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As in other African regions, the traditional musical styles of Sudan are ancient,[a] rich and diverse, with different regions and ethnic groups having many distinct musical traditions. Music in Africa has always been very important as an integral part of religious and social life of communities. Performances of songs, dance and instrumental music are used in rituals and social ceremonies like weddings, circumcision rites or to accompany the long camel treks of the Bedouins. In these performances, music always has been a social event, marked by the combination of performers, lyrics, music and the participation of the community, like dancing or other types of sharing a musical event. Traditional music and its performance have been handed down from generation to generation by accomplished musicians to younger generations and was not written down, except in recent times by formally trained musicians or ethnomusicologists.[b][6][7]

One of the most typical East African instruments, called tanbra or kissar in Nubian music,[10] was traditionally played by the singers as the usual accompaniment for such songs, but this Sudanese lyre has largely been replaced in the 20th century by the Arabic oud.[c] Drums, hand clapping and dancing are other important elements of traditional musical performances, as well as the use of other African instruments, like traditional xylophones, flutes or trumpets. One example for this are the elaborate wooden gourd trumpets, called al Waza,[12][13] played by the Berta people of the Blue Nile state.

Sudan Songs Mp3 Free Download

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Another traditional form of women's role in oral poetry are the songs of praise or ridicule of singers in western Sudan, called Hakamat. These are women of high social standing, respected for their eloquence, intuition and decisiveness, who may both incite or vilify the men of their tribe, when engaged in feuds with other tribes. The social impact of these Hakamat can be so strong, that they have been invited by peacebuilding initiatives in Darfur to exert their influence for conflict resolution or contemporary social issues, like environmental protection.[17][18]

Sudanese women are also known both at home and in the wider region for their role as singers and musicians playing the dalooka drum in aghani al-banat (transl.: Girls' songs)[19] as well as for their spiritual musical performances called zr, believed to be able to exorcise evil spirits from possessed individuals.[20][21]

The strongest stylistic influence in the development of modern popular Sudanese music has become known as hageeba music (pronounced hagee-ba and meaning "briefcase"). The name hageeba, however, was only applied much later to popular songs from the 1920s, when radio presenter Ahmed Mohamed Saleh talked about old records, collected in his briefcase for his show hageebat al-fann (artistic briefcase), that he presented on Radio Omdurman during the 1940s.[e]

In terms of the history of music of Sudan, the label hageeba applies to an important change in the development of modern music: A new urban style of singing and lyrics was evolving, moving away from tribal folk songs and the melodies of religious, devotional singing. This style was inaugurated by the singer Muhamad Wad El Faki, as well as others like Muhamad Ahmed Sarour, who were later inspired by Wad El Faki.[9] These songs were initially inspired by the vocal tradition of Islamic praise chanting for the prophet Muhammad, known as madeeh.[f] Gradually, melodies known from madeeh were used by singers like Wad El Faki and others to accompany new, non-religious lyrics. During his childhood years at a religious school, called khalwa in Sudan, Wad El Faki had learned recitation in classical Arabic, voice control and correct pronunciation. According to El Sirr A. Gadour, Wad El Faki "did not belong to any of the main ethnic communities in Omdurman. This freed him from a narrow identity and made him a 'general' singer, crossing the tribal barrier to broader national affiliation."[9]

Subsequently, Sudanese popular music evolved into what is generally referred to as "post-hageeba", a style dominating in the 1940s, 1950s and 1960s. This period was marked by the introduction of instruments from both East and West, such as the violin, accordion, oud, tabla or bongo drums. Further, a big band style with a string section and brass instruments came into existence. Post-hageeba music, mixed with Egyptian and Western elements has also been called al-aghani al-hadith (modern songs).[39]

Singer-songwriter Sayed Khalifa was one of the first Sudanese musicians trained in formal music theory, which he acquired at the Arab Music Institute in Cairo during the early 1950s. Like other Sudanese singers, he performed in both Standard Arabic as well as in the Sudanese form of Arabic, thus appealing both to the educated elite and to the common people. Khalifa is known for his songs Ya Watani (My Homeland) and Izzayakum Keifinnakum (How are you?).[43]

After a military coup in 1989, the imposition of sharia law by an Islamist government brought about the closing of music halls and outdoor concerts, as well as many other restrictions for musicians and their audiences. Many of the country's most prominent musicians or writers were barred from public life, and in some cases even imprisoned. Others, like Mohammed al Amin, whose personal style of playing the oud influenced other musicians,[55] and Mohammed Wardi, took exile in Cairo or other places.[56] Traditional music suffered too, with East African zr ceremonies, where women conjure and exorcise evil spirits through music and dance, interrupted and deemed as 'pagan'.[57] In this context of ceremonies for women, the singer Setona, born in Kordofan and raised in Khartoum, before she emigrated to Cairo in 1989, published two albums, called Tariq Sudan and Queen of Hena, with some of her songs related to henna ceremonies.[58] Another singer and composer of popular songs, who appeared on Sudan's musical scene in the 1990s, is Nada Al-Qalaa. Through her songs, video clips and media interviews, Al-Qalaa has presented conservative views on social life and gender roles. This and the support by wealthy patrons in Sudan and Nigeria has caused criticism, accusing her of being close to the military government. On the other hand, her music and public appearance has earned her a wide following for more than twenty years.[59]

The popular singer Abu Araki al-Bakheit was banned from performing his political songs, but eventually managed to continue performing in defiance of the authorities[60] and had a comeback in 2019 during the Sudanese revolution.[61] Others, like the southern Sudanese singer Yousif Fataki had all their tapes erased by Radio Omdurman. Other performers that continued to be popular during this time include Abdel Karim al Kabli or Mahmoud Abdulaziz, both with a notably long and diverse history of performance and recordings, as well as Mohammed al Amin and Mohammed Wardi.[62] Occasionally accompanying Wardi and poetry recitals, blind oud player Awad Ahmoudi has been known for his distinct style of playing the oud in his typical style and pentatonic scales.[63]

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Those attending the January training session supported by KAICIID through its Dialogue 60 project and organised by Rights for Peace, a UK charity, included 22 Hakamat women from 18 locations around Sudan. Hakamat are traditional female singers whose songs use martial themes and lyrics and are considered by some to encourage community violence among tribes based in South Darfur and the North-West Kordofan regions. Hakamat songs usually revolve around warrior chants, dwell on themes such as honour, bravery and cowardice and are often considered to encourage conflict.

In a country where women have significant influence within their communities, the workshop aimed to encourage the Hakamat to moderate the songs with messages of peace rather than incitement - at the same time seeking to develop a culture of tolerance and dialogue. On day two of the workshop, participants produced two songs calling for peace and co-existence, underlining their agreement that the Hakamat and local leaders could mobilise their communities to contribute to peacebuilding and hate speech prevention.

Khalifa used both classical Arabic and the Sudanese dialect in his songs. And thanks to the Egyptian media, which mastered in the alignment of cultural power to political power in the time of Gamal Abdel Nasser by promoting artists who supported the regime and its agenda, his powerful voice resounded across the Arab world.

Ahmed, who died young at 43, left Sudan for Russia in 1989, the same year Bashir took power, for medical treatment, but he never returned to his country. He instead moved to Egypt and finally to Qatar, where he spent his last days and composed a number of songs addressing the sorrow of exile.

Bringing about political and social change, protest songs provide a unique opportunity to rhythmically reflect the voice of protesters to a wider audience. From the US to the Arab world, protest songs are powerful agents for free speech and creative expression.

ALBAIDA, Sudan, Dec 23 (Thomson Reuters Foundation) - The women of Sudan's North Kordofan state used to be famed for their war songs urging men to defend their meagre desert assets of cattle, bush and watering holes. 17dc91bb1f