Kabul: 7:26 AM      
Welcome to Kabul:Reconstructions. You can follow the information below, which has been gathered from a number of sources by a number of participants (click on the names at left for bios), to reconstruct your own picture of events in Kabul since this site was launched on March 8th, 2003 and, in a sense, since the reconstruction of Afghanistan began somewhere in the winter of 2001-02.

Some of this information has been provided in response to specific questions submitted by visitors like you. Please note that this section of the project is now maintained as an archive and has not been updated since 2005. Click here to ASK A QUESTION.

Participants
Mariam Ghani
Tarek Ghani
Zohra Saed
Massoud Hosseini
Nassima Mustafa
Bibigol Ghani
Arian Mouj Sharifi
Soraia Ghani

Site Comments

Another artifact rebuilt: the tomb of Ahmad Zahir, the "Afghan Elvis" (The Guardian)
Avid fans keep memory of the `Afghan Elvis' alive THE GUARDIAN Sunday, Nov 30, 2003,Page 5 They come in small groups, old men and young couples, streaming into the cemetery, 5km outside Kabul. The pilgrims hush and head for a concrete mausoleum among the cluttered graves. Its design is unremarkable: six concrete arches reaching up to a 4m marble-tiled dome. Yet, to Afghan music lovers, this is Memphis. Five months ago a group of fans rebuilt the tomb of Ahmed Zahir -- a pop sensation of the 1960s and 1970s -- which had been obliterated by the music-hating Taliban. Zahir's devotees now flock in their thousands to pay tribute to Afghanistan's only modern celebrity, a man popularly called the "Afghan Elvis." "He was a beautiful singer and a beautiful man," said Sharifa, 52. "He had a generous heart and his hair -- it was like a bird's feathers," she said, running her fingers over her own bright-hennaed bun. Though divided by ethnic rivalries and 23 years of war, Afghans agree on their love for Zahir. As a Pashtun who sang mainly in Afghanistan's other main language, Persian, and the son of a prime minister who championed the poor, he symbolizes for many the golden age of the 1970s, when Afghanistan was at its most prosperous and united. "Zahir was our greatest singer and people will always love him," said Said Makh-doom Raheen, Afghanistan's minister of culture. "Truly, he was the Elvis Presley of Afghanistan." "The Taliban tried to stop us coming, but our love of Ahmed Zahir was too strong," said Saraijahan, a pilgrim from Parwan province in the north. "Zahir was our brightest star, we will never know another like him," said Oman, a teacher making his weekly pilgrimage to the tomb. Zahir emerged as a musical prodigy at Kabul's Habibir high school, hence another moniker, the Nightingale of Habibir. His father, the former prime minister Mohamed Zahir, disapproved of his son's choice of career but was placated after a walk with the boy through Kabul's main bazaar: more people recognized the 15-year- old singer than the 50-year-old prime minister. Singing classical Persian poetry and his own love songs, Zahir performed across Afghanistan as well as in Iran, Pakistan, India and Tajikistan. His music fused eastern and western styles, mixing traditional percussion with saxophones and electric guitars. But in September 1978, 15 months before the Soviet Union tanks rolled into Afghanistan, the dream died. Zahir, 33, was killed in a car crash outside Kabul. It was rumored that Hafizullah Amin, a powerful figure in Afghanistan's ruling communist party, had arranged the accident to end his daughter's flirtation with the singer. A million people attended the funeral.
Posted By: mariam   December 16th 2003, 2003 7:15 PM



Kabul: Partial Reconstructions is an installation and public dialogue project that explores the multiple meanings and resonances of the idea of reconstruction -- as both process and metaphor -- in the context of present-day Kabul.

www.kabul-reconstructions.net is an online discussion forum, information resource, and medium for the communication of questions and answers about the reconstruction between people inside and outside the city of Kabul itself.