Lalita du Perron talks to Afghan historian Mejgan Massoumi (PhD, Stanford, now at Carnegie Mellon University) and South Asia bibliographer Ryan Perkins about the incredible Ustad Mahwash archive, recently acquired by Stanford Libraries. They discuss the ongoing relevance of Ustad Mahwash’s legacy, some gems that are in the collection and worth checking out, and the importance of archives in keeping traditions alive.

Episode notes and resources:

Ustad Mahwash's main online exhibit page.

Ustad Sarahang’s letter

Brief biographical sketch of Ustad Mahwash

Notes about the music files in the episode

1) Beshnaw az Nai (Listen to the Reed) The poetry is from Mawlana's (Rumi's) opening lines to his Mastnavi. This is one of Ustad Mahwash's masterpieces from the Kharabati/Classical Afghan Music tradition. (Featured in the podcast Intro- 00:00-01:30 min).

2) Houri, Houri, Houri (Houri/Noori is the name of a girl, and Noori comes from the Arabic Noor meaning Light, as in light of God, light of beauty, etc.) This is a signature Ustad Mahwash "pop" song and many attach it to her repertoire. (Part of this song is featured at 20:52-21:47 min in the podcast).

3) Guleh Seybem (My Apple Blossom, i.e. another way of saying my Beloved or My Sweetheart, etc) This is also a signature Ustad Mahwash "pop" song and it is wildly popular because the more contemporary female Afghan superstar, Aryana Sayeed, made one of her debut concerts in Afghanistan in the early 2000s with this song. Ironically most people associate this song with Aryana Sayeed, because they do not know or realize it's original performance was from Ustad Mahwash. (Part of this song is featured at the outro of the podcast starting at 26:23 mins- end).