{"id":6467,"date":"2015-12-17T11:29:21","date_gmt":"2015-12-17T09:29:21","guid":{"rendered":"https:\/\/openasia.org\/en\/?p=6467"},"modified":"2015-12-17T11:29:21","modified_gmt":"2015-12-17T09:29:21","slug":"concert-by-master-waheed-kaacemy","status":"publish","type":"post","link":"https:\/\/openasia.org\/en\/2015\/12\/concert-by-master-waheed-kaacemy\/","title":{"rendered":"Concert by Master Waheed Kaacemy"},"content":{"rendered":"
\"19th<\/a>

19th anniversary of Armanshahr\u2019s establishment<\/p><\/div>\n

O\u2019 harp, I yearn for the Sepahan note<\/b><\/p>\n

At the concluding ceremony of the Human Rights Week, following the awarding of Simorgh prize statutes to the awardees, Master Waheed Kaacemy, the celebrated singer, composer and music researcher of Afghanistan, gave a concert to mark the 19<\/span>th<\/span> anniversary of Armanshahr Foundation\/OPEN ASIA\u2019s establishment. He performed several songs and also spoke about the roots of folklore music in Afghanistan. Armanshahr praised the artist at the end of his concert by awarding him a Simorgh statute.<\/span><\/p>\n

Kaacemy pointed out that many folklore songs in Afghanistan arose from \u2018female emotions and sentiments\u2019, i.e. they were \u2018created\u2019 by women. For example, there is a well-known song, which is probably in Takhar dialect and its title is: \u2018Be my son.\u2019 \u201cIt is indeed a lullaby. There are also others such as <\/span>Nasro Nasro jon<\/span><\/i>; <\/span>Mulla Mohammad jon<\/span><\/i>; <\/span>Besmullah jon<\/span><\/i>, and others like them, which are creations of female emotions and sentiments.\u201d<\/span><\/p>\n

Kaacemy said: \u201cWomen do not enjoy a proper status in Afghanistan\u2019s music scene. That is why these songs are gradually brought into the official music scene by men.\u201d<\/span><\/p>\n

He cited several examples, e.g. \u2018<\/span>mokhta<\/span><\/i> Gul-Mohammad\u2019 in Hezara music, which women have sung as mourning songs, or the \u2018<\/span>falak<\/span><\/i> singing\u2019 by working women in Badakhshan and \u2018<\/span>weer<\/span><\/i>\u2019, a kind of mourning song in the south of Afghanistan and said \u201cnowadays men sing them.\u201d <\/span><\/p>\n

Master Kaacemy went on to perform some of his songs, which he has either composed for women or women poets have written the lyrics for them.<\/span><\/p>\n

\"Praise<\/a>

Praise for Master Waheed Kaacemy<\/p><\/div>\n

Armanshahr has previously published a book by Master Kaacemy, entitled \u2018<\/span>Zeer o Bam<\/span><\/i><\/a>, a Study of Traditional Music from Badakhshan, Herat and Badgeis.\u2019 The book is one of the few writings about the original music of this geographical region; the Khorassani music, about whose 12 tunes Jalal ad-Din Muhammad Balkhi (a.k.a Mowlana Rumi) has written: <\/span>O\u2019 harp, I yearn for the Sepahan note \/ I yearn for the burning pleasant sound of the flute\u2026<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

At the concluding ceremony of the Human Rights Week, following the awarding of Simorgh prize statutes to the awardees, Master Waheed Kaacemy, the celebrated singer, composer and music researcher of Afghanistan, gave a concert to mark the 19th anniversary of Armanshahr Foundation\/OPEN ASIA\u2019s establishment.<\/p>\n","protected":false},"author":2,"featured_media":6448,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6,89,5,85,11],"tags":[],"class_list":["post-6467","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-afghanistan","category-events","category-geography","category-human-rights","category-issues","country-afghanistan"],"acf":[],"_links":{"self":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/6467","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/comments?post=6467"}],"version-history":[{"count":2,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/6467\/revisions"}],"predecessor-version":[{"id":6469,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/posts\/6467\/revisions\/6469"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/media\/6448"}],"wp:attachment":[{"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/media?parent=6467"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/categories?post=6467"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/openasia.org\/en\/wp-json\/wp\/v2\/tags?post=6467"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}