Promoting Culture Through a Swat Valley Complex

1 | P a g e : p r o m o t i n g c u l t u r e & t r a d i t i o n s t r o u g h f a c i l i t a t i o n
“ c u l t u r e c o m p l e x a t s w a t ”
CULTURE COMPLEX
PROMOTING CULTURE AND TRADITION TROUGH FACILITATION
CULTURE COMPLEX AT SWAT
BY
ADNAN BACHA
CMS ID : 21442
SUPERVISED BY
AR. NAVEED UR REHMAN ANWER
DEPARTMENT OF ARCHITECTURE
BALOCHISTAN UNIVERSITY OF INFORMATION TECHNOLOGY, ENGINEERING &
MANAGEMENT SCIENCES QUETTA
SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE
DEGREE OF
BACHELOR OF ARCHITECTURE
2017

BALOCHISTAN UNIVERSITY OF INFORMATION TECHNOLOGY, ENGINEERING &
MANAGEMENT SCIENCES
CERTIFICATE
It is to certify that the work presented in this thesis on (PROMOTING CULTURE AND TRADITION
TROUGH FACILITATION ‘’CULTURE COMPLEX AT SWAT’’) is entirely written by ADNAN BACHA
(CMS ID: 21442) himself under the supervision of Ar. NAVEED UR REHMAN ANWER.
PROJECT / THESIS SUPERVISOR EXTERNAL ADVISOR
Ar. NAVEED UR REHMAN ANWER Ar. SHAUKAT SHAHRAR
Ar. JALAL FAISAL
Chairperson
Department of Architecture
BUITEMS, QUETTA.

CULTURE COMPLEX
(PROMOTING CULTURE AND TRADITION TROUGH FACILITATION)
BY
ADNAN BACHA
CMS ID: 21442
THIS THESIS IS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE
OF BACHELOR OF ARCHITECTURE, BUITEMS.
SUPERVISOR
Ar. NAVEED UR REHMAN ANWAR
THESIS ADVISOR
Ar. SOHAIL AHMED Ar. SHAUKAT SHAHRAR
EXAMINATION COMMITTEE:
1. …………………………………………………………..
2. …………………………………………………………..
3. …………………………………………………………..
DEPARTMENT OF ARCHITECTURE
BALOCHISTAN UNIVERSITY OF INFORMATION TECHNOLOGY, ENGINEERING & MANAGEMENT
SCIENCES
2017

DEDICATION
First and foremost I would like to thank God. You give me the power to believe in my passion.
To my Parents
This thesis is dedicated to my father, who taught me that the best kind of knowledge to have is
that which is learned for its own sake. It is also dedicated to my mother for always Loving,
Caring, Praying and Believing in me.
Thank you for earning an honest living for us and for supporting and for encouraging me to
Believe in myself.
And
Also, to my Best Friends without whom it would not be possible.

Acknowledgement
I am grateful to the God for the good health and wellbeing that were necessary to complete this
book. Foremost, I would like to express my sincere gratitude to my advisor lecture. NAVEED
UR REHMAN ANWER for the continuous support of my study and research, for his patience,
motivation, enthusiasm, and immense knowledge, For providing such a nice support and
guidance, although he had busy in lots of work. His guidance helped me in all the time of
research and writing of this thesis. I could not have imagined having a better advisor and mentor
for my study.
I also place on record, my sense of gratitude to one and all, who directly or indirectly, have lent
their hand in this venture.
I also thank my family who encouraged me and prayed for me throughout the time of my
research. For the one who always believed that I could be whatever I wanted, that I should never
give up, and told me always to believe in myself. Thank to my father BADSHAH SAID.

ABSTRICT
The project will focus on the development and promotion of diminishing SWAT VALLEY. It
would not only promote the gradually fading identity but it would also attract both
local/International tourists to get familiar with local history, sacrifice, and heritage and future.
“There is beauty in our scars they cannot see”
In this way we will promote the ideology of peace, humanity, sacrifices, culture, tourism and
present at international level.
To study about “SWAT PARADISE” and identify areas in the design program to enhance the
experience of the visitors for CULTURE COMPLEX.
Platform for ARTISTS to come and show their ART and CRAFT and help TOURIST and world to
know about their CULTURE and future.
The main reason of choosing this project is to promote the culture, peace, patriotism, self-
reliance, trust and show what we are capable of .We gave many oblations to achieve this stage
to where we are now.
Thousands of tourists visit swat and this architectural space helps to promote our culture at the
international level. This is a way we can modify our culture, peace, patriotism, self-reliance, and
trust on our people, knowledge of our culture and heritage, increase in tourism and research
sector.

Table of Contents
CHAPTER 1 ...............................................................................................................................................15
INTRODUCTION ......................................................................................................................................15
1.1 BACKGROUND OF STUDY..................................................................................................................15
1.2 FUNCTION OF CULTURAL COMPLEX .................................................................................................15
1.3 THEME OF STUDY..............................................................................................................................15
1.4 PROBLEM STATEMENT......................................................................................................................15
1.5 AIM AND OBJECTIVES........................................................................................................................15
1.6 SCOPE OF STUDY...............................................................................................................................16
1.7 SIGNIFICANCE OF STUDY...................................................................................................................16
1.8 JUSTIFICATION OF STUDY .................................................................................................................16
1.9 LIMITATIONS OF STUDY ....................................................................................................................16
Chapter 2.....................................................................................................................................................17
Literature review.....................................................................................................................................17
Culture studies........................................................................................................................................17
2.1 Cultural complex...............................................................................................................................18
2.2 King abdulaziz center for world culture dhahran, saudiarabia.........................................................18
2.3 History of culture ..............................................................................................................................19
2.4 Pakistani culture................................................................................................................................19
2.5 Pashtuns defined...............................................................................................................................20
2.6 Theories of Pashtun origin................................................................................................................21
2.7 Bani Israel theory..............................................................................................................................21
2.8 Mughal-era historiography ...............................................................................................................22
2.9 Lost Tribes.........................................................................................................................................22
2.10 PASHTUNS TODAY...........................................................................................................................23
2.11 Khyber pakhtunkhwa......................................................................................................................23
2.12 Khyber Pakhtunkhwa Province have 7 Administrative Divisions....................................................24
2.13 Khyber Pakhtunkhwa Province has 26 District. ..............................................................................24
2.14 Etymology .......................................................................................................................................25
2.15 Khyber pakhtunkhwa culture..........................................................................................................26
2.16 The Pashtun Code of conduct.........................................................................................................27

2.16.1 Pashtunwali..............................................................................................................................28
2.16.2 Main principles.........................................................................................................................28
2.16.3 Melmastia ................................................................................................................................28
2.16.4 Nanawatai................................................................................................................................29
2.16.5 Nyaw aw Badal.........................................................................................................................30
2.16.6 Turah........................................................................................................................................30
2.16.7 Sabat ........................................................................................................................................31
2.16.8 Khegaṛa ....................................................................................................................................31
2.16.9 Groh .........................................................................................................................................31
2.16.10 Pat, Wyaar aw Meṛaana.........................................................................................................32
2.16.11 Naamus ..................................................................................................................................32
2.16.12 Ewaad.....................................................................................................................................32
2.16.13 Nang.......................................................................................................................................33
2.16.14 Panah .....................................................................................................................................33
2.17 Social Life of Pukhtoons..................................................................................................................33
2.17.1 Family.......................................................................................................................................33
2.17.2 Respect for Elders ....................................................................................................................34
2.17.3 Manners...................................................................................................................................34
2.17.4 Love of Independence..............................................................................................................35
2.17.5 Character of Pashtoon ............................................................................................................35
2.17.6 Status of Women .....................................................................................................................35
Fig. 15: Pashtun women......................................................................................................................36
2.18 Jirga.................................................................................................................................................36
2.18.1 Selection of the Jirga................................................................................................................37
2.18.2 Types of Jirga............................................................................................................................37
2.18.3 Loyajirga...................................................................................................................................38
2.18.4 Qaumi or Ulusi Jirga.................................................................................................................38
2.18.5 Shakhsi Jirga.............................................................................................................................39
2.19 Hujra................................................................................................................................................39
2.19.1 Purpose of a hujra....................................................................................................................42
2.19.2 Origin of the hujra....................................................................................................................42

2.20 Flavours of Pashto Music ................................................................................................................42
2.20.1 Pashto music has two distinct aspects: ...................................................................................43
2.20.2 Classical....................................................................................................................................43
2.20.3 Traditional................................................................................................................................43
2.20.4 Tappa........................................................................................................................................43
2.20.5 Charbeta...................................................................................................................................43
2.20.6 Neemakai .................................................................................................................................43
2.20.7 Loba..........................................................................................................................................44
2.20.8Shaan.........................................................................................................................................44
2.20.9 Rubayi.......................................................................................................................................44
2.20.10 Ghazal.....................................................................................................................................44
2.20.11 Types of Instruments .............................................................................................................44
2.21 Atanrh Traditional Dances of Pashtoon..........................................................................................45
2.21.1 KhattakWa lAtanrh...................................................................................................................46
2.21.2 MahsoodWa lAtanrh................................................................................................................46
2.21.3 Waziro Atanrh..........................................................................................................................47
2.21.4 MarwatWal Atanrh ..................................................................................................................47
Fig. 28..................................................................................................................................................48
2.21.5 BhittaniAtanrh..........................................................................................................................48
2.22 Sports and Games of Pashtoons .....................................................................................................48
2.23 Arts and Crafts ................................................................................................................................49
2.23.1 Amel.........................................................................................................................................49
2.23.2 KallaDozi...................................................................................................................................50
2.23.3 Patkayshamla...........................................................................................................................50
2.23.4 Rosary.......................................................................................................................................51
2.23.5 Karoshia Work..........................................................................................................................51
2.23.6 Kasheeda..................................................................................................................................52
2.23.7 GotaKinari ................................................................................................................................52
2.24 Wood Work.....................................................................................................................................53
2.25 Tilla Kari...........................................................................................................................................55
2.25.1 Woollen Carpet Weaving.........................................................................................................55

2.25.2 KaloshaSazi...............................................................................................................................55
2.25.3 Patou/Sadar .............................................................................................................................55
2.25.4 Chapali......................................................................................................................................55
2.26 MY PROJECT AREA SWAT CULTURE HISTORY AND TRADITIONS ....................................................56
2.27 Time line of swat history.................................................................................................................56
2.28 Buddhism era in swat......................................................................................................................57
2.29 Stupa in swat...................................................................................................................................58
2.30 Swat museum..................................................................................................................................58
2.31 History of swat museum .............................................................................................................59
2.31.1 Collections................................................................................................................................59
2.32 Swat.................................................................................................................................................59
2.33 Etymology .......................................................................................................................................61
2.34 The Yousufzai State of Swat............................................................................................................61
2.35 Civil Administration.........................................................................................................................63
2.36 The Ruler.........................................................................................................................................63
2.37 Secretariat.......................................................................................................................................63
2.38 Administrative Officials...................................................................................................................64
2.39 Military Administration...................................................................................................................65
2.40 Organizational Structure.................................................................................................................65
2.41 Types of the Armed Forces .............................................................................................................65
2.42 Sources of the Revenue ..................................................................................................................66
2.43 Judicial Administration....................................................................................................................66
2.44 Rules and Regulations....................................................................................................................67
2.45 Physical Features.............................................................................................................................67
2.45.1 Mountainous Ranges ...............................................................................................................67
2.45.2 The Plain...................................................................................................................................67
2.46 Mineral Resources ..........................................................................................................................67
2.46.1 China Clay.................................................................................................................................68
2.46.2 Soap Clay..................................................................................................................................68
2.46.3 Marbles ....................................................................................................................................68
2.46.4 Emerald....................................................................................................................................68

2.47 Industries ........................................................................................................................................68
2.48 Handicrafts......................................................................................................................................69
2.48.1 Woolen Blankets..........................................................................................................................69
2.48.2 Shawl............................................................................................................................................69
2.48.3 Rugs..........................................................................................................................................69
2.48.5 Panrae or Panhey.....................................................................................................................70
2.48.7 Furniture ..................................................................................................................................70
2.49 Races ...............................................................................................................................................70
2.49.1 Mian (Plural Miangan) .............................................................................................................70
2.49.2 Mula (plural Mulan) .................................................................................................................71
2.49.4 Kohistani ..................................................................................................................................71
2.49.5 Gujar.........................................................................................................................................72
2.50Languages ........................................................................................................................................72
2.51Religion ............................................................................................................................................72
Chapter 3.....................................................................................................................................................73
Case studies.................................................................................................................................................73
1 ..................................................................................................................................................................73
NAIONAL CASE STUDY.............................................................................................................................73
LOK VIRSA ISLAMABAD ...........................................................................................................................73
2 ..................................................................................................................................................................73
INTERNATIONAL CASE STUDY.................................................................................................................73
NATIONAL MUSEUM OF THE AMERICAN INDIAN...................................................................................73
3.1 National case study Case study 1......................................................................................................74
3.2 National Institute of Folk & Traditional Heritage LokVirsa...............................................................74
3.4 Location.............................................................................................................................................75
3.5 Heritage Library.................................................................................................................................76
3.6 Media center.....................................................................................................................................77
3.7 Research and Publications center.....................................................................................................77
3.8 MUSICAL HERITAGE ..........................................................................................................................78
3.9 THEMATIC EXHIBITIONS....................................................................................................................79
3.10 JEWELLERY & METAL WORK ...........................................................................................................80

3.11 ETHNIC TRIBES ................................................................................................................................80
3.12 BALLADS & ROMANCES...................................................................................................................81
3.13 TEXTILE & EMBROIDERY..................................................................................................................82
3.14 Conclusions of LokVirsa..................................................................................................................83
INTERNATIONAL CASE STUDY.................................................................................................................84
3.2.1INTRODUCTION:..............................................................................................................................84
3.2.2 LOCATION: .....................................................................................................................................84
3.2.3 DESCRIPTION:.................................................................................................................................85
3.2.4 NATIONAL MUSEUM OF THE AMERICAN INDIAN .........................................................................85
3.2.5 TOPOGRAPHY.................................................................................................................................88
3.2.6 INFRASTRUCTURE ..........................................................................................................................88
3.2.7 PLANNING ......................................................................................................................................88
3.2.8 SPECIAL FEATURES.........................................................................................................................89
3.2.9 CRITICAL ANALYSIS.........................................................................................................................89
Chapter 4.....................................................................................................................................................90
Site analysis.............................................................................................................................................90
Site analysis.........................................................................................................................................91
4.1 SITE....................................................................................................................................................91
4.2 SITE SELECTION .................................................................................................................................91
4.2.1A. VISIBILITY ................................................................................................................................91
4.2.2 B.ACCESSBILTY ...........................................................................................................................92
4.2.3 C. ADAPTABILTY .........................................................................................................................92
4.2.4 D. SECURITY AND SAFETY...........................................................................................................92
4.3 SITE ANALYSIS ...................................................................................................................................92
CHAPTER 5 ...............................................................................................................................................94
5. DESIGN CONSIDERATION....................................................................................................................94
5.1 REQUIROMENTS................................................................................................................................95
5.2 OPEN AREA....................................................................................................................................95
5.3 ARCHITECT BRIEF ..........................................................................................................................95
6. CONCLUSIONS.....................................................................................................................................99
CHAPTETR: 6..........................................................................................................................................100

6.1 BIBLOGHRAPHY AND REFTRENCES .................................................................................................100
6.2 BOOKS ........................................................................................................................................101
6.3 References ......................................................................................................................................101

CHAPTER 1
INTRODUCTION
1.1 BACKGROUND OF STUDY
A cultural complex is a place that is conserved for a collection of artifact and other objects of
scientific, artistic, cultural and historical importance. A cultural complex makes all these objects
available for public visits, through permanent or temporary exhibitions. Large numbers of
cultural complex are located in major cities of the world.
1.2 FUNCTION OF CULTURAL COMPLEX
The function of Cultural complex is to enhance cultural values of different Tribes located in the
region. The location of the cultural complex had a great influence on the selected topic. The
Reason is as there is no representative building for the cultural present in the region.
1.3 THEME OF STUDY
To enhance the culture and heritage of the area through display the cultural complex giving
identity to the local people of swat.
1.4 PROBLEM STATEMENT
Culture and climatic change affecting the living style of the swat valley people. Due to dynamic
culture, history of swat the historic building of the region and the community integration are
vanished .Unawareness of the people about the cultural heritage, architectural style and primitive
construction techniques. No proper platform for exposure of local craft and cultural heritage. It’s
important to preserve the original culture of swat which facing rapid changes. Lake of culture
promotive platform of swat culture for literature performing art and local crafts.
1.5 AIM AND OBJECTIVES
 To promote the custom and culture of swat for the attraction of visitors from all over the
world.
 To Collect and preserve artifacts of historical traditional and cultural importance used and
practiced on the valley of swat.
 To protect and enhance the cultural resources that makes the valley unique.

 To create cultural nodes across the region stimulate art and participations.
 To increase tourism activities using indigenous recourses to attract tourist.
 To save the history of swat and also cultural components of swat.
1.6 SCOPE OF STUDY
Create awareness among the people of region about their language and culture.To make the
cultural knowledge.Encourage the tourism .To appreciates the tourism business.Making the
international value of culture and local language Become a monument in city.Appreciate the
recreational and cultural activities.
1.7 SIGNIFICANCE OF STUDY
The research will be significant endeavor in promoting swat culture. This study will also be
helpful to the students and others.
1.8 JUSTIFICATION OF STUDY
Pakistan have 5 provinces and every province has different culture and everywhere is a culture
problems, but if we see the culture festivals that compare to the other provinces there are large
number of festivals held in KP as compare to the other provinces, and swat is top on the list in
KP because of tourists visit most of the cultural programs are organized in swat. to save the
culture and history and create awareness of culture and history among the students and the
peoples of swat.
1.9 LIMITATIONS OF STUDY
The study will focus on Pukhtoon culture and the use of local materials as well as techniques of
construction. The research will also focus on showing the history and culture of the area.

Chapter 2
Literature review
Culture studies

2.1 Cultural complex
A cultural complex or cultural center is an organization, building or complex that
promotes culture and arts. Cultural centers can be neighborhood community arts organizations,
private facilities, government-sponsored, or activist-run. Culture complex.a group
of culture traits all interrelated and dominated by one essential trait: Nationalism is a culture
complex. Examples of Culture. Culture can be viewed as the customs, arts and social interactions
of a particular nation, people, or other social group. It can also be defined as an appreciation of
the arts and human intellectual achievement.
2.2King abdulaziz center for world culture dhahran, saudiarabia.
the building broke ground in 2008, and, once complete, will offer a range of cultural facilities for
local, national, and international guests. the ambitious 100,000 square meter development
includes an auditorium, cinema, library, exhibition hall, museum, and archive.
Fig. 1: King abdulaziz center for world culture dhahran, saudiarabia.

the king abdulaziz center for world culture is located in dhahran, saudiarabia, within close
proximity to the ‘prosperity well’, a national landmark commemorating the place where oil was
first discovered in the arab state. designed by snøhetta, the fully integrated institution will house
world class archives, library, learning center, a four-gallery museum and children’s museum
(presenting rotating and permanent exhibitions), cafes and gift shops, and will play host to youth
enrichment and innovation programs, as well as act as a major venue for live and multimedia
events
2.3 History of culture
Cultural history combines the approaches of anthropology and history to look at popular
cultural traditions and cultural interpretations of historical experience. It examines the records
and narrative descriptions of past matter, encompassing the continuum of events (occurring in succession
and leading from the past to the present and even into the future) pertaining to a culture. Cultural history
records and interprets past events involving human beings through the social, cultural,
and political milieu of or relating to the arts and manners that a group favors. Jacob Burckhardt (1818-
1897) helped found cultural history as a discipline. Cultural history studies and interprets the record
of human societies by denoting the various distinctive ways of living built up by a group of people under
consideration. Cultural history involves the aggregate of past cultural activity, such as ceremony, class in
practices, and the interaction with locales.
2.4 Pakistani culture
Life style basically shows the living standard of people. All the provinces of Pakistan have
different life style. They spoke different languages; dress up themselves according to their
culture and the variety of food makes them unique from others. Thus cultural effect can be seem
in their life styles. The society and culture of Pakistan comprises numerous ethnic groups:
the Punjabis, Potwaris,Kashmiris, Sindhis in east, Muhajirs, Makrani in the
south; Baloch, Hazaras and Pashtuns in the west;
andthe Dards, Wakhi, Baltis and Burusho communities in the north. The culture of these
Pakistani ethnic groups have been greatly influenced by many of its neighbors, such as the
other South Asians, Turkic peoples as well as the peoples of Central Asia and West Asia.

Fig. 2: different Pakistani cultures.
2.5 Pashtuns defined
Among historians, anthropologists, and the Pashtuns themselves, debate rages concerning what defines a
Pashtun. The most prominent views follow:
Pashtuns predominantly constitute an Eastern Iranian people, speakers of the Pashto language
and who live in a contiguous geographic location across Pakistan and Afghanistan. That
represents the generally accepted academic view.
Pashtuns, Muslims, follow Pashtunwali, as well as being Pashto-speakers and meeting other
criteria.
In accordance with the legend of QaisAbdur Rashid, (c. 575 - 661 C.E.) the figure
traditionally regarded as progenitor of the Pashtun people, Pashtuns relatepatrilineality to
legendary times. Those three definitions constitute the ethno-linguistic definition, the
religious-cultural definition, and the patrilineal definition, respectively.
Fig.3

2.6 Theories of Pashtun origin
There are multiple claims or theories about the origins of the Pashtun tribes. Among them are (1)
the traditional legend of descent from King Saul, sometimes called the Bani Israel origin theory;
(2) descent from Abraham (Hazrat Ibrahim) and Keturah (Qatora); (3) descent from the soldiers
of Alexander and the Greek south Asian kingdoms; (4) descent from Aryan (East IndoEuropean)
tribes; and (5) Hephthalite (White Hun) descent. Prior to DNA studies, it was generally
acknowledged that their origins were obscure, and modern scholars suggest that a single origin
of the Pashtuns is unlikely.
Fig.4: time line of Pashtun origin.
2.7 Bani Israel theory
There is a tradition among the Pashtuns of being descended from the exiled lost tribes of Israel. This
tradition was referenced in 19th century western scholarship and was also incorporated in the "Lost
Tribes" literature popular at the time (notably George Moore's The Lost Tribes of 1861). Recently
(2000s), interest in the topic has been revived by Jerusalem anthropologist Shalva Weil,

The traditions surrounding the Pashtuns being remote descendants of the "Lost Tribes of Israel" is to be
distinguished from the historical Jewish community in Eastern Afghanistan or North West Pakistan
which flourished from about the 7th to the early 20th century, but which has essentially disappeared due
to emigration to Israel since the 1950s.
2.8 Mughal-era historiography
According to the Encyclopaedia of Islam, the theory of Pashtun descent from Israelites is traced
to Maghzan-e-Afghani, a history compiled for Khan-e-JehanLodhi in the reign
of Mughal Emperor Jehangir in the 16th century. The Maghzan-e-Afghani's Bani-Israel theory has been
discounted by modern authorities, due to numerous historical and linguistic inconsistencies.
In his universal history Mirat-ul-Alam – The Mirror of the World – Bukhtawar Khan describes the
journeys of the Pashtuns from the Holy Land to Ghor, Ghazni, and Kabul. Similarly, Rahmat bin Shah
Alam, in his Khulasat-ul-Ansab and Fareed-ud-Din Ahmad in Risala-i-Ansab-i-Afghana provide the
history of the Afghans and deal with their genealogies.
Two of the most famous historical works on the subject are Tarikh-i-Afghana – History of the Afghans –
by Nimat Allah al-Harawi, which was translated by Bernard Dorn in 1829, and Tarikh-i-Hafiz
Rahmatkhani, by Muhammad Zadeek which he wrote in 1770. "Tawarikh-e-Hafiz Rehmatkhani"was later
translated and provided with footnotes by Khan Roshan khan. These books deal with the early history of
the Pashtuns, their origin and wanderings in general. They particularly discuss the Yusuf Zyes
(the Yusefzai, "Sons of Joseph") and their occupation of Kabul, Bajoor, Swat, Peshawar and only some
of Charsadda (District of Peshawar).
2.9 Lost Tribes
Joseph-Pierre Ferrier wrote his History of the Afghans in 1858 (translated by Capt. W. M. Jesse). Ferrier
was disposed to believe that the Pashtuns represented the Ten Tribes of Israel. In support of his view he
recorded, among others, a very significant fact: “When Nadir Shah marching to the conquest of India
arrived at Peshawar, the chief of the tribe of YoosoofZyes (Sons of Joseph) presented him with a Bible
written in Hebrew and several other articles that had been used in their ancient worship and which they
had preserved. These articles were at once recognized by the Jews who followed the camp. So the
presence of Bibles among Pashtuns show their Jewish origin.

George Moore published his work The Lost Tribes in 1861. He gave numerous facts to argue that these
tribes are traceable to India. After giving details of the character of the wandering Israelites, he said: "And
we find that the very natural character of Israel reappear in all its life and reality in countries where
people call themselves Bani Israel and universally claim to be the descendants of the Lost Tribes. The
nomenclature of their tribes and districts, both in ancient Geography, and at the present day, confirms this
universal natural tradition. Lastly, we have the route of the Israelites from Media to Afghanistan
and India marked by a series of intermediate stations bearing the names of several of the tribes and
clearly indicating the stages of their long and arduous journey." [George Moore, The Lost Tribes]
Moore goes on to say: "Sir William Jones, Sir John Malcolm and the missing Chamberlain, after full
investigation, were of the opinion that the Ten Tribes migrated to India, Tibet, and Cashemire [Kashmir]
through Afghanistan." [George Moore, The Lost Tribes]
2.10 PASHTUNS TODAY
Most Pashtuns today are Sunni Muslims, although a small minority are Shi'a. As a result, some aspects of
Pashtunwali seem to derive from Muslim law, which was introduced long after the code first developed.
Fig.5: Pashtun cultural dresses.
2.11 Khyber pakhtunkhwa
Khyber-Pakhtunkhwa formerly the North-West Frontier Province, or NWFP, runs for over 1,100
kilometers along the border with Afghanistan. Peshawar is the capital, and the heart of the
province is the fertile Vale of Peshawar, which is watered by the Kabul and Swat rivers. This

was the center of the ancient kingdom of Gandhara and is rich in archaeological remains. It is
bounded by Afghanistan to the west and north, Punjab province to the southeast, and Baluchistan
province to the southwest. On the western boundary of Khyber Pakhtunkhwa, along the Afghan
border, are the federally administered tribal areas, a series of semi-autonomous areas that are
ethnically homogeneous with the province but not politically connected to it.
2.12 Khyber Pakhtunkhwa Province have 7 Administrative Divisions.
1- Bannu
2- Dera Ismail Khan
3- Hazara
4- Kohat
5- Malakand
6- Mardan
7- Peshawar
2.13 Khyber Pakhtunkhwa Province has 26 District.
Abbottabad LakkiMarwat
Bannu Lower Dir
BatagramMalakandkarak upper dir
BunerMansehra swat
CharsaddaMardan tank
ChitralNowsherakohistan lower kohistan
Dera Ismail Khan Peshawar torghar
HanguShangla

Fig. 6: map of khyberpakhtunkhwa.
2.14 Etymology
khyberPakhtunkhwa means "Khyber side of the land of Pakhtuns while only the
word Pakhtunkhwa means "Land of Pakhtuns and according to some scholars it means "Pashtun
culture and society. Pashtun is the name of an ethnic group from Afghanistan and Pakistan. The
other name for Pashtun is Pathan. Pakhtuns is also the word that is used for the same ethnic
group as well. Here we are discussing the Pashtuns of Pakistan that are most living in the
Northern Areas and Khyber Pakhtunkhwaof Pakistan. However, pakhtunsalso lives in various
other parts of the Pakistan as well but in Pakistan, these are the ethnic to the Khyber
Pakhtunkhwa. In term of cultures and traditions, Pakistani land is very fertile that represents the
diverse cultures and traditions.

2.15 Khyber pakhtunkhwa culture
Pashtun culture is based on Islam and Pashtunwali, which is an ancient way of life, as well as speaking of
the Pashto language and wearing Pashtun dress. The culture of the Pashtun people is highlighted since at
least the time of Herodotus (484-425 BC) or Alexander the Great, when he explored
the Afghanistan and Pakistan region in 330 BC. The Pashtun culture has little outside influence, and,
over the ages, has retained a great degree of purity. if talk about the Pashtuns culture then this is entirely
based on the Pashtunwali and to some extent in Islam. . Most of the current culture of Pashtunwali dated
back to the Alexander’s defeat of the Persian Empire in 330 BC. That’s why Pashtun culture is also
considered as the pre-Islamic tradition as well. The main ethnic group in the province are the Pashtun
people; other smaller ethnic groups include most notably the Hindkowans, Dards, ChitralisKalash and
Gujjars. The provincial language is Pashto, spoken by the majority as first language; Urdu, the national
language, is widely spoken as a second language. English, the official language of Pakistan, is mainly
used for official and literary purposes. The provincial capital and largest city is Peshawar.
Fig.7: timeline of Khyber pakhtunkhwa.

Fig.8
2.16 The Pashtun Code of conduct
Pakhtun cultural practice does not lend itself to an easily understood linear narrative: a rational
epistemological grid cannot be imposed on their worldview. The culture is, rather, a unique
harmony of contradictions. Pakhtunwali is the culture and way of life of the Pakhtuns, in which
all the laws relating to social life are present in unwritten form. Though not a religion, but a very
sacred code of conduct, Pakhtuns love their Pashto so much that it has almost gained the status of
a religion. It is so dear to the Pakhtuns that sometimes and in some special circumstances they
call it “The 5th religion,” because most of the Pakhtuns are followers of the four creeds of Islam.
So Pakhtunwali and its rules can only be understood with reference to the different domains of
Nang or honor, the basic value of Pakhtunwali and a basic characteristic of a Pakhtun
personality. Sharam (shame), Nang (Honor), Peghore (taunt) and Badal (revenge) are the central
pillars of the Pakhtun Culture. Sharam (shame) includes the disrespect of women, family,
relation, community, ethnicity, nationality and culture. The strength of Nang, the sense of honor
attached to each of these domains, varies according to the situation.

2.16.1 Pashtunwali
Pashtunwali orPakhtunwali is a non-written ethical code and traditional lifestyle which the indigenous
Pashtun people follow. It is a system of law and governance that began during prehistoric times and is
preserved and still in use today, mostly in the rural tribal areas. Central to identity as a Pakhtun is
adherence to the male-centered code of conduct, the Pashtunwali( orPakhtunwali). In the tribal
model, conformity to Pashtunwali defines what it means to be "really" Pashtun. Their
injunctions clearly point back to a nomad state of society, when a man depended on his
immediate relations, not on laws, for protection, and when to refuse hospitality was equivalent
to murder. Pashtunwali, a code good enough for wandering shepherds, when land and water
were abundant for all, tended to foster the best virtues of barbarians, and probably produced a
simple, hospitable, and spirited race. It has not kept pace with the increase of population, and
the change from a pastoral to a settled life.
Fig. 9:pakhtunwali code of conducts.
2.16.2 Main principles
Although not exclusive, the following eleven principles form the major components of
Pashtunwali. They are headed with the words of the Pashto language that signify individual or
collective Pashtun tribal functions.
2.16.3 Melmastia
hospitality - Showing hospitality and profound respect to all visitors, regardless of race, religion,
national affiliation or economic status and doing so without any hope of remuneration or favor.
Pashtuns will go to great lengths to show their hospitality.Melmastia, or hospitality, is the

requirement Pashtunwali places on all its tribesmen towards others, whether they are strangers or
members of one's own tribe. Melmastia requires hospitality and profound respect to be shown all
visitors, regardless of distinctions of race, religion, national affiliation as well as economic status
and doing so without any hope of remuneration or favor. Pashtuns will go to great extents to
show their hospitality. Elphinstone in 1815 observed: "The most remarkable characteristic of
the Afghans is their hospitality. The practice of this virtue is so much a point of national honor,
that their reproach to an inhospitable man is that he has no Pushtunwali". (Elphinston 1969: 226).
Fig.10: Pashtun hospitality
2.16.4 Nanawatai
Forgiveness or asylum - Derived from the verb meaning to go in, this refers to the protection
given to a person against his enemies. People are protected at all costs; even those running from
the law must be given refuge until the situation can be clarified. Nanawatai can also be used
when the vanquished party in a dispute is prepared to go into the house of the victors and ask for
their forgiveness: this is a peculiar form of "chivalrous" surrender, in which an enemy seeks
"sanctuary" at the house of their foe.

Fig.11:melmastya in Pashtun culture.
2.16.5 Nyaw aw Badal
Justice and revenge to seek justice or take revenge against the wrongdoer. No time limit restricts
the period in which revenge can be taken. Justice in Pashtun lore needs elaborating: even a mere
taunt Peghor counts as an insult which usually can only be redressed by shedding the taunter's
blood. If he is out of reach, his closest male relation must suffer the penalty instead. Badal may
lead to blood feuds that can last generations and involve whole tribes with the loss of hundreds
of lives. Normally blood feuds in this male-dominated society are settled in a number of ways.
2.16.6 Turah
Bravery - A Pashtun must defend his land, property, and family from incursions. He should
always stand bravely against tyranny and be able to defend the honour of his name. Death can
follow if anyone offends this principle.

Fig. 12: bravery of Pashtuns.
2.16.7 Sabat
Loyalty - Pashtuns owe loyalty to their family, friends and tribe members. Pashtuns can never
become disloyal as this would be a matter of shame for their families and themselves.
2.16.8 Khegaṛa
Shegaṛa (righteousness) - A Pashtun must always strive for good in thought, word, and deed.
Pashtuns must behave respectfully to people, to animals, and to the environment around them.
Pollution of the environment or its destruction is against the Pashtunwali
2.16.9 Groh
faith - Contains a wider notion of trust or faith in God (known as "Allah" in Arabic and "Khudai"
in Pashto The notion of trusting in one Creator generally comports to the Islamic idea of belief in
only one God (tawheed).

Fig.13
2.16.10 Pat, Wyaar aw Meṛaana
Respect, pride and courage - Pashtuns must demonstrate courage . Their pride, has great
importance in Pashtun society and must be preserved. They must respect themselves and others
in order to be able to do so, especially those they do not know. Respect begins at home, among
family members and relatives. If one does not have these qualities they are not considered
worthy of being a Pashtun.
2.16.11 Naamus
Protection of women - A Pashtun must defend the honor of women at all costs and must protect
them from vocal and physical harm.
2.16.12 Ewaad
Country - A Pashtun is obliged to protect the land of the Pashtuns. Defense of the nation means
the defense of Pashtun culture or "haśob" countrymen or "hewaadwaal" [‫,]هيوادوال‬ and of the self
or "źaan". This principle is also interconnected to another principle denoting the attachment a
Pashtun feels with his land or źmaka

2.16.13 Nang
Honor / bravery - is foremost in this code. This is articulated in a starkly black-and-white, all-or-
nothing manner. Without honor, life for a Pakhtun is not worth living. According to Pashtunwali,
it is the absolute duty of men to protect the respectability of women and to protect the integrity of
the homeland. According to the most approved Pashtunwali, every man defended himself and
defied his neighbors. Honor demands the maintenance of sexual propriety. Complete chastity
among female relatives is of the essence; only with the purity and good repute of his mother,
daughters, sisters, and wife (or wives) does a man ensure his honor. Thus women are restricted to
private, family compounds in much of the province. Census takers, invariably male, are
constrained not to ask about the women in another man's home, and the number of men in a
household is often overstated because sons and brothers are a source of strength. Accurate
enumeration of the population hence is not possible.
2.16.14 Panah
is to take someone in personal protection. Even if a notorious criminal or an outlaw asked for
panah he will definitely be granted asylum and duly protected. During panah he enjoys equal
rights and status.
2.17 Social Life of Pukhtoons
2.17.1 Family
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.

Fig. 14: Pashtuns kids
2.17.2 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.
2.17.3 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
khairraghley" (welcome). This is answered by "Khudai de mal sha" (May God be with you), "Pa
khairossey" (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.
2.17.4 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.
2.17.5 Character of Pashtoon
The character of the Pukhtoons has always been a favorite theme of writers. They have their own
sense of dignity and would not submit to injustice or insult even at the risk of their own life. they
are fond of liberty, faithful to their friends, kind to their dependents, hospitable, brave, hardy,
frugal, laborious and prudent”. Pashto is a miracle in its own nature, it’s a name of a Tribe, name
of Nation, name of a big rule, name of a culture, name of a custom, name of a great spirit, name
of courage, school of law and a court of justice, a bravery lesson, challenge to the world, and
answer to all challenges.
2.17.6 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. 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
honor.
A stranger has always to be avoided, and if by any chance a woman comes across one in a narrow lane or
road, she generally covers up her face and stands with her back towards him until he has passed". 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. A stranger has always to be avoided, and if by any chance a

woman comes across one in a narrow lane or road, she generally covers up her face and stands with her
back towards him until he has passed". 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. The status of
woman has undergone a remarkable change during the past five decades, principally due to education and
economic prosperity.
Fig. 15: Pashtun women in traditional dress.
2.18 Jirga
A Jirga is a traditional assembly of leaders that make decisions by consensus and according to the
teachings of Pashtunwali. It predates modern-day written or fixed-laws and is conducted to settle disputes
among the Pashtun people but to a lesser extent among other nearby groups that have been influenced by
Pashtuns. The Jirga system is not a new phenomenon but obscured by the constitutional way of life. In
current affairs, when the jirga system caught attention of the international community, it created some
doubts. The tribal groups normally are sensitive to constitutional way of life. In Pakistan the tribal groups,
The Jirga are a customary judicial institution in which cases are tried and rewards and punishments are
inflicted. From the outset, the use of the Jirga is limited not only to trials of major or minor crimes and
civil disputes but it also assists in resolving conflicts and disputes between individuals, groups and tribes.
It is the only vehicle by which the political administration in the tribal areas dispenses justice. Sitting in a
circle, the Jirga has no speaker, no president, no secretary or convener. There are no hierarchical positions
and required status of the participants. All are equal and everyone has the right to speak and argue,
although, regard for the elders is always there without any authoritarianism or privileged rights attached
to it. The Jirga system ensures maximum participation of the people in administering justice and makes

sure that justice is manifestly done. It also provides the umbrella of safety and security to the weaker
sections of the tribal people from the mighty ones.
Fig.16: Jirga traditional assembly of Pashtuns.
2.18.1 Selection of the Jirga
The selection of the Jirga members varies according to the type of Jirga. For SarkariJirgas, usually the
members are selected from the notable elders or the Maliks of the area. In a Shakhsi Jirga the government
selects and appoints two members from each side, whereas one member each is selected by the consent of
the parties in the dispute. In case of the Ulusi Jirga, the members are usually comprised of elders of the
notable families whose social standing and experience with the Pashtoonwali entitles them to a place on
the council.
The size of a Jirga varies from one situation to another, based on the nature, significance and sensitivity of
the dispute. It might consist of one member, although two members are more usual and often there are
four or six experienced members, fully conversant with the laws of the Pashtoonwali.
2.18.2 Types of Jirga
Jirga and maraka, have similar meanings but with different connotations. The difference b/w the
two based on its status with respect to authority .In a formal way the term jirga is commonly
used in government circles .It is vested with legal authority in term of case referred to it by
administrative court which is decided upon the recommendations of Jirga .In common Parlance

the term Marka is used among the tribal people. The term Maraka is a much broader term in its
scope and jurisdiction. It is a general gathering or assembly of people in which important
collective issues are discussed, opinions sought, and decisions taken.
2.18.3 Loyajirga
in the Pashtunwali, a code of laws of the Pashtun peoples living in areas
of Afghanistan and Pakistan and neighboring countries, loyajirga ("grand assembly") is a special
type of Jirga that is mainly organized for choosing a new head of state in case of sudden death,
adopting a new constitution, or to settle national or regional issue such as war.It predates
modern-day written or fixed laws and is mostly favored by the Pashtun people but to a lesser
extent by other nearby groups that have been influenced by Pashtuns.
Fig. 17: loya Jirga in Afghanistan.
2.18.4 Qaumi or Ulusi Jirga
The Ulasi Jirga is an assembly of the elders comprising each household of a certain village or
community. It is convened to discuss matters such as collective property, rights and distribution
of irrigation water, or common concerns, like selection of a site for a school, etc.

Fig. 18: qaumi Jirga
2.18.5 Shakhsi Jirga
This Jirga is formulated in case a dispute arises between two individuals or families. The Jirga
members are chosen from both the parties to arrive at a just settlement acceptable to both sides.
Fig. 19
2.19 Hujra
There are many characteristics of Pakhtun culture and a hujra is one of them. In fact, it is
considered to be the most important part of Pakhtun culture. A hujra can be loosely translated as

a social club. From the western mountainous terrains of Pakistan to the heart of Afghanistan to
anywhere in the world where Pakhtuns live, there exists the hujra. Exclusively for the male
population, a hujra plays host to various aspects of the social life of Pakhtun society – from
resolving community disputes to wedding ceremonies. However, the very existence of this age-
old tradition is now threatened due to modernization and Western democracy. Hospitality is
considered the pride of a Pakhtun and this is why everyone in the tribe tries to serve the guests in
the hujra. This is evident from the fact that there are no hotels, motels or inns in the area. And the
Pakhtuns consider it to be a matter of shame if a guest leaves a hujra without being treated with
utmost respect and served the best food they have to offer. The term hujra is especially prevalent
in the predominantly Pashtun areas of Pakistan. Pashtun hujras are used mainly to entertain male
guests in a household, although sometimes community hujras are also maintained by tribal units.
In individual houses, the size and trappings of a hujra are sometimes indicative of family status.
Fig. 20: hujraa social club.

Fig. 21: Shamozai Community Hujra.
SHAMOZAIBuilt over a century ago, Shamozai Community Hujra has stood the test of time.
The passing years have done little to reduce its significance for the residents of Chungi Zara
Khel village of Barikot tehsil in Swat. A double-storey structure with 17 rooms flanked by a
courtyard – it is believed to be the largest hujra in the area, built before the formation of the
princely state in 1917.
Fig. 22: view of shamozaihujra.

2.19.1 Purpose of a hujra
A typical hujra is owned and run by a tribe. The more affluent members of the tribe contribute
more funds in setting up and maintaining a hujra. A man can enter a hujra at any time of the day,
month or year and be sure of getting safety, food and shelter. No questions are asked from the
guest until he is taken care of and served the best food. It is only after he has been adequately fed
that the members ask him how they can help him and assure him that he can stay as long as he
wishes.
2.19.2 Origin of the hujra
Some historians suggest that Pakhtuns descend from the Greek and nothing supports this
argument more than the institution of hujra. Similar to the Athenian democracy, Pakhtuns have a
system of democratic decisions and the hujra serves as a state council for the tribe. Whenever
there is a dispute, the masharan (council of elders) convene a meeting of the jirga members.
2.20 Flavours of Pashto Music
Pashtoon is a unique nation. The Pashtoons are a romantic people and extremely love music but
don't like musicians. If we look at the history of nation, they are rough tough people. They have
their own taste of aesthetics. They are fond of music and have very romantic approach towards it.
The disliking for musicians has some grounds. The musicians earning through music is thought
to be against Pashtoon character. The Pashtoons only like the profession of soldiery and
agriculture. They have less patience for all other professions. The Pashto music has very rich
traditions though so far not written in notation locally, but by tradition it transfers from one
generation to the other. Very little is written about it in the past. However, some of the notations
and symphonies have survived, other are created and being transferred practically. Before the
coming of radio, the mullahs sternly opposed the music but Pashtoonwould carry on their
musical ceremonies.
Apart from the professionals the staunch Pashtoon would practice music in his hujras and love to
play 'Rabab' or 'Sitar' with the beating of 'Mangay' (water pot) as a drum. He would like to sing
folk songs but not as profession. So the Pashto music has not written but has a long history and
tradition. Apart from the professionals the staunch Pashtoon would practice music in his hujras
and love to play 'Rabab' or 'Sitar' with the beating of 'Mangay' (water pot) as a drum. He would
like to sing folk songs but not as profession. So the Pashto music has not written but has a long
history and tradition.

2.20.1 Pashto music has two distinct aspects:
 The Classical
 The Traditional
2.20.2 Classical
The classical music amongst the Pashtoons has its origin in the historical movements that affected every
part of the sub-continent. Being a volatile region which suffered the brunt of every invasion, no alien
music could take roots here. Hence there is not the slightest trace of classical music before the end of the
eighteenth century. It was at the beginning of the nineteenth century that some of the classical vocalists,
who were uprooted from their homes, settled here and founded the classical music amongst the
Pashtoons.
2.20.3 Traditional
Like all traditional societies, the Pashtoons too have a great and rich treasure of folk music. The songs are
characteristically dance songs. Others are performed in solo as well as in chorus.
Among them, are the Tappa, Charbeta, Neemkai, Loba, Shaan, Saakhmani, Badala, Ghazal, Rubayi,
etc.These are explained below.
2.20.4 Tappa
Tappa is the oldest and most popular genre of the Pashto poetry. It is liked very much by the Pushtoons of
all ages irrespective of their age and sex.
2.20.5 Charbeta
Charbetta is another popular Folklore genre, which comes after the Tappa. This tone is most popular form
of Pashto Poetry and is a source of pride for the Pashtoons. It is unique in its form. It is epic poem with
special rhythm.
2.20.6 Neemakai
Is another popular Folk song, It has a different kind of form normally the women compose it. It is simple
in form and has 1,1/2 lines sometime 2,3 lines. The first lines are repeated in the middle of the song.
Pashto Tappa is added according to the subject and circumstances. It is the real kind of Pashto songs.

2.20.7 Loba
Lobah is another popular genre of the Pashto folk songs. It too has been very popular among the masses.
Sometimes Lobahs are added with Tappas.
2.20.8Shaan
Shaan is a song of happiness. It is sung on occasions such as that of marriages and childbirths. These can
be sung in private congregations and social gatherings.
2.20.9 Rubayi
Rubaee is the famous name of a kind of Pashto Ghazal. It is different from the classical genre of Rubaee.
Actually it is Ghazal but in a particular composition of music it has become famous as rubaee. The
Rubaees of Rehman Baba are popular among the masses. It is sung in a special composition of music
before the starting of Badala or any other folk song.
2.20.10 Ghazal
Ghazal is the classical genre of poetry. It was popularized by the musicians. It has come very late
to the Pashto music and only educated class of Pashtoons like it.
2.20.11 Types of Instruments
It has been the tradition of Pashto musical concerts that first of all the orchestra; form a symphony called
Saaz. The different saazes are for different occasions. Before starting the traditional concert, Thesaaz of
shan is played with full orchestra. The full orchestra consist on the following musical instruments.
1. Dhol (Drum)
2. Tabla (Tambourine)
3. Rabab (Traditional Guitar)
4. Sitar (Local Three strings guitar)
5. Baja (Harmonium)
6. Sarinda (Fiddle)
7. Surna (Piper)
8. Shpelai (Flute)

With all these instruments and some other modern instruments the orchestra starts, before the singing
session.
Fig. 23: instruments of Pashtun folk music
2.21 AtanrhTraditional Dances of Pashtoon
Pashtoons possess a rich culture with all the ruggedness on the one hand and all the softness,
romance and beauties on the other. The Pashtoon dances have been defined as a symbol of
courage and heroism and present the desire and readiness of a tribe to go into a battle field. With
heavy and insistent drumming, the dancers who are always male move with uniform rhythm and
steps. They dance usually in circles or columns holding different items of daily life (swords,
guns, handkerchiefs, etc.) in their hands and mix the crude sounds of their possessions with the
rhythm of drums and surnayi (flutes).

Fig. 24: attanrh traditional dance of Pashtun.
Among the dozens of Different folk dances known as Atanrhsome are as follow.
2.21.1 KhattakWalAtanrh
This is a dance of the Khattak tribe and now it is the Pakistan national Dance. It is completely men
dance. It is originated from the ancient war exercises by the Khattak tribe. Before going to the battlefield
the warrior, Khattak used to dance as their warming up. It is danced with the drumbeat in a particular
rhythm.
Fig.25
2.21.2 MahsoodWalAtanrh
It is too a warrior dance and is special among the hard Mahsood tribe. Originally it is used to dance at the
time of war, but latter on became a cultural dance. They dance empty handed and require only large
drums.

Fig. 26
2.21.3 WaziroAtanrh
Waziristan is a large area and has particular Pashtoon culture. Wazir dance is popular among the Wazir
who are warrior-like tribe but Wazir dance is beautiful cultural phenomenon. Two drummers and a flute
player play a particular tune. All the Wazirs standing around them. Two persons leave the circle; go
dancing towards the drummers, and come back dancing in the same manner.
Fig. 27
2.21.4 MarwatWalaAtanrh
Marwat too is a large tribe of the Pashtoons. They have a particular cultural dance of their own, very
much resembling the Wazir dance but can be dance for played one by one and by a large number of
participants in a circle.

Fig. 28
2.21.5 BhittaniAtanrh
The Bhittani Tribe's dance is truly a sight to see due to the colorful jackets with gold embroidery and the
white clothes that the dancers wear. The Shirt is a long gown which is like a swirling top when the dancer
turns around and around.
2.22 Sports and Games of Pashtoons
The climate and geographical conditions, which have played a role in shaping the Pashtoon
Culture lies upon 60 to 73 longitudes and 26 to 36latitude of the earth. This region is divided into
different geographical configuration and area. Pashtoons live on both sides of the Durand Line.
Different tribes live in the North West of Pakistan and in the Province of Pakistan called KP.
KP is a Pashtoon-populated area, where different folk games are played. These games vary in
different areas, according to the climatic conditions. As the area has a culture of male oriented,
that's why most of the out door games are played by boys while indoor games are those of the
girls. Some of the games are common everywhere and some are special for some particular
places. A part from folk games, International games like Foot Ball, Cricket, Hockey, Volley Ball,
Basket Ball, Squash are also played, in which the players of international repute have been
produced by the Pashtoon.

2.23 Arts and Crafts
In fine arts, Pashtoons have committed themselves to the literature alone. Among the
professions, they have adopted only Agriculture. Other professions are generally ignored by
Pashtoons but professionals knowing Pashtoon mentality have created arts in which Pashtoon
character is reflected. Pashtoon culture is patriarchal. In power, they see greater beauty itself.
Delicate and soft jobs are left to women, so mostly the arts and crafts are produced by women
according to the area and climatic conditions and the condition of availability of raw material for
these crafts. Painting is considered un-Islamic that is why in the past we do not see any work of
painting related to Pashtoons. However other arts and crafts are worked on and practiced mostly
by women in different area.
Fig .29: pashtun arts and crafts.
2.23.1 Amel
This is a type of necklace. A few golden threads are woven together in it delicately. Beads of
different colors are threaded. Caps for the boys are also made with beads and golden thread. A
beautiful art work is stitched and the flowers are embroidered with it. So the caps of elders which
are called 'Kullah' are stitched with golden thread some times made of real gold.

Fig. 30: traditional pashtunnecklace.
2.23.2 KallaDozi
Usually KullahDozi is the art of the professionals. It is done like cap for the elderly people.
Simple Kullah is made artistically from wheat. Straw. While on golden Kullah figures are made.
The lower part of the Kullah is made of valvet. The inner portion of Kullah is stitched with silky
cloth.
Fig. 31: handmade kulla.
2.23.3 Patkayshamla
It is the work of making a special type of cloth, which is used as Lungi around the Kullah. Lungi
and Kullah together make 'Patkay (Turban) which is part of the cultural dress of Pashtoons.

Fig. 32
2.23.4 Rosary
They use rosary beads for reciting the names of God. It is an art to make rosary in which beads
of stone or other precious material are used.
2.23.5 Karoshia Work
It is special type of needle having hook in the jet portion. With this, thread is woven in different
shapes. Caps, tablecloth, mantelpieces and other garments are made. Sometimes hand fans and
sweaters are also woven with karoshia.
Fig. 33:Karoshia Work

2.23.6 Kasheeda
It is the art of stitching silk or gold thread on different cloths. Normally the women in the villages do it.
Shawls of different types are stitched beautifully.
Fig. 34: different typesof swati shawls.
2.23.7 GotaKinari
this too is the work of stitching and threading figures on women's garments. It is different from
Kasheeda, because the already made material is used in it.
Fig. 35 fig 36

2.24 Wood Work
It has been a very old profession. Carving and embellishment is done on wood which
is used in doors and pillars and on the frame of the doors. Nowadays woodcarving is
being done on tables and other furniture.
Fig. 37: Sethi House Peshawar wood work.
The Sethis have left Peshawar with seven magnificent havelis. The Sethi House, which still
stands, was built by SethiKarimBakhsh in 1882. The Sethis have left Peshawar with seven
magnificent havelis. The Sethi House, which still stands, was built by SethiKarimBakhsh in
1882.

i
Fig. 38
Fig. 39

2.25 Tilla Kari
It has been the profession of cobblers and is still being practised in different places. Panrha is
foot wear for women and special panraha for men is also made. The men foot wear, which is
called 'tsaplai'. All of these are made with tilla, which is a golden thread. In tsaplaitillais used in
certain portions, while the whole panrhais stitched with tilla.
Fig. 40
2.25.1 Woollen Carpet Weaving
Handwoven woolen carpets are made in special looms called 'Kady'.Some times they are woven
with hands. It has been an art in Pashtoon instead synthetic carpets are being used.
2.25.2 KaloshaSazi
It is special kind of footwear that is used in winter by the elderly people. It is made of special
kind of leather. In the inner portion, a soft fur is used which is made of woolen cloth or cotton.
2.25.3 Patou/Sadar
Warm shawls of wool are made in Charsadda, Bannu and Swat especially. Most of them are
Gents shawls. These shawls are known as "Patou."The thick ones are called "Loyee."
2.25.4 Chapali
This is also one of the much used handicraft of KP, and that is why it is very well known and
popular among almost all over Pakistan. It is a very popular footwear. Although it is a specialty

of Charsadda (a division of KP), it is also manufactured in Peshawar and to the reason of
Peshawar being the capital of KP, this handicraft is known as PeshawariChappal.
Fig. 41: PeshawariChappal.
2.26 MY PROJECT AREA SWAT CULTURE HISTORY AND
TRADITIONS
2.27 Time line of swat history
3rd
Millena
ry BC:
Neolithic
Age
Proto-
Historic
Period
6th
Centur
y BC:
Achemeni
d Period
530 B.C:
Cyrus Crossed
Khyber Pass
and took
Peshawar
(Independence
of Ghandhara
was
Terminated):
Darius 519 BC
27 BC:
Alexande
r the
Great
invades
323
BC:
Alexan
der
dies
312-64
BC:
Seleuci
d
Kingdo
m
Buddhi
st
Period
starts
Kings: 1.
Chandra
gupta
Maurya
Swat
now
borders
with
Kingdo
m of
Tibet
Hindu
Shahiy
a
Dynas
ty
870A
D
The
Ghazna
vid
Kingdo
m in
Afghani
stan
(last
quarter of
10th
Centu
ry AD)
The
Ghurids,
Ruler Ala-
ud-Din
1150-51 AD
The
Mongol
Period
1192-1526
(Gengis
Khan,
Timur..)
The
Mugha
l
Empir
e
1526-
1761
First King
Babur,
foundation
of the
Moghul
Dynasty
laid in
1526
1500 AD
The
YousafzaiP
athans
occupation
and control
of Swat
complete
Swat
functio
ns as a
Pathan
Tribal
Societ
y till
1916.

2.28Buddhism era in swat
Swat is thought to be the probable birthplace of Vajrayana Buddhism. There are many
archaeological sites in the district and Buddhist relics are common testimony to their skills as
sculptors and architects. It is said that Swat was once filled with fourteen hundred imposing and
beautiful stupas and monasteries, which housed as many as 6,000 gold images of the Buddhist
pantheon for worship and education.
Fig. 42: Jehanabad Buddha.
The Jehanabad Buddha (7-meter high) was considered the second most important Gandhara
monument after the Buddhas in Bamiyan, Afghanistan. In November 2007, the Taliban tried to
blow up the statue and were successful in defacing it, as shown below.
The huge image of a seated Buddha carved into a high rock face of reddish color that rises on the
hillside to the southwest of Janabad (Shakhorai) village. It is situated at a distance of 5km to the
N-E of Manglawar. This huge image of the Buddha can also be visible from the road, on the
right side when one is on the way to Malamjaba.

2.29Stupa in swat
Fig. 43 stupa
When Buddha died, his relics (or ashes) were distributed to seven kings, who built stupas over
them for veneration. This is the Butkarhastupa in Swat, built on order of King Asoka.
2.30 Swat museum
The besieged Swat museum,which houses pre-Islamic heritage, mainly Buddhist artifacts and
Buddha statues of the Gandhara era. It is said to have the footprints of Buddha which were found
in the Swat Valley.
Swat Museum is located on the way of Mingora and Saidu in Swat District, province of Khyber
Pakhtunkhwa, Pakistan. Swat museum has a good and wide range of collection of Buddhist sites
in Swat. In this museum, relevant authority has demonstrated the buddhist's complete life style.

Fig. 44: swat museum.
2.31 History of swat museum
According to history pages, initially the swat museum has inaugurated in 1962 by the help of
Italian Mission and Wali of Swat and DOAM. Current museum's building was completed in
different phases.
2.31.1 Collections
The current collection of swat museum has Utensils, Beads, Figurines, Stones and Coins and so
many other thing related to Ghandhara and Buddhists era and their life style.
2.32 Swat
Swat historically known as Uddyana, is a river valley and an administrative district in the Khyber
Pakhtunkhwa Province of Pakistan. It is the upper valley of the Swat River, which rises in the Hindu
Kush range. The capital of Swat is Saidu Sharif, but the main town in the Swat valley is Mingora. It was
a princely state, the Yusafzai State of Swat, until 1969, when it was dissolved along with the states
of Dir and Chitral and made part of Khyber Pakhtunkhwa, then known as Khyber pakhtunkhwaThe

valley is populated mostly by ethnic Pashtuns and Gujjar and Kohistani communities. The languages
spoken in the valley are Pashto, Gojri, Torwali and Kohistani.
Swat Valley has a rich history that dates back over two thousand years. The Valley, called Udyana in
ancient times came under Achaemenid influence for a short while before the former independent rulers
regained control over it. The towns Udegram and Barikot, called Ora and Bazira in Greek accounts, were
captured by Alexander in 327 BC. By 305 BC, the region became a part of the Mauryan Empire. Finally
the Kushan dynasty absorbed Swat and this was time when the Gandhara civilization flourished. The
Kushans were overthrown by the White Huns somewhere around the 5th century CE. From the 8th
century CE onwards, the Arabs started to exert pressure from the west in the Persian-Afghan region
where the Hindu Shahi Dynasty still ruled. The Muslim era in Swat began with the Mahmud of Ghazni
from Afghanistan, who in 1001 CE, conquering Swat amongst other areas as he pushed into India. People
from different Pukhtun tribes settled in Swat and came to be known Swati Pukhtuns. Practically, they
remained independent and out of the sphere of the neighbouring Muslims rulers of Afghanistan and India
throughout their occupation. The Islamic State of Swat was established in 1849 under Sayyid Akbar Shah
with Islamic Shariah law in force but the state was in abeyance from 1863 to 1915. The British
recognized the state as a princely state in 1926. Following the Partition of India in 1947, the ruler acceded
the state to Pakistan.
With high mountains, green meadows, and clear lakes, it is a place of great natural beauty and is popular
with tourists. QueenElizabeth II during her visit to the TheYusafzai State of Swat called it "the
Switzerland of the east.

Fig. 45: swat map.
2.33 Etymology
The name Swat is derived from Suvastu which stood for river Swat in the ancient times. The
river Suvastu is mentioned in the Rigveda. This is probably the precursor to the river Swat.
2.34 The Yousufzai State of Swat
Situated in the North-West Frontier Province of British India and later Pakistan, Swat State has
the distinction of not being imposed by an imperial power or an individual but was founded in
1915 by a jarga of a section of the right bank Swat Valley after doing away with the rule of the
Nawab of Dir over their areas.
Swat State was probably the only governmental machine in the contemporary world, which was
run without superfluity of paper work, opined by Martin Moore. Abdul Jabar Shah was the

Originator of the administrative system of the State, the first ruler of the State (1915-1917). This
system was modified, developed and refined by his successors at the seat of the State, Miangul
Abdul Wadud 1917- 1949 and MiangulJahanzeb who ruled swat from1949- till the merger of the
State in 1969.
Swat has been inhabited for over two thousand years. The first inhabitants were settled in well-
planned towns. In 327 BC, Alexander the Great fought his way to Odigram and Barikot and
stormed their battlements. In Greek accounts these towns have been identified as Ora and Bazira.
Around the 2nd century BC, the area was occupied by Buddhists, who were attracted by the
peace and serenity of the land. There are many remains that testify to their skills as sculptors and
architects. Later some Dilazak entered the area along with Sultans from Kunar and their tribe
was styled as Swatis. The originator of the present family of Swat was the Muslim saint Abdul
Ghafoor, a Pashtun and Akhund of Swat, a Safi Momand of Devalai area in Swat, from where
he went to Buner territory. He was a pious man and the people respected him so greatly that they
called him Akhund Sahib. During the mid-19th century, Muslim tribes were fighting against
each other for the possession of Swat Valley.
On the intervention of the honourableAkhund Sahib, the killing was stopped, and such was his
influence that the chiefs of all tribes unanimously made him the ruler of the valley. Akhund
Sahib administrated the valley according to Muslim laws. Peace and tranquility prevailed, and
agriculture and trade flourished in the territory. Akhund Sahib had two sons by his wife, who
belonged to Naik pi Khel (‫خیل‬ ‫پی‬ ‫.)نیک‬
After the death of Akhund Sahib, the tribal chiefs again started fighting and killing, which
continued for years. Eventually the tribal chiefs agreed to give the control of the valley into the
hands of the honourableGulShahzada Abdul Wadood, the son of MianGul Abdul Khaliq, son of
Akhund Sahib. The wife of Mian Abdul Wadood was the daughter of Afzal-ul-Mulk, the ruler of
Chitral. The British by trick put Chitral under the suzerainty of Kashmir. The Chitral ruler gave
two horses every year to the Rajia of Kashmir, and the Raja provided Chitral with grain and
sugar, etc. Swat thus went under protection of the British.

Promoting Culture Through a Swat Valley Complex

Promoting Culture Through a Swat Valley Complex

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