Artists for the Nation, Singers for the Army of the Innocent

Among the remaining pioneers of Sudanese music—may their lives be long—are Sharhabil Ahmed, Al-Tayeb Abdullah, Abu Araki Al-Bakheet, Salah Mustafa, Abdel Qader Salem, Al-Taj Maki, Somaiya Hassan, Al-Noor Al-Jailani, Al-Jailani Al-Wathiq, Sadiq Ahmed, and others. Though their commitment to national interest varies, these artists have always instilled in us a love for truth, goodness, and beauty. They have taught us the value of belonging to our homeland, loyalty to it, and defending it through civil action. Throughout their careers, they have remained refined in their conduct—never rushing to prove their patriotism by hypocritically aligning with the schemes of the Islamist regime. Instead, they have cherished the value of artistry and upheld the dignity of their craft, embodying sensitivity, elegance, nobility, and artistic excellence.

Each of these artists reflects the beauty of Sudan in their character, their music, and their contributions to cultural experimentation. Their work embodies the essence of their environment in creative expression. Deep down, they yearn for an end to the war, hoping to return to the homeland they once dreamed of seeing strong, stable, and thriving among nations. They recall the days when their love for Sudan drove them to bring joy to its people, elevate its musical heritage, and push artistic boundaries. They are masters of melody, poetic lyricism, and devout performance—respected for their impeccable appearance, refined morals, and profound humility.

These artists never expected that the legacy of Karouma and Sirour—the foundation of Sudanese music—would be degraded by the rise of third-rate singers and performers who exploit art for commercial gain. These individuals, lacking in both talent and originality, have fallen into the trap of Islamist patronage, contributing to the erosion of Sudan’s artistic identity.

Artistic Decline Under the Islamist Regime

Unlike some artists who sought fame abroad, these true pioneers remained devoted to representing Sudan’s cultural richness. Through their music, they gained admiration across Sudan’s neighboring regions, the Horn of Africa, and beyond, presenting Sudan’s unique pentatonic sound to the Arab and international stages.

However, the rise of the Islamist regime distorted the artistic landscape, allowing mediocre talents to dominate the industry. These figures debased lyrical content, cheapened melodies, and prioritized commercial success over artistic integrity. Under the regime’s state-controlled media, artistic mediocrity became the new standard, flooding the music scene with shallow performers and uninspired imitators. As the late Mohamed Wardi once told me in a lengthy interview, the regime’s policies led to a flood of subpar musicians who diluted the rich diversity of Sudanese music.

In a deliberate attempt to dismantle Sudan’s artistic heritage, the Islamist movement funded and elevated third-rate artists who were willing to align with their ideological agenda. Their strategy was clear: replace authentic Sudanese music with politically compliant propaganda. As a result, songs of resistance and artistic depth were overshadowed by superficial, repetitive tunes and artificially manufactured lyrics.

Meanwhile, while a legendary artist like Sharhabil Ahmed struggles to find a safe haven in exile, Sudan’s ruling elite rolls out the red carpet in Port Sudan for singers and performers who add little artistic value. As Al-Tayeb Abdullah laments the decline of his country’s artistic heritage, the regime celebrates morally bankrupt figures with weak musical content.

While Abu Araki Al-Bakheet stands firm in his commitment to the revolution, refusing to compromise his integrity, lesser artists emerge to sing hollow anthems that glorify a military whose leaders have fled to five different countries, preferring exile over returning home.

Singers of the Military: Complicity in War

The tragedy of these opportunistic singers is that they remain agents of a failing regime, cut off from both their artistic roots and their moral compass. They betrayed their colleagues, worked as informants, and aligned themselves with the Islamist regime, using their voices to serve a corrupt war machine.

As Sudanese protesters raised their chants to the sky in the streets of Khartoum and Omdurman, these regime-aligned musicians sold their craft to the highest bidder. Some chose to align themselves with security forces and warlords like Salah Qirsh, who led violent crackdowns on revolutionaries.

The deterioration of Sudanese music under Islamist rule is undeniable. This movement has failed to produce a single artist, thinker, writer, painter, or intellectual of true significance. The reality is simple: one cannot give what one does not have. A regime that stifles intellectual freedom and demands blind obedience cannot foster artistic brilliance, for true artistry thrives in defiance, originality, and the courage to challenge the status quo.

Art vs. War: The Role of the True Artist

Artists who fan the flames of war and pose with weapons have fundamentally misunderstood their craft. A true artist is sensitive by nature, perceptive in spirit, and his tools are the pen, the brush, the voice, and movement. When an artist abandons these tools to masquerade as a soldier, it is clear he seeks to compensate for his artistic failure by borrowing the authority of warriors.

Such individuals do not inspire sacrifice or devotion—they merely expose their creative shortcomings. Sudanese art has survived colonization, dictatorship, and political turmoil, and it will survive this era of manufactured mediocrity as well. History will remember the artists who stood with the people, not those who sang for tyranny.