Beyond their music, Rohingya musicians remain mindful of their traditions. As they gather to play, they take care to position themselves respectfully, ensuring that neither they nor their backs are turned toward Mecca. The mandolin player typically sits at the center, the harmonium to their right, the violinist just to their left, followed by the tabla and the zuri player. But these placements are not rigid—before beginning, musicians check in with one another, adjusting as needed so that all are comfortable. Though these five instruments form the core of Rohingya ensembles, others sometimes find their way into performances. Flutes, drums, and even the harmonica—played most often in women’s ensembles—add different textures and colors to the music. Each performance, whether played for a small gathering or a large celebration, is not just a musical expression but a reaffirmation of culture, tradition, and community. Some types of Rohingya music are:
- Kawali: Historically used for debates about Islamic knowledge, kawali music is also used for graduations and weddings – sometimes including music to accompany a Rohingya bride as she travels through town to her new home with her husband’s family. Kawali music uses the tabla drums and zuri (finger percussion) and does not use the mandolin or violin.
- Love songs
- Tarana: songs that document, lament, and share about the persecution of the Rohingya
- Folk songs
- Music for awareness about important social or health issues
However, many Rohingya musicians don’t worry about labels—a song is a song! No need to overthink categorization!