Musical Instruments of Afghanistan as Cultural Heritage: Challenges, Consequences, and the Necessity of Preservation
Musical Instruments of Afghanistan as Cultural Heritage: Challenges, Consequences, and the Necessity of Preservation
ORCID: 0009-0004-0024-1223
Author: Islamuddin Firoz, Former Professor, Department
of Music, Faculty of Fine Arts, Kabul University
In
recent weeks, the release of videos showing the Taliban burning musical
instruments has once again drawn global attention to the state of art and
culture in Afghanistan. Reports indicate that on Tuesday, February 17,
2026, hundreds of musical instruments were collected and publicly destroyed
by the Taliban’s Department for the Promotion of Virtue and Prevention of Vice
in the provinces of Parwan and Laghman. These videos, which were widely
circulated on social media and international media outlets in the following
days, reflect the continuation of repressive policies against art and cultural
heritage in Afghanistan and send a clear message regarding the restriction of
artistic freedom and the weakening of cultural diversity.
The
destruction of musical instruments cannot be understood solely in material
terms; these actions directly harm the cultural identity and collective memory
of the nation. Music in Afghanistan has a long-standing history and has always
served as a shared language of joy, mourning, resistance, and cultural
narrative. From the melodies of mountainous regions to urban music, it has been
a means of social cohesion and value transmission. Therefore, any act of
destroying instruments carries meaning beyond physical damage; it represents an
attempt to silence cultural voices and curtail artistic freedoms.
As
a former professor in the Department of Music at Kabul University, with more
than twenty-seven years of teaching and academic administration experience, I
have striven during challenging years to rebuild this department structurally
and institutionally and to train new generations of musicians and researchers
so that Afghan music could align with global standards. This responsibility
went beyond a professional role; it was a cultural and social mission aimed at
preserving and developing the country’s musical heritage, strengthening the
artistic identity of the nation, and fostering an educational environment
conducive to the creative growth of young people.
Given
this background, witnessing the physical and symbolic destruction of musical
instruments by the Taliban, along with the pressure, threats, and torture
inflicted upon artists, has been a deeply painful and distressing experience
for me. Whenever I witness such acts or watch videos of musical instruments
being broken and burned, I feel not only the sorrow of witnessing the loss of
my country’s music industry, but, more profoundly, I am confronted with the
painful reality of how cultural and symbolic identities that generations have
worked to preserve, strengthen, and pass on are being brutally attacked and
destroyed.
The
recent video depicting this horrifying process has profoundly affected my
professional and emotional well-being. The art form that I once aspired to
nurture, develop, and pass on to future generations is now being systematically
and ruthlessly subjected to suppression, erasure, and destruction. This
experience once again makes clear the profound vulnerability of culture and the
arts under conditions of repression and coercion. It also demonstrates that the
destruction of art is not merely the elimination of a profession or an artistic
practice; rather, it constitutes a direct assault on a society’s collective
memory, cultural identity, and intangible heritage.
The
Taliban’s treatment of art and culture has a long history. In the 1990s, when
the group first gained power in Afghanistan, music was almost completely
banned. Radios were prohibited from broadcasting music, tapes and musical
instruments were confiscated and destroyed, and artists were forced either to
cease their activities or leave the country. The Taliban’s return to power in
recent years has seen these restrictions and repressions enforced with varying
intensity. The closure of music schools, the prohibition of concerts, and
direct pressure on artists all reflect the continuation of these earlier
approaches.
Afghanistan’s
cultural heritage is not limited to tangible objects; a significant portion
exists as intangible heritage, including music, rituals, oral literature, and
traditions. The destruction of instruments or the prohibition of artistic
performances directly targets this intangible heritage. Such actions can create
a profound generational gap, as the transmission of cultural traditions and
values is disrupted, and young people are deprived of access to crucial aspects
of their culture.
From
the perspective of cultural rights, the Taliban’s actions constitute a clear
violation of fundamental human rights. The right to participate in cultural
life and to benefit from artistic expression is a core human right, and
numerous international instruments emphasize the protection of cultural
diversity and freedom of artistic expression. Limiting or destroying art
carries wide-ranging social and psychological consequences; art is not merely a
form of entertainment, but plays a vital role in healing collective wounds,
strengthening social cohesion, and fostering hope in difficult circumstances.
Silencing it deprives society of this essential capacity.
Condemning
such actions is a responsibility that extends beyond governments. Civil
society, cultural institutions, and individual citizens all play crucial roles
in defending the arts. Global reactions to the burning of instruments have
demonstrated that concern for Afghanistan’s cultural situation remains alive.
Artists, writers, and cultural activists have drawn public attention through
statements and advocacy campaigns. This global solidarity, while not
necessarily producing immediate change, prevents indifference and collective
forgetting.
Within
Afghanistan, cultural resilience continues. Some artists persist in creating
despite the risks—online, in private gatherings, or even in exile. This
perseverance demonstrates that culture and art, even under harsh conditions,
find ways to survive and are not extinguished. History has repeatedly shown
that Afghan art can endure crises and emerge renewed.
However,
the continuation of restrictive policies can have irreparable consequences. The
loss of generations of artists, the mass migration of cultural elites, and the
destruction of intangible heritage are damages that are not easily remedied.
Each year in which art is silenced or suppressed extends the cultural recovery
gap. Therefore, it is imperative that the international community and cultural
institutions intensify their efforts to safeguard Afghanistan’s cultural
heritage.
Condemning
the Taliban’s destruction of music and art is, in essence, a defense of human
dignity, cultural identity, and artistic diversity. Art is neither the enemy of
faith nor a threat to society; it is a bridge between the past and the future,
connecting people with their stories and histories. Destroying artistic tools
cannot reinforce beliefs, but it can inflict deep cultural wounds. Any action
aimed at eliminating or suppressing art must be met with serious critique and
opposition.
Ultimately,
the future of Afghan culture depends heavily on the protection and preservation
of its artistic heritage. Even in the darkest times, culture can serve as a
beacon of hope, restoration, and identity-building. Recognizing the value of
art and condemning actions that target it are essential steps in defending
cultural and human identity. What is being burned today is not merely wood and
strings; it is part of the soul of a nation. Protecting this soul is a shared
responsibility for all who value cultural and human heritage.
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