The reader might be acquainted with Sudan recently making waves across local, regional, and international film festivals. However the Sudanese diaspora is especially present in the performing arts, and over the past year offered its unique fruits in Egyptian cities.
Whether through traditional or contemporary songs, music has become a rallying cry for Sudanese people in Egypt, offering a shared sense of belonging and a means of uniting amid the struggles they face. The last 12 months have been testimony to the growing Sudanese voices, with singers, instrumentalists and dancers, coming in large numbers onto the stages in Cairo, Alexandria and beyond.
The year also revealed that the Sudanese diaspora is by far the strongest in the context of music-making. To those communities, music serves not only as a form of artistic expression but also as a vehicle of emotional and social support, while fostering unity and a reaffirmation of identity. It became a tool allowing Sudanese communities to cope with the trauma of displacement and ongoing war.
Naturally, these concerts draw large crowds of Sudanese listeners, many of whom are members of the diaspora seeking a connection to their homeland. For them, music is a powerful reminder of their roots, offering a sense of belonging and a way to keep their cultural heritage alive.

Sudanese music: not a stranger
From a musical perspective, the Egyptian audience has been highly receptive to Sudanese melodies and rhythms, reflecting deep musical ties between the two nations. Both musical traditions share common roots in the broader Arab and African musical heritage, characterised by similar scales, modes, and rhythmic patterns, particularly in the use of maqamat (melodic modes) and iqa’at (rhythmic cycles).
Egypt is also well acquainted with Sudanese musicians. For instance, Asia Madani, a singer and percussionist based in Egypt, is among the foremost names presenting Sudanese folklore and music from various African countries. Equally, the Cairo-based Waad Aadel is another voice of Sudanese musical heritage, with her own following. Local listeners equally admire the Sudanese King of Jazz, Sharhabeel Ahmed, who has never been a stranger to Egyptian stages, with his latest appearances taking place this year.
The older generation will also remember Al-Sir Gadour, a renowned Sudanese singer, composer, and musician who spent a large portion of his life in Egypt, and died in Cairo in 2022. Also well-known was Sudanese singer Setona who made Egypt her home in the 1980s (until her passing in 2020) and mesmerised local audiences with her skill at traditional popular singing and henna art.
Undeniably, Sudanese music forms an integral part of Egypt’s culture and is equally reflected in the productions of a number of local musicians. Egypt’s south, regions of Nubia—a bridge to Sudanese musical explorations—have for long inspired local artists.
Mohamed Mounir, the King himself, capitalises on his Nubian heritage while incorporating a wide range of genres, including Egyptian folk, jazz, and rock into his music. Many compositions of the Black Theama, an Egyptian band formed in the early 2000s, are musically linked to Nubian and Upper Egyptian influences. Dina El-Wedidi has made an effort to bring attention to Egypt’s marginalised cultures, including the Nubians, by incorporating their music into her performances.
Many artists have turned to the south for inspiration, and through their music, created a welcoming platform that embraces and amplifies Sudanese musical traditions. This friendly connection opens the door to Sudanese music ensembles—whether newly formed in the past year, or being freshly revived. If not for Sudanese music, it is through their own and a very unique rendition of the well-known Egyptian repertoire that they manage to draw local audiences to their performances.

Sudanese musicians, bands
One of the most notable examples of rebuilding musical practice in exile is the work led by Elsafi Mahdi, a renowned Sudanese musician, conductor, and lecturer at the College of Music and Drama at Sudan University of Science and Technology.
In Khartoum, Mahdi was the driving force behind Aswat Sudaneya (Sudanese Voices), a choir that brought together both professional and emerging singers under his expert guidance. His leadership not only shaped the musical talents of his choir members but also fostered a sense of cultural pride and community.
Within weeks of Mahdi’s arrival in Egypt in January 2024, he swiftly relaunched the choir, marking a significant moment for the Sudanese diaspora in Cairo. This revival is more than just a reestablishment of a musical group, it is a reconnection with his former students and singers from Khartoum, all of whom had fled the war and are now based in Egypt. These long-standing bonds, along with Mahdi’s deep-rooted influence, have helped to attract new talent to the choir, further strengthening its presence in Cairo’s cultural scene.
The choir has provided its members with much-needed solidarity in a time when they have been forced to live away from their home country. For many, being part of this choir is a form of emotional and psychological healing, an outlet to express their longing for Sudan while finding a sense of belonging in Egypt. As the choir members have expressed, it is through the shared experience of song that they feel united, transcending their personal losses and challenges, and creating a communal bond.

The choir’s repertoire is a rich blend of Sudanese traditional songs and renditions of beloved Egyptian classics, the latter symbolising the fusion of both cultures. This synthesis of Sudanese and Egyptian musical traditions not only enhances the choir’s appeal but also strengthens its resonance with local Egyptian audiences. In this way, Aswat Sudaneya not only maintains Sudanese cultural expressions but also bridges gaps between the Sudanese diaspora and the Egyptian public.
Yet Aswat Sudaneya is just one of a handful of examples of musical ensembles uniting Sudanese artists. Many of the musicians participate in more than one such group, additionally strengthening bonds.
Another formation, the Salam Band, a collective of 20 Sudanese individuals, was formed in Cairo by a group of musicians and artists who fled the ongoing war in Sudan.
Led by Omer Himaeda, a medical graduate from Khartoum, the band brings together men and women of various ages who share a deep commitment to using music as a means of healing and spreading a message of peace. Many of the band members were students at Bait Al-Oud (Oud House) in Khartoum, and their performances form yet another melting pot of Sudanese heritage and a variety of Oriental musical influences.

According to the Salam Band’s published mission, the troupe remains focused on creating music that reflects the resilience, strength and hope of those affected by war, offering a voice for the Sudanese diaspora while fostering awareness and change.
Speaking of Bait Al-Oud, it is hard not to mention Eiman Yousif, a well-rounded Sudanese artist.
Yousif carved her name in the minds of international cinephiles for her role in Mohamed Kordofani’s Goodbye Julia (2023). And even though Yousif sings a few songs in this multi-award-winning film, not many realise that singing and playing music has always been an integral part of her life. In fact, it was her passion for music that caught the director’s eye.

In Khartoum, Yousif inaugurated the School of Management Faculty Choir at the University of Khartoum; she was taking qanoun (string instrument) lessons at the Bait Al-Oud, and performed with the institute’s orchestra, as well as singing across many venues.
Her last concert in Khartoum was with the Bait Al-Oud orchestra on the eve of the war, on April 14, 2023.
For instance, her composition Wein El-Helm (Where is the Dream), arranged by Mazen Hamed, is a small journey from pain to hope, embellished by simple harmonies and colourful, Sudanese-flavoured percussion.
Dafallah Al-Haj, a prominent Sudanese musician, academic, and researcher, who has significantly contributed to the preservation and promotion of Sudanese musical heritage, has also made Cairo his home.
Born and raised in Omdurman, Al-Haj spent much of his life immersed in Sudan’s rich musical traditions. Throughout his career, he has been deeply dedicated to documenting Sudanese musical instruments, undertaking research into many traditional expressions of Sudanese tribes and communities, and amassing a collection of over 150 items from both rural and urban areas. Between 1996 and 2010, he also crafted over 300 instruments, bringing the sounds of Sudan’s diverse musical heritage to life.
Al-Haj founded the Sudanese Centre for Traditional Music in 1997, the year he launched the Camerata Ensemble, a group of academic friends that performed at festivals both within Sudan and internationally. Meanwhile, the growing centre became home to the Traditional Sudanese Musical Instruments Museum, the only institution in Sudan dedicated exclusively to classical folk instruments.

The outbreak of war was particularly painful to Al-Haj. His decades-long wealth of instruments, housed in the museum, was looted or destroyed during the 2023 battles between the Sudanese Armed Forces (SAF), and the paramilitary Rapid Support Forces (RSF).
Al-Haj sought refuge in Egypt, arriving in late 2023. Despite his losses, in Cairo he continues his lifelong mission of preserving Sudanese cultural heritage: he set up a small workshop where he crafts traditional Sudanese instruments.
His handmade instruments, such as tanbours (or kissar, a bowl lyre) and naggarahs (a percussion instrument), have become integral to the newly formed Camerata for Folkloric Arts – a revival of his original ensemble – even more underscoring his unwavering commitment to safeguarding Sudan’s music. The Egypt-based Camerata has already given dozens of concerts across many stages in Cairo, Alexandria and other cities, adding an important share of Sudanese art to the Egyptian musical landscape.

Revival of older Sudanese ensembles
The growing number of Cairo-based Sudanese ensembles is not limited to those formed after the eruption of the war in April 2023. Some musicians had already established their presence in the country prior to that fateful date, and they are adding their important voice to the musical collective.
Example of well-established groups consisting of Sudanese artists is Dopamine, a dynamic seven-member band formed a few years back by Omer Suliman, a 30-year-old Sudanese creative art manager.
The band emerged out of the vibrant music scene that blossomed in Sudan after the 2019 revolution. With a unique fusion of reggae, blues, and traditional Sudanese scales, the group blends musical genres to create a distinctive sound that both honours Sudan’s rich cultural heritage and appeals to contemporary audiences.

As the band promotional material reveals, Dopamine brings together individuals with varying levels of experience, including members who have performed in well-known bands and talented students. It is deeply committed to empowering Sudanese youth, offering guidance and opportunities for emerging artists to hone their craft and navigate the music industry.
Dopamine also plays a crucial role in uniting the Sudanese diaspora by organising affordable events and jam sessions that create spaces for cultural exchange and community building. Through music and community-driven initiatives, Dopamine seeks to elevate Sudanese voices and foster a sense of collective pride, using music as a powerful tool for connection and change.

No journey without obstacles
It is obvious that the number of Sudanese music representations in Egypt is only growing. The examples given are a drop in the ocean of dynamism.
Throughout 2024, numerous Sudanese music performers successfully graced public stages, firmly establishing their presence within Egypt’s music scene. The Sudanese diaspora made significant appearances at cultural festivals, within foreign cultural centers – most notably the Goethe Institute, which has been at the forefront of supporting Sudanese performers with its Sudan Hub – and at events organized by UNESCO, the UN Refugee Agency, and other international organisations.
While the audience is receptive, nostalgia for one’s homeland will perpetuate some degree of alienation. Greater integration into the Egyptian music scene could help ease this sense of displacement, offering a more meaningful connection for Sudanese artists and audiences alike.
Despite 2024 showing an increase in public concerts by Sudanese bands, Egyptian laws regulating local performances do not yet meet the expectations of the Sudanese diaspora.
Adel Harbi, president of the Sudanese Artists Union and vice president of the Arab Artists Union in Cairo, reveals that the artists often experience obstacles in obtaining permits from the Egyptian Music Syndicate, which charges foreign performers high fees. Harbi is actively addressing the legal challenges that limit performance opportunities, aiming to eliminate the obstacles that often prevent Sudanese artists from accessing commercial stages.
Then again, no journey is without its obstacles. The increasing visibility of Sudanese artists on Egypt’s music scene points to a promising future where cultural exchange and integration can flourish, easing the sense of displacement and offering Sudanese musicians a space to continue contributing to the broader musical landscape.
Despite the challenges posed by the war and the trauma of displacement, Sudanese musicians have found refuge in their art, using it to reconnect with their heritage and offer solace to fellow exiles. At the same time, the past year reflects not only the resilience of Sudanese artists but also dynamic ways in which their traditions are being embraced and integrated into Egypt’s cultural scene.
* A version of this article appears in print in the 26 December, 2024 edition of Al-Ahram Weekly
Short link: