Hangama's Rise and Symbolism

For Afghans, listening to a traditional song can bring them back "home." In 2021, when the Taliban seized power again in Afghanistan, orchestras disbanded and musicians fled for their lives. They brought with them their distinctive and storied music, embedded with notes hailing from classical music from Iran and India. IDEAS takes a journey to Afghanistan with members of the Afghan diaspora, and asks how the idea of home is encapsulated in music and how conflict has played a role in reshaping Afghan music.

*This is the final episode in a five-part series called The Idea of Home exploring the multiple and contested meanings of home. This episode originally aired on June 16, 2022.

Guests in this episode:

Mir Mahdavi is a poet, a writer, and a researcher in the area of art, literature and poetry, originally from Afghanistan. He lives in Hamilton, Ontario and holds a Ph.D. in cultural studies from Trent University and a MA of cultural studies from McMaster University. He was the publisher and the editor in chief of Atab, a weekly newspaper published during 2002-2003 in Kabul.

Hangama is one of the most renowned female Afghan singers of her generation. Born in 1962 in Kabul, Hangama's stage name was chosen by her mother when she decided to pursue a career in music. She left Afghanistan during the Soviet occupation and now lives in the Greater Toronto Area.

Sara Soroor is an Afghan-Canadian singer-songwriter and childhood educator in the Greater Toronto Area. She is Hangama's daughter and started singing and playing the piano at age four.

Wares Fazelyar was born and raised in Toronto, and plays the rubab. He is an advisory board member for the Afghan Youth Engagement and Development Initiative. He and his brother Haris perform Afghan folk music in the Greater Toronto Area.

Wolayat Tabasum Niroo is a researcher and Fulbright scholar currently based in the United States. She has a PhD in Education from Old Dominion University and a MPhil in Cultural Anthropology from the University of Oxford. She grew up in Afghanistan and has studied how Afghan women's folk music creates an alternative space for political expression, grief and imagining other possibilities.