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 Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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وفاة الموسيقار السوداني محمد وردي عن 79 عاما
التاريخ: 19 فبراير 2012
شيع السودان فقيد الفن محمد وردي الذي غيبه الموت في ساعة متأخرة من مساء أول من امس عن عمر يتجاوز الثمانين عاما مليئة بالعطاء والانجازات بعد صراع طويل مع المرض ، وقد تقدم الموكب الرئيس السوداني عمرالبشير ولفيف من القادة والسياسيين وكبار المسؤولين بالدولة والمواطنين .
حيث ووري الثرى في الثامنة من صباح امس بمقابر فاروق في الخرطوم واقيم العزاء بمنزله في المعمورة الذي شهد تدافعا كبيرا من المحبين لفنه من فنانين وموسيقيين وشعراء وملحنين ورجال الفكر والأدب وأصدقاء وأسرة الفقيد الراحل.
أسطورة فنية
ملأ وردي الدنيا بألحانه واغنياته العذبة لاكثر من 50 عاما سجل خلالها مئات الاغنيات الخالدة فى الاذاعة والتلفزيون وكثير من الوسائط الاعلامية وعاش وردي طويلا بدول المهجر ثم عاد الى ارض الوطن بعد طول غياب في السنوات الاخيرة ليفارق الحياة بالخرطوم كما تميز بإدخاله القالب النوبي والأدوات الموسيقية النوبية في الفن السوداني مثل الطمبور.
كما عرف عنه أداؤه الأغاني باللغتين النوبية والعربية ، منح الراحل الدكتوراة الفخرية من جامعة الخرطوم في عام 2005م تقديراً لمسيرته الفنية لأكثر من 50 عاماً ولأدائه ما يزيد عن 300 أغنية، وباعتباره أسطورة فنية سودانية وموسوعة موسيقية.
وجاء وداع الوسط الفنى السوداني لفقيده بحزن عميق لانه علم من اعلامه وأحد سفراء الاغنية، وقد لبى نداء ربه في ساعة متأخرة من مساء أول من امس بالخرطوم بعد صراع طويل مع المرض، وبعد أن كانت حالته الصحية قد استقرت نوعا ما .
وهو في غرفة العناية المركزة ، إلا أن موقفه الصحي كان حرجا فأسلم الروح الى بارئها بعد رحلة طويلة عامرة بالعطاء فى مجالات عدة فى الفن والتعليم وهو الاستاذ ومربي الاجيال وأحد الذين ساهموا اسهاماً كبيراً فى وضع الاركان الرئيسية لمسار الأغنية السودانية باختياره للكلمة الرصينة والمموسقة متعاملا مع عدد كبير من الشعراء . والراحل صاحب ملكة كبيرة فى التلحين لأغنياته التى تغني بها وستظل خالدة فى وجدان المتلقي السودانى والعربي والافريقي .
علامة مضيئة
شكل رحيل محمد وردي فقدانا كبيرا للمجتمع السودانى باعتباره إحدى العلامات المضيئة فهو الفنان الملتزم بضوابط وأهداف الفن كإنسان يملك قيماً نبيلة بشهادة أهل الفن داخل وخارج السودان ، وقد نعت رئاسة الجمهورية في بيان رسمى الفقيد ووصفته بهرم الأغنية السودانية واكدت ان وردى كان علما في سماء الأغنية السودانية بل واستطاع أن يعبر بأعماله إلى العديد من البلدان العربية والإفريقية.
ونعى وزير الثقافة السمؤال خلف الله الفنان الراحل للأمة السودانية مؤكدا أن رحيله فقد للغناء العربى وليس السودانى وقال : ان وردى ظاهرة فنية لن تتكرر وفقدت البلاد برحيله اكبر رموزها الفنية على الاطلاق ، أما الفنان ابو عركى البخيت قال فى تصريحات صحافية: رحيل وردى خلف فراغا هائلا فى حقل الموسيقى والغناء لايمكن ان يملأ قريبا .
واضاف : وردى احد الرموز التى التف حولها السودانيون بمختلف انتماءاتهم ودياناتهم واعراقهم أنه جامع المختلفين الذين احبوه بصدق ، و احتسب الصادق المهدي رئيس حزب الأمة الفنان وردي ونعاه للشعب السوداني عامة والوسط الفني خاصة، وعزى أسرته ومحبي فنه .
نبذة
محمد وردى من مواليد قرية صواردة بجنوبى مدينة عبرى شمال السودان عام 1932 ونشأ فيها يتيما وتربى في كنف عمه فأحب الادب والشعر والموسيقى. وشهدت مدينة شندي اولى مراحله عندما انتقل اليها لاكمال تعليمه هناك ثم عاد الى حلفا من جديد بعد ان درس بمعهد التأهيل التربوي.
جميع الحقوق محفوظة © 2012 مؤسسة دبي للإعلام
http://www.albayan.ae/five-senses/2012-02-19-1.1595776
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Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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http://www.sudanvotes.com/articles/?id=367
(NSV) - Mohamed Wardi, certainly one of the giants of the Sudanese music has weighed in on the inevitable separation of southern Sudan in a recent interview translated for Sudan Votes website.
“The current unity is nothing but a lie and it is not attractive,” Wardi said, suggesting that failure of northern artists to incorporate southern Sudanese styles of singing in their lyrics, has contributed to making unity an ugly option.
Wardi, who spoke candidly about the state of the Sudanese music industry, challenged new artists and urged them to be mindful of the country’s diversity in their songs.
“As artists, we have not sought to integrate the northern heritage with that of the South, which is characterized by its richness, and which stresses that of the neighboring districts: our African identity,” he said.
“It is not enough for one to have the talent in order to be a (singer),” Wardi, who is a Nubian, added.
“Singers must have knowledge of their country’s cultural heritage, which is very rich in our country. Since they are singing for diversified nation, Sudanese singers must be familiar with the different styles of singing” in the country.
‘Joking’
On the hope for unity, Wardi told Hasan Farouk of the Khartoum based Al-Ahdath Newspaper that option was now beyond the reach.
“The best case to describe our situation is that of “the people of the cave” who were asleep,” he explained.
“We have thought along the five years since the Naivasha Agreement was signed in 2005, that it will not be implemented even after elections, just to wake up immediately to find ourselves calling for our attractive unity, as if joking.
“By we,” said Wardi, one of the most respected artists in Sudan, “I do not mean the northern part of Sudan, but all the Sudanese who have not worked for unity. As I have just mentioned, getting familiar with the other’s arts facilitates unity.”
The registrations for southern Sudan referendum are ongoing in the diaspora and in Sudan. Last week, the SSRC extended the date for registration for another week (until December .
On January 9, 2011, the people of southern Sudan will vote in a referendum on self-determination and national unity.
However, international consensus and opinion polls suggest Africa’s biggest country is headed for partition, if Sudan’s two ruling parties conduct timely, free and fair referendums.
Resolution of Abyei, a disputed oil rich region on the north-south border, an agreement on oil and where the borders lie, activists and analysts warn, will determine whether the country consolidates its shaky peace or reverts back to another costly war.
Abye issue is currently being handled at the presidency, and given the consistent breakdown of talks on the region in the last rounds; it’s unlikely that the inhabitants of this territory will be able to vote in January in a plebiscite to determine whether the region remains in the north, or whether it will join the south, as is expected.
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Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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العزيز / كستاوي
سلامات
أحد اصدقائي العمانيين وهو الأخ عبقدالعزيز الخروصي تألم كثيرا لوفاة الفنان محمد زردي فكتب هذه
الكلمات معزيا الشعب السوداني في هذا الفقد الجلل
Quote: وفاة الفنان السوداني محمد وردي جعلت الحزن وشاح يلفنا ويرتدينا, ما جعلني أكتب وأنا لست بكاتب ما رأيته على وجوه إخوة من السودان الشقيق عشت بينهم وأدمنت الكركدية والفول المدمس معهم عندما نشرت القنوات المتلفزه وفاة عملاق الاغنية والفن السوداني الاصيل المرحوم الفنان محمد وردي الذي أطرب أجيال ممن عشقوا السلم الخماسي وممن إستهواهم الطرب النظيف أن صح القول والمحترم والاصيل إن امعنت بالوصف.
فالفنان وردي غنى للسودانيين بلهجتهم وغنى للعرب روائع القصائد العربية لفطاحل الشعراء السودانيين وغنى لافريقيا، فتلذذنا بصوته كغيرنا ممن آمنوا أن الفن يحتوي الغث والسمين فأخترنا السمين الطيب.
حزنا لفراقه وجالت في المآقي دمعات مستحية أن تنسكب على وجنات الرجال وتذكرنا ما تغنى به وأرتسم على الوجه حزن مكبوت لهول الخبر.
لقد ترك لنا الفنان إرثا يجب أن يصان وألحانا يجب أن تدرس لمن أراد أن يسلك درب الفن الأصيل , شاءت الأقدار أن يرحل الفنان ونحن كعرب تعصف بنا المآسي والأحزان وعويل الأمهات الثكلى يسمع من مشرق العرب ومن مغربهم وتولدت لدينا مناعة ضد الحزن وفواجعه.
لكن بقت مساحة بالقلب تحزن على رحيلك ودمعات قلائل تسكب لفقدك وكلمة تقال انت باق بيننا ما بقي صوتك تردده أصوات من أحبك وأحب طربك.
العزاء للشعب السودان ولاهل الفنان الكبير
عبدالغزيز الخروصي
سلطنة عمان
ولاية لوى
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Re: خبر وفاة وردي في الصحف العالمية (Re: Ahmed al Qurashi)
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أستاذ كوستاوي
نشكرك شكراً جزيلاً على هذا البوست الرائع ، وهو يحوي مادة توثيقية جميلة جعلتني أشعر بفخر كبير وزهو أن يجد مبدع من تراب هذا الوطن الكئب المثخن الجراح كل هذا الزخم والإهتمام
فقط كنت أتمنى لو وضحت لنا أسماء هذه الصحف وإماكن إصدارها ، فماعدا الواشنطون بوست نجهل باقي هذه الصحف
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Re: خبر وفاة وردي في الصحف العالمية (Re: محمد علي البصير)
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SPLM Mourn the Death of Mohammed Wardi
The SPLM has sadly learned of the untimely death of Mohammed Wardi, the great Sudanese teacher, poet and musician. Today is a day for mourning and remembering the passing on of this revolutionary singer. Mohammed Wardi was a true Sudanese national figure who had made great influence on the lives of ordinary Sudanese citizens. He was an icon of African culture in a community that has been denied of its original heritage for ages by the ruthless Arab racist killers of African culture and traditions.
Mohammed Wardi hails from Nubi tribe of Halfa. The Nubi is an African distinct community whose members are faithful Muslims. Although a Muslim, Mohammed Wardi did not mix his Islamic faith with his African background. He was not ashamed for being an African and as a gifted linguist and musician he used to compose his famous songs in both Arabic and Nubi.
As early as late 1950s, Mohammed Wardi used to come to Southern Sudan and made great music performances. He did not have any stereotypes and as such he was the first musician from Northern Sudan who people from the South called their true son and brother from the north.
Late Mohammed Wardi was a revolutionary thinker and a believer in New Sudan on new basis. In solidarity with marginalized people of Sudan, he welcomed the October uprising against the oppressive regime of Ibrahim Aboud in 1964. Although the October political Change was hi-jacked by the Sudan traditional political opportunists, he still remained faithful to the struggle for freedom of the marginalized Sudanese people. This great human rights and freedom fighter joined the SPLM in 1980s and provided a morale booster to the SPLA fighters during the liberation war.
This short account of the political and cultural contribution made by the late Mohammed Wardi to the lives of the Sudanese people has not covered his vast role as a teacher, freedom fighter and musician. Nevertheless, Mohammed Wardi’s legacy will continue among the South Sudanese people and one is also sure that the rationale Sudanese people will remember him too in that same capacity.
May God rest his soul in eternal peace.
Cde. Bol Makueng
SPLM Secretary for Information, Culture and Communication
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Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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South Sudan Parliament Pays Tribute to Wardi
The Citizen - February 22
http://sudan.net/completenews.php?nsid=2595&cid=1
Juba — South Sudan National Legislative Assembly yesterday paid tribute to late singer Mohamed Wardi who died on Saturday night in Khartoum Hospital after failing in his fight against kidney complications.
Wardi was a national singer known in the then Sudan because of his freedom and revolutionary songs during the civil war in Sudan.
President Bashir of Sudan and thousands of Sudanese citizens attended the burial of the legendary singer on Sunday in a cemetery in the Sudan capital Khartoum.
Covered by Sudan state television, thousands of fans gathered, along with friends, family and government officials, on Sunday at the Farouk Cemetery in Khartoum, Sudan to mourn the loss of singer, songwriter and musician Mohammed Osman Wardi, who died Saturday, February 18, 2012 in a hospital in Khartoum due to undisclosed kidney problems. Mr. Wardi was 80.
Mohammed Osman Hassan Salih Wardi was born on July 19, 1932 in the small village of Swarda, part of the Nubian region of Sudan. Despite the loss of both parents by the time he was nine years old, Mr. Wardi earned a highly prized education filled with art, music and literature. He began his early professional life as a secondary school teacher before travelling to Khartoum in 1953 to attend a teaching conference. Four years later, Mr. Wardi returned to Khartoum to begin a musical career.
Recording and performing for Omdurman Radio, Mr. Wardi soon found himself collaborating with the likes of Abdelaziz Mohamed Dauod, Osman Hussaein and Ibrahim Awad. Mr. Wardi was promoted to the highest level of professional singer and collaborated with the poet Ismail Hassan to compose more than twenty songs.
Popularly known for his songs of love or Nubian folklore, Mr. Wardi sang in both his native Nubian as well as the Arabic, and played the stringed oud and the Nubian tanbur, as well as a few other instruments. Aligning himself with Sudan’s political left and dipping into more politically charged music, Mr. Wardi ended up in jail and would eventually go into exile in 1983 after the imposition of Islamic law by President Gaafar Numeiri. He returned to Sudan in 2003.
Known as “Africa’s top singer,” Mr. Wardi’s career spanned some 60 years and resulted in more than 300 songs. In 2005, Mr. Wardi earned an honorary doctorate from the University of Khartoum and is considered a national treasure in Sudanese music.
Wardi who died at the age of 80 hailed from Nubian Community of Northern Sudan.
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Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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الكاتب علي العامودي
جريدة الاتحاد الاماراتية
السبت 25 فبراير 2012
http://www.alittihad.ae/columnsdetails.php?ca...column=3&id=19352&y=
صباح الخير
علي العمودي
كان ذلك منذ سنوات بعيدة، عندما تسللت للروح كلمات جذلة بلغة جميلة، ونغم أجمل، وكانت تلك
بداية تعرفي على السلم الخماسي الذي يميز الأغنية السودانية، وبصوت قامة من قاماتها، الفنان
الذي ودعنا الأسبوع الفائت محمد عثمان وردي.
وفي تلك الحقبة المبكرة من قيام صرح إماراتنا الشامخ، كانت هذه السواعد السمر من أرض النيلين،
تنتشر في مختلف مجالات وميادين التنمية، في دور لا تخطئه العين في البلديات وتخطيط المدن والشرطة
والقوات المسلحة ودور العلم والقضاء، في زمن البدايات الصعب. وكان لثلة من أبناء هذه المنطقة
فرصة للدراسة في “حنتوب” ومعاهد وكليات “مقرن النيلين”.
في سبعينيات القرن الماضي، تابعت حفلاً بسيطاً له في دبي، اقتربنا من رجل لطالما صدح بصوته للحق
والعدل وحقوق البسطاء في كل مكان في الحياة الحرة الكريمة، كان التزامه وانحيازه للبسطاء طاغياً
على أعماله التي استفزت الطغاة الذين اضطروه لارتياد المنافي في تجارب لم تحل دون إثرائه للأغنية،
الوطنية منها والعاطفية.
قد يعتقد شباب “الربيع العربي” أنهم اخترعوا الشعار الشهير”ارحل”، من دون أن يدركوا أنه دوى في
أروقة ومدرجات جامعة الخرطوم خلال ستينيات القرن الماضي، ليضع نهاية للحكم العسكري بقيادة الفريق
إبراهيم عبود، ويصدح هرم الأغنية السودانية برائعته الشهيرة “أصبح الصبح، ولا السجن ولا السجان باق”.
و“التقى جيل البطولات، بجيل التضحيات” في سيرة امتدت ثمانين حولاً، “ومن يعش ثمانين حولاً لا أبالك يسأم”،
بحسب زهير بن أبي سلمى، ولكنها لم تك كذلك مع قامة بحجم وردي، رواها بأزيد من 300 أغنية، ومحطات
تختصر قصة وطن أبصر النور على أرضه موحداً، ورحل عنه مقسماً، ولم تك كذلك عند إنسان مرهف مؤمن بأن الفن
رسالة، والوطن أمانة، صادحاً بأنه “أبداً ما هنت يا سوداننا يوماً علينا، بالذي أصبح شمساً في يدينا،
وغناء عاطراً تعدو به الريح فتختال الهوينى”.
“رحلت وجيت، في بعدك لقيت، كل الأرض منفى”. إلا أن الجسد وهن، والوضع أسن، فكان الرحيل وكان الفراق.
في جنازته، اتحد السودانيون كما لم يتحدوا، تناسوا الخلافات والأحزاب والجغرافيا والسياسة، وذرفوا
الدمع كثيراً. وشاءت المصادفة أن يُشيع عشية توزيع جوائز الطيب صالح قامة سودانية أخرى، جال أصقاع
الأرض، حاملاً هَم أرض ليست بعاقر، تلد نجباء، وترسلهم للريح تبعثر أحلامهم، وتبدد نبؤات ترنموا بها
لغد آت، وخذلت الأيام والقرطاس والقلم.
هكذا قدر مبدعين يقبضون أمانة الكلمة كالجمر، ويسيرون كحفاة على دروب الأشواك والآلام، فالحمل ثقيل
ووطء الأمانة أثقل، يذوون سريعاً كما وهج الشموع يكابدون صرير الريح، وأنين الجراح، وعثرات الليالي
الطويلة وعزلة الزنازين الرطبة وسطوة الأزمان المتهاوية.
أصداء رحيل وردي رددتها ضفاف أنهر عشقها كما جبال النوبة وأمواج بحر ارتادها وروضها حتى استسلم
بحب ودفء لأرض احتضنته بحنان أم باعدت الأيام بينها ووليدها.
رحم الله وردي، وأحسن عزاء أهله ومحبيه في السودان، والوطن العربي الكبير، وتحية للمتيمين بوطن في
حضرة جلاله “يطيب الجلوس”، أحبوه “ملاذاً” وناسه”عزازاً”، أحبوه “حقيقة” وأحبوه “مجازاً”.
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Re: خبر وفاة وردي في الصحف العالمية (Re: Kostawi)
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شكرًا الاصدقاء كوستاوي وودالقرشي
وللكاتب الاماراتي علي العمودي
لا يعرف الفضل الا أهل الفضل
Quote: قد يعتقد شباب “الربيع العربي” أنهم اخترعوا الشعار الشهير”ارحل”، من دون أن يدركوا أنه دوى في
أروقة ومدرجات جامعة الخرطوم خلال ستينيات القرن الماضي، ليضع نهاية للحكم العسكري بقيادة الفريق
إبراهيم عبود، ويصدح هرم الأغنية السودانية برائعته الشهيرة “أصبح الصبح، ولا السجن ولا السجان باق”. |
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Re: خبر وفاة وردي في الصحف العالمية (Re: nadus2000)
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'Like water': A tribute to legendary Sudanese singer Mohammed Wardi
Ahmed Zaki Osman Mon, 20/02/2012 - 10:36
http://www.egyptindependent.com/node/670036
.One of Africa’s most celebrated singers, Mohammed Wardi, died Saturday at the age of 79, leaving behind a rich legacy of musical innovation that extended beyond the borders of his native Sudan.
Wardi, who was once known as the continent’s “first singer,” produced nearly 300 songs over his five-decade career. He captivated Sudanese listeners of all ages and was described in his home country as the singer with the “golden throat.”
The septuagenarian singer was born in the Nubian area in northern Sudan on 19 July 1932, at a time when Sudan was governed by the Anglo-Egyptian pact, which placed Sudan under the rule of both the British Empire and the government in Cairo.
Though he first worked as a teacher, he resigned and decided in 1957 to pursue a career singing at the national radio service.
At the time, the national radio station “Here is Omdurman” was struggling to find a way to express both the individual character and plurality of the nation. The radio service, first established by the Brits in 1940 and named for a turn-of-the-century battle between British and Sudanese forces, witnessed a major transformation in the late 1950s.
It transformed from being a mouthpiece for the colonial rulers to a voice of Sudanese nationalistic aspirations, with Wardi’s songs as the main soundtrack.
In an interview with the Saudi daily Al-Riyadh in April 2005, Wardi recalled his first big break with the Sudanese radio.
A program called “All Over Sudan” had just started airing. Wardi applied for an audition and was accepted as a professional singer on the radio soon after.
In the following years, Wardi balanced tradition and innovation in his singing. He used both Western and traditional Sudanese instruments like the Nubian tanbur (a long-necked string instrument with a half-spherical body). He also sang in his native Nubian dialect, which greatly increased his popularity among his fellow Nubians.
Wardi, along with his contemporary, leading singer Sayed Khalifa (1931–2001), is widely considered to have been pivotal in developing the modern Sudanese singing scene in the 1960s. Both singers adopted a similar approach, using themes from Sudanese daily life, engaging with philosophical notions of freedom and national independence and conveying their passionate love for their homeland.
But Wardi’s songs were more politically oriented. He was a strong opponent of the despotic regime of General Ibrahim Abboud, who came to power following the 1959 coup d’etat, and was overthrown by a popular uprising in 1964, known as Sudan’s October 1964 revolution.
The uprising was the first in Arab modern history in which people revolted against a national president and called for democracy. Wardi commemorated the uprising in his well-known song, “The Green October.” He sang:
“Green October, with your name the land sings/ The fields burst into wheat, promise and hopes/ The treasures were opened in the ground, calling/ With your name the people triumphed/ The wall of the prison was broken”
Like Khalifa, Wardi initially celebrated the new rule of General Gaafar Numeri, who seized power after another military coup d’etat in 1969. However, Sudanese commentators say that Wardi hailed the early socialist policies of the Numeri regime, and not its attack on civilian rule that followed.
In fact, Wardi opposed Numeri’s repressive measures against political forces in Sudan. He sang a poem written by poet Omar Aldosh called “Banadeeha” (“I’m Calling on Her”) that subtly criticizes Numeri, saying that Sudan was lost during his reign, as shown in the following verses.
“When she misses our date/ I look for her in history/ I ask the forefathers about her/ I ask the future that will come after many years”
Wardi also sang a famous poem by Mubarak Basheer, entitled “The Meeting of the Faithful,” in which he talks about some of Sudan’s national heroes in its recent history.
“The Meeting of the Faithful” went as follows:
“Today, we remember all the martyrs/ Everyone who wrote a sentence, in history, with blood/ Today, we remember all the honorable people/ Everyone who shouted against injustice.”
Sudanese opposition groups received this song as a clear statement against Numeri.
Khalifa, on the other hand, maintained good relations with Numeri, and continued to sing in support of the military dictator. In the 1960s and 1970s, Khalifa gained fame because of his strong connections in Cairo, where he studied at the Arab Music Institute. He is believed to be the first Sudanese to pursue formal academic study of music. Khalifa also appeared in Egyptian movies, singing his well-known “Mambo al-Sudani” (“The Sudanese Mambo”).
Unlike Khalifa, Wardi had received no formal training in music. But, by singing authentically Nubian songs, he became an unparalleled star in the Nubian communities in northern Sudan and southern Egypt.
Egypt’s famous Nubian singer, Mohamed Mounir, sang Wardi’s “Wust al-Dayra” (“The Middle of the Circle”) on his 1987 album, making the song its cover. Mounir’s rendition achieved major success but with little attribution to Wardi.
Following the fall of Numeri in the 1985 popular uprising, the Sudanese music scene experienced a new renaissance, with artists reemphasizing, once more, the need for a pluralistic but unified Sudan. Wardi was selected as the head of the Sudanese Musicians Union. Wardi and Khalifa still led the music scene, but other young voices started to emerge, such as the much-celebrated Mostafa Sayed Ahmed and Sharhabeel.
The singers had proven that they could perform under difficult circumstances and dictatorships. But after Islamists seized power in the third coup d’etat in Sudan’s history in 1989, attacks on music concerts and secular cultural life reached their climax.
After the coup, the ruling National Islamic Front proved to be ruthless authority, chasing singers, banning women from traditional dancing, and mocking the music industry. The National Islamic Front threatened Wardi for his nationalistic songs. Wardi remained silent for a while, but emerged again, performing in defiance some of his most political songs.
Later, he fled to Egypt, as government persecution escalated. Wardi and Khalifa were among many Sudanese artists who came to Cairo as anti-arts propaganda in Sudan reached its peak, when an extremist killed singer Khojali Osman in 1994.
Wardi, who was in exile at the time, responded to the incident, saying, “Art is like water: You can’t seal off its source. It will trickle inexorably through the rocks to emerge in a new spring somewhere else.”
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