Although the Sudanese revolution was a success, the women of Sudan continue to fight against the sexism that is so latent in their country.
The forefront of the Sudanese revolution. Hind Mekki. CC BY 2.0.
Located in the northeast corner of Africa, Sudan gained its independence in 1956 from British and Egyptian rule. The young country has struggled internally ever since, with a multitude of political and religious divisions between the south and the north which broke out into multiple civil wars. South Sudan formed as the newest nation in the world in 2011, as a result of a majority vote for independence in a referendum created by the 2005 Comprehensive Peace Agreement. Present-day Sudan is majority Muslim, while South Sudan is mostly Christian.
Amid the turmoil which defined Sudan’s geopolitics rose Omar al-Bashir, the last president who was known for his cruel dictatorship, human rights violations and war crimes. Bashir came to power in 1989, overthrowing Prime Minister Sadiq al-Mahdi through a nonviolent coup. His autocratic reign at first introduced Sharia, or Islamic law, thus creating more tensions between the Islamic north and the Christian south. Under Sharia, floggings for adultery and drinking alcohol were commonplace. Through the strict interpretation of Islamic law, women and girls were made victims of political persecution, violence, and genital mutilation. Bashir’s laws were indifferent toward cases of domestic violence against women, child marriage and marital rape. Sudan’s Article 152 of the penal code validated the flogging and imprisonment of women for what they wore.
Sudanese protesters gathered in December 2018 to confront President Omar al-Bashir’s strict measures for economic relief. Bashir made cuts to bread and fuel subsidies, which exacerbated the dissent which was already festering among citizens. Although the movement was initially made up primarily of men, women soon became the driving force behind the revolution. Women made up about 70% of the protesters and were targeted for gender-based and political violence, including battery and rape, by Sudan’s security forces.
The success of the coup took the media by storm, but there remained sexist overtones within the movement itself. The Sudanese Professionals Association, which has been organizing resistance against Bashir’s dictatorship throughout all three decades, suggested that female protesters come gather on the streets to clean on a day which was scheduled for a protest. This devalued the women who were fighting alongside men against Bashir’s regime, making them feel dismissed as mere cleaners instead of as members of the uprising itself. This led to a more pressing concern for women’s rights in Sudan, which have been shot down for decades.
A photo of a Sudanese woman, clad in white and towering over the crowds on top of a car, became the icon of the movement itself. Her defiance and resilience moved millions of onlookers around the world, and she became dubbed as “Kandaka,” which refers to the Nubian queens of the Kush kingdom who reigned in Sudan centuries ago. This apparition of gender equality left female protesters disgruntled, as it was sorely evident that women were still oppressed by the patriarchal society in Sudan.
After the coup, Alaa Salah, the celebrated icon herself, told Time magazine that the Sudanese government still limits the role of women in the legislature. Salah is pushing for 50% female representation in Sudan’s parliament, and works alongside women’s rights activists to change the restrictions placed on women. The public law, which tormented women in Sudan for their behavior and their ways of dressing, was finally repealed in November 2019. Although Sudan’s systemic violence against women is entrenched in its society, women’s rights activists remain optimistic about the progress already seen since the ousting of Omar al-Bashir.
Heather Lim
Heather recently earned her B.A. in Literatures in English from University of California, San Diego. She was editor of the Arts and Culture section of The Triton, a student-run newspaper. She plans on working in art criticism, which combines her love of visual art with her passion for journalism.