By Barry Salaam

The regime’s approach to media provides a rare chance to advance freedom of expression and push for greater civic space.

Since regaining power two years ago, the Taliban have largely discarded Afghanistan’s democratic institutions but have taken a somewhat accommodating, albeit contradictory, approach toward independent media. Instead of banning independent media altogether, they have implemented regulatory restrictions and punitive measures to limit free speech and control the media environment. This policy approach seems to be part of an evolving communication strategy that helped enable the group’s rise to power. Despite all the bad news coming out of Afghanistan, resilient, creative journalists and media outlets provide reason for some guarded optimism. The international community should do what it can to support the media sector, which is essential for advocating for citizen rights and providing an information lifeline to Afghans.

Free Media’s Emergence

The rise of independent media in Afghanistan was one of the most remarkable and celebrated achievements of the post-Taliban democratic era. Once an isolated country with no free press or internet access, Afghanistan quickly embraced the information age. Over the course of a few years, the country became an inspiring model of free media in the region, with unprecedented growth in news, entertainment channels, print publications and online platforms. Before the Taliban takeover, 543 local and national media outlets operated across Afghanistan.

The media also promoted pluralism in a highly fragmented society, drove democratic change and helped to empower women. New constitutional rights enabled marginalized ethnic and religious communities to establish for the first time their own outlets and pursue equal rights and opportunities. 

In a culturally diverse society often beset by political turbulence and a compromised rule of law, free media emerged as a powerful tool for challenging corrupt officials and advancing government accountability.

The Taliban’s Evolving Communication Strategy

With the media landscape undergoing significant transformation after 2001, the Taliban began adapting its information strategy, as early as 2005. A notable example of its adaptive approach was the incorporation of visual communication tools in propaganda campaigns, including pictures, drawings, videos and online platforms, which the movement had opposed or banned during its first reign from 1996 to 2001.

In addition, several other distinctive elements characterized the Taliban’s evolving communication strategy, enabling the group to outperform its opponents.

Consistency and Resonance

From the outset, the Taliban framed its war as a jihad to expel foreign “invaders” and establish a Shariah-based Islamic system, replacing the U.S.-backed government. This overarching strategic goal remained consistent throughout the insurgency and was central to the Taliban’s master narrative. In addition, their messaging employed cultural, religious and nationalistic codes and frames such as colonialism, occupation, infidels, religious obligation, martyrdom and sovereignty, among others. These terms were used to draw parallels with the historical victories of Afghans in previous holy wars, further enhancing narrative resonance.

Targeted Messaging

Devising targeted approaches, the group tailored messaging to specific audiences with the aim of achieving specific outcomes. For example, they spread intimidating shabnamah (or night letters) to deter locals from aiding the “infidels” and produced videos of heroic attacks to glorify jihad and ramp up recruitment.

Through media manipulation, the Taliban sought to incite outrage by highlighting culturally sensitive issues like home searches, night raids, civilian casualties and the propagation of Western values. They also exploited people’s grievances around the endemic corruption of the state, and their political alienation, to widen the state-society gap while positioning themselves as potential saviors.

Media Weaponization and Savviness

By 2008, the movement had already developed a complex communications strategy. They utilized traditional means like night letters, religious sermons, poetry and print publications and leveraged modern methods including multilingual websites, cell phones and DVDs.

With the rising popularity of digital media post-2009, the Taliban’s sophisticated approach expanded, using platforms like YouTube, Facebook, Twitter and encrypted apps like Telegram and WhatsApp for broader outreach, real-time updates and interaction with the local and foreign media.

With hundreds of aggressive social media accounts, the media-savvy insurgents countered NATO messaging, demonized opponents, threatened critics and projected power.

Through these methods, they pervaded cyberspace and maintained a palpable psychological presence.

Exploiting Weaknesses and Opportunities

Ineffective messaging by the United States and Afghan governments also gave insurgents an advantage. President Hamid Karzai’s calling the Taliban “brothers” and President Ashraf Ghani’s hesitance to call them “enemies” were particularly self-defeating. Washington’s focus on troop withdrawal from 2009 on undermined any appearance of long-term resolve and negated potential gains. These inconsistencies provided rich material for the Taliban to underscore its own resolve.

Premature conciliatory overtures since 2010, including the 2013 opening of a Taliban office in Doha, pushed insurgents into the political limelight. Starting in October 2018, official U.S.-Taliban talks further boosted Taliban legitimacy. Upon securing the landmark withdrawal deal, insurgents astutely entered Afghanistan’s mainstream media and expanded international outreach. The agreement validated the Taliban’s anti-occupation narrative and won them the information war.

Opting For a Controlled Media Environment

The Taliban have strictly controlled non-state media since August 2021. This approach likely stems from the communication strategy and media exploitation skills crucial in their ascent to power.

Early in the insurgency, the Taliban proclaimed that "wars today cannot be won without media," and to this day, they seem to value the media’s utility as a strategic tool, and a weapon, to promote their narrative and legitimacy.

However, the Taliban’s view of media is solely utilitarian, devoid of respect for democratic values. During the insurgency, they never wavered to threaten, attack or even massacre journalists. Post-takeover, they slashed media freedom using censorship and intimidation.

Yet, the Taliban's control over independent media is not absolute, a situation potentially shaped by two key considerations. First, pushing for total control might lead to the closure or exile of more independent channels, a scenario the Taliban likely wishes to avoid due to losing their leverage and control. Second, outlets driven into exile have often reemerged with more assertive voices countering the Taliban narrative.

Thus, the Taliban appear to have opted for a relatively accommodating approach, allowing media operations in exchange for enhanced control and self-promotion. Media within the country also understand that to avoid retribution it is necessary to navigate a fine line between objectivity and fair treatment.

This balance presents a conundrum for the Taliban and a potential opportunity for the media to incrementally push for greater freedom. What dynamics may eventually shape a new equilibrium in the media space?

Tightening The Media Noose

Since August 2021, advocacy organizations have reported over 300 incidents against media personnel including violence, imprisonment and surprise raids. Summons, arrests and punitive measures are carried out mainly by the intelligence authorities against local and foreign journalists deemed non-compliant with regulations.

The Taliban have issued multiple decrees, vaguely worded guidelines and verbal instructions drawing ethical and Islamic boundaries for journalists, banning music and entertainment and suppressing news related to citizen protests and resistance forces. These rules also require female journalists to cover their faces and work in segregated spaces.

In a July 2022 decree, Taliban Emir Haibatullah Akhundzada expressly cautioned against criticizing Taliban authorities. Later, in a public tweet, his notorious minister of higher education warned that undermining the emirate, either by speech, pen or action is “punishable by death.”

With no laws governing the free press, authorities across the country have free reign to censor and deal with the media as they see fit. Some provincial officials even demand review and approval of content prior to publication. The suspension of the Republic’s mass media law obstructs legal boundaries, leaving journalists uncertain where to draw the line to avoid reprisals or seek legal protection against persecution.

To control the flow of information, the Taliban heavily scrutinize media content, issue warnings, implement corrective measures and limit access to information deemed harmful to their reign or reputation. They have banned and expelled several popular national and international news services including Hasht-e-Sob daily, Etilat-e-Roz newspapers, Kabul News television, Radio Liberty, BBC and Deutsche Welle.

Media advocacy organizations on the ground report that 40% (200) of media outlets, including 55 TV channels, 109 radio stations, 21 news agencies and 15 newspapers, have been forced to close due to repressive policies and financial struggles. This has led to 60% (4,932) of journalists and media workers losing their jobs. Additionally, 67% (914) of female journalists are out of work, and outlets led by women have dwindled from 54 to 10. 

A rapidly contracting economy, aid reduction, cumbersome taxation and the widespread ban on income-generating entertainment shows have compounded the media's sustainability crisis. Some outlets have reported as much as an 80% drop in their revenues since 2021. Surviving outlets also face a growing capacity deficit due to a lack of experienced journalists and editors, most of whom have left the country.

Emerging Trends and Pushbacks

Still, journalists have resiliently persevered to keep media alive. The continued operation of major national television and radio stations like Tolo, Shamshad, 1TV, Ariana, Killied and Salam Watandar is remarkable. In addition to national outlets, over 30 local televisions and 100 community radio stations operate across Afghanistan. Cable networks that carry foreign news and entertainment channels, including Turkish and Indian, have been largely unaffected by restrictions.

Additionally, media remains one of the few select sectors where women are still permitted to work.

Systematic harassment has undeniably led to increased self-censorship and the media cannot dismiss legally binding restrictive edicts. Nonetheless, journalists have time and again ignored potential reprisals and pushed the boundaries by raising critical voices, covering citizen protests and questioning Taliban edicts such as bans on women's education and work.

Where access to information is denied, media intelligently resort to secondary sources of information, including social media and foreign-based news agencies.

Prominent advocacy organizations like the National Journalists Union, NAI and the Independent Journalists Association are reestablishing their presence. Notably, the Journalists Safety Committee (AJSC) has secured a seat at the Taliban's media violations commission and has led numerous safety and resiliency training nationwide. AJSC also assisted with the reopening of Voice of Women radio in Badakhshan province in April.

Another exciting trend expected to deter Taliban from further media repression or shutdown is the emergence of digital outlets and advocacy organizations in exile. Many news outlets or reporters forced by Taliban into exile have reemerged with stronger and more critical voices.

The exiled Hasht-e-Sob and Etilat-e-Roz publications are rapidly recovering online audiences. VOA and Radio Azadi may no longer be conveniently accessible on FM networks but they have extended their broadcasts online, as well as on medium and shortwave frequencies, ensuring that they remain relatively accessible.

In addition, a number of prominent journalists have launched new digital, foreign-based outlets including Amu TV, Chashm News, Kabul Now, Farsi Times, Sicht TV and ABN.

On the advocacy side, the Afghanistan Journalists Center, which runs a press freedom tracker, has shifted its base to Belgium, and more entities are emerging across different continents.

Media in exile play a significant role in countering the Taliban's disinformation campaign and taking the first shot at sensitive news stories, effectively paving the way for further follow-up coverage by local media. There also seems to be information sharing between foreign and local outlets, giving rise to a collaborative, hybrid media approach.

Online platforms continue to play an indispensable role in providing citizens with easier access to information. In addition, digital outlets have allowed audiences to record events and share valuable footage with media for wider public dissemination — a rising trend in citizen journalism.

There are no reliable statistics but de facto authorities have confirmed that at least one-quarter of the population has access to the internet via mobile phones. This corresponds with Meta's figures that put Facebook users in Afghanistan at roughly seven million.

Pressing Forward

The Taliban's strategic decision to allow media operations in exchange for enhanced control and self-promotion contrasts sharply with their 1990s rule. This shift provides journalists and the international community a rare chance to advance freedom of expression and push for greater civic space.

To achieve this goal, the international community should provide comprehensive technical and financial support to the media sector, with a particular focus on local media, and those pursuing a hybrid approach.

In addition:

• It is vital to prioritize the protection and empowerment of female journalists through improved training, resilience building, salary and professional coordination. Local outlets should be incentivized to hire female journalists and produce content related to women's rights.
• While pressuring the Taliban to respect free speech, human rights organizations should monitor incidents and advocate for the right of journalists who are mistreated, imprisoned or prosecuted.
• Local professional unions and associations must be sustained and strengthened in order to defend free speech and advocate for journalists' rights inside the country.
• Protecting journalists from intrusive surveillance requires technical support to shield sensitive information and confidential sources. Journalists should also be equipped with encryption tools and VPNs to bypass barriers that restrict access to information.
• A workable emergency mechanism must be put in place to ensure the identification, sheltering and safe evacuation and resettlement of journalists faced with life-threatening dangers.
• Thinking ahead on possible internet-related restrictions, it is advisable to engage with tech companies to explore possibilities for continued, seamless public access.

The Taliban are fundamentally opposed to democracy and its underlying values. Noting their relentless rollback of the democratic progress attained over the past two decades, there is little cause for hope in what lies ahead. Nonetheless, it is both pragmatic and wise to protect and enhance what remains of Afghans’ fundamental rights and liberties and push for improved conditions until a more favorable opportunity arises.

Read at The United States Institute of Peace

By Omaid Sharifi, Kabir Mokamel and Bilquis Ghani

This article is part of an ongoing series "Dispatches from Afghanistan" profiling Afghan artists and their experiences since the rise of the Taliban. Find all of the profiles so far here and a list of resources to help Afghan creatives here.

The past 40 years of war and instability in Afghanistan has cost the country any semblance of unity. Even so, different groups in the country have worked hard over the past two decades to heal the social and cultural ruptures left by conflict. Kabul in particular was experiencing a nascent cultural blooming despite the many challenges its people faced.

But the working conditions for artists—members of Afghanistan’s budding civil society, which included our own public art organisation ArtLords and many others—have not been easy. Each day was shadowed by fear and not knowing whether, when we left our homes each morning, we would come back alive. We experienced the loss of artists, journalists and activists who were brutally killed in explosions, including three members of our own ArtLords.

Despite all of this, we loved our work. We knew that we had to do our part to heal our wounded country—it was our responsibility. We sought to ease the pain and suffering of our people through setting up an art gallery, art therapy sessions, music concerts and public murals.

Armed with hope, paint and a dream

So much is lost through times of conflict: life, economy, infrastructure, educational institutions and the many other elements of a thriving society. As Afghans we were also working to reknit the fabric of our communities, the ties that bind us. But after decades of war, perspectives had formed that were strangling the life out of the potential we saw and evidence of violence was still all around us.

Armed with hope, paint and a dream, ArtLords sought to transform Kabul. We realised we could take blast walls—the concrete barriers constructed to protect buildings from improvised explosives—which had such a negative psychological impact on the city’s people, and convert them into a positive visual experience. By depicting subjects on the walls that concerned ordinary citizens, ArtLords created a space where social issues could be expressed and discussed in the street. It gave a visual voice to the voiceless.

For those of us who left our homeland, the exit from Afghanistan was a dramatic and surreal experience. During those last few days prior to leaving Kabul, the city that we loved had become so strange. Most of our friends left for an uncertain future and destination, and with each departure Kabul became less familiar; each person took a piece of the city with them. Afghanistan had always been home, but for the first time there was a sense of homelessness there.

Cruel fanatics

Outside of Afghanistan there was a collective gasp of horror among the diaspora, many of whom have family, friends and fond memories there, in reaction to the Taliban’s takeover. We have watched with disappointment, anger and deep sadness as the headlines roll out. Reports of cruelty by fanatics meted out to a vulnerable people far away are as horrific as they are disconnected and unrelatable. For those of us with roots in Afghanistan, with identities forged through its folklore, song, memory and language, the Taliban’s return is a betrayal of the Afghan people, a religion with which many identify deeply, the potential of their nation and the promises of a democratic government and its allies.

That the Taliban could make such sweeping gains in just days shows the precarity of the situation in Afghanistan all along. To treat the Taliban as if they were only a problem created by Afghans, because of Afghans, and for Afghans to clean up is not only selective amnesia, but will cost thousands of lives. These are lives that have, for 20 years, been striving to build a country; now they are striving to defend it, yet again.

Pessimism is a luxury. But for people living in Afghanistan, that is never an option. Maintaining the will to thrive amid yet another cycle of violence and instability requires one to dig very deeply. Where any semblance of humanity seems to have evaporated into piles of smoke and ash, art is the thread that echoes what could be. It is in the creative process that beginnings are born.

• Omaid Sharifi and Kabir Mokamel are co-founders of ArtLords (artlords.co), a Kabul-based organisation promoting public art for social transformation, started in 2014. Bilquis Ghani is the chair and co-founder of Sydney-based Hunar Symposia (hunarsymposia.com), exploring art through conflict

Read at The Art Newspaper

The Flame of Hope Grows Dim as Afghan Art Faces Annihilation

By Omad Sharifi

When a nation’s artists are in shackles, its people live in chains. When art is liberated, its people are set free. Since the world abandoned Afghanistan to the terror of the Taliban two years ago, local artists have been categorically persecuted. Tragically, with little international support once again, they have been left alone as the Taliban’s brutal oppression has relentlessly sought to eradicate every last vestige of creative expression. 

The Taliban see art as dangerous, a challenge, a threat. And it is. It should be. And often must be. Art is the power of protest and resistance. It is the memory of what we as Afghans once were and the imagination of what we can become again. Art is the mirror that truly reflects the Taliban’s robes, cut from a narrow minded, misogynistic and violent theocracy, as nothing but the emperor’s new clothes — contrived, empty and naked. Art keeps the possibility of Afghanistan’s future alive. It keeps hope alive. 

Without alternative and opposing narratives, the implications are immense: a terrorist group is brainwashing millions of young Afghans right now with no counter to their violent ideology. While women have been outright banned from schools, men are simply being trained as religious students that the Taliban can use as suicide attackers or as an army that blindly carries out its will. This poses a dangerous threat, not just to the region, but to the whole world. We saw it on 9/11 and we will see it again. 

Seven years ago, I co-founded ArtLords in Kabul as an artists’ collective to create murals about social issues with the collaboration of local communities. People were so demoralized and disenchanted after the years of war and violence that they’d even given up seeking solutions. We showed them that they have a voice and encouraged them to ask questions and be critical. 

The result was like lighting a candle in the dark. Finding a new and powerful voice they quickly gained courage and embraced art as catharsis, and an avenue for protest. It clearly showed that as soon as an oppressed people have the opportunity to engage with their culture and create change to break the cycle of violence and cultural poverty, they take it. 

Together, despite our fears, we exposed government corruption and painted murals outside the houses of the very warlords responsible for the deaths of innocent people. We promoted peace, gender equality and human rights. Blast-proof walls had been built all over Kabul to protect those deemed worthy from explosions. Painting 2,200 murals, we transformed their ugly aesthetics and elitist entitlement into a common canvas of both beauty and resistance. That was a time of renaissance.  

Sadly, that time has all but vanished. Artistic expression in Afghanistan is now criminalized and the Taliban punishes our artists and is erasing our art and dismantling our cultural heritage. Women and girls have been banned from pursuing education or careers in the arts. Cultural sites have been destroyed. Museums, galleries and institutions supporting the arts are being closed down. Artists themselves risk public humiliation, arrest, arbitrary detention and extrajudicial killings. 

The Taliban have killed guests at a wedding where music was playing, doled out lashings, tortured and arrested musicians. Comedian Nazar Mohammad was filmed being dragged by Taliban officials and was later found dead, tied to a tree. Two prominent Afghan writers and members of PEN Afghanistan were murdered by Taliban officials. Renowned poet and historian, Abdul Atefi, was tortured and murdered in his home by Taliban officials. 

Many artists have fled the country. Those who haven’t are now in hiding, forced to destroy or hide their artworks and tools for fear of being discovered. They try to survive, frequently under the harshest of conditions, unable to practice their craft and earn a living, and constantly in fear of the Taliban. 

The Taliban are terrified of what art can accomplish. Art sparks critical thinking, unifies people and empowers them to stand up for what’s right. When people are no longer able to express or engage with art, they become more distant from their culture, disconnected from each other and from their own sense of humanity. When that happens, they will succumb more easily and more absolutely to oppressive doctrines and radicalization. The Taliban know this. That is why they are trying to scorch our culture from the earth. And that is exactly why they must be stopped. That is why art in Afghanistan must survive. 

Unlike our brothers and sisters in hiding, Afghan artists outside of the country are fortunate enough to still have a voice and be able to continue the struggle on behalf of those who no longer can. This is what drives and inspires us. Keeping the candle of creative hope burning as a light in the darkness for all of the artists and people suffering under the yoke of Taliban oppression. 

But that light is growing dim. Afghan artists in other places are struggling to continue practicing their craft due to a lack of support and resources. Institutions in the U.S. have been deafeningly silent, failing to step-up despite their government’s complicity in the destabilization of Afghanistan after its precipitous withdrawal from the country in 2021. 

Given the hostile environment for creatives at home and the lack of institutional support for the artists abroad, the rich artistic tradition of Afghanistan that stretches back millennia and is fundamental to Afghan cultural identity is facing obliteration. If arts organizations and galleries would support them, and offer sponsored work opportunities and fellowships to artists at risk under the Taliban, we could preserve and strengthen our arts as a whole and feed back into the country. This would fuel hope and light the way for a better future for us all. Please, for the sake of Afghanistan and the world, don’t let this flame of hope die out. 

Omaid Sharifi is the co-founder and president of ArtLords and Senior Manager for Protections Programmes for the Artists at Risk Connection at PEN America. Sharifi contributed to the new report, Artistic Exodus: Afghan Artists Fleeing Taliban Ruleproduced by AFI in partnership with UC Berkeley Law Pro Bono Program.

Read at The Hill

Normalizing Relations With the Taliban Normalizes Female Suffering

 By: Lisa Curtis and Hadeia Amiry

By Meta Mehran

Ever since the Taliban retook control of Afghanistan in 2021 with promises that — this time — they would be more moderate, they have played a deceitful game.

The Taliban government has introduced one decree after another, incrementally stripping away the rights of women and girls to education, employment, justice, freedom of speech and movement, and it has progressively criminalized their existence outside the home. Taliban leaders reached a new low last month when they published rules that, among other restrictions, make it illegal for a woman’s voice to be heard by male strangers in public.

Each new tightening of the screw has sparked international condemnation — but no real consequences for the Taliban. The mullahs merely wait for the outrage to subside before further entrenching their misogynist rule, undeterred by criticism, the threat of repercussions for violating international laws or even the risk of losing badly needed humanitarian aid.

But a potential new international treaty covering the prevention and punishment of crimes against humanity may finally provide the world with more legal and diplomatic leverage — and a new way to hold the Taliban to account for the repression they have unleashed upon millions of women in Afghanistan. This is an opportunity that cannot be wasted.

In October, a U.N. General Assembly legal committee will meet to decide whether the treaty should move forward to the stage of formal negotiations. The effort to create a better tool for prosecuting crimes against humanity has gained momentum because of growing alarm over conflicts in places such as Myanmar, Ukraine and Gaza, and the treaty includes a proposal to criminalize “gender apartheid.”