South Sudan: Redefining Artistic Expression

In an era where globalisation pressures artists and content creators, particularly in Africa, to create in ‘international’ languages, these pressures extend beyond just songs to other art forms that rely on linguistic components, such as writing. Moreover, the lingering effects of intellectual colonisation are often disguised beneath the veneer of what we now know as modernisation, a process that frequently leads to Westernisation. 

The survival of local languages faces unprecedented challenges. Modernisation often brings a wave of uniformity, eroding the rich tapestry of indigenous cultures and languages. Yet, the movement towards decolonising minds and reclaiming cultural identity is gaining momentum. Therefore, South Sudanese artists such as the popular 32-year-old Alijoma, who makes South Sudanese music in a wide variety of genres including Zouk, Afrobeat, dancehall, Afropop and reggae, is at the forefront of this mission by performing in his native Jieng Dinka language. However, the singer and entrepreneur, who is based in South Sudan, is now achieving international recognition, taking the language to a global stage, resisting cultural homogenisation, and celebrating his heritage in a powerful and resonant way. 

For decades, African cultural and artistic expression during the colonial period was either erased or devalued. However, Alijoma’s work aligns with Ngũgĩ wa Thiong’o’s call in Decolonising the Mind: The Politics of Language in African Literature for artists and all Africans to wield the ‘weapons of struggle’ contained within their languages – using their cultural expressions as tools for resistance and empowerment. 

This decolonial movement, seeking to move away from Western cultural standards, is returning the language of art to its origins as an expression that unites human beings in a shared world of meaning and emotion. Notably, Alijoma’s music is inspired by the African R&B genre. His poetic vocabulary is deeply rooted in the local environment and geography, without drifting towards an aesthetic lexicon influenced by other cultural environments. If we examine the lyrics of his song, “Happiness”, for instance, we can see clear evidence of this. In the lyrical passage, ‘Her body doesn’t need lotion, she is soft like the maize silks’, and in another stanza, ‘Natural beauty she sits like a calabash’, his specific imagery is clear. Further, from a geographical point of view, the connection between people and the surrounding landscape is emphasised by the line, ‘My love is like that of a badger, I’ll catch you like a fish that’s hooked’.

The lyrics mentioned above implicitly critique the pressures on African women to conform to Westernised beauty standards, typically characterised by light skin and long, soft hair. Furthermore, they reflect the strong bond between people and their lands, a relationship that deeply shapes their artistic and cultural expressions. 

Alijoma’s work is more than just an artistic product; it is an act of cultural resistance. Moreover, his choice to sing in Jieng Dinka provides a vital counterpoint to the dominance of ‘international’ languages in the global music scene, offering a powerful example for other artists seeking to connect with their roots. Furthermore, Alijoma demonstrates that local languages can resonate with a global audience and can be used to change the narrative in a positive manner, portraying the realities of their nations and contributing to a richer, more diverse cultural landscape. 

The subtitles provided in Alijoma’s latest releases on platforms such as YouTube allow his music to overcome linguistic barriers. Indeed, seeing people from the West imitating his songs on TikTok is a small victory for a local language. However, this cultural bridge-building is seen as a seed for a promising future generation of artists, both in South Sudan and across the continent, to embrace their local languages and challenge the legacy of cultural imperialism. This is ultimately fostering a world where cultural diversity thrives. 

500WM Columnist Butros Nicola Bazia, born in Khartoum, Sudan in 2001, is a South Sudanese independent writer and storyteller currently based in Juba, South Sudan. He began his content creation journey with Young Black Voice Podcast in 2022 and transitioned to creative writing in 2023, driven by a deep interest in arts, culture, and society. His work reflects resilience and creativity, even amidst the challenges posed by ongoing conflict in the region. Nicola now runs his own blog, Autide Me, and has published works in Sudans Post and 500 Words Magazine, where he currently serves as a columnist.