The passing of Shir-Mohammad Espandar at the age of 98 marks the end of an extraordinary chapter in the history of Iranian music. More than a virtuoso performer, Espandar was a guardian of cultural memory whose lifelong devotion transformed the doneli—the distinctive double-flute of Baluchistan—into an internationally recognized symbol of Iran’s diverse artistic heritage. His life demonstrated how a single musician can preserve, elevate, and share the traditions of an entire community with the world.
Born in 1931 in Bampur, in Iran’s southeastern province of Sistan and Baluchistan, Espandar first learned to play the reed flute from his father. As a young man, he traveled to what is now Pakistan, where he encountered the doneli. Without formal instruction, he mastered the instrument simply by observing experienced musicians, revealing an exceptional musical ear and unwavering determination. After spending roughly fifteen years abroad, he returned to Iran in 1958 and dedicated the rest of his life to preserving and promoting the musical traditions of Baluchistan.
The doneli is among the most technically demanding instruments in Iranian folk music. Consisting of two flutes played simultaneously, it requires extraordinary breath control, coordination, and the ability to sustain two melodic lines at once through circular breathing. Espandar elevated this challenging instrument into a refined artistic medium, captivating audiences with performances that combined technical brilliance, emotional depth, and profound respect for Baluchi musical traditions.
Before Espandar gained national recognition, the doneli remained largely unknown outside Baluchistan. Through decades of performances at cultural festivals and international events, he introduced audiences across Iran and beyond to the beauty of Baluchi music. In doing so, he became one of the country’s most important cultural ambassadors, demonstrating that regional traditions are an essential part of Iran’s national identity and deserve recognition on the global stage.
His contribution extended beyond performance. Espandar was also a skilled craftsman who built many of the instruments he played, preserving not only the music but also the traditional knowledge required to create the doneli. His recordings—particularly the album Music of Baluchistan: Shir-Mohammad Espandar, released by the Mahoor Institute—remain invaluable documents of one of Iran’s oldest living musical traditions and continue to inspire musicians and researchers alike.
Throughout his career, Espandar received numerous honors in recognition of his artistic achievements and cultural significance. His distinctive style of doneli performance was registered in 2017 as part of Iran’s intangible cultural heritage, acknowledging his central role in safeguarding this remarkable tradition. His first doneli and a sculpture commemorating his life are preserved in Tehran’s Museum of Anthropology, ensuring that future generations will remember both the artist and the heritage he dedicated his life to protecting.
In his later years, despite losing his eyesight to cataracts, Espandar remained deeply concerned about the future of the doneli. He devoted considerable effort to teaching younger musicians, yet often lamented that the instrument’s extraordinary technical demands made it difficult to find a successor capable of carrying his tradition forward. His passing therefore serves as both a moment of remembrance and a reminder of the urgent need to preserve Iran’s rich and diverse intangible cultural heritage.
At NIAC, we recognize that Iran’s greatest treasures are found not only in its historic monuments but also in the people who dedicate their lives to preserving its cultural traditions. Shir-Mohammad Espandar’s artistry transcended regional boundaries, reminding audiences around the world of the richness, diversity, and resilience of Iranian culture. His legacy belongs not only to the people of Baluchistan, but to all who believe that music has the power to preserve identity, foster understanding, and connect generations.
We extend our heartfelt condolences to Shir-Mohammad Espandar’s family, friends, students, and colleagues, and to the people of Baluchistan and all Iranians who cherished his music and his extraordinary artistic legacy. May his memory endure through every note of the doneli and through the generations of artists and listeners who continue to celebrate the cultural heritage he devoted his life to preserving.