Afghan Musicians Find New Home in Portugal After Taliban Bans Music in Afghanistan

Near Portugal’s oldest cathedral and bakeries serving pastéis de nata, the complex notes of a sitar fill the air in the northern city of Braga. This seemingly ordinary building is the new home of the Afghanistan National Institute of Music, dedicated to preserving Afghan music and countering efforts to eradicate it. Ahmad Sarmast, the institute’s director, emphasizes the resilience of Afghan music despite the Taliban’s attempts to silence it.

Founded in 2010 under the US-backed government in Kabul, the institute symbolized Afghanistan’s progress. It featured ensembles of young male and female musicians from diverse backgrounds, including Zohra, the country’s first all-female orchestra. They toured globally, blending Afghan and Western music and challenging the Taliban’s enforced silence.

However, the institute’s future dimmed when the Taliban regained power in August 2021. Ramiz Safa, a 20-year-old musician, recalls the panic and fear as the Taliban took over, forcing him to hide his rubab and change his appearance. Sarmast, on holiday in Australia, worked tirelessly to protect the institute’s members. Portugal responded, eventually allowing 273 people, including musicians and staff, to relocate to Europe.

Initially, the musicians faced homesickness and culture shock, worsened by Covid-19 restrictions. Living conditions in Lisbon stretched beyond the planned few weeks, leading to frustration and cultural conflicts. Despite these challenges, the musicians gradually adapted. Farida Ahmadi, 15, recalls the initial difficulties but notes their progress and newfound comfort in Portugal.

Today, about 70 musicians and staff reside in Braga. Unaccompanied minors attend local schools, while those over 18 study at the music conservatory. On weekends, they practice and hone their skills. The institute continues to nurture Afghanistan’s musical traditions, with upcoming performances at Carnegie Hall and the Kennedy Center highlighting their resilience.

Since the Taliban’s return, Afghanistan has faced severe repression, with women’s rights significantly curtailed and music banned. Sarmast stresses the institute’s role in preserving Afghan music and culture, fearing that these traditions could vanish under continued Taliban rule. The institute’s performances now serve as a testament to Afghan resilience and a call to the international community to reject Taliban recognition, ensuring that Afghan voices are not silenced.