A Look at the Fascinating World of Traditional Afghan Dance

Attan, the national dance of Afghanistan, is a fascinating art form rich in history and ritual, but it is not a performance that many people outside Afghanistan ever get the chance to experience. Read on to learn more about this beautiful and captivating cultural tradition.

What are the origins of Attan?

Attan originated as a traditional folk dance of Afghanistan’s Pashtun tribes, which make up the largest ethnic group in Afghanistan. Some experts identify the dance as an ancient pagan ceremony dating back to as long ago as 2000 BCE. At this time, the dance had no particular organized form; rather, it was simply made up of random steps and movements performed to the fast beating of drums. As the centuries went on, the dance form evolved into a Muslim ritual performed mainly by soldiers as a way of getting closer to God before leaving for battle or departing on other missions. Today, Attan is an organized and cohesive dance form that is an integral part of Afghan culture. People perform the dance at all kinds of festive occasions and social gatherings, such as weddings, family parties, and new year’s celebrations.

What does the dance look like?

The basic form of Attan is a group dance performed in a circle; the dancers follow each other round and round in the circle, starting with slow steps that gradually speed up as the dance goes on. Other movements include spins and turns and hand clapping. The dance is intensely physical and can be exhausting, continuing for hours and generally ending only when no dancer is left on the floor. Many Afghans report that it is not uncommon for dancers to faint during a long Attan performance. There is no limit to the number of people that can be part of the circle: sometimes an Attan performance will have just a handful of dancers, and sometimes there will be hundreds of participants in the same circle.

What do the dancers wear?

It is common for Attan dancers to wear traditional regalia when participating in the dance. For men, this often means the thick wool hat known as the pakol and the wool vest called the waskata. During more formal occasions like a marriage, suits and ties are often worn. Women do not usually perform Attan publicly, but on private occasions, they typically participate in the dance wearing brightly colored dresses, often adorned with tiny mirrors that symbolize light.

What music accompanies the dance?

Because Attan is a highly rhythmic dance form, percussion instruments play a very important role in controlling the movements of the dancers. The drum most often used in Attan performances is called a dhol: a double-headed barrel drum with a low, deep, and very resonant sound. Other instruments which can be used to accompany Attan are the tabla, a single-headed hand drum traditionally made of clay with a top of goat or calf skin; a kind of flute known as the zurna or surnai flute; and the 18-string, lute-style instrument called the rabab.

What are the different types and styles of Attan?

Attan has evolved over the centuries into many different styles and types, each one usually associated with a particular Pashtun tribe, region, or ceremonial event. A sampling of these Attan styles includes:

Kabuli Attan—Male and female dancers perform the Kabuli Attan to the beat of a drummer. The form of the dance is a repeated sequence of two to five steps followed by a clap while facing the center; the hips and arms tilt to the left and right, and the wrists perform circular twisting motions.

Wardaki or Wardag Attan—This form of Attan does not include clapping, but involves plenty of twists, turns, and wild spins. The male performers of Wardaki Attan often sport outrageous mustaches and grease their hair to highlight it as they spin around. Wardaki Attan is often started by the leading men singing a song while slowly moving in the circle; as the pace of the dance picks up, the singing stops.

Kochyano Attan—This form of Attan is associated with the nomadic Kuchi people, and its depth and complexity has been attributed to their far-ranging lifestyle, which brings them into contact with many different cultural influences. Women often perform Kochyano Attan for occasions like childbirth or new year’s celebrations; men often perform it with their long hair hanging loose. This form of Attan involves lots of spinning and squatting movements, and handkerchiefs are frequently used as props to accompany arm movements.

Khattak Attan—This martial style of Attan can be traced back to the period of the Moghul Empire, when soldiers performed it while carrying their weapons. Khattak dancers today display extraordinary physical fitness, performing the five-step spinning routine of the dance while holding as many as three swords at once, either crossed behind the back or held out to the side.

Spotlight on One of Afghanistan’s Strongest Champions

On September 10, 2017, Afghanistan said goodbye to one of its fiercest and most loyal international champions, Nancy Hatch Dupree, who died in Kabul at the age of 89. The American historian, educator, and writer spent more than half her life working to preserve Afghanistan’s rich cultural heritage. Her dedication to showcasing the country’s history and culture on the world stage eventually earned her the nickname of “Grandmother of Afghanistan” from many Afghans.

In celebration and in memory of Dupree’s remarkable legacy and her contributions to Afghanistan, read on for an overview of her incredible life and work.

An unusual upbringing

Nancy Hatch Dupree

Nancy Hatch Dupree | US Embassy Kabul | Flickr

By the time Nancy Hatch Dupree first arrived in Afghanistan in 1962, she had already lived a very unconventional life for a woman of her time and circumstances. Born in 1927 in Cooperstown, New York, Dupree grew up in India in what is now the state of Kerala. Both her parents were closely involved with Indian culture: her father was one of the earliest pioneers of rural development programs, and her mother was a student of Indian theater and dance.

She later attended high school in Mexico, where her father was helping to open UNESCO, and pursued studies in Chinese history at Columbia University—her first experience of living for any length of time in a modern American city. At Columbia, Dupree met her first husband, a member of the US Foreign Service. It was through one of his diplomatic postings that Dupree arrived in Kabul in 1962 and quickly became captivated with the country and its culture.

An impressive body of work

Nancy Hatch Dupree is the author of five books and over 100 articles about Afghanistan, making her one of the world’s most prolific and respected authors on the subject. Her writing on Afghanistan began during her early days in the country. Having visited the Buddhas at Bamiyan (a remarkable historic site destroyed in 2001), she was frustrated at not being able to find detailed information about the monuments. To rectify this, she became determined to write a guidebook herself, and it was in the course of researching her first work that she met Louis Dupree, the leading archaeological authority in Afghanistan. He would later become her second husband and lifelong collaborator.

In the following years, while accompanying Louis Dupree on his work around Afghanistan, Nancy Hatch Dupree continued to write guidebooks, which are today recognized as witty and iconic works capturing a pivotal moment in Afghanistan’s history. One of these books became the inspiration for Homebody/Kabul, an ambitious play by Pulitzer Prize-winning playwright Tony Kushner that has served as the first introduction to Afghan history and culture for many Western theatergoers.

A passion for preservation

Nancy Hatch Dupree

Nancy Hatch Dupree | Estonian Foreign Ministry | Flickr

The communist coup of the late 1970s put an end to the Duprees’ time in Afghanistan; they were deported from the country and spent the following years in exile until Louis Dupree’s death from cancer in 1989. Determined to continue the groundbreaking preservation efforts he had championed, Nancy Hatch Dupree became more committed than ever to conserving Afghanistan’s cultural legacy in the face of destructive civil conflict.

In the 1990s, when war threatened Kabul, she was part of a small group that leapt into action to prevent the looting and destruction of some of the most important artifacts in the National Museum of Afghanistan, including its priceless gold collection. Dupree helped find secret hiding places for these artifacts (including the vault of Afghanistan’s central bank), and continued to travel back and forth to Kabul from outside Afghanistan even during periods of extreme instability. Thanks to these efforts, many important cultural artifacts were saved from being lost forever. They now help provide a vital link between Afghanistan’s past and future.

An enduring legacy

In addition to the work and contributions described above, perhaps the most enduring part of Nancy Hatch Dupree’s legacy is the Afghanistan Center at Kabul University (ACKU). The world’s largest working archive of material on Afghan history and society, ACKU has a collection of more than 100,000 items that were gathered by Dupree over the course of her many years of working to preserve Afghan culture.

While Dupree initially assembled much of the material while living outside Afghanistan, she was able to return to Kabul with her collection in the early 2000s and make plans for its future. Dupree saw her treasure trove of books, newspapers, magazines, photos, and documents as a vital tool that could assist in Afghanistan’s reconstruction and serve as a resource for understanding the past, in order to prevent future violence and instability. Consequently, one of her most pressing goals was to find a permanent home for the archive. To achieve this goal, she founded the Society for the Preservation of Afghanistan’s Cultural Heritage, which eventually helped create the purpose-built ACKU. Today, the Center stands as a vital hub of ideas and knowledge for Afghan and international scholars alike.

A Bright Future for Afghan Art – Spotlight on 6 Talented Artists

Afghanistan’s artistic landscape is undergoing a profound transformation. After decades of conflict, during which the majority of artistic activities were repressed or banned, Afghan artists in all disciplines are reconnecting with their craft once again. Today, thanks to renewed local interest in arts and culture as well as greater international financial support for these activities, Afghanistan is home to both an exciting contemporary art scene and a reinvigorated traditional arts and crafts practice. Read on to learn more about six artists and artisans who are changing the rules of the game and showing the world the best of Afghan art.

Azim Fakhri

Having spent most of his childhood and youth outside of Afghanistan, Azim Fakhri returned to the country in 2002 with a passionate commitment to helping develop his country and represent his generation through the arts. His works, which he creates under the name Kabul Knights, span a variety of disciplines, including painting, stenciling, sculpture, and graffiti. Often compared with artists like the controversial street artist Banksy, Fakhri creates art that is playful and political at the same time, using surprising visual substitutions—like replacing grenades with pineapples or tank guns with clarinets—to puzzle and provoke his viewers. Once of Fakhri’s most recent projects is “Street Angels,” a photo series dedicated to Afghan children, which he discussed when he was a featured speaker at the TEDx talk series in Berlin.

Akram Ati

Based in Herat and a graduate of the Fine Arts Faculty of that city’s university, Akram Ati mixes traditional subjects with non-traditional materials and techniques to create paintings that are both stunning and subtle. Instead of using conventional, store-bought paints, Ati creates his own paints from natural materials like mud, dust, stones, and brick, which he grinds down and mixes with a type of homemade glue. According to Ati, these natural paints are not only more durable and less dull than artificial paints, they also represent and reflect the true essence of Afghanistan’s character and struggles. The subjects he captures in his monochromatic works are traditional scenes of everyday life in Afghanistan, including villages and country landscapes, the national game of buzkashi, and traditional dances and celebrations.

Mohsen Hossaini

Born and based in Kabul, Mohsen Hossaini draws the inspiration for his challenging works from everyday life in modern Kabul, which he describes as being difficult for ordinary people. His paintings use dark colors like black and dark green contrasted with stark red to represent what Hossaini views as the alienation of the individual in contemporary society, and the effect that solitude and lack of relationships can have on modern Afghans. In addition to painting, Hossaini is a director and an animator; his short film “Shelter,” a paper animation, was an official selection at a number of international film festivals.

Arif Bahaduri

Arif Bahaduri’s work stands out, literally, due to its three-dimensional texture. Bahaduri works with materials like bandages and crumpled paper to bring a sense of unevenness and tactility to his pieces, which typically represent abstract images of familiar things, like homes or tombstones. According to Bahaduri, his use of bandages and plasters is a specific choice, made to represent the pain and unhealed wounds that he explores through his art. In addition to his larger works, Bahaduri is a skilled sketch artist. His sketches of street life in contemporary Afghanistan are striking snapshots of a particular political and cultural moment.

Nasser Mansouri

In contrast to the artists above, Nasser Mansouri reaches back into the past for inspiration. As an artisan affiliated with the Turquoise Mountain Institute, master woodworker Mansouri is one of many traditional arts and crafts specialists working to restore Afghanistan’s artisanal legacy and rich crafting heritage. And while Mansouri may talk about being unsure of how to describe his own practice—artist, woodworker, carver, teacher, and businessman are all terms he uses—there’s little question as to the beauty and artistic value of his work. Through extensive study of historic Afghan buildings, Mansouri replicates and recreates intricate carvings and latticework, building beautiful, interlocking designs that are put together without nails. Recently, some of Mansouri’s work was featured in the exhibit “Turquoise Mountain: Artists Transforming Afghanistan” at the Freer Sackler gallery in the Smithsonian Institution in Washington, DC.

Abdul Matin Malekzadah

Another teacher at the Turquoise Mountain Institute (and also featured in the same Smithsonian exhibition as Nasser Mansouri), Abdul Matin Malekzadah is the newest artisan in a line of potters that stretches back hundreds of years. Malekzadah is based in the village of Istalif in central Afghanistan, which has many rich seams of clay, natural materials for glazes, and wood for firing kilns. It’s hardly surprising, therefore, that Istalif has become known as a village of potters. In recent decades, the village has been destroyed three times, but the villagers, including Malekzadah and his brothers, have always rebuilt their homes and workshops. Today, Malekzadah is proud to continue the artisanal legacy of his village, and to provide an important link between Afghanistan’s past and present.