Songs of Exile: How Afghan Musicians Preserve Culture in India and Beyond

Khoshnaw Rahmani, Jadetimes Staff

K. Rahmani is a Jadetimes news reporter covering culture.

---

Image Source: Ahmad Jan

Executive Summary

In the wake of the Taliban’s return to power in 2021, thousands of Afghan musicians have fled to neighboring countries—most notably India, Pakistan, and Iran—to escape bans and persecution. In New Delhi, the Salaam Band, formed by Afghan asylum-seekers in 2013, embodies this artistic diaspora, using music to heal trauma, sustain community, and challenge the narrative that “Afghanistan is only about conflict.” This article offers:

• A detailed history of Afghan musical traditions and their transmission across borders.

• A comprehensive account of the post-2021 exile of musicians, spotlighting life in India’s capital, Pakistan’s Peshawar, and Iran’s Mashhad.

• Profiles of leading artists, ensembles, and support networks.

• A comparative perspective on refugee musicians from Syria and Iran.

• A timeline of key milestones in Afghan music heritage and diaspora.

• Analysis of ongoing challenges and digital innovations that keep Afghan melodies alive.

1. Introduction: Music as Refuge and Resistance

On World Refugee Day 2023 at Alliance Française in New Delhi, the Salaam Band—composed entirely of Afghan refugees—performed a stirring set of qawwalis and Afghan pop classics. As manager Athena put it, “Afghanistan is not just about the Taliban; music reminds us of who we were and who we can be”. Their story illustrates how, in exile, music becomes both a lifeline and a loudspeaker for cultural identity.

2. A Rich Heritage Across Borders

2.1 Medieval Roots and Royal Courts

• Shatranj, rubab, and ghazals: From the 8th century, Afghanistan’s position on the Silk Road fostered exchange with Persia, Central Asia, and India. Instruments like the rubab (the “lion of instruments”) and poetic forms such as ghazals took root in royal courts and caravanserais.

2.2 20th-Century Flourish and Radio Kabul

• 1920s–1970s: Under King Zahir Shah, Radio Kabul (est. 1925) catalyzed a cultural renaissance, popularizing classical (khanak) and folk (mohali) styles. Singers such as Ustad Mohammad Hussain Sarahang, Ahmad Zahir, and Farhad Darya became household names, blending Persian poetry with Hindustani ragas and Western instrumentation.

2.3 First Exodus: Soviet Invasion (1979–1988)

• The 1979 Soviet invasion triggered waves of displacement. Many musicians relocated to Peshawar, Pakistan, and Mashhad, Iran, establishing studios and underground networks that preserved Afghan music in diaspora3.

2.4 Post-2001 Revival and Afghan Star

• After 2001, institutions like the Afghan National Institute of Music (ANIM) and TV shows such as Afghan Star revived public performance; women and minority artists reemerged before the 2021 clampdown.

3. The 2021 Exodus: Music Under the New Taliban

3.1 Renewed Bans and Persecution

• In August 2021, Taliban authorities reimposed music bans nationwide—confiscating instruments, closing studios, and threatening artists with violence. Radio Television Afghanistan ceased music broadcasts; instruments at ANIM were smashed or hidden to avoid destruction.

3.2 Flight to Pakistan and Iran

• Peshawar, Pakistan: Over 1,000 musicians sought refuge here by late 2021. They faced legal limbo under Pakistan’s Illegal Foreigners Repatriation Plan but formed makeshift studios in basements, teaching and performing for Afghan and Pakistani audiences alike.

• Mashhad, Iran: Thousands more settled in Mashhad’s Afghan suburbs, organizing clandestine concerts despite strict policing.

3.3 Settlement in India: The Salaam Band

• Founded in 2013 by drummer Ahmad Haidar Hadis, the Salaam Band predated the 2021 crisis but expanded its role as more musicians arrived. Now numbering eight core members—including vocalists Azerakhsh Afshin (Afghan Star alum) and Madiha Hasiq—the ensemble performs at UNHCR events, embassies, and cultural festivals across India.

4. Profiles: Voices of the Diaspora

Artist / Ensemble	Role	Base City	Highlights
Salaam Band	Refugee ensemble	New Delhi, IN	UNHCR, ICCR festivals; film scores
Noman Khan	Singer & harmonium	Peshawar, PK	Performed on Khanda Shpa TV; teaches exiles
Faiz Muhammad Sakhki	Rubab virtuoso	Peshawar, PK	RFE/RL documentary; underground recordings
Mashal Arman	Flutist & vocalist	Geneva, CH	Heritage & Exile concert series, UNESCO invite
Aryana Sayeed	Pop icon & women’s rights	Europe/US	Advocacy for Afghan women; global tours

5. Comparative Lens: Exiled Musicians Worldwide

• Syrian Artists in Lebanon/Jordan: After 2011, Syrian orchestras relocated to Amman and Beirut, blending maqam traditions with Western strings in exile orchestras.

• Iranian Musicians Abroad: Post-1979, Iranian classical instrumentalists found homes in Paris and Los Angeles, forming diaspora ensembles and leveraging digital platforms to circumvent censorship.

• Zimbabwean Musicians in South Africa: Under Mugabe, artists emigrated to Pretoria, mirroring Afghan patterns of underground performances and cultural preservation.

These parallels underscore the universal role of music as refuge, resistance, and intergenerational memory.

6. Timeline of Key Milestones

Year	Event
1925	Radio Kabul launches, unifying diverse Afghan music traditions.
1979	Soviet invasion; first major diaspora of Afghan musicians to Pakistan & Iran.
1996–2001	First Taliban regime bans music; instruments destroyed; exiled networks sustain art.
2004	ANIM opens in Kabul, training 300+ students including women and disabled musicians.
2013	Salaam Band forms in Delhi to support Afghan refugee artists in India.
Aug 2021	Taliban retake Kabul; nationwide music ban reinstated; renewed exodus begins.
Jun 2023	Salaam Band headlines World Refugee Day in New Delhi, marking artistic resilience.

7. Challenges and Adaptive Strategies

7.1 Legal and Economic Hurdles

• Asylum procedures: Musicians navigate complex visa regimes in India and Pakistan; many lack formal work rights, forcing day-jobs alongside rehearsals.

• Funding gaps: Local NGOs and diaspora bodies offer sporadic grants; most events are self-funded or rely on crowdfunding.

7.2 Underground and Digital Networks

• Secret concerts: Afghan-only gatherings in apartments or madrassas maintain folk traditions.

• Online platforms: VPN-protected livestreams on YouTube and SoundCloud reach global audiences under pseudonyms.

7.3 Mental Health and Community

• Music therapy groups help exiled artists process trauma; peer networks foster belonging and shared identity beyond borders.

8. International Support and Cultural Preservation

• UNHCR & IOM: Host “Cultural Weeks” featuring Afghan ensembles alongside refugee artists from other crises.

• Artistic Freedom Initiative (AFI): Provides legal aid and relocation for at-risk Afghan artists, integrating them into European concert circuits.

• Preserving Afghan Cultural Arts (PACA): A U.S.-based non-profit digitizing rare recordings and training the next generation of rubab and dambura makers.

Conclusion: Harmonies Across Horizons

Afghan musicians in exile demonstrate that even when regimes silence instruments, the human impulse to create and connect endures. From Delhi’s concert halls to Peshawar’s makeshift studios, each note testifies to resilience, community, and hope. Their melodies—steeped in centuries-old rubab strains and modern fusion—carry Afghanistan’s spirit beyond its borders, ensuring that its cultural heartbeat will never be muted.