From Mainstream Media to Alternative Press: Q&A with Eric Agnero, New Toward Freedom Board Member

Editor’s Note: This article was originally published in Borkena.

Since December of 2018, the Republic of Sudan has undergone general strikes, mass demonstrations, the forced removal of longtime former President Omar Hassan al-Bashir and the failed formations of several interim administrations.

Hundreds of people have lost their lives due to the repression carried out by the military and its supporters against protests which have been led by the Forces for Freedom and Change (FFC) and its Popular Resistance Committees (PRC).

The FFC was spearheaded by the Sudanese Professional Association (SPA) as well as other organizations. Since December 2018, the alliance which came about as a direct result of the overall economic and political crisis in Sudan, has undergone several realignments involving the military leadership and within its own ranks.

After an extended sit-in outside the Ministry of Defense during the early months of 2019, the top military leadership staged a coup against then President al-Bashir vowing to create the conditions for the realization of a democratic dispensation inside the country which had experienced the rule of the National Congress Party (NCP), an entity formed by the military-turned civilian officials of the government that had remained in power since 1989.

However, despite the promise of reforms, the Transitional Military Council (TMC) led by the Rapid Support Forces (RSF) attacked thousands of pro-democracy activists in Khartoum on June 3, 2019. It was estimated that at least 100 people died that day as 10,000 well-armed troops used live ammunition, teargas and concussion grenades to clear the demonstrators from in front of the military headquarters and the entire streets of the capital of Khartoum.

After the June 3, 2019 massacre in Khartoum, regional states coordinated by the African Union (AU) feverishly negotiated a truce between the FFC and the TMC. By August 2019, a Sovereign Council was created which outlined a 39-month transitional period where the military would serve as chair of the arrangements for the bulk of this time period which ostensibly would result in multi-party elections.

Nonetheless, the Sovereign Council consisting of FFC members and military leaders was dissolved on October 25, 2021. Interim Prime Minister Abdalla Hamdok was placed under house arrest while yet another crackdown on the mass organizations proceeded. Hamdok was briefly brought back into the government after being released from detention. Soon enough, however, Hamdok resigned from the second interim administration accepting his failure to stabilize the political and security situation in Sudan.

Communist Party Announces New Anti-Military Coalition

Just recently in late July, the Sudanese Communist Party (SCP), which had resigned from the FFC on November 7, 2020, citing what it perceived to be the indecisiveness of the alliance as it relates to the continued role of the military within society and government, announced the establishment of another alliance. The SCP has categorically rejected any governance role for the Sudanese Armed Forces within a future democratic administration.

Calling itself the Forces for Radical Change (FRC), the SCP-led alliance consists of various mass organizations and trade unions. The FRC is demanding the immediate establishment of a civilian government which would force the military back to its barracks.

A report published by the Middle East Monitor on July 25, stated that: “According to Sudanese media, the new alliance hopes to bring down the coup authorities to implement radical revolutionary change. SCP Political Secretary Mohamed Mokhtar Al-Khatib said that the FRC rejects ‘the military institution’s interference in politics and rejects any partnership with it.’ The alliance statement stressed the need to take decisions related to all ‘deferred issues’ and resolve them during the transitional period. Al-Khatib added that the FFC will not be part of the new alliance because it adopted a social-political approach ‘that caused the destruction of national resources.’ He claimed that the FFC still believes in an agreement with the military component and ruled out the participation of the Sudanese Revolutionary Front because it is cooperating with the military. The SCP leader did not speak about the National Consensus coalition which is seen as part of the coup.”

This new FRC grouping has called for an end to the economic underdevelopment of Sudan, a citizens-based civilian administration along with the acquisition of genuine independence which would discontinue any reliance on foreign imperialist interests. These events represent a further fracturing of those claiming to represent the democratic movement of the people which erupted during December 2018. At present there is the FFC Executive Office, the National Consensus Forces which appears to want a continued role for the military in the administrative structures of the country and the SCP-led Forces for Radical Change (FRC).

Mass Demonstrations for Democracy are Continuing in Sudan

Two large-scale protests were reported during June and July centered around the capital of Khartoum and its twin city of Omdurman. On June 30, four protesters were reportedly killed by the security forces during demonstrations calling for the reversal of the October 25 coup.

Later, on July 17, another demonstration was met with repression by the military and other security forces. Thousands participated in the protest actions prompting the security forces to utilize teargas and other crowd control weapons designed to disperse the crowds. Activists waved Sudanese flags and barricaded major thoroughfares in various locations in the Khartoum and Omdurman areas. Bridges leading to the cities were cordoned off by the military to prevent others from joining the demonstrations.

After the rejection of the October 25 coup, many of the FFC leaders who held positions in the Sovereign Council have expressed their reluctance to reenter another alliance with the military leadership of General al-Burhan. At the same time, the military regime has maintained its agreements with several armed opposition groupings known as the Sudan Revolutionary Front (SRF), an amalgam of rebel organizations based in Darfur, Blue Nile and South Kordofan states. The SRF has sided with the Sudanese military leadership since al-Burhan has pledged to address their grievances during the putative transitional process.

The SRF played a political role in encouraging the October 25 coup by staging a sit-in Khartoum demanding the dissolution of the Sovereign Council. After the coup, the SRF expressed its support for the latest putsch.

Meanwhile, another alliance of 10 Islamist groupings have put forward a proposal for the establishment of a new regime. This alliance dubbed The Broad Islamic Current consists of members of the banned former ruling National Congress Party (NCP), now known as the Islamic Movement and the State of Law and Development Party of Mohamed Ali al-Jazouli, who is a supporter of the Islamic State (IS) recently released from prison. At the founding of the Broad Islamic Current, supporters chanted slogans against the left organizations and coalitions in Sudan while expressing support for the October 25 coup and the military leadership.

Interestingly enough, the Broad Islamic Current does not include the Popular Congress Party (PCP) in its alliance. The PCP is one of the largest Islamist parties in Sudan founded by Hassan al-Turabi. The PCP grew out of a split between al-Turabi and former NCP leader and President al-Bashir in 1999. The Broad Islamic Current is seeking to take advantage of the political climate which emerged in the aftermath of the October 25 coup.

General al-Burhan delivered an address on July 4 calling once again for dialogue among all political groupings inside the country. He also commented on the role of the military in Sudan even after the holding of democratic elections. The military leader proposed what he called a “Supreme Council of the Armed Forces” which would have an undefined role in the economic and political structures within the country.

The FFC along with the FRC are saying publicly that they are not interested in further talks with the military regime. Noting that all other previous agreements between the FFC and the TMC have been broken by the military and its allies within the now reconfigured Sovereign Council, which is staffed by former rebel leaders, supporters of the rule by the armed forces and Islamist groupings which were formally associated with the government of ousted President al-Bashir.

Political analyst Osman Mirghani wrote during early July in the Sudan Tribune noting: “Simply rejecting al-Burhan speech will be a continuation of the reactive approach that has enabled the military component to always be one step ahead of the civilian forces. If these forces overcome their differences and set a clear charter, they could turn the tables by agreeing on a civilian government that would close the way for any other attempts to obstruct the transitional period and be the starting point for full civil rule after the failure of the partnership formula.”

Obviously, greater unity among the democratic forces would be a tremendous step forward in the process of genuinely transforming Sudan into a people’s state. Nonetheless, without the purging and dismantling of the military apparatus, which is supported tacitly by the United States, the State of Israel and the Gulf monarchies, any transitional process to a just and humane society will remain elusive.

Abayomi Azikiwe is the editor of Pan-African News Wire, an international electronic press service designed to foster intelligent discussion on the affairs of African people throughout the continent and the world.

The world is shocked by the image of an 11-story residential building in Gaza collapsing because of a bomb dropped by the Israeli Defense Force, one of the most advanced armies in the world thanks to U.S. support. But in the United States, Andrew Yang, former presidential candidate and now candidate for mayor of New York City, proudly proclaims he stands with the “heroic people of Israel” who are under attack from the vicious, occupied Palestinians, who have no army, no rights and no state.

But as politically and morally contradictory as Yang’s sentiments might appear for many, the alternative world of Western liberalism has a different standard. In that world, liberals claim that all are equal with inalienable rights. But in practice, some lives are more equal and more valuable than others. 

In the liberal world, Trump is condemned for attempting to reject the results of the election and indicating he might not leave office at the end of his term. But as soon as Biden occupied the White House, one of his first foreign policy decisions was to give the U.S.-imposed Haitian president, Jovenel Moïse, a green light to ignore the demands of the Haitian people and the end of his term in February. He remains in office.  

In the liberal world, the United States that has backed every vicious right-wing dictator in the world since the Second World War, orchestrates coups, murders foreign leaders, attacks nations fighting for independence in places like Vietnam, trains torturers, brandishes nuclear bombs, has the longest-held political prisoners on the planet, is number one in global arms sales, imprisons more people than any other nation in the world, has supported apartheid South Africa and is supporting apartheid Israel—while championing human rights! 

In the liberal world, the United States can openly train, fund, and back opposition parties and even determine who the leader of a nation should be, but react with moral outrage when supposedly Russian-connected entities buy $100,000 worth of Facebook ads commenting on “internal” political subjects related to the 2016 election. 

In the liberal world, Democrats build on racist anti-China sentiments and the identification of China as a national threat, and then pretend they had nothing to do with the wave of anti-Asian racism and violence. 

In the liberal world, liberals are morally superior and defend Black life as long as those lives are not in Haiti, Libya, Colombia, Venezuela, Brazil, all of Africa, and in the jails and prisons of the United States.

In the liberal world, you can—with a straight face—condemn the retaliatory rockets from Gaza, the burning of a police station in Minneapolis, attacks on property owned by corporations in oppressed and exploited communities, attacks on school children fighting back against police in Baltimore, and attacks on North Koreans arming themselves against a crazed, violent state that has already demonstrated—as it did with Libya—what it would do to a state that disarmed in the face of U.S. and European aggression. 

And in the liberal world, Netanyahu is a democrat, the Palestinians are aggressors and Black workers did not die unnecessarily because the United States dismantled its already underdeveloped public health system. 

What all of this is teaching the colonized world, together with the death and violence in Colombia, Haiti, Palestine and the rest of the colonized world, is that even though we know the Pan-European project is moribund, the colonial-capitalist West is prepared to sacrifice everything and everyone in order to maintain its global dominance, even if it means destroying the planet and everyone on it. 

That is why Biden labels himself an “Atlanticist”—shorthand for a white supremacist. His task is to convince the European allies it is far better to work together than to allow themselves to be divided against the “barbarians” inside and at the doors of Europe and the United States.

The managers of the colonial-capitalist world understand the terms of struggle, and so should we. It must be clear to us that for the survival of collective humanity and the planet, we cannot allow uncontested power to remain in the hands of the global 1 percent. The painful truth for some is if global humanity is to live, the Pan-European white supremacist colonial-capitalist project must die.  

This article was originally published in Black Agenda Report.

Ajamu Baraka is the national organizer of the Black Alliance for Peace and was the 2016 candidate for vice president on the Green Party ticket. Baraka serves on the Executive Committee of the U.S. Peace Council and leadership body of the United National Antiwar Coalition (UNAC). He is an editor and contributing columnist for the Black Agenda Report and contributing columnist for Counterpunch. He was awarded the U.S. Peace Memorial 2019 Peace Prize and the Serena Shirm award for uncompromised integrity in journalism.  

A scene in Nia Dacosta’s film, “Candyman” (2021), might go unnoticed, but it signifies the theme of representation appearing throughout the film. Representation refers to oppressed people being seen in media and politics, but it does not mean they wield power in those sectors.

Actor Yahya Abdul-Mateen II plays the central character “Anthony McCoy,” whom we aren’t sure can be called a protagonist or an antagonist, even by the movie’s end. In the aforementioned scene, he stands at the intersection of a long-abandoned neighborhood, which is composed of former row-house apartments that used to surround the high-rise tower of Cabrini-Green, a public-housing project in Chicago. The street he is facing is empty of typical neighborhood life—adults going to and from work or errands, kids playing, teens hanging out. But remnants of their neighborhood, including the doorless, windowless apartment units that offer nothing but a foreboding darkness, stand as empty, haunting reminders of a people who used to live there but are long gone. The street is marked by a sign for “Mohawk St.”, and as he walks around the corner, another street sign reads “Locust St.” These are actual streets in the Cabrini-Green neighborhood in Chicago, lending credibility to the storyline by anchoring the tale in the actual remains of the infamous neighborhood, whose residents had been long displaced through gentrification.

But the street names seem to also juxtapose the disappearance of Indigenous tribes, like the Mohawk. They are relegated to outposts that are out of sight, out of mind for the rest of us. The impetus behind the mass displacement of both the Black and poor residents of Cabrini-Green and Indigenous people is the locust-like swarm of gentrification, which could be argued is a modern day form of settler-colonialism. It might be a stretch to make this kind of observation of this scene. It might not have been one that DaCosta might have been intending to make. But it is a connection I couldn’t help making, considering “Candyman” is less of a horror film than an indictment of white supremacy and the terror that it inflicts upon the communities it ravages.

I will try not to provide many spoilers in this review. I will say seeing the first “Candyman” (1992) is critical to understanding the expansion of the story and themes in the current iteration. But those themes that are outside of the conventional horror narrative are as important to the experience as continuing the urban legend of “Candyman.”

Abdul-Mateen is convincing in his portrayal of “Anthony,” a young Black aspiring artist struggling to make his mark on the art world. Ebulliant actor Teyonah Parris plays McCoy’s partner, “Brianna Cartwright,” also a young Black up-and-comer working as a curator at the gallery where her partner’s work is being shown. 

The characters live together in one of the trendy, expensive apartments in the gentrified Cabrini-Green neighborhood, long after the towers had been torn down. Brianna and Anthony appear to have a loving, committed relationship, a lovely expression of Black Love that we all enjoy seeing so much, and we need to see more of. That is until Anthony learns about the legend of Candyman from Brianna’s brother, “Troy,” played by actor Nathan Stewart-Jarrett. Anthony is fascinated with the legend and pursues inspiration for new art by visiting what is left of the old Cabrini-Green neighborhood. He meets one of the last remaining residents, seemingly neighborly “William Burke,” portrayed by veteran actor Colman Domingo. 

Here is where I’ll leave off describing the timeline of the movie, because how things happen almost take a backseat to what some of those things seem to represent. 

Anthony slowly transforms into… something, and his physical transformation coincides with what seems like the fraying of his mental state. Anthony attempts to protect his partner, Brianna, in a pivotal scene that exposes something far more sinister in real life than a horror movie boogeyman: The horrifying and lasting effects of trauma and the unaddressed mental illness among Black people, particularly how Black men are misunderstood or ignored when they suffer mental health crises and trauma.

The tendency for many of us to dissociate ourselves from mental illness and trauma is touched on in a seemingly disconnected flashback that Brianna has of a traumatic childhood experience with her father. No, it’s not sexual abuse, but it is traumatic. But because she never confronts what happens, when her partner, Anthony, begins to display behavior that suggests his mental health is fraying, Brianna responds with less and less understanding, and more and more hostility. Focusing more on moving up in her career than her partner’s obvious growing difficulties, she ultimately leaves Anthony alone to face whatever he is experiencing.

Brianna’s brother, Troy, is also pointedly critical of Anthony as the Black Man Living Off a Black Woman. But Troy himself is settling into a relationship with his new partner, “Clive” (played by Brian King), who Brianna accepts and notes is a welcome change from her brother’s usual unsavory choices. It is another interesting play on the trope of listless Black men being leeches on successful Black women that doesn’t sting any more or less because the one employing it in this case is a gay man. Rather it seems that this represents the pervasiveness of the deadbeat Black man stereotype—even other marginalized Black men believe it.

Much of the first third of the film revolves around Anthony’s transformation. That is where the trauma of centuries of racist violence against Black men emerges.

Much of Anthony’s transmogrification occurs in front of mirrors. That is obvious to the storyline and the myth of Candyman, but it doesn’t quite apply to Anthony because he isn’t sure if he is hallucinating or not. When he realizes that what he is seeing is real, the scene conveys less horror movie scare than a deep reflection into what happens to Black men’s souls living in a white supremacist system that loves their culture, their swag, their art and anything else from which society can profit. But this society doesn’t love them, and it will not hesitate to express its disregard for Black men in the most violent, inhumane ways possible.

That long history of racist violence against Black men is told in cleverly laid-out shadow puppetry, which simultaneously removes the physical gruesomeness of the acts portrayed while delivering their inhumane brutality. Each shadow-puppet story relates to a different iteration of Candyman, and the collective trauma of centuries of violent racist brutality against Black men turns the Candyman figure into something other than a villain. Terrifying in his visage and actions, certainly, but the question emerges as the connections are made between this history and the urban legend come to life: Is Candyman the monster, or is the monster what created Candyman?

As viewers hopefully make this connection, they are invited if they are thinking further to ask a larger question: Are Black men, who lash out at a society that finds every way imaginable to destroy them, the monsters society says they are, or is the monster really society?

Indictments of white supremacist society and privilege, and the impact of the trauma of community having been erased, are woven throughout the film, reflecting ways Black people are either dismissed or used before being discarded.

The contempt and condescending paternalism of society’s gatekeepers is represented by the gallery owner and the art critic—and even the Black major-gallery curator—as they have little regard or use for Anthony as he struggles to produce content that will elevate his profile. They do not hesitate to disregard him when he is no longer of use to them.

The ease with which an oblivious white society appropriates Black culture, traditions and even urban legends—believing no consequences exist for that appropriation because they have no connection to the community those things come from—is reflected in a scene that is on the surface typical horror-movie, high-school kid hijinks.

The crushing trauma of surviving the systematic eradication of one’s community, and the desire to get back or revive what was taken or destroyed, is an underlying aspect of the actions of neighborly-seeming sole survivor/resident of Cabrini-Green, William Burke. 

The way society is more accepting of a Black women’s efforts to climb the ladder, and how easily they dismiss Black men as they fall down it—even as they watch—can be extrapolated as we witness Anthony’s growing instability as it manifests itself when he and Brianna are trying to court a renowned gallery owner.

The way that our parents may have been doing the best they thought they could by moving their children out of the ‘hood and into “better” neighborhoods, encouraging them to forget where they came from in an effort to give them a better life, seeps through the cracks as Anthony confronts his mother about a past she has kept from him. The toll of keeping that secret trauma seems to have weighed heavily on his mother, as well, as family secrets are wont to do…  

The running theme of racist police violence in the film—from beginning to end—is reminiscent of… well… every story we know about racist police violence. Brianna is ultimately put in a horrific situation, and then cynically used against Anthony in a way that shouldn’t be unfamiliar to our real-life experience with racist police terrorism. Brianna realizes then who she is, who Anthony is, and that he is the only one who can save her.

I have noticed among online fan reviews wildly divergent reactions to this movie, almost strictly along racial lines. If the reviewer is a white person, they almost unanimously and unequivocally hate this movie. I see these people as those who do not want to face the traumas and horrors of the history and continuing legacy of racist violence against Black people, which I believe this film effectively expands upon from the original “Candyman.” Although, I find it odd some who have seen this film say they loved the original, but hate this one because it’s “too political,” because they clearly missed the political history of Candyman in the original. They’re mad Candyman only kills certain people, but aren’t bothered at all by the historical track record and legacy of the broken bodies and souls of Black men, women, and children that created Candyman. So they do not see the connection between real life reflected in the film’s themes. But selective memory is what this society is great at, so this response is actually not a surprise at all.

But for others who understand what DaCosta’s “Candyman” is trying to say and why, it may not be scary in the traditional slasher/spine-tingler sense, so it’s hard to say whether or not the movie is “good” as a traditional horror film. However, the real-life nightmares and horrors reflected in this film are what many Black viewers will be all too familiar with.  

As Brianna’s brother, Troy, says early in the movie, “Black people don’t need to be summoning shit.” 

We don’t have to summon supernatural boogeymen. The horrors we live are real.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”