In a society still traumatised by war, trumpeting hope is a revolutionary act. Even as many in Afghanistan pick up whatever is left from the throes of desolation, a group of girls is playing to a different tune — peace, prosperity and optimism. Afghan music lovers call them ‘the little heroines.’

The little heroines are in fact a 30-member orchestra called Zohra. Perhaps aptly, their name is derived from a music goddess in Persian literature by the same name. The orchestra reflects a great harmony of the Eastern and Western music. Members are trained with Western instruments such as cello, piano and violin, combined with Eastern instruments such as sitar, percussion, flute and tabla. Rubab and tamboor potentially represent the folkloric Afghan style in the team, but another Central Asian instrument called the Quchqorcha also has a role in the group. Till now, Zohra’s work is absolutely divine.

The orchestra was trained at the Afghan National Institute of Music (ANIM) in Kabul. Their youngest member is 12 years old while most others are in their teens. In a society where visibility of singers is a security concern, these young women made their debut in Kabul last year at the ANIM’s sixth annual concert. In January this year, they were invited to Davos to play at the World Economic Forum’s annual meeting. Slowly but surely, the orchestra is making waves around the world.

Braving Taliban threats and family pressure, Afghanistan’s first all-women orchestra recently made its international debut

“We were welcomed in Europe, but I missed my mom a lot,” says the youngest member of the orchestra, Anahita Alemi. Anahita plays the dotar, a traditional Asian music instrument. Even before entering her teens, Anahita has made her first-ever foreign trip.

While many other parents would have accompanied their child, her parents’ humble roots meant they could only follow Zohra through social media. And although Anahita’s tender years mean that she is not entirely aware of the probable risks for being in the group, her mother Arezo Alemi remains concerned about her daughter’s safety because her husband works for the government. “I realise the risks, but I hope for a better future of my daughter. I pray for my daughter’s security and success,” says Arezo.

It is still not an easy decision for Afghan families to let their underage daughters pursue their dream in the music world, while they are opposed by religious figures, radical relatives and discriminated against in the neighbourhood. Some members enjoy their education and training, but it is a path laden with obstacles.

“Anahita’s uncle is not happy with his niece’s profession, but since her father supports her, I’m not concerned about any disapproval,” says 31-year-old Arezo.

She was crying with happiness as she hugged Anahita when she returned from Davos. “The first thing I saw and got worried about was the plastic bag in her hand,” says Arezo. “I thought she got ill and was carrying medicines in the bag! Thank God she’s ok.”

Backstage

The man behind Zohra is Ahmad Naser Sarmast, the founder of ANIM, the first institute for classical music in Kabul and the son of a renowned conductor. The musicology professor returned to Afghanistan from Australia after the fall of the Taliban, and split his time between Monash University in Melbourne and the ANIM in Kabul.

In December 2014, however, Sarmast realised how dangerous and unpredictable his home country had become. He was injured by a teenage suicide bomb attack at an auditorium at the Istiqlal High School, a French-financed school in Kabul, which killed several people. The musicologist didn’t lose hope and focused on bringing classical music to Afghanistan.

One of his ideas — which originated from the women students at his school — was that of an all-women orchestra. According to Sarmast, a couple of years ago he thought of a four-or-five member ensemble, but because there was so much interest, the small ensemble quickly evolved into a 30-woman orchestra.

Sarmast pointed out that many of his students are not only the first in their families but also sometimes the first in their province to play musical instruments.

Robin Ryczek, the cello teacher at the institute has helped the orchestra hit the peak of fame. As the first international performance of Zohra made a new record for the Afghan music history, Ryczek says, “With their courage and dedication these 29 young Afghan women have become the first generation of Afghan women to learn and perform music in the past 35 years.”

The orchestra took lessons by professional trainers twice a week, but for the remaining five days they practiced on their own. “It took them eight months to practice and get ready for their first international journey,” says Sarmast. “I believe that we can change the perception of the international community regarding Afghanistan through cultural and public diplomacy exchange.”

Ambassadors of hope

Zarifa Adiba, 18, who hails from the province of Ghazni, spent some eight years in Quetta. She returned home four years ago and joined the music school. It was Zarifa’s dream to become a good musician, so she chose to play the violin and later she became one of the orchestra leaders. She described their commitment for a wider vision. “We are not limited to Afghanistan, our goal is to be international,” says Zarifa.

“They are old enough to understand the value of their achievement in Afghanistan,” says Maryam Sama, a journalist who fights for women’s rights as well. “There is plenty of motivation for them.”

Ahmad Shah, 27, a student of law in Kabul University watched the performance of the orchestra on the occasion of the World Economic Forum’s annual meeting in Davos in January this year via social media. “Their presence and performance was an achievement for our people and there was love in the eyes of the international community,” said Shah. “They gave a positive image of Afghanistan to the West, which is something that the Afghan leaders have not been able to do.”

But Zohra’s journey hasn’t come without its perils.

The school has lost some of its students to underage marriage, insecurity and because of objections from families, religious figures and relatives. Afghan women’s approach to music can be seen through different ways since the fall of the Taliban. Dozens of radio stations and TV channels have been established and some women have succeeded in breaking the taboo by raising their voices through media outlets. But when it comes to the newer generation, Zohra is a unique case.

“We welcome any invitations to provide us the opportunity to perform. It helps the students to gain knowledge about the culture and history of different countries,” says Professor Ryczek.

Despite the obstacles, Dr Sarmast is optimistic about Zohra’s members because they largely have the support of their families. “When they graduate, they’ll remain in the orchestra and it will be their profession and livelihood. One day they might even be the national orchestra of the country,” says Dr Sarmast.

Indeed, the great hope is that Zohra is the spark that will light the prairie fire.

Published in Dawn, EOS, March 26th, 2017