7

Traditional Craftmanship
and Performing Arts
 Traditional Craftsmanship and Performing Arts

What is Traditional Craftsmanship?

There are numerous expressions of traditional craftsman-
ship: tools, clothing, jewellery, costumes and props for
festivals and performing arts, such as storage containers,
transport, shelter, decorative art, ritual objects, musical
instruments, household utensils and toys, both for
amusement as well as education. Many of these objects are
only intended to be used for a short time, such as those
created for festival rites, while others may become
heirloom that are passed from generation to generation.

The skills involved in creating craft objects are as varied as

the items themselves and range from delicate, detailed
work such as producing paper motifs to robust, rugged tasks
Hand embroidery work on pillow covers
like creating a sturdy basket or thick blanket.

How to Safeguard the Traditional Crafts from

the Impact of Industrialization?
Traditional Craftsmanship and Performing Arts

Like other forms of intangible cultural heritage,

globalization poses significant challenges to the survival of
traditional forms of craftsmanship. Mass production,
whether on the level of large multinational corporations or
local cottage industries, can often supply goods needed for
daily life at a lower cost, both in terms of currency and time,
than hand production. Many craftspeople struggle to adapt
to this competition. Environmental and climatic pressures
impact on traditional craftsmanship too, with deforestation Traditional jewelry
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Craftsman preparing craft objects

and land clearing reduces the availability of key
natural resources. Even in cases where traditional
artisanship develops into a cottage industry, the
increased scale of production may result in damage
to the environment.

Traditional craftsmanship is perhaps the most

tangible manifestation of intangible cultural
heritage. However, the 2003 Convention is mainly
concerned with the skills and knowledge involved in
craftsmanship rather than the craft products
themselves.
Embroidery work on clothing
Rather than focusing on preserving craft objects,
safeguarding attempts should also be made instead
and concentrate on encouraging artisans to continue
to produce craft and to pass on their skills and
knowledge to others, particularly within their own
communities.

As social conditions or cultural tastes change,

festivals and celebrations that once required

Traditional Craftsmanship and Performing Arts

elaborate craft production may become more
austere, resulting in fewer opportunities for artisans
to express themselves. Young people in communities
may find sometimes lengthy apprenticeship
necessary to learn many traditional forms of craft too
demanding and instead seek work in factories or
service industry, where the work is less demanding
and the pay often better. Traditional ladies costumes

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Traditional jewelry stall

 Many craft traditions involve 'trade secrets' that
should not be taught to outsiders but if family
members or community members are not interested
in learning it, the knowledge may disappear because
sharing it with strangers violates the tradition as it is
generally believed. The goal of safeguarding, as with
other forms of intangible cultural heritage, is to
ensure that the knowledge and skills associated with
traditional art are passed on to future generations so
that crafts can continue to be produced within their
communities, providing livelihoods to their makers
and reflecting creativity.
Decorative garland of flowers and
Many craft traditions have age-old systems of
currency notes mainly worn by grooms
instruction and apprenticeship. One proven way of
reinforcing and strengthening these systems is to
offer financial incentives to students and teachers to
make knowledge transfer more attractive to both.
Local, traditional markets for craft products can also
be reinforced, while at the same time creating new
ones.
Traditional Craftsmanship and Performing Arts

In response to urbanization and industrialization,

many people around the world enjoy handmade
objects that are imbued with the accumulated
knowledge and cultural values of the craftsmen,
who offer a softer alternative to the numerous 'high
tech' items that dominate global consumer culture.
In other cases, trees can be replanted to try and
offset the damage done to traditional crafts reliant Hand made clay pottery
on wood for raw materials. In some situations, legal
measures may need to be taken to guarantee the
access rights of communities to gather resources,
while also ensuring environmental protection.

Further legal measures, such as intellectual property

protections and patent or copyright registrations,
can help a community to benefit from its traditional
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motifs and crafts. Sometimes, legal measures

intended for other purposes can encourage craft
production; for example, a local ban on wasteful
plastic bags can stimulate a market for handmade
paper bags and containers woven from grass,
allowing traditional craft skills and knowledge to
thrive. Traditional carpets and bed sheets
What are the Important Crafts of Dera
Ismail Khan?
Traditional crafts of Dera Ismail Khan are part of the
social life of villages and cities.

Dera Ismail Khan has quite a number of thriving

traditional crafts practiced by accomplished
craftsmen and women. This includes the following:

Lacquer Work
Furniture Making
Shoemaking (Khussa and Chappal Making)
Gold Smithing
Black Smiting
Needle Work

We have included a detailed study and illustrations of A mother teaching needle embroidery work to her daughter
the lacquer work and shoemaking crafts owing to
their economic and social significance for the people of Dera Ismail Khan.

Lacquer Work

Traditional Craftsmanship and Performing Arts

Lacquer work goes back centuries in the Dera Ismail Khan region and has been
mentioned in Mughal times as well as British period and of course continues to be a
continuing tradition today. This craft has been traded widely for a long time as Dera
Ismail Khan sits on the crossroads of trade between Punjab and Khorasan in the
West and hence the Pashtun traders and merchants, who plied these routes, have
taken this craft to far flung regions and have given it prominence. Some of the most
popular items, which were used, are wooden framed mirrors and toys for children
that traders would take back to their families.

The work has also been patronized by the Mughal kings, who controlled this region
in 1738 and greatly supported its development and hence we see a lot of influence
in the design work of the Mughal aesthetic, which continues to this day.

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Jewelry box made of Lacquer work

 Later on the work was described by John Lockwood Kipling, the first
Principal of the Mayo School of Arts in Lahore in about the 1875s.

Dera Ismail Khan came under Sikh rule during the early 1800s but by
1847 it was under the British Rule and they brought, with them, their
own lifestyle and aesthetic sense, which also translated to this
woodcraft e.g since the British were very fond of tea, they
commissioned the creation of some very specific furniture called
teapoys, stands which were made exclusively for putting teacups on
and the elite of Derawal society of that time fully accepted this and
patronized this industry to thrive.

The process and methodology of lacquer work has been mostly

unchanged, except the introduction of a few modern techniques but
the majority of the process remains the same i.e. traditional both in
terms of tools, their usage and the designs involved.

The Imperial Gazetteer of India of 1908 describes lacquer work of

Dera Ismail Khan as being of exceptionally unique artistic merit as it
employed the woodcraft to items other than of smaller use, such as
wooden furniture that is generally made using this technique. The
dcor was a complex mixture of various colors and designs in red,
black, dark green and grey with some ornamentation in a dull silvery
material. Ivory and camel bone ornaments such as knobs, studs and
Traditional Craftsmanship and Performing Arts

flowers are created. The designs were a maze of plantlike shapes of a

very fine nature almost microscopic in their presentation and
sometimes small circles were also utilized in the design.
Beautiful boxes with lacquer work
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Different artifacts made of Lacquer work

The main type of wood is shisham,
whereas ivory and camel bone ornaments
were applied liberally and their function
aside from dcor was to cover up the
holes left by the inscribing tool or latheat
the point, where the inscribing was
begun. But at one point the use became so
prolific that it hindered the functional use
of these objects to a large degree and
since they were only attached to the
surface they would constantly be under
threat of being lost or broken leading to an
untidy finish to the furniture.

Oldest known piece of lacquer work is

owned by a craftsman Ustad Karam Ali,
who was honored in 1958 with an award
by the President of Pakistan for his
services. It is a spherical container of
about 7 diameter and opens up into 2
small hemispheres, with an ivory finial
that is used as a handle and according to

Traditional Craftsmanship and Performing Arts

its owner it is from the 18-19th century and
was used by the Royal personages for
keeping makeup accessories. It is of
mellow coloration and the quality of work
is unsurpassed even today.

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Wooden artifacts on display

 Evolution of Woodcraft
The social values of our society have dictated that
woodcraft have an important role as there is a need to
overtly represent our wealth through the display of
luxurious items and woodcraft, especially lacquer work
is a part of this tradition, considering the aesthetic
beauty it represents. At weddings the bride is given
highly luxurious furniture items as a status symbol and
the display of such items in one's home also leads to a
perception of increase in status.
With the addition of British influence, our local
handicrafts such as furniture, which was initially very
low heighted, slowly began to utilize the higher table
and chairs, which has led to the creation of a Pirah from
the original low Piri, both as an amalgam of the
Traditional Craftsmanship and Performing Arts
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Table made of Lacquer work
traditional stool and the foreign chair and also as a sign
of status to the points where the Pirah itself has now
evolved into pretty being a chair rather than what it
used to represent earlier on.
Since the Victorian era styling gave precedence to sets
of furniture, that reflects in the woodwork of today
where the craftsmen of Dera Ismail Khan now making
entire sets of designs to be sold as one set rather than
single items to be sold separately.
It is observed that the demand for general use furniture
has increased, the specific lacquer craftsmen have
foregone the creation of everyday use items and left
them to normal carpenters and now tend to focus on
the high value, which have higher returns due to its
unique quality and of course the higher price.
This has increased to the extent that even
the daily use items that were made using
woodcraft are now in demand as
decorative items with intricate designs in
the more urban households, where they
are displayed to give a semblance of
cultural affinity, whereas rest of the house
may be filled with modern European style
furniture instead.

As globalization and modern ideas slowly

creep in and create a uniform aesthetic
value, we need to ensure that this unique
craft of this region maintains its originality Woman artisan using surface decorating technique
and does not get lost amidst the demand
for more modern items of use and dcor.
The work in Dera Ismail Khan is being
sidelined since machine based factory

Traditional Craftsmanship and Performing Arts

products are being made closer to
market, closely mimicking the handmade
products, taking away business from local
craftsmen and catering more clients with
all budget types with high demand
specifically amongst the wealthy elite.

Due to this, the craftsmen who are born to

this profession have to resort to keeping
their prices low, which results them
buying inferior quality material in order to
compete with the machine made items.

In the past, the tourist trade has most

prominently influenced the economic
wellbeing of these craftsmen but recent
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events have decreased this trade both

nationally and internationally, which is
hurting prospects.

Woman artisan showing her skill in Lacquer work

 Social Setup
There are no formal centers, where this technique is taught, rather
it is passed on from generation to generation within the same
family with boys learning the skill from a very early age.

Communities of craftsmen are called Mohallas and all workshops

are close together, which encourages healthy competition and
hence a refinement of craft. Women and girls are also part of this
process as they are more easily able to etch more intricate designs
in the woodwork.

The commercial areas or shops, where these items are sold are
usually closer to these workshops, where the items can be easily
transported to and from, where people can access them more
easily to be taken to larger markets or sold direct to the buyer.
Sometimes the items are also taken to other cities for display.

Custom-made items are also made for select buyers on commission

and the object is usually described verbally, whereas larger pieces
of furniture are almost always custom- made on order.

Shopkeepers act as middle men between the craftsmen and the

customer.
Traditional Craftsmanship and Performing Arts
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Male & female artisans working besides to produce Lacquer work objects
Tools
Adda (Lathe): Is the main tool used for turning wood, which
has two parts with the wooden piece resting on protruding
ends of both parts.

Gaz (Lathe bow): Which is a thin soft arched piece of wood,

tied on both ends with a string made of dried goat gut,
which is used to turn the wood on the lathe with a to and fro
motion. However more recently the Gaz has been replaced
by an electric motor for the ease of use.

Rachi: A strip of iron held in the hand with various types of Gaz, Rachi, Rach and Ramba tools
edges, which is used to create grooves and curves on the
wood that is being turned.

Rach: Is similar to Rachi but is much larger with a somewhat

different shape and is considered masculine to the Rachi's
feminine due to the size and weight.

Ramba: The Ramba has the same use as the previous two
tools but is even larger with flat edges.

Materials Hand saw, axe and mattock tools

Traditional Craftsmanship and Performing Arts

The wood used is generally Farash or Gaz also called Tamarin
Aphylla, which is a hard close grained wood used in many items
such as wood articles, agricultural items, carts, firewood and
charcoal. The wood is chosen not for its inherent beauty but
rather for how well it can handle the process and be molded as
required.

Bhan (Populus Auphratica) is also a wood that is used for these

items, Shisham (Dalbergia Sissu) is also used as it is suitable for
carving and because it is found abundantly throughout the
country.

Technique
Turning is the primary technique where the wood item is turned
on an Adda and grooved with the Rach, Rachi or Ramba.
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If a wooden leg is required then a roughly rectangular piece is

sawed off and is mounted on the lathe after which the process of
rotating it is begun, using the bow or Gaz or as in modern times
the electric motor. The various tools are then used to create a
design, which is lacquered upon finishing.
Adda (Lathe) tool
 Lacquering is a word meaning hundred thousand (derived from
the Hindi Lakh) and it indicates the use of the large number of
insects used to make the lacquer. These insects are called
Laccifer Lacca, the female of which exude a gummy substance
which forms the basis for lacquer and these insects are
imported as they are not found in Pakistan.

The lacquer is heated to its melting point, poured on a flat stone

and then a powdered dye is added to this liquid to give it color
as it cools, which is then mixed together. It is made into strips as
it cools as it becomes easier to use on the wood in this form.

The wooden piece on the lathe is then applied with a base coat
of putty on which various colors of lathe are applied with the
lightest at the bottom and the darkest on top. After this the
various layers are rubbed by a piece of soft date tree bark after
which sesame oil is rubbed onto the piece of wood and further
rubbed with gauze in order to give it a final shine.
Traditional Craftsmanship and Performing Arts
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Artisans working & showing lacquer craft work

Etching is a careful process done with a small needle where bands of
color are etched, while the ware is on the lathe. The basic design is
done on the lathe while the detailed designs are done off the lathe. The
heavier the pressure the lighter the color of the design and vice versa.

Surface Decoration mainly comprises of circles offset from each other

with geometric patterns inscribed in between these strips, which is
derived and influenced to a large degree from Islamic art. Overall floral
patterns with symmetric balance are designed with circular borders.
Motifs of flowers are etched between the circular borders.

One of the common motifs is Ambi or Kayri, which is either small or big
depending on the size of the object.

Camel bone finials, studs and flowers are frequently applied with
circular brass ornaments, round mirrors and bells. Finials were utilized
in excess in the past but are now placed more functionally. Yellow, red,
green and black colors are usually used for all types of accessories
made with lacquer work.

Carving is another process, which occurs without turning for items

such as tables, tea trolleys or vases. This is also augmented by camel
bone work on tea trays, table tops and boxes.

Our family is associated with this trade since 18th Century.

Traditional Craftsmanship and Performing Arts

My father was awarded with the President's Award for his
exquisite skills in lacquer art. He produced wonderful
pieces of artifacts in wood as well as in ivory. His products
were presented to the president of Pakistan, General Ayub
Khan and dignitaries of other countries. Although, he was
awarded with pride of performance, yet, he could not make
huge money from this trade.

This trait is generally carried out by the male members of

the family, yet, there runs a tradition in our family that one
daughter is also taught the lacquer art so that the women
can also carry this tradition to the next generation. My
elder sister is skilled in lacquer work, who lives in Lahore
and runs a successful business of handicrafts since Lahore
has a bigger market and gives higher returns for the skill as
compared to Dera Ismail Khan. This trade has earned
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greater recognition and appreciation in terms of financial

gains. However, a more coordinated plan as well as efforts
to improve and appreciate this skill, at governmental level
along with wider access to national and international
markets, would help to promote, protect and transmit this
art to the coming generations.

Muhammad Saleem,
Different Lacquer craft work objects lacquer artisan from Dera Ismail Khan
Source: Fauzia Saeed, Lacquer work in Dera Ismail Khan
 Furniture
Traditional furniture in Dera Ismail Khan stems from a very
functional basis in the rural areas, where houses consist of
courtyard layouts and are made so in order to benefit from
the Sun in winters and to sleep under the cool nighttime sky
in summers. Since the layouts are not very strictly
demarcated in these houses, which means that different
spaces take different forms depending on time of the day or
even year and hence the furniture reflects that.

Charpais are made of light wooden frame on 4 lathe

turned legs of varying degrees of dcor. The central part
is woven with grass rope and 4/5ths of the frame is
covered with thick grass cord in geometric patterns,
while the remaining is a group of tensioned ropes called
the Powandi that lashes onto one end of the Charpai
and keeps the grass pattern taut. Being such a light
piece of furniture this can be easily moved around
between courtyards, rooms or even outside in the fields
during long days.

In contrast there is also the much heavier Palang,

Traditional Craftsmanship and Performing Arts

which also has 4 lathe turned legs but also has a heavy
headboard with decoration on it and is hence only
affordable to the wealthy or bought when dowry is to
be given to a daughter. They are usually too heavy to be
moved and are hence left in a room for formal use.
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Furniture on display in shops

 A Pirah is a low armless chair that is made especially for the
bride's wedding day for her to sit on and consists of a woven
cord seat in a wooden frame that is reminiscent of a Charpai
but much more intricately decorated owing to its festive
nature.

A Pirhi is an even lower stool than the Pirah and is of more

daily use, functional item for doing household chores such
as cooking. It also has 4 short legs and grass cord woven
between a frame and along with the Charpai is amongst the
most commonly used items of furniture.

A Singhar Maiz is another luxury item which is essentially a

dressing table for placing make up items and is more
prevalent in affluent households and is usually very
intricately decorated with turned frame mirrors that are
adjustable and very elaborate frames and surfaces to match
the nature of the user.
Wooden table of Lacquer work

Traditional Craftsmanship and Performing Arts

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Wooden tables of Jali work

 Aainahs (Mirror Frames) are also common including
rectangular mirrors with split spindles without a stand
or small round mirrors with a turned stand.

A Diwalger is a wall niche for placing holy books or for

lamps.

A Bukharcha is a wall shelf for showcasing crockery,

which is a direct indicator of a family's wealth i.e the
more crockery the wealthier the family.

Showcase to keep household utensils & crockery

Traditional Craftsmanship and Performing Arts
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Lacquer work on Aainahs

Following household items are also made using turned wood such as:

Madhani, which is a wooden shaft with four blades for

churning milk or yogurt to make butter or
buttermilk.

Charkha, which is a traditional spinning

wheel and most of its parts are made of
turned wood, whereas the craftsmanship
varies depending on whether the item is of
decorative or functional use.

Toys
A number of items for the use of children are also
made using this craft which includes the
following:

Jhula or swinging bed which hangs on a stand on which infants lie

down to be rocked/ swung to sleep.

Traditional Craftsmanship and Performing Arts

Rerah or walker cart, which is a turned member frame with wheels
attached used by toddlers to learn how to walk.

Pecking pigeons, which is an intricate mechanical toy on which three pigeons made of wood are
placed and when the handle is turned they successively peck the center of the plate on which they are
set simulating pigeons feeding.

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 Shoemaking in Dera Ismail Khan
Footwear has long been an article of pride and prestige for
the residents of Dera Ismail Khan. Since ancient times,
shoes have been a symbol of status, pride and style for
people. Dera Ismail Khan can boast of different styles and
types of footwear, especially Chappals and Khussas made
from leather and other raw materials. These Chappals and
Khussas are made with leather of different types and Tilla
(golden colored threads) work is done in gold, silver and
multicolored threads.

Khussa Making in Dera Ismail Khan

The history of Khussa making is quite old in Dera Ismail
Khan. Khussa is a footwear, which is equally popular among
all, the rich and the poor. It is made with leather in different
shapes and styles embellished with the Tilla work, which is
done to make a Khussa look even more beautiful, elegant Artisan making Khussas and chappals
and sellable.

Here we have tried to capture and document the Khussa making as an emblem of traditional craftsmanship, its brief
Traditional Craftsmanship and Performing Arts

history in Dera Ismail Khan, process of making and marketing. We also take the opportunity to meet and mention the
names of some of the accomplished Khussa makers in Dera Ismail Khan.

A Khussa can be worn in both feet as it equally fits both feet as it is not specifically designed for left or right foot and is
adaptable to wearer's choice, shape and size. A Khussa is not restricted to a gender in Dera Ismail Khan as it is worn
both by men and women for casual as well as formal occasions. It has become quite customary to wear Khussa by
most of the grooms and their relatives on wedding occasions. It is also presented as a gift to friends and family
visiting Dera Ismail Khan..
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Different designs of Khussas

Khussa making or Tilla work on Khussas has been in practice over
the years not only in Dera Ismail Khan city but also in small towns
and villages around it. Dera Ismail Khan has many craftsmen busy
in Khussa making and Tilla work for decades.

Khussas come in all shapes and sizes, as they vary mostly in their
making, patterns, designs and color; and are made in rural as well
as urban areas of Dera Ismail Khan. The embroidery and Tilla
work is done on the upper and insole of the Khussas. Khussas
that have fine embroidery in gold, silver or colored threads,
sequins (Sitara) and beads (Moti) work are in great demand.
Delicate patterns are made in order to create a filigree effect.

The most popular shapes and designs are the flat nosed or with
tipped nose curled backwards. Khussas of different designs and styles

The Process of Khussa Making

Khussa is a simple type of footwear consisting of not more than three plain leather or embroidered pieces, stitched
together by hand; the back, the sole and the upper. The process of making khussa is a specialized process since there
are many stages and hardly any machines assistance is involved, everything from cutting the leather to the final
sewing of the upper to the sole is by hand. One can look at a khussa and realize the hard work put in, to make a
beautiful pair of footwear.

Traditional Craftsmanship and Performing Arts

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A craftsman busy in making Chappal and Khussa in his workshop

 Raw material used in making Khussas is cow or goat's
hides processed mainly in tanneries in different parts of
the country. Cow skin is preferred over goat's skin as it is
tough, durable, anti bacterial and keeps the feet dry and
odorless. The processed leather is cut into different sizes
and shapes according to dyes of different shapes and
styles. In many cases the women folk of the craftsmen
help them with the embroidery of the Tilla and simple
processing of the leather. When all the three pieces or
parts of the Khussa are ready, those are stitched together
skillfully by accomplished craftsmen to convert these
pieces into a beautiful and durable footwear.

The process of Khussa making can be divided into 3 basic

stages:

i. Carving of the sole;

ii. Preparing the upper part of a Khussa;
iii. Stitching the upper, the back and the sole
together
Traditional Craftsmanship and Performing Arts
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Shoemaker working on raw material

Details of different stages and processes involved in Khussa making are as under:

1) Carving the Sole

The soles are normally made of leather of cows or a buffalo as the leather from these animals is more durable
and odorless. The leather is soaked into water for an hour and then left for drying for 24 hours. Afterwards, the
leather is cleaned with a scrapper (Chheelai) spreading on a stone.

After cleaning, the leather is cut and sewed together or if an embroidered sole is required, then embroidery is
done. The soles cut are beaten on that stone slab called the Pathri to make the surface evenly flat.

2) Preparing the Upper of a Khussa

The upper of the Khussas are also made from cows' leather. It is soaked in water, scrapped and cleaned along
with the beating to make it more flexible and malleable. Then required patterns of embroidery are made with
the thread of the choice of the ordering customer. The uppers are cut as per the design and size of the customer's
feet.

3) Stitching the Upper, the Back and the Sole Together

Once the upper of the Khussa is embroidered beautifully, these are ready to be stitched to the soles as well as
back but in case of plain uppers the leather is polished with mustard oil or shoe polish to give it a little shine
before the final stitching. The upper, the back and the sole of a Khussa is stitched with strong cotton threads
called Doris. The entire process of stitching of the upper, the back and the sole is done entirely by hand using a

Traditional Craftsmanship and Performing Arts

plain stitch technique. To make a Khussa more durable a semi-circular leather piece is stitched on to the heel of a
Khussa. Furthermore, backless Khussas are also in fashion for past many years, especially among women. Once
the final stitching is complete, the soles are burnished properly with the help of scissors and cutters.

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Embroidery, Tilla, Sitara and Moti work on Khussas

 Chappal Making (Handmade Sandals of Leather)
in Dera Ismail Khan
Chappal making is one of the important crafts in Dera Ismail
Khan. Hundreds of craftsmen are engaged in Chappal making
to earn their living, keeping this craft alive and fulfilling the
needs of the people. The Chappals made in Dera Ismail Khan
are much diverse in variety, designs and ethnic appeal as
compared to Peshaweri Chappal or Kherri. These chappals or
handmade sandals are an essence of the skills, details and hard Mens Chappal displayed in a shop
work of the craftsmen of Dera Ismail Khan.

Types and Varieties of Chappals of Dera Ismail Khan:

The Chappals made in Dera Ismail Khan boast a vast variety of

designs, shapes and materials used to finish them. The
Chappals produced in Dera Ismail Khan are more similar to the
Kohati Chappals stitched in district Kohat. These are rather
fine, sleek and stylish as many varieties have embroidery on
the upper, back strip and buckle. These Chappals have more
ethnic variety and appeal as the styles and designs are
influenced by the ethnic diversity and mix of different cultures,
Traditional Craftsmanship and Performing Arts

languages and ethnicities in Dera Ismail Khan.

Womens Chappal displayed in a shop

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Zari Chappal of Dera Ismail Khan

Introduction to Performing Arts
 Introduction to Performing Arts
The performing arts range from vocal as
well as instrumental music, songs, dance,
theater and beyond. These include
numerous cultural expressions that reflect
human creativity and that are also found, to
some extent, in many other intangible
cultural heritage domains.

Music is perhaps the most universal of the

performing arts and is found in every
society, most often as an integral part of
other performing art forms and other
domains of intangible cultural heritage
including rituals, festive events or oral
traditions. It can be found in the most
diverse contexts: sacred or profane,
classical or popular, closely connected to
work or entertainment. There may also be a Jhumar dance
political or economic dimension to music. it
can recount a community's history, sing the praises of a powerful person and play a key role in economic
Traditional Craftsmanship and Performing Arts

transactions. The occasions on which music is performed are just as varied: marriages, rituals and initiations,
festivities, all kinds of entertainment as well as many other social functions.

Dance, though very complex, may be described simply as ordered bodily movements, usually performed to music.
Apart from its physical aspect, the rhythmic movements, steps and gestures of dance often express a sentiment,
mood or illustrate a specific event or daily act, such as religious dances and those representing hunting, warfare or
sexual activity.
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Traditional dance in a cultural event

The instruments, objects, artifacts and spaces
associated with cultural expressions and practices
are part of intangible cultural heritage. In the
performing arts this includes musical instruments,
masks, costumes and other body decorations used in
dance, and the scenery and props of theatre.
Performing arts are often performed in specific
places; when these spaces are closely linked to the
performance, they are considered cultural spaces by
the Convention.
Threats to the Performing Arts Today
Many forms of performing arts are under threat
today. As cultural practices become standardized,
many traditional practices are abandoned. Even in
cases where they become more popular, only certain
expressions may benefit while others suffer.
Music is perhaps one of the best examples of this,
with the recent explosion in the popularity of 'World
Music'. Though it performs an important role in
cultural exchange and encourages creativity that
enriches the international art scene, the phenome-
non can also cause problems. Many diverse forms of
music may be homogenized with the goal of
delivering a consistent product. In these situations,
there is little place for certain musical practices that
are vital to the process of performance and tradition
in certain communities.
Music, and dance are often key features of cultural
promotion intended to create soft image, attract
tourists and regularly feature in the itineraries of tour
operators. Although this may bring more visitors and
increased revenue to a country or community and
offer a window onto its culture, it may also result in
the emergence of new ways of presenting the
performing arts, which have been altered for the
tourist market. While tourism can contribute to
reviving traditional performing arts and give a
'market value' to intangible cultural heritage, it can
also have a distorting effect, as the performances are
often reduced to show adapted highlights in order to
meet tourists demands. Often, traditional art forms
are turned into commodities in the name of
entertainment, with the loss of important forms of
community expressions. In other cases, wider social
Traditional Craftsmanship and Performing Arts
or environmental factors may have a serious impact
on performing art traditions. Deforestation, for
example, can deprive a community of wood, to make
traditional instruments used to perform music.
Page 234
Traditional musical performance of Dera Ismail Khan
 How to Safeguard Performing Arts
Many music traditions have been adapted to fit
western forms of notation so they may be recorded, or
for the purpose of education, but this process can be
destructive. Many forms of music use scales with tones
and intervals that do not correspond to standard
western forms and tonal details may be lost in the
process of transcription and recordings. As well as
music being homogenized, changes to traditional
instruments to make them more familiar or easier to
play for students, such as the addition of frets to
stringed instruments, fundamentally alter the
instruments themselves.

Safeguarding measures for traditional performing arts

should focus mainly on transmission of knowledge and
techniques, of playing and making instruments and
strengthening the bond between master and
apprentice. The subtleties of a song, the movements of Dancing horse in a cattle show
a dance and theatrical interpretations should all be
reinforced.
Traditional Craftsmanship and Performing Arts
Page 235

Dance with guns, it is popular in Tehsil Kulachi

Performances may also be researched, recorded, documented,
inventoried and archived. There are countless sound recordings in
archives all around the world, with many dating back over a century.
These older recordings are threatened by deterioration and may be
permanently lost unless digitized. The process of digitization allows These days, it is really hard to earn
documents to be properly identified and inventoried. living through the profession of drum
beating alone, as, the traditions are
Cultural media, institutions and industries can also play a crucial role breaking and people engage modern
in ensuring the viability of traditional forms of performing arts by musical bands or singers to celebrate
developing audiences and raising awareness amongst the general occasions. This is why; sometimes I
public. Audiences can be informed about the various aspects of a have to go to cities to earn my living
form of expression, allowing it to gain a new and broader popularity, as wages are quite good there.
while also promoting specialists which, in turn, encourages interest
in local variations of an art form and may result in active Ashfaq
participation in the performance itself. A drum beater from Musa Zai, Dera
Ismail Khan
Safeguarding may also involve improvements in training and
infrastructure to properly prepare staff and institutions for
preserving the full range of performing arts.

Traditional Craftsmanship and Performing Arts

Page 236

Students performing in a cultural event

 Performing Arts of Dera Ismail Khan
Saraiki culture is rich in terms of its cultural expressions and is reflected in the diversity of performing arts,
such as traditional folk dances:

Chheech Dance
This dance is performed with two small sticks in hands, with a sway and a round movement. Chheech Dance
was much popular among the Hindu community of Dera Ismail Khan. This type of dance, known as Daandiya,
is still popular in Hindu community. With the migration of Hindus from Dera Ismail Khan, this dance has lost
much of its appeal among the Muslim population of Dera Ismail Khan.

Jhumar
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 .
Traditional Craftsmanship and Performing Arts
Page 237

Traditional Jhumar dance performance

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.

Any time is Jhumar time especially during Melas (festivals), weddings and other major functions and
celebrations. The emphasis of Jhumar is recreating the gaits of animals and birds. The movement of animals,
the ploughing of the field, sowing of seeds and harvesting are shown in the original progression. The dance is
also performed in circle, to the tune of love and emotional songs and the costumes of the dancers are very
colorful.

Performed exclusively by men, it is a common feature to see three generations - father, son and grandson -
dancing all together. The dance is without acrobatics, the movement of arms only is considered its main forte.
Toes are musically placed in front and backwards and turnings are taken to the right, sometimes the dancers
place their one hand below the ribs on the left and gesticulate with the right hand. This dance does not tire out
its performers and it is normally danced on moonlight nights in the villages away from the habitation. The
dancers of this dance let-off a sound, Dee Dee in tune with the beat of the dance, which adds to its grace. This
dance has also been integrated into Bhangra.

Traditional Craftsmanship and Performing Arts

Page 238

A popular style of Jhumar dance

 Darees
This is very much similar to Jhumar, however, the
major difference between Jhumar and Darees is that
Jhumar is normally performed on some specific folk
song tunes, whereas Darees has no specific song
rather can be performed on any beat of Dhol.
Dhamal
Dhamal is a dance of ecstasy and trance, it has
religious connotation and significance in the eyes of
the performer as well as the spectators. This is mainly
performed on Sufi Shrines and Darghas throughout
Dera Ismail Khan. A wonderful spectacle of Dhmal is
visible at the Urs (death anniversary) of Bilot Shareef
in Paharpur Tehsil of Dera Ismail Khan. This dance has
more energy and fast moves, which requires less
coordination and rhythm of moves among the
performers.
Attan
Attan is a form of dance that originated in the Pashtun
regions of North Western Pakistan and Eastern
Afghanistan. This folk dance is mostly popular among
Traditional Craftsmanship and Performing Arts
Page 239
Folk dance performance of Attan
the Pashtun population of Dera Ismail Khan. It is
normally performed on drum beat and performed on
occasions like times of war or during weddings or other
celebrations (engagements, new year and informal
gatherings).
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, who on few occasions wave scarves in the air
while musicians beat drums.
To the accompaniment of drums and pipes the dancers
form a circle, taking each other by the hand or preparing
to revolve in circles of their own. The dance starts with
slow steps that gradually get faster and faster until it
seems the performers must drop from exhaustion.
However, the dance continues, sometimes for two or
three hours at a stretch, with no breaks except a lowering
of tempo or changes in the tunes and songs.
 Music and Singing
Music and singing are important aspects of intangible
cultural heritage, which reflects cultural identity as
well as human creativity. Dera Ismail Khan has a long
history of producing singers especially the folk singers
who have won laurels for themselves and for the Dera
Ismail Khan as well. We can name a few traditional and
modern days' singers who originated from and gain
popularity in Dera Ismail Khan and surrounding
districts.

Basit Naeemi and Amjad Nawaz Karloo are famous

singers of Dera Ismail Khan and Saraiki Waseb.

Haq Nawaz is also one of the much acknowledged

singers from Dera Ismail Khan and is more popular for
his Qissa Goi (singing legendary stories).

Traditional Craftsmanship and Performing Arts

Khursheed Bano was one of committed and devoted
singers from Dera Ismail Khan, who has sung the songs
mostly written by the song writer Elahi Bakhsh Sodai.

Following mentioned of her songs are still very popular

among the folks:

1- Meri chunni dee kanni utte lal kingri

Changi lagdi Sitarian de naal kingri

2- Wasde ha se sajnan de naal

Jehrey din da wichhrraya mahi
Thi gaya halon hal behal
Was de ha se sajnan de naal Page 240

3. Sawee mora keen te boota kadh de chole te

Ukee na manisan bahon naraaz haan dhole te
Folk Singer Khursheed Bano Singing for Radio Pakistan
 Traditional Textile Skills (e.g., embroidery, weaving, tapestry,
quilting, knitting, lace-making, and carpet-making)
T raditionally embroidery, weaving skills, use of
the products as well as goods produced by the
crafts person was adequate. Although,
embroidery is still continuing and the crafts person of
Dera Ismail Khan are producing work that is reflective
of their skillfulness and creativity, yet, the skill and its
associated products are under the risk of dis-
appearance unless community and relevant
government departments take appropriate steps for
its safeguarding and continuity. There are different
motifs and stitches that the craftsmen use to produce
unique work, yet, with the diminishing returns and
increasing machine work, its continuity and
conservation has to be taken seriously by the
community so that a unique skill and tradition of the
people of Dera Ismail Khan is alive and benefited by
the local as well as other people nationally and
internationally.
The skill of embroidery is mastered both by men and
Traditional Craftsmanship and Performing Arts
women alike. However, women of this area also do
this elegant work on different types of clothes and
household accessories like tea cozy, Roomal, covers
for different households' items and bed linen. Work
on bridal as well as groom's dresses is quite unique
Page 241
Artisan making jackets with embroidery work
and beautiful. The cross stitch of Dera Ismail khan is
unique. The Sheesha (mirror) work on the women
dresses is also elaborate and beautiful.
Many types of embroidery techniques are used to create
beautiful pieces of this artwork. Dera Ismail Khan
produces elegant Sheesha work pieces, which have their
own importance in Pakistani needlework traditions. The
embroidery work is also considered important
internationally. The most common embroidery types are
Mokaish, which can be made by strewing silver dots on a
piece of cloth, Jaali work, which is done by making a
network of strings, Resham work, which is thread work
done with fine silk and Sitara work in which sequins are
attached to the cloth in different designs and patterns.
The work on bridal dresses has become more and more
elaborate with the passage of time. In addition,
embroidery is also done on ladies hand bags.
Traditionally, embroidery was considered skill that each
girl child has to learn as part of her learning kit. The
society accepted and parents appreciated it. However,
this is becoming less frequent with the advent of modern
education, globalization impact and girls learning
different subjects or society started kind of giving not

Vendor selling jackets with embroidery work
much importance to this work.
Weaving Skills in Dera Ismail Khan
Traditionally weaving and clothing needs were met
locally or with some support from imports from the
neighboring cities. Dera Ismail Khan and its villages
have had Charkha (handlooms) and Khaddis to
produce Taghar, Khes, Khaddar and shawls. Qaleens
were also woven with hands. However, these skills
and associated infrastructure is disappearing rapidly
from the society. One can hardly see a Khaddi or
Charkha in city or even in villages these days. Lungee
that is used as turbans in Dera Ismail Khan and
adjoining areas is a specialty and being exported to
Afghanistan. However, with the advent of industrial
machinery and mass production of cloth, these
weaving skills of the local craftsmen are also under
threat of diminishing along with thinning returns and
livelihood.
Women used the traditional hand loom (Charkha) to
produce yarn and wool which was used in local Khaddis
to weave Taghars, Khes, Lungees and Khaddar.
Threats to Embroidery and Weaving
However, these skills and traditions are under threat of
extinction and discontinuity owing to following reasons:
Diminishing returns and livelihood from these crafts
and skills;
Gradual slackening of local patronization from the
elites and government departments of these local
crafts;
Lack of knowledge and awareness among the youth
about these skills and benefits of local crafts such as
Khes and handmade Khaddar;
Effects of globalization as more and more people are
adopting cheaper and mass produced clothes across
Pakistan and even in the world;
Introduction of international varieties of clothes,
blankets and machine made carpets in place of
traditional crafts, Khes;
Traditional Craftsmanship and Performing Arts
The weaving traditions, skills and products are
diminishing with each passing day and the youth of
Dera Ismail Khan is not well acquainted with the
skills, associated instruments and products.
Need to Preserve and Safeguard These
Traditional Skills and Crafts
The need to safeguard traditional skills and crafts is
marked by the following reasons:
For the preservation and continuation of skills, which
have been used by the craftsmen of Dera Ismail Khan
for centuries;
For the continuation and enhancement of the
livelihood of the craft persons associated with the
crafts and skills;
Page 242
The preservation of the skills would introduce
embroidery and weaving crafts, skills as viable
sources and means of livelihood for the crafts
persons;
Preservation of equipment (e.g., looms-Khadi,
shuttles);
Cultivation and maintenance of raw materials (e.g.,
 wool, yarn, flax and dyes);
Appropriate working places.

Means and Ways for the Protection

of these Crafts
Integration of these skills with life skills that
students learn at schools;
Introducing programmes for youth by
associating the masters and custodians of
skills and trades with schools and learning
institutions, especially voca-tional training
institutes;
Preserving and conserving the equipments
and products in local museum, history
about origin and skills, different patterns
from various groups; recording and
digitizing the work and instructions of Traditional decorative material for farm animals
various maestro of these trades; on display for sale
Recording work methods for reintroduction
to youth;
Commoditization and building market
linkages to ensure economic returns;
Traditional Craftsmanship and Performing Arts

Replacing disappearing clients through

creating market linkages and chains;
Recording and documentation of traditional
methods of handing down these skills and
tools to the posterity. Traditional decorative material for trucks
on display for sale
Page 243

Vendor selling traditional bed linen on a road side

Traditional Music and Songs
T ra d i t i o n a l m u s i c i n c l u d e s b o t h t ra d i -
tional music and forms/genre of songs that
evolve from it over time immemorial. It has
been defined as music transmitted orally, or as music
with unknown composers. One meaning often given
is that of old songs with no known composers;
another is music that has been transmitted and
evolved by a process of oral transmission or
performed by custom over a long period of time.
Traditional or folk music is a genre generally distinct
from commercial and classical music. Its performers
are normally the common folks and have popularity
among the common people. From a historical
perspective, traditional music has following charac-
teristics:
It was transmitted through an oral tradition. The
common people of Dera ismail Khan had
memorized and transmitted it orally for centuries.
However, the recent wave of technology and
global culture are posing a serious threat to the
continuity of traditional music and songs;
The music was often related to national or local
culture;
They commemorate historical and personal
events. Particular songs celebrate the yearly cycle
and life events of individual or community like
Malik Amir Hussain singing Shah Farid's KAFI along with Ashiq Hussain Tabla Nawaz award holder Saqafat K Amin
weddings, birthdays and funerals are marked with
songs, dances and special costumes. Religious
festivals often have a folk music component. Choral
music at these events brings children and non-
professional singers to participate in a public arena,
giving an emotional bonding that is unrelated to the
aesthetic qualities of the music;
The songs have been performed, by custom, over a
long period of time, usually several generations;
The traditional music and songs are performed and
celebrated by the common man without any special
tag. As these are the ownership and have inspired
everyone, these music and songs are also helpful in
the cultivation and promotion of social cohesion and
even cultural fusion in Dera Ismail Khan.
Some Threats to Traditional Music
There is no copyright on the songs and owing to lack
of personal ownership, these songs may disappear
someday if not properly recorded;
Hundreds of folk songs from time immemorial have
survived albeit without any known author or
Traditional Craftsmanship and Performing Arts
performers but have continued in oral tradition to
the point where they are considered traditional for
purposes of music publishing. However, the global
popular culture and music is threat to it. So there is
need to protect and conserve the music of Dera
Page 244
 Ismail Khan;
Disappearing population which has memorized
the traditional songs, played music and its tune.
However, with the depleting population, which is
custodian of this music and traditional musical
instruments, the survival and continuation of this
element of the cultural heritage of Dera Ismail
Khan is also precarious and uncertain.
In the wake of depleting traditional music and songs,
there is a demand on community to protect and
conserve this treasure of their collective creativity for
its survival and transmittal to future generations.
Need and Objective of Safeguarding
Traditional Music:
The communitys efforts to safeguard and
conserve traditional music would serve following
needs and objectives:
To ensure traditional music, its songs and tunes in
its various forms and genres as these are
reflective of the collective creativity, ethnic and
cultural diversity and unity of the people;
Traditional Craftsmanship and Performing Arts
Page 245
Dhol is of key --- instrument, which is very popular in the villages. It performs multiple functions.
Protection and continuity of the associated musical
instruments;
Training of associated skills;
Maintenance of associated skills (costume;
choreography; traditional music).
How to Do this? Some Tips for the
Community
Support for specialist skills by patronization,
financial encouragement;
Performances should be recorded and digitized and
stored in some public libraries;
Integration in education programs;
Recording of choreography;
Encouragement of quality cultural tourism;
Some programmes for the encouragement of the
associated instruments and skills;
Some public performance and competitions of
traditional music;
Writing and digitization of songs, lyrics and tunes;
Engaging the relevant government departments to
safeguard the associated instruments for posterity.
Bibliography

Sources/References

1. Reports/Government/Agencies Publications
Reports, Unpublished writings, scripts and Government Record of the
Department of Revenue, District Administration, Dera Ismail Khan.
UNESCO, Promoting Culture for Peace through Cultural Heritage, Islamabad,
2013.
Imperial Gazetteer of India, Oxford, Clarendon Press, 1908-1931.
UNESCO, Education for Sustainable Development: Good Practices for Pakistan,
Islamabad, 2013.
UNESCO, Cultural Mapping Manual: A Guide for Planning and Carrying Out
Cultural Mapping in Pakistan. Islamabad, 2008.
UNESCO, Learning with Intangible Heritage for a Sustainable Future: Guideline for
Educators in the Asia Pacific Region, Bangkok, 2015.

2. Books
2.1. English Books

Traditional Craftsmanship and Performing Arts

Saeed , Fouzia, Traditional Furniture of D.I. Khan, Lok Virsa Research Centre,
Islamabad, 1988. Hassan, Sheikh Khursheed, Pakistan: Its Ancient Hindu Temples
and Shrines, NIHCR, Centre of Excellence, QAU, Islamabad, 2008.
Hassan, Sheikh Khursheed, Historical Forts in Pakistan, NIHCR, Centre of
Excellence, QAU, Islamabad, 2005.

2.2. Saraiki and Urdu Books

Mughal, Shaukat, Alif Bey Batuwwa (Baal Adb), Jhoke Publishers, Multan, 2004.
Mughal, Shaukat, Saraiki Akhaan, Jhoke Publishers, Multan, 2005.
Awan, Gul Abbas, Saraiki Saqafat De Rung, Jhoke Publishers, Multan, 2007.
Siyyal, Malik Asif, Tandi Bhali Waar Howay, Sapt Sindhu Publications, Dera Ismail
Khan, 2014.
Dervi, Qais Masih, Saraiki Tareekh, Tehzeeb, Saqafat ou Jughrafia, Jhoke
Publishers, Multan, 2010.
Hafeez Ullah Gillani, Sayyed, Apna Dera Ismail Khan Tareekh Ke Aayeney Mein,
New Khawar Kitab Markaz, Dera Ismail Khan, 2007.
Page 246

Hafeez Ullah Gillani, Sayyed, Baloch Qaum Ka Tareekhi Pas Manzar, New Khawar
 Kitab Markaz, Dera Ismail Khan, 2010.
Mughal , Shaukat, Istlahat-e-Peshawaran, Jhoke Publishers, Multan, 2013.

3. Journal Articles/Research Papers

Marwat, Sarfraz Khan and Khan, Mir Ajab, Biodiversity of Sedges in Dera Ismail
Khan District, NWFP, Sarhad Journal of Agriculture 24 (2), P 293-298, Peshawer,
2008.
Marwat, Sarfraz Khan and Khan, Mir Ajab, Ethnophyto medicines for the
treatment of Various Diseases in Dera Ismail Khan, Sarhad Journal of Agriculture
24 (2), P 306-310, Peshawer, 2008.

4. Journal Articles
http://portal.unesco.org/culture/en/files/37746/12197593145The_role_of_participa
tory_cultural_mapping_in_promoting_intercultural_dialogue.pdf/The%2Brole%2Bof
%2Bparticipatory%2Bcultural%2Bmapping%2Bin%2Bpromoting%2Bintercultural%2B
dialogue.pdf
Traditional Craftsmanship and Performing Arts
Page 247

Training workshop for community members on cultural mapping and safeguarding their cultural heritage
Training workshop for community members on cultural mapping and safeguarding their cultural heritage
 United Nations
Educational, Scientific and
Cultural Organization

Serena Business Complex,7th Floor, Sector G-5, Islamabad

UAN: +92-51-111-710-745 Fax: +92-51-2600250
www.unesco.org.pk