PESHAWAR: The centuries-old traditional dances of Khyber Pakhtunkhwa (KP), which were once used to infuse energy among tribesmen before going into the battlefield or on achieving a success, were kept alive in the province despite the mushroom growth of information technology and social media in Pakistan.

Dances by Mehsud, Khattak, and Yousafzai tribes, traditionally called atan, were used in the past to warm up tribesmen ahead of the start of a battle or war and get a psychological advantage over the warring tribe or external aggressor.

Nowadays these cultural dances are still being practiced by the professional dancers during happy occasions of marriages, Eid, birthday parties, and welcoming of VIP guests in the province.

“Mehsud dance, which is believed to have originated in South Waziristan centuries ago, was mostly used by the Mehsud tribe in a bid to bring the warring tribe under pressure before the start of the battle in a bid to ensure their independence, protect lands, mines caves or settle disputes in case of unsuccessful negotiations by the peace jirga,” said Bakhzada Khan, research officer, archaeology and museums department, while talking to APP.

Traditional atan kept alive in KP despite mushroom growth of social media

He said Mehsud, Khattak and Yousafzai tribesmen also performed their traditional dances after achieving a victory in the battlefield.

“In Mehsud dance, the active members of the tribe equipped with guns gather and the loud gunfire by them creates an echo in the area that adds to the fierce and proud energy of the dance besides creating an inerasable imprint on the minds of the spectators. The male dancers mostly with long and lustrous hair flick handkerchiefs around while carrying guns on high beatsdrums. They fire their weapons in the air as they kneel and the sound of the gunfire creates an echo that infused new energy and spirit among the participants,” Gohar Mehsud, an expert in Mehsud dance, told APP.

He said: “Hundred per cent fitness is required to perform Mehsud dance. The dancer performs with high zeal like a hero and displays his super fitness through speedy body movements while holding guns and firing at the same time.”

Bakhtzada said the practice of Mehsud dance continued even in the colonial era in Waziristan where Mehsud, Ahmadzai Wazir, Bhittani, and other tribes known for their bravery had never allowed British to establish their rule in erstwhile Fata.

Sir Olaf Caroe, who acted as the former governor of the British Indian Frontier said: “The Mehsud tribe are a people who can never even think of submitting to a foreign power. From 1860 to 1937, the English forces had repeatedly attacked Mehsud positions, but never got a foothold in the area.”Bakhtzada said: “Khattak dance is as old as the history of the Khattak tribe in Khyber Pakhtunkhwa, which goes back to the 14th century. Khattak dance passed from one generation to another in the Khattak tribe and gave birth to many dances including Braghoni, Shahdola, Bhangra, Bulbulah, Chitrali etc. that later made deep inroads in our society.”

Khattaks used to dance on the mesmerising movement of swords as a warm-up exercise prior to taking on their rival tribes in a battlefield or achieving success against other warring tribes in wars.

“The dance was very popular during the Mughal and British eras, who recruited Khattaks in their respective armies for their heroic warfare skills in the battlefield. “The Mughal rulers were highly impressed with the bravery of Khattaks including freedom fighter Khushal Khan Khattak, who stood for the freedom and unity of Pakhtoons,” Bakhtzada said.

Irshad Gul, an expert in Khattak dance and local musician of Nowshera, said: “Khattak dance is performed in a bright and colourful traditional shalwar and custom-made frock-like shirt in addition to a red embroidered waistcoat with a large decorative scarf tied around the waist. The dancers wave glittering swords in the air and swirl to drumbeats and tunes of the surnai. The dance is a five-step routine involving spins with the swords crossed over their backs and elbows outward or swords out to sides and typically attains half spin in place leading to a full spin.”

“Depending on the rhythm of the beat, the spin was reversed in full synchronicity as the dance was being performed with musicians turning the beat to the technique of the performers,” he added.

Mr Gul said that Bhangra was the first step where every member swirls while carrying swords as the prop followed by Derabi in which two youths at a time carrying one sword and handkerchief in their hands started dance in front of a man with Surnai and the rest of troupe members waiting for their turn. “Laila is the third step wherein a group of four performers holding two swords each while performing stunts moving in a circle.”

He said Braghoni was the fastest and the most adventurous of all steps, which a single dancer performed with three swords.

“The performer very skillfully swings two swords in the air while holding the third one in his mouth,” he said, adding it required super fitness and skills.

“Bulbulah is the last of the twelve steps, which is staged without swords. The dancers normally sing a love song at a high pitch and at the end of the song, the drumbeat slightly increases and the dance goes on,” Mr Gul concluded.

Published in Dawn, August 28th, 2023