An investigation by Amu TV has revealed that the Taliban is using melodies from Afghan and Indian compositions in its newly released nasheeds. The investigation examined six recent nasheeds aired by Taliban-controlled media, showing that they were composed using tunes from popular Afghan and Indian music.
Amu has conducted the investigation in collaboration with a music expert from Afghanistan, who requested anonymity due to security concerns.
The findings come despite the Taliban’s strict ban on music, national anthems, and patriotic songs since it regained power in August 2021. In place of traditional music, the Taliban has promoted its own nasheeds—vocal-only religious songs without any instrumental accompaniment.
In August 2022, the Taliban expanded its media presence by creating a dedicated account on X named “Taranum,” exclusively for broadcasting these nasheeds. This move is part of a broader effort to replace all forms of music with their sanctioned nasheeds, even as the group considers all other forms of singing, including the national anthem and patriotic songs, as forbidden.
While the Taliban labels music as “haram,” or forbidden, the term “taranum” itself refers to a blend of poetry, rhythm, and melody—elements that are integral to music.
The review by Amu TV highlights several instances where the Taliban’s nasheeds are directly derived from existing songs. One of the nasheeds, titled “Qurban Le Emirate” (Love for the Emirate) in Pashto, is based on the melody of a song by the Afghan singer Naghma and incorporates elements from a patriotic song by Waheed Qasimi, “Ey Zama Watana” (Oh My Homeland).
Another nasheed in Uzbek closely mirrors a song by Bakht Zamina, with only minor alterations. The third nasheed, “D Azadi Sher” (The Poem of Freedom), borrows from the well-known tune “Gul Dana Dana.” The fourth nasheed, commemorating the Taliban’s takeover on August 15, 2021, is set to a melody reminiscent of a piece by Aziz Ghaznawi.
The fifth nasheed, titled “Sola” (Peace), draws from both a song by Waheed Qasimi and a popular Indian tune. Finally, the sixth nasheed, “Tel De Hewad” (Long Live the Nation), incorporates elements from various Pashto songs, particularly those by the artist Ustad Ayub.
The Taliban’s use of these melodies raises questions about the cultural significance of its approach. Haroon Majidi, a journalist and writer, noted, “The concept of ‘Taranum’ and its adoption by the Taliban is rooted in the musical traditions of Peshawar, heavily influenced by the Haqqani madrassas in Pakistan. They use melodic voices to propagate their extremist ideology. This practice has no place in Afghanistan’s past or present culture.”
Despite its ban on music, the Taliban continues to use these adapted nasheeds during its events, using them to promote its ideology and glorify its members. In a poetic sense, these nasheeds have become the soundtrack to every Taliban gathering, echoing their message across the country.
