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Home , Awaz, Kucheh, Music of Afghanistan, Rubab (instrument)

EDUCATOR GUIDE

Artist: Voices of Discipline:

SECTION I - OVERVIEW ...... 2 SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED MEDIA MATTERS SECTION II – CONTENT/CONTEXT ...... 3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXT RESOURCES – WEB SITES BAY AREA FIELD TRIPS SECTION III – VOCABULARY ...... 8 SECTION IV – ENGAGING WITH SPARK ...... 9

SECTION I - OVERVIEW

SUBJECT MATERIALS NEEDED Music • Paper and pencils • Access to libraries with up-to-date GRADE RANGES collections of periodicals, books and research papers K-12 • Cassette player, CD, computer or iPod CURRICULUM CONNECTIONS INTELLIGENCES ADDRESSED Music Bodily-Kinesthetic – control of one’s own body, Language Arts control in handling objects Intrapersonal – awareness of one’s own feelings, OBJECTIVE emotions, goals, motivations Interpersonal – awareness of others’ feelings, To introduce students to the life and work of emotions, goals, motivations Homayun Sakhi and Ustad Mahwash, and to Linguistic – syntax, phonology, semantics, explore what it means to be a tradition bearer pragmatics outside of one’s homeland. Logical-Mathematical – ability to detect patterns, reason deductively, think logically STORY SYNOPSIS See more information on Multiple Intelligences at INSTRUCTIONAL STRATEGIES www.kqed.org/spark/education.

Hands-on group projects, in which students assist and support one another MEDIA MATTERS Hands-on individual projects, in which students The following Spark stories can be used for work independently compare/contrast purposes: Group oral discussion and analysis, including peer review and aesthetic valuing Teacher-guided instruction, including Master Teachers - Ali Akbar Khan demonstration and guidance http://www.kqed.org/assets/pdf/arts/programs/spar k/104.pdf?trackurl=true INSTRUCTIONAL OBJECTIVES Dhol de Awaz - Bhangra Dance To reflect, write, and discuss the role of traditional http://www.kqed.org/assets/pdf/arts/programs/spar music in the lives of Afghan emigres. k/704-dholdiawaz.pdf?trackurl=true EQUIPMENT NEEDED Zakir Hussain - Percussion SPARK story on Voices of Afghanistan, a video that http://www.kqed.org/arts/programs/spark/profile.js is accessible online at KQED.org, and related p?essid=4983 equipment or a computer with Internet access, navigation software, streaming capability, and speakers.

2 SPARK Educator Guide – Voices of Afghanistan

SECTION II – CONTENT/CONTEXT

CONTENT OVERVIEW Following the 1979 Soviet invasion of the Central Asian Republics, what is called Afghanistan, 5 million refugees left the Afghanistan today has long been home to country; some seeking refuge in the US. emperors from the Moghul Empire and a From 2006 to 2011, the Afghan population passageway from the Middle East to . in the US has grown from 66,000 to 300,000, The narrative of its rich musical culture is due to the US invasion and war following filled with invasions, royal courts, and 9/11. The Bay Area is home to the largest waves of migrations acting as tributaries to community of in the US a vibrant tradition. and has become a cultural haven for a growing number of Afghan artists and Although there many different ethnic . The Centerville district of groups that live throughout the country, Fremont, known as Little , has its including Hazara, Uzbek and Turkmen, the own , shops, restaurants, food two largest are the , who speak stores, and bookstores that cater to , and , who speak , or Afghans. Afghan Persian (Farsi). They comprise almost 70% of the population. Homayoun Sakhi is world- renowned for his mastery of the , a Established in 1747, after the assassination double-chambered with origins that of the Persian ruler Nadir Shah Afshar by a can be traced back 2,000 years. His group of Pashtun tribal leaders, the newly repertoire spans Classical Afghan folk named Afghanistan was led by Ahmad music, with derived from the poetry Khan Abdali, subsequently called Ahmad of , to his own contemporary fusion Shah Durrani (the “Pearl of Pearls”). compositions. Sakhi also leads “Voices of Durrani led the confederated tribes on a Afghanistan,” a touring and recording conquest that expanded the territory of group of Afghani musicians and singers Afghanistan to its greatest size, which, by who perform traditional folk 1762, reached from present day Delhi to the representing the diverse regions of their Caspian Sea. During the height of the homeland. Taking center stage with the Afghan Empire and long after, music from ensemble is Afghani diva Ustad Farida neighboring Persia and India was heard in Mahwash, one of very few women to the royal courts, including Hindustani achieve the title of “Ustad”, considered a and Sufi, Persian and master of music in the Afghan community. . (Baily, 2011)

THE BIG PICTURE Court documents and events rendered in Nestled between , , China and paintings demonstrate that many emperors 3 SPARK Educator Guide – Voices of Afghanistan were strong supporters of the arts. However, it is Amir Sher Ali Khan, ruler of The is a hugely popular medium for Kabul in the 1860’s, who is given credit for expressing poetry, and is the main vocal art establishing one of the most renowned . It is based on districts of the city. couplets that may have any number of stanzas, but that maintain the same number During his reign, Amir Sher Ali Khan of syllables, or feet, and end in the same brought North Indian musicians to word or rhyme scheme. The rhyme scheme entertain his court, and housed them on a looks something like this: aa ba ca da ea, nearby street called Kucheh Kharabat, or, etc. The poems generally reflect themes of ‘Kharabat Alley’. Living in close quarters love (mostly unrequited) and longing, with local Afghan musicians who joined sometimes earthly, but quite often their ranks, the area became a center of reflecting the divine love of and the North and cultural desire for God’s love. Merging the couplets development through lessons, with melodic modes, or râgs, and rhythmic apprenticeships, and performances. (Baily, cycles called tala, are sung in many 2011) Over the course of 100 years the languages, including Persian, Pashto, street expanded to include an entire Uzbek, and Kashmiri. (Baily, 2011: 22) neighborhood, known as the Gozareh Kharabat, or ‘Kharabat district’. Its The ghazal is typically accompanied by the notoriety for producing excellent artists and rubâb and . The rubâb is a plucked lute- its impact on generations of musicians is like instrument with a double-chambered well-established. body made of a single piece of hollowed- out mulberry wood with a goat-skin From the 1920‘s until the Communist coup membrane covering the lower part of the in 1978, Afghanistan experienced a period body. It has three main strings tuned a 4th of relative peace and artistic flourishing. A apart, two-three drone strings and up to 15 key figure associated with this time period sympathetic strings that add resonance to was the musician Ustad Qassem (b. 1883, d. sound of the instrument. The tabla are a 1956), also a resident of Kucheh Kharabat. pair of tuned hand-drums that accompany A rubâb player and singer, Qassem became the rubâb and are of North Indian origin. known as the founder of Afghan classical music. Given this title because of his Despite a period of relative peace from knowledge and command of Hindustani 1920’s-1978, Afghanistan has experienced music, Persian classical poetry and his own nearly constant fighting for over the last 30 innovations in both, he embodied a wealth years. Beginning with the Communist coup of poetry and the ability to sing in Pashto. of 1978 and the subsequent war against the He was famous for composing ghazals that Soviet occupation in the 1980’s, to the most expressed not only Sufi mysticism, but recent influence of fundamentalists known patriotic and nationalistic feelings and was as the , Afghanistan has lost many able to improvise verses in the moment thousands of people to death and reflecting most subjects, from the sacred to emigration, which has threatened the the mundane (Baily, 2011). cultural identity of its people and 4 SPARK Educator Guide – Voices of Afghanistan traditions. Instead of returning to Afghanistan after the fall of the Taliban in 2002, Sakhi left for Hope lies, however, in the communities of the , settling in Fremont, musicians who continue to challenge their California. Here again, he became an situation within Afghanistan and in the important cultural figure, offering classes vast diaspora found in several regions of and performances, and is widely regarded the world, including London, Pakistan, and for incorporating the many different Fremont, California. Here, Afghan playing styles and techniques he traditions are being maintained and new experienced while in Pakistan, and for innovations realized, as is exemplified by extending the technical and compositional two renowned artists, Houmayun Sakhi possibilities on the rubâb. and Ustad Farida Mahwash. Both spent many years in training in Kucheh Kharabat Ustad Farida Mahwash was born in 1947 in before circumstances took them outside Kabul to a conservative Muslim family. As their homeland. a woman, she was discouraged from public performance and many people, including Born in 1976, Homayun Sakhi was born members of her own family, did not into a family of musicians, and studied approve of her singing, resulting in an rubâb with his father, Ghulam Sakhi. attempt on her life. However, while Ghulam Sakhi was a disciple of a famous working at Radio Afghanistan, the station rubâb player named Ustad Mohammad director recognized Mahwash’s singing Omar (b. 1905, d. 1980). A contemporary of ability and encouraged her to develop her Ustad Qassem, Ustad Mohammad Omar voice. She began to study North Indian was a revered member of a long line of classical music with Ustad Mohammad musicians of the Kucheh Kharabat, credited Hashem Cheshti in Kucheh Kharabat. In with taking the rubâb from a folk 1977 Mahwash was given the title “Ustad”, instrument to a classical solo instrument. or master, an honor which up to that point had only been given to men. In 1992 she When Sakhi left Kabul in 1992 for left Afghanistan, first for Pakistan, then for , Pakistan, he became a popular the U.S. performer. Able to navigate between the traditional ghazals, râgas and popular Since their arrival in Fremont California, songs, Sakhi made a good living as a Mahwash and Sakhi have joined forces and performer and teacher. On a smaller scale perform with Voices of Afghanistan. They the apartment building in which he lived in have been touring the U.S. bringing their Peshawar was reminiscent of Kucheh many years of experience, virtuosic ability Kharabat. Known as the Khalil House, it and cultural authenticity to new audiences, became a cultural center for many Afghan educating them about Afghan traditions emigres, with offices, music schools and and demonstrating a continuing dedication jam sessions for young musicians to perfect in passing their knowledge on to new their skills. generations.

5 SPARK Educator Guide – Voices of Afghanistan RESOURCES - TEXTS & ARTICLES Ustad Mahwash. 2003. Accords-Croises Fr.

Baily, John, Songs From Kabul: The Spiritual Silk Road: A Musical Caravan. 2002. Smithsonian Music of Ustad Amir Mohammad. (Surrey UK: Folkways SFW 40438. Ashgate Publishing, 2011). The Traditional Music of . 1996. UNESCO Baily, John, ‘The Role of Music in the Creation collection, Auvidis D8266. of an Afghan National Identity, 1923-73’, in M. Stokes (ed.), Ethnicity, Identity and Music: The Virtuoso from Afghanistan: Ustad Mohammad Musical Construction of Place, (Oxford: Berg Omar. 2002. Smithsonian Folkways Recordings Publishers, 1994). 40439.

Baily, John, ‘Music, migration and war. The VIDEOGRAPHY BBC’s interactive music broadcasting to Afghanistan and the Afghan diaspora’, in B. Scenes of Afghan Music. 2007. London, Kabul, Dueck and J. Toynbee, (eds.) Migrating Music. Hamburg, Dublin, DVD (97 min.). London: (Abingdon, Oxon: Routledge, 2011). Goldsmiths.

Boylan, Michael, Hafez. Dance of Life Ustad Rahim. Herat’s Rubâb Maestro. 2008 DVD (Washington, D.C.: Mage Publishers, 1987) (55 min.)

Reshtia, Sayed Qassem, Between Two Giants. A Kabul Music Diary. 2003. Directed by John Political in the Nineteenth Baily. DVD distribution by The Royal Century (Peshawar: Afghan Jehad Works, 1990). Anthropological Institute (www.therai.org.uk/film/film.html) Sakata, Lorraine, Music in the Mind: The Breaking the Silence: Music in Afghanistan. BBC Concepts of Music and Musician in Afghanistan. 2002. Directed by Simon Broughton. (Washington: Smithsonian Books, 2003). Distributed by Aditi. (www.aditi-image.tv).

Slobin, Mark, Music in the Culture of Northern Afghanistan. (Tucson: The University of RESOURCES – WEB SITES Arizona Press, 1976).

http://www.demgmt.com/?p=660 “Voices of Afghanistan” official site DISCOGRAPHY

http://artafghan.com/artafghan/index.php Ghazals Afghans by Ustad Mahwash. 2007. Shokoor Khusrawy official site Accords-Croises Fr.

http://www.afghanmusicproject.org/ - The Music of Afghanistan. Various Artists. 1961. Afghan Music Project (AMP) is a mixed media Folkways Records social venture, seeking to raise awareness of

Afghan culture through music. All proceeds Vol. 3: Homayun Sakhi: The from the project will fund Afghan music Art of the Afghan Rubab. 2006. Smithsonian teachers in Kabul who will teach music to Folkways Recordings Afghan youth, particularly young women.

Radio Kaboul: Tribute to Afghan by 6 SPARK Educator Guide – Voices of Afghanistan http://www.akdn.org/aktc_music_homayun.as RESOURCES – ARTS PROVIDERS p - The Aga Khan Music Initiative was created by His Highness the Aga Khan in 2000 to www.ya-nc.org - Young Audiences of Northern support the efforts of Central Asian musicians California also provides assemblies and and communities to sustain, further develop workshops in the schools, representing a large and transmit these important musical variety of ethnic dance and music professionals traditions. in the Bay Area. http://www.facebook.com/VOICESOFAFGHA NISTAN - The Facebook page for Voices of BAY AREA FIELD TRIPS Afghanistan, with a listing of upcoming http://www.dancesilkroad.org - Bay Area dance concerts and workshops. company Asfaneh offers classes and performances in Persian and Central Asian http://www.folkways.si.edu/explore_folkways/ dances. They also offer educational ustad.aspx An article from the Smithsonian on performances for schools or special events. See Ustad Mohammad Omar. website for times, locations and contact information. http://www.mage.com - Mage publishers publishes books on Persian art, music and www.littlekabul.com - A website sponsored by poetry. A nice resource for actual listening Idol Entertainment, LLC - presenters of the samples of poetry spoken in Persian and annual NowRoz Festival (spring festival) that English, translations by Michael Boylan. takes place in Pleasanton, CA. http://en.wikipedia.org/wiki/Ghazal - A bit of www.worldartswest.org - Presents an annual information on the ghazal. performance called the Ethnic Dance Festival, featuring many diverse cultural groups from http://www.freemuse.org - The World Forum the Bay Area. on Music and Censorship is an independent international organization which advocates freedom of expression for musicians and composers worldwide. http://www.youtube.com - Given her long career, there are multiple clips of Ustad Mahwash posted on YouTube. http://www.ustadmahwash.com - The official website of Ustad Mahwash.

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SECTION III – VOCABULARY

DISCIPLINE-BASED VOCABULARY AND CONCEPTS IN THE SPARK STORY

Dohlak or Dhol Râg A double-headed, barrel-shaped drum used Coming from the Indian , this is a set of tones in Afganistan similar to the Indian that essentially comprise a scale or mode used in mridangam. each .

Farsi Rubâb The used in Afghanistan, Considered the national instrument of sometimes called Dari or Afghan Persian. Afghanistan, the rubâb is a short-necked, double- chambered plucked lute with three main strings Ghazal (tuned in 4ths), four (with 12 semitones to A versatile song form considered to be the most the octave), two or three long drone strings, and important genre of Kabuli art music, with up to 15 sympathetic strings. It is the lyrics drawn from classical Persian or Pashto predecessor to the Indian . poetry. Tabla Harmonium (or "harmonia") A pair of hand drums with origins in North India a free-standing reed organ, originally brought to but also used in Kabuli art song since the 19th India and Afghanistan by European missionaries century. The drums are tuned to a specific note to in the mid 1800’s. One hand operates a set of complement the soloist’s key and the melody. bellows which push air through reeds, and the The left drum, or bayan, is made of mettle and the other hand manipulates the keyboard. It has pitch can be modified by pressing the heel of the become a standard feature of many performances hand down on the head. The right drum, or tabla, of classical Indian and Afghan music. or dahina, is made of wood.

Kucheh Khwaja Khordak Tala a street in Kabul which was the home of many Coming from ancient North Indian music, the tala musicians of the royal court of Amir Sher Ali is the beat or metric cycle of the song. Khan. The area later became known as Kucheh Kharabat and grew from a street to a neighborhood, becoming a major center for the A frame drum played with the fingers or hand. learning and performing of North Indian and Comes in varying sizes, ranging from 14-24 inches Afghan music. in diameter. There are no jingles as in a , but the skin produces a low-pitched tone, and the sides create An end-blown made of reed, having either a higher tambor and percussive effect when six or seven finger holes. struck.

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SECTION IV – ENGAGING WITH SPARK

STANDARDS-BASED ACTIVITIES AND DISCUSSION POINTS

Historical Perspectives Have all the groups present their findings Conduct an analysis on global music in any to the class, then collectively place them on given period of history, depending on what a timeline that will include all the is pertinent to the grade level. Break information (using either technology and students up into different research groups. computer-based programs or more hands- Collectively decide to choose between royal on visual arts mediums such as paper, court music (generally patrons of the arts), pens, paint, collaged pictures, etc.) for styles - music of the lower comparison. and middle classes - or sacred music. Assign each group a specific country or MUSIC Standards – 6-8 and High School region of the world and have them research Historical and Cultural Context (HS) the historical events of the time and how 3.3 – Compare and contrast the social function of a variety of music forms in various cultures cultural identity was reflected in the music. and time periods. Be sure to include a variety of contrasting 3.5 – Compare and contrast instruments from a cultures, including Europe, the United variety of cultures and historical periods. 3.8 – Compare and contrast musical genres or States, a South or Central Asian country, an styles that show the influence of two or more African nation, a South American, etc. Take cultural traditions. into consideration important political events or conflicts, the ruling party of the Aesthetic Valuing 4.3 - Explain how people in a particular culture area, the belief systems in place, and use and respond to specific musical works from specific cultural features. Ask students to that culture. pose and attempt to answer the following 4.4 Describe the means used to create images or evoke feelings and emotions in musical works questions: from various cultures. • How was music at the time Grades 6-8 primarily supported? Historical and Cultural Context: • How were musical traditions passed Role of music: on to new generations? 3.1 Compare music from various cultures as to some of the functions of music serves and the • What was the role of the musician roles of musicians. within the culture? 3.2 - Identify and describe the development of • What was the role of music within music during medieval and early modern times the culture? in various cultures (e.g., African, Chinese, Islamic) • How was gender reflected in the music experience?

9 SPARK Educator Guide – Voices of Afghanistan Maintaining traditions in a diaspora Grade 5 – Connections, Relationships, Engage students in a group discussion of Applications what they know about Afghanistan. 5.1 – Explain the role of music in community events. Provide some historical background and 5.2 – Identify ways in which the music look at a map to locate the country and the professions are similar to or different from one surrounding nations. Have students another. Grades 6-8. Artistic Perception imagine that they are people who have fled 1.5 - Analyze and compare the use of musical their country due to military conflict or elements representing various genres and persecution. cultures, emphasizing meter and rhythm

Watch the Spark episode on Ustad Identifying musical instruments. Mahwash and Homayun Sakhi’s journey Using tracks off the by Ustad from Kabul to Peshawar, Pakistan and on to Mahwash, such as the song, Beshnaw Az Fremont California. Discuss how things Nai (Listen to the Ney), have students listen would be different for someone coming to first and then discuss the different another country. How do traditions instruments heard in the music. As distinct continue in a new world? Have students and easily recognizable instruments conduct research their own personal (including the ney flute, the rubâb, tabla histories and find out from where their own and vocals) lead a discussion on the families came and how their own family different qualities of sound they hear. traditions may have been passed on. If Separate and categorize the instruments students had to leave their country according to their type - string, percussion, suddenly, what traditions, holidays or or wind. Identify the quality of each festivals would they carry with them? How instrument and its role in the music. What would they pass them on? Have students range of emotions do the instruments present to the class their findings on their invoke, and what do they think the song is own familial backgrounds if known. about? The ney has a particularly haunting sound. How does the music make the Take the discussion a step further and students feel? investigate the master-apprentice relationship, its function among oral As an extension, find other recordings of traditions like that in Afghanistan, and North Indian classical music, and compare discuss how it also existed in this country and contrast similar types of instruments. (such as in early trades like blacksmiths and For instance, there are different such farming) What types of work existed in this as the ney of Afghanistan, verses the bansuri country? Does it still exist? flute of North India. Also, the rubab of

Grade 3 Music Afghanistan gave rise to the sarod of India. Aesthetic Valuing Investigate the finer differences and 4.3 - Describe how specific musical elements similarities of each. communicate particular ideas or moods in music. Grade 6-8 Once students become familiar with the Historical and Cultural Context: Diversity of different qualities of sound on each music instrument, see if they can name each 3.5 Identify instruments from a variety of

cultures visually and aurally. 10 SPARK Educator Guide – Voices of Afghanistan instrument, just by playing an isolated recording of it. Hold high your lordly stature that I may see. You draw me nigh. Poetry in music - Write your own ghazal With clapping hands I leave this life, and I The ghazal is an extremely versatile form of rise. sung poetry in Afghanistan, and is possible to recreate in English. Lead the class in Though I am old yet in a night - from your creating one together, then have embrace individuals write their own. First decide In Dawn’s new light a youth will rise. upon a refrain that will be repeated. This could either be a repeated word or phrase On the day that I die, a glimpse of you may at the end of the second line in the couplet, I behold and, as Hafez such as the word “beauty” or “come From Life’s desire leap into eternity, and I tomorrow”. will rise!

Here is a real example by the 14th century The rhyme scheme generally follows this Persian poet, Hafez. You can see more of form: aa ba ca da ea, etc., and the syllables his poetry at this website, with translations within each couplet should be somewhat by Michael Boylan (Boylan, 1987). You can maintained. Challenge students to use also listen to the poems read by Boylan in proper uses of imagery, metaphor and Persian and English. symbolism. Have students individually http://www.mage.com/poetry/hafez_dance. choose their own poetic themes, and html present their poems to the class.

Dance of Life Language Arts Standards – Grades 4-6 2.0 Speaking Applications Waiting. Straining to hear - your voice that 2.4 – Recite brief poems, soliloquies, or dramatic I may rise. dialogues, using clear diction, tempo, volume and I am heaven’s dove that from the earthly phrasing.

cage will rise. 3.0 Literary Response and Analysis 3.5 – Describe the function and effect of common If I am bid but to be your slave I gladly literary devices (e.g., imagery, metaphor, symbolism) shall foreswear Dominion over worldly things as now I rise. Call and response In much of North Indian music and some Let the rain fall from your cloud of grace oh Afghan music, there is a moment in the Lord music where a soloist will alternate musical Before, to dust I would be changed - I rise. and rhythmic ideas with another member of the group, often the tabla player. Listen Bring a minstrel to my grave and a bottle of to samples from Homayun Sakhi, Ustad good wine. Mohammed Omar as well as other Your fragrant presence shall lift me dancing examples from North Indian classical music full of joy as I rise. (many recordings with Zakir Hussain will 11 SPARK Educator Guide – Voices of Afghanistan have a moment of rhythmic conversation), Ta Ta Ti-ti Ta to hear examples of the call-and-response (then they repeat) that is common between instrumentalists. Or: Ta Ti-ti Sh Ta Or: Ti-ti Ta Sh Ti-ti Engage your class in a follow-the-leader echoing game using rhythmic dialogue. Become more and more complex and allow First establish a steady, unchanging beat. students to lead the group in different Using body percussion or rhythm sticks to ideas. Increase the complexity as is create a variety of rhythmic ideas, but stay appropriate, by changing the meter to 6/8 within the steady beat of the group. Body or even 7/8, or increasing the tempo, or by percussion allows for a variety of adding more rhythmic possibilities, such as percussive sounds, from clapping to hands syncopation, half notes, and eighth note tapping on legs to light slapping of the rests. If you have classroom instruments, hand across the leg. try transferring these ideas to the instruments. Start with simple rhythms in repeated four-

beat cycles, such as alternating quarter Music Grades 3-12 notes with eighth notes and rests. For Creative Expression instance: Ta = one quarter note; Ti = one 2.4 – Create short rhythmic and melodic phrases in question-and-answer form. eighth note (therefore, two ti-ti’s in one ta); 2.3 - Compose and improvise simple rhythmic and and a “sh” for a quarter note rest, i.e.: melodic patterns on classroom instruments.

For more information about SPARK and its

educational content, including the Visual &

Performing Arts Standards, visit the Web site at

http://www.kqed.org/spark/education.

For more information about the California Visual & Performing Arts Standards, visit the CA Dept. of Education at http://www.cde.ca.gov/be/st/ss/index.asp.

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