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Tajikistan and Uzbekistan. He was one of the first to use a combination of
Western musical instruments with traditional Afghan instruments. The
Television broadcastings of his performances and other classical and pop
musicians brought even more changes to musical culture of Afghanistan by
rising followers. In addition, experience of using ensemble performances
(Western and Oriental) in such Central Asian countries as Tajikistan and
Uzbekistan was used in Afghanistan and in many ways it is work. Not only
because so many similarities between countries of Central Asia, historical and
cultural cross-relations, but also because everything that happen in musical
culture of neighbouring Uzbekistan and Tajikistan anyhow affected at least
northern part of Afghanistan.
However, more than 40 years of conflict and displacement in Afghanistan
was hard time for everyone and musicians particularly, stressed some of them
for going in exile, which is deeply affected traditional music. During the jihad
period, the Mujahidin banned music in the refugee camps, but used it for their
own entertainment. Afghan music for exiled has served as a bridge between past
and present by associating nostalgia with the wish for change or also to smooth
out the transition to a new life and a new identity as individuals and groups
assimilate into another culture. Thus, music ‘regularly provides an arena for
negotiating and playing out local, national, regional and even global identities’
[3, p.19]. The musical activities between youngsters, for example, migrants from
Afghanistan in European countries and America is shows how they try to be like
local young people and at the same time trying to keep their national identity[2]
by using mixed musical instruments in ensembles and fusion in traditional
music. Nowadays the new music feeding back to Afghanistan, showing that new
cultural performances created and constructed in exile may end up as models
shaping cultural practices at home. New cultural performances created and
constructed in exile often end up as models shaping cultural practices at home.
Among such musical phenomenon can be named international (included
natives of Tajikistan, Uzbekistan, Armenia, Korea, Russia) music ensemble
“Mirros” under the leadership of a native of Afghanistan Farid Qayumi. He
performs mainly old Afghan songs, but uses not only traditional, but also
Western instruments, which makes his music attractive for more listeners.
The musical culture of Afghanistan is faced severe restrictions on music
during the Coalition Period (1992-96) and in extreme form during the Taliban
Period (1996-2001). If in the Coalition period it poured out in form, when
professional musicians got a licence for performing only songs in praise of the
Mujahidin or songs with texts drawn from the mystical Sufi poetry of region
(professional women musicians were forbidden to perform). Then in the
Taliban period was imposed an extreme form of music censorship, including
banning the making, owning and playing of all types of musical instrument other
than the frame drum (only for women). At the same time the Taliban allowed
various types of unaccompanied religious singing, and created a new genre, the
Taliban Tarana (the melodic modes of Pashtun regional music). However, the

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