Pakistan arsala a_study_of_masculinity_in_pashto_folk_poetry_of_gharra_0 (1)

Masculinity in Pashto Folk Poetry, A research study, Arsala Khan Kakar
A Study of Masculinity in Pashto Folk Poetry of
(Gharra, a genre of Pashto folk poetry)
Arsala Khan Kakar

TABLE OF CONTENTS
Project Title_______________________________________________________
Background ______________________________________________________
History of Pashtuns_________________________________________________
Pashtunwali_______________________________________________________
Objective of the Project______________________________________________
Project activities____________________________________________________
Data analysis________________________________________________________
Major outcomes and findings___________________________________________
Conclusion__________________________________________________________
Challenges faced_____________________________________________________
Case studies__________________________________________________________
Bibliography_________________________________________________________

PROJECT TITLE
Masculinity in Pashto Folk Poetry (Gharra, a genre of Pashto folk poetry)
ABSTRACT;
This research endeavour focuses the masculine features of the specific Pashtoon
Society that is reflected in the folklore (Folk Poetry) especially the poetic genres.
There are so many genres of Pashto Folk poetry like Kakarri Gharra, Tappa,
Chaghai/Angai/ Bulandai, Allah Khori and many more. Most of the folk poetry is
revolving Romanticism/Love, Peace, honour, and Tradition/culture but a very small
part of it is also utilized for Bravery, revenge and truant which fuel up the pre
existing conflicts or disputes. During various conflicts/disputes various type of folk
poetry is generated which fuel up the momentum of clash. Most of the folklore poetry
created by women and folklore is used as a prime source of social accountability.
Pashtun society revolves around “Peghor”, Honor (respect) and Revenge. The
Poetic Genere “Ghara” has played a vital role in reinforcing violent solutions to tribal
feuds. The oral traditions preserve as Paighor for more than a century. Previously all
the Folklore was just created and song by popular local singers. This was
memorized by the people of that time but later on the oral tradition of singing and
memorizing was changed into digitalized form. Than most of the folklore created was
used to sing and preserved in Audio and video cassettes and CDs. Only a few part
of it is preserved and documented in books shape and most of it needs to be
preserved and documented.
“Gharra” is one of the most prominent genre of Pashto folk poetry and this study is
mainly focussed on the masculine affects of “Gharra” specially created during tribal
disputes.
Literature Review
Pashtoonwali, The Ways of Pashtoons
Currently an Emphasis has though mainly been directed towards the political and
social implications of war, while cultural functions and expressions still
remain by and large unexplored. This is especially true as the Pashtun
community is considered. Research has suggested that revenge, included under the
Pashto concept of badal, is an essential element constituting Pashtun identity.
Badal, which is part of a larger set of unwritten tribal codes of honour called
Pashtunwali, does not apply to a neutral conception of revenge but is more related to
the ‘defence of honour’. Previous studies, as well as the media, have
often emphasised this idea rather incautiously, stressing desire of revenge
or vindictiveness to be a main characteristic of this group’s collective identity. Far
from being a static phenomenon, Pashtunwali displays great variation of observance
depending on both temporal and local context.

OBJECTIVE/S OF THE PROJECT AND PROJECT AREA
As approved in the project
To understand and articulate the inherent masculine features of Pashtoon Socieity
reflected and reinforced in the Folklore of the selected research locale with reference
to the tribal and social feuds.
RESEARCH METHOD:
The study mainly relies on the folklore that is present within the research locale in
the form of oral tradition. The books published on the specific genre “Kakarai Ghaari”
have been studied and analyzed (Annex B). 10 In-depth Interviews and 3 Group
Discussions have been carried out especially with the male respondents of the
research locale. List of the Key Informants with their brief introduction is annexed as
(C). The audio cassettes have been used as vital source in which the histories of
almost 100 years have been preserved in these cassettes. List of cassettes is
annexed as D. Zhob-Loralai region has been the research locale, the 2-case studies
identified through data pertains to the mentioned region. The peculiar cultural and
social context and the folklore analysed for this study is also from the mentioned
region.
The study was designed in the result of formal mentorship; details regarding
mentorship are listed in the annex E. As researcher got severs injuries and was
hospitalised for two months, therefore services of an external persons was hired. In
order to complete the report a professional researcher was hired especially for
triangulating data and generating research report.
Constraints:
1) One of the major constraints was unavailability of the female respondents
2) Time has been one of the major constraints.
3) My health situation remained inconsistent due to an accident.
4) Scope of the study limited.
5) It was not easy for the informants to share and refer the particular incidents of
rivalry that are reflected in the genre under study.
6) Due to the probable violent reaction from the relevant families, the case
studies will be shared in a limited sphere.

DATA ANALYSIS:
Data collected from books review, audio cassettes listening and through interviews
was analysed through thematic interpretation of findings. Data collected was shared
with mentor for getting guidance and recommendation. Data and finding put in
reporting format and was shared with ROZAN/SANAM after verification by mentor.
Khor da jaar sa thr pattki…. Pr hoda thl marragian mri
It is prove from history and practice that Masculinity is the key feature of Pashtun
Tribalism and the Pashtun society tends to pursue the defined standard of manliness
at all cost. Two case studies identified and explore during this research study of
various tribal conflict shows that the root cause of most of the conflicts and its fueling
is the concept of manliness or masculinity. Also a part of the genre of Pashto folk
poetry “Gharra” played its role to maximize the affect of masculinity and force the
men to be men (a sign of bravery in Pashtun society).
Along with “Gharra”, “Paighor” (taunt) has also played a vital influencing the male of
manliness and be masculine. Paghor is the key to influence the men to take
revenge.
Os da khwash dai sher ali………… stat thr motor veni razi
Pa khpall sr Ghafar balia……… soonda de pre si da lala (Sardar Akhtar..)
Kharsawall ba da mangian............... pa Spin Sardar swe Mago Khan
A BRIEF ABOUT CASE STUDIES:
Case Study 1:
For understanding the masculinity and role of folk poetry as fuelling the passion to
take revenge and be brave, three conflict cases were focussed and all interviews
were around it. A brief about that two conflict are as follows:
There were two friends in Zhob, named Shah wazir and Sardar Akhtar. They both
had trucks and the were smuggling of Chalia/supari between Pakistan and
Afghanistan. They were doing joint business/smuggling of Chalia. There was a clash
of Rs 3000/- between them for a supply. Shah wazir have to give 3000/- rupees to
Sardar Akhtar as per a business deal. Sardar Akhtar send messages to Shah wazir
many time to return him 3000 rupees and Shah wazir denied that not money is due
against him. Later on Sardar Akhtar send three of his brothers (khandad, mauladad
and Akhtar shah) to beat Shah wazir. During fight nephew of Shah wazir (who was
also working as driver with Shah wazir) was shooted/killed and Shah wazir was

injured. In this way the conflict get started between two families of Sardar Akhtar and
Shah wazir. Later on Shah wazir’s brother Meer wali and his uncle Mago killed
Akhtar Shah (elder brother of Sardar Akhtar) in Sharsoo street of Zhob...
When Mago khan killed Sardar Akhtar, then he was considered a brave man and few
of people were calling him as sardar for giving him honour.
Kharsawal ba da mangiaan..... pa spin sardar swe mago khan
Pa charsoo galai ki thle........... lka spedaar wa narrede
Than as a revenge of Sardar Akhtar, brother of Shah wazir “Meer wali” was killed by
the family of Sardar Akhtar. Meer wali was killed on 23rd of Ramazan-ul-mubarak
during his way to home from bazaar to home just before the AZAN of maghrib.
Sta paarond lia pra ve shpe.... rozamaath ma wrra da roze
Shah Wazir waarai sta........ Khandad akhastai dai lala
Then Shah wazir went to Punjab and killed Sardar Akhtar’s brother Mauladad (who
was driving truck) in Kota doo/Dera Ghazi Khan.
Da kot adoo morroona sra......... sardara khoi da dah leva
During a wedding program, Sardar Mauladad shooted three of his targets, then he
proudly said/preyed to have a conflict.
Later of Sardar Akhter’s sons Juma khan and Azad khan killed Shah wazirs brother
Khudai dost in Gossa. Khudai dost was killed on way to his home when was on his
way taking his sisters from in-laws to home. He was taken down from the truck and
shooted him in front of his sisters.
During killing of Akhter Shah earlier, a servant of Akhter shah was also killed and
now when khudai Dost was killed then they send the message through following
“Gharra”
Da kaka saarai ma bl.......Khudai dost ma marr kai pr nokar
(I have a target agains my beloved uncle “Akhter Shah”, Khudai dost is killed as
revenge of servant). A “Paghor” (taunt) in garra.....
After all this process/conflict, the numbers of killed person were equal from both
sides. Several years later, Jirga was made to settlement. Sardar Akhtar said to Jirga
that even after killing loosing so many lives from both sides, the agreement could
only be made if Shah wazir returns his 3000 rupees from which the conflict got
started. Shah wazir and the Jirga agreed to return the said amount and even they
gave 60000/- rupees to Sardar Akhter durin. Sardar Akhter took only 3000/- rupees
and return the rest of 57000/- rupees and said that “it was not the issue of amount
but it was all the issue of honour. I lose so many lives and killed so many people not

for getting money but is was the issue of honour for me that someone is not returning
my amount”............
Later on both Sardar Akhter and Shah wazir have seen several time in a car, in
wedding ceremonies, in Jirgars and several other functions like friends. Sardar
Akhter was died naturally and Shah wazir was killed by his cousins in another
conflict.
Case Study 2:
A female name Thotai belonging to sub cost of Shabozai was got engaged through a
tradition called arra1
On the same day someone came to inform Ibrahim and Jabar about the “Paghor” of
bride for the men of her own tribe. Jabar and Ibrahim requested the jailer of that time
to let them go for few hours on that night when the Nwab (Chief of Pashtun Trib) has
came from zhob to take Thotai on next day as a bride. They said to jailor that it is the
issue of honour not only of our tribe but also of our area in geographic context. The
jailor took the risk and let them go for a night against a promise (Pashto/zaban) that
by a man of his tribe named Ibrahim. Then the family of Thotai
was not agreeing to marrey Thotai with Ibrahim. As no one could dare to get marry
with thotai as Ibrahim has Arra her. Later on thotai was engaged with the Chief of
Pashtun Trib called Nwab named Nwab Mohammad Khan Jogezai. It was the time of
british era and at the day wedding ceremony, Ibrahim and his cousin Jabar were
arrested.
There is a genre of folk poetry called chaghai or Angai associated to females. In this
genre, the bride expresses her emotions or the friends of bride express their
emotions. Also women from groom family express their emotions through this genre.
Here, during the wedding of Thotai, she said the following chaghai....
Da spine khooni pr wra dodoona
Na pa kude ki sta sha marroona
Na pa shabo ki sta sha thrbroona
Nawabaan ghwarri da khwashai njoona
........
.......
(There is no any man (Brave man) in my tribe, that is why the Nwabs look the girls of
their choice)
1 1
A male fires in front of a girls home and calls loudly that …. Is mine. Than as per tradition, she must be
married to that man and concern man should pay to girl’s family any kind of amount or anything else
demanded…..

they will come back before arising of sun. In this way, Ibrahim and Jabar went to
their village and explore about the horse of Nwab sb (the Groome). They cut the ear
of Nwab/groom’s horse2i
MAJOR OUTCOMES AND FINDINGS
. On next day morning, Nwab sb and others came to know
about the incident of last night. In this way a friend of the Bride Thotai’s came and
sang the Chaghai/angai and said as under
Da spini khooni pr wra dodoona
Hm pa kude ki sta sha marroona
Hm pa shabo ki sta sha thrbroona
Wra da raghalgi da pa doloona
Aaspi da wlarre pa pre ghwazzona
............
...........
(There ARE men(Brave men) your tribe, your Marriage procession has come with
the beat of drums but going back with the cutted ears of horses)
On next day, the tribe or persons along with Nwab sb were much angry and few of
them suggested Nwab sb to shoot the horse. In response Nwab sb replied that I
even will not make my house the food of dogs of this area. They left for zhob with
bride and shoot that house where the area of Loralai ends and Zhob starts.
Later on when Jirga was set and elders requested Nwab sb for settlement. Nwab sb
demanded for 14 women against the cutting of ear of hours. Jabar replied that 14
women will not be given even if we have killed your father. There for, settlement
couldn’t took place and latter on Jabar was killed in Loralai be some rented killers
sent by Nwab sb against cutting ear of Bride.
• Manliness/Masculinity is the Key feature of Pashtun Tribalism.
• People in Pashtun society tend to pursue the defined standards of manliness
at all costs.
• Pashtun society revolves around “Peghor”. The Poetic Genre “Gharra” has
played a vital role in reinforcing violent solutions to tribal feuds.
• The “Gharra” and other folk genres used to be sung by popular singers in the
social spheres like Hujra, Baittak or workplace. It has been replaced by the
recorded cassettes listened in the different corners of the society
2
Cutting of ears of horse is considered as the most insulting even equal or more than the death of someone

• The oral tradition has been replaced by written stuff/literature, audio and video
recording that is automated and effective with reference to communication.
• Most of the cultural history is still recorded/preserved in this genre.
• The oral tradition is weakening day by day with the influence of schooling and
modern technology. But the messages of revenge, violent actions and so-
called bravery are still part of this folk genre.
• Along with the passage of time the creation of this kind of poetry has been
decreased. With a calculation of audio cassettes recording and selling, it has
decreased more than 70% within the last 20-30 years……
• Only 5-8 % of youth are interested in this kind of poetry while its percentage
was more than 30% only 20 years earlier…
•
CHALLENGES FACED DURING THE PROJECT IMPLEMENTATION
• It was a very difficult task to find relevant materials as no work has previously
done on the same area.
• Finding of audio cassettes and related folk poetry of audio cassettes with
specific disputes
• Informants hesitated to share details of the peculiar conflicts due to the
expected pressure from the tribes/families involved in the conflict.
• Affected families don’t wants to public the facts of dispute.
• Discussions and dissemination of literature may cause aggravating the
conflicts that are resolved are in the progress.
• I couldn’t find females for interview
New Insights/Recommendations:
• Much work need to be done in the same area
• This kind of researches need to be documented in Book shape
• Pashto Poets/writers and researchers are contented to work on the same
area
• Poets are needed to sanitized for their poetry in anti masculine lens
• Folk singers may be sanitized/advised for not singing the masculine folk
poetry

Follow up:
I will expand the work on the issue and deepen the study. I will also publish the
research in a book shape. As it is a very sensitive issue to work on, so along with my
professional life it will take much time to complete the study and deepen it. I could be
able to complete the study in a year.
Annex: A
Acknowledgement:
I acknowledge the support of Chairman Pashto Adabi Malgari Loralai Syed Khair
Mohammad Arif and whole members like Qari Jamal-u-din, Akbar Nigar, Rasheed
Haqmal, Malak Fazal Rahim Kakar for facilitation regarding material finding, guidance
of interview, finding audio cassettes and finalization of case studies. I am much
thankful to Hashim Khan Kibzai and Dad Khan Alizai for their valuable information
regarding identified case studies. I am much thankful to Mr. Barakat Shah Kakar and
Arif Tabassum for their technical support when ever needed. I am much thankful to
my respected Mentor, Mr. Raziq Faheem for their support, facilitation and guidance
at every stage of the research work.

ANNEX: B
Bibliography/works Cited:
Books reviewed:
1) Da Gharro Adabi Serrana, by Syed Khair Mohammad Arif
2) Zmoozz Ghazian ao Shaheedan, by Syed Khair Mohammad Arif
3) Da Attanrr Naare (a research study), by Syed Khair Mohammad Arif
4) Pashto Landai, Sulaiman Layaq
5) Foklori soghaat, by Syal Kakar
6) Foklori Jwahir, by Syal Kakar
7) Pashtun Culture, Abdul Qadoos Durani
8) Zmoozz zzwak, by Abdul Qadoos Durani
9) Pashtaana, by Dr. Habibulla Zzwaak
10) Kakari Gharri, by Mohammad Sadiq Zzarrak
11) Da Kabal Sultanate Bayan, by Mount Stewat Alfinstan
Translated by Mohammad Hassan Kakar and Nasrullah Sobman
12) Khushhal pa khpala Idal, by Mohammad Ismail Youn
13) Andial Khushhal, by Mohammad Ismail Youn
14) Da lwanoo Fasal, by Mohammad Ismail Youn
15) Da Nasaroo Tarekh, by Sherin Khan

ANNEX: C
Interviews were conducted with following person
1. Syed Khair Mohamad Arif: Arif sb is Pashto writer and researcher. He has a
very deep experience of exploring history and culture of Pashtun society. Arif sb
is the owner of …. Books and his most of research work are related to folk poetry
and history of independent fighters against the English rulers. He has much
information and knowledge of origin of poetry specially folk poetry.
2. Mr. Rasheed Haqmal: Haqmal is a Pashto writer and professionally a
government teacher. He belongs to sub branch of Kakar called Shabozai. As he
belongs to a deep rural community, that is why he has practical experience of
taking part in various tribal disputes in every dynamics.
3. Mohammad Hashim Kibzai: Hashim belongs to a deep tribal sub cost named
Kibzai. Most of Kibzai tribe is leaving in District Zhob some them have migrated
to District Loralai due to tribal clashes within their own tribe. Due to practical
participation in resolution of various disputes and belonging to concern family,
Hashim has much information about the disputes and role of Pashto folk poetry in
it.
4. Dad Khan Alizai: He belongs to Sub tribe of Kakar called Ali zai. He himself
participated in various activities related to local level disputes. He is a tribal chief
and remained a member of local Jirga system. He remained a part of that time
when local poetry were openely shared by females and song locally.
5. Akber Nigar: He is lecturer in Degree College Loralai, Pashto poet and belongs
to Nasar tribe. He has a very good opinion and research based analysis
regarding local and folk poetry.

ANNEX: D
Audio Cassettes as secondary source of data:
1. Da bazanoo Gharri, by Lale
2. Da Marro Gharri, by Lale cassette no 1
3. Da zmariano Gharri, by Lale
4. Da marro Gharri, By Lale cassette no 31
5. Kakarri Gharri, By Ibrahim Hamzazai volume 1
6. Ranga Rang Gharri, by Mohammad Usman volume 22
7. Da marro gharry, da zwanaano gharry, by Mohammad Usman volume 12
8. Da attanrr Gharri, by Mohammad Usman volume 16
9. Da zwananoo Gharri, by Akhtar Mohammad volume 17
10. Kakarri Gharri, by Noor Shah volume 5
11. Da Marro Gharri, Sahib jan barathkhel
12. Khwandawari Gharri,by Lale
13. Farmayashi Gharri, by Lale volume 19
14. Gharri la darya sra, by Mohammad Lal

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