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Hayat Khan Yousufzai
Culture in its essence promotes peace, non-violence, tolerance, acceptance, mutual respect, inter-cultural and inter-faith dialogue and reconciliation process. This has been evident from the cultural history of the Pashtun land since centuries back. Pashtun never remained in history as the initiators of violence and warmongering community.
The actual spirit of their code “Pushtunwali” possesses the qualities of human dignity and mutual respect. But unfortunately, since the last three decades, our socio-cultural and politico-economic pattern has been shattered by the wrong regional policies and politics. This land became the worst victim of socio-cultural and religio-political victimization. Secondly, the imperialist attack on Pashtun culture either by the Arab Shiekhdom or Western values transformed the indigenous way of life.
These alien cultural values created two paradoxes in Pashtun society in the form of radical or Wahhabi version of Islam and on the other hand liberal-secular extreme. In the meanwhile, the indigenous way or code of the Pashtuns which is called “Pushtunwali” remained in the traditional and pastoral form. In the nutshell, Pashtun has been miss-represented by every writer- from the British to the current day non-Pashtun writers.
At the moment, it is inappropriate to discuss the detail of cultural history and it will also divert my attention from the main focus of this article, which I would like to highlight in the recent cultural perspective of this province.
Now-a-days, the ample growth of private Pashto CD drama and tele-film production signifies Pushtun culture as the emblem of violence and pornography. This unscrupulous trend is not only against the moral norms and values of the Pashtun culture but also striving to defame their pristine way of life. Some ill-aware producers, directors and actors deliberately ought to air such obscene stuff to brand Pashtun pristine way of life as vulgar and barbaric. The love and respect of art, literature, calligraphy, embellishment, ornaments, and quality dance must be promoted only in artistic manner contrary to the depiction in Pashto CD dramas and tele-films. Along with the poor script and inadequate resources, these dramas and films did not reflect the actual socio-cultural dynamics of the Pashtun society. The shots which they reflect in the dramas are actually represents the writer’s and director’s own mental construct and worldview.
Secondly, the new vulgar trend of the meaningless poetry of Pashto songs and female twirling hips dance further deteriorated the principles of Pashtun’s socio-cultural ethics and morality. This widespread poor quality production has made deep imprints in the youth’s mind especially of the children and their tendency towards moral corruption and violence. The lower and lower middle stratum of the society have easy access to these dramas, dance songs, and Tele-films through fiber optic cable and in CDs, easily available in the market.
The previous golden age of the Pashto drama serials on PTV represented Pashtun culture precisely. The great writers like late Dr, Muhammad Azam Azam, Dr Hamayun Huma, Saad-Ullah Jan Burq, Khaliq Dad Umaid, and Nurul Bashar Naveed performed vital role in the projection of actual Pashtun culture. The famous comedy serial “Teer Pa Heer” of Sadullah Jan Burq is a great piece of art and depicts the actual vices of the society in a very beautiful and satirical manner. Another master piece of comedy serial “Roogh Lewani” of Nurul Bashar Naveed also provides attractive source of joyful entertainment to the audience. Likewise, multiple other best pieces of drama art and music rendered high amusement to the audience.
This sustainable chain of high degree art production was disturbed by the former Mutahida Majlis-i-Amal (MMA) government while banning Nishtar Hall. The actors, writers, and singers of this province alternately inclined towards the CD production. The Human Rights Commission of Pakistan arranged a one day Khyber Pukhtunkhwa Writer’s convention at Shelton Green Hotel Peshawar Cantt in which renowned writer and researcher Dr Raj Wali Shah Khattak scathingly criticized the current wave of CD production in Khyber Pukhtunkhwa. He pointed out that the provincial government should thoroughly observe and sensor these productions that widely promotes vulgarity and obscenity. On the contrary, Pashto renowned actress Shazma Haleem told that if the previous government of Mutahida-Majlis-i-Amal (MMA) banned Nishtar Hall and declared all artistic creation as against Islam, then automatically the artists has had the right to divert towards CD production for earning the source of daily subsistence.
The current incumbent coalition government of PTI, JI, AJI, and QWP brazenly ignored the culture and even did not allocate a single penny for cultural promotion in the recent budget. Provincial Finance minister Mr Siraj-Ul-Haq said in his budgetary remarks that we will promote tourism in the province and in this context we allocated 871 Million in the budget. The previous government of the Awami National Party in the province and personally the interest of Mian Iftikhar Hussain achieved some milestones in the promotion of culture. During his tenure, he inaugurated Jabran Adeel cultural academy, organized multiple cultural shows and also established Khyber Pukhtunkhwa’s cultural directorate.
The incumbent coalition government is seemed to be of little interest in this regard. The non-seriousness has been closely visible from their negligence of this vital area of focus, especially in terms of finances. The beginning of Cultural Revolution has been launched by the previous government of ANP in the province, and now this is the responsibility of the incumbent provincial government to fulfill and sustain that chain of cultural growth. They should consider the indigenous culture of the province as panacea for the wounds of extremism and terrorism. This is also imperative to launch a movement of cultural activism and also chalk out a sustainable cultural policy. Indigenous languages, literature, arts, crafts and folklore should be promoted along with artists, artisans, and craftsmen declaration as productive assets of the province.
The low quality art production that promotes violence, vulgarity, and obscenity like CD dramas that depicts violence should be regulated through effective sensor board or regulatory body. The growing trend of extremism in Khyber Pukhtunkhwa have broadly vanish our cultural heritage and threatened our identity. This is need of the day to bridge our dismantled cultural heritage with our roots and identity.
If, the provincial government failed to deliver in this respect or intentionally adopted anti-cultural policies like the previous MMA government did, then the civil society, the secular-liberal forces and nationalists of the province will never bear such steps as silent spectator. We need the revival of indigenous culture and its projection to the world that the people of this region are not essentially hard core radicals and militants, but they are the keepers of pristine code of Pukhtunwali, and are very tolerant, liberal, and believers of mutual co-existence.
hayatkhanyousuafzai@gmail.com
Culture in its essence promotes peace, non-violence, tolerance, acceptance, mutual respect, inter-cultural and inter-faith dialogue and reconciliation process. This has been evident from the cultural history of the Pashtun land since centuries back. Pashtun never remained in history as the initiators of violence and warmongering community.
The actual spirit of their code “Pushtunwali” possesses the qualities of human dignity and mutual respect. But unfortunately, since the last three decades, our socio-cultural and politico-economic pattern has been shattered by the wrong regional policies and politics. This land became the worst victim of socio-cultural and religio-political victimization. Secondly, the imperialist attack on Pashtun culture either by the Arab Shiekhdom or Western values transformed the indigenous way of life.
These alien cultural values created two paradoxes in Pashtun society in the form of radical or Wahhabi version of Islam and on the other hand liberal-secular extreme. In the meanwhile, the indigenous way or code of the Pashtuns which is called “Pushtunwali” remained in the traditional and pastoral form. In the nutshell, Pashtun has been miss-represented by every writer- from the British to the current day non-Pashtun writers.
At the moment, it is inappropriate to discuss the detail of cultural history and it will also divert my attention from the main focus of this article, which I would like to highlight in the recent cultural perspective of this province.
Now-a-days, the ample growth of private Pashto CD drama and tele-film production signifies Pushtun culture as the emblem of violence and pornography. This unscrupulous trend is not only against the moral norms and values of the Pashtun culture but also striving to defame their pristine way of life. Some ill-aware producers, directors and actors deliberately ought to air such obscene stuff to brand Pashtun pristine way of life as vulgar and barbaric. The love and respect of art, literature, calligraphy, embellishment, ornaments, and quality dance must be promoted only in artistic manner contrary to the depiction in Pashto CD dramas and tele-films. Along with the poor script and inadequate resources, these dramas and films did not reflect the actual socio-cultural dynamics of the Pashtun society. The shots which they reflect in the dramas are actually represents the writer’s and director’s own mental construct and worldview.
Secondly, the new vulgar trend of the meaningless poetry of Pashto songs and female twirling hips dance further deteriorated the principles of Pashtun’s socio-cultural ethics and morality. This widespread poor quality production has made deep imprints in the youth’s mind especially of the children and their tendency towards moral corruption and violence. The lower and lower middle stratum of the society have easy access to these dramas, dance songs, and Tele-films through fiber optic cable and in CDs, easily available in the market.
The previous golden age of the Pashto drama serials on PTV represented Pashtun culture precisely. The great writers like late Dr, Muhammad Azam Azam, Dr Hamayun Huma, Saad-Ullah Jan Burq, Khaliq Dad Umaid, and Nurul Bashar Naveed performed vital role in the projection of actual Pashtun culture. The famous comedy serial “Teer Pa Heer” of Sadullah Jan Burq is a great piece of art and depicts the actual vices of the society in a very beautiful and satirical manner. Another master piece of comedy serial “Roogh Lewani” of Nurul Bashar Naveed also provides attractive source of joyful entertainment to the audience. Likewise, multiple other best pieces of drama art and music rendered high amusement to the audience.
This sustainable chain of high degree art production was disturbed by the former Mutahida Majlis-i-Amal (MMA) government while banning Nishtar Hall. The actors, writers, and singers of this province alternately inclined towards the CD production. The Human Rights Commission of Pakistan arranged a one day Khyber Pukhtunkhwa Writer’s convention at Shelton Green Hotel Peshawar Cantt in which renowned writer and researcher Dr Raj Wali Shah Khattak scathingly criticized the current wave of CD production in Khyber Pukhtunkhwa. He pointed out that the provincial government should thoroughly observe and sensor these productions that widely promotes vulgarity and obscenity. On the contrary, Pashto renowned actress Shazma Haleem told that if the previous government of Mutahida-Majlis-i-Amal (MMA) banned Nishtar Hall and declared all artistic creation as against Islam, then automatically the artists has had the right to divert towards CD production for earning the source of daily subsistence.
The current incumbent coalition government of PTI, JI, AJI, and QWP brazenly ignored the culture and even did not allocate a single penny for cultural promotion in the recent budget. Provincial Finance minister Mr Siraj-Ul-Haq said in his budgetary remarks that we will promote tourism in the province and in this context we allocated 871 Million in the budget. The previous government of the Awami National Party in the province and personally the interest of Mian Iftikhar Hussain achieved some milestones in the promotion of culture. During his tenure, he inaugurated Jabran Adeel cultural academy, organized multiple cultural shows and also established Khyber Pukhtunkhwa’s cultural directorate.
The incumbent coalition government is seemed to be of little interest in this regard. The non-seriousness has been closely visible from their negligence of this vital area of focus, especially in terms of finances. The beginning of Cultural Revolution has been launched by the previous government of ANP in the province, and now this is the responsibility of the incumbent provincial government to fulfill and sustain that chain of cultural growth. They should consider the indigenous culture of the province as panacea for the wounds of extremism and terrorism. This is also imperative to launch a movement of cultural activism and also chalk out a sustainable cultural policy. Indigenous languages, literature, arts, crafts and folklore should be promoted along with artists, artisans, and craftsmen declaration as productive assets of the province.
The low quality art production that promotes violence, vulgarity, and obscenity like CD dramas that depicts violence should be regulated through effective sensor board or regulatory body. The growing trend of extremism in Khyber Pukhtunkhwa have broadly vanish our cultural heritage and threatened our identity. This is need of the day to bridge our dismantled cultural heritage with our roots and identity.
If, the provincial government failed to deliver in this respect or intentionally adopted anti-cultural policies like the previous MMA government did, then the civil society, the secular-liberal forces and nationalists of the province will never bear such steps as silent spectator. We need the revival of indigenous culture and its projection to the world that the people of this region are not essentially hard core radicals and militants, but they are the keepers of pristine code of Pukhtunwali, and are very tolerant, liberal, and believers of mutual co-existence.
hayatkhanyousuafzai@gmail.com