The Timeless Magic of Saraiki Folk Literature

Salman Raza

Multan: Saraiki folk literature exerts a profoundly calming and enchanting influence on audiences across generations through its rich tapestry of fiction, stories, plays, and music.

Its vibrant content resonates with Saraiki communities residing in various regions, each with its own unique dialect. This cherished language stands as a hallmark of cultural pride, unmatched by any other dialect worldwide.

Roots of Saraiki Culture

The Saraiki region boasts a rich history dating back approximately 4,500 years to the time of the Indus Civilization. Over the centuries, its literature has evolved from classical to modern trends, reflecting the changing times.

A prevalent theme in Saraiki literature is the expression of sorrow and lamentation. It often portrays scenes of woe and deprivation, encapsulating the emotional struggles of its people.

Sokri, a literary figure, said that the late journalists Khan Rizwani, Mehar Abdul Haq, Umer Kamal Khan, Bashir Zami, Brig (retd) Nazir Ali Shah, and Nizamuddin Leghari worked a lot on Saraiki literature, adding that Alsam Rasoolpuri also did a lot of work on research, but now no one was conducting research on it.

Sokri maintained his stance on the disappearance of ‘resistance’ in Saraiki literature, citing his own experience.He claimed to have begun writing poetry in 1958 and to have penned Saraiki ghazals in 1961–62. According to him, poems and ‘dohra’ were already prevalent, indicating a lack of resistance to these forms. 

Initially, Sokri faced strong opposition from critics when he ventured into writing ghazals, as they believed it had no place in Saraiki literature. However, over time, they came to accept that literature evolves gradually.

According to Shehzad, a noted literary figure, Saraiki folk literature serves as a form of “resistance literature,” akin to the artistic expressions found in Punjabi, Pashto, and Balochi cultures.

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These literary traditions have a unique ability to confront oppressive power structures through their art.

Shehzad argues that Urdu and English literature lack the same spirit of resistance found in Saraiki and other regional literatures, suggesting that they may not effectively address the challenges faced by marginalized communities in the same way.

Sokri said ghazal in Saraiki is a difficult kind of literature, but a single ghazal offers six or seven subjects in it. He said that among nine of his books, seven are on ghazal, with two poems, ‘Kafi’ and ‘Dohra’.

He informed that his contributions to Saraiki literature include works such as ‘Zameen Jagdi Hai’, ‘Hanjoun De Haar’, ‘Dohkh Di Jang’, ‘Kaley Ru’, ‘Chiti Barf’, ‘Warqa’, ‘Warqa Zakhhmi’, ‘Lee Ru Leer Pachawan’, ‘Uthwan Asmaan’, and ‘Bey Unt’.

Insights from Researchers

According to research published in The Journal of Positive Psychology, Saraiki is considered a standard language of Pakistan, belonging to the Indo-Aryan language family, despite its emergence in various dialects.

There is no documented evidence of a common identity, but it is based on a group of dialects written in the local language and historically spoken by over 18 million people. 

There is a long list of famous poets from the region, and their work is admirable. Sachal Sar-Mast, Shah Abdul Latif Bhattai, and Ghulam Farid are some of the famous poets. 

Multan stands as an administrative unit of the Saraiki region, a mix of Sufism and Saraiki culture. It’s now called the mother of Saraiki areas, which make up approximately 8.38 percent of the various ethnic groups. 

“Folk literature used to be the heritage of any nation. Saraiki literature is enriched with folk tales, folk songs, epics, and stories, said Dr Khalid, the recently retired Station Director of Radio Pakistan Multan and visiting professor of Bahauddin Zakariya University (BZU).

Saraiki Literature

Saraiki poetry has four phases, and its story revolves around two poets, including Luft Ali Khan and Khawja Ghulam Farid.

The magnificent poetry of Khawaja Ghulam Farid celebrates the scenery of the local desert with an abundance of purely parochial vocabulary and continues to be a major inspiration for modern Saraiki literature. Dawaan-i-Farid is his famous collection.

Saraiki singers who have earned names at home and abroad include Suraiya Multanikr, Abida Perveen, and Atta Ullah Khan Essa Khilvi, Pathanay Khan, Ustad Muhammad Jumman, Mansoor Malangi, Shafa Ullah Khan Rokhri, Ahmed Nawaz Cheena, etc.

In the world of broadcasting, Dr Nasrullah Khan Nasir, Pride of Performance Qaisar Naqvi, Dr. Nazim Labar, the late Shamshir Haider Hashmi, Ali Tanha, Mohsin Gillani, Kausar Samreen, Jaffar Baloch, Riaz Mailsi, and Rizwana Tabassum are known figures hailing from the Saraiki region.

Living Legend Shakir Shujabadi, the late Arshad Multani, Ashiq Khan Buzdar, Dr Riffat Abbas, Dr Ashraf Shoua, popularly known as Ashoo Lal, Aziz Shahid, the late Ahmed Khan Tariq, Jahangir Mughlis, Dr Najma Shaheen Khosa, and Aman Ullah Arshad are some of the renowned poets who wrote on a variety of topics, including commoners and their sufferings.

Assan Qiadi Takht Lahore De is a poem that made Ashiq Buzdar a household name and struck the hearts of Saraiki as well as other readers. He used to organise the annual Saraiki culture festival. He is a towering personality who has always voiced Saraikis issues.

Acclaimed broadcaster and academician, Dr Nasrullah Khan Nasir, said that in the Indus Valley, the Saraiki region was considered its heart as great ancient cities Harappa and Mohenjo Daro existed on its right and left sides, and added that South Punjab is a land of enriched culture.

Ancient Multani, Brahami, and Devenagari writing styles are kinds of Saraiki writing patterns, Dr Nasir said, adding that Arabic and Persian writing systems also influenced them.

The feature report is released by APP. All information and facts provided are the sole responsibility of the writer as well as the organization.