Directorate of Culture
Government of Khyber Pakhtunkhwa

Rabab is a lute like musical instrument originating from Kharasan is a national music instrument of Afghanistan. The rabab is mainly used by Pashtun, along with other nations like Tajik, Turkish, Kashmiri, baluch, Afghan, Iran, Uzbek, Indian, and Kurdish classical musician but this instrument is one among the key elements of the Pashto music. The Pashto music is clearly distinguished by Rabab which make it unique in its nature. The instrument is made from the trunk of a mulberry tree, the head from an animal skin such as goat, and the strings either gut (from the intestines of young goats, brought to the size of thread) or nylon.

When the Muslims musician mardana become the first disciple of Guru Nanak the plucked Rabab became an essential component of Punjabi hymns though, once again, though it derived its name from the Rabab the Punjabi instrument adopts a different method of construction.

The Rabab holds as the first instruments used by Sikhism; it was used by Bahi Mardana the companion of Guru Nanak, wherever a shaded was revealed to Guru Nanak he would sing it and Bahi Mardana would play it on his Rabab. The rabab playing tradition is carried on by some Sikhs such as Namdharis is understood as Sikh music.

The Chitrali Sitar is a long necked lute played in Khyber Pakhtunkwa province, Pakistan. It is not related to the Indian sitar and its name is probably a corruption of setar a Central Asian and Iranian long necked lute.

The instrument has five strings in three courses, the middle course being of one string. Melody is played on the top two strings which are fretted together.

The mulberry wood made instruments is not very loud and is played by strumming the top course of strings with the forefinger while allowing the finger to also play the drone strings. It is related very much to instruments from Central Asia and similar long necked lutes (Although not with the strange middle string arrangement which seems to be a regional invention) can be found over the border in the neighboring countries to theWest and North. There are so many player of Chitrali sitar among these one of the famous player which currently perform the chitrali sitar is Zain Ullah.

This is a unique type of musical instrument in Pashto music which unusual indeed. The whole instrument is made of two wheat stems of six to seven inches long, which are not attached to one another. Both the stems are flattened on one end, (like a reed) and a constant flow of air is blown through the flattened ends. One of the stems has just three frets and the other has none. It is played by maintaining a pocket of air in the mouth which is blown into the stems and simultaneously in taking air through the nasal passage to maintain a constant sound. It sounds like an Indian snake charmer's wind instrument (Been). This instrument is one among the dying art because social apathy and official negligence. The instrument is originally invented by a person name Zarnosh Khan from the village.

The tabla is a charming and endearing musical instrument, India masters have made it popular the world over and western musicians regularly use it to ass variety and on exotic flavor to their music.

There are many interesting myths and legends about the origin of the tabla. Many authors cite the 13th century Sufi poet/ musician Amir Khusrau as the inventor of this instrument. Another person credited with inventing the Tabla is Sidar Khan Dhari, a court musician in the Delhi durbar in the 18th century.

What is certain is that the tabla fuses Arabic, Turkish and Persian influence with indigenous Indian drums. In fact the name tabla originates from “tabl” the Arbic term for “Drum” the dholak and pakhavaj seem to be early forms of the Tabla. The hug cluster of Tabla Nawaz is existing in Khyber pakhtunkhwa.

Attan is a form of dance that originated in the Pashtun regions of North Western Pakistan and Eastern Afghanistan. The Attan dance is an integral part of Pashtun society. This folk dance is mostly popular among the Pashtun population of Dera Ismail Khan, wazistan and other southern districts of Khyber Pakhtunkhwa. It is normally performed on drum beat and performed on occasions like times weddings or other celebrations. The performance of Attan dance in the open air has long been customary in the Pashtun culture and people of all ages perform and enjoy it alike. The movements of the dancers are coordinated, rhythmic and slow in pace but full of energy. It is performed by a troupe of 50 to 100 dancers some time less, who on few occasions wave scarves in the air while musicians beat drums. Attan dance have various styles of execution as per the region’s custom and traditions. There is no formal dress for Attan dance but some time the performer do so for attraction and beautification. The performers of the Attan dance do not receive any formal training of choreography but being a member of the community they learn this art.

The Khattak dance has a lot of forms: Shahdola, Bangra, Balballah, Qamar Balbala, chatralibraghda'ona, tamseeli dana, charri dana and individual performance. (Source, Wikipedia) The Khattak dance is not mere entertainment or fun but Khattak tribesmen dances with the zeal of a hero, displaying his physical fitness through body movements, while holding one, two or even three swords at a time and some time without sword, only wave scarves in the air. Each sword weighs about one-and-a-half kilograms. The Khattak tribesmen, although quite religious, often fail to resist the impact created by the thunderous drum beats and sweet tunes of surnai that accompany the Khattak dance.

The Khattak dance is as old as the history of the tribe, going back to the fourteenth century. As the word goes, the Khattaks used to dance with swords as a warm-up exercise prior to taking on their rival tribes in a battlefield. With the passage of time, dance became a permanent feature of their funfairs, giving the tribe an additional emblem of their distinct identity.

The fast tempo with which the Khattak dance starts and ends distinguishes it from all the other Pakhtoon folk dances which are described as Atanr (Pashto word for a family of identical folk dances). Except for the Khattak dance, all the other Pakhtoon folk dances or Atanr start with a slow tempo and get fast as the momentum picks up with a corresponding faster beat.

Jhumar is a lively form of music and dance that originated in Saraiki Waseb. It is performed on the tune of special songs composed on the beat of Dhol (drum) in different areas of Dera Ismail Khan. However, it is also popular in central Punjab and Sandalbar areas. It is slower and more rhythmic form of Bhangra (folk dance).

Jhumar comes from Jhum - which means swaying and/ or ecstasy. Jhumar is normally performed on specific songs. Though the content of these songs is varied, they are usually based on love and emotions. In short, Jhumar can be described as a dance of overwhelming feelings of great happiness ore joyful excitement.

This folk dance is not only performed on the various occasions of celebrations like marriages, birthdays and other celebrations but also performed during the harvest season. It is a living demonstration of the happiness of men. The dance is mostly performed by men in Dera Ismail Khan and other areas of Saraiki speaking population.

The origins of Gatka are often traced to the north western areas of the undivided india. The main roots of this form of arts are in the medieval periods in the fertile land of Punjab. Punjab and its people were known for their valor and their distinctively defining characteristics. They and their art are mentioned as Shastra Vidya. Gatka however, continues to be a term for basic training of swords and was hence popularized by the same way in northern areas. Even the great emperor of the Mughals, Jalalluddin Akbar was himself a practitioner of the art of Gatka.

Sikhism expanded itself in 15th and 16th century, Sikhs renowned themselves in the country as a perfectly disciplined community. The first Guru of the Sikhs, Guru Nanak Dev Ji was a Kshatriyas. His earliest disciples too were so. Guru Angad Dev, the successor further instructed a heavy training schedule to ensure the toning of the body which is the basis of the martial arts.

The British colonizers too realized the potential and extensively used the Sikh community in their forces. The art of Gatka is still used by a number of people where the Sikhs of the county went as a part of British armies.