Radio and Music of Afghanistan: The Path of Flourishing in the Mid-Century Decades

Radio and Music of Afghanistan: The Path of Flourishing in the Mid-Century Decades

Author: Islamuddin Feroz, Former Professor, Department of Music, Faculty of Fine Arts, University of Kabul

Abstract

Radio in Afghanistan, from the 1940s to the 1970s, played an unparalleled and multifaceted role in the country’s cultural, social, and musical transformation. Beyond providing access to news and information, this medium opened a new window to the world of music and shaped the listening tastes of the public. Radio Kabul, equipped with powerful transmitters, technical studios, and audio archives, not only introduced the traditional and local music of various Afghan ethnic groups at the national level but also laid the groundwork for the emergence of modern, popular, and pop music. The presence of male and female artists, music education through radio programs, the formation of diverse orchestras, and the recording of musical works enabled Afghan music to transcend local and traditional limitations and achieve a cultural and national identity. This article examines the historical development and expansion of radio and analyzes its impact on music and artistic education, demonstrating that radio acted as more than a media outlet, serving as a cultural and artistic school that provided a sustainable foundation for the growth and transformation of music in Afghanistan.

Keywords: Radio, Radio Afghanistan, Traditional Music, Local Music, Popular Music, Music Education, Women and Music.

Introduction

As one of the most important media of the twentieth century, radio played an unprecedented role in shaping the culture, art, and music of societies and broke the boundaries of time and space in the transmission of information, news, and art. In Afghanistan, a country with a traditional social structure, vast geographical dispersion, and extensive ethnic and linguistic diversity, the introduction of radio was more influential than any other medium and was able to connect different segments of society with new cultural and artistic currents. The first radio broadcast experiment in Kabul occurred in the 1920s, but these efforts were limited and sporadic, while the widespread and organized dissemination of programs began in the 1940s. Radio Kabul, equipped with powerful transmitters, advanced technical studios, and a well-organized audio archive, became a national center for music production, artistic education, and cultural promotion. This medium not only introduced traditional and local music at the national and international levels but also created opportunities for women to participate in music, provided education in instrumental and vocal performance, established modern orchestras, and supported young artists, creating lasting and fundamental transformations in Afghanistan’s artistic and musical landscape. Therefore, studying the impact of radio on the country’s music and culture is of particular importance. This article analyzes the historical and cultural role of radio in introducing traditional and modern music, forming a national musical identity, enhancing the public’s auditory taste, and influencing music education and development from the 1940s to the 1970s, demonstrating that radio was more than a medium—it functioned as a cultural and artistic school for Afghanistan.

Background of the Emergence of Radio

The idea of creating radio was first proposed in 1865 by the prominent scientist James Clerk Maxwell. He and a group of contemporary physicists were able to explain the mathematical foundations of the theory of electromagnetic waves, although experimental proof was not yet possible at that time. Several decades later, in 1887, the German physicist Heinrich Hertz demonstrated through precise experiments that energy could propagate in space as electromagnetic waves and be transmitted from a sender to a receiver. Consequently, radio waves are also referred to as “Hertzian waves” in his honor. The next major step was taken by the Italian physicist Guglielmo Marconi. In 1897, he improved the transmitter and receiver for Hertzian waves and succeeded in transmitting sound over distances of several kilometers for the first time. That same year, Marconi founded the Wireless Telegraph Company, and in 1898, he established the world’s first radio company in Chelmsford, England, opening a new chapter in the history of communications. The first official radio broadcast in the world took place on November 2, 1920, from Pittsburgh, Pennsylvania, by station KDKA; this historic program announced the results of the U.S. presidential election live. This event marked the beginning of a new era in mass media. Radio rapidly gained popularity, and millions of listeners around the world tuned in to its news, cultural, and musical programs. Among all modern communication tools, radio became one of the most important and efficient media due to its accessibility, low cost, and wide-ranging impact, bringing the world closer together and creating a novel experience of receiving information and entertainment (Kumar Sharma, 2023, p. 226).

Three Decades of Flourishing Afghan Music in the Light of Radio (1940–1970)

The introduction of radio to Afghanistan became possible in the 1920s, coinciding with the modernist reforms of Emir Amanullah Khan. The first longwave transmitter from the Soviet Union, along with hundreds of crystal receivers, arrived in Kabul, creating a new experience for city residents (Adrian, 2004). A turning point in this process was the dispatch of engineer Attaullah to Germany in 1925; after receiving the necessary training, he returned with two transmitters and a team of specialists, and finally, the voice of Radio Kabul reached the public from “Koti Londoni” through a small 200-watt transmitter on the 360-meter wave. Although broadcasts during this period were interrupted by the political developments of 1928, their impact remained as a novel experience in the collective memory of society. After a thirteen-year hiatus, radio broadcasts resumed during the tenure of Shah Mahmoud Khan in 1941, under the management of Mohammad Mohsen Khan and with speeches by Sardar Mohammad Naeem Khan. The transmitter, whose assembly had begun in 1939, this time officially launched broadcasts under the name “Radio Kabul” from Pul-e-Bagh, gradually transforming from an initial experiment into a cultural and governmental institution. With the construction of a new building on Ansari Road, Wazir Mohammad Akbar Khan, in 1955 and the installation of more advanced studios, radio entered a more professional stage. The increase in broadcast hours, creation of an audio archive, and improvement of technical equipment strengthened its position among the people. Finally, in 1963, with the renaming of “Radio Kabul” to “Radio Afghanistan” and the installation of a shortwave transmitter, the medium was able to extend its broadcasts across the country and into parts of neighboring countries, becoming a national and regional center for introducing Afghan culture (Tanīn, 2005, p. 119).

The establishment of radio in Afghanistan is considered one of the most important cultural and social events of the twentieth century in the country. Before its emergence, the transmission of information, art, and music largely relied on oral traditions, small artistic gatherings, courtly assemblies, Sufi circles, and public congregations. Suddenly, a medium emerged that could transmit sound continuously and without borders over a wide area. In Afghanistan, radio was not only a tool for government news and public information but gradually became one of the largest cultural and artistic institutions, opening new pathways for the growth, development, and transformation of Afghan music. It played an unparalleled role in introducing artists, expanding musical knowledge, and connecting the geographically dispersed population of Afghanistan (Massoumi, 2023).

Before the 1940s, most of Afghan society’s exposure to music was limited to local sounds, folk songs at celebrations, ethnic folkloric melodies, and musicians who mostly performed in the small cultural hubs of Kabul’s kharabat and a few other major cities. Residents of villages and remote areas had little opportunity to become familiar with the diverse styles, methods, or instruments of their country’s music. Even in cities, access to a variety of musical genres was limited, and artists typically performed only in specific gatherings, private assemblies, or traditional Sufi and artistic environments. Afghanistan, despite its immense cultural diversity, remained largely unseen by the public, and much of this diversity was unknown to many.

With the beginning of radio activity in Afghanistan, especially after the expansion of its programs in the 1940s, a new horizon opened for the Afghan artistic community. Radio quickly became a bridge between the people and artists, between diverse musical traditions, and across the country’s dispersed regions. This medium brought traditional, local, ethnic, and even emerging global musical styles into homes and minds—a phenomenon unprecedented in Afghan history.

Radio was the gateway that brought Afghan music out of the confines of limited, private, and sometimes closed gatherings and introduced it into the public and national sphere. Traditional artists and skilled musicians—many of whom originated from Kabul’s Kharabat artistic circle—encountered, for the first time, a far broader audience through radio programs. Their melodies, which had previously resonated only in small gatherings, were now heard across the country through radio waves, and thousands of listeners eagerly tuned in to their songs and tunes. It was during this period that the people of Afghanistan became widely acquainted with prominent figures of traditional music such as Ustad Qasim, Ustad Rahimbakshi, Ustad Nabi Gul, Ustad Mohammad Hossein Sarahang, Ustad Mohammad Omar, Ustad Dari Logari, and other masters of this art—artists who had previously been known only within limited circles.

Alongside traditional music, radio opened a new gateway for the rise of popular music in Afghanistan. Artists such as Abdul Jalil Zaland, Gul Ahmad Shifteh, Zia Qari Zada, Hafizullah Khyal, Shamsuddin Masroor, Nashenas, Abdul Wahab Madadi, Zahir Howida, Sarban, Ahmad Zahir, and many others were able, through this medium, to make their names and voices known not only throughout the country but also across the region. Among these figures, Ahmad Zahir holds a unique and unparalleled position. His extraordinary combination of a warm voice, intelligent poetic choices, innovative arrangements, and passionate performances made him one of the greatest and most beloved figures in Afghan music. The radio programs of the 1960s and 1970s provided the platform for Ahmad Zahir’s remarkable talent to flourish. The widespread broadcast of his songs on Radio Kabul ensured that his voice resonated from the homes of Kabul to the distant villages of Hazarajat, Badakhshan, Kandahar, and Herat. Radio not only brought his works to millions of listeners but also transformed his fresh approach to music into a standard of popular taste. By blending elements of Western classical music, modern instruments, native melodies, and refined Persian poetry, Ahmad Zahir established a new style in Afghan pop music—one that inspired multiple generations of singers thereafter. His popularity grew so extensively that many of his songs circulated in neighboring countries, gaining fans beyond Afghanistan’s borders (Sakata, 2012, p. 20).

The presence of women in the field of singing also began remarkably through this platform. From Parwin (Khadeja) in the first generation to singers such as Mahwash, Zheela, Rokhsana, Azadeh, Selma, Parasto, Qamargul, Hangama, and many others, all entered the auditory culture of the people through radio, each establishing a lasting position in Afghan music with their unique voices and distinctive artistic styles.

Radio, by providing a shared space for artistic creation, created an environment in which the greatest composers and musicians of Afghanistan could come together and usher in a golden era in the country’s musical history. In the radio studios, Farukh Afandi, with his genius in composition, Ustad Hafizullah Khyal, with his delicate taste, Ustad Salim Sarmast, and Ustad Faqir Mohammad Nangiali, with their profound musical knowledge, produced works that have retained their freshness to this day. The presence of figures such as Fazl Ahmad Zakaria (Ninwaz), Gholam Ali Haider Nisaz, Ustad Hashem, Abdul Ghafoor Barshna, Ustad Shah Wali Wali, known as “Tarana-saz,” Ustad Golzaman, and others with their distinct and identity-rich styles transformed radio into a center of creative innovation. The collaboration of these masters in a professional environment allowed Afghan music to reach unprecedented richness, a period whose works remain alive in the public memory, and successive generations continue to revisit these works, maintaining a strong link between the past and the present (Baily, 2015, p. 26).

Radio was not limited to presenting traditional and popular music; it also served as a bridge for introducing the music of Afghanistan’s various ethnic groups. Afghanistan is a country of extensive ethnic and cultural diversity: Pashtuns, Tajiks, Hazaras, Uzbeks, Turkmens, Nuristanis, Baloch, Qizilbash, and other groups each have their own unique music, local instruments, rhythms, dialects, and distinctive styles. Before the establishment of radio, people were mostly familiar only with the music of their own community and had limited knowledge of other ethnic groups’ music. Radio, through broadcasting special local music programs, broke these unwritten barriers. For the first time, people heard the local songs of Badakhshan, southern Pashto melodies, rural northern tunes, Hazarajat dutar music, Nuristani melodies, and dozens of other musical forms.

This intercultural exposure not only sparked greater curiosity among the people regarding the music of their country but also strengthened a sense of cultural unity, social empathy, and shared appreciation for the artistic beauty of Afghanistan. In this way, radio became one of the most important institutions for shaping cultural identity.

One of the important aspects in the transformation of Afghan music was the introduction of musical styles from other countries into radio programs. Although Radio Afghanistan primarily focused on traditional and local Afghan music, over time, Indian classical music, certain Iranian styles, and later global music were gradually incorporated into its programming. Listening to ragas, ghazals, qawwalis, and South Asian vocal traditions exposed Afghan musicians to new structures, modes, and techniques. This exposure, alongside institutional support from the radio, led to the development of new musical styles in Afghanistan—styles that were rooted in tradition while also incorporating modern influences.

Another fundamental role of radio in the development of Afghan music was the increased interest in learning music. When music was broadcast systematically, daily, and officially over the radio, a new generation of listeners with musical talent or interest decided to pursue this art professionally. This led to the establishment of formal music training programs for the first time. Radio Kabul offered courses in singing, instrumental performance, music theory, and artist training—programs from which many of the musicians of subsequent generations emerged.

This process later evolved into more organized forms of education. The Ministry of Education established music training programs, and during the government of Sardar Mohammad Daoud Khan, the Music School was founded—an institution that represented the first steps toward formal, scientific, and academic music education in Afghanistan. Undoubtedly, without Radio Afghanistan providing widespread exposure to music, such educational developments would not have taken place (Ibid., 2015, p. 26).

In addition, the growth of the instrument-making industry was one of the indirect consequences of the establishment of radio in Afghanistan. As public interest in music increased, so did the demand for musical instruments. Although instrument-making tools at the time were basic and advanced facilities were not available as they are today, this industry also found a new path for growth. Small instrument makers, local workshops, and traditional instrument-making families received more orders, which increased the level of production, quality, and diversity of instruments. Some instruments, such as the rubab and delruba, which had deep roots in Afghan culture, experienced a renewed popularity, and their cultural significance became more evident than ever.

Most people considered radio merely as a tool for listening to the news, but in reality, this medium was a full-fledged school—a school in which people learned not only music but also literature, culture, and even modern ways of life. In a sense, radio functioned as an informal university of the country; a university where every home, village, and small local gathering could become a student. This wide-ranging influence of radio allowed Afghan music to enter a new stage of cultural vitality.

A closer look at the role of radio in the evolution of Afghan music shows that this medium operated on three fundamental levels: introduction and revival, education and knowledge transfer, and innovation and transformation. Radio revived certain traditional Afghan music styles that were at risk of being forgotten. Musical knowledge was transmitted across generations through programs, discussions, and courses. Moreover, by creating an environment of competition, collaboration, and experimentation, radio paved the way for the emergence of new styles and new artists.

Socially, radio also played a significant role. Music has always been an integral part of Afghan culture and daily life, but radio elevated it to a broader stage, giving it a “national” dimension. Music moved beyond exclusive circles and became a collective possession of the people. This contributed significantly to strengthening Afghan national identity and social cohesion. People from different ethnicities, languages, and regions listened to, understood, and developed an interest in each other’s music.

Over time, Radio Afghanistan established its position not only in the field of music but also in the sphere of public culture. Many cultural traditions, oral literature, stories, couplets, ghazals, and poems were recorded and broadcast through radio, thus documenting a significant part of Afghanistan’s cultural heritage. Radio also played a major role in cultivating artistic taste among the public. Regular music programs, live performances by artists, introductions to musical instruments, and conversations with music masters all elevated the musical sophistication of the society.

During this period, radio was not merely an audio medium but a “medium of imagination”; a platform where music, without visual images, communicated directly with the listener’s soul. When listening to a song by Ustad Sarahang or Ahmad Zahir, the audience constructed their own mental imagery, which made the music even more impactful. In the absence of visual media, the music broadcast on the radio had a stronger effect, engaging people’s emotions and imagination more deeply.

Overall, from its establishment until the 1970s, Radio Afghanistan was not merely a tool for broadcasting news and educational programs; it was the main engine driving Afghan music toward modernization, recognition, and nationalization. This medium was able to build a bridge between tradition and modernity, introduce artists to the public, bring women into the field of music, transform ethnic music into a national heritage, and create opportunities for cultural exchange with the world. Without radio, Afghan music would never have reached such a stage of growth, diversity, and richness. In other words, radio not only opened a new chapter in the history of communications in Afghanistan but also rewrote the history of the country’s music, making it an integral part of a shared national identity.

For this reason, radio in Afghanistan was not simply an audio medium; it was the most important cultural and artistic institution of the twentieth century. It was a school from which thousands learned, a space where artists were nurtured, and a platform under which Afghan music became one of the richest and most diverse musical traditions in the region. The influence of this medium remains alive in the cultural memory of the Afghan people, and its role as one of the foundational pillars in the development of the country’s musical arts will never be forgotten.

Overall, from its establishment until the 1970s, Radio Afghanistan was not merely a tool for broadcasting news and educational programs; it was the main engine driving Afghan music toward modernization, recognition, and nationalization. This medium was able to build a bridge between tradition and modernity, introduce artists to the public, bring women into the field of music, transform ethnic music into a national heritage, and create opportunities for cultural exchange with the world. Without radio, Afghan music would never have reached such a stage of growth, diversity, and richness. In other words, radio not only opened a new chapter in the history of communications in Afghanistan but also rewrote the history of the country’s music, making it an integral part of a shared national identity.

For this reason, radio in Afghanistan was not simply an audio medium; it was the most important cultural and artistic institution of the twentieth century. It was a school from which thousands learned, a space where artists were nurtured, and a platform under which Afghan music became one of the richest and most diverse musical traditions in the region. The influence of this medium remains alive in the cultural memory of the Afghan people, and its role as one of the foundational pillars in the development of the country’s musical arts will never be forgotten.

Conclusion

From the 1940s to the 1970s, Radio Afghanistan played an unparalleled role in the cultural and musical transformation of the country. With its extensive broadcasting reach, the radio introduced Afghanistan’s traditional and local music from the limited environment of the Kharrabat quarters to the national stage, raising public awareness of the diverse musical styles from different regions. Radio was not merely a broadcaster of music; it also provided an educational platform, acquainting young generations with the principles of instrumental performance and vocal art. The establishment of the Department of Arts and Literature at the radio, the organization of music courses, and the recruitment of musicians and singers from across the country reflected a targeted effort to develop national music.

The presence of women in radio also brought significant social change. The first female singers, despite social and familial limitations, paved the way for women’s participation in the national music scene and inspired future generations of female vocalists. Simultaneously, popular and modern musical styles were introduced through radio, creating opportunities for interaction between traditional and contemporary music. The use of Western instruments alongside traditional ones fostered a musical style that combined national identity with innovation.

By creating audio archives and professional studios, Radio Afghanistan became a center of artistic creativity and innovation and functioned as an informal national music university. The medium strengthened the public’s musical taste, shaped aesthetic sensibilities, and contributed to the formation of a shared musical identity. Overall, radio was not only a tool for broadcasting news and music but the main engine for the development of music, artistic education, and cultural transformation in Afghanistan, providing a solid foundation for the establishment of national music and the growth of the country’s music industry. This period demonstrated that radio could simultaneously serve as an educational, cultural, social, and artistic instrument, with effects that continue to resonate across generations.

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