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Identity, Modernity, and Continuity in Afghan Star Timothy Olson Liberty University Department of Multi-Ethnic Music Studies

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Identity, Modernity, and Continuity in Afghan Star Timothy Olson Liberty University Department of Multi-Ethnic Music Studies “ONLY THE NAME IS NEW:” IDENTITY, MODERNITY, AND CONTINUITY IN AFGHAN STAR A MASTER'S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY TIMOTHY OLSON IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY May 15, 2017 Copyright © 2017 by Timothy Olson In the name of God, the merciful and compassionate, creator of sound, silence, beauty, and culture. Acknowledgements First and foremost, I would like to thank my incredibly patient and kind wife, Rowena, for her support from the very beginning of this project. Not only did she sit with me through hundreds of hours of Afghan Star, but she served as a sounding board for ideas, contributed her own thoughts, read through my first draft, and gave me space to spend long hours in front of the computer. No one could ask for a better partner. I am grateful to my language teachers and colleagues at the International Assistance Mission for teaching me Dari and Afghan culture. Without them, this work would have been impossible. I am also thankful to those who assisted me with data collection and analysis, especially my mother Ruth, and sister Karen. My mother also read an early draft and provided valuable insights. From the outset of this project, I have been extremely grateful for the groundwork laid by other researchers, particularly Dr. John Baily and Dr. Lorraine Sakata, both of whom I have cited extensively throughout this paper. Not only have I benefited from their scholarship, but both have promptly answered my e-mails over the last few years and willingly met with me in person when the opportunity arose. These interactions have challenged me to keep studying and growing in my understanding of Afghan culture. Dr. Sakata kindly read through a draft of this work and rescued me from a few intellectual blunders. I am also thankful to staff members from Moby Group and Tolo TV for their willingness to talk with me and share their thoughts. I found them very approachable and friendly. My thanks to the faculty of Liberty’s ethnomusicology department, who have taught me much about music and scholarship. Thanks to Dr. Benham for founding this MA program and guiding me through my first years of study. Dr. Paul Rumrill and Dr. George McDow were iii helpful in the early stages of designing this project and writing a literature review. My advisor, Dr. Katherine Morehouse, gave me freedom to pursue this research and provided big picture insights that forced me to organize my ideas more effectively. Finally, Dr. Jeffrey Meyer served as my second reader. His insights resulted in a more polished final product. I hope that I have presented a positive and hopeful picture of Afghanistan. I have gained much from my experiences in this nation, and I love it dearly. I particularly treasure the friendships I have made with my Afghan teachers, colleagues, and students. If there are any errors in this work, or if I have inadvertantly misrepresented anyone’s thought, the responsibility is solely mine, and I offer my apology. iv Abstract In 2005 a televised singing competition took Afghanistan by storm. In a nation previously known for censorship of music and violations of women’s rights, a new precedent began to take shape. People of all ages and ethnic groups followed Afghan Star and cast their votes by mobile phone—a technology that had only recently become available. Though followed by a sea of controversy, Afghan Star has persisted for more than a decade and remains one of the most popular television programs in Afghanistan. Prior to the Taliban, Afghanistan already had a vibrant musical culture, but most people felt that playing music was not an acceptable activity for someone from an honorable family. Such perceptions persist even today, but Afghan Star has begun the process of normalizing musicianship in society. This thesis explores the ways in which Afghan Star models national identity in the twenty-first century and seeks to assess its impact on Afghan culture. The study relies on data from the show itself, a quantitative survey of Afghan viewers, and ethnographic interviews with Afghan musicians. Western media coverage has focused on the role of the show in promoting democracy and women’s rights, but this study shows that the significance of Afghan Star goes beyond these issues. Afghan Star has precedent in history, a strong voice in promoting national unity, and a vision for social change. Afghan Star is a place where people of different ethnicities compete as equals, where ancient and modern genres of music comfortably coexist, and where young people feel free to develop their talents. As such, it models a vision of what Afghanistan could be in the future. v Contents Acknowledgements ...................................................................................................................... iii Abstract .......................................................................................................................................... v Contents ........................................................................................................................................ vi Chapter 1: Introduction ............................................................................................................... 1 Statement of the Problem ............................................................................................................ 3 Need for the Study ...................................................................................................................... 4 Thesis Statement ......................................................................................................................... 6 Research Questions ..................................................................................................................... 9 Glossary of Terms ..................................................................................................................... 10 Limitations of the Study............................................................................................................ 12 Assumptions .............................................................................................................................. 14 Chapter 2: Literature Review .................................................................................................... 16 Demographic Information ......................................................................................................... 16 Key Researchers........................................................................................................................ 18 Historical Precedent for Afghan Star ........................................................................................ 20 Historical Context for Afghan Star ........................................................................................... 26 Implications............................................................................................................................... 31 Chapter 3: Methodology ............................................................................................................ 34 vi Research Tools .......................................................................................................................... 35 Fieldwork Procedures ............................................................................................................... 36 Participants in the Study ........................................................................................................... 38 Data Collection Methods .......................................................................................................... 39 Timeline .................................................................................................................................... 40 Chapter 4: Survey Results ......................................................................................................... 42 Mazar-e-Sharif .......................................................................................................................... 42 Lal wa Sarjangal ....................................................................................................................... 68 Faizabad, Badakhshan............................................................................................................... 70 Concluding Remarks ................................................................................................................. 73 Chapter 5: Interview Results ..................................................................................................... 74 Youth Development .................................................................................................................. 75 Distinct Afghan Character ........................................................................................................ 81 Economic Effects ...................................................................................................................... 86 Educational Aspects .................................................................................................................. 88 A Voice for Women .................................................................................................................. 92 Political Aspects........................................................................................................................ 96 A Voice for Minorities .............................................................................................................
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