October 12, 2008

A major portion of the oral folk literature in Pashto orginates from women, therfore, they enjoy a prominent position in Pashtoon literary history. Whether in the battlefield or on farmland, women have signficantly contributed to Pashto’s unwritten literature as they have sung their inner feelings as well versified their hard labour in Pashto tapa – a two-line verse one each with long and short metre and the most populargenre that reflects their creative abilities.

When a brave young Pashtoon woman, Malalai, sang the memorable tapa ‘Ka Pa Maiwand Ke Shaheed Nashwey/ Garana Lalia Benungaila De Saatama’ ( ‘If you did not embrace martdyom on the battlefield of Maiwand then, my dear beloved, you are merely a stigma of disgrace for me’). History tells us that Pashtoon youth won a nearly-lost battle against Brtish troops during the Anglo-Afghan war. Because the tapa proved a moving force, the Pashtun woman touched new hieghts of prominence. She enjoys full freedom while expressing her romantic feelings and emotions. This is one field that she can claim as her sole domain thst is without any man’s interference.

Prof Dr Salma Shaheen, the first woman director of the Pashto Academy at the University of Peshawar, has 14 books to her credit. Most of these books consist on research and compilation of folk literature. Earlier, she compiled and extensively researched Pashto tapas that run in thousands and published her work under the title ‘Rohi Sandarey’ in two huge volumes. The book under review book contains 1,210 popular Pashto folk songs; most of them have been set to music and are sung at weddings and other festive occasions in chorus by young girls. A large number of songs glorify typical Pashtoon traditions, landscape, pastoral life, ornaments, dresses and gallantry.

Quite a number of these beautiful folk songs mention the godar (water well) which used to be the place where Pashtoon women would go for fetching water and at the same time would serve as a rendezvous spot for young men and women to have a look at each other. Sometimes the short sojourn at the godar would allow a couple to strike a romantic deal. Balay is a raised structure at typical Pashtoon clay-made homes which serves as a protective layer to the roof where young girls can have a chance to peek at a passing-by handsome lad who she wishes to marry. Written by anonymous poets, the folk songs have varying musical quality to be sung by youngsters either alone, or in a chorus with a unique rhythmical composition that casts a spell on listeners.

There are numerous types of Pashto folk songs that express intense emotions suitable to happy occasions. Women sing bridal songs with a traditional thin drum known as tumbal, while men sing songs in accompaniment to the flute, rabab and/or mungay (pitcher). Some of the folk songs are accompanied by dance, they are called attarrenizey sandaray. Badala, Charbeta, Bagatai, Neemakai, Lobas are some of popular folk songs. Charbeta is four line poem sometimes extended to six and eight lines. It narrates the heroic deeds of legendary figures, and also expresses the romantic feelings of lovers. The music accompanying it is very fast, and it sung by two or more singers as part of a chorus in which one singer reads the first line while the others follow with the remaining verses.

Neemakai is simple in form and has one and a half or sometimes two to three lines. The first line is repeated in the middle of the song. The tapa is added according to the subject and circumstances. Lobas have a drama-like structure and poetic dialogues are uttered in song form. Commonly all the folk songs are called Lobas. In structure the Loba is very similar to Neemakai but both are different from regular songs.

In Badala, tribal traditions are the main theme. Heroism and other tragedies and comic stories are expressed in this form. Badala is the folk form of classical mathnavi. Badala means variation because each couplet is varied in rhythms from other. It is sung traditionally at midnight with a suitable tone for its music and enjoyment. Almost all the Pashto romances have been narrated in this form of poetry.

Dr Salma Shaheen has mistakenly included a famous folk song penned by the late poet and playwright Raza Momandi and sung by Mahjabeen Qizalbash titled ‘Speenay Sogmai Waya Ashna Bah Charta Weena/ Goongai Shway Walay Nah wayai Haloonah’ (O bright moon, where is my beloved? Why have you become dumb why don’t you tell me?), among the songs written by anonymous poets. Another one is again a popular folk song ‘Sa Wayey Guley Sanga Tah Baherauma Qurbaan Shum/ Ta Bah Yaadaoma Qurbaan Shum (How could you think of forgetting; I shall always remember you my darling) written by Murad Shinwari, a senior song writer.

The book serves as a valuable document for those interested in Pashto folk literature and for singers who want to add original flavour to their remixed old songs. Shaheen has done a commendable job by compiling these all-time favourite numbers that not only reflect the romantic feelings of Pashtoon women, but also throw light on their chequered history.
 

Awami Sandarey (Pashto)
By Prof Dr Salma Shaheen
Amin Printing Press, Peshawar
ISBN 978-969-418-070-6
192pp, Rs200