TAKATOO - University of Balochistan · the endnotes. The author‟s name, e-mail and mailing addresses and institutional affiliation should appear on a separate title page. Each paper

TAKATOO Issue 2 Volume 1 July- December 2009

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Bilingual / Bi-Annual Pashto English Research Journal

TAKATOO

Chief Editor:

Dr. Nasrullah Wazir

Editor:

Dr. Naseebullah Seemab

([email protected])

Co-Editors:

Faizullah Panizai

Barkat Shah Kakar

Qari Abdul Rehman

Javed Iqbal Iqbal

________________________________________________

Department of Pashto University of Balochistan, Quetta.

E-mail: [email protected]


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Editorial Board

1. Abdul Karim Baryalai, Govt Civil Servant.

2. Prof. Dr. Parvez Mehjoor, Associate Prof. Department of

Pashto University of Peshawar.

3. Dawood Azami, Program Manager, BBC UK, London.

4. Naseebullah Seemab, (Ph.D) Assistant Prof. Department of

Pashto, University of Balochistan, Quetta.

5. Prof. Raz Muhammad Raz, Principle Govt Degree College,

Pishin.

6. Abdul Ghafoor Lewal, President Regional Study Centre

Afghanistan.

7. Ali Kumail Qazalbash, (Ph.D) Assistant Department of

Persian University of Balochistan, Quetta.

8. Dr. Khushal Roohi, Germany.

9. Anila Zaib Babar (Ph.D) Endeavour Research Fellow,

Monash Asia Institute, Monash University, Clayton, VIC

3800, Australia.

Office Staff:

Composer Pashto: Hafiz Rehmatullah Niazi

Composer English: Murtaza Khan Bazai

Journal: Pashto

Publication: Bi-Annual

Serial No: Two

Publisher: Department of Pashto University of Balochistan,

Quetta.

Press: United Printers Quetta.

________________________________________________

Department of Pashto University of Balochistan, Quetta.

E-mail: [email protected]


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Department of Pashto

University of Balochistan, Quetta.

The Bi-annual and Bi-Lingual Research Journal TAKATOO is an

academic and research endeavor of the Pashto Department which caters

standardized contents with internally recognized approach and diction.

Higher Education Commission of Pakistan is intended to financially

support the research journal and approve it as one of the authentic source

of knowledge construction and dissemination. No part of the material

published in the journal be copied, reproduced or printed with out the

prior permission of the editor.

Disclaimer:

Authors of the published material have their independent perspective,

agreement of the journal is not necessary to be the same.


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Guidelines for Contributors

TAKATOO, Department of Pashto University of Balochistan, Quetta

welcomes papers in English and Pashto on Pashto language, literature,

history, art and culture. Manuscript should not exceed 7000 words

(including end notes and references). Quotations from foreign texts must

be translated in the body of the paper, and accompanied by the original in

the endnotes. The author‟s name, e-mail and mailing addresses and

institutional affiliation should appear on a separate title page. Each paper

in Pashto / English is to be preceded by an 80-100 worded abstract in

English. Submission for concideration for publication in Takatoo, 2 hard

coppies and a soft copy, may please be mailed to the Editor.

Paper in English must be in accordance with the MLA / APA style.


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List of contributors:

1. Abdul Karim Baryalai Govt Civil Servant.

2. Dr. Nasrullah Jan Wazir Chairman Department of Pashto

U.O.B Quetta.

Javed Iqbal Iqbal Lecturer Department of Pashto


3. Dr. Naseebullah Seemab Assistant Prof. Department of

Pashto U.O.B Quetta.

4. Qari Abdul Rehman Lecturer Department of Pashto


5. Dr. Hanif Khalil Assistant Prof. NIPS Quid-e-Azam

University, Islamabad.

6. Umar Gul Askar Poet / Writer

7. Aseer Mangal Assistant Prof. Govt Post Graduate

College, Nowkhar.

8. Abdul Manan Kakar Assistant Prof. Department of

Political Science, U.O.B Quetta.

Faizullah Panizai Assistant Prof. Department of

Pashto, U.O.B Quetta.

9. Barkat Shah Kakar Lecturer Department of Pashto



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Contents

Modernism and the role of Criticism 7


Loya Jirgah and its Historical Role in Afghanistan 18

Abdul Manan Kakar / Faizullah Panizai

The Reflection of Pashtoonwali in the folk poetic genre

“Kakarai Ghaarhi”. 31

Barkat Shah Kakar


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Modernism and the Role of Criticism


ABSTRACT:

Criticism embellishments the literature. It puts off literature from

mechanism and doesn't make it a machine which is proscribed by

the outmoded principles. A poet or a writer is the foundation and

dealer of thaught revolution so that he doesn't live in the sphere of

restrictions. On the other hand, he shatters these spheres and goes

through them as he has the revolutionary emotions. A writer has to

be tradition-liking instead of being modernist as conventionality

and modernism lead a writer towards declination. A writer having

exclusive and historic sense and knowledge can better know

modernism. Critical sense is a scale that puts off a writer from

replication and broadens the sphere of literature as criticism and

critics have a deep indication on the on going events of the current

scenario and play the role of a bridge between writer and society

through scientific evolution, its impacts on life and the use of

modernism. The paper also discusses that criticism has to adopt the

futuristic approach as it assists literature to be acquainted with

futuristic trends and conducts.

Life means to move forth and the process of evolution. It brings

along new opportunities every day. If any body has got this quality in life

to consider these new opportunities and to avail them whole heartedly

there he can move forth in life.

New aptitudes and opportunities are the part of the changes

which take place due to the social and economic conditions.

“The aptitude for literature also develops due to the changes in

the social and economic conditions. When the changes take place in the


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circumstances they open up new vistas of knowledge and the thinking

also begins to change.

Life becomes aware of the novelty in things and literature is

also affected and its every field is impressed by the novelty and opens a

new gate way for it”. (1)

In such conditions the value of criticism increases and its role

becomes crucial for the guidance of literature and author on this strange

and unknown path.

Before we discuss the role of criticism, let us first try to

understand „Modernism‟.

“MODERNISM:- Actually it means the combination of the

traditional, political and the social movements which started against

religious extremism during the 17th

and the 18th

century”. (2)

It was the time when the ideology of Aristotle gained

supremacy in Europe and to rise against him was considered a sin.

Modernism also attacked this movement. “Before the advent

of modernism Europe was ruled by orthodoxy and traditionalism, so this

movement declared „Middle Ages‟ as Dark Ages‟ It also targeted the

religious extremism, traditionalism and their narrow mindedness, and

tried to eradicate them.

The severe reaction against it reached the height of movement

and this effort made people to rise against the religious and some of the

religious concepts.

The basic ideological concepts of modernism can be found in

the thinking and ideas of philosophies like Francis Bacon, Rene Decart,

Thomas Hobbes etc. Their idea was that this world and the universe is

knowable only through wisdom, experiment and observation”. (3)


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This concept did its level best to uproot imagination and

spiritualism from all types of literary activity. The movement of

modernism was founded upon, political, social and economic grounds,

and literature also could not remain un-affected because it also supported

those who were orthodox and traditional.

“So modernism was defined as enlightenment and humanism,

which rejected the supremacy of one person and his traditions rather it

accepted wisdom and scientific knowledge to be the criteria of action.

It believed in the hypothesis that it is the wisdom of man is the

way to find truth”. (4)

The warfare between independent thought and traditionalism

started and even criticism could not stay out of it, and could not remain

indifferent, but kept on supporting one idea or another.

This type of modernism gave birth to the philosophy of

Marcus which is based on wisdom and materialism and began to teach

class difference in society, which looked upon literature through

scientific ideas.

The movement of modernism shook the foundations of the

positive traditions and gave rise to religious clashes.

“Modernism also promoted Nationalism and state ism.

Through this type of thinking democracy came into being and many

independent and democratic states came into existence in Europe and

North America”. (5)

The moral values of this movement were based on the height

of benefit. A thing beneficial for society was acceptable and a thing not

beneficial for society was un-acceptable.


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“Religious extremism created a terrible situation and in

reaction against it the movement started which is called modernism.

The necessary action taken against religious extremism was

later on called Post-Modernism”. (6)

According to the concepts in modernism ideology and

principles carry no value. Life is only restricted to its problems and their

solution.

We can well define criticism after keeping into consideration

the historical background and the reasons for the beginning of

modernism and Post-Modernism.

By keeping into consideration the exact definition of criticism,

If we want to clarify what criticism actually means, we can very well say,

that criticism serves as a bridge between the reader and author and

between author and literature.

“It is the responsibility of criticism to maintain the traditions of

language and literature and should give new ideas to the new generation

and artists for their creative abilities”. (7)

If we look into the definition of creation. The birth in Eden is

called the first creation. Though there is contradiction in it. If we want to

create something new we need the elements for its creation.

A creator always gives importance to the fact that he is

creating something new.

“Normally, it happens that the creative powers adopt new ways

for creation and it is followed by criticism un-intentionally then, slowly it

gets accustomed to it and it doesn‟t remain strange. In this way criticism,

new ideas and new conditions go side by side with one another”. (8)


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This is how criticism widens its scope of principles and so old

norms are replaced by the new ones unknowingly.

If criticism does not do so, it hinders the progress of literature

and becomes an obstacle and cannot give true and real guide line to

literature.

“Criticism helps the new and modern concepts to become an

active part of this general process of creation”. (9)

It helps, because it prevents literature from traditionalism

which makes it static and stops the mechanical process.

In this way attitudes, practice, life, behavior and poetry can be

called the mechanical process “Which is bounded and tied by rules and

regulations like a machine in which all its parts are inter-linked. It is

obvious that mechanical attitude develops lack of creative ability”. (10)

Now if a creator allows himself to become limited in activity

like a machine in a specific sphere then it means that he has become

limited and limitation is the death of creation. “The more liberal a poet is

in his thinking and imagination the greater is his poetry.

If a poet submits to everything and does not have a rebellious

thinking then a good poem cannot be expected from him.

A poet should be a symbol and Icon of radical ideas rather than

blindly imitating the hackneyed ideas”. (11)

Therefore these references I do not mean to say that literature

should necessarily be rebellious against traditions. A kind of rebellion

that bounds literature to follow the unknown paths, but the objective is

that “poets sung many songs, but they did not have new thinking, it had

repetition of a thought and an idea. We are not able to explore something


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new; in them rather we harp upon the same stream of thought based on

the songs of the Nightingale which is being sung for centuries.

We are trying to find old wine in a new bottle”. (12)

If few people call it tradition, this is not so rather it is practiced

by those who do not have the contemporary consciously.

“Tradition actually is the consciousness of history which needs

perception, not only of the past but also its presence.

Historical consciousness compels the writer to be aware not

only of his own generation but also to be aware of the fact that the whole

literature of Europe from the age of Homer and the literature of his

particular country is still existent”. (13)

It is this historical perception which satiates contemporary

knowledge and makes us realize that what are the reasons for the creation

of such Classical Literature.

It is our association with the past literature that helps us to

differentiate between classical and dead literature.

By keeping the continuity of the classical literature we can

create novelty in the present day literature.

“If we do not keep in touch with the literature of the present

day then we will also lose contact with the literature of the past”. (14)

If we create such literature in the name of modernism and

post-modernism, which is not embedded in our soil and is not he true

representative of the hopes and desires of the masses then it is totally

alienated from our ideas, sentiments and thoughts living in a backward

situation and representing the problems of elite class cannot be called

modern literature, because backward societies have their specific

problems and limited resources. They have their own mental level,


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environment and attitudes, through which this consciousness is

developed.

Each society differs intrinsically from the other in its

geographical, climatic and environmental conditions and hence their

priorities essentially differ “Literature is considered modern not in the

sense of its scientific inventions bringing material progress but is modern

in a sense that the new ideas keeping the connection with traditions have

the capacity to enlighten the minds”. (15)

Contemporary knowledge is of great use in literature. If

historical knowledge literature suffers a set back.

“Some are of the view that aim and objective is the focal point of

poetry. However this type of poetry while conveying the message is usually

deficient in imagination, aesthetics and sensitivity, which form an integral

part of its classification”. (16)

Imagination is the key to literature in which the writer who is

motivated by purity of thought tries to provoke sensation.

“A true artist while creating tries to encapture all those things

which he has true faith in, but if it is done consciously then his integrity

is at stake”. (17)

Now the question arises that if something is said consciously it

becomes false. If literature claims that it creates awareness and

consciousness its only motive, then why it is declared false.

If we keep into consideration the comments of T.S. Eliot in

which he has stated about the usage and practice of something, there lies

a difference between the practice of something done on the conscious

level. The aim of practice is that it becomes the part of the author‟s

intuition and he is successful in cheating beauty and awareness because a


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thing which becomes the part of the being it also becomes the part of

creation un-consciously.

To accept something in literature on the conscious level it

means that there is a capacity of contradiction between sub-conscious

and the un-conscious.

If anybody adopts secularism consciously and is brought up in

a religious society which affects his sub-conscious and un-conscious then

the same affect of secularism hinders the progress of his being.

If a person is brought up in a secular society definitely there

will be certain things regarding relation which he will accept on the

conscious level but he will contradict on certain things un-consciously.

This idea fails in literature because if something is accepted on

the conscious level but not put into practice automatically it is not a part

of literature and it becomes a misfit.

T.S Eliot comments “Whatever I want to say is that modern

literature has been marred because of paganism and it is unaware of the

importance of the super-naturalism to naturalism, It is something to

which I give priority”. (18)

The literature which has been created on the conscious level

appears to be more artificial. Literature demands truthfulness. If it is

devoid of truthfulness no matter how much logical it is it cannot provoke

sensations.

“Modernism is not a conscious effort but every age is different

from the past according to its priorities, needs and requirements”. (19)

Literature being a mirror to society does not have the unity.

Gopi Chander tells the reason that reason that the biggest

tragedy of our time is the industrial revolution. A strange feeling has


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developed, it is totally different from the common feeling. This type of

feeling has given a new kind of awareness.

New poetry is indifferent and impartial. (20)

This indifferent attitude is the gift of industrialization and

materialism. Though the present age has increased the knowledge but it has

slain love and has immortalized affection. Life is meant for love. Keeping

into consideration this fact we come to know that criticism is also affected

by industrialization that is why it has also lost its real motive.

“Scientific progress has suppressed the social thought which

ruled the world for centuries.

Is our past heritage will be with us in future?

This is the point from where the duty and responsibility of the

begins, who links the present with the past”. (21)

In such conditions when we are growing fed-up with the past

and hopeless about our future we need the positive role of criticism,

which prevents literature from delinquency of thought and makes us

more on the right path.

Criticism of today will have to play the role of a bridge

between the reader and the author and will have to guide both. This role

can only be played by criticism so that an author is neither completely

traditional nor totally modern.

Traditionalism and modernism are two separate ways.

Criticism must have futuristic approach and as well positive approach

and like this future will be bright in the mechanical age.


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REFERENCES:

1. Dr. Ibadat Bralvi, Urdu Tanqeed ka Irtiqa Fifth Edition.

(Karachi: Anjuman-e-Taraqee Urdu Pakistan, 2001) Page. 365

2. Syed Sadatullah Hussaini, Mabad Jadeediat ka Challenge

aur Islam Tarjuman ul Quran, (Lahore July 2008) Page. 63

3. Ibid Page. 64

4. Ibid Page. 64-65

5. Ibid Page. 65

6. Ibid Page. 67

7. Sahb Shah Sabir, Pashto Adab ki Takhleeq aur Tanqeed.

(Malakand, Pashto Adabi Jirga, 1995) Page. 105

8. Hamidullah Afsar, Tanqeedi usool awr Nazariay

(Lahore, Nami Press Paisa Akhbar, 1965) Page. 26

9. Shamim Ahmed, Zavia Nazar,

(Quetta, Rubi Publishers, 1987) Page. 134-144

10. Hafiz Siddiqui Abul Aijaz, Kashaf Tanqeedi Islahat.

(Islamabad, Muqtadra Qaumi Zuban, 1985) Page. 191

11. Gul Bacha Ulfat, Likwali, Imla o Insha, Second Edition,

(Kabul, Pashto Tolana, 1961) Page. 79

12. Gul Bacha Ulfat, Da Ulfat Nasri Kuliat

(Pishawar, Ulfat Academy aw Danish Khparwanzai, 1378

Lmrana) Page. 50

13. T.S Eliot, Riwayat aur Salahiat, Eliot key Mazameen,

Second Edition

Jameel Jalibi, (Karachi, Writers book club, 1971)

Page. 184

14. Ibid Shairi ka samaji mansab (same) Page. 88

15. Rabnawaz Mail, Adab Tanqeed ao Fikr, (Quetta, Pashto

Academy, 2003) Page. 88

16. Noor Muhammad Saheem, Pa osani sher sariza,

Muhammad Siddiq Ruhi

(Kabul, Da likwalo anjuman S.N.M) S,W,Z

17. T.S. Eliot, Adab awr Asre Jadeed, Eliot key

Mazameen, Second Edition,

Jameel Jalibi (Karachi, Writers Book Club, 1971),

Page. 245

18. Ibid Mazhab aur Adab, (Ibid)

Page. 235


17

19. Saeed Gohar, Da Pashto Jadeed Shairi, Ulas,

(Quetta, March 1974), Page. 5

20. Gopi Chand Narang, Adabi Tanqeed aur Usloobiat,

(Lahore, Sang-e-Meel Publications, 1991) Page. 227

21. Dr. Farooq Ahmed, Adab key Masail, Qalam Qabila

(Quetta, Janurary to July 1996) Page. 37


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The Role of Loya Jirgah in the

Politics of Afghanistan Abdul Manan Kakar

Faizullah Panizai

ABSTRACT:

This paper pursuits the significance of the Loya Jirga in the

construction political developments of Afghanistan. Loya

jirga which literally means the Grand Council, has played a

vital role in shaping the various dynasties in Afghanistan.

The historical Loya Jirgas have brought almost a paradigm

shifts in the socio-political scene of Afghans. This is an

indigenous institution of electing leadership especially for

the collective representation of the tribes as part of the

confederacy. Historically Mirwais Khan Hottak a

prominent Khilji Chieftain is known as the founder of

Loya Jirga in 1708, which later regenerated a confidence in

the Afghans to over through the domination of the Persian

imperial dominion. The unification of tribes for countering

their collective enemy at one hand emancipated and on the

other hand its also provoke them to capture the major parts

of Persian empire in which Asfahan is considerable. In the

wake of the emergence of Durrani dynasty one can also see

a prominent role of the Loya Jirga which resulted in

making a consensus on Ahmed Khan later emerged as

Ahmed Shah Duraani in 1747. This Paper is going to share

details regarding the 14 different Loya Jirgas from 1709 to

1987. The series of these Jirgas are always called on the

crucial circumstances and in most of the cases it has

rendered fruits. The paper also contextualizes the role of

Loya Jirga in the current political scenario of Afghanistan.

Historical back ground:

It was a Ghiljais Chieftain, Mir Wais, who laid the corner stone of

first Truly Afghan Empire (1708). The Gilzai Empire did not endure

(128-1730). It was followed by the Durrani Empire under Ahmad Shah

the Sadozai. The Durrani Empire lasted till (1747-1817). But the Duranis

are responsible for creating a modern multi-ethnic state, and they gave it


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cohesion and stability which the region had never enjoyed before and it

was peculiarly Afghan in character.

The Country and its limits

As in early

The territories which now fall under the name Afghanistan

formed in old times as a part of what had been known indifferent ages as

Bactria (Bactrian empire), Aryaverta of Khorasan. The last name had

been given it by the Muslims. That extensive region consisted of:-

Modern Name Old Name

1. Maimana and Mazar-I- Sharif Bactria

2. Qataghan and Badakhshan Tocharistan

3. Bokara and Samarkand Soghd or Sughd

4. Khwarism ………………..

5. Herat Aryana

6. Khorasan Aplotia (Aperiea)

7. Karman Karmania

8. Farah, Pust-I- Rud and Sistan Sojistan or Sijistan

9. Kandahar Arachosia and

Zabulistan

10. Balochistan Corichea or Critia

11. Sindh Indus

12. Panjab Zatkosh

13. Nooristan and Chitral Bloroastan and

Kafiristan Bolari


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14. Simt -I- Junoobi (of the present Pactea or pakhtia

Afghanistan

15. Peshawar, Swat and Kalam Gandhara

16. Hazarajat and Ghor Ghor

The people who inhabited this large area belonged from the earliest

period known to History to one and the same stock, the Aryans whose

various tribes descended from central Asia, crossed the Oxus and settled in

th e land lying South and South East of it, from where they gradually

spread about, continued doing so in all direction. The word Afghanistan

has been introduced in a much later period and its significance has been

made by comparer Ahmad Shah Abdali. We may apply the name

Afghanistan to signify the whole area viz, the middle portion of Arya

inhabited lands situated between the Oxus and the Arabian Sea from north

to south, and from west to east between the western half of Persia and the

line drawn southward from the Pamirs right down to the sea coast (2).

Coming to modern times we find that after the death of Nadir Shah of

Persia, Ahmad Shah, and Abdul Afghan, arrested the independence of

Kandhar against Persian dominance as Mir Wais had done a few years

before him. The Emperor Ahmad Shahs Government was essentially an

Afghan Government. Therefore the whole country included in his empire

came to be known as Afghanistan (3).

Location:

Central Asia bounded by Russia (N) Iran (W), Pakistan

(E) & China (Neo Land Locked)

Population: 14.2 Millions


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Ethnic Groups:

47% Pashtoons, 30.7% Tajiks, 5% Uzbek Mangolian and others.

Capital: Kabul

Land Area: 249,933 square miles

Land Boundaries: 3.424 miles

Official Language: Pashto and Persian is the chief language

The Institute of the Jirgah and Afghan and Egalitarianism:

The most unique Political institute in which gives proof of

Afghan egalitarianism is the Jirgah (among Pashtoons) Majlis, Jalas or

Shoora (among Tajiks and others). The Jirgah tribal council or elders

constituted as sub-clan level and selected representatives compose it at

the clan and later tribal level. Only in great national emergencies the

Loya Jirgah assembles. The Jirgah is a very is a very potent body with its

own protocol traditions and no one can muscle in individual decisions. If

any one tries it will only lead to fatal consequence for his rash

importunity. Jirgah decision can not be challenged. Among some tribes

every member of the Clan is allowed to take part in the debate, and there

can be long and dragging until a consensus is reached. The Afghans are

most comfortable with a government which lays the least possible

restrictions on their personal and collective freedom. No Afghan dictator

or tyrant can survive the reaction of the Afghan people.

Afghan egalitarianism by no means implies that the people of

Afghanistan revel in defiance of authority. Far from its elder are

genuinely respected and the most influential men in the tribal hierarchies

are generally “gray beards”. The experience of the elders is highly

valued as community assets (5).


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Historical Role of Loya Jirgah:

Loya Jirgah is an alternative of an elected Parliament, to maintain

their social and Political relations among them. Jirgah system played

great historical role in Afghans national interest. Jirgah is not related only

with Pushtoon society although the other nationalists of the state like

Uzbak, Tajik, Hazara, Baloch, Turkman are also adopted Jirgah system

in their social and Political relations.

Mir Wais Khan Loya Jirgah:

In 1709 the Ghilzai rose under Mir Wais and slaughtered the

hated Georgian and his garrison and take Kandhar from Persian Safavi

Dynasty, and covered Loya Jirgah at Kandhar in which all the Afghan

tribe. Chieftains Ullma (Religious scholars) were invited all tribes of

Khaljis and Durrani were participated. After a long discussion the Mir

Wais was chosen as first chief of the nation. Mir Wais died in 1715 and

has in a outside Kandhar. He never proclaimed himself King but simply

Vakil (Governor or regent) of Kandhar (7).

Ahmad Shah Durrani Loya Jirgah:

In 1747 A.D the nation of an autonomous state was prompted by

the death of a famed Persian military General named Nadir Shah, who

died en-route on return from northern India (Afghanistan) number of

high ranking officer opted for independence, choosing a man known for

his chivalry and courage in battlefields, Ahmad Shah (8) . At that time to

elect the kind, Loya Jirgah of tribal chiefs were held at Mazar-e- Shar-e-

Surkh in Kandhar in October 1747. After nine prolonged session the

Jirgah endorsed the formation of a modern Afghanistan state and elected

Ahmad Shah as the king (9).


23

Loya Jirgah of Amir Sher Ali Khan (1863-1865, 1868-18-78):

In 1865 the amir sought the support of the tribal leadership. In his

going on powers struggle with his brother, the king summoned 2,000

tribal representatives to consult with them. On the course of action he

was adopted in his confrontation with the rebellious governor of

Kandhar. His full brother Muhammad Amir Sher Ali Khan never gives

up his title of Amir even when ousted from Kabul (10). The Loya Jirgah

of 1865 supported the policy and efforts of Amir Sher Ali for its approval

of nomination of his seven years old son Sardar Abdullah and it was a

mistake committed by the Amir which was endorsed by the Jirgah,

because his elder sons namely Yaqub and Ayub both capable and other

never accepted Abdullah as the successor.

The Loya Jirgah of 1873:

On the question of Seistan boundary the Afghanistan and Iran, the

British arbitrated in the matter proposed some proposal. Amir Shah Ali,

conveyed a Jirgah in Kabul and asked its advice on the British proposals

the British agent in Kabul attended the Jirgah and witnessed the

discontent of the assembly over the Seistan question the Jirgah decided

that the British represent five should not come to Kabul (11).


When the Indian Muslim came to Kabul after the incident of

Jalaniala Bagh and they inform the King Aman Ullah about the crudity of

British or Indian. After the meeting with Indian delegation Aman Ullah

Khan convene a Loya Jirgah. The participants of Jirgah were agreed to

help then Indian Muslim.


24

The Loya Jirgah of 1922 & 1924:

On February 1922 the second Loya Jirgah convened by king

Aman Ullah Khan at Jalal Abad for the approval of Constitution of the

country. The delegates give approval after long discussion in 1924. The

Loya Jirgah of 1924 was held in Salam Khana on July 15 and addressed

by king Aman Ullah Khan. The participants were 1,052 in number.


The Loya Jirgah of 1928 was held from 29 August to September

02. Jirgah was concluded in five sessions (12).

The Loya Jirgah of Nadir Khan 1930:

In September 1930 General Nadir Khan summoned a Loya Jirgah

of 286 nobles, the assembly conformed him as King of Afghanistan

announced and promised to more Afghanistan back into the mainstream

of Hanafi Shari‟a of Sunni Islam (13).


The Loya Jirgah was held in Kabul during the Second World War

(1935-1945) the Jirgah endorsed the following items on the agenda.

Afghanistan is neutrality and policy of peace and co-existence of the

government with its neighbors and other countries of the World.


To quell disturbance in tribal agencies Pakistan Airforce was

carrying out occasional air strike in the Pakistan tribal agencies. Pakistan

air craft bombed in advertency on June 12 1949. The village Mughalgai

2,100 yard inside the border of Afghanistan. The Afghan government

there after convinced a Loya Jirgah in July 26 1949.


25


The Afghan Prime Minister Daud Khan in 1955 called a Loya

Jirgah after the announcement of one unit plan by Pakistan. The Jirgah

announced the support of Pashtunistan issue and demanded the Plebiscite

in the Pashtaun areas of Pakistan.


This Jirgah was held for the approval of new constitution of

Afghanistan and the Jirgah approved the Constitution (14).


President Daud called a Loya Jirgah in January 1976 under the

President ship of Aziz Ullah Wasfi for the purpose of the new

constitution and selecting the President of the state after having 24

sessions (15).


Dr. Najeeb Ullah Khan called Loya Jirgah on November 29,

1987, the number of participant were 1500, nominated and elected, and

400 foreign guests including delegation from Pakistan. The Jirgah give

the approval of constitution (16).

Loya Jirgah in Present Development:

The Loya Jirgah also playing its important role in Afghanistan

after the Government of Taliban and after 9/11 incidents

The Tribes of Afghanistan do not present a corporate Political

entity, yet tribalism serves as the blue print for Political alliances.

Political entrepreneurs found kinship and tribal links most convenient as

a basis for alliances or confederations in order to challenge even imperial

powers and to secure areas of freedom and independence for their people.


26

The problem in this sort of a power play in the fact that the very tool

which enabled some tribal leader to establish themselves at the head of

powerful Political entities, also served to reinforce segmentary division.

Tribal systems do not develop institutions based Political Power with in

the tribes community interests are preserved through the community

council called Jirgah (17).

Since the September 11, 2001 terrorist attacks on mainland USA,

Islam and terrorism are spoken of in the same breath the negative dead of

the overzealous, extremist individuals and groups is taken as the criterion

of Muslim as a whole (18).

It was against such a socio- political situation in Afghanistan

itself that the attacks of September 11, 2001, took place on main land

USA, Implicating the Taliban as amongst the pure suspects.

The Boon Agreement and emergency Loya Jirgah:

The post 9/11 development ushered in a new phase of the Afghan

dynamics on December 5, 2001, according to the agreement in Bonn.

The participants agreed to the setting up of n interim administration to be

presided over by a chairman, a special independent commission for the

convening of the Emergency Loy Jirgah. The special independent

commission was the final authority for determining the procedure for and

the number of people, who would participate in Emergency Loya Jirgah

as well as draft rules and procedures specifying (19).


27

The Loya Jirgah Process 10-16 June 2002:

On June 16, Hamid Karzai, was elected the president of the

Transitional Authority and almost immediately plunged into the next

critical stage. In a climate of tension of having to name his cabinet for the

approval by the Loya Jirgah, as well as well oversee the formation of the

National Assembly (20).

According to the Bonn agreement provided that once the

transitional authority was established by the Emergency Loya Jirgah. The

Interim Authority was ceased to exist the main task of the transition

Authority was to convene to a constitutional Loya Jirgah.

The Loya Jirgah & Present Government:

The Bonn Agreement 2001 set out that free and fair election must

be held with in two years of establishment of the Loya Jirgah, The

constitution ratified the government as an Islamic republic consisting of

three braches of power Executive, Legislative and Judiciary.

Hamid Karzai, who was elected in October 2004, before the

election, Karzai led the country after being chosen by delegates of the Boon

Conference, in 2001 to head an Interim government after the fall of the Taliban.

The current parliament was elected in 2005 among the elected

official were former mujahideen, tribal fighters, communists, reformists

and Islamic fundamentalist. Surprisingly 28% of the delegate elected was

women, 3% more then the 25% minimum guaranteed under the

constitution national election were held on 9 October 2004. Over 10

million Afghan were registered to vote. Karzai won 55% of the vote. He

was inaugurated as president on 7 December. It was the country‟s first

national election since 1969, when parliamentary elections were last held.

The major political time lines in the Bonn Process have been met. The


28

state bodies have all been assembled but little actual power shared for

instance Provincial council was elected in 2005 but the law gives them

few powers and no budget. The bicameral parliament is those yet the

president has far greater powers than the legislature (21).

A new five year blue print for cooperation between the

international community and the government of Afghanistan was

launched at the London Conference on Afghanistan on 31 January – 1

February 2006 (22).

Conclusion:

If we analyze Afghan history, most of the great events,

particularly the making of government and the announcement of wars of

Independence, have been determined and happened because of Loya

Jirgah. Even their empires in the subcontinent were established

maintained and replaced through the Jirgah or smaller ones compounded

of the tribe of the king and others allied tribes. This traditional political

institution has been alive since the ancient period; afterwards it was

further enriched and modified during Groco- Bactrian Period. It provides

Afghan society a historical, social and political structure which has

always helped Afghans deal with the situation of Anarchy, chaos and

emergency. Many orentalists are of the opinion that Afghan society is an

egalitarian and democratic society. Some of them are of the view that it is

a kind of ordered anarchy. Of course Afghan society is one of the

interesting cases for all curious and invests culture anthropologists of the

world. Many of them have studied it both journalistically and through

field studies and participant observation. On the one hand they have

established glorious empires, while on the other hand they make sull the

largest tribal nomadic, semi-nomadic society of the world. Historically


29

they are famous for anarchic and unruly nature. Many times they have

fought fierce-wars against outsiders and of course among themselves.

Their enmity and rivalry is also based on well established principles and

culturally recognized norms and values. In other words they know how to

fight and how to make peace. The institute of Loya Jirgah embodies their

reality of Afghan society in its fabric history of Afghanistan.


30

REFERENCES:

1) WAFA The Journal of Afghan Affairs, Vol: 7, No: 1, January-

March 1992, P: 22

2) Abdul Ghani A Brief Political History of Afghanistan Lahore,

Najaf Publisher, 1989; P : 2

3) Ibid P: 3

4) Babani Macmunn Afghanistan Political, Economics, London,

France Publishers.

5) Lt. General Macmumm Afghanistan Publisher, Gosha-e-Abad

Quetta P: 317

6) Sultan Muhammad Sabir Loya Jirgah, Lahore Frontier

Post Publication, 1994 P: 9

7) Louis Dupree Afghanistan Princeto University Press 1980,

P: 327

8) Tato The Kingdom of Afghanistan A historical Sketch, Karachi,

Indus Publication, 1973, P: 234

9) Louis Dupree Opcit P: 403

10) Syed Fida Hussain Afghanistan Jirgah and Loya Jirgah “The

Afghanistan Tradition” the Aayc Rahatabad Peshawar 1999

11) Ibid P: 45, 48

12) Louis Dupree Opcit P: 463

13) Syed Fida Hussain Opcit P: 54

14) Ibrahim Muhammad Atta Da Afghanistan Par mahasar tarikh yawa

kathira (Pashto) Kissa Kowani

15) Ibid P: 336

16) Bernt Gatzer “Afghanistan Ethnic & tribal disintegration” in

William Malley ed: Fundamentalism Reborn P: 176

17) Oliver Roy “Has Islamism a Future in Afghanistan” in William

Malley ed: Fundamentalism Reborn P: 199

18) CNN Chief International correspondent Christiana A man power and

State Departmental Correspondent

19) http:/www.referl.org/nca/eatures/2002/05/3105002 171039.39.asp

Afghanistan. UN

20) The Nation June 20, 2002: Karzi views political reformed and war

on corruption.

21) “Countering Afghanistan‟s in Surgency, No quick fixes”,

International Crisis Group Asia Report No: 123, 2 November 2006,

P: 5

22) The London Conference on Afghanistan

<http:/www.fco.gov.uk/servent/frontepagaename. Open market

/xcelerate/show page & cid = 11337732472117


31

The Reflection of Pashtoonwali in the folk poetic genre

“Kakarai Ghaarhi”

Barkat Shah Kakar

ABSTRACT:

The study of the construction of cultures and societies is not

very easy especially when the society relied on the oral

tradition for centuries. The major part of the literature and

history is eroded with the passage of time. There are some

reference points which still help us to measure and articulate

the learning journeys of the civilizations and people being

carried from its inception. The social and cultural process

shape and reshape the attitudes and world views of the people,

and thus a changing and organic form of culture evolves. The

code of Pashtoonwali which has been evolved in every part of

the Pashtoon land within the context of the practical realities

and needs of the people. Pashtoonwali the Pashtoon ways of

living also gets through such dynamism, despite controversies

there are some principals and ethical bottle necks in the

culture which unite the Pashtoon through the bond of

Pashtoonwali. The manifestation of Pashtoonwali in the

folkloric poetic genre of “Kakarai Ghaarhi” reflects an

outstanding holistic image. This paper is going to share that

how collective social consciousness registers Pashtoonwali

and how it has been formed and phrased.

A glance at the Pashtoons demography: Pashtoon being ethnocentric shares the same language. Physically the

Pashtoon are basically a Mediterranean variant of the greater Caucasian

race and speak several mutually intelligible dialects of Pashto. We come

to more solid history with the great Persian Achaemenian Empire an

Herodotus recounting of the doings to syrus, Xerxes and Darius. The

historian credits the last as the “discoverer” of the area and its principal

city, Kaspaturos (which may be modern Peshawar or he mound of

Psuhkalavati at charsada nearby or neither)(Spain, JW,1995)1. The

reckoned Pashto scholar and researcher Allama Abdul Hai Habibi also

refers the Greek historian Herodotus (484-425 B.C) who in his account

of geography narrates about Pashtoons of Paktikai as brave and smart and

also writes regarding their life style and general war tools. The history,

culture and traditions of Pashtoons stretches to the ancient age, as Pashto


32

is reported by Abdul Hai Habibi as 3500 2

years old Language.

According to the 1998 census report of Pakistan the Pashtoons as second

largest ethnic group of Pakistan constitutes 15.43% 3 of population. The

Pashtoon in Afghanistan are reported 62.5 % 4

as in accordance to the

census report of WAK Foundation in 1996. If we take the population of

the whole of Afghanistan as 35 million, the Pashtoon are about 18

millions. Add this to 37 million in Pakistan and we arrive at the figure 55

million for both the countries 5. While adding the 5 millions refugees

mainly in Europe,USA and south Asian Countries the total figure

stretches 60 million.

The Epistemology of Pashtoonwali: Pashtoonwali is defined by various past and contemporary scholars,

historians and ethnographers. It is usually called as the way the Pashtoon

do and thinks. J.W.Spain in his famous account ' Pathans of the latter day'

has given close ended simplification to his definition. '“Pashtoonwali”

translate well into English as “the way of Pathans” is universally agreed

(J.W.Spain1995) 6 .

Similarly, Qayamuddin Khadim one of the literary of

five Pashto literary stars has produced an exclusive account on,

“Pashtoonwali”. He states' “The social order formed around the

principals of love, courage, Fight for the noble collective cause,

Hospitality, keeping of promises, righteousness, honesty and loyalty to

ones people is called Pashtoonwali 7 There have been interesting but

controversial accounts of the colonial and post colonial period which

could be taken reference points in the analytical frame of unpacking

Pashtoonwali as a system and phenomenon. A cross-cutting agreement

exist that it possesses unique mechanisms of speedy conflict resolution,

cooperation, philanthropy, hospitality and collectivism generally. While

there are several loopholes and contradictions within this unwritten

constitution of Pashtoons. Ghani Khan, the reckoned Pashtoon poet and

thinker has shared in his introductory booklet“The Pathan” a comparative

account of the modern colonial and local-traditional systems.

“You make a law and keep a good supply of gun powder and men to help

your weak brother uphold it. He made a custom and invented magic and

the devil to keep watch and ward from him. There is absolutely no

difference between your law and his custom in object and purpose. Your

wise judges wear the same serious expression as his high priest. Indeed

they even wear his custom. Your laws are as stupid to him as his custom

to you. You can tie a knot in silk thread as well as you can in thick rope.

He did not need the thick rope any more than he had any necessity for


33

your elaborate city drainage system. The interesting point is the knot. It is

the same in both cases” 8.

The features of Pashtoonwali is a oligarchic in some cases as in Jirgas,

social gatherings, festivals, and rituals all the individuals participate on

the basis of equality irrespective of their social and economic strata. It

also operates as a defensive system in terms of Jirga, Chegha, Dhand and

Arbakai. It also plays vital role as a legal system in the shape of

managing and resolving conflicts, protecting the victims and providing

asylum to the offenders. These practices are mainly known as Khair,

Rogha and Panah. Asta Oleson as quoated by Palwash Kakar in her paper

on “Tribal Law of Pashtoonwali and Women‟s Legislative Authority”

puts that, “Pashtoonwali is so essential to the identity of the Pashtoon that

there is no distinction between practicing Pashtoonwali and being

Pashtoon” 9. The young scholar Rafi Ullah in his article on 'Peace per

Pashtoonwali' declares that Pashtoonwali is the secular national culture

of the Pashtoons. There are still controversial perspectives as J.W.Spain

has pointed out “We are still left, however, with two questions: What is

Pashtoon wali? Law, customs, manners or mind set and what are its

subjects, civil, criminal, or social”? 10

The Spiritual-Pluralistic Frameworks of Pashtoonwali: Traditions with no exception laid its foundations on spirituality. The

orthodox triangle of God, Man and Universe shapes the very fundamental

beliefs, conceptions, behaviors and attitudes of the people. Having a

strong religious temptation majority of the prominent Pashtoon display

outstanding spiritual assertion. The analysis of this phenomenon unfolds

the social construction of Pashtoon socieity in the Pre-Islamic period.

The young scholar and researcher Rafi Ullah has made valid point here

“As a matter of fact, Pashtoon wali has evolved from the phenomenal

historical developments in terms of religion, politics and culture in the

Pashtoon land. The fact is supported by Aryan, Zoroastrian, Hindu,

Buddhist and Graeco-Roman remnants in the Pashtoon culture.

Philosopher-poet Ghani Khan, son of Abdul Ghaffar Khan, observes,

"Each race has contributed something to his virtues and vices, looks and

beliefs, religion and love-songs."11

.

The study if the particular historical process indicates that the cultural

infrastructures of Pastoon society have progressive and organic in nature

which has been gone through a continuous process of evolution. The

diverse transitions from one religion to another indicate that an inherent


34

readiness has been there which provoked the society to dedicate its socio-

cultural frameworks to the reality.

The code of Pashtoonwali is strongly influenced through the spiritual

disciplines, as it collects diverse spiritual principals and practices from

various religions an then adopt them in accordance to the Islamic

teachings. The analysis of the myths, stereotypes and general eco-literacy

has strong correlation with the practices of Budhism. Similarly as part of

the same civilization the remnants Zoroastrian, Hindu, Buddhist religion

could be seen in the shape of rituals and beliefs in the various areas of

Pashtoon. Like the wedding ceremonies in the Southern Pashtoon Belt of

Balochsitan caters literal practices of Hiduism, but these practices are

never disregarded or questioned as it resembles or adopted from the other

religion. Hence the tradition of Pashtoonwali has strong spiritual

frameworks which unite the diversified versions of reality. The mystic

poets, practitioners and leaders caters comparatively vantage position as

the practicing mystic poet,warrior and political leader Bayzeed Ansari

(Peer Roshan) has attained a huge statue as compare to his rival Akhund

Darweza who was supposed to implement a sheer dogma in the name of

Islamic Shair'a. Similarly the mystic poets Rehman Baba particularly

caters the central position in the hearts and minds of people and it is

strongly affirmed that the Dewan Rehman, after Quran is the second

compulsory book found in the house of Pashtoon.

Reflection of Pashtoonwali in the Pashto Folklore: One of the fundamental yardsticks of measuring the cultures and its

collective sociological paranoia is the analysis of its folklore. The oral

tradition generally and the diverse folklore genres both of prose and

poem witness of outstanding pluralistic features. There are diverse genres

which reflects the pluralistic and peaceful features but here we will see

the phenomenon in the context of Kakarhai Ghaarha.

Kakarai Ghaarhi as reflected from the name is originated in the land of

Kakar tribes which are stretched over almost in all the districts of

Pashtoon belt of province Balochsitan. This genre due to its simplified

and poetic characteristics has been widely adopted and it has grown up

and has transcended the tribal boundaries. Tappa is considered the most

popular form which prevails almost every where on the Pashtoon land.

The folklorist Khair muhammad Arif has affirmed this reality that Tappa

is the popular form while Kakarai Ghaarha could be taken as the second

most popular genre.


35

The cultural processes and notions of Pashtoonwali: It is not controversial that, Major part of the Pashto Folk poetry is created

by the female as the folklorists Prof Syal Kakar, Syed Kahir Muhammad,

Habib Ullah Rafee, Prof Dawar Khan Dawood and Prof Muhammad

Tahir Nawaz have affirmed in their exclusive accounts. It is a radiant

reference point which after systematic studies can easily unfold the

cultural history of the Pashtoon living on this part of the world. The

literature produced is not a mere outcome of the fantasies of the people

but it is stemmed in the concrete live experiences of a routine life. Here

one can easily challenge the hypothesis established by Bendicte Grima

through her investigation published with the title, “A performance of

emotion among Paxtun Women”. She states. “I believe that this is the

male appropriation of an ideal female voice, as in the landay poems, a

woman‟s voice talks lovingly and seductively to a young man. The

reality is that they neither the landays nor these romances exist among

women. They represent women in men folklore and fantasy 12

(Grima,

Bendict 1992). The cultural spaces like Darawai, Kamara Ammai,

Goodar, Wlang and other spaces of social and economic importance have

been practically experienced. Following two Kakarhai Ghaarhi indicates

the practical reality.

The notions as indicated in the oral soruces of prose and poetry indicates

that as per the concepts and morality of Pashtoonwali in this part of land

have been evolved which most of times supplement the over all

framework of Pashtoonwali.

The study of Kakarai Ghaarhi unfolds the very genuine and spotaenous

reflection the way people, think, behave and imagine. The expression of

love from both of the genders, aspirations of the cultural values, negation

of social and collective taboos and sacrifices for the true Nang, self rule,

autonomy, and greater self esteem of individual and socieity are reflected

accros the board.As women poured major part in the folklore hence it

indicates that this part of Pashton land has been given the due respect and

position to the women.

The women outstanding expression of her love for her deloved shapes

most part of this particular genre. Some of the samples indicating the

mobility of women and her free communication in the society is as under.

13

(The coins of your frock turned cold, which confirms

that, the dawn is about to rise).


36

14

(Do you remember the cold nights when used to come with your cold

Bracellet?)

15

(My Beloved has not come yet, oh, Permangi come on slow and steady).

Manifestation of the Religious Pluralism: The religious and cultural pluralism has been one of the representing

features of the Pashtoonwali. The code of Pashtoonwali restrains the

individuals to mock or insult ones belief and point of view. There have

been a popular Tappa.

(My friend is Hindu; while I am Muslim for my beloved friend I am

cleaning Dhram Shahla).

The code of Pashtoonwali does not exclude the non-Muslims, even the

particular practice of collecting the tax also known as Juzia from the non-

Muslims has never been practiced even in the Pashtoon states before the

partition of India. The expression of difference of belief in terms of

religious practices, rituals and festivals has never been banned or

stigmatized. Hence a cultural

The ancient form of Kakarai Ghaarha manifest an historical event in

which Barak a famous warrior warn the bandits to stop fighting the

Hindues who are less in the number and in accordance to the values of

Pashtoonwali it is the responsibility of the Pashtoon to protect minorities

and socially deprived factions of the society. The Ghaarha is as under.

(Do not shatter the Hindues, Behold I Barak-Kakar am here to defend

them).

During the partition of India a mass migration of the history took place,

when we trace the sentiments of the migrating non-Muslims through our

folklore it reflects the very genuine attachment of the people to the soil

and culture. While being separated from their land and people they have

left this Kakarhai Ghaarha.


37

There can be no greater tragedy in my life than being separated from

beloved Makhter a place 16 .(Translated and Quoted by Rafiullah 2010)

The Spontaneous Poetic expression of Love and reality: The exclusions of women from the mainstream social and economic life

have never been part of the indigenous culture of Pashtoon. The trend of

limiting women within boundaries is comparatively a modern

construction in terms of particular religious interpretation and structural

changes in the way of living. Women of the traditional Pashtoon society

have been entertained through their participation and presence in the

public spaces particularly with reference to the ordinary social life and

economic activities. While sharing the pluralistic features of

Pashtoonwali at this part of the Pashtoon land we can analyze the

position of Darawai (The space where in the night the male and female

sit to share and communicate) and Kamara Ammai (The combined

traditional dance of Kakar tribe) of which are

The expression of love and general opinions regarding a person, group,

family or clan is often shared in the poetic form which is then secured in

the collective memory of the people. This expression at hand portrays

genuine feelings and on the other hand reflects the openness of people

towards their belief and value systems. Some of the Kakrhai Ghaarhi

could be shared.

(Oh, beloved do not worry, there is no hell for Pashtoons, give me a kiss)

17

Sitting with friends is not illicit if you do not believe, ask the Mullah of

Saaghrai.


38

18

I swear to go to my beloved even if there are two moons arisen

on the sky.

I will miss my beloved while the summer will also come to bother.

Would that I had a chum in my family who would have to talk with me

about my love.

19

The Controversy of war and love: A traditionally evolved system Pashtoonwali is a complete code of life

for the particular area. It caters the ethics and rules of war. It also

nurtures the individuals to learn what to prefer in the critical

circumstances. An ancient Matha Ghaarha unfolds the story of a young

freedom fighter against the British Gorkha force. The freedom fighter is

in love with a girl, he is part of the local freedom fighters group led by

Saifullah Khan. It is considerable that Saifullah Khan and Shahjahan

Jogezai posed the most organized resistance against the expansionist and

colonial domination of British army. The young freedom fighter feelings

are unfolded in this Ghaarha.

20

My dear, I have to give up the gratification of your cheering bosom, for

me fighting in Saifullah's army is a pride.

Taking responsibility of ones actions: It is significant to note that, the Pashtoon takes responsibility of their acts

and words. In the particular region of Kakar‟s the firm determination

locally called “Hod” is unprecedented. Though it has controversial

consequences but the words once spelled are the final. A freedom fighter

Kamal Khan is punished imprisonment for his armed resistance against


39

British forces in Zhob. The local jury including the notables suggests to

sustain his imprisonment. His response in this context is interesting.

A freedom figheter Kamal Khan after being arrested was sentenced to

htelife imprinsomenet. The jury mainly consists of the anti-people

chieftains,

(The notables have given their opinion, Kamal khan your destiny is jail

Kamal Khan the freedom fighter has no guilt nor there is a way to change

his mind, he had calculated that he is resisting a crule and oppressing

colonial power backed by the local notable. His response is recorded in

the same context is.

(I welcome the hardships of prison because It was the conscious choice I

made myself)

How the code of Pashtoonwali works: The operational framework of Pashtoonwali works under the influence of

an integrated system of mutual accountability also called Paighore.

Paighore is that, all the persons are equally able to remind persons or

his/her familiy shameful deeds in the preview of Pashtoonwali, which is

considered death to the self respect of Pashtoon. Therefore every

Pashtoon as individual and family members strive to learn and practice

the codes like, faith, unity, self respect, self reliance, freedom and

independence, fight to evils and orientation regarding oral tradition. The

individual‟s attitudes and conception are nurtured around his/her

relationship to the land, clan, the virtue of Hospitality, asylum, revenge

etc. The particular socialization of Pashtoon also helps them to learn the

secondary concepts like, Jirga and its functions, the concepts of

collectivism, loyalty, indigenous participatory approaches like Ashar etc.

Therefore the practice of the open communication and long-hours mid

night sittings in Darawai (between the young male and female) were

abide by the ethical principals of Pashtoonwali, therefore both male and

female take responsibility to obey the set rules. The major themes

discussed in this space are the oral history of the particular tribe, folk

poetry, Folk romances and ordinary issues of livelihood and

socialization. Therefore it got a social acceptance.


40

As the Pashtoon culture promotes egalitarian values in the society

therefore the deeds of each individual, his/her family and clan are rated

within the value system of Pashtoonwali. The Kakarhai Ghaarhi

indicating the different cases of violation of the code of Pashtoonwali.

The expression of unjust incidents in the form of folk poetry is an

interesting feature generated socially. As the society has been depending

on the oral tradition therefore an unprecedented multitude of oral history

is recorded in the various folkloric genres. Through oral tradition the

events become part of the collective memory which construct a critical

social consciousness.In an ancient form of Pashto folk genre, that is

“Mati Ghari” or the “ genre with discretely open ended and different in

syllables indicates an outstanding spontaneity and expression of feelings.

An incident of the killing of a person by 8-warriors is recorded and this

has been memorized in the public domains and still remembered with its

times space.

21

Do not pretend to be brave, it is not the way brave figt while killing a

single person by 8-warrior.

While in another case a young girl who questions the masculinity of the

person who makes tall calims in the home while has minimum influence

outside. The passivity of the person is shown in the following manner.

You become statue while seeing the bold one but you start roaring while

entering the home 22

The Paighoor spreads htrough this soruce which some times gets

lethargic consequences socially. But all such cases are recorded in which

Pashtonwali is violated for a collective or individuals interest. A person

who has strived to dispers the Kakar‟s army while spreading fears and

discontents in their heats regarding the colonial power that raided this

land in the last decade of the 19th

century.

It is not fair to spoil an army through dissonance


41

The warriors are always praised especially who fights for collective

cause or on his/her principals. Kata one of the renowned warrior and

leader still live in the collective memory of the Kakars.

(A Shepard replaces Kata, for it is our poor destiny)

1. 23

(How the rain drops come to wipe the blood of the magnificent Kata)

Sher Jan a brave warrior against the British colonial developments was

finally betrayed by his cusions and was entrusted to the Britishers. This

violation of Pashtoonwali is still remembered with the holitic context,

space and time of the incident.

A brave cusion like Sherjan was of great worth than 1000 rupees which

were paid to you for yours cooperation with enemy)

The Kakarha Ghaarhs caters countless narrations about the incident and

the influenctial notables who betrayed him have been cursed in various

poems.

(You became neither Sherjan nor Paly; your poor

destiny is to remain alieve with a purposeless life.)


42

Conclusion: Pashtoonwali is an organic and spontaneous code of life, though it caters

controversies but the over all frameworks is inclusive and stemmed in the

human instincts of freedom, righteousness and creativity. It foster spaces

for the expression and participation of women and also protect the

socially deprived class from the oppression. The folk poetic genres

especially Kakarhai Ghaarhi portrays that, Pashtoonwali as a set of

codes, primary and secondary concepts orients individuals and

communities to regulate their deeds and thoughts within that frameworks.

Pashtoonwali which is some times confused with puritanical and stagnant

versions of Islamic shari'a is not a logical stance because it has its

pluralistic bases which deals human on the basis of the spiritual values

and ethical principals as shared by all the religions of the world. The

poetic forms of folklore can easily survive in the traditional societies, but

it is significant to carry out extensive studies and researches for analysis

and compilation of the cultural history which is coded in the poetic

folklore genres.


43

Glossary:

1. Kakarhai Ghaarha, a genre of Pashto Folklore mainly created in the

territory of Kakars.

2. Paighooris a blame of people/society on the person who violates

Pashtoonwali.

3. Kata was a renown warrior/leader of one of the clan of Kakars in Zhob.

4. Juzia: The history of Islam reflects that the non-muslims in the

Muslims states had to pay tax as the cost of the security provided by the

state.

5. Mekhtar is town eastward to Loralai city.

6. Saghrai is the a village in the east of Loralai distrct-Balocshitan-

Pakistan.

7. Goodar is the place from where the girls/women fetch water, it has

been a vital source of the communication amongst women, most of the

famous romances have nurtured around this space.

8. Wlang is traditional space where women wash cloths

9. Jirga is the Local Council for conflict resolution in which mainly male

members take part almost on equal basis.

10. Chighai Literal meaning 'The Cry” or “Yelp” mainly carried in the

time of emergency , war or natural disasters.

11. Dhand is the social accountability of a village/community, individual to

protect the collective property from harm.

12. Khair: The Literal meaning of Khair is cease fire, the Jirga member‟s

common people go to the victim‟s house and give them trust that their

loss will be fulfilled within a period of time and the victim‟s family

ensures a conditional peace till the time allocated to the council.

13. Rogha means “To re-bind”the people socially and culturally, that is to

restore their confidence on each other.

14. Kakarhai Ghaarha, a genre of Pashto Folklore mainly created in the

territory of Kakars.

15. Panah means to give asylum which caters the offender or victim

protection, food, shelter and all basic necessitate of life.


44

References

1. JAMES W. SPAIN Pathans of the latter day oxford university press

Karachi 1995 PO box 13033, Karachi Paksitan p. 16

2. Habibi, Abdul Hai, “Da Pashto Adabiatoo Tarikh” 2nd

edition,Danish

Khparandoya Tollana Peshawer, 2005, P. 71

3. http://wapedia.mobi/en/Pashtoon 4. Rehman, Tariq Paper “Globalization and Linguistic Imperialism”

translated in Urdu and Published by IDSP-Paksitan with other papers

presented in the seminar in Quetta on 21st Feb 2003

5. Misdaq, Dr. Nabi, “ Pashtoon Population, an estimate” published in e-

journal “Khyber” June 2009, p.6

6. Ibid, p.6

7. W .Spain, James Pathans of the latter day, Oxford University Press

Karachi, 1995 page.39

8. Khadim, Qayamuddin, “PashtoonWALI”page 5. Published by Pashtu

Adabi Ghoorzant Quetta, 2005.

9. Ghani, Khan “The Pathans”, Printed by The Frontier Post Group of

Publications 1947. p-25

10. Asta Olesen, Islam and Politics in Afghanistan (Surrey: Curzon Press,

1995), P.34.

11. W .Spain, James Pathans of the latter day, Oxford University Press

Karachi, 1995 page.39

12. Ullah,Rafi, “Peace per Pashtoonwali” The News 23 January 2010

13. Grima, Bendict, A performance of emotion among Paxtun Women,

Oxford Pakistan Paperback 1992, p. 154 14. Arif, Syed Khair Muhammad, “Da Ghaarho Addabi Cerana” Pashto

Adabee Malgaree Loralai, p 28

15. Ibib, p. 87

16. Kakar, Prof Syal, “Paxwanay Gari”Pashto Folklore Academy, Quetta

2006, p.113

17. Ibid

18. Arif, Syed Khair Muhammad, “Da Ghaarho Addabi Cerana” Pashto

Adabee Malgaree Loralai, p 13

19. Kakar, Prof Syal, “Paxwanay Gari”Pashto Folklore Academy, Quetta

2006, p.260 20

20. bid,p.45

21. Ibid, p. 224

22. bid, p. 225

23. bid, p. 224

http://wapedia.mobi/en/Pashtoon


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