RAWALPINDI: Syed Ashraf recalled sitting in tears by the charred wreckage of his music studio after a band of Taliban fighters vandalized the facility days after the hard-line group swept to power in Kabul following the withdrawal of US-led forces in August 2021.
Afghanistan has a strong musical tradition, and a pop music scene had flourished there over the past two decades. But many musicians, fearing for their futures under the Taliban which governs according to a harsh interpretation of Islamic law, fled the country to neighboring Pakistan as Taliban fighters started harassing artists and attacking music venues.
Last week, at a small music school he has opened in Rawalpindi for Afghan refugee students as well as Pakistanis, Ashraf remembered looking at the smoldering remains of the musical instruments at his school on that August day two years ago and deciding he would leave his homeland for Pakistan to build a new life with music and hope.
Today, however, Ashraf, like other exiled Afghan artists, is facing uncertainty again amid Islamabad’s deportation drive against illegal migrants that has disproportionately hit Afghans, who form the largest number of migrants to Pakistan.
While Ashraf and his family members have visas and the government says it will not deport those with valid documents, he still fears Pakistani authorities might ask him to leave in the next phase of the expulsion program.
“Afghan artists who returned to Afghanistan from Iran faced a lot of trouble from the Taliban,” he told Arab News. “They were beaten, thrown into jails … Therefore, we appeal to Pakistan not to send Afghan artists back.”
The last time the Taliban had ruled the country, in the late 1990s, they outright banned music. Soon after taking over again, instruments at the famed Afghanistan National Institute of Music, founded in 2010 as a rare coeducational institute, were destroyed and its administrators and students relocated to Lisbon, Portugal. Renowned for its inclusiveness as a symbol of a new Afghanistan — with boys and girls studying together and performing to full houses in the United States and Europe — the school’s campus was occupied by a Taliban faction and its bank accounts were frozen and its offices ransacked.
Smaller music studios like Ashraf’s never stood a chance.
“I was an engineer by profession, but I learned music out of passion,” Ashraf said. “After teaching myself music, I taught it to children in Afghanistan. However, everything came to an end after the arrival of the Taliban.”
The 62-year-old musician who now lives in Rawalpindi with his family came armed with the firm belief that the best “revenge” against the Taliban would be to ignite the love of music among refugees in Pakistan. He partnered up with 42-year-old Afghan painter, Sayed Ibrahim, whose art gallery in Kabul was also destroyed by the Taliban.
“With the assistance of Sayed [Ibrahim], I established a music academy here [in Rawalpindi] and bought some instruments so I could cultivate a love for music among the youth,” Ashraf said.
“My goal was to teach them, enabling them to express their inner pain and show their love for their homeland by playing music.”
Initially, Ashraf and Ibrahim were not optimistic about the success of their venture but the response was “overwhelming.”
“It has been two to three months since we launched the music academy, and there are 10 to 12 students already enrolled,” Ibrahim told Arab News.
“Music is a necessity for everyone and in my experience, every Afghan, even common people, love music,” an Afghan student at the academy who identified himself only by his first name Fareed said.
“People sing everywhere, in every village, and it’s common to hear music while people are working. It was a very good thing there but unfortunately, it’s now banned.”
Like most other Afghan nationals in Pakistan, he too was worried about his future as well as the future of the teachers and students at the academy, many of whom are refugees.
“COMBAT SADNESS THROUGH MUSIC”
According to the United Nations Refugee Agency (UNHCR), out of 3.7 million Afghans in Pakistan, only 1.4 million are registered. As per a joint report issued by the UNHCR and the International Organization for Migration (IOM), over 450,000 Afghan nationals had returned to their homeland until Dec. 9. Afghan community leaders say even those with Afghan Citizenship Cards and Proof of Proof of Registration documents, both of which entitle staying in Pakistan legally, have been deported.
The wave of expulsions has worried Ahmed Baraham, a 19-year-old student at Ashraf’s music academy, whose family left Afghanistan and entered Pakistan on visas in 2022 after the Taliban banned girls’ education.
He said that he joined the academy after he slipped into a state of depression.
“I want to combat sadness through music as it draws people toward humanity,” Baraham told Arab News. “It’s a soft thing. A person feels a sense of peace by immersing himself in music.”
But there are new fears as Pakistani law enforcement agencies carry out search operations and raids in a bid to round up illegal migrants. Baraham said he too was questioned by the police some weeks ago but allowed to go free after a brief interrogation.
The experience left him in distress for days.
“People have gone into depression due to police raids,” Baraham said. “No one knows what will happen. There were rumors that even those with visas and passports will be deported. We, too, find ourselves in great distress.”
In an op-ed published in The Telegraph on Sunday, Pakistani Prime Minister Anwaar-ul-Haq Kakar said the country would not deport at-risk groups such as musicians, journalists, and human rights activists.
But the young music student was not convinced and feared his fate in Afghanistan under Taliban rule.
“If we can study there and pursue our passion for music, there is no issue for us to go back to Afghanistan,” Baraham said. “But, they [Taliban] consider these things to be forbidden.”
Exiled Afghan musicians fear expulsion from Pakistan, future in Taliban-led homeland
https://arab.news/8jbcd
Exiled Afghan musicians fear expulsion from Pakistan, future in Taliban-led homeland
- Afghan artists and musicians fled after the Taliban returned to power in Kabul in 2021
- As Pakistan expels illegal migrants, musicians fear they may be next in line to be deported
Draped in history, Saudi fashion designers look to the future
- Saudi designers are reimagining the Kingdom’s heritage through modern fashion
RIYADH: The fast-growing fashion industry in Saudi Arabia is looking through the lens of history and heritage to produce clothing draped in the history of traditional garb worn during the time of the Kingdom’s founding.
At the Saudi Cup on Feb. 13, a number of designers showcased their couture inspired by the country’s rich history.
Saudi designer Fahda Al-Battah, one of the minds behind brand Adara by Fa alongside Abeer Al-Moammar, spoke to Arab News about their debut collection “Journey Through Time.”
The emerging brand’s collection was designed with the intention of displaying the country’s diversity.
The collection’s six pieces each represent a region of the Kingdom, either through motifs, symbolism, or patterns that are hand drawn by Al-Battah and her team.
The first dress is heavily inspired by the Qassim and Al-Ahsa regions, and features illustrated scenes of people collecting dates from palm trees and using them in various ways. “It’s a story, basically,” Al-Battah said.
“Heritage must be preserved and if anything new comes up now, we must create new heritage and not replicate the past,”
Amar Al-Amdar, Saudi designer
Another piece uses the patterns and colors that are prominent in the Southern region as motifs, with a backdrop of lush mountains and colorful architecture.
A drapey blue piece is inspired by the coasts of both Jeddah and the Eastern Province. “It's very fluid, even in design,” she said.
Two other pieces are inspired by the central Najd region, the designer said, a dark green ensemble with wing sleeves and another white dress, each elevated with decorative pieces resembling a string of dates.
The hero piece is an extravagant gown that displays every part of Saudi Arabia chronologically along the trim, starting with Najd and meshing into the other regions.
“The last dress has each part of Saudis, any culture and heritage, and it unifies us with the sheila (headscarf), which has King Abdulaziz’s quote, ‘We united on the word of monotheism, and so our hearts and lands united,’ which shows unification of us as a whole region,” she said.
“Saudi is very rich in heritage. So, most of the designers right now are looking for a way to identify themselves in the global market and showcase the beauty of what Saudi has.
“Each designer in Saudi is paving the way in a new field, which makes it very exciting and very creative,” Al-Battah said.
ASL Line, for example, was inspired by the lavender found in the heart of the desert. The soul of the plant was translated into a story through stitching and colorful motifs.
“We don’t look for inspiration from far away … we go back to our land,” according to a post on the brand’s social media account.
MD29, another brand supported by the Fashion Commission, was inspired by the Saudi spirit of hospitality, taking Saudi coffee as a central element in their latest collection.
“You can see in the collection the color variations from the plant to the grind. This time, they wanted to highlight the character more, not just in the silhouettes, but in the fabrics, in the Arab spirit,” Manal Al-Dawood, founder of the brand, told Arab News.
Through their technique of layering the fabric, the prints used in the collection try to show the journey of coffee beans, from the moment they are planted into the earth to making it to the grinding process.
Saudi designer Amar Al-Amdar shared with Arab News his thoughts on the art scene through his experience of being a prominent figure in the industry.
He said: “We are now in phases of focusing on respecting the identity and culture in Saudi designs across all its regions, of course.
“And that’s a beautiful thing, but an important thing to focus on in this phase is that, in the past, when they were working on creating our pieces and wearing these (traditional) designs, that was considered innovation. That was the new look.
“When there was a swift pause on the development of our clothing, our past became heritage. But heritage must be preserved and if anything new comes up now, we must create new heritage and not replicate the past.”
He did not mince words about the wave of amateur designers that are adapting traditional clothing to use as decorative elements for newer, unconventional designs.
“For example, some of the worst things I’ve seen is taking something like the shemagh (scarf) and incorporating it into pants, or taking the agal (headwear) and making it a belt.
“This mix and crossing is wrong. Long ago, when they designed something for the head, it was intended to serve a purpose. It wasn’t decorative,” he said.
He felt it was important to caution novel fashion designers to innovate for the future and not simply look to the past for inspiration, and not create pieces that use heritage as merely a decorative motif.
“We need to form new paths, some renewal. There was a functionality to things, everything served a purpose in its design.
“But when design only becomes shifting a placement of something, that’s the biggest misuse of the original Saudi design … heritage is made to serve a purpose, so if we want to innovate it, it must have a functionality to it,” he said.









