Al Hoot: Remembering Mahmoud Abdelaziz & His Progressive Politics

I was 11 years old the first time I visited Sudan in 2001. The country was radically different from the nation we see today. Political and racial turmoil did not conceive South Sudan. The late South Sudanese revolutionary leader John Garang was yet to be a martyr, and former Sudanese President Omar Al Bashir had Sudan, which was geographically the biggest African nation at the time, under an economic and moral chokehold.

I stayed at my grandfather’s house, located in Arkaweet. Our family was the only household within the suburb that hailed from the Nuba Mountains. The various tribes I could encounter within a five-minute walk amazed me. Halfaween, Fur, Jaalyeen, and countless other people lived in this community, which could debunk any myth that Sudan was ever a monolithic society. Besides my mother’s desire to see her children connect with our roots, I was also there to attend my uncle’s wedding.

The wedding was one of the most celebrated social events I ever experienced. People in attendance came from different areas like Omdurman, Al Shahenat, Bahri, Mayo, and several other places. I can’t recall how many sheep were slaughtered for our meals or quantify the majestic teyab worn by the women. If I had to simplify my experience of the wedding or reduce it to one of its many significant aspects, I would have to focus on Mahmoud Abdelaziz.

The late great singer performed at my uncle’s wedding, captivating us with his bass, which dictated the rhythm of every finger snap and sway. I was too young to comprehend the significance of Abdelaziz’s presence, but I witnessed the effect he had on the ceremony. People of all ages were on their feet. I even remember my grandfather, who is not much of the party type, dancing enthusiastically to the lyrics of “Zinouba”, a well-known Sudanese ballad dedicated to the beautiful women of the Nuba Mountains. The event served as a microcosm of the different beautiful shades of blackness that inhabits Sudan, and we all danced to a single tune. What Abdelaziz accomplished at the wedding is what he managed to do throughout his career, which was unifying and celebrating Sudan’s rich diversity through music and joy.

The rise of ‘The Whale’

Abdelaziz was born in Khartoum North, also known as Bahri, on 16 October 1967. From a young age, Abdelaziz displayed artistic inclination that would eventually earn him the nickname, Al Hoot, meaning ‘The Whale’ in Arabic. At the tender age of three, he made his television debut on the popular program, Janat Al Atfal. Abdelaziz’s zeal for the arts drove him to join the Youth and Children Palace, where he studied acting. Utilising a tambourine and his brilliant vocals, Abdelaziz earned his first accolade as an eight-year-old when he performed at a function hosted by his local community. The remarkable display solidified Abdelaziz’s destiny for stardom. He began to sing at exclusive held events in his twenties and would eventually release his debut album in 1994. Committed to his childhood passions, Abdelaziz became a prolific artist, releasing over twenty solo records throughout his career, which helped him establish a devoted fan base in his native country. Nonetheless, appreciation towards his work ethic and talent transcended the borders of Sudan. According to Sudanow Magazine, the Russian music troupe that assisted Abdelaziz record one of his albums described him as a singer with “a diamond voice.”

In 1975, Abdelaziz outshined his peers at the Sudanese Sea Scout ceremony. One of the attendees of the event was the former president of Sudan, Jaafar Nimeiry (1969-1971), who awarded the young Abdelaziz with the grand prize after seeing him perform. Abdelaziz was only eight when he received the award from the former president. This event predicted the trajectory of Abdelaziz’s career and its proximity to politics. His popular music, unapologetic lifestyle, and convictions of Sudanese solidarity made his presence hard to ignore by the political realm. However, contrary to the praise he received from Nimeiry, Abdelaziz was considered a nuisance to Al Bashir’s tyrannical administration. 

A rebel

As the president of Sudan for almost 30 years, the recently ousted Al Bashir held the nation in limbo defined by misery and degradation. He is currently on trial for charges of corruption and unlawful financial gain; however, it does no justice to measure Al Bashir’s sins in currency. He inherited a civil war in 1989 and prolonged it for another 16 years, which resulted in the death of about two million people. His government was responsible for genocides that displaced millions and normalised rape as a weapon of war. The conservatism of the National Congress Party (NCP) forced many people to leave Sudan, especially individuals who vocalised opposing views towards the government. According to The Guardian, many prominent Sudanese singers, artists, and politicians had to seek refuge outside of their native country. Nevertheless, Abdelaziz wasn’t having any of it. Despite the immense pressure, he remained in Sudan and continued to be a juggernaut for music fans. 

Dominated by the legal system based on Sharia law, Sudan was run by an administration that used “holy” dogma to control everything except its inhumane pursuit of profits. The government’s efforts to regulate social life had a detrimental effect on artistic expression. Hence, conformity to Al Bashir’s political agenda was a sanctuary from harassment. Abdelaziz could have avoided many legal troubles had he given into respectability politics. However, he refused to be the poster child for the government and lived a bold lifestyle that sneered at the conservative elites. Abdelaziz was known for his consumption of alcohol and marijuana; consequently, authorities often arrested the singer and tried to humiliate him with public flagellation. The government’s feeble efforts to make an example of Abdelaziz did little to no damage to the singer’s popularity. His rebellious nature resonated with the Sudanese people who loved his music and disliked the authorities the same.

Abdelaziz’s use of alcohol and cannabis made him an easy target for authorities. On the other hand, this same behaviour garnered reverence from the public and amplified the love towards him and his artistry. However, contributing these two aspects of his career to hedonistic behaviour would be a mistake. One can even argue that Abdelaziz could have engaged in these acts with impunity had he subscribed to Al Bashir’s propaganda. Nevertheless, he refused to promote the government that was desperate to capitalise on his fame. More than anything, Abdelaziz was punished for his rebellious nature rather than his recreational activities.

Abdelaziz’s noncompliance exuded from his music. His songs touched people of different tribes, religions, and economic statuses in a nation that relied on the division of social classes. During the Second Sudanese Civil War (1983-2005), he released one of his most famous songs titled “Juba.” The lyrics pay homage to the beauty, personalities, and culture of the area, which is now the capital of South Sudan. The song had a significant political impact because Sudan’s biggest star was proposing that the people should consider a benevolent relationship between the north and south. One can only imagine the resentment the central government had towards Abdelaziz for putting out a record that promoted harmony between Christians and Muslims during a time when they did everything in their power to ostracised their Nilotic cousins.

Mohammed Babkir, head of Moons of the Countryside, adequately described Abdelaziz to The Guardian. He said, “Mahmoud Abdelaziz was always with [the] people, and he was outspoken about people’s issues. Many of his songs are about that.” Indeed, Abdelaziz took pride in recognising Sudan’s social ills caused by the government. Hence, his voice of unity made him the antithesis to Al Bashir’s regime.

The voice of the people

Unstirred by despotism and committed to egalitarianism, Abdelaziz sang freedom and joy to a repressed society. His influence on the Sudanese youth spoke volumes about his bravery to offer escapism through music. To the young people of Sudan, Abdelaziz was a cultural icon the same way Marlon Brando was in America during the 1950s; they worshipped him and embodied his persona. Mohamed Wahbi, the author of The Light Thief, the biography book on Abdelaziz’s life, stated that the youth “mimicked his look, his haircut and even the way he spoke.” Abdelaziz did not allow celebrity status to compromise his altruistic behavior. He spent his leisure time helping the disempowered and established Moons of the Countryside, which is a charity.

Abdelaziz acted as the people’s voice so that malevolent snickering no longer muffled their cries. His peculiar fate intertwined music, fame, and politics, which made Abdelaziz inseparable from the struggle of the Sudanese people. Alas, the entire country erupted when tragedy fell upon Al Hoot.

In January 2013, anxiety swept the nation when the news of Abdelaziz’s health circulated. Ironically, Al Bashir made a promise to cover the singer’s medical costs. His condition got so critical that he was flown out of Sudan to seek medical treatment. Abdelaziz’s family took him to Jordan, without informing the commander-in-chief, where he continued to fight for his life at Ibn Al Haytham Hospital, located in Amman. Suffering from blood poisoning, Abdelaziz was pronounced clinically dead in January 2013. According to Jordanian physician Jamal Al Arda, his death resulted from clotting complications, which caused internal bleeding. 

Abdelaziz’s death caused a disturbance in Sudan. Authorities had to halt all activities at Khartoum International Airport because fans flooded the scene to welcome the singer’s body. Eventually, tear gas was used to diffuse the crowd while thousands of others went to Abdelaziz’s home to express their grief. Even in death, his belief in pluralism was felt by how countless people in South Sudan were mourning his departure.

Life after death

During the Sudanese Revolution, Al Bashir’s administration was determined to defeat all forms of mutiny, and so even after death, Abdelaziz’s essence was a political liability. In January 2019, the government was distressed about Abdelaziz’s influence. Members of Hawatah, a movement dedicated to the late singer, showed sympathy towards the protesters. According to Al Jazeera, the government intruded into the lives of Abdelaziz’s surviving family to prevent them from encouraging the Hawatah from participating in the demonstrations. At one point, authorities would not even allow the Hawatah to commemorate the anniversary of Abdelaziz’s passing. The government’s efforts to silence the Hawatah exemplified Abdelaziz’s importance to the revolution. Hence, the youth and women who liberated the country carried a rebellious spirit in their chants that echoed the sentiments of Abdelaziz’s character. 

Abdelaziz is not here to witness his country emerge from the rubble of revolution. However, the Sudanese people can honour him by continuing disrupting conventionalism and remnants of tyranny. Despite the new government, several issues still plague Sudan. Hemeti, commander of the Rapid Support Forces (RSF), copilots the country while he continues to terrorise civilians. Political prisoners remain in custody despite pardon orders. Sudanese women, the driving force behind the country’s liberation, are battling the psychological effects of sexual violence. In light of revolutionary triumph, these problems need addressing. Progress is excellent, but it is never the end.

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Muhammad Modibo Shareef is a 27-year-old Sudanese freelance writer based in Oakland, California. His work has appeared in Anastamos and The Paragon Journal. Shareef’s writing focuses on race, gender, sexuality, class, and how identity affects our politics and individual experiences. Find him on Twitter at @modiboshareef.