PukhtunWomen

(this article first appeared in The News)

Shah Jahan's father, readily reacts to the stirring music played by the dumaan (the professional musicians of Sirikot) by stamping his feet and wildly swaying his arms in the air. But he got the shock of his life, when he found his own son playing a flute at home. After braking the flute into pieces, in a huff, he announced, “People will start calling you a dum (a derogatory term for a professional musician), leaving me shameless and disgraced. In future, I do not want to see you playing any musical instrument.”

Some of the ruthless remnants of the ‘caste system' are still lingering on. In Sirikot too, dumaan, the hereditary musicians, are deprived of a respectable status in society, inspite of the vital role they play, not only as public entertainers but also as the custodians of folk heritage. Belonging to the Hindko speaking Gujar tribe which is in a minority, they play the role of generating a festive atmosphere in the simple lives of the villagers. For their social activities, the villagers rely on the performance of the musicians.

On the other hand, the economy of the musicians depends on the opportunities for performance provided to them by the villagers. The holy months of Ramadan and Muharram leave their profession redundant, except for their performance at a death ceremony, where they do not accept money respecting the solemnity of the occasion.

The word dum, referred to a musician, has a negative connotation. No one, except for the musician himself (who has no other choice) would accept the mockery of being referred to as a dum. On one hand the musicians receive an overwhelming as public entertainers, while on the other their standing in the society is looked down upon. As Khaak Illahi, a musician puts it, “We are a part of the society as long as we are performing. The moment we put down our musical instruments, we becoming insignificant.”

Most musicians' are residing in Sirikot, except a few, who have migrated to the neighbouring villages or to some big cities. They make sure to return whenever the need of their participation is felt by the other tribe members on social events. O matter how far they are from their native village, and what profession they are practicing, they will always be called dumaan because of their family background. Musicians are treated with disdain by society in general. However, there are certain exceptions in the case of respected artists of religious music such as zikar performers.

According to their own version, the musicians' ancestors were from a place called Garanda Derai which is about forty miles away from Sirikot. Three of their ancestors, Sher Bahadur, Mir Abdullah and Lal Baz, brought a sorna (an aerophonic instrument) from Sialkot . It is about them that they were so profoundly interested in music, that the land and property that they owned remained neglected and was later abandoned by them. Eventually, banking on music as the only source of income, they settled in Sirikot. Even today the villagers remember Mr. Abdullah and Sher Bahadur's command of music. The descendants of Lal Baz. Sher Bahadur, and Mir Abdullah have been practicing music as their profession fro a long time.

As a young boy, a musician usually plays a dhol in the zenana (women's section). Later he can choose any musical instrument, which remains a part of his identity for the rest of his life. A musician of Sirikot does not receive any formal training. Whatever he plays is learnt by ear. As Nazakat Illahi puts it, “Music for our children comes naturally. It is like their first language”.

The new generation of musicians, who now has the opportunity of formal education, is gradually drifting away from the profession which has been passed over to them by their ancestors. As Rafaqat, a musician declares, “My son who wants to be a doctor, plans to take up medicine as a profession because of the respect a doctor receives. As a child he never showed any resentment towards our profession, but now he feels embarrassed whenever we go for a performance”.

Disillusioned by the kind of attitude the villagers have towards the profession of music, Mahabat Illahi, after graduation, started teaching at a local school and refuses to participate in any social event as a musician. Another, Sohbat Illahi, presently residing in Karachi , after abandoning music, has opened up a small grocery shop.

The villagers receive a lot of pleasure out of the music played by these musicians, but somehow they fail to appreciate it as an art and the musicians as artists. The musicians themselves are aware of this fact, that they play a meaningful role in the society. As Khaak Illahi states, “What would a wedding be without our dhol and sorna? The fervour and zeal with which the villagers react to our music proves its value”.

Folk music still remains the only popular form of music as far as the rural areas are concerned. It is a simple and natural form of music which the villagers can identify with easily. It is not just a strident beat to dance to or a melodious tune to hum. In fact, it is a medium of expressive behaviour which is strongly related to the society's cultural and social structure. Despite the foray of communication exposure, electronic revolution and massive urbanization, the unadorned folk music of Sirikot has survived till now.

But the fact remains that the keepers of this art are gradually abandoning the folk art which brings smiles to the dreary lives of the villagers. But as always the attitudes they face remain unyielding and heedless, as far as the status of the musicians is concerned, as respectable members of a society.