Pashto music: Pakistani voices now flourishing in Afghanistan
It is not that only people do suffer in wars and conflicts; culture, history and art also get their share in the destruction wreaked by the parties involved in wars. Afghanistan can be the worst case of this in modern history: from burning books by the Communists to murdering singers by the Mujahedeen and destroying every piece of art by the Taliban, from several kinds of cruelty none is left untested in this land. Music has remained a special target throughout the war years. Fortunately, when the hardliners started suffocating it in one place, it found another place for flourishing. And that is the reason the Pashto music still survives and keeps our hearts lively and warm.
In Afghanistan, when Dr. Najibullah collapsed and the Mujahedeen forces established several small kingdoms in the country, and a civil war erupted, music continued to be targeted along with the Afghans being killed in hundreds every day (the singers were targeted by the Mujahedeen from the early days of their activities). As most of them were trained as hardcore extremists by the CIA and Pakistani ISI, they attacked singers and music shops whenever and wherever they could, the Taliban would do the same with much more force many years later.
Consequently, like other people, the singers started fleeing to Pakistan, Iran and few to Europe and the United States. Pashto-speaking Afghan singers like Naghma and her husband Mangal, Zar Sanga, Kandi Kochi, Qamar Gula, and others were welcomed by the millions of Afghan refugees in Pakistan, they reached their peak of popularity during their stay in that country. Farsi-speaking singers enjoyed the same position in Iran, Pakistan and other countries. Together with their Pakistani counterparts, the Afghan Pashto singers kept Pashto music alive and it flourished during the years when the Afghan refugees were not considered a burden by the Pakistani government because of the dollars flowed from the United States and world for Afghan refugees a big share of which went to Pakistani pockets.
Conditions for Pashto music worsened when the Taliban seized power in Afghanistan and banned all kinds of entertainment; even sporting a particular hairstyle or keeping a photo was an offence. Thus, the Pashto music continued to flourish in Pakistan, particularly in the Pashtunkhwa province, which is officially called the N.W.F.P., a name given by the British Indian government. Afghan Pashto singers were popular not only among the Afghan refugees there but the Pakistani music-lovers also formed a big audience for them. The singers got the biggest audiences of young music lovers from both the countries and enjoyed a unique popularity.
Then arrived 9/11, which changed the situation altogether. Afghanistan was attacked by the American forces and the Taliban were wiped out. Now it was their turn to flee to Pakistan. A U.N.-backed government was established in Afghanistan and people started returning their homes. Among them were singers, not the senior ones, but a young generation of new voices equipped with new techniques and technologies. Yet the senior singers, both Pakistani and Afghan, continued as the most loved entertainers though they preferred to live in Europe.
As conditions started getting better for Pashto music in Afghanistan, they deteriorated in Pakistan as Taliban influence grew there rapidly. In 2002, the Muttahida Majlis-e-Amal (MMA), a religious alliance, came into power in Pashtunkhwa and adopted the Taliban-like attitude toward music and singers. Pashto singers were beaten (popular singer Gul Zar Alam left singing because of continued threats) and music centers were being blown up. As extremism expanded its cloak from Waziristan to Bajaur, Mohmand, Khyber, Dir, Swat, and from then to Bunir, Mardan, and even to Peshawar, attacking singers and blowing music shops became a routine. In the whole Pashtun land, the scenic valley of Swat was the biggest entertainment center. Eventually the Valley was captured by the militants and war broke which forced millions of people to flee to safer areas. The whole province and the tribal areas met the same fate.
As a result, entertainment providing companies closed down and the people related the entertainment activities – singers, actors, actresses, etc. – fled the country (as did Haroon Bacha) or simply left the field (as did many others). Two very popular comedians, Mirawas and Alamzeb Mujahid, were abducted and forced into becoming religious preachers. Many others were killed. A young singer, Sardar Yousafzai, was attacked in Malakand but escaped unhurt, though two of his companions wounded.
These bad conditions for Pashto music still prevail in the extremism-hit areas of Pakistan. But, a number of Pakistani singers have still managed to continue their career in singing. Gul Zar Alam announced a comeback after Awami National Party (ANP) won the election in Pashtunkhwa. Nazia Iqbal, the queen of Pashto music, still rules the hearts of music lovers. Sardar Yousafzai and Naeem Tori are becoming more popular. There are new Pashto singers from Pakistani side of the Durand Line, like Zick Afridi, Bakhtiar Khattak, and others. This is because their voices are liked and loved in Afghanistan. Though many of these Pakistani singers do not reside in Afghanistan, the technology has made easy for music lovers to have access to their talent. Their concerts and songs are being played on television and radio channels across Afghanistan and their new video and audio CDs are sold like hot cakes. It does not matter where they reside and do record their songs; the market in Afghanistan pays well and encourages them to continue singing. Pakistani voices now flourish in Afghanistan, as is said that history repeats itself.
‘Afghanistan is the sacred home for all Pashtuns; when we are here, we feel at home. We are respected and our talent is appreciated here, we love this and we love Afghanistan. And most importantly, we pray for peace here,’ said Sardar Yousafzai and Naeem Tori during a recent visit to Kabul, after a concert in a local hotel.



