is, according to what we see from the face of the truth and in the light of the transformations that Sudan crosses, the reissue of the Sudanese state cannot be reduced to political or security paths alone, but rather requires the revival of the creative powers of the creators, part of it, writers, playwrights, poets and artists. They are not a vector of feelings or historians of events, but rather active in the training of collective conscience, cultural memory and engineers of the national imagination.
The theater which has the intention of the violence, the poetry which causes pain and is transformed into hope, and the art which unites the street when the policy is incapable, these are tools which are no less important than the tools of negotiation, reconciliation and transitional justice. From this point of view, the guarantee of the survival of Sudan as a complete addition and a national project is a sustainable, depends on the extent of its creative capacity to reproduce national narration, and on the formulation of a productive discourse which expresses diversity, and the social gap. It is Thursday of the idea, the melody and the determination of fate.
You are fine and well.
Thursday June 26, 2025 ad shglawi55@gmail.com
