An extreme form of political censorship of music in Afghanistan not only threatens the life of musicians but also the very survival of Afghan musical traditions. Many artists have fled the country to seek refuge in Europe, North America, Iran and Pakistan. In Afghanistan, the sound of music has vanished and its transmission is severely interrupted. In an impulse lecture, Marko Kölbl will discuss the ban on music in Afghanistan, its impact within the country, and introduce Afghan artists and their music practice in exile, offering perspectives from various parts of the world. Moderated by Arieb Azhar, a follow-up discussion will then reflect on the situation of Afghan musicians in exile from an global perspective and assess urgent needs for Afghan artists and strategies in safeguarding Afghan musical practices outside the country.
I recently met Marko when he visited Lahore. I sang for him and he played the piano for me and my family. I also gifted him a copy of my book A New Explanation for the Decline of Hindustani Music in Pakistan.
Probably the Holy book and accepted religious practices don’t allow music.
That’s not strictly true. Yes, there is debate in Islam about whether music is “haraam” but there is no blanket prohibition as such.
I explored this issue quite a bit in my M.Mus dissertation. Al Ghazali argued that the appropriateness of music depends on time, place and associates.
I will also note here that most founders of Hindustani classical gharanas were Muslim. This is something that Pandit Bhatkhande noted and lamented.
If you are sincerely interested in this issue, I would urge you to read Lois Ibsen Al Faruqi’s article “Music, Musicians and Muslim Law” which I cited in my research.
https://www.jstor.org/stable/833739