Fine Arts College Reveals Memorial Of The December Revolution
15 November, 2020
KHARTOUM (Sudanow) — The Sudan University of Science and Technology Wednesday drew the curtain off a memorial of the December Revolution, built by graduates of its College of Fine Arts.
The memorial shows a young man raising the country’s national flag with his right hand, while resting his left foot on a teargas canister, an incarnation of the struggle of the Sudanese youths for national freedom in defiance of the savage security’s handling of the protesters who eventually managed to topple the dictatorial regime of General Omar Albashir.
The edifice stands on a base carrying four wall drawings in relief form, representing the slogans of the Revolution: Freedom, Peace And Justice.
The College’s Sculpture Professor Alsadiq Mahmood Da’ood said the memorial is an extension of the fine artists’ contributions to the Revolution. It symbolizes the Revolution’s youths and their visions and tells about their struggle for freedom.
Da’ood said the work of art was made by the College in cooperation with the Organization ‘Saferworld’ and with complete support from the Asma’a Development Society.
The Saferworld is a UK based independent international organization working to prevent violent conflicts and build safer lives. It was founded in 1989 and began its work on Sudan in 2011.
Asma’a Society for Development is a Sudanese nongovernmental non- profit organization founded in 2001.
Da’ood said the work was carried out by a group of the Fine Arts College graduates. They are: Ahmed Abdalla, Mohammad Siddiq Osman, Mustafa Osman, Husam Osman and U’wais.
The life-size memorial is made from fiberglass. It was erected in front of the office of the University's Vice Chancellor.
The Sudanese artists had had great influence during the December Revolution with their paintings that encouraged the protesters to keep up their struggle until regime fall.
During that period the paintings of those artists became conspicuous landmarks in Khartoum and within the grounds of the sit in around the Army Headquarters.
All of those portraits were symbolic of the demands of the protesters, their feeling about the Revolution and their faithfulness to the Revolution’s martyrs.
The artists had at the time painted a long wall drawing carrying images of all the Revolution’s martyrs.
They had wanted art to become a tool for social development and national renaissance, in place of being a monopoly of the elite.
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YH/AS
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