What place does hybridized, diasporic identity have in discussions of Arab-ness? This paper uses the concepts of Homi Bhabha’s “hybridity,” Hamid Naficy’s “accented identities,” and Jose Estaban Muñoz “disidentifications” to reflect on a conversation in the documentary film Revolution From Afar, in which Sudanese-American artists gather in the United States to heal and to perform poetry and music in support of on-going popular protests in Sudan, from which they have been cut off. While Sudan is home to many ethnicities and languages, and carving out a monolithic national identity might seem like a futile task, the thirty-year rule of Omar al-Bashir's National Congress Party did exactly this, labeling Sudan’s citizens "Arab-Islamic" and routinely positioning the country as an integral member of the "Arab" world. This is in contrast to instances in which the very etymology of as-suudaan (“land of the black people”) is weaponized to exclude Sudanese people--and people from other modern nation-states, such as Chad, historically part of bilaad as-suudaan--from being “Arab” on account of "blackness" and "Africanness." The participants in Revolution From Afar debate their ownership of the word “Arab,” as well as the hybrid “Afro-Arab,” through the lenses of language, ethnicity, and political utility. They reflect not only on their self-identification but also on how “the Other” may view them, whether or not they're accepted, and why it matters. Meanwhile, they grapple with their own sense of belonging to, and role in, Sudan’s future from afar, while balancing the dual identity of being “American” and “Sudanese” at the same time. Can the same sense of dual identity be extended to “Arab” and “African”? To enrich discussion, this presentation includes screening a scene from the film.