https://www.youtube.com/watch?v=dv5IDHp05rI
Afghanistan, Parwan Province
Musical Instruments of Afghanistan as Cultural Heritage: Challenges, Consequences, and the Necessity of Preservation
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.
With this background, witnessing the
physical and spiritual destruction of instruments by the Taliban, along with
the pressure and torture inflicted on artists, has been an intensely painful
and shocking experience. Each time I witness such acts or see videos of
instruments being broken and burned, I feel not only a sense of cultural loss
but also that the human capital and symbolic identities I have worked for
decades to preserve and strengthen are directly threatened. The recent video of
this horrific process has completely disrupted my professional and emotional
composure; the art I once aspired to nurture and develop is now being
mercilessly and systematically attacked and destroyed. This experience
underscores the fragility of culture and art under conditions of repression and
highlights the urgent need for support from the academic community and
international institutions for Afghanistan’s 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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