Fieldnotes on Humanity

This article in The New York Times by Elian Peltier on Afghanistani music and artists in Pakistan 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 ...

For the first time in nearly a decade, this summer, I had a chance to speak in my native language Farsi more than I did before. It was during my fieldwork that forced me to speak Farsi, though it have been comfortable and beneficial had I been able to speak English for the most part. That is what I also preferred, but not all participants were fluent in English. At any rate, I'm content with what have happened. In my four years of college, I almost forgot Farsi. In college, I barely spoke my native language because there was no other Farsi speakers around. There was a benign retired US diplomat who lived nearby and we hang out a lot. He often called me or I went over to his place, we chatted in Farsi while cooking and drinking. I have to admit that for the last ten years, I have never read a book in Farsi though I read the news regularly. That is a shame! (I tell myself). I did not have access to Farsi resources either, and honestly, I had no interest. I am a little bit biased ...