Most marriages in Pakistan are therefore arranged. Arranged marriages have been an integral part of Pakistani society for centuries and it is quite normal for people to have their marriages planned by their parents and other respected family-members. But nowadays love marriages are slowly becoming more common and acceptable in Pakistan.

Arranged matches are made after taking into account factors such as the backgrounds of their families. Often a marriage is made within the extended family, such as between cousins. Each tribal group also has certain ceremonies that are an important part of the marriages within that group.


Polygamy is permitted under Pakistani law, however, it is now the exception rather than the norm and is very uncommon in the major cities. A husband is more likely to get himself a second wife, or recommended by family members to have a second marriage, if he remains childless with the first wife.

Kinship:

A Muslim marriage is seen as uniting the families of both the bride and groom, so the kin group is expanded after a marriage. In some tribes there can be neither a cross-cultural marriage nor a dual ethnic one, so therefore the kin groups are and basically remain identical ethnically and culturally.

Proposal party:

Is a reception made in the bride’s house, where the Groom parents and family elders asks for the Bride’s hands from her parents. Once the wedding proposal is accepted the families read Surah Al-Fatihah, which is the first surah in the Quran, and then tea and refreshments are served

Mangni:

Mangni is a formal ceremony to mark the engagement of the couple. It is usually a small ceremony that takes place in the presence of a few close members of would-be bride’s & groom’s families. Prayer and blessings for the couple are recited and the wedding date is usually decided.

Mayoon or Mayun:

Mayoon is celebrated at the bride’s house. Usually the bride’s friends and close relatives get together at her house and they dance and sing, often accompanied by drum music. Generally the bride’s family give bangles and sometimes clothes to her friends, depending on what the family can afford. The evening also usually includes a henna where the women put designs in henna on each others’ hands. The mayoon can last up to late night. The bride usually wears a simple yellow Shalwar Kameez. Mayun is a custom of the bride entering into the state of seclusion eight to fifteen days before the wedding. She is made free of all the chores and errands during this time. The bride and groom are not allowed to see each other after the Mayun. The beautification rituals begin during this time.


Ubtan is a paste made from turmeric, sandalwood powder, herbs and aromatic oils, which groom’s mother brings for bride. She blesses bride and applies “ubtan” to the bride’s hands and face. Groom’s sister also does the same, and a thick string called a “Kangan (Bangles made of Flowers)” is tied to the bride’s arm. “Ubtan” is applied to the bride’s skin each day leading up to the wedding. Similar ceremony is held for the groom, where bride’s mother, sisters, cousins and friends bring ‘ubtan’ for groom and rub it on his skin.

Dholki:

Dholki is a popular ceremony of singing traditional wedding & popular songs accompanied by two or three percussion instruments Dholki being the main. The girl is officially treated as bride (dulhan). She wears traditional Pakistani yellow outfit. Her brothers, sisters, and cousins bring her (bride) in the dholki party.

Mehndi or Rasm-e-Henna:

Mehndi, or the Rasm-e-henna ceremony, typically takes place one or two days prior to the main wedding day. The event is traditionally held separately for the bride and the groom, and henna is symbolically placed on the couple’s hands. The groom’s friends and family bring along sweets and henna for the bride, and the bride’s family does the same for the groom. On the bride’s ceremony the groom normally does not participate and similarly, on the groom’s event the bride stays at home. Female guests are sometimes offered mehndi at the host’s discretion. The ceremony may also be held simultaneously for both the groom and the bride.

The bride normally wears a green dress or yellows /oranges for mehndi and uses only light, or no, make up. The groom will typically wear a casual shalwar kameez. The bride and/or the groom are brought forward in the ceremony under a decorative dupatta by their close relatives.

Baraat:

Baraat is procession of family, relatives, and friends of groom that accompany the groom to bride’s home for official wedding ceremony. Groom makes his way to the bride’s home on a richly decked horse or in a car and ‘baraat’ follows in different vehicles. The barat is often accompanied by the rhythms of a dhol (drum) as it arrives and is greeted with flowers garland and rose petals by the brides family. It is customary for the bride’s sisters and friends to stop the barat from entering the arena until a sufficient amount of cash is given to them. This can lead to banter, usually harmless and just for fun, between the bride’s sisters and friends on one side and the groom’s brothers and friends on the other side. Then family and relatives of the groom and the bride exchange glasses of juice or sherbet along with money or gifts

Nikah:

0A bride signing the marriage contract, Nikaah at a Pakistani weddingNikah is purely Islamic official wedding ceremony that usually takes place at the bride’s home. Nikah is attended by close family members, relatives, and friends of groom and bride. Usually, the men and women are made to sit separately, in different rooms, or have a purdah, or curtain, separating them.

Nikah-naama (document of marriage contract) is registered in Nikah. The Nikahnaama contains several terms and conditions that are to be respected by both parties (bride & groom). It includes bride’s right to divorce her husband. Nikahnaama specifies “Meher”, the monetary amount the groom will give the bride. Meher includes two amounts in Pakistani culture, but in Islamic belief is one total amount; one that is due before the marriage is consummated and the other that is a deferred amount given to the bride at a time to be determined. The Meher guarantees the bride’s freedom within the marriage, and acts as the bride’s safety net.

The fathers of groom and bride act as witnesses to the wedding. If father is not available, the senior male, brother or uncle performs the ceremony. Islamic Imam (called maulana or maulvi) reads selected verses from the Quran and waits for the Ijab-e-Qubul (proposal and acceptance) of wedding. Usually, the groom’s side makes proposal and the bride’s side conveys her assent. Maulvi and witnesses (gavah) take the Nikahnaama to the bride and read it aloud to her. She accepts the Nikahnaama saying “qabool hai” meaning “I accept” and signs it. The Nikahnaama is then taken to the groom and read aloud to him. He accepts also by saying “‘qabool hai” and signs the document. The Maulvi and witnesses (gavah) also do sign the Nikahnaama contract and the wedding becomes legal. The Maulvi recites the Fatihah, the first chapter of the Quran, and various durud, or blessings to mark the closing of Nikah ceremony.


After the wedding is legally announced, dishes of dates and misri (unrefined sugar) are served to the groom’s family. Groom is then escorted to his bride where he’s allowed to sit beside his wife. This is the time when sisters-in-law of groom play pranks and tease the groom.

Mooh Dikhai:

Mooh Dikhai is the ceremony of first time “showing of the face” after the Nikah. The couple is made to see each other in the mirror and the bride unveils her face that she keeps hidden during the Nikah. The custom of Mooh Dikhai is also called “Aarsi Musshaf.” The bride and groom share a piece of sweet fruit, such as a date and family and friends congratulate the couple and offer gifts. Dinner is served to the guests. The sisters, friends, and female cousins of bride take this opportunity to steal the groom’s shoes and demand a sum of money for shoes. This is very popular custom and groom usually carries a lot of cash, due to the popularity of this custom. He pays money to get back his shoes and girls divide the money among themselves.

Shaadi:

The groom usually arrives at the wedding with a band playing dhols, trumpets and horns – signalling the arrival of the men’s side of the family. Families and friends enjoy a wedding ceremony in a marquee, the main day of the wedding is called shaadi, which is the bride’s reception. The event takes place at the bride’s house, where large wedding tents may be set up in the garden or a nearby place. It has also become very common to hold the event in a marriage hall or hotel. The bride’s family is responsible for the reception and arrangements on this day.

The groom may wear a traditional dress such as sherwani with a sehra or turban though some may prefer to wear a western inspired suit. The bride traditionally wears a red/pink/purple gharara, lehenga or shalwar kameez which is heavily embroidered; other bright colors may also be seen. The dress is always accompanied with heavy gold jewellery.

The nikah is the Islamic marriage contract ceremony. It either takes place at the Shaadi itself or on a separate day at the bride’s house, before the shaadi event. It is performed by an imam which formally indicates signing of the marriage contract. The bride and groom must both have two witnesses present to ensure that the marriage is consensual.

A dinner is served which consists of several dishes alongside pullao, biryani, chaap ,dal gosht , kebabs, tandoori chicken and naan with beverages or soft drinks in summer and tea during winter.

Rukhsati:

Finally, the Rukhsati takes place, when the groom and his family will leave together with the bride. The Qur’an is normally held over the brides head as she walks from the stage to the exit in order to bless her. This is a somber occasion for the bride’s parents as it marks the departure of their daughter from their home. The departure of the bride becomes a very emotional scene as she says farewell to the home of her parents and siblings to start a new married life.

Traditionally, the groom traveled by a decorated horse to the bride’s house and after the wedding ceremony took his wife in a doli (palanquin) to his parents’ house to live. The horse and the carts have nowadays been replaced by cars, and one will, in sharp contrast to western weddings, typically see a quiet bride with wet eyes as she sits in the car beside her husband leaving for her new home.

Valima:

This is the final day of the wedding held by couple as they host their first dinner as husband and wife. The groom’s family invites all of the bride’s family and their guests to their home for a feast at their place or a marriage hall. The walima is typically the most festive event of the wedding ceremony and intends to publicize the marriage.

The bride wears a heavily decorated dress with gold jewelery provided by the groom’s family. Typical colour palettes are pastel shades. The groom normally opts for a formal Western suit or tuxedo.
The Western equivalent to the walima would be the wedding reception, though walima’s are held the day after the shaadi or wedding.

Religious and ethnic:

Wedding ceremonies and customs often differ significantly between Deobandis , Barelwis , Shias and Sunnis and also among the different sub-groups of the Barelwis. The above mentioned marriage customs are typical of a fairly liberal-minded Pakistani family. More orthodox families have more sober ceremonies, especially no music is allowed, and the bride wears a Hijab. Customs are also variety among Punjabis, Pakhtuns, Sindhis , Memons, Balochis, Muhajirs, Biharis and Kashmiri Muslims.

The news of a male child’s birth is a happy tiding for parents as well as for near relatives. The news spreads like wild fire in the neighbourhood and messengers hasten to distant places to break the happy tidings to paternal and maternal uncles etc. This is called Zairay. The person who breaks the good news first to a near relative receives a handsome reward in cash. Relatives and friends felicitate the proud parents and let off their guns as a mark of jubilation. The father warmly receives the guests, slaughters a ram or goat and serves a sumptuous lunch to the visiting guests. Sweetmeats are also distributed among the young and old alike.

Female relatives also hurry to the house to offer congratulations to the child’s parents. They bring presents, including clothes for the infant and also offer some money. A record of the money, so proffered, is kept for repayment on a similar occasion. All women who offer money are given Loopatas (Scarfs) in addition to sweetmeats.

The first important ceremony in the child’s life is performed by the village Mullah or priest or an old pious man. The Mullah whispers Azaan (call to prayers or profession of faith) in his or her ears. The village Mullah receives some money for this religious service. The child is also given a dose of indigenous medicine called Ghotti. This liquid compound is administered to the child by a pious woman, preferably mother of several sons. Within seven days of the birth, the child is named as Ayub, Ali, Ishaq, Yaqoob, Aisha, Fatima etc as the custom of naming children after the Prophets, particularly Mohammad (Peace Be Upon Him) and his companions, is very common.

The infant is wrapped in swaddling clothes with his hands tied to his body. This binding practice continues for over six months. The idea behind the binding of infants from shoulders to toes seems to be to prevent him from exhaustion or causing an injury to himself. For most of the time during the day, the child is kept in a swinging cradle which is in common use all over the sub-continent. At night the child is laid beside its mother. The child entirely belongs to the mother, she feeds it, at least, for two years and makes every possible endeavour to protect it from the malignant eye or the glance of evil spirits.

Those women who have no male issue pay visits to they holy shrines on Thursday nights and beseech the favours of the holy saints for a male child. They offer alms and sometimes bind a stone to one of the flags hanging beside a wall or tree near the saint’s mazar. They add one more flag to the existing numbers when their cherished desire is realised. Those women who give birth to females in succession without any male issue, curse their misfortune and shed tears of remorse on the birth of a female child.

After the child’s birth, precautionary measures are taken to protect the mother from evil spirits and genii. She does not take a bath, at least, for a fortnight after the birth of the child. The mother is never left alone in the house at least for forty days in succession for fear of evil spirits. It is generally believed that both mother and child are susceptible to the influence of genii etc during the first forty days.

The mother refrains from doing any work for a week and she resumes her usual occupations after a lapse of 40 days.

Sar Kalai (Head Shaving)

The second important ceremony in a child’s life is Sar Kalai or hair cutting. When the child is about 40 days old, his or her hairs are shaved by a village barber. The barber is given some money for this service. This event is also celebrated with the slaughter of a goat or sheep for guests.

Soonat (Circumcision)

The third important ceremony is know as Soonat i.e. Circumcision of a male child. The Circumcision ceremony is again performed by the village barber when the boy is over one year old. On this occasion the boy is made to sit on an earthen platter called Khanak in the compound of the house duly attended by his relatives. They also offer some money to the child. This ceremony is observed by well-to-do persons with pomp and sumptuous feast.

Schooling

In the fourth stage the child, generally is sent to a Mullah in the village mosque for religious education, including learning by heart of Namaz and reading of the Holy Quran. He is first taught Kalma Tayyaba and later other tenets of Islam. He also starts going to school at the age of five to six years. Along with spiritual and temporal education he makes a debut in sports of masculine nature, including wrestling called Parzawal. Later he adopts shooting as his hobby. After school hours he goes on shooting excursions and shoots down birds. He uses a catapult like weapon called Ghulail for hunting. In this stage of life he develops an aptitude for sporting excursions such as target shooting and finally starts going round with a rifle slung over his shoulder for self protection. At that time he begins helping his father in his work. The young girl on the other hand assists her mother in household work and shares the domestic duties with her.

Pakhtoons are fond of rifles and young boys can be seen carrying rifles under their arms. Seldom will they be seen un-armed. Their fondness for arms is evident from a Pashto proverb that though they might not have good food they must be in possession of fine arms.

Owing to their strong religious feelings for their brethren-in-faith, the Turks, a large number of Pukhtoons, especially the Afridis, deserted in large number from British army in France, Mesopotamia and Egypt in the First World War. They were averse to fighting against their co-religionists and that was why the General Officer Commanding in Chief, Egyptian Expeditionary Force, was compelled in November, 1917 to repatriate three Indian officers and 202 other ranks and all Frontier Pukhtoons of 58th Rifles from Egypt and recommended ban on their recruitment on account of their “bad behaviour”.

The Pukhtoons are punctilious in offering their daily prayers and observance of fast during the month of Ramazan. Writing about the devotion of Pukhtoons to their religion, Major H. B. Edwards says, “whatever occupation they might be engaged in, whether business or pleasure, it was always interrupted at the hour of prayers”. He adds, “in my tent, which was always full of people concerned in some case or other, they would break off the conversation, and ask to be excused for a moment; then take a scarf and spreading it in the corner towards Mecca, devoutly commence their genuflections”. Each Pukhtoon village has a mosque in which a Mullah or Pesh-Imam leads the daily prayers and imparts religious education to the village children. The Mullah is served free meals and he receives Zakat and alms from village folk. Alms giving and Zakat is common and Haj is performed by men of means. Alms giving is especially resorted during adversities and food is also served to the poor. On the occasion of Eid, Barawafat, Muharram, Shab-e-Barat and certain other religious day rich food is prepared to invoke the blessings of Allah.

The holy men, Saints, Sayyids and Mians are held in deep reverence. They give amulets and charms to the people which are considered to be antidote to illness, disease, calamity and evil influences. They are shown utmost respect and their hands are kissed in acknowledgement of their priety. The practice of Piri-Murid (Teacher-student relation in suphism) is also common. A Pir or religious preceptor guides his Murid or disciple in his spiritual progress. For this purpose he takes a Bai’at (affiliates himself) at the hands of the Pir who enjoys the reputation of holy man and has the ability to guide him in establishing commission with God. Sometimes lunatics and impostors are also mistaken for saintly persons. But the younger generation equipped with modern education and imbued with the spirit of enlightenment, is immune from such influences.

SHRINES:

Being orthodox Muslims with strong religious susceptibilities the Pukhtoons hold holy men and their shrines in high esteem. The devotees pay frequent visits to shrines and enter the presincts bare-footed and entreat the saint’s blessings for the restoration of falling health, wealth and success in certain other ventures. The more a saint enjoys reputation, the more his tomb attracts devotees. Certain ziarats (shrines) have a special reputation for the cure of specific ailments and are credited with certain other virtues. For example prayers are offered for the birth of a male child at Ziarat Kaka Sahib and Pir Baba and visits to several other shrines are considered effective for curing of madness, rheumatism, dog bites, hysteria and certain other ailments. The visitors and devotees, particularly women bring back a handful of salt or gur which is believed to be a cure for illness. For Muslims, Friday is a sacred day and visits to the shrines are paid on Thursday or the night preceding Friday. Pukhtoons, like all good and devout Muslims, raise their hands and offer Fateha while passing by a graveyard.

Shrines are the safest places in tribal areas and the tribesmen keep their articles in them without any fear of pilfering. No one dares to lay hands on any article kept in a shrine due to the sanctity of the place and possible wrath of the buried saint. Reputable shrines are often under the charge of a care-taker (known as Munjawar in Pashto and Mutawali in Urdu) or a fakir who lives on the premises and collects donations both in cash and kind from the devotees to provide water and food to future visitors (langar). The trees around a shrine are never cut and the birds enjoy complete safety. The observance of Urs or annual festival at various Ziarats is also common. The devotees attend these gatherings annually for two days in large number and engage themselves in Zikar or religious meditation.

Eid-ul-Fitr or Kamkay Akhtar and Eid-ul-Azha or Loe or Star Akhtar are the two main festivals which are observed with great zeal. In some places a fair is held on the Eid day while at others on the day following the Eid. The boys make large bonfires called Katamirs and kindle them on a hill top in the evening, preceding the Eid Day. Young and old alike, wear new clothes on Eid Day, and the entire area wears a festive look just as Christmas is celebrated by the Christians.

Moharram and Eid-e-Milad-un-Nabi or `Bara Wafat’ are also observed with deep reverence and due solemnity. Pious men among the Pukhtoons engage themselves in prayers particularly during Lailatul Qadar or “the night of power”. On this night the Holy Quran was revealed to the Holy Prophet of Islam. The night of Lailatul Qadar has been described in the Holy Quran as better than a thousand months. Muslim jurists differ in their opinion regarding the date of its occurrence. Some of them are of the opinion that this night falls on 21st or 23rd of Ramadan while others believe that it falls on 27th or 29th. However, all the doctors of Mohammadan Law agree that Lailatul Qadar falls during the last ten days of the holy month of Ramadan and every prayer is accepted on this auspicious occasion.

TOBAY WESTAL:

After a persistent dry spell when drought conditions prevail, the people of the villages headed by the Mullahs come out to the fields and offer prayers, at least for three consecutive days. This is called “Tobhay Westal” or supplicating God for rain. Besides, children of the village come out in streets and collect wheat, maize and barley from the houses of the village. While collecting grain the children chant in a chorus:- Ka cha ra karruloo ghanam – Khudai ba war kerri sra zaman (God in turn will give sons to anyone who gives wheat), Ka cha ra karraloo joowar, Khudai ba war karri war pa war (God in turn will give sons one after another who gives maize) Ka cha ra Karreley Orbashey – Khudaya ta war Sara Kha shey (May God bless those who give us barley). After the collection of grain the children cook it and after serving it to the poor they pray for rains. They also go to the nearby graveyard and sprinkle water on graves.

SUPERSTITIONS:

Doud Dastoor or customs and traditions are in fact the product of historical, geographical and economic conditions. Evolved in process of time, social usages become the guiding principles of day to day life and all individuals living in a particular society feel bound to abide by them.

It is a common phenomenon that customary laws of the masses are not free from religious and even superstitious influences. In Pukhtoon customs at least some of them are also not immune from such influences. The use of amulets and talismans has already been mentioned. Besides, strange ways and means are devised by them to protect themselves from the evil eye and evil effects of Jinni and demons. Pukhtoon women believe that evil spirits cannot come near a newly born infant if a knife or a dagger is put near its pillow or at its head. Therefore, they always keep a sharp edged weapon besides the infant’s pillow to ward off evil spirits. The child may be sick and suffering from diarrhoea, dyspepsia or any other malaise, but the old grandmother will ascribe it to the influence of some evil spirits. Instead of taking him to a doctor’s clinic for treatment, she mutters charms and throws red hot metal in cold water to scare away the evil spirit or a possible evil eye. This, she believes, is the only remedy to cure the infant’s illness. And if these charms do not work, she is convinced that the child is suffering from throat trouble. She takes him to some experienced man or woman of the locality for raising its uvula. This, in Pashto called is Jabai Porta Kawal.

The raising of uvula is common all over the tribal areas. Some raise it by putting the index finger inside the child’s mouth while others put a handkerchief around child’s neck and give him a few jolts after muttering of charms. Not contented with this the mother will put amulets (Tawiz) round the child’s neck as a protection against the evil eye or Bad Nazar. The amulets written by a pious man and woven in a string are suspended round the child’s neck. Some of these amulets are sewn in a cloth, some are wrapped in a leather or silver leaf inset with costly stones, depending on the financial position of the child’s parents. Sometimes a black spot (Kalak) is put on the child’s forehead in an attempt to protect him against the evil eye. In certain clans a child is deliberately kept dirty and ill clad for warding off the evil spirits. The claws of a leopard or a lion are also sometimes hung around their necks. The old grandmother also believes in charms. She takes a handful of wild rue (called Spailanay in Pashto) which is considered a panacea for warding off a malignant eye. She puts some wild rue on red hot coals and starts revolving the bowl round the ailing child while chanting some magical incantations. This is called “Nazar Matawal” or removing effects of the evil eye. After the wild rue is burnt it is kept in the door way of the house with smoke emitting from it. Sometimes an old woman takes a few red chillies, revolves them round a sick persons’s head and then puts the pods in the fire. There is a famous maxim in Pashto that the Da ranz ranzoor raghaigee, Da stargo ranzoor na raghaigee”, i.e. `an ailing person may recover from illness but ailment caused by an evil eye cannot be cured’. On other occasions a goat or lamb is slaughtered and the blood of the sacrificed animal is sprinkled on the door or wall of the house to ward off possible natural calamities. But as a result of the general rise in education, the educated tribesmen no longer believe in such superstitions. They take their children straight to a doctor’s clinic in case of illness.

When a baby is carried out of the house, a veil is placed over its face to protect it against the possible affect of an evil eye. Some men and women are notorious for a malignant or evil eye. It is generally believed that their looks can break even a hard stone into pieces. Similarly mothers desist from carrying infants while visiting a house where death has occurred because of fear of Bad Ghag or evil voice. They also have recourse to some other expedients to guard the child against evil spirits.

Besides this, several other superstitions are prevalent in Pukhtoon society. For example, the cawing of the crow on a house wall or top of a nearby tree is considered as a sign of the impending arrival of some guests. Similarly, falling of flour on the ground at the time of kneading is interpreted to mean that some guests or visitors can be expected. The howling of dogs at night is considered a bad omen, indicating the coming sickness or death of some one in the family.

The winking of the right eye lid is taken to mean a happy tiding and throbbing of a left eye lid as a bad omen. In case of a hiccup, it is generally believed that an absent friend or relative is remembering. While removing shoes, if perchance, one shoe lands on top of the other, it is thought that the person would undertake a journey in the near future. If the right palm starts itching, it is believed that money will come into his hands. On the contrary if the left hand itches it is generally believed that the person will lose some money. The crowing of a hen, which is quite un-usual, is considered a bad omen and it is killed the moment it crows.

The sight of a dirty man or a sweeper early in the morning is considered un-lucky. Similarly a distinction is made between fortunate and unfortunate days. Certain days are considered lucky for journeys while others are believed to be un-lucky. If a person dies at a place other than his village or home town, a black hen is slaughtered before the engine of a car or bus at the time of taking the corpse to its native place for burial. Similarly a black hen is slaughtered in between the fore-legs of the horse or mare of the tonga in which the corpse is carried. The tribal Pukhtoons refrain from incurring the ill-will of Pirs and Fakirs and even men possessed with an evil tongue called Tor Jabay. The speech of Tor Jabay is considered more deadly than a lethal weapon and his curses may become harbingers of misfortune.

The Pukhtoons generally rely on dreams. The sight of a white or green object, in a dream, is considered auspicious while black objects, fire and floods etc are considered inauspicious. They have a strong belief in destiny. Fate is considered as absolute and un-changeable.

Some strange notions are found among Pukhtoons about the “Whirlwind of dust which spins abut in autumn”. It is generally believed that the whirlwind is caused by a jin. Similarly when a storm blows for two or three days, the Pukhtoons are heard saying that some innocent man might have been brutally assassinated somewhere. A child born feet first is called “Sakki”. It is generally believed that “a few gentle kicks from one, so born”, can relieve pain in the back. During the winter when it rains continuously for a week or so, the children erect dolls made of flour clay called “Ganjyan”. The ganjyan are considered a means of stopping the rain. The taking of fal or omen from some religious book is commonly believed and practiced. On Shab-e-Barat the village women assemble in a house. Each woman puts a ring, comb or some other object in an empty pitcher and a small boy or girl is deputed to take them out one by one. At the time of taking out an article, a woman recites a few verses such as “Ma jagh kawa ma spara, Khudai ba dar karri pa tayyara” i.e. God will provide you with food even without ploughing fields. The better the verse in composition, the more it is considered auspicious. In matters pertaining to superstitions Pukhtoons now do not believe much in fabulous tales due to the general rise in education. But the illiterate, particularly those who live in inaccessible hilly tracts, are comparatively more superstitious than the people living in the plains. Charms and omens are generally believed in by the un-educated masses, especially the women.

Though there are several references to the existence of spirits in the Holy Quran and Ahadith, yet belief in genii is considered as a superstition by almost all the European writers. It would not be without interest for the readers to know some thing about Pukhtoon’s belief in jins. The Pukhtoons believe in genii, evil spirits and Churail etc. The genii, it is believed, can assume the form of a human being, beast, animal or of anything they want to. The genii are stated to be of two kinds ^____ believers and non-believers and good and bad. If a good tempered jin takes a fancy to a person, it will attend upon him like a faithful and devoted friend, ready to render him any service even at odd hours. The genii or fairies called Khapairay in Pashto are particularly known for their friendliness and there are innumerable tales of fairies sincerely devoted to their male friends. These creatures, which are described as resplendently handsome, help their friends in making fortunes. It has almost become proverbial about a poor man prospering in life that he has drunk a fairy’s milk. Any person possessed by a Jin is believed to have the power of discovering stolen articles and predicting the future. When asked to give information about a certain object, he or she will excite himself or herself in a state of hysteria or induce a trance to make the predictions.

A man acting like a lunatic is believed to have been possessed by a Jin. It is a common belief that the Jin possesses the victim’s tongue and controls all his actions. When it occurs, a Sayyid, Mian or a learned Mullah credited with the power of exorcising the evil spirits is immediately sent for. He recites a few verses from the Holy Quran and conjures the jin to depart. The exorcist addresses the jin in a threatening language to leave, if soft words and entreaty prove of no avail. When the battle of hot words does not produce the desired effect, then the exorcist writes a charm on a piece of paper and burns it under the afflicted man’s nose. Recourse is also made to certain other methods to force the jin to depart. Sometimes the afflicted person’s hand is held in a firm grip by a strong man. He presses it as hard as he can till the patient starts crying out in agony and pain and appeals for mercy. It is believed that the jin speaks through the patient’s tongue. The exorcist, therefore, asks it to leave and swear by Prophet Sulaiman (Solomon), who is believed to be the king of all genii, not to come again. Sometimes short wooden sticks are put in between the patient’s fingers and his hand is pressed hard. If this device also fails then the exorcist places a frying pan on the fire with some ghee (melted butter) in it and throws a charm in the boiling ghee to make the jin flee or die.

CHILLA:

It is a common belief that a man can obtain the services of genii by means of talismans or certain invocations. For this purpose he undergoes the rigours of a chilla for a period of forty days. Chilla is of two kinds ^____ spiritual and temporal. The spiritual chilla is practiced for the purification of the soul whereas the temporal chilla aims at making wordily gains by means of controlling genii. During the period when anybody is undergoing the arduous task of chilla, he remains in a state of meditation, keeps himself aloof from the people and chooses an un-inhabited or deserted place, for self-mortification. He follows his Pir’s instructions both in letter and spirit. By sitting within a circle (`Hisar’) drawn around himself he remains vigilant and contents himself with little food and water barely able to sustain him. There is the possibility of his becoming mad, if he moves out of the circle contrary to his Pir’s instructions or frightened out by the resisting jin. It is said that during the last few days of Chilla genii appear before the probationer in horribly hideous shapes to frighten and lure him out of the circle. If he, succeeds in completing the prescribed course without falling a prey to the genii’s insidious temptations, he gains control over them and the leader of the genii appears in person before the man for carrying out his orders and all the genii, old and young alike, follow suit.

Khattak

History of Khatak dance

A journalist of Pashtun origin, Amanullah Ghilzai, traced the roots of Khatak to an ancient Greek dance. According to his theory, Khatak, or Athan, is one of the earliest forms of the ancient Greek dance, Athena. The Greeks brought this dance with them to Bactria (ancient Afghanistan)

(Note by Zarin Khattak. Greeks were at Afghanistan for a war and their stay was too short. So it seems illogical. Russain’s stay at Afghanistan was more than a decade but no one adopted their dances. ath mean hand lath mean leg. athan is exercise of hand musscles so this make it Attanr.when a friend invite other to join him in dance he will say ” raza chi lasoona chag ko=let us raise hands”. In common Pashtu lathen mean donkey’s back leg strike . Poor foot performance is also called lathen.Attan have much similarity with caucasian dances)

Athan, or Attan, has been preserved in one of its earliest forms by members of the Khatak and other Pashtun tribes, including the Ghilzais. There are many regional variations of Athan. In ancient Greece, the dance Athena had the same definition and reverence attached to it as Pashtuns accord to Athan. Athena seems to have disappeared in Greece during the Christian era while Athan survived in Afghanistan and Pashtun parts of Pakistan

Details of the dance form

Khattak is a dance performed very quickly set to uptempo music featuring the piper, clarion, and drums beaten with sticks. Up to forty men dance together wielding swords or handkerchiefs and performing acrobatic feats. The fast tempo of Khattak distinguishes it from other Atanr, which start slow and pick up speed as the dance progresses.

The Khattak dance has a lot of forms: Shahdola, Bangra, Balballah, Qamar Balbala , chatrali, braghda’ona, tamseeli dana ,charri dana and indiviual performance.

Bangra is derived from word Bangrai or Bhangrai (Bengal). This dance have to performed in circle. Bird view of performance look like Bengal so this is why it is called Bangra or Bhangra. this is merely war exercise to warm up body muscles it is slow in rhythm and with pauses to hold sword like today soldiers hold rifle in Musketry.In the Bangra, every member swirls while carrying swords. In 1-3 circles of unlimited number of elder’s young and children, each carrying a sword and a handkerchief, start dancing in circle having band andsurnai in the centre,At the beginning of Bhangra , few performers turn by turn sing love songs or quotations which is called “Takkay” (5-7 Takkay by each, Takkay is commonly popular in sheep herders, they sit on the hills and sing on the top of hill with high pitch, if someone there on other hill he will reply the Takkay in return and some play it with their floats ), at a high pitch, which is meant to convey to the audience that they would like to be tipped for their performance. At the end of the song, the drumbeat increases and the dance goes on.

Balbala is performed immediately by the same group stage with fast rhythm to swet up body. Balballa is staged without swords. while Qamar balbala is exercise to get control on stepping and stable the body balance at the top of hill and it is performed with swords. sword is used to keep balance while moving quickly on uneven surface of the hill.

individual performance of Khattak dance comprises 12 steps, which require great skill on the part of the dancers. The dancer alternates between performing solo and synchronizing with the rest of the troupe. groups of 2 or four performers,carrying a sword and a handkerchief,perform turn by turn. while the rest of the troupe members wait for their turn. In the Laila, a group of four performers holding two swords each perform stunts while moving in a circle.

Braghoni is the fastest and the most adventurous of all the steps: A single dancer performs with three swords. He swings two swords in the air while holding the third in his mouth.

Melas (fairs) and malakharas (wrestling festivals) are popular. Falconry, horse and camel breeding and racing are characteristic pastimes. Sindhi fishermen float earthen pots to catch the palla fish in the Indus, bullock cart racing and cockfighting are also typical of the province.

Genuine love for fellow beings, large heartedness and hospitality constitute the very spirit of Sindhi culture and it is the association of the cultural elements that elevate it and keep aloft its banner among the contemporary cultures of South-Asia. Having lived for centuries under the changing sway of various dynasties i.e. the Arabs, Mughals, Arghuns, Turkhans and Soomras, Sammahs, Kalhoras and Talpurs, Sindhi culture is a fusion of multiple culture patterns. These splendor and enrichment are reflected in Sindhi art and architecture, habits and customs. The old tombs and buildings in Thatta, Sehwan, Hyderabad, Sukkur and the excavations at Bhambore, Brahmanabad and Debal bear ample evidence in support of the above statement. These places fostered in their environment, some of the best cultural values which were handed down to the inhabitants of the adjoining areas. Today, these values form the very foundation of Sindhi culture.

The Sindhi language has pure Sanskrit basis and is closely related to the ancient Prakrit. Its alphabet contains fifty-two letters. The Rev. Mr.G. Shirt of Hyderabad, one of the first Sindhi scholars, considered that the language is probably, so far as its grammatical construction is concerned, the purest daughter of Sanskrit. It has small sprinkling of Dravidian words, and has in later times received large accessions to its vocabulary from Arabic and Persian. After the advent of Islam, a number of Sindhi scholars not only wrote books in Arabic on various aspects of Islam, but also composed poetry of a high order in that language. During the rule of Soomras and Sammas, Sindhis produced excellent poetry, and amongst the earliest and best-known poets we find the name of Syed Ali and Qazi Qadan both of Thatta and their younger contemporary, Shah Abdul Karim of Bulrhi, the great-grandfather of Shah Abdul Latif Bhitai.

Qazi Qadan (870-985 A.H.) introduced Philosophy into Sindhi poetry. He has in his poetry laid great emphasis on purity of mind and the study of the self. In one of his verses he says, “Even if you master thoroughly the great Arabic works Qudoori and Kafia you will only be like an ant sitting within a well in a limited environment knowing nothing of the world outside”.

Then comes Shah Abdul Karim of Bulrhi. In 98 couplets he has explained the intricacies of human philosophy. In one of his couplets, he says “The best way of Living in the world is to give your heart to the beloved and be bodily connected with fellow human beings”.

Shah Latif and his contemporaries, Shah Inayat, Muhammad Moeen Thattvi lsso Mian and Misri Shah, were also pioneers in the field of the well-known Sindhi Kafi Lyric. Others who contributed to kafi were Qasim, Hyder Shah, Fazil Shah, Pir Mohammad Ashraf, Assooran and Qaleech Beg. Misri Shah is considered to be the undisputed monarch in the domain of Kafi. The term Kafi was originally taken from Shah Abdul Latif’s waie, which correspond to Ghazal. Sachal Sarmast added glory to Kafi in his lyrics.

POETRY

After the advent of Islam, a number of Sindhi scholars not only wrote books in Arabic on various aspects of Islam, but also composed poetry of high order in that languages. It is presumed that these scholars also wrote in their own language. During the rule of Sumras and Sammas, Sindhis produces excellent poetry, and amongst the earliest and best-known poets, we find the name of Syed Ali and Qazi Qadan both of Thatta and their younger contemporary, Shah Abdul Karim of Bulrhi, the great-grand father of Shah Abul Latif Bhitai.

Long before the British rule, under the influence of Persian poetry, the Sindhi poets borrowed many ideas from Persian poets. There were, however, some poets such as Mohammad Qasim, Murtaza Thattavi, Gul Mohammad Gul, Syed Gada, Hafiz Hamid, Mir Abdul Hussain Sangi, Zaman Shash and others who, in spite of having adopted Persian forms, derived their inspiration from the classical Sindhi poets. Theirs works have, therefore been popular among the masses, as well as people of more sophisticated tastes. Others, who continued to compose in indigenous styles, using the Sindhi language in its purest from, include Misree Shah, Mahdi Shah, and Hafiz Shah. Sahibdion Shah, Wali Mohammad Leghari and Hammal Faqir.

Qazi Qadan (870-985 A.H.) of Sehwan was the Sindhi poet who introduced philosophy and mysticism into Sindhi poetry. He has in his poetry laid prate emphasis on purity of mind and the study of self. In one of his verses he says: ” Even if you master thoroughly the great Arabic works Qudoor and Qafa you will only be like an ant sitting within a well in a limited environment, knowing nothing of the world outside.

Kafi the Shah and his contemporaries, Shah Inayat, Muhammad Moeen Thattvi, Isso Mian and Misri Shah, were also pioneers in the field of the well-known Sindhi Kafi Lyric. Others who contribute to Kafi were Qasim, Hyder Shah, Fazil Shah, Pir Mohammad Ashraf, Assooram and Qaleech Beg. Misri Shah is considered to the undisputed monarch in the domain of Kafi. The term Kafi was originally taken from Shah Abdul Latif’s waie, which corresponds to ghazal. Sachal added glory to kafi in his lyrics. After Khalifo Gul Mohammad a host Sindhi poets contributed to the development of the ghazal. The following poets deserve special mention: Qasim Shamsuddin Bulbul, Mir Abdul Hussain Saangi, Bewas Lekhraj Kishanchand Aziz, Zia Fani, Farid, Fakir Abdul Rahim of Groroh and Hafiz Mohammad Hayat.

Humour Shamsuddin Bulbul was the first poet to introduce humor in Sindhi poetry. He can very well be compared to Akbar Allahabadi.

In this field Mohammad Hashim Mukhlis and more particularly Mirza Qaleech Beg, the father of modern Sindhi poetry and prose have left an indelible mark. The latter’s humor is much more polished and constructive. ” Saudai Khan” is a modest collection of his poetry dealing wit the experiences of life and the ravages of time. The book is in two volumes, and each column consists of homage paid to his ancestors and guide. He composed only 14 ghazals in Urdu.

SHAH ABDUL LATIF BHITAI

Shah Abdul Latif Bhitai (1689-1752) perfected Sindhi poetry both in from and in content and is reckoned as the peerless master of Sindhi verses. The most salient feature of his poetry is Sufism, which he had presented with dexterity in his famous work, Shah Jo Risalo. The main characteristics of Shah Leif’s poetry is that it is a ‘remarkable record of God-intoxicated man’s longing to rise above his level of life in order to meet his Maker”. He had a command to express and interpret the joys and sorrows, hopes and aspirations of the people of Sindh. Shah Latif’s poetry depicts nature and its manifestations in a most vivid and vivacious manner. He had composed beautiful verses on the river Indus, the shining surface of lakes and the barren ranges of hills. He had also versified on the behavior of the sea and the boats and boatsmen living on the shore of the sea. He was the most prolific writer and poet of his age. His poetry is deeply rooted in the soil of Sindh, yet it has a universal appeal.

So great is the impact of his immortal work on Sindhi literature that one hears its distinct echo in all the poetry produced by later generations. From the time of shah Latif to the British conquest of Sindh, there were a large number of Sindhi poets, such as Mohammad Zaman of Luwar, Abdul Grohari, Sachal Sarmast, Bedil, Bekas, Sami, Pir Ali Gohar Asghar (Pir Pagaro), Roohal Faqir, Pir Asghar Ali, Pir Ghulam Shah Rashidi and Sabit Ali Shah Sabit, whose works a still to be found. During the days of the Sumras, the Sammas and later on during the Kalhora and the Talpur period, Sindh was the court languag.

SACHAL SARMAST

Sachal Sarmast (Abdul Wahab) is another Sufi poet of distinction who composed verses on philosophy and Sufism. He was at home in a number of languages and composed poetical pieces in Arabic, Sindhi, Saraiki or Multani, Hindi, Punjabi, Urdu and Persian. His poetry is replete with Divine Love. It is on Monotheism, the Glorious Quran and the Sunnah of the Prophet Mohammad (Peace Be Upon him). He also composed poems of high order in Urdu and Persian. The great Sufi poets-Attar, Jami and Roomi influenced him.

Hiis Sindhi poetry encompasses a wide range of subjects and possesses its own individuality. He perfected a great deal of old style i.e. Abyat and Dohas greatly in vogue before hi, While Shah Latif enhanced the standard of Sindhi to the highest level of excellence in style, diction and subject matter, Sachal Sarmast took the lead in raising the standard and level of kafi, ghazal and marsia in /Sindhi poetry. Unlike Shah Latif, whose compositions are woven around local and folk themes, Sachal has touched on all Great Sufi saints, fountains of knowledge and learning, besides the most popular folktales of the Indus valley. The images, similes, metaphors and allegories employed by Sachal give him a prominent place in Sindhi literature after Shah Latif.

It was in the British period that really good prose began to be produced. Syed Miran Mohammad Shah-I of Tikhar, Diwan Kewal Ram, Ghulam Hussain and Akhund Latifullah are among the early prose writers. But Shamsul Ulema Mirza Qaleech Beg can rightly be called the father of modern Sindhi prose. He is said to have written or translated from other languages about 400 books of poetry, novel short stories, essays etc.

“Diwan-e-Qaleech” is a collection in alphabetical order of his poetry in Sindhi. In contains about 433 verses. Another work of importance is his translation of Rubaiyat-e-Omar Khayyam in which he has followed the same meter as employed in the original Persian work. This translation has filled an important gap in Sindhi literature.

Music the patronage of music in Sindh started wit the advent of Muslims. In 72AD; when the famous Arab General Muhammad Bin Qasim was engaged in his conquest of Sindh, the Sammas of Central Sindh gave him a rousing reception. Headed by musicians, playing the Dhol-and-Shahnai, “Orchestra”, and skilled dancers giving their performances, they came to greet Muhammad Bin Qasim, who echoed the whole show. The grandeur of the musical performance and the big crowd impressed a lieutenant of Muhammad to such an extent that he suggested to the General that their army should pray to God that such a powerful tribe had been subjugated so easily. Muhammad who had a good sense of humor”. The Dhol-and-Shahnai performance whish has been the traditional ” Orchestra” of Sindh, before and since 8th century AD. Is most popular throughout the province even today.

Interest in the classical ‘Hindustani’ as well as the indigenous music in Sindh reached its height in 16th century during the reign of the Turkhan rulers, Mirza Jani Beg and his son Mirza Ghazi Beg. Both the father and the son were great patrons of poets like the famous Talib Amuli and others, and of numerous musicians who invented new musical forms, naghams, and a variety of tunes. Both the rulers were accomplished musicians themselves. Their capital Thatta was the rendezvous.

At the time of someone’s death, the elders of the surrounding villages come to the village Hujra to express their sense of grief and sympathy with the bereaved family and the youngsters hasten to the graveyard for digging a grave and making necessary funeral arrangements. The women of the neighbourhood also go to the house of the bereaved family carrying articles of daily use such as sugar, gur, wheat, rice etc and to offer condolences.

The moment any one expires, his eyes are closed, toes tied, face turned towards Kaaba and placed on a cot (charpaee) in the courtyard. Women sit around the dead body in a circle and weep over it in unison. The lamentation is generally joined by the females of the neighbourhood. Embracing the wife, mother and sisters of the deceased and wailing over the passing away of their dear ones, is the traditional way of lamentation and expression of sorrow. The wailing also includes words in praise of the deceased. Such praise assumes “the form of the chanting of short rhythmical phrases of rhymed prose or verse”. This presents such a sad spectacle that it makes even the onlookers burst into tears. Some women, in a state of deep anguish, resort to Weer i.e. beating of face and chest with both hands and with loud sobs. The burial takes place on the day of death, if the death occurs in the morning, otherwise on the following day.

Weeping in the house continues for at least three days but it sometimes continues intermittently for a fortnight or even forty days. No marriages take place among the deceased’s near relatives till the first anniversary of the deceased is observed. Only in rare cases marriages take place within a year of the occurrence of death and that, too, with the consent of the members of the bereaved family. Music and jolly activities are avoided for at least forty days. The deceased’s family is fed by relatives and friends for three or seven days.

Janaza (Funeral)

Before burial, the corpse is bathed by the village Mullah or some other old man. The dead body is usually washed in the veranda or in a corner of the house. A few candles or a lamp is lighted at this place in the evening for at least three nights to scare away the evil spirits, and people avoid passing over the spot. After the bath the dead body is wrapped in a shroud, placed on a bier, a sheet thrown over it and then taken to the village graveyard in a funeral procession. The funeral procession is preceded by a Mullah and three or four persons, carrying the Holy Quran on their heads. Friends and relatives join the funeral procession and carry the bier turn by turn. Even passers-by become the pal-bearers and accompany the procession for some distance for the attainment of Sawab (pious act). The Janaza prayers (recitation of the burial service by an Imam) joined by mourners from all over the area, are offered in the community graveyard and then the body is lowered into the grave which is always dug north to south with its face turned towards the Kaaba. Later special prayers are offered for the eternal peace of the departed soul. After the burial, alms are distributed among the poor and indigent at the graveyard. This is called Iskat (or Skath/Skat). The Pukhtoons consider the payment of Iskat as an essential part of the religious service and a question of their prestige. Even the poor, who can hardly afford two square meals, borrow money for this purpose to vindicate their honour. It is also one of the customs to present on this occasion a few copies of the Holy Quran to the Mullahs of the area for Quran Khwani (recitation) on the following four Thursdays.

Khairat

The burial ceremony over, some food is served in charity to the poor. This is called Khairat. Rice is cooked in a few cauldrons and the participants in the funeral procession are invited to partake of it. The ulema have preached against this custom, time and again but with little positive effect.

Drema

The third day of the death is called Draima in Pashto or Qul in Urdu. The day is observed with due solemnity. The women of the vicinity assemble in the deceased’s house on that day. They pay a visit to the graveyard in the morning, lay a floral wreath on the grave and offer Fateha. Meanwhile, friends and relatives continue pouring into the village Hujra for offering condolences. This practice continues at least for seven days.

Salwekhti

The 40th day of the death is called Salwekhti in Pashto. The day is rounded off with Khatm-e-Quran, Khairat and distribution of alms. It is observed on a Thursday, five or seven weeks after the day of death.

One laudable custom among the Pukhtoons is that the villagers take upon themselves to supply meals and tea to the bereaved family for three consecutive days after the death. They also look after the guests of the family in the village Hujra. In certain cases the food is continuously supplied for seven days. In some villages expenses on account of the shroud cloth, Khairat and other matters connected with the burial are collectively borne by the fellow villagers as with each head of the family contributing some money for this purpose.

The Pukhtoons have an immense love for their motherland. They cherish a desire to be buried in their ancestral graveyards beside their near and dear ones. In case they die in a foreign land their bodies are brought home for burial. Even on the battle field the Pukhtoons do not leave their dead behind and carry them at a great personal risk.

Pakistan’s main festivals are listed:

1 . Eid-ul-Fitr

Religious festival celebrating end of fasting month on 1st of Shawwal, the 10th month of Islamic Calendar. Special prayer after sun-rise, exchange of sweet dishes, visits.

2. Eid-ul-Azha

Religious festival commemorating the great sacrifice offered by Prophet Abraham. Celebrated on 10 Zilhaj, 12th month of Islamic Calendar. Collective prayers after sun set, sacrifice of goats, sheep, cows or camels and distribution of meat among relatives, friends and poor.

3. Shab-e-Barat
(24 November 2000, 14 November 2001)

Religious festival celebrated on 14th of Shaaban, the 8th Islamic month. Prayers, fire works, exchange of sweet dishes and visits.

4. Eid-e-Milad-un-Nabi :
(Birthday of Prophet Hazrat Mohammad,p.b.u.h. on 12th of Rabi-ul-Awwal – the 3rd month of Islamic Calendar.

5 Christmas. (25 December)

In Pakistan 25 December is a public holiday it is however in memory of Jinnah the founder of Pakistan.
In christian homes they celebrate christmas with the exchanging of gifts and cards, the wearing of new clothes and the visiting of houses of friends.
They have a chruch service which is packed on Christmas day which is called Bara Din the big day.

6 Quaid Day (25 December)

7 Basant

(Spring festival of Colors and Kite-flying)

The festival is held on the second weekend of February. The skies over Lahore explode in a kaleidoscope of color. As the first kite rises over the horizon, a joust for supremacy begins that brings millions of kites of all shapes and sizes, soaring to challenge it. This is a time for festivities that reflect the true Lahori spirit of good-natured competition and appetite for celebration. …….

For a visitor, Basant is the ideal time to appreciate the mood and magic of Lahore. From the floodlit skies, the manic beat of the ‘dhol’ and cries of ‘Bo kata!’ each time the opposition loses a kite, to a constant feast that lasts an entire week. Lahore displays a charm and hospitality unmatched and unrivalled by any other city in the world

8 . Sibi Festival :
(Last week of February)
At Sibi (Balochistan). Traditional sports, handicrafts exhibition, folk music and dances.

9 . Sindhh Horse & Cattle Show
(Last week of February)
At Jacobabad (Sindhh). Similar activities as in Sibi Festival.

10 . Jashan-e-Larkana
(Last week of February)
At Larkana (Sindhh). Traditional sports, exhibition of handicrafts, folk music and dances.

11. Nauroze
(21-23 March)
Celebrated only in Gilgit, Hunza, Skardu and Chitral. Polo, foot-ball, volley-ball and hockey matches, folk dances and music.

12. Mela Chiraghan
(Festival of lamps in memory of sufi-poet Madhu La’l Hussein in March)
Held for 01 week outside Shalimar Gardens, Lahore.

13. Horse & Cattle Show :

(End of March till 1st week of April)
At Dera Ismail Khan. Local games, folk dances, music, cattle races and exhibition of local handicrafts.

14.Besakhi:(April)

Besakhi festival originally started at the time of Aryans arrival in subcontinent but later on it became very popular in Punjab. The first harvesting of wheat in Punjab is sign of happiness and prosperity among the Punjabi farmers and Besakhi is celebrated as an expression of their joy.

The main event of the Besakhi mela will be held on 13 April, the second day of the festival. Gurdwara, which means a door to Guru, is related to Baba Guru Nanak, the founder of Sikh religion. According to the Sikh religion, the Besakhi festival is celebrated only at the holy city of Hassanabdal, where lies the Gurdwara Punja Sahib. In 1921, it was decided by the Gurus (elders) of the Sikh religion to celebrate the event on the first day of Sunsikrat month of Besakh in memory of the day of the first Besakh in the year 1699 when the 10th Guru of the Sikh religion awarded Punj Kaaf slot and symbol to Guru Goband at the city of Anandpur Sahib (India)

15.Holli:(March) By Hindus …..

16.Dewali: (5 Days Hindu Festival)

17. Jashan-e-Shikarpur : (In April for 01 week)
At Shikarpur, Sindhh. Cultural activities, local sports and handicrafts exhibition.

18. Joshi or Chilimjusht : (14-15 May)
Kalash festival of welcoming spring, held in Kalash Valleys near Chitral. Folk dances, music and exchange of dishes.

19. Shandur Polo Festival : (July 7 – 9, 2001)

The favorite sport in Northern Areas is polo, which originated here. It is a more rugged, free-style version that the sedate variety known in the plains.

Passion for Polo is the highest on the world’s highest polo ground. Shandur invites visitors to experience a traditional Polo tournament between the teams of Chitral and Gilgit during the second week of July. The tournament is held on Shandur Pass, the highest Polo ground in the world at 3700 meters. The festival also includes folk music, dancing and a camping village is set up.

20 . Utchal : (15-16 July)

A harvest festival, celebrated by Kalash people in Kalash Valleys, Chitral.

21. Phool : (20-25 September)

Held in Kalash Valleys near Chitral. Reaping grapes and walnuts, dancing and singing.

22. Lok Mela : (1st week of October, for one week)

Folk Festival held at Islamabad. Folk Music, songs, music contests, folk dances, craftsmen at work, exhibition and sale of handicrafts. The festival presents a unique opportunity to watch the culture and craft of the whole country at one place.

23. Chowmas : (18-21 October)

Held in Kalash Valleys near Chitral. Welcoming of winter with first snow-fall. Activities restrict to indoor.

24. Karakoram Car Rally :(3-8 Nov, 2000)

PTDC Rally from Islamabad to Khunjerab Pass (the highest point – 4733 m above sea level). A closing event will be held in Hunza Valley.

25. Pakistan Day : (23 March)

Commemorating the anniversary of Pakistan Resolution passed on March 23, 1940 at Lahore during the public rally of All India Muslim League. Military parade at provincial capitals and Islamabad.

26 . Independence Day : (14 August)

Meeting, processions, rallies, decorations and illustrations all over the country.

27 . Defence Day of Pakistan : (06 September)

Parades and exhibitions of military equipment at Rawalpindi, Lahore, Peshawar, Quetta and Karachi. Visits to the war memorials. (No national holiday except Armed Forces)

28. National Industrial Exhibition Islamabad :
(May 20 – June 10, 2000)

26.Exhibition and sale of Pakistan’s industrial products and handicraft items.

29. National Industrial Exhibition Lahore : (3rd week of November for 15 days)

Held at Fortress Stadium, Lahore. Exhibition and sale of industrial products and handicrafts of Pakistan.

30 . National Horse & Cattle Show Lahore :

(3rd week of November for 05 days )

Held at Fortress Stadium, Lahore. Cattle races, cattle dances, tent-pegging, tattoo show, folk music, dances, bands, cultural floats and folk games.

31. Choimus Festival of Kalash

Much dancing in giant circles around bonfires and chanting in mesmerizing repetitions – with just a drum beat accompanying the voices. The girls wear intricate costumes with head- dresses made of cowry shells, coins and beads with intricate hair braiding and headwear. The heavy headdress weighing several pounds is presented to the girl by her uncle. Other jewellery includes necklaces made from apricot kernels, a traditional gift during Choimus. Women often paint their faces with ink (replacing earlier customs of facial tattooing). Single woman are expected to find themselves a husband during these festivals. Just before the main festival, seasonal foods are offered to the ancestral spirits and a kotik, light for the ancestors, is lit. After this ritual the food, considered impure, is offered to the elderly women to be eaten.

During the festival, purity is paramount and celibacy is enforced throughout the days of the event so all the people will be in pure mind when Balomain visit the valley. All the people must be cleansed in a ritual bathing the week before the festival begins. During the men’s purification ceremony, they must not sit down at all during the day and at night the blood of a sacrificed goat is sprinkled on their faces. Special bread is eaten cooked away from the main village which is prepared by men only during the purification ceremony. Other bread called jaou or choimus bread is prepared for the festival which is stuffed with crushed walnuts and goats cheese.
Special dance halls exist for the purpose of dancing at festivals. They are decorated with ornate carved wooden pillars and goat-like figurines. The music and dance is a performance of set songs: the Cha or clapping song is the simplest song with a lilting dance, sung by the elders, with an energetic round dance and the women cry like goats. The drajahilak songs are long and slow, sometimes one song can last up to 2 hours and it is a kind of solo and chorus using improvisation and variation techniques. The Dushak combines the styles of Cha and Drajahilak, presenting both traditional songs and new compositions.The dancing involves side stepping, fast and rhythmical. During the festival prayers, a procession is made to a high plateau outside of the village in Balanguru.

SUFI FESTIVALS

The fairs held at the shrines of Sufi saints are called Urs. They generally mark the death anniversary of the saint. On these occasions devotees assemble in large numbers and pay homage to the memory of the saint. Soul inspiring music is played and devotees dance in ecstasy. The music on these occasions is essentially folk and appealing. It forms a part of the folk music through mystic messages. The most important Urs are: Urs of Data Ganj Bukhsh at Lahore, Urs of Hazrat Mian Mir at Lahore, Urs of Baba Farid Ganj Shakar at Pakpattan, Urs of Hazrat Bahaudin Zakria at Multan, Urs of Sakhi Sarwar Sultan at Dera Ghazi Khan, Urs of Shah Hussain at Lahore, Urs of Hazrat Bullehe Shah at Kasur and Urs of Hazrat Imam Bari (Bari Shah Latif) at Rawalpindi-Islamabad.

A big fair is organized at Jandiala Sher Khan in district Sheikhupura on the Mausoleum of Syed Waris Shah who is the most loved Sufi poet of Punjab due to his work known as Heer Ranjha.

In December 1993, the Chief Minister, Government of Sindh agreed to a Heritage Foundation proposal to bring about legislation for the preservation of historic architecture.

The Cultural Heritage Advisory Committee, formed under the Sindh Cultural Heritage (Preservation) Act, 1994, met in August 1995, and provided protection to all the buildings identified by the Heritage Foundation and published as Karachi Document 2 and 3 of the National Register. The Committee assigned Heritage Foundation the task of identification and publication of all other significant buildings in Karachi, so that they could also be protected.

Heritage Foundation with its limited resources is proceeding with the immediate finalization and publication of inventories of the remaining buildings of cultural, historic and architectural significance in Karachi.

Through the efforts of Heritage Foundation several important buildings have been preserved, including the Quaid-e-Azam House Museum, Karachi and the G.P.O Building, Lahore, which are the first British-period buildings to be restored. Several buildings such as the Hindu Gymkhana and Jaffer Faddoo Dispensary, Karachi have also been saved from demolition.

Heritage Foundation has completed a systematic inventory of approximately ninety percent of significant buildings built prior to 1947 in Karachi. Several Documents on Karachi’s Quarters have already been published. Further, based on the data that has been collected, detailed proposals for conservation zones are being developed, such as the Saddar Pedestrian Precinct, Karachi’s Cultural Precinct and Frere Hall Cultural District.

An attractive feature of the Pukhtoon way of life is the joint family system which signifies their deep love for the family’s solidarity and welfare. The desire of communal life emanates from a consideration of economic security and integrity. All the family members, even the married sons, live jointly in a house large enough to separately accommodate each married couple under the authority of the father who, as head of the family, manages the family affairs and exercises an immense influence in his own domain.

All the earning hands of the family, married as well as un-married sons, contribute their share of income to the common pool of resources. All expenses on food, clothing, education, health, birth, marriages and deaths are defrayed from this common fund. The mantle of authority falls on the eldest son’s shoulders after the death of the father or when old age renders him unable to discharge his functions efficiently. The system of Nikat (ancestral line) which regulates the shares of losses and gains, debts and liabilities of each family, is the mainstay of Pukhtoon society. The internal management of the household rests with the mother who exercises her authority within her own sphere of influence. The joint family system, however, is gradually giving way to individualistic trends under the impact of modern influences. It is losing its hold, particularly on educated classes and well off sections.

Respect for Elders

The Pukhtoon children are taught to show a great degree of respect to their parents and elders. Senior members of the family, particularly elders, command great respect. Parents are properly and reverently looked after in old age and every effort is made to provide them with all possible comforts. There is a famous Pashto maxim that “Paradise lies under the feet of the parents” and Pukhtoons true to their faith leave no stone un-turned in obtaining their blessings. It is generally believed that parents’ curses bring sorrows, miseries and hardships. Sons and daughters, therefore, refrain from incurring the displeasure and curses of their fathers and mothers.

The elder’s opinion prevails in all important matters. Kashars or youngsters of the community rise from their seats as a mark of respect when an elderly person enters the Hujra. Youngsters are normally not expected to talk or laugh loudly or smoke a cigarette or huqqa in the presence of their elders. Even in tribal Jirgas the younger members of the village are not allowed to speak. Everything is left to the discretion of their elders.

Manners

The Pukhtoons have several ways of greeting and salutation. Strangers passing on a road or thoroughfare exchange courtesies such as “Starrey ma shey” (May you not be tired) and “Pa khair raghley” (welcome). This is answered by “Khudai de mal sha” (May God be with you), “Pa khair ossey” (May you live in peace) and “Ma khwaraigey” (May you not be poor). The Pukhtoons usually embrace their friends and relatives when they meet them after a long absence and warmly receive each other by a hearty handshake. This is followed by a train of questions about each others’ welfare like “Jorr yey” (Are you alright?), “Khushal yey” (Are you happy?), “Takkrra yey” (Are you hale and hearty?) “Warra Zagga Jorr di” (Are your family members hale and hearty?) and “Pa Kor key Khairyat de” (Is every body well at home?).

A visitor entering a village Hujra is greeted with the traditional slogan of “Har Kala Rasha” (May you always come) and he replies “Har kala ossey” (May you always abide). Friends while parting commit each other to the care of God by saying “Pa makha de kha” (May you reach your destination safely), and “Da khudai pa aman” (To the protection of God).

When meeting a pious or an elderly person, a Pukhtoon bows a little and keeps his hands on his chest as a mark of veneration. When talking about a deceased person, they often say “Khudai de obakhi” (May God forgive him). If a man suddenly appears at the time of conversation between some or more persons about him, they immediately exclaim “Omar de ziyat de, Oss mo yadawalay” (You have a long life, we were just talking about you). The Pukhtoons very often use the word “Inshaallah” (God Willing) “Ka Khudai ta manzura wee” “Ka Khair Wee” (if all goes well) when they promise to accomplish a task at a particular time.

Love of Independence

One of the outstanding characteristics of the Pukhtoons, as gleaned from their record, is their passionate love for freedom and violent opposition to any infringement of their liberty. They have preserved their liberty by the force of arms despite heavy odds. Inspite of their ignorance of military science, modern techniques of warfare, lack of sophisticated weapons and material resources, they held their own against every invader, including the British who were one of the most powerful empire builders of their time.

Though at times Pukhtoons were temporarily subdued, they could never be held in permanent subjugation or tied in the shackles of bondage. They offered staunch resistance to any one who ventured to encroach upon their liberty and refused to submit tamely to the position of the vanquished. “Their character, organisation and instincts” says David Ditcher, “have made them independent and strongly democratic, so much so that even their own leaders have little real control over them”.

It is one of the striking features of Pukhtoons in general and Afridis in particular that they give up their individual disputes and tribal feuds, sink their differences temporarily according to the exigencies of the time, form a Sarishta or take a unanimous decision for collective action and fight shoulder to shoulder against their common foe.

The Pukhtoons are fond of firearms which they possess for their personal protection, honour and defence of their homeland. “They are never without weapon when grazing their cattle, while driving beasts of burden; when tilling the soil, only their dots. The love of firearms is a trait in their character, they will enlist or work in order to get the wherewithal and buy matchlock or rifle, the latter being preferred; and if an Afridi at the end of his service has not sufficient to buy one, he makes no scruples of walking off with his rifle and ammunition”. Being gallant and courageous they love to join the army principally to show their mettle on the battle field.

Unsurpassed in vigil and marksmanship every Pukhtoon is almost an army in himself. The writings of many British officers bear testimony to their magnificent fighting qualities, especially of the Afridis, Mahsuds and Waziris who are described by them as “careful Skirmishers” and the best guerilla force of the world in their own hills. The Frontier, as a matter of fact, became the best training ground and an excellent school of soldiering for the British Officers for about a century. It was on account of their martial qualities that they are looked upon as the “Sword arm of Pakistan”.

Among redoubtable Pukhtoon adventurers stand out in bold relief the names of Ajab Khan Afridi, Multan Khan, Kamal Khan, Ajab Khan Yousafzai, Dilasa Khan, Chakkai and Jaggar.

Character of Pashtoon

“The Pathan has been dubbed cruel, treacherous, miserly and, in fact, every epithet of an opprobrious nature has been showered on his devoted head at one time or another by men who were either incapable of seeing things from the Pathan point of view, and of making allowances for his short comings, or who were so hidebound by the humanity mongering sentimentality, which passes today for the hall mark of liberal mind that they shudderingly dismissed the Pathan from their thoughts (presumably with pious ejaculations) as an un-reclaimable savage”.

The character of the Pukhtoons has always been a favourite theme of writers. The detractors of Pukhtoons have painted them in the darkest colours by describing them as savages, brutes, uncouth, cruel and treacherous, while the sympathetic writers have praised their manly bearing, open-heartedness and inherent dignity. To the latter set of historians they are not as barbarous as depicted.

The spirit of adventure and enterprise is characteristic of this hardy race of hillmen. They have their own sense of dignity and would not submit to injustice or insult even at the risk of their own life. The reason of blood feuds is not their vindictive nature or blood thirstiness but a spirit of liberty and the will to uphold justice, defend the right and avenge the wrong. Pride of race, consciousness of natural rights and intolerance of injustice are the remarkable traits of the Pukhtoon character. Tall, muscular and healthy, Pukhtoons are fond of sports and war alike.

Status of Women

Pukhtoon women do not observe the customary purdah but they do wear Burqa while paying visits to cities or distant places beyond their locality. In their outdoor functions, they however, cover the face and body with a Chaddar (sheet) or Dopatta. Why the tribal women do not wear burqa or observe purda as invogue in urban areas, is easy to explain.

Firstly the people of one stock bound together by common ties of flesh and blood dwell in villages. Secondly, the standard of morality is very high in Pukhtoon society and cases of moral turpitude are almost un-heard of. Moreover, the Pukhtoons are so jealous of the modesty and sanctity of their women that they cannot tolerate even appreciation of the beauty or other attributes of their women by an outsider or stranger. They consider such an admiration as an insult to their sense of honour. Immoral practices, especially adultery, elopement, amorous advances, infidelity and illicit liaison between man and woman are put down with a heavy hand and death is a normal penalty in such cases. The guilty pair is generally killed if caught flagrante delicto. It is because of such deterrent punishment that no one dare cast an evil eye on a Pukhtoon woman without peril to his life.

According to the Pukhtoons code of ethics, strangers refrain from loitering about un-necessarily when women set out for fetching water or bringing in grass or wood etc. They also desist from speaking to a woman and similarly it is considered indecent on the part of a woman to talk to a stranger except when she is in dire need of his help.  It is also one of the etiquettes of the Pukhtoons to lower their eyes, gaze at the ground and step aside from the path when a woman comes across their way.

Respect for women is also evident from the fact that she is not interfered with in case of tribal hostilities, blood feuds, village affrays or brawls. During the prosecution of feuds women are exempt from reprisals. It is considered below the dignity of a Pukhtoon to fire at women and according to tribal customs they are at liberty to supply food, water and ammunition to their men engaged in firing at a hill top or entrenchments outside the village.

Though some writers have described tribal women as hewers of wood and drawers of water or only an `economic asset’, they are not socially as inferior as depicted. No doubt, they work hard but it is only a division of labour between man and woman. Though the husband plays a dominant role and the wife a subordinate one in a tribal society, this does not mean that women do not enjoy any respect. They duly exercise authority and influence in their own spheres. As a daughter she is loved, as a wife respected and as a mother venerated. There is a famous saying of the Holy Prophet (Peace Be Upon Him) that heaven lies under the feet of mother, and Pukhtoon hold his mother in high esteem. She has a great deal of say in her domestic affairs. She controls the household finances and wields an over-whelming influence over her sons, daughters and daughters-in-laws.

Besides household work and superintendence of children, the Pukhtoon code of ethics enjoins upon women not to burst into laughter in the presence of strangers or persons with whom they are not closely related; not to address their husbands by name, nor to speak loudly, and avoid being heard beyond the four walls of the house. The wives were required in the past to show the utmost regard for their husbands, remain in attendance while the husband was taking his meals and walk a few paces behind the husband while he went out of the house. There is a famous saying that there are two places eminetly suited for a woman, oen is her own house and the other the grave. But all this does not hold good any more. The status of woman has undergone a remarkable change during the past five decades, principally due to education and economic prosperity. Thanks to the efforts of Pakistan government, big strides have been taken in the field of education. At present more than three thousand educational institutions are functioning in the length and breath of tribal areas with 2,42,862 students on roll. These include 2,13,021 male and 29,841 female students. The spread of education has immensely broadened their outlook. Women are no longer considered inferior and they enjoy the privilege of exerting their healthy and loving influence in domestic spheres.

It may be recalled that there was a strong prejudice against female education, particularly in rural areas before the creation of Pakistan. The conservative and orthodox sections of the society, felt shy of sending their daughters to schools. It was considered disgraceful to send daughters out of doors, and there was a growing feeling that education other than religious, would have a baneful influence on the mind of the young girls. The parents were apprehensive that female education would provide an opportunity to young girls to write amatory letters to young men. But these prejudices against female education no longer exist. Times have greatly changed after Independence and a pleasant revolution has taken place in the ideas of the Pukhtoons about female education.

Tribal women are hardy, industrious, devoted and trust-worthy. They do the entire household work and also help their husbands in the fields. They faithfully stand by their husbands both in weal and woe and resist every foul temptation.

Toora (literally Sword, but means bravery) and Marrana (chivalry and courage) are considered essential traits of Pukhtoon character and women feel proud of husbands possessing such laudable attributes. They possess courage themselves and admire such qualities in others. Even in their folk songs they exhort their lovers to display bravery and courage on the field instead of running away like cowards. The following Pashto couplet and hundred others best illustrate their earnest desire that their near and dear ones should perform acts of valour and heroism on the battlefield:

May you come riddled with bullets,

The news of your dishonour, cowardice

may not reach my ears.

Pukhtoons go to any length in defence of their women folk and their history is replete with many daring examples. One such example was furnished by Ajab Khan Afridi, the hero of the famous Miss Ellis drama on the Frontier. In March 1923, the Frontier Constabulary, with the help of regular British troops, raided Ajab Khan’s village in Dara Adam Khel. The troops with scant regard for the sanctity of women, searched his house and according to certain reports women were subjected to search and insult. This news beat across his mind like a thunder-bolt and Ajab Khan’s anger knew no bounds. Infuriated by the alleged insulting behaviour of the British troops, he vowed to wipe out the insult with insult and retrieve his honour by a similar action. He raided the enemy’s houses and succeeded in lifting Miss Ellis from the heart of Kohat cantonment. He, however, treated the girl honourably and released her after redemption of his honour.

Pukhtoon women wear simple dress. It consists of a Partoog (Trousers), Qamees (Shirt) and a Dupatta (chaddar or scarf). Old women prefer loose and baggy trousers, long shirts with wider sleeves and coloured clothes. Fashionable clothes and footwear are now becoming popular among the new generation owing to constant intermingling of the tribesmen with the inhabitants of cities. New dresses are becoming common, as tribal girls are not averse to modern comforts and fashions. With the march of time, old heavy silver ornaments have been discarded and replaced by modern and delicate ones. Pukhtoon women use a variety of jewellery such as pendants, bracelets and necklaces. The pendants include Paizwan, Nata or Natkai (large nose rings), Chargul, Peeta and Maikhakay (small nose ornaments), Wallai, Jarmootey, Dewadi and Duroona (large ear rings), and Teek worn on the forehead. The bracelets comprise of Wakhi, Bavoo, Karrey and Bangri or bangles. Haar and Taweezoona may be mentioned among necklaces. Besides the use of silver ornaments called Sangley (Pazaib) worn round feet near ankle, Ogey or neclet, Zanzeer or chain and finger rings, are also in common use.

The Paizwan is suspended below the nostril edge. Chargul and Nata are worn on the right side of the outer part of the nose and Maikhakai and Peeta, comparatively smaller ornaments, are worn on the left side of the nose. Haar and Taweezoona consist of three to five flat silver pieces about one and half inch square each, are worn over the breast. The Zanzeer, a silver ornament about ten inches in length and imbedded with shining stones, is also suspended from the shirt collar on the breast.

Cotton and wool are the main material used in clothes and these are woven and dyed and made into garments by each family or group.

Women wear the Chadri, which covers a woman from head to foot with a latticed slit for the eyes, is made of cotton in shades of blue, brown, black. In the rural parts, women working on the land dispense with this, but cover their faces in the presence of a stranger. The women near Pakistan’s border wear long, full trousers, often red in colour, with a loose, long-sleeved tunic dress, rather like the kameez, together with a draped headscarf. This is the basis of many of the women’s costumes and the tunic varies in length and design. In the northern areas striped material is used, often dyed red from madder or in shades of blue and brown. Loose sleeveless, hip-length jackets are worn in full-length striped coat for warmth.

Young girls go bareheaded, but women cover their heads with long headscarves, the colours varying according to the groups to which they belong. The scarves are tied round the head, leaving a long end hanging down the back, which can be drawn across the face. A white headscarf signifies the married status.

The men wear a thigh-length or knee length, long-sleeved shirt which is belted at the waist with a skirt effect to the lower half. A sleeveless waistcoat is worn over the shirt and there are loose fitting white trousers. Another form of dress is the long-sleeved, ankle-length ‘chupan’. This is a long coat made in wool, often white in colour and worn by the mountain people in the winter season. The chupan is worn over loosely fitting jackets and trousers, or is wrapped round the body like a cloak. There is also a similar type of coat which is made in stripes of darkish colours.

In the winter, thick woolen, hand-knitted stockings are worn with leather boots. Children and adults wear sandals or a form of boot as protection against the rough mountainous ground or earth. The hide comes from the Yak, which is found throughout the highlands of central Asia. In the cities, the open toe sandals is very common and sometimes shoes with up-pointed toes are seen. There are various forms of headgear which include the large turbans with a long end hanging down the back, neat around astrakhan hats, woolen knitted hats and large fur sheepskin hats.

Turbans

Pakhtoon men wear a variety of turbans,  there are differences in the way men cover their heads. some of them wear a long turban – perhaps two twined together–with one end hanging loose over his shoulder. Some favors a solid black turban tied above there forehead.Some men  do not wear turbans at all but rather a distinctive pakhtoon hat.