The Rhythms That Broke Bashir: How Sudan’s Music Shaped a Revolution

The revolution in Sudan in 2019 has been eclipsed by the war between the Sudanese Armed Forces and the Rapid Support Forces, which began in April 2023.

But the events of 2019 demand greater attention as they hold lessons for a post-war Sudan.

Music was central to the protests in 2019. The camp outside military headquarters in Khartoum, where demonstrators gathered for weeks to demand civilian rule, became known as Sudan’s largest ever arts festival.

My research on resistance movements has led me to believe that music is not only a cosmetic accessory to protests. In Sudan, it was an integral part of the revolutionary movement that ousted the Omar al-Bashir regime. For decades, music helped cultivate anti-government sentiment and forge the networks and communities that would sustain the revolution in 2019.

I’ve explored this idea in a recent paper, drawing on interviews with protesters and musicians.

Sudanese music and resistance

Music in Sudan has historically been intertwined with popular resistance. First against colonial rulers and then – following independence in 1956 – against post-colonial despots. The patriotic anthems of the 60s and 70s expressed the sentiment that Sudan was being built by the people, not the government.

As one music fan who was a young teenager in the early 1970s said:

There were different ideas, of course, about what sounded good, but if you were making music, you were against the government, that was for sure.

One after the other, however, authoritarian regimes sought to crush all creativity – and especially music – through censorship laws and the systematic intimidation of artists.

Gigs had to be held as private events in people’s homes and even these were regularly broken up by a morality monitoring unit. Many popular musicians left for careers abroad.

But underground music scenes kept anti-government sentiment alive.

My research shows that the exodus of musicians, producers and fans under the Bashir regime did not weaken popular resistance. Instead, this displacement helped build strong transnational social networks, enabling musicians to record music outside Sudan. This was then distributed back to communities inside the borders. Later, these same social networks supported the 2019 revolution.

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Throughout recent history and across various genres and scenes, music has helped the Sudanese imagine alternatives to authoritarian rule and build the relationships needed for collective action.

Given the close historical ties between resistance movements and music scenes, examining the music of the revolution provides insight into the values, identities and visions of democratic change that shaped Sudan’s revolutionary movement.

Music, gender and class

In my paper I analyse the most prominent revolution songs – collected in a shareable YouTube playlist – to explore what protesters’ choices reveal about the movement itself. The songs point to a growing openness towards gender and class.

At the 2019 protests, the revolutionaries honoured a canon of anti-oppression anthems. These included traditional Sudanese staples, hip-hop classics and contemporary pop sing-a-longs.

Not all revolutionary anthems are lyrically political, however, and there are gendered reasons for this.

In Sudan’s decades of patriarchal autocracy, speaking openly about politics through song lyrics was often far riskier for women than for men. As a result, women-led genres, such as tumtum and aghani albanat, typically centred on romance and everyday life, accompanied by handclapping and rhythms played on the doolka drum. Among highbrow creatives, these vocal and percussive genres are considered artistically subordinate to male-dominated genres. These include haqeeba, which features instrumental accompaniment on the more technically demanding oud.

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However, tumtum and aghani albanat were popular with protesters in 2019. This was not because their lyrics were directly political (they were not). Rather, they represented the defiance of women who continued to create and perform music despite decades of state restrictions on women’s artistry.

Despite their lyrical playfulness and political neutrality, Sudanese society celebrated these genres in the revolution. This sends a powerful political message about a rising cultural openness towards feminine creativity, which had been inhibited by the state.

Zenig is a new Sudanese genre of music. It emerged in the early 2010s from the poor and peripheral neighbourhoods in Khartoum. It takes its rhythmic base from tumtum, and mixes this with retro keyboards, low-fi synths and improvised vocals. It is fundamentally a Khartoumian invention, and is deliberately defiant of conservative gender and class hierarchies.

Zenig contributed to the cacophony of sounds during the 2019 sit-in. One protester remembered “its fast-paced rhythmic style worked well in energising crowds”. The most likely place to hear Zenig at the sit-in was in intimate circles and small stages where friends could dance together. Before the revolution, Zenig was known in Khartoum as the music of poor outcasts.

The significance

By elevating female leadership in the music of the revolution, Sudanese revolutionaries deliberatively negotiated what an alternative ideal Sudanese society would be like; one with more empowerment for women, as both creative and political forerunners.

The inclusion of genres like Zenig at the 2019 sit-in demonstrates that Sudan’s revolution was not only about changing the regime.

For many young Sudanese, it was also an expression of yearning for broader societal change and an upending of societal power relations.

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The revolution in 2019 was a unique time for openness, experimentation and future-making facilitated by music.

Music and rebuilding

The war has prevented Sudanese civilians from continuing these important social negotiations.

The resistance movement and its musicians have been displaced within Sudan and to regional hubs like Cairo (Egypt) and Nairobi (Kenya). Many have tragically lost their lives. Some have remained in Khartoum and continue to make hopeful music against the odds.

Even as Sudan’s future remains uncertain, music will be surely be central in the rebuilding of civilian lives that will come.

Cathy Wilcock receives funding from ESRC (UK) and has received funding from the NWO (The Netherlands).

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