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The music in Afganistan

The government of Afghanistan was officially recognized for first time in 1847. Twelve different ethnic groups: Tajiks, Uzbeks, Turkmen and Hazaras, Beluchis, Pachi, Pashtun ... were unified in the same area and had to establish a unique identity.

All these different ethnic groups contribute to the diversity of music Afghan and can be classified into three main categories. From Kabul to Kandahar, eastern and southern parts had a privileged contact with the Indus Valley, which has led to frequent exchanges with the music of North India. On the other hand, the music of Herat in the west, has benefited for centuries Persian influence. At the same time, the northern part of Afghanistan has acquired a peculiar aesthetics through its borders with Turkmen, Uzbeks and Tajiks territories. One might even mention another musical entity: the Pashtun communities (currently 40% of the population). We should also mention the huge difference between the agricultural society and the urban lifestyle in cities like Kabul and Herat.

Afghan Music can be divided into popular, semi-classical and classical.
The genus contains many popular songs that can be interpreted also as instrumental pieces. Each song has three parts: verses (Astai), chorus (Antara) and instrumental interludes (naghma).

Classical music is based on more sophisticated concepts that bears the music of North India and its modal conception (raga system): a progressive basis of a melody that expresses an emotional state. Runs on complex rhythmic cycles (10, 12, 14, 15 or 16 beats) taal fingers. Famous musicians like Ustad Muhammad Umar the rubab, or singing with Ustad Qasim, have raised Afghan classical music to a very high degree of refinement.

The semi-classical genre is situated between the two. The musicians in this category use the structure next to a popular melody and poetic inspiration more accurate. The successive invasions, wars and foreign governments (British, Soviets, Taliban, American ...) have led to one of the largest diasporas throughout the centuries. Millions of Afghans migrated to different parts of the world.

The Rabab



The Rabab (also written in Latin characters robab or rubab) is considered the most representative instrument of Afghan folk music. Most of the traditional repertoire can be performed with this instrument, usually with a strong rhythmic accentuation. The classic style of interpretation, much less common, is characterized by its serious musical expression and a way to deal with meditative melodies. Since ancient times, the Rabab had a strong presence in the musical traditions of the Sufis. Mevlana Rumi praised the instrument, which is often referred to his poems. Many other medieval mystic poets sang to the Rabab.

The Rabab consists of a wooden box carved from mulberry comprises the entire instrument except the lid. This is made with lamb or goat skin stretched and glued. There are four types of strings with different functions: three melody strings made of gut or nylon strings with two or three of fixed pitch or drone; 10 to 14 sympathetic strings or resonance made of steel and bronze, and a string of drone (Chikara) has a rhythmic accompaniment function, central to the music of Rabab.

The instrument is played by a plectrum made of wood, horn, bone or even gemstones.





rabab, tanbur

Founder of bands like Evo, Trio Petrakis/Lopez/Chemirani, L'Ham de Foc, Aman Aman and collaborator in many other of Early Music and Roots music (Ross Daly, Göksel Baktagir, Oni Wytars, Daud Khan...). Approaches to medieval and traditional repertory from the study of modal music with of masters of Greece, Turkey and Afghanistan (Ross Daly, Necati Çelik, Erol Parlak, Daud Khan, Mohammed Rahim Khusnawaz, Yurdal Tokcan...) He has performed at renowned festivals throughout Europe, North Africa, China and America, also participating in the recording of more than 60 CDs.




Born in Ravenna (Italy) in 1979. In 2003 he began his studies under the direction of Indian percussionist Pandit Sankha Chatterjee (Kolkata Rabindra Bharat University) and the Giorgio Cini Foundation in Venice, seminars organized by Narada Suoni dal Mondo and Calcutta, India. He has worked with many internationally renowned musicians and has given numerous concerts in Europe and India. After attending the course in 2005 academic "non-European musical traditions of guidelines indològica" directed by Federico Sanesi (student from the teacher Sankha Chaterjee 1980).



flautes de bec, dilruba, bendir

Born into a Catalan family of musicians, from her young age dives into the world of popular and medieval music as a member of the groups: the Troubadours and The Arc en el Cel. She later started his academic studies recorder with Sara Parés and percussion in Early Music with Pedro Estevan. Some of the groups with which she had the opportunity to collaborate in both concerts and recordings are: Maria Laffitte i Joi de Trobar, Evo, Ross Daly & Labyrinth, Daud Khan Ensemble, Via Artis Konsort, Els Trobadors, L'Ham de Foc, Lídia Puig and Ensemble Albera.




After years of work as a self-taught guitarist, he studied sitar and Indian music with Sazed Ul Alam and Shyam Sunder, musicians of Indian origin living in Spain, later made several trips to perfection his technic to New Delhi (India) from 2004 to 2009. He later obtained a scholarship for two years of study sitar at the School of Indian Classical Music Gandharva Mahavidyalaya in New Delhi, India, with the master of sitar and surbahar Jagdeep Singh Bedi. He studied Rabab and Afghan music in several  workshops in Valencia with master Daud Khan Sadozai.




She learned Rajasthani dances with the  women of a traditional village in Pushkar, as well Khalbelia Raki. Coexisting with the folklore of the land became known in Padma Charan Dehuri, Odissi dance teacher, who delved into the world of the sacred and devotional discipline. Since then travels annually to India to study with the Orissa and accompany him in his classes at the Shakti School of Dance, where she danced past three years in the "Pushkar Temple Dance Festival". She lives in Ibiza working with different projects and eastern Indian dancers.


Live concert at the Córdoba Tres Culturas Festival, 21/4/2013


 Ghazal pashto (Afghan traditional)

 Tilang teental (Afghan traditional)
 Ba ayadat bia ke bimaran (Afghan traditional)
 Charharbeiti (Afghan traditional)
 A. A. A. A. A. A. A. (Efrén López)
 Bhimpalasi (Afghan traditional)
 Chandrakauns (Efrén López)
 Logari dance (Afghan traditional)

Live concert in València, 26/10/2012


   Ghazal Pashtun (Afghan traditional)
 Tilang Teental / Dadra (Afghan traditional)
 Ba ayadat bia ke bimaran (Afghan traditional)
 Bhimpalasi (Afghan traditional)
 Chandrakauns Ektal (Efrén López)
 Sheikh Ahmad-e jam / Charharbeiti (Afghan traditional)
 A. A. A. A. A. A. A. (Afghan traditional)
 Ai Leili Leili laleh / Ba kurdi danani (Afghan/Kurdistan traditional)
 Molla / Naghma-e kaboli (Afghan traditional)
 Bhairavi Dadra (bis) (Afghan traditional)


Live concert at Espacio Ronda, Madrid, 18/4/2013


Ghazal/Tilang Logari dance

Live concert at 17th Festival Córdoba Tres Culturas, 20/4/2013


Sheikh Ahmad-e Jam

Live recording at Cambra Records (Real de Montroi), 27/10/2012


Chadrakauns ektal (Efrén López)


Live concert at the 4th Houdetsi Festival (Houdetsi, Crete, Greece, 3/8/2013)


(photos: Giannis Bromirakis)

Live concert at the Ibiza Roots Festival (Ibiza), 26/7/2013


Live concert at Namaste (Ibiza), 24/7/2013


Live concert at the Centre Ateneu Democràtic i Progressista of Caldes de Monbui, 9/6/2013


Live concert at La Llimera (València), 21/4/2013


Live recording at Cambra Records (Real de Montroi), 27/10/2012




Dossier and technical rider