Beyond silence: Hazaragi music in diaspora

This article in The New York Times by Elian Peltier is about Afghanistani music and artists in Pakistan and warns that it is in danger of being silenced. Although this claim may be somewhat true, its danger is that it misses the whole picture. Afghanistani music is not only the music performed and recorded by Pashtun and Tajik refugees in Peshawar. Take a trip to Quetta, Balochistan once. There, Hazaragi music is flourishing and offers a fresh promise for the production and proliferation of Afghanistani Hazara music in the diaspora.

One only needs to search for Hazaragi music on YouTube, and you will come across dozens of channels featuring various music groups, with folk and pop genres emerging from Quetta. You would realize that the culture and the music are neither frozen nor silent, but actively produced and innovated in different contexts and catered for a more transnational audience. Yes, Afghanistani music is deterritorialized, but in diaspora it is reterritorialized and claimed through digital spaces like YoutTube, Spottify, and social media websites.

Yes, music in Afghanistan has completely fallen silent-- if we entirely disregard private homes of people who surreptitiously still play music and even Taliban members play music on their cellphones--but in the diaspora, it has been revived. Ignoring this issue means narrowing our perspective and seeing the world from a narrow space.

We have to remember to acknowledge the cultural resilience of diasporans in the face of violence, displacement, and ongoing threats of deportation. And we should also remember that culture is dynamic, not static; it can adapt, reinvent, hybridize, influence, and be influenced by other cultures.