Sudan Retold: Ein Kunstbuch über die Vergangenheit und Zukunft des Sudan

Von Hirnkost

In Sudan Retold erzählen 31 sudanesische Künstler_innen Geschichte(n) aus ihrer Heimat. Dabei geht es nicht in erster Linie um historische Details, sondern um ein Begreifen historischer Zusammenhänge anhand künstlerischer Darstellung. Für diejenigen, die eine Einführung in die sudanesische Geschichte wünschen, ist dies vielleicht der perfekte Bildband. Sudan Retold ist dreisprachig (Deutsch, Englisch und Arabisch) und ermöglicht den Leser_innen so einen Einblick in die sudanesische Geschichte durch Text, Bild und Illustration.

In Sudan Retold, 31 Sudanese artists tell stories from their homeland. The book is not primarily concerned with historical details, but with an understanding of historical contexts through artistic representation. For those who would like an introduction into Sudanese history, this may be the perfect illustrated book. Sudan Retold is trilingual (German, English and Arabic) and thus enables readers to obtain an impression of Sudanese history through text, image and illustration.

في كتاب "السودان المُعاد روايته" ، يروي 31 فنانًا سودانيًا قصصًا من وطنهم. لا يتعلق الكتاب في المقام الأول بالتفاصيل التاريخية ، ولكن بفهم السياقات التاريخية من خلال التمثيل الفني. قد يكون هذا الكتاب المثالي للمهتمين بالتعرف على تاريخ السودان. يتوفر "السودان المُعاد روايته" بثلاث لغات (الألمانية، والإنجليزية، والعربية) ، وبالتالي يمكّن القُراء من الحصول على انطباع عن التاريخ السوداني من خلال النص والصورة والرسومات

• Sprache: Deutsch
• Herausgeber: Hirnkost
• Erscheinungsdatum: 15. Dez. 2019
• ISBN: 9783945398920

Buchvorschau

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Sudan Retold

An Art Book About the History and Future of Sudan

© 2019 Hirnkost KG, Lahnstraße 25, 12055 Berlin

1. Auflage November 2019

[e-mail]; www.hirnkost.de

Concept: Khalid Albaih

Realisation: Khalid Albaih, Larissa-Diana Fuhrmann

Texts, artworks, music: involved artists

Photography: Niels Larson for Hazim AlHassan, Girl on Bike

Editorial: Larissa-Diana Fuhrmann, Khalid Albaih, Gabriele Vogel, Holger Konrad, Kate Abbott, Amani Lazar, Locale: Qutouf Yahia, Rund AlArabi

Translations: Larissa-Diana Fuhrmann, Isis Hakim, Najwa Sabra, Ghazi Eltayeb, Günther Orth

Design Team: Locale: Aala Sharfi

Artwork on page 30/238: AlMigdad Aldikhaiiry

Publishing House: Hirnkost KG

Sponsoring: Goethe-Institut Sudan

Accompanying website: https://story.goethe.de/sudan-retold

Distribution for book shops:

Runge Verlagsauslieferung; [e-mail]

Private customers and Mailorder:

https://shop.hirnkost.de/

ISBN:

PRINT: 978-3-945398-90-6

PDF: 978-3-945398-91-3

EPUB: 978-3-945398-92-0

This book has an E-Book version – with all providers and formats.

You can subscribe to our books: https://shop.hirnkost.de/

This book was created during times of fear and censorship. We dedicate it to the souls we have lost in the past and those who are still struggling so we shall never live in fear again. May we continue to tear down walls and build bridges towards freedom, peace and justice.

Dieses Buch entstand in Zeiten, die von Angst und Zensur geprägt waren. Wir widmen es all denjenigen, die wir auf dem Weg verloren haben, und denen, die weiterhin dafür kämpfen, dass wir nie wieder in Angst leben müssen. Mögen wir weiterhin Mauern niederreißen und Brücken bauen für Freiheit, Frieden und Gerechtigkeit.

Contents

Foreword

Determinedly, there is an interrelationship between history and the fine arts. So often historical events shape the landscape on which artworks and writings materialize. This interrelationship enriches both artistic and literary imaginations with the diverse events of the past and present, through which the future might be envisaged. Consequently, it might be appropriate to judge artistic works from a historical perspective, or rather a historical creative perspective that endorses the artistic means of imagination as a genuine historical narrative capable of addressing both readers and viewers with some finely tuned messages. Accordingly, the artist and cartoonist Khalid Albaih is right when he describes his latest work Sudan Retold as an imaginative endeavour. Sudan Retold aims to visualize Sudan from the perspectives of comic book writers, graphic designers, cooks, film producers, and illustrators, who have been able to benefit from their country’s history and reproduce this history in different forms such as illustrated stories, narratives, abstract drawings, and communicative photographs. In this respect, Sudan Retold resembles in many ways the novel: The Wedding of Zein, in which Al Tayeb Salih employed the village’s life and folklore to create colourful scenes. Other elements of Sudan Retold bring to mind the novel The Longing of the Dervish in which Hammour Ziada tells a story benefiting from the history of Ottoman rule and the Mahdiyya in Sudan.

Another significant factor in Sudan Retold remains in its being a piece of art as a definitive, capable of highlighting the interrelationship with history, art, and literature via ingenious portraits accompanied by explanatory texts without abiding by official historical facts. Khalid Albaih and his co-authors of Sudan Retold set out to outline an original vision that seeks to connect the past with the present to give us a positive outlook. It is, therefore, imperative that their endeavour not be looked at from a historical viewpoint, since their objectives are not constrained by detailed historical facts. Instead, their knowledge of ancient events is used as a backdrop wherein they create an all-inclusive imaginative vision. The fact that this book has been published in three languages (Arabic, English, and German) is in itself an accomplishment. Sudan Retold provides those who are concerned with Sudanese history and current affairs with a good variety of artistic perspectives. These perspectives require an in-depth reading, explanation, consideration, and reflection on Sudanese historical documents and texts.

The story of Sudan Retold begins with AlMigdad Aldikhaiiry four portraits related to the Stone Age. Aldikhaiiry draws sketches featuring life on the banks of the Nile. His sketches and portraits articulate the Nile's vitality in the daily lives of fishermen, farmers and herders in ancient Sudan. Sarah Alamin Badawi showcases her depiction of the Meroitic period through the figure of the Candace (the name given to queen-rulers of Meroe), who became famous for their skills in the art of war. It is for this reason that she entitles her portrait Candik, the Superheroine. She also accentuates the Candace’s Nubian features, giving emphasis to the black skin-colour, the wide lips, the shoulder-length braids, and the golden Nubian jewellery that adorns the Candance’s head, ears, and limbs. Meroitic period comes the era of Christian-Nubian rule, which is portrayed by Dar Al Naim Mubarak. She resurrects the city of Faras through depictions of its Christian architecture and speculative portrayals of its women in an effort to revive Sudan’s forgotten Christian heritage. Then, comes Sudan’s Islamic period depicted in a particular way from the first Sultanate of Sennar, credited with the unification of most of the ethnic groups and races that existed in Sudan under the rule of the Funj Sultanate and Ottoman rule. Hazim Alhussain zeros in on an episode from the period of Turco-Egyptian rule (1821–1881) through an ingenious portrayal of one of the pharaohs who, as a group, become stand-ins for tyrannical tendencies. And, for another perspective on the same period, Malaz Abdallah Osman and Mawadda Kamil give us a gruesome take on the events that led up to the killing of General Gordon in front of the Governor-General's palace in Khartoum. The book reduces the period of the Mahdiyya (1881–1898) to the incident of Gordon’s death in 1885. Meanwhile, the story of the pharaoh reaches a conclusion and gains a second dimension through the use of the figure of the pharaoh to depict the period of the Condominium Rule (1898–1956) in Sudan, which was a time of fierce nationalist struggles. Then, Wael Al Sanosi traces a line through the struggles of the religious scholar Abdullah Al-Suheini, which are depicted alongside two portraits drawn by Sadig Gasim Mukhayer and Yasir Faiz about the struggles of White Flag League and the trial of its leaders. The two portraits are enhanced by the accompaniment of the following text: Any nation that has come under the hand of colonisers finds itself struggling to free itself and fighting to come into its own. Most wars consist of many battles, and in 1924 there was a decisive battle which was led by all the leaders of the White Flag League. The authors, then, ask a rhetorical question about what might have happened if the White Flag league had won and achieved independence, suggesting that perhaps the Sudanese might have been able to rectify the 2011 secession of South Sudan. The hypothetical depends on the narrative offered by Sadig Gasim Mukhayer and Yasir Faiz, which suggests that the White Flag League’s leader, Ali Abdullatif, had southern roots. This historical timeline ends with a black portrait with the name John Garang written on it. In the imagination of the sculptor Mohamed Dardiri, who witnessed Sudan’s independence and the oscillations of power between democratic and military governments until the nation was shocked by the Inqaz’s military coup d'état on 30 June 1989, the name Dr. John Garang De Mabior shines. He describes John Garang as the person who Created the Sudanese People’s Liberation Army (SPLA) under the banner of equality and justice. But, the propaganda on Khartoum’s television channels glorified the war and praised its martyrs, criminalized the south, and vilified Garang. However, Dardiri soon began to realize the misleading nature of the political propaganda and discovered John Garang’s true character through the internet, which allowed him to describe Garang as a leader who was passionate and a founder who poetically delivered a stirring message of national cohesion reinforced by his articulate nature and well-spoken demeanour. In appreciation of this message, Dardiri created the black portrait mentioned above and its accompanying text in commemoration of the hero" John Garang, who was described by George Bush as a true partner in the peace agreement of 2005. This historical time-line extends from the Stone Age until the era of globalisation, which shaped the emergence of a third colonial encounter that is retold through the new pharaohs. The supporters of this time-line cannot but come to the conclusion that Sudanese history has gone through various historical periods, which had both positive and negative repercussions that shaped the disposition and personality of the Sudanese with their various ethnic, cultural and religious commitments. The failure of successive governments since independence in managing this diverse mosaic and their inability to use these differences in the service of creating an attractive, unified nation is what led to the secession of South Sudan from the north in 2011.

The second aspect that Khalid Albaih and his co-authors paid great attention to in the creation of this work is crystallized in the artistic portraits. All of which are meant to address the issue of Sudanese identity from different perspectives and have resonances with the words of Dr. Mansour Khalid. Khalid states that the Sudanese are not one nation in the anthropological sense or the Islamic sense, but they are one nation in the political sense, in that, these elements were brought together within a defined geography and at a particular historical juncture, with each having its own particular disposition or influence. What attests to this fact is an expressive portrait of modern-day Khartoum that was drawn by the artist Alaa Satir. The portrait depicts the utterance of the word Hello from more than one non-Arab or incorrect Arabic tongue. This Khartoumic episode is added to by the lively photographs captured through the lens of the photographer Ahmed Abushakeema, who captures a thousand faces from different parts of Sudan.

The author and his co-authors saw that the railway, constructed by the British colonial government, helped connect the various and varied cultures of the people of Sudan. To clarify this supposition, they collated maps that trace the tracks of the railway in Sudan and demonstrated how the north was connected to the south, and the east to the west. In the text that accompanies these maps, the authors and producers tell us: the railway has erased the borders between our vast territory and has built bridges between our nation following the lines of the train tracks. In the background of these maps, the illustrators borrowed a stanza from a well-known Sudanese song that says:

"Oh, train of longing, when will you depart and take us?

So that we can get there

To