Girl Memories, For A Woman’s Song-Photography and Song: Mermon Zheela #Afghanistan

As women, there are those moments, and times, when we can retrieve to the little girl, within. Music has a way of doing that. Music has a way of getting women to go back to those childhood games we played as little girls. Whatever it may be. Whatever games we played, how we fraternized with our friends, we simply understood the sacredness of feminine play. We comprehended that, for we performed it in our daily lives, of girlhood’s time. That’s how beautiful it was.

So now, here we are as women. Looking back into time, we reminisce on our neighborhoods. We reflect on our lands. We remember just how much fun and adventure we had with them. Wild and free. We took those precious adventures with us; finding refreshing energy among other little girls, who treasured the games we played. In this world, there was magic. We felt alive. We were safe!

We come to ask ourselves one single question. What is it about a song, and the very singer singing it, which takes us back? During that moment, it provides us comfort. We come to know the sacredness of space, and how it comes to define our womanhood. How did it shape our girlhood, from the very moment we were born? What does land mean to little girls, who cultivate its magic, for future little girls, to come? Lastly, where is the power of little girls, when turmoil had occurred in the land?

As we sit and watch the current state of Afghanistan, one can only imagine the yearning of Afghan women to their songs. What is it about the voices of the musical Mothers, who provide nurture during times of chaos? What is it about their folklore, poetry, and ability to convey stories, which illuminates the very purpose of womanhood? And then, when there is pain and suffering raging in the land, how does the voice of the women incite power for transformation?

When land, urban areas, and other spaces are in turmoil, it causes a shift in the ability for little girls to play the games. It discourages the performance of creativity in the land-in the space. Yet, even in the midst of uncertainties, and pain, feminine energy always has a way of nurturing through uncertainty. It may be more difficult. Nevertheless, all the while, it is still there.

Now, we have come to, the song! It is entitled, “On k ze dar merasad!” It’s meaning is for another time. Yet, for the very purposes of this article, we are imagining this womanly song, and its return back to Afghan girlhood. What is its interpretation for these current times? Even more, how does it compel Afghan women to rise and reclaim the feminine essence of Afghanistan? Her authentic form. Where are those little girls, in woman form, who are angry enough to sing the songs of their foremothers’ time? Where are the little girls, who dare to do what is forbidden?

Mermon Zheela