09/10/2025
Remarks on the Launch of Aniek Lith Community of Paweny Atar, under the theme ‘Unity in Diversity’ and the sub-theme: Echoes of Identity: Honouring Our Heritage, Living Our Legacy, 4th Oct 2025, Juba, South Sudan
Allow me, on behalf of the Nyang age-set, to underscore the profound importance of this day, a day that not only marks the launch of Aniek Lith Community Songs but also commemorates a sacred generational transfer that took place in 2023 at Chuei-thar Atar. It was there that Kuac, with wisdom and foresight, entrusted Nyang with more than melodies; Kuac's age set passed on the soul of our community. This transfer was not symbolic; it was foundational. Kuac handed down songs as vessels of legacy, identity, and responsibility. Each verse carries the heartbeat of our history, the values of our people, and the worldview of a resilient generation. These songs are living archives, spiritual bridges, and cultural declarations. They connect us to our ancestors, guide us in the present, and prepare us for the future.
Nyang accepts this inheritance not as passive recipients, but as active custodians. We are called to protect, revive, and evolve this legacy, embedding it into daily life, reimagining it through modern rhythms, and passing it forward to the next age-set, Kengeny. This is our duty, our honour, and our promise. Let this day be remembered not only as a cultural celebration but as a reaffirmation of our identity and unity. Let it inspire all sections of the Paweny community to document and revive their own songs, so that together, we may build a comprehensive archive that honours our shared heritage. And as we look ahead, Nyang envisions a strong and capable Ke'ngeny—one that will rise with even greater strength to face the challenges of their time. But this future depends on what we nurture today. By preserving what Kuac left behind and strengthening the unity of Aniek, Nyang commits to making meaningful contributions to the unity of Paweny, so that we may confront the future not as fragments, but as one solid and united people. Let our songs be our compass. Let our culture be our foundation. And let our legacy be lived, not just remembered.
Today’s launch of the Aniek Lith Community Songs is not merely a performance—it is a ceremonial milestone, a cultural declaration, and a generational handover. It marks the moment where Kuac’s age-set, having carried the weight of ancestral memory and cultural resilience, formally entrusts Nyang with the mantle of stewardship. This is not a transfer of titles—it is a transfer of purpose. It is the passing of a living legacy, carried not in silence but in song. Through this act, Nyang steps into a sacred role—not only to preserve the melodies of the past, but to breathe new life into them. They are now the custodians of identity, the guardians of language, and the architects of cultural continuity. Their task is to ensure that the songs of Aniek Lith do not fade into nostalgia but rise as instruments of unity, pride, and progress. And for the generations yet to come—especially the emerging Kengeny age-set—this launch is a beacon. It signals that heritage is not something to inherit passively, but something to live actively. It teaches that our identity is not static, but evolving; that our culture is not ornamental, but foundational; and that our legacy is not behind us, but ahead of us, waiting to be shaped. As we celebrate today, we do so with the understanding that every verse sung is a thread in the fabric of our collective destiny. Every rhythm played is a heartbeat of our shared memory. And every voice raised is a promise that the Aniek Lith Community will continue to echo its identity, honour its culture, and live its legacy with dignity, unity, and purpose.
1. Songs as Instruments of Unity: Weaving Harmony Within and Beyond Paweny
In the philosophy of the Aniek De’Lith community, songs are not merely cultural expressions; they are sacred instruments of unity, healing, and shared destiny. The successive generations understood this deeply. Their songs were tools of peace and reconciliation, used to mend divisions, seal agreements, and reaffirm bonds within the Paweny community and with neighbouring groups. These melodies carried more than rhythm; they carried intention, memory, and the spirit of togetherness. For instance, the philosophy of Aniek—Weaving Harmony Within and Beyond Paweny is quite literally embedded in the fabric of these songs. Each verse reflects the community’s commitment to unity, mutual respect, and interconnectedness across age-sets and sub-sections. These melodies do more than entertain; they articulate a worldview that values cohesion over division, and collective identity over isolation. Through song, Aniek expresses its belief that harmony is not just an aspiration—it is a lived principle, passed down and sung forward:
1. Dik rot maan Loor kou Nuul yin ci thueth!
2. Ater de wok raan ba guaan akou ten, guaan akou ten, abuk ciony akol tok angiic Dengkur yiath!
3. Tong roor acian dier, tong baai ajeey DengKur!
By launching these songs anew, Nyang is called to continue this legacy not only by preserving the tunes but by activating their power to unify. Internally, these songs serve as emotional and cultural glue, reconnecting sub-sections of Paweny that may have drifted apart due to generational gaps, migration, or political shifts. Singing together becomes a ritual of remembrance and renewal, reminding every member that they belong to a shared story, a shared rhythm, and a shared future. Externally, these songs extend a hand of friendship to neighbouring communities. They become diplomatic offerings, melodies that say, We see you. We honour you. Let us walk together. In many African traditions, communal singing has been used to resolve disputes, celebrate alliances, and mark transitions. Aniek De’Lith’s songs carry this same potential: to transform gatherings into spaces of dialogue, empathy, and mutual respect. Philosophically, this approach reflects a deep belief that unity is not imposed; it is cultivated. It grows through shared experiences, collective memory, and the affirmation of identity through voice. Songs become the medium through which the community negotiates its place in the world, not through dominance, but through resonance.
This is why Nyang’s role is so vital. They must not only sing, but they must also convene. They must use song to host festivals, initiate cultural exchanges, and create platforms where stories are shared and differences are harmonized. In doing so, they transform music into a living philosophy of coexistence. In essence, the songs of Aniek De’Lith are bridges connecting generations, sub-sections, and borders. They embody the heartbeat of a community that understands unity not as a final goal, but as a lived experience. Through every verse, the Nyang age-set affirms that the destiny of Aniek in particular, and Paweny as a whole, is not fragmented; it is intricately woven together through song.
2. Songs as Living Archives: Aniek Lith as a Testament of Heritage and Legacy
The Aniek Lith Community stands as a living archive—a vibrant testimony to the enduring power of heritage passed faithfully from generation to generation. Through the sacred tradition of song, this community has safeguarded its identity, values, and worldview across time, conflict, and change. Each melody is more than music; it is a vessel of memory, a coded message of ancestral wisdom, and a declaration of cultural continuity.
Aniek De’ Lith’s generation understood this deeply. In their songs, they embedded the moral compass of the community, the stories of migration and resilience, the rituals of unity, and the philosophies that shaped their way of life. These songs were not composed for entertainment; they were composed for survival. They carried the weight of history, the rhythm of belonging, and the voice of a people who refused to be forgotten.
Now, Nyang inherits this legacy not as performers but as custodians. Their task is not simply to sing, but to revive these songs as proclamations of identity and continuity. In doing so, they affirm that Aniek Lith’s heritage is not static—it is alive, evolving, and deeply rooted in the collective memory of its people. This generational handover is a sacred trust. It ensures that the wisdom of Kuac does not fade into silence, but is reimagined through Nyang’s voice and carried forward to inspire the next age-set, Ke'ngeny. It is through this musical lineage that Aniek Lith remains a unique entity defined not by external forces but by its own rhythm, language, and worldview.
Across Africa, enduring traditions continue to thrive as culture and language are passed down from generation to generation through songs and chants, preserving identity, heritage, legacy, and linguistic purity. In South Sudan, communities like the Aniek Lith use music as a means to convey their philosophies, rituals, and social structures. These songs serve as informal libraries' oral textbooks, teaching, unifying, and guiding, ensuring that ancestral wisdom remains alive and relevant. For Aniek Lith, this means that every verse sung is a thread in the wall-hanging of legacy. Every chant is a bridge between past and future. And every child who learns a traditional song becomes a living archive, a bearer of memory, a voice of continuity, and a promise that heritage will endure. In this way, the Aniek Lith Community is not just preserving songs, it is keeping itself. It is living its legacy, one verse at a time.
3. Songs such as Cultural Sovereignty: Defining Destiny, Affirming Identity
For the Aniek De’lith community, songs are not simply artistic expressions; they are philosophical declarations of existence, resistance, and self-definition. Aniek ’s generations understood this deeply. In times when external forces threatened to dilute or erase indigenous identity, they turned to song as a shield and a mirror: a shield against cultural erasure, and a mirror reflecting the soul of their people. By preserving ancestral melodies and singing in their mother tongue, Kuac’s age-set affirmed that culture is not passive; it is active, intentional, and sovereign. These songs carried the weight of history, the rhythm of rituals, and the wisdom of generations. They were sung in ceremonies, in fields, in times of mourning and celebration, embedding language and values into the very fabric of daily life. This was not nostalgia—it was strategy. It was survival.
Now, Nyang inherits this sacred responsibility. In a world of rapid globalization and shifting identities, singing in one's mother tongue becomes an act of defiance and dignity. It says: We are here. We remember. We matter. Through song, Nyang asserts cultural pride, protects linguistic heritage, and ensures that the voice of Aniek De’lith is never lost in translation.
This philosophy of cultural sovereignty through song makes Aniek De’lith a unique entity within its community. It defines their destiny—not as a people shaped by external narratives, but as authors of their own story. Their songs are not intended for commercial charts; they are meant for grounding, healing, and guidance. They are sung not to entertain, but to educate, unify, and inspire.
In a human society like ours, traditional chants help maintain linguistic purity. These examples affirm that cultural sovereignty through song is not isolation—it is identity in motion. For Aniek De’lith, this means that every verse sung is a step toward self-determination. Every rhythm played is a heartbeat of heritage. And every child who learns a traditional song becomes a bearer of legacy and a builder of destiny. In this way, songs are not just cultural artifacts; they are philosophical instruments of sovereignty. They define who Aniek De’lith is, where they come from, and where they are going. And as Nyang rises to sing, they do not merely echo the past; they shape the future.
4. Songs as Bridges Across Generations: Building Legacy, Inspiring Ke'ngeny
Songs are more than melodies; they are vessels of memory, identity, and vision. When Kuac remembered the songs of old, he wasn’t just recalling tunes; he was safeguarding the soul of the Aniek Lith community. By passing these songs to Nyang, he initiated a generational handover rooted in trust, continuity, and cultural resilience. Now, as Nyang reimagines these songs for the future, the bridge extends further to the Kengeny age-set, who stand poised to inherit not just lyrics, but legacy. Therefore, for the Nyang and Kengeny age sets, these songs will serve as both a compass and a torch. They will guide them through the complexities of modern life while illuminating the values, stories, and wisdom of their ancestors. Through modern rhythms, instruments, and creative expression, Kengeny can reinterpret traditional songs in ways that resonate with their realities, blending heritage with innovation and memory with movement.
Across Africa, a vibrant cultural renaissance is unfolding, where young people are reimagining traditional rhythms through genres like Afrobeat, weaving ancestral sounds into the global music landscape. They are also transforming age-old dances into powerful tools for addressing contemporary social issues, proving that legacy is not static; it adapts, evolves, and thrives. In this same spirit, Nyang and Kengeny age-sets, along with their counterparts across Paweny sections, must embrace songs not as relics of the past but as living instruments of identity, pride, and self-expression. Through these melodies, they can shape their own narrative, honour their heritage, and lead their communities into a future rooted in tradition yet open to transformation.
These songs will also serve as emotional anchors—connecting Kengeny to the struggles and triumphs of those who came before. They will sing of migration, resilience, unity, and hope. In doing so, they will find strength, purpose, and a sense of belonging. Whether in ceremonies, classrooms, or digital platforms, songs will remind them: You are part of something greater. You are the following verse in a long and powerful chorus. By embracing this musical inheritance, Kengeny will not only preserve the past—they will propel it forward. They will become composers of continuity, ambassadors of culture, and leaders of legacy. And in every beat, every chant, and every harmony, they will echo the promise that Kuac made to Nyang: that heritage will not fade—it will flourish.
5. Songs as Spiritual and Political Voice
Kuac’s songs were spiritual awakenings and political declarations. Nyang must now amplify these voices, ensuring the community speaks for itself, celebrates its own identity, and defines its own narrative. Throughout South Sudan’s long journey to liberation and independence, the Kuac age-set played a pivotal role—not only on the battlefield and in political mobilization, but through the powerful medium of song. Aniek De Lith's community songs are more than artistic expressions; they were spiritual awakenings that stirred courage, unity, and resilience in the face of oppression. These melodies carried coded messages of resistance, mobilized communities, and affirmed the right of South Sudanese people to speak for themselves and shape their destiny. In times of war and displacement, songs became political declarations, chanting the pain of struggle, the hope of freedom, and the vision of a sovereign nation. They sang in their mother tongue, asserting cultural pride and defying erasure. Their voices echoed, reminding the people that identity is not given; it is claimed.
Now, in the era of peace and nation-building, the torch passes to Nyang. Their mandate is clear: to amplify these ancestral voices, not as echoes of the past, but as instruments of present leadership and future vision. Nyang must ensure that the community continues to speak for itself—through song, through language, through cultural expression. They must celebrate identity not as nostalgia, but as a living force that guides governance, education, and unity. This means documenting Aniek De Lith’s songs, teaching them to children, and composing new ones that reflect today’s challenges and aspirations. It means using music to engage in civic dialogue, promote reconciliation, and inspire youth to take pride in their heritage. Just as Kuac sang for freedom, Nyang must now sing for dignity, development, and self-determination. In doing so, Nyang transforms song into strategy, preserving the community's soul while shaping its future. The voice must never fade. The rhythm must never stop. The legacy must live on, not in silence, but in song.
6. Songs as Diplomacy and History
Aniek De Lith's community uses of songs to seal agreements and build relationships were not merely symbolic; they were strategic, spiritual, and profoundly communal. In many African societies, music has long served as a diplomatic language, capable of expressing intent, healing wounds, and forging unity where words alone might falter.
1. Angiic Anieng Malith, Thiony ku Jueny by Ngoklual Yak
2. Wook, wok a rou wa Aniek Malith wok agel Nuer nyin by Luac
3. Ne thok ne ci lueel ne heet Abliang ku heet Ciaai by Aniek.
Nyang inherits this tradition not only as a performer but also as a peacebuilder, tasked with using music to bridge borders, nurture understanding, and foster coexistence across diverse communities. Just as Aniek De community’s generations sang to affirm alliances and resolve disputes, Nyang must now use song as a tool for dialogue and reconciliation. This means inviting neighbouring communities to share in a common destiny, co-create a new paradigm shift that reflects shared values, and revive ceremonial songs that once marked inter-clan peace pacts. In doing so, music becomes a common ground, a rhythm that transcends dialects, histories, and boundaries. In society, culture performs songs that honour both sides of a dispute, reminding listeners of their shared ancestry and mutual destiny. Nyang must embrace this legacy by creating spaces where music becomes a language of empathy. Whether through joint performances, cultural exchanges, or collaborative songwriting, they can transform melodies into messages of peace and unity. By doing so, they not only honour Aniek’s legacy but also expand it, using the power of song to weave unity into the fabric of a diverse and evolving society. In this way, music becomes more than art; it becomes a form of diplomacy, a means of healing, and a living testament to the belief that harmony is not just sung, but lived.
7. Songs as Sacred Vessels for Oath-Taking and Tribute
In Aniek De’Lith tradition, songs are sacred vessels that carry ancestral oaths, communal values, and spiritual authority. They affirm unity, loyalty, and collective identity, echoing the solemn promise that Aniek’s cohesion will endure despite differences (Ayup yuom de’Hol).
Passed from Kuac to Nyang and onward to Kengeny, these songs serve as guardians of that covenant. Within traditional courts, they sanctify rituals and oath-taking, guiding truth and justice through melody. For Nyang and Kengeny, songs are not just cultural; they are sacred duties that preserve unity and embody the legacy of their ancestors.
8. Songs as Instruments of Peace and Reconciliation
In many African communities, including Aniek Lith, songs serve as powerful tools for peace and reconciliation. Beyond artistic expression, they help heal divisions, restore dialogue, and reaffirm shared values during times of conflict or transition.
1. Thiei Thiei Waa Acin Ke Be Nii- Aniek declaration of peace
2. Heen Cie Thar Puol Pieu Atok Mior Jieldit – Aniek- Jueny reconciliation.
These songs act as cultural mediators, acknowledging past wounds, honouring sacrifices, and inspiring forgiveness. For Aniek Lith, they are strategic instruments that teach unity, guide younger generations, and transform division into collective strength. Through melody and meaning, songs continue to build bridges and foster harmony across the community.
9. Songs as Instruments of Political Expression
Across Africa and within communities like Aniek Lith, songs have long served as powerful tools for political engagement.
1. Na a cie nak e kooc, hen dee col Jur Amaal.
2. Acin raan ci goup e kweer, ayi raan muk mach;; piny theer hoon lueel Miim e diiu kek e Jur Athieng,, ci piny a piny de chaap, aci Nhialic lueel.
Far beyond entertainment, they respond to the realities of their time, addressing injustice, leadership transitions, and aspirations for peace. These compositions act as both mirrors and megaphones, reflecting lived experiences while amplifying communal voices. For Aniek Lith, songs have historically addressed issues such as marginalization, land rights, and cultural autonomy, serving as oral petitions and declarations of identity. Today, Nyang and Ke'ngeny must carry this legacy forward, using music as a dynamic force for reflection, unity, and transformation. In every beat lies a message and a call to diplomatically respond with purpose and conviction to the challenges of our time, shaping a future rooted in wisdom and unity.
Implications for Heritage and Legacy
The launch of Aniek Lith’s traditional songs represents a generational handover where Kuac entrusts Nyang with the vital role of preserving identity through music, echoing a broader African tradition in which songs serve as tools of resistance, education, healing, and cultural revival from South Africa’s freedom anthems that empowered youth to lead post-apartheid renewal, to Mali’s griots who pass down history as living educators, Kenya’s musical revival of indigenous languages as acts of cultural reclamation, and Uganda’s use of song in post-conflict reconciliation each example reinforcing that heritage lives not in silence, but in song, and that the youth must rise not only to sing, but to lead.
To truly honour Aniek De Lith’s legacy, Nyang must embed traditional songs into the rhythm of daily life, woven into routines, ceremonies, storytelling circles, and youth mentorship, transforming them into living tools of education These melodies must also be creatively reimagined through drums, digital beats, and spoken word—not as a loss of tradition, but as its evolution, echoing how South African youth transformed freedom songs into modern anthems of pride. Nyang must rise not only as singers but as cultural diplomats, using music to assert identity, speak truth, and build bridges across generations and communities, just as our artists have done in reviving indigenous languages. Kuac’s legacy is not a relic to be preserved behind glass—it is a movement to be lived, led, and passed on; Nyang must lead choirs, host festivals, document lyrics, and teach children, ensuring that the voice of heritage is never silenced and its rhythm never fades.
Position of Nyang age set on cultural heritage and living of the legacy
As the mantle of cultural stewardship passes from Kuac to Nyang, a new chapter begins, one defined not by inheritance alone, but by responsibility, vision, and leadership. Nyang now stands as the custodian of Aniek De’Lith’s living legacy, entrusted with the sacred duty to protect, preserve, and evolve the songs that have carried the heartbeat of the community across generations. Their role is not ceremonial; it is foundational. They must ensure that these melodies remain active forces in shaping identity, guiding values, and nurturing unity.
In this position, Nyang must do more than remember; they must reimagine. They must embed these songs into daily life, teach them to the youth, and adapt them to modern rhythms without losing their ancestral soul. They must use song as a tool of education, diplomacy, and cultural pride, ensuring that the voice of Aniek De’Lith continues to speak with clarity and conviction in every home, every gathering, and every future age-set.
This is not a solitary task. It is a communal calling. And as Nyang rises to meet it, they do so not only for Aniek De’Lith but for the entire Paweny community. The launch of these traditional songs marks a profound milestone, a cultural renaissance that rekindles pride, affirms identity, and invites shared celebration. It is a bold declaration that we will speak for ourselves, honour our roots, and shape our destiny together. Let the songs rise. Let them carry the voices of our ancestors and the hopes of our children. Let them echo through our ceremonies, our homes, and our hearts—intertwining unity into every beat. Let us reaffirm to the world and to ourselves that our identity cannot exist without our own voice, presence, and participation. Nothing about us is complete without us.
Conclusion
This launch holds profound significance within the broader cultural framework of Paweny De Atar. It is more than a celebration; it is a call to action. It is my sincere hope that other sections will follow this example by documenting and reviving their traditional songs, so that together, we may build a comprehensive cultural archive that honours our shared heritage and strengthens our collective identity. Let future gatherings be held in Chuei-thar Atar, a place of deep cultural significance, where we can celebrate not only our diversity but also our unity as one Paweny people.
Nyang now calls upon the leadership of the Paweny community to invest in a well-structured leadership that safeguards our interests, amplifies our voices, and unites us in purpose. The road ahead is filled with challenges, but with unity, foresight, and collective strength, we will navigate it together. Let our songs be our compass. Let our culture be our foundation. And let our legacy be lived, not merely remembered. Nyang envisions and looks forward to a strong and capable Ke'ngeny age-set, one that will rise even more empowered than Nyang to face the prevailing challenges of their time. However, this future can only be realised if Nyang faithfully nurtures what was left by Kuac: the unity of Aniek, the preservation of cultural wisdom, and the commitment to contribute meaningfully to the unity of the entire Paweny community. Only through this continuity can we confront the future as a united and solid people, grounded in heritage and guided by song.
Finally, on behalf of Nyang, we take this moment to extend our heartfelt gratitude to all those whose dedication and contributions made this day a resounding success. We sincerely thank the individuals who composed these songs, preserving our heritage through melody, and those who reimagined them through modern musical arrangements, breathing new life into our traditions.
Acknowledgement
We extend our heartfelt appreciation to the Patron of the Day, Col. Jima Deng Diu; the Guest of Honour, Hon. Dak Duop Bichok; and our Special Guest, Hon. Gen. Gier Chuang Aluong. We also extend our gratitude to Honourable Benjamin Mijak Dau, Gen John Kur Chol, Honourable Dr. Majak Agot Atem, Honourable Ateny Wek Ateny, Angui Diing, and Dr. Jacob Dut Chol for gracing this celebration with their presence. We extend our sincere thanks to Pastor James Kon Abior Kueth and his fellow pastors for guiding the celebration with the powerful Word of God. We extend our gratitude to the four sections, Bugo, Thiony, Tungdiak, and Jueny of Paweny Da Atar for gracing the celebration with their presence.
In a very special way, we acknowledge and sincerely thank Gen. Peter Uyual Khor Guot for coordinating the venue for this celebration. Without his efforts, securing such a beautiful and fitting location would have been a significant challenge.
We acknowledge the leadership of the Atar Community Development Fund, under the stewardship of Chol Kiir Garang, for their unwavering support and resource mobilization. Our deep appreciation also goes to the traditional leadership of Aniek, led by Sultan Yai Deng Mialith, whose guidance and commitment ensured that this cultural milestone was realized with dignity and purpose. Special thanks to the organizing committee, led by Abdalla Mayiik Kulang and his team, who navigated every challenge with resilience to ensure that this celebration was held in both the letter and spirit of unity. We commend the master of ceremonies, Eng. James Chol De ’Guin and his team for their professionalism and energy throughout the event. We commend the publicity team led by Ustaz William Sunday D. Tor for successfully publishing the booklet. We also extend our appreciation to Brig. Gen. William Dau Kiir and his team for their excellent work in organizing the protocol. We commend Eng. Kuol Deng Mialith and his team for managing external relations for the guests, which made the day colourful
To our sons and daughters of Ke'ngeny and the corresponding age sets of Paweny who offered their services during the celebration, your presence and support reflect the strength and promise of our future. We also extend our gratitude to all sections of the Paweny community for their thorough preparations, which added colour and vibrancy to this occasion.
Lastly, we would like to thank our esteemed guests, whose presence gave this celebration its true meaning and significance. Without you, this day would not have carried the spirit of unity and pride that it did. Your participation affirms the importance of cultural preservation and collective identity. Together, we have not only celebrated our songs, but also our story. May this spirit continue to guide us forward.
On a personal note, I wish to extend my most profound appreciation to the Nyang age-set in particular, and to the Aniek De’Lith Community as a whole, for the profound privilege of representing you in this historic celebration, the launch of our traditional songs. I am genuinely honoured and indebted to you all for the trust and opportunity.
Let us continue to stand together in unity and remain steadfast in preserving the rich heritage and enduring the legacy of our ancestors. May this moment inspire us to carry forward their wisdom with pride, purpose, and collective strength.
God bless you
William Monybuny Tim Dengalek,
On behalf of Nyang Age-set, Aniek De’ Lith Community, Juba, South Sudan.
