Defying the Taliban’s harsh new laws banning women’s voices in public, hundreds of Afghan women singers worldwide have launched a digital resistance movement through powerful protest songs shared on social media platforms. The Taliban recently formalized prohibitions against women singing in public or allowing their voices to be heard outside their homes, part of escalating restrictions that also mandate face coverings and male guardianship for women in public spaces.
Among these musical resistors is Taiba Sulaimani, who records protest songs in undisclosed locations, often without showing her face to protect her identity while challenging the regime’s authority. Her lyrics frequently incorporate slogans from women’s rights demonstrations, including the powerful refrain “bread, work, freedom” that has become emblematic of Afghan women’s resistance since the Taliban’s 2021 return to power. Women are encouraged to continue this resistance despite their families facing serious backlash including arrests of male relatives.
Our voices rise from hidden shadows, carrying the revolutionary cry of bread, work, freedom against those who would silence us.
The Afghanistan National Institute of Music made headlines on International Women’s Day 2025 with their performance of “Together We Rise,” a collaboration featuring exiled musicians determined to keep Afghan musical traditions alive despite the ban. Music serves as a powerful non-violent rebellion against the Taliban’s ongoing cultural war. These performers often prepare instrumental backing first to help vocalists deliver their most impactful and emotionally resonant performances when recording their protest songs. These performances deliberately coincide with significant dates to maximize visibility and international support for their cause. Some singers have explored sync deals to get their protest music into international documentaries about the Afghan crisis, significantly amplifying their message beyond borders.
Notable artists Elaha Soroor and Sonita Alizada released “Naan, Kar, Azadi!” in February, directly challenging Taliban ideology through music that blends traditional Afghan sounds with contemporary influences. Their videos often employ symbolic imagery of breaking chains and removing restrictive coverings, visual metaphors that reinforce their messages of defiance.
The risks these women face cannot be overstated. Participation in such musical resistance can result in arrest, violence, or execution under the Taliban’s interpretation of Islamic law. Despite these dangers, the movement continues to grow, with performers like Nila Ibrahimi stating, “Our voices are our most powerful weapons against oppression.”
These musical acts of resistance exist within a broader context of systemic gender apartheid that has eliminated women’s access to education beyond sixth grade, barred them from most employment, and severely restricted their movement and autonomy throughout Afghan society.
