Teachers Resource Kit - Intangible Cultural Heritage of Khyber-Pakhthnkhwa and FATA

Students taking art lessons at the Baacha KhanTrust for Education Foundation school in Peshawar
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H
C
E R'S R
A
E
T
ESOUR C E K IT
Text: Sajida Haider Vandal (editor) with Saba Samee

Photography: Imtiaz Ali with Ali Shahbaz, Tehsin Ullah Jan
Design Team: Imtiaz Ali, Ali Shahbaz, Sameeha Qadeer
Printers:
Copyright 2013- UNESCO, Islamabad

The book is available at the UNESCO Office Islamabad.
The views expressed in this book are soley those of the authors and contributors
Materials in this book may be reproduced for use for
non-profit purposes provided acknowledgment of the source is made.
Introduction to
Teachers Resource Kit
Contents
TOLERANCE
By
Amir Hamza Khan Shinwari
Having braved the gush of water,

Bone dry land turns into pasture.
A tolerant father and polite mother,
Can turn a poor child into a king.
Tolerance is like a righteous reaction,
Clouds on soothing soon resort to rain.
A transparent mirror can house a life,
A tolerant heart inhabits a whole world.
A Large heart serves as an abode to green pastures,
But a chicken heart serves as a wilderness.
Translation: Sher Alam Sherwani
A. FOREWORD
Dr. Kozue Kay Nagata, Country Director UNESCO, Islamabad
B. MESSAGE from FATA Secretariat
C. ACKNOWLEDGEMENTS
D. ABOUT THIS PUBLICATION
Prof. Sajida Haider Vandal, Executive Director THAAP Consultancy & Advisory Services
1. What the Various Types of Culture and Heritage Mean

2. What are the Key Concepts of Intangible Cultural Heritage?
3. The Reasons for Integrating Heritage Education In Education and Learning
4. The Methodology of Integrating Cultural Knowledge In Education and Learning
5. Overview of the KPK, FATA and ICH Communities
6. An Overview of the Teachers Resource Kit
7. The Characters
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37
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Foreword
UNESCOs constitution declares, Since war begins in mind of men, it is in the minds of men that the
defenses of peace must be constructed. Since its foundation UNESCO has worked to develop dialogue
between cultures which is an essential element in building a culture of peace. The promotion of peace
through education is at the heart of UNESCOs mission. As the lead agency within the UN system for the
International Decade for a Culture of Peace and Non-Violence for the Children of the World, 2001-2010,
UNESCO is responsible for coordinating and directly implementing activities that promote the objectives
of the decade through education, the science, culture, communication and information.
The resource kit titled Promoting Peace and Social Cohesion through Heritage Education is one of
the important initiatives of UNESCO Islamabad which focuses at making use of cultural heritage as an
integrating force in the society. The major aim of this resource material is to acknowledge and appraise
the rich living heritage of the people of Khyber Pukhtoonkhwa and FATA and develop the concept of
peace and social cohesion in youth. This shall be achieved through enhancing educators and teachers
knowledge on the Cultural Heritage of the communities and provide them with the tools which they can
use to transfer this knowledge to their students. KPK and FATA have age old traditions for peace making,
conflict resolution and harmonious which shall be highlighted for the youth to appreciate their local
system and internalize these concepts to enable our common goal of peace in the region.
I appreciate FATA Directorate of Education for extending cooperation and assistance in preparing
the resource material. I also acknowledge the valuable efforts made by THAAP for making research,
organizing the material and coordinating with the stakeholders to develop this Kit
Dr. Kozue Kay Nagata

Country Director/Representative
UNESCO - Islamabad
1
Introduction to Teachers Resource Kit
2
Message
Message of Director of Education FATA
The United Nation Educational, Scientific and Cultural Organization (UNESCO) sponsored project Integrating intangible heritage through a teachers resource kit in our Education System is a highly
commendable step in the direction. The Federally Administered Tribal Areas (FATA) enjoys a long
chequred history and diverse culture which is a great reassure trove to tangible and intangible heritage.
The rugged terrain of mountains is home to different tribes with various social and cultural norms
traditions.
Most Pashtun tribes inhabiting Fata have unique social practices, handicrafts, traditional games and
rich folklore. Preserving rich culture traditions of Fata will pay way for bringing everlasting peace and
stability to the restive tribal region adversely hit by militancy and terrorism over the last few decades. It
is need of the hour that youngsters be educated to respect our heritage both tangible and intangible and
also to create awareness among them to preserve, safeguard and own our rich cultural assets wherever
we find them.
Unfortunately, we are fast losing some of our traditions and golden Pashtun practices which had kept us
together. We today even disown many things which were once our pride and identity. it is the responsibility
of the elders, scholars, writers, poets and teachers to tell the young generation especially the student to
own, appreciate, respect and safeguard our own communities as well, this will lead us to social cohesion
and permanent peace. Pashtuns had been living with other communities for centuries and therefore, are
peaceful people.
Different Pashtun tribes have their own attnrs (folk dances) and tapas and charbetas (folk songs) which
are reflective of their imaginative flight, similarly they have strong social practices like Jirga, which is
still intact while hujra is yet another important platform for Pashtuns where social, moral and cultural
education is imparted through matals, fables, proverbs by the elders and disputes find peaceful solution.
Rabab and mungay is integral part of a typical Pashtun tribal hujra where music and poetry go together
inspiring Pashtuns down the ages. The popular Pashto romantic folk tales of Adam Khan Durkhanai,
Yousaf Khan Sherbano and many others still keep warm Pashtuns hearts.
The four important booklets included in this wonderful teachers resource kit covering almost all aspects
of Pashtuns provide valuable information making it very easy for the teachers to devise mulch-disciplinary
approach and convey the message through thematic project. students are expected to take great interest
to reclaim their own cultural thematic projects, students are expected to take great interest to reclaim
their own cultural heritage and practice with their elders and teachers.
I appreciate the untiring efforts of Prof Sajida Vandal and all the stakeholders/contributors who in very
short span of time prepared this beautiful kit which I believe will prove a long way in enhancing the peace
building efforts, social cohesion and safeguarding heritage.
Muhammad Islam Bangash

Director of Education FATA
3
Children at a Gudor. Photo Credit: Imtiaz Ali
4
Acknowledgement
When Dr. K.K.Nagata, Country Director UNESCO, Islamabad office first spoke about a Teachers Resource
Kit on the Intangible Culture of the Pukhtun communities it seemed a daunting proposition. In her usual
style, she passionately explained how this could be a way to promote peace and social cohesion which is
something all of us desperately want for that troubled region. We were soon convinced of the importance
of such an endeavor both because it would enrich the current education system and as well safeguard
the rich Pukhtun culture by transmitting it to the youth. There are many ways that the communities
in KPK and FATA had developed over the centuries to ensure peaceful co-existence and harmonious
living which are embedded in their intangible cultural heritage. These needed to be looked at anew and
communicated to the youth to enable appreciation for the cultural diversity and respect to amongst the
communities.
There were many people who stepped forward to help. Their insight into the Pukthun culture was
critical for this endeavor and they gave of their time selflessly. I would first and foremost like to thank
Hashim Khan Afridi of the FATA Secretariat who supported us throughout the months that were spent
on preparing the Kit. Prof. Dr. Sarfaraz Khan, Director, Area Study Center for Central Asia, University of
Peshawar, Prof. Tayyaba Aziz, Principal, Pakistan School of Fashion Design; Prof. Ejaz Khan, Director
International Relations, University of Peshawar, Prof. S. Shafique Rehman, V.C. FATA University; as well
as my former students, Architects Mansur and Nausheed Ullah and Designers Pir Hamid Kheshgi, Abdur
Rahman and Imtiaz Alis help is gratefully acknowledged. Prof. Dr. Salma Shaheen, Director of the
Pushto Academy and the former Director Dr. Rajwali Khattak and Professor Abasin Yousafzai, poet were
always available with their advice for which I thank them. Ali Gohar and Naveed Shinwaris insight into
the social practices was invaluable as was that of the many men and women that we met in this regard.
We would like to thank them all and also the practitioners, tradition bearers and ustads who gave of their
time so generously
I would also like to thank our team members, Tariq Khan Coordinator Peshawar; Samra Mohsin Khan,
Sher Alam Shinwari, Fakhra Hasan and Saba Samee for their commitment and enthusiasm; Rati Cooper
and Perin Cooper Boga for their editing and proof reading and their suggestions, Ali Shahbaz and Imtiaz
Ali for the design and last but not least Pervaiz Vandal for his continuing help and interest in this work.
In the end we gratefully acknowledge the opportunity given to THAAP by Dr. Nagata, Country Director
UNESCO Islamabad and also thank Jawad Aziz, Program Officer for his continuous support throughout.
Prof Sajida Haider Vandal

Executive Director
THAAP - Consultancy and Advisory Services
5
Traditional Truck Art
6
Even If the mountain is high, - there is a way to its peak.

Ka Ghar Dang Dai khu pa sar Yea Lar da
Pushto Proverb
About This Publication

This publication is meant as a Resource for Teachers to help integrate Intangible Cultural Heritage (ICH)
into Education and learning. This Resource Kit shows the ways and means by which the living culture
of the communities of KPK and FATA areas can be integrated into education and learning in schools. It
provides ideas for Teaching staff to use in the classroom while teaching various subjects such as Social
Studies, History, Pakistan Studies, English, Math, Science, Art and others. It also has ideas for Projects
that the students can carry out to enable a deeper understanding of the aspects of the living culture of
their own communities.
The Resource Kit also acknowledges the rich intangible cultural heritage of the people of KPK and
FATA and builds upon these to develop concepts of peace and social cohesion. An appreciation and
understanding of cultural diversity present in the tribal areas and the province will enrich the learning
experience for the students. The Kit also provides tools which teachers can use for transmitting cultural
knowledge in an interesting and inspiring manner through personal experience and a Project-based
Learning Approach.
The ICH is a broad area which covers various domains and elements which communities, groups and
sometimes, individuals claim as their own. The Resource Kit is therefore not an exhaustive list of all
the elements and domains within KPK and FATA since it would be an impossible task to include every
element in such a Kit. It covers, however, some elements and domains which provide an example of how
ICH can be used to explain concepts and to safeguard the heritage of our communities by transmitting
cultural knowledge to the
younger generation. This Kit
is planned as an interactive
resource which provides
a comprehensive frame of
operations and guidelines for
activities and can be updated
or molded as per situational
requirements.
This Resource Kit will be
useful for primary, middle
and
secondary
school
teachers and the education
and culture departments of
the government of KPK and
FATA. Educators in the private
school system and the teacher
training institutes can also
benefit from the Kit.
This publication has been
initiated by UNESCO, Islamabad
office under the RAHA project.
There are several persons
who have contributed to the
making of this Kit including
teachers, scholars, educators
and researchers.
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Attarn at a tribal event, Archives of SAHAR Journal
Map showing Pukhtoon areas in Pakistan and Afghanistan, photo credit: Wikipedia
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What the Various Types of Culture and Heritage Mean

An explanation of some of the key words and concepts that are
being used in this Kit is given below. Wherever possible, examples
are taken from KPK and FATA areas to communicate an idea.
Teachers are encouraged to think of other examples from their
own areas and experiences to clarify concepts to their students.
TIME LINE BCE
Soanian People
~500,000
Mehrgarh Culture
70002500
Indus Valley Civilization & Hakra
33001700
Vedic Civilization
2000500
Achaemenid Empire
550330
Mauryan Empire
322252
Seleucid Empire
31263
Greco-Bactrian Kingdom
252125
Indo-Scythian Kingdom
200 BCE400 CE
Gandhara Civilization
200 BCE1021 CE
Indo-Greek Kingdom
180 BCE10 CE
Raja Geera, Odigram, Swat, photo credit: Shafiq ul Islam, internet panoramio
CULTURE
Culture can be defined IN PAKISTAN THERE ARE 6 WORLD HERITAGE
in various different ways; SITES (WHS) LISTED BY UNESCO
however for our purpose There are 2 Buddhist period sites at Takht-iwe can think of culture Bahi and the Neighboring City remains of Sahras the distinctive lifestyle, i-Bahlol in KPK and that at Taxila in the
value system and world Rawalpindi district of the Punjab. In addition to
view of society or a social the WHS, UNESCO also maintains the Tentative
group or community. It World Heritage List which has 4 sites of KPK
includes traditions, beliefs listed in 2004. Such evidence shows that this land
and practices which have was inhabited some millenniums back, for the
been developed over Archaeological Site of RehmanDheri, situated
centuries by people all near the town of Dera Ismail Khan is an ancient
Pre-Harappan site dating back to about 4000 BCE,
over the world, each in
while the Archaeological Site of Ranigat in Totalai
response to their own in the Buner District is 2500 years old Buddhist site
particular context. It is belonging to the Gandhara civilization. Then there
culture which makes are two other Tentative WHS which are Ashoka
each community or social period Rock Edicts at Shahbazgarhi and Mansehra
group unique and distinct which belong to the period 5th century BCE to 2nd
and gives them their century CE. This amazing evidence of civilizational
identity. It is this variety progress is the legacy of the communities of KPK as
of lifestyles, value system well as the entire nation and the world for it shows
and world views which is the civilizational progress that the people living
a tribute to the ingenuity in this area had made many millennia ago. You
may like to find more about this amazing heritage
of humankind and our
through some of the resource books mentioned in
ancestors and a cause the Kit and also visit UNESCO WHS site at
for celebration. We live www.whc.unesco.org.
in a pluralistic world and
our species can survive best if we can appreciate the cultural diversity that exists in
this world and learn to respect various lifestyles, values, worldviews and the ensuing
cultural expressions and practices.
9
TIME LINE CE
Indo-Parthian Kingdom 21130
Kushan Empire
30375
Sassanid Empire
224641
Indo-Sassanids
240410
Gupta Empire
320600
Hephthalite Empire
420567
Rai Dynasty
489632
Kabul Shahi Dynasty
5001100
Umayyad Caliphate
661750
Pala Empire
770850
Ghaznavid Empire
9631187
Mamluk dynasty
12061290
Khilji dynasty
12901320
Tughlaq dynasty
13201413
Sayyid dynasty
14141451
Lodhi dynasty
14511526
Mughal Empire
15261858
Durrani Empire
17471823
Sikh Confederacy
17331805
Maratha Empire
17581760
Sikh Empire
17991849
British Indian Empire
18491947
Dominion of Pakistan
19471956
Islamic Republic
since 1956
Buddhist Ruins of Takht-i-Bahi and Neighboring City Remains at Sahr-i-Bahlol, UNESCO World Heritage Site
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HERITAGE:
By heritage we mean Virsa or that which has been inherited from the previous generations and from our elders. It
is a legacy of the past and it is what defines who we are or gives us identity.
UNESCO World Heritage Sites
Archaeological Ruins at Moenjodaro (1980)
Buddhist Ruins of Takht-i-Bahi and Neighbouring City Remains at Sahr-i-Bahlol (1980)
Fort and Shalamar Gardens in Lahore (1981)
Some Examples
of Artifacts
Historical Monuments at Makli, Thatta (1981)

Rohtas Fort (1997)
Taxila (1980)
TANGIBLE HERITAGE:
When talking about cultural heritage we could be referring to the Tangible Heritage, sometimes also called built
heritage or manmade heritage. The Tangible Heritage includes the UNESCO World Heritage Sites (WHS) like the
Buddhist Ruins of Takht-i-Bahi and Neighboring City Remains at Sahr-i-Bahlolin KPK.
Other than such outstanding examples of
Tangible Heritage can also be in the form of artefacts such as museum
the tangible built heritage listed as World
objects, manuscripts such as that of Rehman Babas poetic works at
Heritage Sites, there can be many types
the Pushto Academy and the Provincial Archives, a Rubab which
such as urban structures, adobe or stone
belonged to some great Rubab player of the past, the paintings of
Ghani Khan at Ghani Dera, and such others. These objects are some
houses, village settlements, walled towns,
of the tangible heritage of the communities of KPK and FATA which
religious buildings, shrines and such others
your students should be made aware of as these are an important
which represent the past. These can be
legacy that should be valued as indicators of the achievements of your
either archaeological sites or monuments
ancestors. Similarly there will be tangible assets in the communities
or ordinary structures which the community
of your students which they will learn to value through the activities
proposed in this Kit.
to whom it belongs may consider of value
for a variety of reasons such as for the
technical skills it encompasses or the aesthetic quality of its design and construction or the social or historical
value that it has for the community. There may be some such Tangible Heritage in the area that your school
is located or where your students live. You could discover these cultural assets with your students when you
carry out the Thematic Projects suggested in this Kit. This could well be a storage bin or silo which is made in
a special way or a mosque which was skillfully made by your ancestors such as the beautiful wooden mosques
of Swat. It could also be archaeological remains such as that Properties submitted on UNESCO WHS Tentative List (18)
of the Buddhist period which you find in so many parts of the Badshahi Mosque, Lahore (1993)
province. This is also our heritage and has also shaped our Wazir Khan's Mosque, Lahore (1993)
present day. We can be proud of the skills of our ancestors Tombs of Jahangir, Asif Khan and Akbari Sarai, Lahore (1993)
who used the stone available in the local area and shaped Hiran Minar and Tank, Sheikhupura (1993)
such complex structures as the Stupas and carvings which Tomb of Hazrat Rukn-e-Alam, Multan (1993)
have left an important record for us from the past.
Rani Kot Fort, Dadu (1993)
Maj Sir L. Cavagnari & his party are about to be turned back
from Ali Masjid in Khyber Pass, by Amir Sher Alis Commander
Shah Jahan Mosque, Thatta (1993)

Chaukhandi Tombs, Karachi (1993)
Archaeological Site of Mehrgarh (2004)
Archaeological Site of Rehman Dheri (2004)
Archaeological Site of Harappa (2004)
Archaeological Site of Ranigat (2004)
Shahbazgarhi Rock Edicts (2004)
Mansehra Rock Edicts (2004)
Baltit Fort (2004)
Tomb of Bibi Jawindi, Baha'al-Halim and Ustead and the Tomb
and Mosque of Jalaluddin Bukhari (2004)
Tomb Stones at Siren Valley, Photo Credit: Saba Samee
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Tomb of Shah Rukn-e-Alam (2004)

Port of Banbhore (2004)
12
Walled cities and old towns/settlements are the repositry of tangible

and intangible cultural heritage. Map of Walled City Peshawar,
showing the route from the Kabli Gate to Kissa Khawani Bazar,
The Street of The Story Tellers
13
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NATURAL HERITAGE:
BOX 1: Convention Concerning the Protection of the

World Cultural and Natural Heritage
Article 1 Definition of Cultural & Natural Heritage
Monuments: Architectural works, works of monumental
sculpture and painting,
Elements or structures of an archaeological nature,
inscriptions, cave dwellings and combinations of
features, which are of outstanding universal value from
the point of view of history, art or science;
Groups of buildings: Groups of separate or connected
buildings which, because of their architecture, their
homogeneity or their place in the landscape, are of
outstanding universal value from the point of view of
history, art or science;
Sites: works of man or the combined works of nature and
man, and areas including archaeological sites which are of
outstanding universal value from the historical, aesthetic,
ethnological or anthropological point of view.
In 1972 UNESCO adopted the Convention Concerning

the Protection of the World Cultural and Natural
Heritage. Included in Natural Heritage, for the
purposes of the Convention, are the Natural features,
Geological and Physiographical Formations and Natural
Sites. BOX 1 and BOX 2 contain a detailed description of
these categories. When you read them you will agree
that in the areas that your school is located there may
be some of these types of Natural Heritage which is
of special significance to the people living in that area
and could also be valuable for others as well. You could
have a wonderful insight into this Natural Heritage
and discover many features and formations and sites
which are present there. Remember that not all natural
heritage is classified as World Heritage because only
those sites which are outstanding and unique become the shared heritage of the world. So all humankind no
matter where they are living are jointly responsible for protecting such heritage since all are proud to claim it as
the joint heritage of humankind.
In the same way there will be Natural Heritage in the vicinity BOX 2: Convention Concerning the Protection of the
of your school or where your students live. Classified World Cultural and Natural Heritage
as Natural Features, Geological and Physiographical Article 2:
formations and Natural Sites this should be considered as Natural features consisting of physical and biological
the natural assets of your area which must be valued and formations or groups of such formations, which are
protected by the communities which live there because of outstanding universal value from the aesthetic or
scientific point of view;
they are the custodians. So, Natural Heritage is something
and physiographical formations and
beautiful and unique which exists in your surroundings Geological
precisely delineated areas which constitute the habitat of
and is not manmade; for instance the hills, valleys, rice threatened species of animals and plants of outstanding
terraces, the forests and such others which make the KPK universal value from the point of view of science or
and FATA region special. These are the elements which conservation;
are often mentioned in Tourism Promotional Material and Natural sites or precisely delineated natural areas of
outstanding universal value from the point of view of
attract people from all over the world. Such assets could be a science, conservation or natural beauty
pine forest in your area which contributes in a positive way
to the environment or could be fields or hill slopes on which grow certain plants which are essential to the
traditional medicinal practices of the communities. Unique features such as the Ghram Chasma in Chitral Valley,
Kalash Valley landscape and the Khyber and Lowari passes are some examples of Natural Heritage.
INTANGIBLE CULTURAL HERITAGE:

The intangible cultural heritage, also simply referred
to by its acronym ICH is essentially the non-material
culture that we inherit from our ancestors. It is that
part of our culture which is transient or fleeting and can
be easily lost since it lives in the hearts and minds of
human beings. The ICH has been defined by UNESCO
in its Convention for the Safeguarding of Intangible
Cultural Heritage which was adopted in 2003.
For the purposes of the Convention UNESCO defined
ICH as the practices, representations, expressions,
knowledge, skills as well as the instruments, objects,
artefacts and cultural spaces associated therewith that
communities, groups and, in some cases, individuals
recognize as part of their cultural heritage. You may
want to read the Convention which is available on the
UNESCO Intangible Cultural Heritage website www.
unesco.org and also available in printed form. BOX 3
has the definition from the UNESCO Convention 2003
which you may like to read before proceeding.
BOX 3:
`UNESCO (2003) Convention For The Safeguarding
Of The Intangible Cultural Heritage
Article 2 Definitions (Basic Text)
For the purposes of this Convention,
1. The intangible cultural heritage means the practices,
representations, expressions, knowledge, skills as well as the
instruments, objects, artefacts and cultural spaces associated
therewith that communities, groups and, in some cases,
individuals recognize as part of their cultural heritage. This
intangible cultural heritage, transmitted from generation to
generation, is constantly recreated by communities and groups
in response to their environment, their interaction with nature
and their history, and provides them with a sense of identity
and continuity, thus promoting respect for cultural diversity
and human creativity. For the purposes of this Convention,
consideration will be given solely to such intangible cultural
heritage as is compatible with existing international human
rights instruments, as well as with the requirements of mutual
respect among communities, groups and individuals, and of
sustainable development.
Lake Saif al Maluk
Medicinal plants in Matta, photo credit: Imtiaz Ali
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Pine Forest
Archives South Asian Partnership
16
What Are The Key Concepts Of Intangible Cultural Heritage?

ICH Presence:
An important point to note is that ICH is present in all
communities; in fact you can easily say that it is an integral
part of all communities. It encompasses many elements
and many aspects of our life, for example it could be songs
that we sing at weddings, our music, the social practices
and rituals that we perform at the birth of a child, folk
dances and many others covering various domains which
we have inherited from our forefathers. This also includes
all those practices of our ancestors which show you how
traditional knowledge and local wisdom came to be used
for the sustainable use of resources. In BOX 4 you can
read the domains mentioned in the UNESCO Convention
2003. You can include other domains which you think are
important for the communities in KPK and FATA.
Transmittal:
BOX 4:
UNESCO (2003) Convention For The
Safeguarding Of The Intangible Cultural Heritage
Article 2 Definitions (Basic Text)-2.2
The intangible cultural heritage, ..is manifested
inter alia in the following domains:
(a) oral traditions and expressions, including
language as a vehicle of the intangible cultural
heritage;
(b) performing arts;
(c) social practices, rituals and festive events;
(d) knowledge and practices concerning nature
and the universe;
Mechanism & Systems for Transmittal and Institutions which support or strengthen this transfer of cultural
knowledge are present in all cultures. However, we know that sometimes with the weakening of such systems,
important knowledge is under threat of disappearing. One such example from the KPK province is the
knowledge of constructing houses using only local material which was a sustainable way of interacting with the
environment. Some of the traditional agricultural practices which ensured collective sharing of responsibility
have disappeared. Others can be seen in the craft making processes such as dyeing the vibrant pink color used
in the chaddars from Swat valley. What is important to keep in mind is that only that ICH which a community
owns and practices is viable for transmittal. There are always some ICH elements which are discarded by
communities and thus become history or museum pieces.
The institutions which played a fundamental role in transmittal of cultural knowledge in KP and FATA for
example the Hujra and the Gudor have considerably weakened to the extent that these have disappeared in
some areas. We are thus confronted with the problem that with traditional systems weakening we must find
ways to strengthen and safeguard them if they are still of importance to the communities who claimed it as
part of their cultural tradition. At the same time it is important to use other avenues for transmittal of cultural
knowledge such as the school system or community centers and such others
(e) traditional craftsmanship
The Intangible Cultural Heritage is communicated from one generation to another to ensure that the accumulated
traditional wisdom and practices which a community feels is valuable to them is passed on to youth as their
legacy. These could be simple social behavior or rituals like the words and manner of greeting elders and
children which often go under what most people refer to as manners or can be very complex concepts and
ideas like those in the unwritten code of honor of the Pukhtuns, Phuktunwali. It includes the entire gamut of
traditional knowledge and wisdom including medicinal practices, musical systems, attarn and folklore, systems
of conflict resolution and harmonious living, customs and many others that communities possess and value.
17
Mechanism & Systems for Transmittal and Institutions:
Hujra Matta, Credit Imtiaz Ali
Change and Re-creation:

We are perhaps all aware that change is fundamental to our existence, and insofar as ICH is concerned there
are several factors which bring about change such as variation in context whether it is the physical environment,
state of technology or the social environment, belief systems, value system and world view . We can see an
example of an ICH element from KP and FATA region to see how this has changed over the centuries. Let us
take the example of Mizare, the basket weaving techniques of the tribal women. If you compare the items and
patterns of some baskets that belonged to your grandparents to what is being made nowadays you will find
differences in techniques and materials. Similarly, the pankh-chacki (water mill) has also undergone changes
as has the imagery of the modern day poetry to that of the poets of the previous generations. Thus as a response
to the context, time and space ICH elements are recreated by the communities to whom these belong, making
them relevant and valuable to their present.
Children in Matta. Photo Credit: Imtiaz Ali
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Rights and Ethics:

Internationally as well as within Pakistan there is a growing realization that the rights of every individual, group
and community must be fully recognized and protected. These are referred to as fundamental rights and include
access to education for all, health care and others. You may like to read some of the resource material mentioned
in the Kit to familiarize yourself with this subject to enable you to answer questions posed by your students on
this topic. You may also like to reflect on the definition in the UNESCO Convention 2003 where it is written
consideration will be given solely to such intangible cultural heritage as is compatible with existing
international human rights instruments, as well as with the requirements of mutual respect among
communities, groups and individuals, and of sustainable development.
UNESCO developed the Education for Sustainable Development For a Teacher to bring this thinking in to
program, popularly known by its acronym ESD which specifically the classroom, no matter what subject you
focuses on transmitting and developing methodologies and are teaching you would require a change
techniques to enhance sustainability in our societies. The of perspective to enable you to develop a
resource material pertaining to ESD have been listed in the Kit pedagogy that supports sustainability with
under Additional Resources and you may like to read a selection the requisite knowledge, values and skills to
to get yourselves familiar with the conceptual framework and communicate the importance of this way of
the activities undertaken under the ESD program. This program thinking to your students. You may like to
essentially tried to re-orient the school curriculum to address study the UNESCO publication Astrolabe: A
sustainability. This Resource Kit has given some ideas and issues Guide to Education for Sustainable Development
for you to reflect upon. Some of the social practices and traditional Coordination in Asia and the Pacific which is
knowledge which belong to the communities in KPK and FATA available online to clarify some of the concepts.
are excellent examples of how our ancestors tried to interact ESD is closely linked to ICH in education and
with nature and the environment in a sustainable manner. For learning since the latter focuses on practices
example the Pankh-Chacki, water mill is a good example of how and elements which are age old systems that
the natural resource of water has been harnessed to erect a societies have evolved for harmonious living or
mill which is essential for the dietary needs of the people in KPK practices for judicious use of natural resources
& FATA. Similarly, the knowledge of preparing manure for the and such others.
fields and other agricultural practices are an invaluable resource
which we must communicate to the next generation. You can see other social practices which encourage mutual
support such as Asher during rice harvesting and Lor during wheat harvesting which fall within sustainable
practices. Think also about how our ancestors ensured that this knowledge would be passed onto us. You may
come across songs, proverbs, tapas and such other oral forms which our ancestors used to ensure that this
knowledge would be transferred from generation to generation and would not get lost but remain for us to
benefit from. You may also like to reflect on some other practices which you think are good examples of the
culture of your communities and prepare lessons to impart this knowledge to your students. These can be as
simple as finding ways to reduce wastage for example using waste material to prepare household objects or
more complex values such as interpersonal relationships, hospitality and others.
Mapping of Cultural Assets in NWFP, Photo credit: UNESCO Norway Funded Project
You may like to think of examples from your province or the tribal areas of social practices which are detrimental
to any community, group or individual or do not promote mutual respect amongst them to explain this idea to your
students. There are social practices that we have inherited which are clearly against fundamental rights and have
often marginalized people, for example women and minorities. As society grows and develops it continuously
reexamines its own cultural practices to discard those which are against basic ethics and fundamental rights
of any group, giving rise to changes in values, ethics and attitudes. In our joint effort to create a harmonious
society where all can live with dignity and in harmony with each other, we need to find ways to strengthen the
positive practices in our society and convey the same to our students. The Kit has presented some ideas on
how to transmit the cultural knowledge of ways and means to promote peace and social cohesion which we
have inherited as the ICH of KP and FATA. Teachers can think of more lessons to strength on the role that their
students can play in enhancing mutual respect and peaceful co-existence in the region.
Sustainable Development:
In a resource starved world that we live in, we all realize that natural resources are fast depleting and we need
to think urgently about ways and means that will safeguard these for our future generations. The concept of
sustainable development has been described by the 1987 Bruntland Commission Report as..development that
meets the needs of the present without compromising the ability of future generations to meet their own needs.
The Sustainability paradigm developed by UNESCO bases itself on creating a balance between the interlinked
spheres of environmental, social and economic considerations. In order to transmit these concepts to youth,
19
Girls playing Stapu in Matta. Photo Credit: Imtiaz Ali
20
Cultural Diversity:
Mutual Respect and Harmonious Living amongst the
world communities is the cornerstone of creating
a sustainable world. In Pakistan, there are many
ethno-linguistic groups spread in various regions
each of whom have their own cultural identity and
a sense of continuity based on their own historical
experiences, their environment, value system and
world view. If you look at the diversity within KP and
FATA region you can see the large number of ethnolinguistic groups present in this geographical area.
For our present purpose, which is to transmit our
cultural knowledge to our youth in order to promote
peace and social cohesion, we need to find ways to
convey all those remarkable mechanisms that our
ancestors put in place which encouraged these
values. We also need to reflect on any practices
which are detrimental or marginalize any group
within our communities to fully participate in our
society well-being and find ways to bring them
into the service for the common benefit of the
community and society.
21
Pukhtuns comprise a large number of tribes and

sub-tribes, the Khow or Kho communities in Chitral,
the Kalash, the Hindkho speaking Hazara people,
the Seraiki speaking people living in D I Khan and
many more. Each of these communities has their own
specific lifestyles, values and belief systems which we
need to respect. The knowledge and appreciation of
the diverse cultures of the various communities within
Pakistan as well as other parts of the world contributes
to creating a peaceful coexistence and respect. In Box 5
is an extract from the UNESCO Universal Declaration
on Cultural Diversity which was adopted in 2001. You
may want to read this Declaration which you will find
online at http://portal.unesco.org
BOX 5:
UNESCO Universal Declaration on Cultural
Diversity (Adopted 2001)
Safeguarding:
Integrating ICH knowledge and skills into education and learning is one of the measures to safeguard
the immensely rich resource of our communities by ensuring that it has been passed on to the next
generations. By transmitting knowledge held by our tradition bearers and practitioners, the elders
within our communities, the women and the men to the younger generation, we will be ensuring that
the knowledge which by its nature is transient will not be lost. While this method of safeguarding is
important for the continuing viability of the Living Culture, we also know that using references from the
familiar rather than the remote or alien is the best way to communicate concepts to young people.
To use this as a technique of teaching we would need to develop our own knowledge and understanding
of our Living Culture particularly that of the communities from where our students come. We would
need to understand and appreciate the nuances and layers which are embedded in traditional knowledge
and wisdom to be able to develop lessons for our students. The Kit has included lessons which take
advantage of the various layers of an ICH element and has also suggested Thematic Projects which will
enhance our information and knowledge base.
IDENTITY, DIVERSITY AND PLURALISM

Article 1 Definition of Cultural Diversity
Culture takes diverse forms across time and space.
This diversity is embodied in the uniqueness and
plurality of the identities of the groups and societies
making up humankind. As a source of exchange,
innovation and creativity, cultural diversity is as
necessary for humankind as biodiversity is for
nature. In this sense, it is the common heritage of
humanity and should be recognized and affirmed for
the benefit of present and future generations.
Chilam Joshi Festival in Kalash, Chitral
Children playing in a Hujra in Matta. Photo Credit: Imtiaz Ali
22
SUMMARY: TANGIBLE, NATURAL AND INTANGIBLE CULTURAL HERITAGE

To summarize what has been discussed in the previous paragraphs we can say that broadly there are
three categories which are commonly used while referring to Cultural Heritage. One is the Tangible,
the second is the Natural Heritage and the third is Intangible Cultural Heritage. The meaning of these
Key Words needs to be fully grasped and appreciated to take advantage of this Resource Kit. Subtitles
have been used to explain some of the important words. These words should be translated in your local
language so that students can understand these key concerns. When thinking about an appropriate word
in the local language make sure that it reflects the concept. Remember that Tangible Heritage essentially
means something that you can see and touch. It includes buildings and premises, whole streets, part or
whole old towns, settlements, villages, single structures, artefacts, museum objects and so on. On the
other hand Intangible Heritage is the non-material heritage and is something which is essentially in the
mind.
Why is Heritage important?
This is a question that your students will probably ask you. You can think about various ways to respond
depending on the age level of the students. It is important to first ensure that your students fully understand
the concept of heritage before you can speak about its importance. Small children will grasp the concept
better if you personalize it. For example you can ask each individual student to mention an object that
they possess which is special to them or their families. It can be a wrist watch which their father wears
which could have belonged to his father. You can ask whether the watch should be destroyed or kept
safe and passed on to one of the children. Explain how this watch is included in the family heritage. You
can build from here the idea of a group heritage and community heritage and so on. While discussing
each level you must select examples which are well known and thus will be understood by the students.
It would be really excellent if you could provoke discussion in the class and get all the students involved
and contributing to the debate.
Some of the reasons which make Heritage important are that Culture gives people
1.
2.
3.
4.
5.
a sense of Identity
a source of Pride
a resource to gain Knowledge and Wisdom
a contribution to Economic Development
a contribution to Social Empowerment
23
Water mill in Swat Valley, photo credit: Imtiaz Ali
Culture Reinforces Identity and Invokes Pride:

Culture is intrinsic to the human condition and each of us gains our identity through our own culture that
is the culture of the community which we claim as ours. Both Globalization and Western imperialism have
had a negative impact on local/regional cultural identities. The rapid processes of modernization have
been hampering with the continuity of cultural knowledge transmission, which has resulted in breaking
the links to our past and leaving us with fragmented forms of cultural knowledge, dispersed indigenous
communities and a lost sense of identity. Thus, for the well-being of communities it is important that the
cultural and social practices, expressions and each
Culture, in particular the Intangible Cultural Heritage,
communitys special way of interacting with each defines the identity of a community and makes all of
other, with nature and the universe remain viable. us special. For example if you look at the various tribes
Resource of Knowledge and Wisdom:
We can learn a lot about ourselves and our way
of living life when we start looking at Culture as
a resource for gaining knowledge and wisdom.
In the same manner as we look towards libraries
and books, we can turn towards our elders, our
communities and our tradition bearers to gain
wisdom and knowledge embedded in our Living
Culture as well as the material evidence of our
ancestors who inhabited the area that we live in
now. The Resource Kit has indicated several ways
in which this knowledge can be imbibed.
within the Pushtuns you can identify several ICH

elements which are specific to a particular tribe such as
traditional dress forms, music, food which are special to
a particular tribe such as Torawal, Sholay, Katawa, Painda
and such others. Similarly we know that various tribes
have distinct and different forms of attarn for example
the Khattak, Mahsood, Wazir, Marwat, Betanai, Kakar,
Mangal, and Kochi Pashtun tribes all have distinct forms
of attarn. You can reflect on the differences in customs,
rituals, and lifestyles of the various communities and
take examples to use in your classroom. The Kit also
includes student activities to enhance understanding
and knowledge and appreciation of their cultural
identity and take pride in it.
Source of Economic Empowerment & Development:

Culture as a resource for economic empowerment
can be seen in the context of some of the activities
which have traditionally been a source of livelihood
for the communities in the KPK region. One such
example is the economic opportunities derived
from the domestic and international tourism to the
natural heritage of say the Swat Valley, the Chitral
Valley, and to the archaeological sites such as
Takhat-i-Bahi and the many such places with which
the region is blessed. There has been a thriving
business of cultural products, services such as tour
operators and guides, hotels and such others which
has benefited many. There are also ways of using
the ICH knowledge to empower people for example
by developing their craft making skills, preparing
products which will be attractive for the modern
buyer or marketing honey and herbal medicines
which use local ICH practices and knowledge . This
Resource Kit has presented some ideas in this
direction which students can take up as hobbies and
later use these skills to develop marketable craft
products. Teachers can think of many more ideas
derived out of the local culture of their area and
develop lesson plans for their students.
Culture
Strengthens
Economic
and
Social
Empowerment: The Intangible Culture of the
communities of KPK, FATA is the living heritage
that provides communities with a sense of identity
and is continuously recreated in response to their
environment. It is intangible because its existence and
recognition depend mainly on the human will, which
is non-material, and it is transmitted by imitation and
living experience. The social and economic value of this
transmission of knowledge is relevant for a community,
and is as important for developing communities as
for developed ones. Cultural Knowledge can be an
important source of livelihood and economic wellbeing.
BOX 6:
SOME REASONS FOR SAFEGUARDING THE
INTANGIBLE CULTURAL HERITAGE
The Well-being of communities: Enhances Identity and Pride
Respect and understanding amongst communities
Sustainable development
Enhancement of cultural diversity and human creativity
24
Social Empowerment of Communities, particularly of

minority and marginalized communities is strengthened
through recognition of their culture and their right
to practice their own culture. This is also a means to
ensure that each individual, group or community can
live in dignity which is the basic human right of all. It
also ensures that the knowledge and wisdom which
sometimes available to a minority community survives.
One example of this is of small communities adhering
languages that are at the brink of extinction. UNESCO
has identified 26 distinct endangered languages and
Pashto dialect spoken by the indigenous communities
in KPK and FATA. Pashto is spoken mainly in Peshawar,
while Kalami, Gawri and Torwali are the spoken
languages in Swat, Dir and Kohistan.
In most cases, transference of ICH knowledge begins

from home where stories and techniques, for example,
on cooking are passed down mostly through the oral
tradition like rhymes, poetry, songs and games. Bol Meri
Machli is one example of such rhythmic riddles that are
usually passed down by the elders of the family orally,
a guessing game aimed at building critical thinkingis
skills for children. Similarly, mataal (adages) of the KPK
communities encapsulate and convey important valuesto
to the young. However, due to rapid urbanization and
rural-urban migration that has led to the breakdown
of joint family structure, these systems have weakened
and also as the joint family structure breaks down and
grandmothers who once passed on these traditions
leave, the traditional methods of preserving of ICH are
weakened. Thus ICH in the education system becomes
highly important.
school as well as used in the classroom for subject teaching.

The various ways of integrating ICH and ESD in Education and Learning range from:
1.
2.
3.
4.
Subject Infusion: Infusing Subjects with ICH and ESD knowledge

Curriculum Infusion: Infusing Curricula with Heritage/ESD focused subjects
Reorienting Curriculum: Focusing on ICH/ESD is existing Curricula
By Co-curricular Projects and Assignments: Project Based Research with Communities, Tradition Bearers,
focused field work
5. School Level Activities based Learning for example the provision for Cultural Melas
6. A Multi-Disciplinary Approach, for example establishing ICH-ESD links to various subject areas
The Revival of the traditional systems of peace, dialogue

and conflict resolution would play a critical role in
keeping the heritage of KPK, and FATA viable, peaceful and in resonance with the cultural identities as well as
modern day needs of the indigenous communities.
The Reasons for Integrate Heritage Education in Education

and Learning
Integrating ICH knowledge and skills into education and learning is one
measure to safeguard it. By transmitting this knowledge held by our tradition
bearers and practitioners, to the younger generation, we are ensuring that
the knowledge which by its nature is non-tangible and transient will not
be lost. Also of note is that the ICH of each community is distinct, it varies
from place to place therefore special effort is required to safeguard the ICH
present in each area.
Transference of cultural knowledge from one generation to the next ensures
the survival of traditional knowledge and wisdom which has shaped our
world and given each of us a sense of identity. With the weakening of the
traditional systems for this transmittal to the young which was usually by their
elders either through stories, poems, proverbs and such other means or by
emulating the examples set by them of practices and skills that this system
remained viable. Supported by the traditional teacher/apprentice model, i.e.
the Ustad and Shahgird system, the traditional knowledge of many areas of
human endeavor was transmitted to the younger generation and survived.
To decide how to integrate ICH-ESD into the current system of teaching is up to the educational managers
and teachers. Among the possibilities mentioned earlier, schools may opt that it should be done without
having to disrupt existing patterns of curriculum development and lesson planning. Schools can also
opt for a combination from the menu. Howsoever this is to be achieved, one thing is certain that this
intervention has promising long-term implications for the success of ICH-ESD-based learning in Pakistan
and preparing informed young people with the ability of critical thinking equipped with the knowledge of
their own cultural expressions and assets.
Popular living Pashto Folk legends Khan Tahsil &
Zarsanga Bibi , photo credit:Archives Shinwari
In the current scenario, where the formal system of education follows a uniform nationwide curricula; the regional
identities which are at the core of communities as reflected in their culture is compromised. Thus over a period of
time much of the local cultural knowledge and wisdom is submerged and lost. By integrating Heritage Education
in Education and Learning, we are ensuring that the knowledge which the communities where we are located is
passed on to the young.
The Resource Kit is aimed at strengthening the cultural identities of the young people in order to create a sense
of pride in them, respect for cultural diversity and peace and social cohesion amongst the various sub-cultural
groups within KPK and FATA.
HOW TO INTEGRATE CULTURAL KNOWLEDGE IN EDUCATION AND LEARNING:

Students may be brought closer to their cultural heritage by arranging for field trips to cultural heritage
sites, experimentation with indigenous methods of health practices and modern practices, critical thinking
exercises in the mother language using matals and proverbs, craftsmanship, music, classical dancing and
traditional games. These activities can be integrated into co-curricular and extra-curricular activities of the
25
The 4 Modules provide the Entry Point for Schools to start the integration process. Various suggestions
have been given and it is left to the Schools and Teachers to decide on how to proceed. These options
include establishing Culture Clubs as an extra-curricular activity which will enable methodologies to be
refined and lesson plans evolved to subsequent subject infusion and so on.
Teachers can use the exercises in each Module to devise lesson categories to accommodate the ICH
component into the lesson planning. Along with that, schools can introduce Heritage Education as a
separate subject with its own curriculum. That would enable staff to highlight the cultural assets of
the cities across Pakistan in a more flexible manner that allows for greater scrutiny and integration of
cultural knowledge from prominent cultural assets like the Lahore Fort and Bagh-e-Jinnah, Gol Gatri in
Peshawar, Mehargarh, Taxila near the Islamabad area and others.
The modules also provide options for Lesson Planning with ICH/ESD orientation and Student Assessment.
Resource Generation, building partnerships with communities and culture resource establishments as
well as Tradition Bearers have been highlighted in the Thematic Projects. These guidelines also aim to
broaden the teachers perspectives and appreciation for community-based learning, and community-led
efforts to promote sustainable practices that are in harmony with human values and their own cultural
heritage.
26
Assessment on Lesson Category #1 CULTURAL MAPPING
The modules provide a step-by-step framework on

developing curricula for Heritage Education
how to develop a lesson or curricula incorporating ICH and ESD in existing subjects.
this includes identification of an ICH/ESD Element or Domain,
deconstructing the Element and showing the various layers of knowledge that it incorporates,
research through primary and secondary sources,
building partnerships with Tradition Bearers and practitioners,
learning from communities and elders and so on.
Providing the framework which will enable Teachers to take other ICH elements and deconstruct them
to devise pedagogy for teaching their students.
Teachers are encouraged to adapt the ideas in the guidelines to their own situation and curriculum
constraints and opportunities.
An integrated, multi-disciplinary approach to be used by teachers in classrooms has been used to
develop these guidelines so as to facilitate the facets of knowledge embedded within the living heritage
of communities.
Identifying and Developing ICH Lesson Categories and Curriculum Content
The purpose of this exercise is to aid you in identifying, selecting, modifying or developing curriculum that is compatible with
and supports your communitys view and cultural values. In the boxes below, the ICH-ESD learning categories you are propsing
to have as a foundation framework of your education system are from within which you are going to derive curriculum content.
Note: Please remember that all ICH is not linked with ESD, for example, if an ICH is in violation of womens rights or minority
rights, it is essentially harmful to ESD as well. Similarly, all ESD is not linked with ICH. For example, using solar energy to
heat water and produce cheap electricity is a concept that may or may not be part of a communitys ICH.
While filling out the boxes below, think: In terms of today, what ICH-ESD lesson category represents your cultures contemporary or modern reality.
Lesson Category #1
Lesson Category #3
Lesson Category #5
Lesson Category #2
Lesson Category #4
Lesson Category #2 INTRICACIES OF INDIGENOUS LANGUAGE

Students will be able to do the following:
to draw a character sketch of Adam Khan and list its internal conflicts
to draw a character sketch of Durkhanai and list its internal conflicts
to identify the complexity of the relationship between Adam Khan & Durkhanai
to identify the conflicts of the characters surrounding Adam Khan & Durkhanai
Assessment on Lesson Category #2 INTRICACIES OF INDIGENOUS LANGUAGE

The Following is a sample exercise adapted from the UNESCO ESD Sourcebook template which you could
utilize to look at some of the basic concepts of ESD and link them with ICH practices in your teaching.
Priorities
In this column,
list the changes
needed to
address
sustainable
development
priorities
Knowledge
What
knowledge is
needed to
achieve the
desired change?
Literacy
Suggested
Subject
Integration:
Language
Social Studies
Pakistan
Studies
Why are literacy

rates low?
Who are the
people most
affected by
illiteracy
minority
groups, women
For example, if Lesson Category #1 is defined as Cultural Mapping, the subsequent learning model with
cross-cutting ESD-ICH themes could be:
Topic: The Art of Storytelling
Folklore: The Love Story of Adam Khan & Durkhanai
Internet link for folklore:
1. http://syed3486.blogspot.com/2013/02/adam-khan-and-durkhanai.html (English)
Lesson Category #1 CULTURAL MAPPING
Students will be able to do the following:
to identify landmarks and rivers associated with the main character(s) of the story
to identify the landmarks and rivers mentioned in the story on a map
to collate the cultural significance of the landmarks with present-day environmental conditions, agricultural practices etc.
27
Students are able to narrate and re-tell the story of Adam Khan and Durkhanai in its original Pushto form.
Example of an Exercise from UNESCO ESD Sourcebook
Lesson Category #6
Outcome: Learners will hear, learn and be able to retell the story of Adam Khan and Durkhanai
Students are able to draw a map of the sites and place the main characters mentioned in the story
Skills
(cognitive/technical)
What cognitive and
learning skills are
needed to achieve the
desired change?
(literacy, ICT, critical
thinking)
Reading and
writing
Symbolism
(associating text
with meaning)
Understanding
context
Basic ICT skills
Methods for
finding and
sharing
information
(social/emotional)
What social and
emotional skills
are needed to
achieve the desired
change?
(interpersonal,
compassion)
Independence
Self confidence
Persistence
Understanding
ones own
learning style
Values & Attitudes

What values and
attitudes are needed
to meet the
sustainable
development
priorities?
Desire to
complete tasks
Traditional
wisdom
Commitment to
lifelong learning
Willingness to
develop oneself
Openness to
learning
Ability to make
use of existing
traditional
knowledge and
wisdom, and how
this traditional
wisdom
supplements ESD
knowledge
Learning Characteristics
Learning characteristics that can help foster the acquiring knowledge, skills, values and attitudes?
Cooperation, learning and sharing together
Interdisciplinary
Participatory and collaborative
Borderless (encourages learning that can take
Community based learning (involving
place regardless of time and location)
parents and the community)
Lifelong
Student centred
Inter-generational
Group oriented
Multi-cultural
Experiential
Relevant and practical to ones life and lifestyle
Evidence based/research based
Project-based and activity based
Promoting positive values (principles, values, Respect for nature and ones community
28
practices of ESD)
Integrated approach
wisdom
supplements ESD
knowledge
Learning Characteristics
Learning characteristics that can help foster the acquiring knowledge, skills, values and attitudes?
Cooperation, learning and sharing together

Participatory and collaborative
Community based learning (involving
parents and the community)
Student centred
Group oriented
Experiential
Evidence based/research based
Promoting positive values (principles, values,
practices of ESD)
Integrated approach
Relevance for the development of the human
personality and the sense of dignity
Possible Questions for Science & Math Teachers:
Interdisciplinary
Borderless (encourages learning that can take
place regardless of time and location)
Lifelong
Inter-generational
Multi-cultural
Relevant and practical to ones life and lifestyle
Project-based and activity based
Respect for nature and ones community
1.
2.
3.
4.
What is the area of the farmland occupied by each of the tribe?

Calculate the financial losses incurred by each of the affected tribes.
Calculate the time required to travel 50 miles to reach a school from your village.
Calculate the time required to travel 15 miles to reach a school from your village.
Possible Questions for Social Studies/Environmental Science Teachers:

1.
2.
3.
4.
What are the methods used to measure the length of water channels in agrarian hilly areas?
What is rainwater harvesting?
How does the Toba system work in desert areas like Cholistan?
What was the traditional method of rainwater storage on G.T. Road?
Possible Questions for Art Teachers:

1.
2.
Learning Environment
A Learning environment that supports the message being delivered (e.g., carbon neutral for climate
change education)
An environment that has/is compatible with/fosters the following:
Adequate levels of health and sanitation facilities
Accommodates diverse needs, enables various projects
Connects with the community
linked to nature
as green as possible
strictly non-discriminatory, inclusive
Enables interaction between age and other groups
Ensures minimum levels of privacy
compatible with Child Friendly Schools concept (UNICEF)
Takes girls needs into account
Accommodates cultural and religious needs
What are the crafts of Swat valley?

What are the methods used for making those crafts?
Possible Questions for History Teachers:

22
1.
2.
3.
What is the meaning of a tribal feud?

What were the methods used to resolve tribal feuds?
Are these methods in harmony with present-day human rights laws and social values?
Teachers can invite Tradition Bearers like storytellers to classrooms to give talks on cultural heritage.
Schools that already have culture clubs can organize such activities as out-of-school projects with ease.
The Thematic Projects were planned and developed for the very purpose of enabling student-community
interaction and hands-on experience of documenting their communitys ICH. Moreover, school calendars
can explicitly highlight events that will contribute to ICH and share it with the wider community such as
writing in newspapers and developing documentary films for local and national TV channels. Another
way is to organize art exhibitions and competitions with other schools.
Here is an example of two inter-related activities you could use to inform your subject teaching.
Here is an example of two inter-related activities you could use to improve your subject teaching. In both
In both the activities, students are required to utilize the traditional systems of decision-making
the
activities, students are required to utilize the traditional systems of decision-making in Northern
in
Northern
Pakistanthe
to resolve
the disputes/problems
identified
and outlined
in activities,
the activities,
Pakistan
to resolve
disputes/problems
identified
and outlined
in the
with supporting
with supporting
information
to guide
you and
yourtostudents.
Refer
to the lesson
planning
information
to guide
you and your
students.
Refer
the lesson
planning
templates
to incorporate the
ICH
elements
that may help
in resolving
issues.
templates
to incorporate
the ESD
elementsthese
that may
help in resolving these issues. For example,
Activity 1 falls under the ESD categories of social education and environment education.
Activity 1
Activity 2
There are three tribes in the village Utror and Kalam, Swat There are no schools for girls in the village Darmai, Azad
Activity
2 in Swat, and their parents are
valley who are out to Activity
kill each 1other under the pretext that Banda in tehsil
Matta
There
arediverted
three tribes
the channels
village Utror
and others
There are
no schoolsHere
for girls
in the
village you have to solve the
they
have
rain in
water
to each
concerned.
is the
information
Kalam, Swat
valley
who
are out that
to kill
eachinundated
other Darmai,
Azad Banda in tehsil Matta in Swat, and
agricultural
fields
and
orchards
have
and problem:
destroyed
those
fields.
Thethey
matter
hasdiverted
been brought
theparents
under the
pretext
that
have
rain to
their
Here
The are
onlyconcerned.
school girls
canisgothe
to is 50 miles from the village,
Jirga.
water channels to each others agricultural fields information
you the
have
to solve
theisproblem:
whereas
boys
school
15 miles from the village.
that have inundated and destroyed The only school girls can go to is 50 miles
and
Whatorchards
happened?
Parents cannot afford transport costs for the girls.
those
How did
it
happen?
fields. The matter has been brought to the
from village, whereas the boys school is 15
There
arevillage.
teachers in the village but they are engaged in
Jirga.
Where did it happen?
miles
from the
other income generation skills like embroidery, and crafts
Where
did
the
rain
water
come
from?
What happened?
Parents cannot afford transport costs for the
after the schools were blown up in their village
WasHow
there
any
other
destruction
caused
in
the
villages
did it happen?
girls.
besides the fields of the tribes in question?
The
an village
active farming
and is well
There
are village
teachershas
in the
but theycommunity
are
What is the amount of loss experienced by each tribe?
known for its apples, peaches, pears, apricots, walnuts and
Where did the rain water come from?
engaged in other income generation skills like
What is the amount of loss experienced by the others in the almonds
Was
there
any
other
destruction
caused
in
the
embroidery, and crafts after the schools were
villages?
Parents
are village
generally reluctant to send girls to schools
besides the fields of the tribes in
blown
up in their
Whovillages
are the witnesses?
because
of
the
social
to their gender.
question?
The village has an active stigma
farmingattached
community
What
is the history of relations between the three tribes?
What
the amount
of loss experienced
each of the
and is well known for its apples, peach, pears,
Resolve
theisdispute
by convincing
the tribalby
leaders
apricots, walnut and almonds
three tribe?
tribes that the cause of destruction was flooding due
What
is
the
amount
of
loss
experienced
by
the
Parents are generally reluctant to send girls to

to rainwater.
others in the villages?
schools because of the social stigma attached
29 Who are the witnesses?
to their gender.
Introduction
to Teachers
Resource Kit
What
is the history
of relations between the
Storytelling session at a Hujra, photo credit: Pushto Academy Peshawar
30
An Integrated Pedagogy
SUBJECT
AREAS
Exploring ways to integrate Traditional Knowledge with that of the Modern Institutional Resources is
the central concern that has to be addressed while re-orienting the curricula of the Schools. There
are overlapping areas which can assist in this integration. For example teaching of Calligraphy, a
traditional expression can be easily integrated with the course of maths since it exemplifies through
its underlying layer geometry, proportioning and modules which are central to the maths class. The
diagram below from UNESCO Publication Documentation of Traditional Childrens Games in South
East Asia: Teachers Guide for Incorporating Traditional Childrens Games in the Classroom illustrates
the aspects and features of the two sources of knowledge Modern and Traditional.
MODERN
INSTITUTIONAL
RESOURCES
Objective Knowledge
Adaptive Technology
Connectivity to outside
world
New Materials
TRADITIONAL, CULTURAL
RESOURCES
SKILLS
THAT CAN BE MASTERED
THROUGH
Traditional Games, Social
Practices, Arts & Crafts, Folklore
& Oral Traditions, ESD
Language
Skills in speaking, writing and

listening (descriptive and
instructional).
Folklore
&
Traditions
The advantage of an integrated, multi-disciplinary approach is that it enables the various facets
of knowledge embedded within the living heritage of communities to be used by teachers in their
respective classrooms. The Table that follows provides a perspective on this pedagogy. This table
provides a framework for the teachers to explore further.
Mathematics
Skills in counting, sequencing,

estimating, quantifying, matching,
sorting, process thinking and
discerning patterns and rhythms.
Traditional Games,
Arts & Crafts
Social Practices
Science
Inquiry, observation,
classification, assessment skills (of
props, players and environs).
Skills in estimating levels,
gradients, distances, location.
Traditional Games,
Arts & Crafts
Social Practices
Strategic
Thinking
(All subjects)
Skills in strategic thinking,

decision making, problem solving,
time management.
Traditional Games
ESD
Values & Ethics
Social interaction skills collaborating, sharing, facilitation,

mentoring, conflict management
and group management.
Social
Studies/History/
Pakistan
Studies
Social Practices
Skills in discerning social roles,
Folklore & Oral
relationships, connectivity and
Traditions
networking systems.
Understand concepts that shape ESD
history and society such as time
and order of events, cause and
effect, change, recording events
and communication.
PSYCHOMOTOR
PSYCHOMOTOR
(Physical/Doing)
(Physical/Doing)
Arts & Crafts
Fine motor skills - grip,
ESD
manipulation, tool management,
hand preference.
Sensory skills - touching, tasting,
smelling, hearing and seeing.
Traditional Games
Gross motor skills such as agility,
ESD
flexibility, control, balance
Understanding of the body.
Physical
Health
Sciences
Photo Credit: Imtiaz Ali
Local
dialect,
vocabulary,
songs,
rhymes and nuances of
language.
Local ways of
understanding
Mathematical concepts
and solving
mathematical
challenges.
Knowledge of
environment, materials
and species.
Local measurement
and mapping systems
and tools.
Cultural
ways
of
thinking
AFFECTIVE
(Emotional/Feeling for Oneself and Others)
Art,
Handicraft,
Local
Life
Sciences
Oral
Practices, Skills, Social

Expressions and Values
Face to Face Connectivity
Natural Resources
CULTURAL
KNOWLEDGE
& VALUES
TRANSMITTED
THROUGH
THEMES
COGNITIVE (Mental/Thinking)
Communitys Knowledge
A Laboratory for Pedagogical

Integration
31
THEMES TO BE
INTEGRATED IN
SUBJECT AREAS
&
Traditional Games
Social Practices
Culturally appropriate
and gender-sensitive
social skills. Valuebased actions and
decisions that benefit
the environment &
community.
Social/historical roles
and relationships.
Cultural adaptability
leading to change.
Local
craftsmanship
and use of local
materials.
Local livelihood skills.
Culturally appropriate
or relevant physical
skills and expressions.
32
Researching on ICH
There are several sources which Teaching Staff can tap to attain cultural knowledge. The most important of these is their or their students communities, families, the Traditional Bearers and Elders who
are the keepers of this knowledge.
In addition are other sources such as books, journals and the internet.
Some Teaching Techniques to Assist in enhancing the Learning Experience of the Teacher and the
Taught
Contextualizing Content
Prompts better understanding of Concepts
Stimulation
Evokes Creativity & Analytical Abilities
Class Discussion, Encouraging Questions
Provokes ideas, organizational skills,
Issue Analysis Techniques
Hones critical thinking abilities
Combining Teaching Techniques
Enhances student interest
Involving Tradition Bearers and Community

Elders
Source of traditional knowledge
Avoiding Rote Learning, Encourage participatory

Learning
Enhances Critical Thinking
Who Should Use the Modules?

The modules are developed for Teaching Staff and schools as well as educators and the government
departments specifically concerned with education and culture. Museum and other Repositories of
Cultural Assets will also benefit from these manuals.
ESD Thrust
ICH
integration in
Subject-Level
Teaching &
Learning
Institutions/Agencies
School
s
NGOs
RCs,
CLCs,
Teacher
Training
Institutions
Government
Museums &
Repositories
of Cultural
Assets
Ministry of National
Heritage &
Integration
Ministry of Education
Ministry of Culture &
Information
Broadcasting
Provincial Education
Departments
District Offices
Core Objectives of the Guidelines

To introduce good ICH practices in core teaching and learning that are in line with meeting the
ESD challenges
Re-orient existing curricula
Outcomes
Curricula and lessons development on Heritage Education, and capacity building
Developing a comprehensive teachers resource kit on ICH integration in curricula and/or
lessons
Implementing curricula or lessons incorporating ICH-ESD in existing subjects
Project-based activities focused on real-time experiences of good ICH practices in the
communities
Teachers can use the following exercise to devise lesson categories to accommodate the
ICH component into the lesson planning. Along that, schools can introduce Heritage
33
Education
as Resource
a separate
Introduction
to Teachers
Kit
subject with its own curriculum. That would enable you to
Sethi Mohalla, Haveli of Saleem Sethi (left) & Rahim Sethi (right), photo credit: Samra Mohsin Khan
34
Hand woven shawls from Islampura Swat, photo credit: Imtiaaz Ali
35
36
Overview of the KPK, FATA and ICH Communities

KPK and FATA encompass multiple cultures,
sub-cultures, languages, identities and histories.
The province consists of 25 districts, comprising
20 Settled Areas and 5 Provincially Administered
Tribal Areas (PATA) districts. Towards the west and
south of the province is the Federally Administered
Tribal Areas (FATA). The main ethnic group in the
region is the Pashtuns, which are further divided
into several tribes and sub tribes. In addition there
are smaller ethnic groups which include, most
notably, the Hindkowans, Dards, Chitralis, the
Kalasha and Gujjars. This multiplicity is illustrated
in Map 1 (in Back Pocket for display in class) which
shows the ethnic-linguistic groups in Pakistan
including KPK and FATA area.
Overview of The Teachers Resource Kit

The Kit is based on primary and secondary sources of research and provides a framework which will
enable Teachers to take other ICH elements and deconstruct them to devise the pedagogy for teaching
their students. Four Intangible Cultural Domains have been included in the Kit, each of which has been
developed as a Module and presented in a separate booklet.
An integrated, multi-disciplinary approach has been used to develop this Kit so as to facilitate the
different facets of knowledge embedded within the living heritage of communities to be used by teachers
in classrooms. In each of the areas of focus there are some suggestions to enable teachers of various
disciplines to work together or else take up some aspect of the Living Culture which they may like to adapt
in the courses that they teach.
Balcony of a traditional house in Siren Valley, photo credit: Saba Samee
What is important for our purpose is to recognize that the student body will comprise of various cultural
groups, with distinct cultural identities shaped by their context, history, value systems and world view.
There will be a variety of intangible cultural heritage expressions and elements developed over centuries if
not millennia, which each community would value and own as theirs. It is for the Teaching Staff to help their
students recognize this cultural diversity and learn how to respect it which will contribute towards social
cohesion amongst the various communities. The diversity present in the geographical area of KPK and
FATA is a cause for celebration, ranging from the communities of the Kalasha people with their colorful
clothes, festivals, music and food as well as their own belief system to the cultural expressions of the main
ethnic groups of the Pakhtuns.
The Intangible Cultural Heritage Elements comprise of

various Layers of Knowledge, Wisdom and Meaning. The
integration of this knowledge, wisdom, technical expertise
as well as the value, meaning and symbolism embedded
within these elements into formal Education and Learning
ensures that this knowledge will not be lost but will pass
onto the next generation.
For example a science teacher may look at a particular

plant from a scientific perspective and study its
application in traditional medicine while the history
teacher could approach it with a historical perspective
and trace its presence in a particular community.
Yet again, the social studies teacher may see its
acceptability in the community and the geography An Epic Story such as Jalat Khan can be appreciated at various
levels. The Language Teacher may want to read the story, or have
teacher, the terrain and environmental conditions
students read the story in the class and appreciate the language,
needed for the plant to grow, and so on. This pedagogy dialogue, and storyline while the geography teacher may like to
relies on refocusing on our local cultures and our have the students look at the geographical region, the environment,
own traditions. The Resource Kit essentially presents the flora and fauna of the places mentioned in the story. Likewise,
ideas on re-orienting our curricula to include ESD and the history teacher may like to explore with the students the
ICH knowledge in the courses which are currently historical timeframe and see what other events happened during
being taught. Teachers are free to explore and look this period in their own towns, the region and the world.
for other expressions and practices which they may While teaching Calligraphy the teachers may want to look at the
want to use in the class. However, teachers need to embedded geometry which is the underlay and connect it to the
keep in mind that the intent of this Resource Kit is to abstract teaching of geometry while the history and geography
promote peace and social cohesion thus any aspect of teacher may take the discussion to approach Calligraphy from
culture which is against any member of a community their own perspectives.
or promotes inequity and disharmony should be
avoided. Teachers are also encouraged to adapt the ideas in this Resource Kit to their own situation and
curriculum constraints and opportunities.
TE A C H E R'S RE
SOUR C E K IT
37
Source: Wikipedia
38
Resource Kit Modules
1. Information in Part 1: Using the Module Booklet
The Kit comprises of the following Modules, each of which is presented separately in a booklet
Tips on how to use the manual are given at the beginning of each Module and guides in
the following manner
1.
2.
3.
4.
5.
Introduction
Introducing Social Practices: The Way to Peace and Social Cohesion
Introducing the Living Tradition of Pukhtun Folklore
Introducing Handmade: The Intricacy of Craft Making Skills
Introducing Traditional Games: Honing Skills and Dexterity
Additionally there is a CD with images and presentations for use by Teachers and Handouts included in
the Resource Kit.
PARTS OF A BOOKLET/ MODULE
Each Module Booklet comprises the following:
Written text spread into 4 parts
In addition there is the following accompanying material which is also included in each booklet.
A CD with images and presentations pertaining to the Section for use by Teachers in the Classroom.
Images from this can be printed and put on the notice board or also given as hand-outs to students
for activities suggested in the Section or others which you may be planning. All images used in the
illustration of the Section are available in the CD as well as additional images
The CD also has Student Activities Sheets for all Suggested Lessons which can be printed out for use
by your students.
The CD also has the Instruction Forms for Thematic Projects marked as TP 1, TP 2, TP3 and TP 4
A List of Resource Persons in the Booklet and CD for you to contact for further assistance. You may
also like to invite some of the scholars to meet your students or have them suggest other people who can
contribute to your teaching program.
List of Additional Resources can be found in Part 3 of each section.
THE 4 PARTS OF A MODULE BOOKLET
Each Module is divided into 4 Parts as described below
Part 1
How to Use this Section
Briefly explains salient aspects for example Objectives,

Lesson Plans and others
Part 2
Resource Material
Contains a selection of Resource Material and Basic

information which will be helpful in the teaching of the
Elements in the Module. Teachers are encouraged to
seek further material of the ICH present in the area
that the school is located or amongst the communities
to which the students belong and develop Lesson Plans
and Projects
Part 3
Student Activities
The Student Activities fall into 2 categories.

The first are Suggested Lessons (LP) which include the
theme, lesson plan and a Table which lists the suggested methodology. Wherever needed, the back flap
contains hard copy of the Lesson Plan for copies to
be made. The CD also contains a soft copy that can be
used to make copies.
The second are 4 Thematic Projects (TP): A brief explanation of the 4 thematic areas and some activities have
been suggested. The CD contains the forms that can be
used for carrying out these Projects.
Part 4
Annex
Contains Vocabulary termed as Word Khazana, Glossary of Unfamiliar Terms and Student Assessment Form
39
EXTRACT FROM MODULE 1: SOCIAL PRACTICES: THE WAY TO PEACE AND SOCIAL COHESION
TEACHERS CAN FOLLOW THE TIPS BELOW WHICH CAN BE HELPFUL IN USING THE KIT.
Read the Introduction Booklet accompanying this Resource Kit to enhance your understanding on how to integrate
cultural knowledge into classroom teaching and lesson planning.
The introduction also provides the various approaches and concepts which may help you to communicate with your
students.
Prepare yourself by going through the Resource Materials for a thorough understanding of the Social Practices Project
objectives (Refer: Part 2).
Integrate the information on social practices from Part 2 in planning and preparation of
activities and exercises for Sports, Science, Maths, Geography, Social/Pakistan Studies, Language and History classes.
(Refer: Part 3).
Visualize and formulate lesson plans based on the main themes and sub-themes elaborated in
this section (Ref: Part 3).
Devise your teaching methodologies based on the lesson objectives. The introduction also discusses the various teaching
methodologies which may be useful.
Part 1 of each Module covers the following

1.
2.
3.
4.
Using This Module Booklet

Lesson Objectives
Preparing the Lessons
Delivering the Lesson
2. Information in Part 2: Resource Material

This part of each Module Booklet contains a selection
of Resource Material and Basic information pertinent
to the ICH element or domain which is the focus of
the particular Module and which will be helpful in
teaching. Teachers are encouraged to seek further
material of the ICH present in the area that the
school is located or amongst the communities to
which the students belong and develop Lesson
Plans and Projects accordingly.
The collection of material also conveys how ICH
elements are interlinked and how one supports
the other and creates synergies to ensure their
continuing viability.
For example, in the Section on Social Practices: the Way

to Peace and Social Cohesion, those social practices which
encourage peace and social cohesion are the focus. The
Jirga, Hujra and Gudor have been explained by providing
basic information collected through primary and
secondary sources. Additionally some narratives have
been collected and included in this resource material.
These are recollections of three men of their own Hujras
which apart from giving an insight into their functioning
also show a methodology, Oral History, which may be
interesting for students to use in the Thematic Projects.
Songs pertaining to the Gudor have also been included
with the same purpose.
The Vocabulary and Glossary based on the Resource Material have been included as Annex 1 and Annex
2 in part 4.
40
SELECTION OF HERITAGE MATERIAL IN EACH MODULE
ICH Material
in Each
Section
Social
Practices for
Peace &
Social
Cohesion
Intricacies of
Handmade
Selection of
Traditional Crafts
Background Information on
Truck Art
Persons Involved in
Decorating Trucks
Decorated Parts of a Jingle
Truck
H-1: Truck Art
Mystical Instruments of KP
& FATA
An Overview of Embroidery
Work
Introducing Craft Making of
Embroidery
Range of Embroidered
Textiles
Materials & Stitches Used

for Embroidery
Jirga
Introducing the Craft of

Weaving
H-2: Mizari
Process of Making Musical

Instruments
Gudor
Hujra
Parts of the Truck Which

Are Decorated
Introducing Traditional
Musical Instruments
Social Institutions
& Individual
Stories
Materials Used to Make

Mizari Products
Range of Mizari Products
Techniques Used for
Weaving
H-3: Musical
Instruments
H-4:
Misgarah
H-5: Tribal
Embroidery
The Living
Tradition of
Pukhtun
Folklore
Traditional
Games Honing Skills
& Dexterity
Selection of
Pukhtun Folkore
A Selection of 17
Traditional Games
with Illustrations
Skhay
Top Dandu
Mazray
Pash
Qaisas or
Stories
Yusuf Khan
Sherbano
Badala
Adam Khan
& Durkhanai
Loba
Dugh
Angaey
Yandu
Cheendro
Lewishtinak
Sapatat
Dalay &
Shahai
Neemakai
Akoo
Bakoo
Reward of
Honesty
Bagatai
Jungle
Badshah
Aungo
Muango
Ttup
Ttupanrray
Essa Khan &

the Traveler
Makha
Kootey
A Thief and
His Mother
Bazar-e-Misgarah & Making

of Copper Ware
The Process of Making
Copper Utensils
Jackal &
the Lion
Rustum
Pehelwan &
the Thief
Farmer &
the Potter
Arroona or
Riddles
Charbeta
Tapa
Landay
An Arrogant
Crow
Introducing Mis
Matal or
Proverbs
Folk Poetry
Naaray
Rabia
Rahman
Baba
Zarghun
a Kakar
Khushhal
Khan
Khattak
Symbolism of Embroidery
Motifs
41
42
1. INFORMATION IN PART 3: STUDENT ACTIVITIES
1
Learning Category
Student Activities are divided into 2 parts.

1. Lesson-Based Activities
2. Thematic Projects
LESSON 1:
The Forms to be used for these activities are in the CDs in the Back Flap of Each Module Booklet in
Annexure 4 of Part 4
Introduction to
Traditional Games
Project
LESSON-BASED ACTIVITIES
Each Section under the part of Student Activity, which is placed at No.3 in all the booklets has a certain number of ideas for Lessons which you can impart to your students in the classroom or within the
school premises, for instance, on the school grounds.
Lessons are Numbered in each Section and laid out in a similar manner as below
Lesson Plan Number
Theme
Level of Students: 3 levels have been suggested i.e. Beginners, Middle and Advanced.
Each of the Sections/Booklets has 4 to 5 lessons.
Teachers are especially encouraged to prepare further lessons pertaining to their own particular context to enable the transmittal and Safeguarding of Traditional Knowledge and Wisdom contained in the
ICH-ESD of the students communities.
The Table for the Lessons uses a color code as a guide to the appropriate level/age of the student for a
particular Lesson
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advance
Age Group
Objectives & Activities
Learning Outcomes
Students will be introduced to the

concept of traditional games as a
classroom activity.
The teacher will begin by exploring
their prior knowledge of games they
like to play and the games their
elders used to play.
Ask them questions like
What is the name of the game?
What does it mean?
What kinds of games are popular in
your community?
How are they played? Give some
examples.
What kinds of games have your
elders taught you? What do you learn
from them?
Are those games played today?
Why or Why Not?
Why are traditional games
important for culture?
Do you know of any game that
teaches survival skills and improves
your math?
What would happen if the games
your elders taught you became
extinct?
Students develop an
understanding of the
concept of games and
societys worldview
of it
Collate these learning objectives

with Student Activity Sheet #1 which
basically requires your students
to identify traditional games of the
Pukhtun communities.
These 4 interlinked areas need to be considered together when planning a Lesson.

Thematic Projects
The Thematic Projects are designed to allow students to gain first hand experiences and knowledge
from the various situations and sources which demonstrate the ICH present in a community.
The Objectives of the Thematic Projects are as follows
1. To make students Aware of their Cultural Heritage.
2. To make students Appreciate their heritage.
3. To help them develop an Interest in their culture.
4. To enable them to develop a Sense of Ownership towards their cultural heritage.
5. To make students aware of the Cultural Diversity present in their region and to make them
appreciate this diversity and encourage Respect & Tolerance for All
The Thematic Projects are categorized in the following manner and each has been given an
Identification (ID) and a symbol which will make it easy for referencing. The Focus of Each Thematic
Project is defined in Column 4 which will help in planning Projects for your students.
43
44
S.No
1.
2.
3.
4.
Title of Thematic
My Home, My Community
My Elders, My Identity
Our Town, Our Context
My Culture, My Pride
ID
TP-1
TP-2
TP-3
TP-4
Focus
Gaining Knowledge from your home and community
Respecting the sources of knowledge
Appreciation for the cultural diversity
Sharing of the cultural heritage as Group Heritage
Each Section/Booklet in Part 3 has suggested activities under each of the Thematic Areas which can be
referred to. However teachers are especially encouraged to explore different ideas and methodologies
within the framework of the objectives, goals, and expected outcomes of each TP
TP1: My Home My Community Project

A Thematic Project is designed so that students are able to
recognize, comprehend and appreciate their own cultural
identity as individuals and as a community through their tangible
and intangible cultural assets. Thus it encourages the students
to define their own identity The Self and how it is embedded
within the identity of their own Community Mine. If you are fortunate to be located in an area which
has multiple communities to which the students belong, you can also stretch this exercise to show the
diversity which exists. The text in the beginning of the Introduction will help you to design your Thematic
Projects.
From Simple Observations like an exercise on the
words and gestures used for greeting an elder, a
peer, a stranger, a youngster it can be taken to more
complex practices. You could ask the student to
observe and note down how Mother greets various
categories of people. You could do another exercise
in which the aspect of change over time can be
imparted such as the example given in the BOX.
You could ask students to select a commonly used craft

product, for example, a mizare basket and ask students
to find out samples of earlier forms of baskets from
their own homes and that of their neighbors and start
making the comparisons. Like a simple table of what
Mizare products my family and I use now; What Mizare
products my father and mother used when they were
children and What Mizare products my grandparents
used. Students can be encouraged to talk to their
family members and neighbors to seek information
on this subject. They can also be asked to seek out any
practitioner or Tradition Bearer and note down material,
techniques and so on.
Teachers may like to have students find out more

about some ICH elements which may be under
threat of vanishing and need to be safeguarded. For
instance, it could be Health care practices in the community, environmental management which responds
to the environmental context and knowledge about nature of the community concerned. Such a practice
can be how water is conserved through collecting rainwater or how plants are used for medicinal purposes
and such others. Through interviews of Tradition Bearers and observation of their practices students
can be encouraged to understand more about such important aspects of the living cultures, while also
learning how to respect the Elders and Tradition Bearers in their community.
Methodology used for collecting information for TA 1 is Observation and Interviews. Students should
be encouraged to record information gathered through written texts, drawings, photographs, collecting
samples where possible and other such means.
Recording Information: The students can be asked to maintain a Journal or Log Book in which the
information collected can be noted down. Encourage students to make drawings of objects, people,
situations or to paste pictures. To make it a lively document which they can treasure all their lives, they
could be writing down poems, riddles, proverbs and such other.
The School ICH Data Base: The school or the class teachers may also consider developing a database for
the School record to enable teachers to develop further Lessons from the elements which the students
discover.
45
Timeframe & Level: This can be an ongoing Project which the student starts in a junior class and continues
till the final class at increasing levels of complexity. It can be assigned through term time and during
vacations.
The Kit includes the TP 1 Instructions and Form for Teachers which is placed in each Section/ Booklet.
This has suggestions for preparatory planning, conducting the event and post event activities as well as
the Objectives and Expected Outcomes.
TP 2: My Elders, My Identity
This Thematic Project is meant to highlight a critical source of traditional

knowledge and wisdom that rests with Tradition Bearers, Practitioners and
the Elders in all communities. While TP1 focuses on students understanding and exploring their own
community, TP 2 extends to other communities as well and opens possibilities for the Teachers to invite
these keepers of traditional knowledge to the Schools, as well as for students to look for other opportunities
for example those provided by the other Thematic Projects in the Resource Kit and learn from this source.
By internalizing this basic principle, students will tend to seek out such individuals in their own community
and elsewhere.
During TP 1, students can be encouraged to interview
Tradition Bearers. Teachers will need to help students
with a set of questions that they could be asking and
students should be exploring how to record it in their
log books/journals. TP 3 which focuses on field study
has visits to Tradition Bearers and their workplaces
inbuilt into the suggested programs. In TP 4, Tradition
Bearers, Practitioner and Elders should be invited
and assigned some roles during the Mela.
Methodology: Observation & Interviews, Active
Participation.
Recording Information: Depending on the level of
the class, students should be encouraged to keep
their own record. For primary school children this
may be difficult so teachers can use the Class Notice
Boards to pin some information.
An Example can be a Storyteller being invited to the

School on a regular basis, let us assume on every
Thursday, and spend one hour narrating a story to a
particular class or section. The children, apart from
being entertained, are observing the gestures, the
props, the expressions of the storyteller and depending
on the level are making their notes for their Activity
Book.
Traditional stories usually contain a message or a moral
which the students can discuss with the Storyteller.
This session should be aimed at knowing the guest,
thus students can ask questions of him/her like From
whom did you learn the art of Storytelling? or How
many stories do you know? or Do you improvise or
do you follow a standard storyline and such others.
Teachers could even ask students to take on the role
of a story and enact it or make drawings to illustrate
characters.
The follow up activity can be with or without the
Tradition Bearer. Known Personalities, local, national
or provincial such as a famous poet, writer, artist or
other can also be invited in this Project with teachers
helping students to derive the maximum benefit from
such visits.
The School ICH Data Base: Schools may like

to maintain lists of Tradition Bearers, Elders,
Practitioners in their Database for future use. A
Resource Persons List has been provided in this Kit
that can be added upon and updated by teachers according to their own needs and those of their students.
Timeframe & Level: Throughout term time and during vacation.
46
TP 3 Our Town, Our Context

TP 3 focuses on extending the students experience
and knowledge to the larger community. The goal
is to be able to inculcate an appreciation in youth of
the cultural diversity and respect for others. This
Thematic Area is also meant to expose students to the spaces associated with some ICH domains that
are in the Kit, for example, the Qisa Khawani Bazaar, Traders Houses, Craft Markets and Karkhanas of
Peshawar linked to storytelling and craft-making. TP 3 also provides an opportunity to Schools to expose
children to repositories of heritage such as the Peshawar Museum, Swat Museum, Heritage Sites such
as WHS Takht-i-Bahi or others in the vicinity of the Schools, a Hujra and such others.
Methodology: Observation, Interviews
Recording Information: Depending on the level of the class, students should be encouraged to keep their
personal record. Class & School Notice Boards can be used to share pertinent information of the field
visit.
The School ICH Data Base: Schools may like to maintain a record of the visit by mounting photographs,
Teachers End of TP 3 Report and such others.
Timeframe & Level: Once during each term.
Woman preparing Drawstrings on a loom, Photo credits Tehsin Ullah Jan
Ustad Khawaja Safar Ali explaining the technique of copperware

engraving/chitar-kari, photo credit: Tehsin Ullah Jan
47
Ustad Samandar Khan making Rabab in his workshop in Dabgari

Peshawar, photo credit: Tehsin Ullah Jan
Mehfil at Lok Virsa, Islamabad. April 2013
48
TP 4 My Culture, My Pride
TP 4 focuses on Sharing and Celebrating Cultural
Knowledge and Expressions with communities, friends
and guests. TP 4 is the School Mela as an end of the year
activity when students showcase what they have learnt
during the year regarding their ICH. The Mela itself is
a traditional form of sharing which had successfully
transmitted cultural knowledge and ensured its
continuing viability.
Shcool Mela
WE L C O ME
Methodology: Preparation for the Mela can be used to

highlight traditional systems of management such as the
Jirga. The Planning Phase should be visualized as the opportunity for students to imbibe skills of social
organization and management and develop interpersonal skills for social cohesion. Representatives
of the community, parents, teachers and students can work together for preparing the event. During
the Mela students can be given specific assignments based on observation and interviewing as well as
specific roles and responsibilities.
Recording Information: The organizers need to be
encouraged to prepare a record of the event for
School Database. Class & School Notice Boards can
be used to share pertinent information of the Mela.
Melas also served as a platform for Practitioners to earn

a livelihood for example crafts persons; performing artists, chefs and such others. In the present circumstances
there are few opportunities for the traditional melas to be
held thus the young people have diminished choices and
venues of informal transmittal of cultural knowledge.
The School ICH Data Base: Schools may like to maintain a record of the Mela by mounting photographs,
Teachers End of TP 4 Report, Organizing Committee End of TP 4 Report.
Timeframe & Level: Once during the year.
49
Folk expressions of the Pakhtuns: Attarn
Folk expressions of the Pakhtuns: Attarn
Kath Game, photo credit: Imtiaz Ali
50
Information in PART 4:
The Characters in the Resource Kit
This Part of Each Module comprises of 4 Annexures.
Four characters have been created especially for this Kit so that Teachers and Students can personalize and relate to the information through the eyes of these children who are with you on this journey of
Self Discovery.
Annex 1: Vocabulary
Ten words have been selected to be included in the initial list. Teachers are expected to add to this list
any words that they may use while integrating ICH into their classrooms.
This List can be called Word Khazana or by any other culturally appropriate title. It can be placed on
the Class Notice Board for reference of the students.
A copy of this can also be given as a Handout to students and they can be asked to keep adding words
and their meaning.
Teachers could plan a competition among students on the basis of the Vocabulary List.
Annex 2: Glossary
Ten words have been selected to be included in the initial list. Teachers are expected to find an
appropriate word in the mother language/s of their students. Please make certain that meanings and
concepts are kept intact in translations. The nuances of the languages with their embedded meaning and
values need to be kept in view when finding appropriate words.
The List can be called Ma Boli (Mother Tongue) or by any other culturally appropriate title. It can
be placed on the Class Notice Board for reference of the students. Students can see the multiplicity of
languages of the students which will help strengthen respect and appreciation of cultural diversity.
A copy of the List can also be given as a Handout to students and they can be asked to keep adding
words and their translation.
Teachers could plan a competition among students on the basis of the Glossary, for example the student
with the largest number of words gets the first position and so on.
The Glossary can also be displayed at the Mela to share with the community the cultural diversity that
may exist in your area.
Annex 3: Classroom Activity Sheets
Classroom Activity Sheets: Each of those mentioned in a particular Section has a Student Activity Sheet
wherever needed. These Sheets are numbered according to the relevant Section and are placed in a
Pocket on the Back Flap of the Booklet.
Explore the Sections of the Resource Kit through the eyes of our four characters from different parts
of KPK and FATA
Gul Makaie
Saifuddin Chitarli
Anwar
Mohabbat Khan
Annex 4: Assessments and Feedback

Assessment Forms have been included in all Sections for Student Assessment at Part 4, Annex 4.
These should be used wherever the Teacher feels it is necessary. You can also carry out a Critique in
the class yourself using the schools standardised assessment methods or with a group of the school
teachers to evaluate students work. Assessments and Evaluations should merely serve as a guide for
the teacher and the taught to mark their progress and in no case should be used to belittle the student
in front of the class or the peers.
Annex 5: Additional Resources
Additional Resources comprise the following:
1. List of Written Resources such as Books, Scholarly papers, Newspaper Articles (Annex 1 of Introduction
Module)
2. List of Internet Sources (Also as Annex 5 of all Sections)
3. List of Audio Visual Sources such as DVDs, CDs, Videos, Films
4. List of Resource Persons/Experts (Copy also available in Introduction/Booklet 1)
The Additional Resources Hand Out is also available in the CD for each of the 4 Modules.
51
52
Social Practices Promoting Peace and Social Cohesion through Heritage Education
Hujra in Matta, Swat, photo credit: Imtiaz Ali
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP, LAHORE
Tel: +92-42-35880822
Text: Sajida Haider Vandal (editor) with Tariq Khan, Fakhra Hassan
Photography: Imtiaz Ali with Tehsin Ullah Jan
Printers:

The book is available at the UNESCO Office, Islamabad.
The views expressed in this book are soley of the author and contributors
Contents
Part 1: Using this Section
1. How to use this Section
2. Lesson Objectives
3. Preparing for the lessons
4. Delivering the lesson
1
2
4
5
Part 2: Resource Material

1. Introducing the ICH Element: Social Practices to Promote Peace and Social Cohesion 7
8
2. Social Institutions Codifying Values: Pukhtunwali
9
3. Social Practices And Institutions To Support Pukhtunwali
19
4. Tapping the Resource Of Oral History
19
5. Stories from the Hujras
27
6. Pashto Tapas Glorifying Gudor and a Popular Song
31
7. Explanatory Note on Resources in Appendices and CDs
Part 3: Student Activity
33
35

LESSON 1: Introducing the Project Social Practices
Theme 1: Develop an understanding of the concept of social practices and societys

worldview of it.
37

LESSON 2: Types of Social Institutions and Practices
Theme 2: Learning various traditional/social practices of KPK, FATA
41

LESSON 3: Competing to Enhance Mediation Techniques Using Social Practices
Theme 3: Mediation, Arbitration and Negotiation Skills

LESSON 4: Integrating Problem Solving Techniques Using Social Practices in a

Mathematics/Science classes
Theme 4: Tradition and Modern Science

LESSON 5: Integrating Problem Solving Techniques Using

Social Practices in History/Social Studies/Art classes
Theme 5: Tradition, Social Sciences, Arts and Modernity
SECTION B: THEMATIC ACTIVITIES

Musical session during a mela in a village near Swabi.
Social Practices
Promoting Peace and Social Cohesion

through Heritage Education
43
45
47
TP-1: My Community, My Home

TP-2: My Elders, My Identity
TP-3: Our Town, Our Context
TP-4: My Culture, My Pride
PART 4: ANNEX
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Vocabulary
Glossary (Local to English translation)
Classroom Activity Sheets (Included in Back flap of this Module)
Assessments and Feedback
49
50
51
Part 1: Using This Section
Part 1: Using the Section
1. How To Use This Section
The Section is divided into four parts. Each Section is identifiable through the header color, and numbering.
Part 1
How to Use this Section
Part 2
Resource Material
Part 3
Student Activities
Lesson Plans & Classroom Activities
Thematic Activities
Part 4
Annexure
Accompanying the Booklet is a CD as well as a booklet on Thematic Project Forms, Objectives, Student
Activity Sheets and Instructions for Teachers. The CD contains PDF documents of ICH Resource Material,
Lesson Plans, Supporting Images and Handouts on unfamiliar terms and Student Activity.
TEACHERS MAY FOLLOW THE TIPS BELOW WHICH MAY BE HELPFUL IN USING THE KIT.
Read the Introduction Booklet accompanying this Resource Kit to enhance your understanding
ofhow to integrate cultural knowledge into classroom teaching and lesson planning. The introduction
also provides the various approaches and concepts which may help you to communicate with your
students.
Prepare yourself by going through the Resource Materials for a thorough understanding of the
Social Practices Project Objectives (Refer to Part 2).
Integrate the information on social practices from Part 2 in planning and preparing to activities
and exercises for Sports, Science, Maths, Geography, Social Studies/Pakistan Studies, Language
and History classes. (Refer to Part 3).
Visualize and formulate lesson plans based on the main themes and sub-themes elaborated in
this section (Refer to Part 3).
Devise your teaching methodologies based on the lesson objectives. The introduction also discusses
the various teaching methodologies which may be useful.
Lesson Objectives are determined within the framework of the Intangible Cultural Heritage elements discussed in
this Module and the overall goals of the curricula. The Resource Material in Part 2 gives information on the Social
Practices included in this Booklet.
There is a diverse range of social practices in KPK and FATA. However for the purposes of this Module those practices
that promote peace, harmony, mutual respect and tolerance are the focus of this Kit. Teachers may help students
understand the functions and dynamics of the traditional social institutions of the Pushtun people and draw upon
their own knowledge of some other social practices in the region which are a means towards attaining peaceful coexistence. Teachers are also expected to enrich the students, understanding by analyzing the symbolic meanings
attached to the social practice, the associated artifacts and spaces of some of the important social institutions of the
Pukhtun, people for example Jirga, Hujra and Gudor. By encouraging reflection and deliberation, teachers can help
students understand the meaning and intent as well as their relevance in the present context. Developing critical
thinking in the students is an important goal which can be honed by encouraging students to question and deliberate
on social practices in the context of the present times.
Specific Objectives include the following:
i. Enhancing Knowledge and Promoting the Regional/Local Context:
It is now widely acknowledged that contextualizing of curricula using references from the familiar enhances learning.
Additionally, acknowledgement of ones own culture and the embedded traditional knowledge and wisdom enhances
pride and identity.
Thus one objective of this Module is to broaden the students knowledge of the variety of social practices which
promote peace and social cohesion in KPK and FATA and whenever possible in other parts of the world.
ii. Teaching Historical Timelines and Changes over Time and Space:
Students learn a key concept of the Living Culture through the Social Practices covered in this booklet which is that
change is a constant feature and that change occurs over time and space. For example there are differences of the
function, design and use of the Hujra in different parts of FATA, Baluchistan and KPK due to the change of context/
space and over generations as well.
Students will also understand that the traditional reasons for these institutions, which were to support harmonious
living and reduce conflict, are still viable in the present context. They will explore how best to adapt/use these ancient
systems to uphold simultaneously the basic tenets of Pukhtunwali and the cardinal principles of the present times
of human rights and justice for all. There are several exercises and assignments that can be prepared to achieve
the objects defined above. The following are a few examples. Teachers are encouraged to devise other projects and
exercises for their students.
Developing an understanding of Changes in Time and Space

Compare the similarities and differences between the Jirga systems of your grandfathers time and the present.
Comment on what, in your view, were the reasons for these changes.
Describe the similarity between the modern-day court systems and the Jirga (Recommended for level 6-10 Class)
On a Map mark the places where a Jirga was convened in the last 6 months in your area.
Gohar Family Hujra-Swabi. Photo Credit: Ali Gohar, Just for Peace Archives
2

iii. Promoting Respect for the Diverse Cultural practices amongst different communities:
Develop the students understanding of how social practices and their variations have been passed on through
generations in the communities who own it as their culture with an emphasis on those which promote peace and
social cohesion. Also focus on highlighting diverse practices and how different cultural groups have found different
ways to reach similar goals.
iv. Developing Arbitration and Negotiating Skills:
Develop the students understanding that some traditional social practices aid in the development of arbitration skills
that promote social cohesion and harmony and encourage people to appreciate other peoples point of view. Through
class exercises and projects hone these life skills in the students.
v. Integrating ICH in Education & Learning:
Integrate these selected social practices in subject areas like Social Studies/Pakistan Studies, History, Science,
Mathematics, Geography, Language and others.
TIPS ON HOW TO ACHIEVE OBJECTIVES

There are a variety of ways in which a school, teachers and
communities can support and safeguard social practices and its
incumbent cultural knowledge. By transferring cultural knowledge
to the young is one way in which the communities and families can
also play an active role.
Additionally, teachers must encourage students to develop critical
thinking by deliberating and reflecting on the purpose of a particular
practice or institution and its role in current times. Students may
also reflect on the relevance of a practice in the present context and
on how best to absorb changes which the present times demand to
ensure its viability.
To be able to achieve these objectives the following tips may be helpful
in examine the Social Practices included in this Section critically to
enable you to answer the questions raised by your students. Add
additional practices which serve the same purpose i.e. of promoting
social cohesion and peace within the community and between
communities.

Incorporate the knowledge from these social practices into classroom teaching and learning.
Familiarize yourself with learning needs of varying age groups. This will help you to decide on how to prepare
Lesson Plans when you are infusing cultural knowledge in the subject that you are teaching.
Encourage children to talk to their elders in the family and peers and learn from them as well as to Tradition to enrich
understanding, knowledge and respect for their culture. The Thematic Projects of this Section gives a framework on
how this can also be done through Projects that are assigned to students.
Invite elders in the community to participate in teaching traditional social practices. Encourage Children to find out
more about their communities. Refer to the Thematic Projects for ideas and suggested processes.
Provide a dedicated space on the Class Notice Board for displaying key information and research result of your
students. This is important in view of the fact that so far cultural knowledge plays no role in the curricula. Thus the
Curriculum needs to be re-oriented and information needs to be continuously added to the body of knowledge that
exists.
Think of imaginative and interesting exercises for explaining difficult concepts. Some examples have been given
in Section 3 Student Activity, such as role playing in a Jirga; teachers may devise others to make the exercises
meaningful and interesting for the students. Organize competitions between classes, for example, on resolving a
conflict through a Jirga or collecting songs related to the Gador.
Develop critical thinking by getting students to reflect on the traditional systems of justice and change that maybe
required in the present context of human rights and international human rights treaties.
3. PREPARING THE LESSON

The lesson plans are designed to improve arbitration skills, mental dexterity and analytical thinking
skills.
Teachers should ensure that students have mastered the basic ideas and concepts before proceeding
to the Thematic Projects. Class room exercises will help in this process. Some have been included in this
Kit while others may be devised by the teachers themselves as they proceed.
The teachers may look at the vocabulary and glossary appendices at the end of this Module to familiarize
themselves with difficult words so that these may be explained to the students. They should also make
their own list of words that they think need to be explained to students.
A multi-step process has been developed for teaching and learning, which starts from simpler to more
complex exercises. Teachers should lead students through the process of connecting one concept to
another and also put concepts into a hierarchy from small to large.
Students should be encouraged to make a visual representation of what they are learning. All lesson
plans and thematic activities generally incorporate experiential learning and projects.
The lessons are suggested for three age groups:
*Age Group
3
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Lessons may however be adapted with minor changes for different age groups/levels.
4. DELIVERING THE LESSON

The teacher may focus on developing and improving childrens social, emotional and analytical skills
and competence by exposing them to and reinforcing their understanding of the humane and diverse
dynamics and functions of their social practices and linking them with their own cultural identities.
The lessons may be focused on providing opportunities for children to begin to understand their own as
well as others emotions and aspirations. This will include teaching children to develop positive thinking
on hope, despair, hospitality and forgiveness.
Students should be encouraged to devise strategies that promote equal human rights for all, that are
characteristic of tolerance, mutual respect, peace and respect for the cultural rights of all
Tips which may be helpful
The excitement of being able to
interact and solve inter-personal
problems improves the class
atmosphere for learning.
Traditional social practices are
not new to the students of this
area. Providing students with
opportunities to actually talk
and reflect upon traditional
social practices in the classroom
would enable them to assess these
practices in a new light.
Besides putting traditional social
practices into the classroom, they
help children grasp skills and
concepts relevant to their cognitive,
emotional, and psychological
development.
Traditional social practice is an
excellent example of an integrated
approach to learning where
cognition, speech, analysis and
experiential learning are activated
simultaneously.
It is also a good model of the
sequential approach to learning,
where learning competency at
higher levels is dependent on
prerequisite knowledge and skills at
lower levels.
What You Need to Think About before Delivering the

Lessons
1. What language(s) do students speak at home?
2. What kind of social practices which promote peace and mutual
respect are observed in their household?
3. What languages are associated with these social practices?
4. What are the possible applications of these social practices? Are
there specific spaces and artifacts associated with this practice?
What is their purpose and what is their understanding of it?
5. What learning activities are associated with these social
practices?
6. What types of teaching and learning methods should be used
to integrate these social practices into subjects?
7. What types of student evaluation methods should be used
which will enhance the learning experience. How will you teach
the student to be respectful at all times about the practices of
others even when they differ dramatically from their own.
8. How to devise lessons focusing on a comparison of the elements
of traditional social practices in this Module with present-day
concepts of human rights.
9. How can traditional social practices promote peace and
equality, especially the rights of women and vulnerable groups
and individuals?
10. Depending on the topic/subject and learning outcomes,
determine what specific cultural knowledge, skills, and behavior
learners will be, or should be, exposed to concerning the topic/
subject so as to learn about it.
11. Make a list of Resource Persons such as Tradition-Bearers and
Elders who can participate and help in your teaching program.
Handheld fan in a hujra in Matta, Swat. Photo Credits, Imtiaz Ali
Rubab in a hujra in Matta, Swat. Photo Credits, Imtiaz Ali
1. Introducing the ICH Element: Social Practices to promote Peace and Social Cohesion
2. SOCIAL INSTITUTIONS CODIFYING VALUES: PUKHTUNWALI
Human beings are social animals, which basically means that we need to interact with each other to be able to
survive as a species. Through social interaction human beings are able to look after each others material and
physiological needs as well as organize their society to reflect their values, world view and lifestyle. Social practices
help to reinforce this and also ensure that the knowledge of how things are done or need to be done are transmitted
through interaction within the community especially the youth.
Distinctive tribal customs and traditions are an integral part of the Pukhtun culture. Pukhtun cultural
values are reflected in a code of ethics called simply Pukhto or Pukhtunwali (the way of the Pukhtun).
Social practices are the customary or normative activities of communities and groups which structure their lives
and provide them with a sense of order as well as give them an identity as a community or group. All cultural
groups and sub-groups have distinct social practices which give each its distinct identity. Social practices embody
a communitys beliefs, value systems and worldview and have special significance and meaning. A wide range
of practices, rituals, rites, festivals and events are interlinked to reinforce that which is of value to a particular
community or group. These practices could be the rituals and rites of worship, the ceremonies at births and deaths,
marriage customs and such others or the agricultural practices, as well as systems and practices to ensure justice
and conflict resolution, medicinal and others; these can be ceremonies, festivities and festivals which have special
meaning for a community or group. As with all aspects of non-material culture or intangible cultural heritage,
social practices also undergo changes over time and space due to a number of variables including changes in a
communitys value system and world view. It is important to keep in mind that social practices are an important
determinant of identity and thus their continuous practice is a reaffirmation which enhances the sense of belonging
and links to the community traditions.
The Pukhtun communities have historically instituted systems to help promote and strengthen communal living.
These are based on well-defined values and beliefs which permeate and give sense to their lives. The Pukhtunwali,
the ancient honor code, lays down the guiding principles and is discussed on the next page.
The Pukhtunwali is an ancient code of honor or ethics which is followed by the Pukhtun people living in the
tribal areas, in KPK, Afghanistan, Baluchistan and even in the diaspora. Pukhtunwali pre-dates Islam and
thus values which were important at the time for the ancient people to survive and co-exist were codified
and passed on through the millenniums in an unwritten form to the present time. During this time it must
have undergone changes which were imperative with the changing belief systems and adoption of Islam
as the main religious belief of the Pukhtun people. There are also variations and differences which have
occurred amongst the various Pukhtun tribes, communities and clans in its practice. These are apparent
in various case studies in this region, as well as elsewhere, for example the Arab Bedouins.
A combination of conventions, traditions and institutional structures support this unwritten code of honor
of Pukhtunwali and through its continuing practice, the embedded values and world view is passed on
from one generation to the next. The Pukhtun society is patricidal in nature, thus the code appears to be
tilted in favour of the male members of the community; however what is important is that this Code of
Ethics is deeply rooted in the fundamental belief of justice for all. This value codified since centuries has
begun to be revisited by the Pukhtuns themselves to see how its practice can be further strengthened by
providing more space and a greater voice to the marginalized groups, for example women. Thus as new
ideas of equality, justice and fair play, as well as universal respect for human rights take root, changes in
the practice of Pukhtunwali may also be expected. The Pukhtunwali is irrefutably an important element
of the living culture of the region through which the basic thread of the Pukhtuns social fabric is held
together.
THREE PAKHTUNWALI OBLIGATIONS

Scholars like Ali Gohar Mohammad Yusufzai, Abaseen Yousafzai and others have identified ten basic
principles which form the core of Pukhtunwali. Along with this are rules, regulations and traditions
which support the basic codified principle. Of the ten basic tenets, three obligations which clearly focus
on peace and social cohesion are listed below:
i. MELMASTIYA (HOSPITALITY):
All tribes-people are obliged to display their hospitality towards others, whether they are strangers
or members of ones own tribe, and guarantee their security. Melmastiya requires profound respect
for all visitors irrespective of distinctions based on race, religion, national affiliation or economic
status. Hospitality to strangers is an obligation and is offered free, without expecting any reciprocity or
remuneration1. Hospitality to ones kinsmen or tribesmen puts the recipient under reciprocal obligation.
The security and protection of visitors is so fundamental that it takes precedence over all other claims
including that of justice or retaliation.
The practice of this virtue is so much a point of national honor for the Pakhtunwali, that a person who
fails to fulfil this obligation is not considered to be a Pakhtun2.
Archives Shinwari rabab and mungay at a Hujra
1 Wikipedia
2 Elphinston 1969: 226
8
ii. NANAWATI (PARDON):
The Hujra serves the purpose of a community center for men. The Hujra may belong to a village, a
community or a family, depending on the size of the settlement and the local traditions. Since the Hujra
has a purpose built building the word Hujra is both the name of a place as well as the concept of male
only space. Various designs of the Hujra can be found in the Pukhtun areas ranging from fort-like
structures to simple mud structures. In plan, Hujras usually have courtyards surrounded by a wide
arcade or verandah leading to large rooms. The requirement of having enough space for the community
men and the visitors is essential.
Implies forgiveness and submission. Pukhtunwali demands that it is a duty to grant asylum and provide
sanctuary to a person, even an enemy, who comes as a supplicant and seeks peace. The implication is
also to provide protection to a person against his or her enemies; even those who are running from the
law must be given refuge and protection. Nanawati as forgiveness may also be given when a defeated
enemy in a dispute goes into the house of the victors and asks for forgiveness. (aisha ahmed, roger
boase, ali gohar, erinn banting)
iii. BADAL (JUSTICE):
Badal, literally means exchange or retaliation and thus implies seeking justice or taking revenge
against the wrong done. There is no time limit set for taking revenge as can be seen from a well-known
Pushto proverb, The Pashtun who took revenge after a hundred years said, I took it too quickly. Justice
can be sought in many ways, ranging from redressing through shedding of blood to less drastic measures.
Tribal feuds can result in much loss of life and property which is recognized by the Pukhtun people as
can be seen from another proverb, Feuds ate up the mountain, taxes the plain. The proverb means
that tribal feuds over zar, zan and zamin (gold, women and land) are a constant drain on the economy.
Pukhtunwali has also given many options and ways to avoid bloodshed and take a more reconciliatory
path which some believe is the first option that is mandatory.
These three tenets of Pukhtunwali have been included as a resource for you to use. This is a non-exhaustive
list and can be increased to include others, especially the social practices that are very specific to your
local communities and promote peace and social cohesion. You may use the Thematic Projects for this
research by your students as well as through the experience that you may have gathered on the subject.
SOCIAL PRACTICES AND INSTITUTIONS TO SUPPORT PUKHTUNWALI
The design reflects the Pukhtun value system of equality within a tribe, thus there are no hierarchal
spaces, although in its usage, respect for the elders is embedded in the concept of Da Mashar Mahena
can be seen by giving a more prominent bed to the elder. The status of a tribe or family can be judged
from the design of a Hujra; while some are simple rural structures, others are very elaborate buildings.
The furnishing of the Hujra is traditional-a number of beds lining the walls, both in the verandah and the
rooms which could be used both for sitting purposes as well as sleeping and usually with a few chairs
and a table and prayer cot.
Nowadays you can also find Hujras which have more elaborate furnishings. Hujras contain all necessary
items that will be needed for living and some of the Hujras have the most exquisite antique household
items exemplifying the rich craft tradition of the area. Unfortunately, the traditional system of the
Hujra which was based on communal living and was a great source of informal transmittal of cultural
knowledge, is used less. These spaces where the young and learnt from the behavior of their elders,
and participated in all their practices ensured that the values and world view of a community would be
imbibed by the young; are not so frequented now by the youth anymore.
A Hujra, the communal space exclusively for men, serves as a guest house as well as the venue for
holding a Jirga it turns into a festive space on special occasions and a bed room when night falls and a
SOCIAL PRACTICES which further the concept encoded in Pukhtunwali are many. You may select
some of the ones which promote peace and social cohesion for example Ashar, Mila Tarr, Bundez,
Tega to discuss with your students and communicate to them how social practices, behavior patterns
and institutions support value system and world view of communities. A Brief description of the three
practices mentioned in this text are given below:
1. Ashar: Collective work based on Volunteer work, that is, a task performed by a group of volunteers as
support for a community member for example during harvesting, digging of agricultural water channels,
house building. This is customary and places an obligation on all the community to help each other.
2. Mila Tar: Unity or acting collectively usually against an enemy
3. Bundez: Stay Order or keeping the situation as is before a decision is taken by the Jirga
or Elders.
4. Tega: A truce declared by parties or by a community. It is an action taken by a Jirga to
avoid further conflict and bloodshed between two rival factions. Tega literally means stone
and truce is symbolized with the placement of stone.
THE INSTITUTIONS which developed in Pukhtun society are mainly the Hujra and the Gudor
and for enforcement of Pukhtanwali, the Jirga. A brief description of each is as follows:
Credit SAP (South Asian Partnership) Khyber Agency Hujra
10
dining room when it is time to eat; thus in essence it is a multi-faceted and multi-used space which has
evolved as a significant element of Pukhtun culture.
Some writers have opined that since the situation in the KPK and FATA area changed dramatically in
recent years and it became unsafe for women to go out for long, the Gudor has started losing its status
and further, The main reason for the non-activism of Pashtun women is the absence of this institution
(The Gudor). It simply means that restoring the institution of Gudor would ensure womens active role in
society. Others have opined that as piped drinking water has started being provided to the houses, the
raison detre of women going to an external source for water has diminished. In a Survey conducted in
2008, women expressed the opinion that development interventions in KPK had at times been insensitive
to the cultural needs of communities and cited the case tapped water being made available in individual
houses of resulting in the disappearance of the Gudor. The result of this developmental initiative was that
an important social space where women could freely meet, share their everyday lives, narrate stories,
sing songs, ceased to exist. Thus a space which played an important role in the transfer of cultural
knowledge to the young was made redundant in the lives of the communities of KPK and FATA (Fata
Resource Center).
Gudor: The parallel space to the Hujra, the male communal space, is the Gudor which can be defined
as the meeting space for women. Unlike the Hujra there is no purpose-built structure of the Gudor
but a temporary area is centered onto a source of water like a stream or well, serves the purpose of a
gathering space for women. Local communities are well aware that a certain place within their area is
designated as a Gudor; However, it may not be recognized as a special space by an outsider. This is the
non-verbal communication aspect of space which is well-known to scholars working on understanding
the cultural use of space.
The Gudor, the meeting or gathering space for women is where they collect on the pretext of fetching
water for the household or washing clothes and doing other household chores. This gives the women the
opportunity to narrate stories, sing tapas and songs and share their problems with each other. There is
much folklore and stories, poetry, songs, tapas and mahyas which are credited to having originated from
the Gudor, the womens collectives. Like the Hujra, the Gudor also serves the purpose of transmittal of
cultural knowledge to the young girls by example and practice and like its counterpart, the Gudor is also
getting less used mainly due to the availability of piped water in the houses. Some other women- only
spaces such as the Tandoor and Chola have been mentioned by some writers in the Khyber Agency and
many more may also exist in different communities which you can explore through the Thematic Projects
suggested in the Resource Kit.
Washing clothes at a Gudor. Photo Credit: Imtiaz Ali
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Washing fruit at a Gudor. Photo Credit: Imtiaz Ali
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JIRGA (Council of Elders): A system for the enforcement of justice and resolution of conflicts
Ali Gohar in his article Indigenous Institutions for Decision-Making in Pakistan, Scratching the Surface:
Democracy, Traditions, Gender has described the Jirga system while Naveed Ahmed Shinwari and Neha
Ali Gohar in their book Understanding Justice Systems of Khyber Pakhtunkhwa, FATA and Balochistan
have also elaborated on the workings of the Jirga. A brief insight into the institution of the Jirga, its
working and its relevance today is discussed below:
Social Practices Promoting Peace Through Conflict Resolution
DESCRIPTION OF JIRGA
The Jirga is best summarized as a strategic exchange between two or more people to address an issue
through verbal communication. The exchange may or may not result in an agreement on the issue,
but the process itself leads the parties, including the interveners, to maintain a certain level of formal
communication, thus ensuring peace.
To a common person, a Jirga is a body comprised of local, elderly, and influential men in Pukhtun
communities who undertake dispute resolution, primarily through the process of arbitration. Compared
to the judicial system of the present day governments, the Jirga ensures a fast and cheap justice to the
people. Indigenous to Pukhtun tribal communities, the Jirga is alive even in the areas now influenced
by an Anglo Saxon legal system and is used for interpersonal dispute resolution. In the tribal areas, the
Jirga is the only vehicle through which the political administration dispenses justice.
The operation of the Jirga involves a public session where male members of the community gather to
deliberate upon an important issue concerning the whole community. There is no designated space
to hold a Jirga and it can take place in any large area like the Hujra, the school playground, a farm
or a courtyard. Sitting in a circle, the Jirga has no president, no secretary or convener. There are no
hierarchical positions and required status of the participants. All are equal and everyone has the right
to speak and argue, although, regard for the elders is always there without any authoritarianism or
privileged rights attached to it. An issue is examined from point to point till all aspects of the issue are
fairly deliberated upon, all concerns heard, and a transparent and uniform understanding of the issue is
agreed upon. All the while the Jirga members may keep playing mysteriously with sets of small stones
lying before them like a chess board. This apparent mind-mapping (of some of the Jirga members) is
said to be one of the techniques to record comments and analyse the situation.
The Jirga passes judgement after necessary investigation into the dispute. The decisions are of two
types, Haq or the right, and Waak, which means authority and both sides are allowed to present their
arguments before a decision is given. In the case of Haq, each party has the right to challenge the decision
of the Jirga on its merit. If one party is not satisfied with the verdict and feels that the Jirga has not done
justice, they can quote precedents and rules (Narkh) to plead their point and reject the decision. In the
case of Haq, the aggrieved party has the right to bring another Maraka or Jirga to re-examine the issue.
In doing so, the decision given on the third occasion is usually considered final. In the case of Waak,
the two parties repose their full confidence in the Jirga and authorize it to decide the case according to
its best judgement. The parties have to abide by the decision and cannot challenge it. The decision the
Jirga members reach, however, is unanimous. (TOWARDS UNDERSTANDING PUKHTUN JIRGA by M Ali
Yousafzai and Ali Gohar)
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How a Jirga works

1
Peace Building
Peace Making
Peace Keeping
Jirga members can change the jirga rules and

regulations and bring in new laws, according to
the needs of the community. They also work
closely with the government agencies for the
betterment of the people. They provide an
equitable share of government jobs areas of land
and other resources to each tribe according to its
population.
Jirga members intervene on the request of

parties in conflict, through the use of shuttle
diplomacy or their own power or through
parachute democracy. Peace is brought
about by first listening to the parties and
convincing them of accepting the solution to
the problem. The role of a jirga member
changes from a diplomat, to a mediator and
an arbitrator
3
The elders place Tega (stone) between the
parties in conflict and ask for money, weapons and
so on that are kept with the jirga. They declare the
final decision. If anyone of the parties violates the
ceasefire, its money or other items are confiscated
by the jirga. A special voluntary force called
Lashkar, in such cases, imposes the desision of
the jirga to punish the perpetrator
Pukhtoon Cultural Practices:
This ensures Communication even during a conflict supported

by the ancient unwritten code of Pukhtoonwali
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Types of Jirga: Ali Gohar3 and other writers have enumerated the following 4 types of Jirgas
The Jirga members, when approached by the parties in conflict and requested to intervene, act as:
Sarkari or Government Jirga

Qaumi/Ulasi or Local Representative Jirga
Shakhsi or Third Party Jirga
Loya or Grand Jirga
The composition of the Jirga may be split into the following two categories:
1. A Jirga representing a party, a village, an area or region
2. A Jirga serving as a role player in diplomatic relationship building, peace building interventions or
small jury, depending upon prevailing circumstances.
Who are the Jirga Members?
Members of the Jirga are called Jirgamars or interveners. There are two types of Jirgamars. There are
the professional people, holding the title of Malak or self-appointed leaders that devote their lives to
the community. The second type consists of people of independent means who have influence over the
community, for example, the Khans or the Nawabs. These influential members do not indulge in third
party intervention in all cases, but can articulate a situation and can argue a case well before another
party.4
Fact finders
Advocates
Facilitators
Mediators
A Jury
Similar to modern-day investigative
conflict resolution techniques, the
Jirga members find out more about
the situation to clarify the issues. This,
however, typically involves spreading
the word into the community that a
disputant has requested an intervention.
More is discovered about the history of
the dispute and its various dynamics
through talks with women at the
disputants home and male friends at
the Hujra.
The second party in the dispute, which
finds the news of the initiative of the
first party, is usually ready to receive the
Jirga. This way, a dialogue would start
to clarify issues, finding alternatives
and approaching a resolution that is
acceptable to both parties.
If the second party shows arrogance and
does not respond well to the queries by
the interveners, blame is placed on the
second party for being non-cooperative.
This gives the first party a moral edge
over the other.
Dynamics of the Jirga
Edlers talking on jirga. Photo credit: centralasiaonline.com
The Jirga executes three different kinds of roles, much like the present day modern approaches to
bringing peace in a conflicting world.
i. Keeping Peace
ii. Making Peace
iii. Building Peace
3 Gohar, Ali, Indigenous Institutions for Decision-Making in Pakistan, Scratching the Surface: Democracy, Traditions, Gender, Heinrich
Boell Foundation, 2005 (pg 281-283)
4 Yusufzai, Gohar, Towards Understanding the Pukhtoon Jirga, Sang-e-Meel Publications, 2005 (page 58-59)
15
When there is compliance, the

interveners facilitate the process
of clarifying issues and settling the
dispute.
The deficiency of human capacity
prevented the merger of the traditional
and modern systems. The Jirga system
has, according to some been unable to
engender an all-inclusive forum with
women and the marginalized groups
given equal opportunity of participation.
How to Qualify for Jirga Membership

There are different aspects of the personality of a Jirgamar or
intervener in the Pukhtun communities. The Jirgamar should
be well versed with the code of Pukhtunwali. The education
of Pukhtunwali comes through a lifelong association with
peers, regular attendance in Hujra gatherings, a long career
of representation as junior member of delegations, and
maintaining a good character record throughout life.
Jirgamars do not indulge in personal enmities or disputes,
and if they do, they would have their issues resolved
gracefully and quickly.
Another important characteristic of the Jirgamar is his
understanding and loyalty to the Pukhtunwali code of ethics.
He follows a strict code of honesty. He is dignified and has a
strong character.
Jirgamars are articulate they use the right rhetoric, idioms,
and stories, as well as references to the past. Idioms and
phrases play a decisive role in the process of the Jirga, as
members can resolve an intractable conflict for the disputants.
The use of idioms and proverbs also makes it easy for the
local communities to understand complex issues in a simple
manner.
Jirgamars are skilled conflict analysts. Within the context of
Pukhtunwali and drawing on their strong belief in peace, the
people of the Jirga have an aptitude to analyse a particular
situation technically, draw deductions, forecast the future,
and take strategic measures to prevent violence and
bloodshed and enmities in their communities.
Jirgamars are pacifists of their own kind. Relying heavily on
the language of peace and peace-building; they frequently
make references to religion to convince parties to give up
arms. In addition to active pleading for peace and gaining the
confidence of the parties, withdrawal, avoidance, patience
and tolerance are their major tools in achieving peace.
These aptitudes are not learnt formally but transferred to
them through learning from their own elders and peers in
the profession. For a skilled Jirgamar, intuition serves as a
stimulus to act in the right direction.
Jirgamars move up the Jirga hierarchy by maintaining a
selfless and people-friendly attitude throughout their lives.
These people grow up to earn respect and acceptance by
their communities and be called Masharan or social leaders.
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Since developing critical thinking is one of the important goals of education, you may like to reflect on
this with your students and see how the Jirga system can be strengthened and its roots of a democratic
system providing equal opportunity to all is reinforced.
4. Why Safeguarding Social Practices Is Important

It Reinforces Identity: Both Globalization and Western imperialism have had a negative impact on
tradition and local cultural identities. The rapid processes of modernization have been hampering the
continuity of cultural knowledge transmission, which has resulted in breaking that continuity and leaving
us with fragmented forms of cultural knowledge, dispersed indigenous communities and lost the sense
of identity.
Strengthens Economic and Social Empowerment: The social practices of KPK, FATA are the living
heritage that provides communities with a sense of identity and is continuously recreated in response to
their environment. It is intangible because its existence and recognition depend mainly on the human will,
which is immaterial, and it is transmitted by imitation and living experience. The social and economic
value of this transmission of knowledge is relevant for a community, and is as important for developing
communities as for developed ones. Cultural knowledge can be an important source of livelihood
Safeguards Minorities: One example of minority groups are small communities adhering to languages
that are on the brink of extinction. UNESCO has identified 26 endangered languages and on Pashto dialect
spoken by the indigenous communities in KPK and FATA is one of them. Pashto is spoken mainly in
Peshawar, while Kalami, Gawri and Torwali are the spoken languages in Swat, Dir and Kohistan that are
geographically connected like the twin cities of Rawalpindi and Islamabad. The revival of the traditional
systems of peace, dialogue and conflict resolution would play a critical role in keeping the heritage of
KPK and FATA viable, peaceful and in resonance with the cultural identities as well as with modern day
needs of the indigenous communities.
A group of Edlers talking on Jirga. Source: Google
17
18
TAPPING THE RESOURCE OF ORAL HISTORY
again the duty of the children to put the sheets and the pillows on the several beds in the Hujra. The place for the
guests was always to be towards the head side of the bed, the choicest place was to be offered to the elder guests.We
knew that as youngsters and hosts we would sit towards the foot side of the bed. This was the ways of the Pukhtun
culture and we learnt it early in our Hujra. I remember several occasions where the Hujra became the venue for
celebrations. One such was the marriage of my brother. The evening before the dholi was brought was the Wora
(mendhi) celebration. This was when the women accompanied by the younger men of the family would go to the
brides home with the mendhi in thals above their heads, along with the dhols and surna and enter the house of the
bride. There would be much exchange at the doorway because the wedding party can only enter when a gift of money
has been negotiated and settled by the young cousins and friends of the bride.
Important sources of cultural knowledge are communities, groups and individuals who claim a cultural
element as theirs. Much of this knowledge is in an unwritten and unrecorded form and rests in the
memories and experiences of its practitioners. In communities which have strong oral traditions where
cultural material and tradition is transmitted orally from one generation to another, community members
are repositories of important knowledge which can be shared with the students if this source is tapped.
The Cultural knowledge is often retained and transmitted as songs, ballads, stories, tapas and mataals.
Oral laws for example Pukhtunwali are embedded in the experiences and memories of people. Below
are a few examples of stories of the Hujra and songs and poetry associated with the Gudor which can be
used. The Thematic Projects in the Student Activity Part 3 can also be used to begin your own Oral History
Project.
Oral History is essentially capturing the knowledge which is unwritten and exists in various forms that
people retain in the minds. It is also a good source of learning from the elders and for transmittal of
cultural knowledge to the students
STORIES FROM THE HUJRAS

Hujra of Khan Karimullah Khan, Village Amazo Ghari, District Mardan
Narrated by Tariq Khan (aged about 50 years), grandson of Khan Karimullah Khan
The Hujra has been a part of my life since my earliest days. Our Hujra belonged to our family and our tarbooran. The
Hujra was located in our compound which had our joint family houses and outside was the mosque and graveyard.
This Hujra was constructed by my grandfather, Khan Karimullah Khan in village Amazo Ghari, Mardan in 1901.
Made in stone masonry it had replaced the earlier mud construction. One door from the house led to the Hujra so
it was very convenient to go there. Our village had several Hujras belonging to various families. Our village is the
largest village in Mardan district. We are all Yousafzais although there are a small number of families of Awans and
also some service people like Khumars (potters), Barbers, Carpenters and so on.
I remember that when guests would arrive my father and uncles would go towards the door to receive them and
make them sit in the most honored place in the Hujra and we, as children, would place pillows and gol tankis around
them to make them comfortable. One of the children would go to the house and tell our mothers and aunts that
guests had arrived and the number of guests. They would immediately start preparing food. There would always be
chicken that had to be cooked and we as youngsters had to first catch the chicken which would be running around
the compound, chased by us. This was like a game for us with the chicken trying to hide and we would be chasing
it. Once the chicken was caught we would go into the galli between the house and the Hujra and quietly call out to
the servant to come for slaughtering the poor chicken. When the food was ready and the doday (the nan) had been
cooked in the tandoor; the food would be brought into the Hujra, and laid on the dastarkhan. The food was always
placed in the center and the children would place the plates and glasses for each of the guests. This was part of our
training. The children would first bring the cuza and chilmichi and offer it to each of the guests so that they could
wash their hands, always starting from the oldest or the most senior amongst the guests. This was always the duty
of the children and the young men. The elders would then invite the guests and all the men, including the servants,
would take their place around the dastarkhan and partake of the food. One or two of the hosts would be standing
on the periphery to offer water; this duty was again performed by the young men and children. In the earlier days,
it was the custom that the women of the household would not eat till such time as the men had eaten. If there were
women guests they would, of course, be offered food at the same time. Often the guests would stay the night. It was
19
There are several little ceremonies. One of the most important is the opening of the Orbal (knot) which has been tied
in the plait of the bride and this is usually opened by the mother-in-law and the sister-in-law.
At the Hujra, the same evening, the men would also be celebrating. Dancers would be invited to dance in the center
bounded by charpais where the elders would be sitting and a row of younger men standing on the periphery. The
harmonium would be slung around the neck of the musician and he would strum a few notes and then pause in front
of each person in the gathering and receive the money which was a token of appreciation. Ahmed Khan the famous
folk singer of the time was much sought after but at my brothers wedding Khiyal Muhammad, the popular Pushto
singer of the Khyber Agency, of a village called Chora, at the beginning of the Tirah valley, was called.
For the wedding a general invitation was given to the entire village, so all were free to come, as was the custom. The
neighbors brought the morning breakfast
of parathas and tea for all the guests. For
the Halala, the slaughter of the animals
(cows, goats and others) the tarboorans
were all invited otherwise they would feel
really insulted. The mamakhels (maternal
cousins) were also invited but not for the
Halala. The invitations would to be given
to all the relatives and a verbal invitation
was given at my brothers wedding as
was the custom then. Upon receiving
the invitation some small token of money
given to the bearer who traditionally
was the nai (barber) of the village. My
father would need to go only to the most
important persons, for example, his
brother. Mathais (sweetmeats) were also
made at the Hujra and after the Orbal
ceremony the assembled guests were
all given a packet of this mathai. The
Naenraan (matchmaker) on the brides
side was given money at the Orbal
ceremony.
On the day of the wedding, my brother
Imtiaz was dressed as a groom with a
traditional pagri (turban), which is a
must in our family. He had a light blue
At a Hujra-Credit Archives Pushto Academy
20
pagri and a golden kula. At that time the bride used to be brought first to the house of the groom and then the Nikah
ceremony took place. There were several customs which are still practiced. For example at Imtiazs wedding there
was Neshana Bazi (target game) which was arranged at the brides house and till someone from the grooms party
had hit the target, the dholi could not be lifted. If the marriage was within the village the dholi was used to bring
the bride home but we had to go to Dir to get the bride for Imtiaz. A female friend or cousin would also come in the
dholi to keep the bride company for a few days in her new house.
Father died in 1971, I was about 6 years old at the time. I remember everyone was at the Hujra and people came for
the fateha (prayers) while his body lay in the house. There were some women at the time called Sandy, whose work
was to talk about the attributes of the dead person so that all the women could weep and come to terms with their
grief. The Sandys came at my fathers death and spent their time inside the house with the women. The janaza was
always held in the janazgah (funeral space) and so it was for my father.
My father had been murdered and for a long time there was enmity between the killers family and us. There was
an old man in our village called Hafiz Sahib. He was an old man and tried to talk to my uncle to relent and forgive
the killers family. After about three years of my fathers death, a Jirga composed of the notables of the village and
the surrounding village came to my uncle and settled the dispute. Compensation was offered, land, money and so
on from our side we just decided to settle the dispute. The menfolk are now friends but my mother and sister still
cannot forgive. The day of the sulla reconciliation there were thousands of people present. It was in the presence of
the entire community that the enmity was ended. It was a small matter and should not have resulted in fourteen
people being killed.
The Hujra still exists in the village. I now live in Peshawar but whenever we go to the village my boys go to the
Hujra to learn from the elders the values and customs of our society
________________________________________________________
Hujra of Deri Khan, Sumbat Village, Swat

Narration by Imtiaz Ali, grandson of Deri Khan
There are different facets in each culture which show us how one culture is different from another. The Hujra which is
basically a male communication center is an important feature of the Pukhtun culture. Pathans are a very big ethnic
group. Some clans are in FATA, Peshawar, Charsadda, Swabi, Mardan and southern areas of KPK. Pathan history
goes back about 5000 years so it cannot be ascertained when the Hujra came into existence, however at some point in
history the decision was taken that every Malik, Khan and Nawab would make a Hujra near their houses according to
their means. Thus you find Hujras which are of two rooms while others can be much larger and sometimes comprise
of five to ten rooms. The Hujra is still important for the Pukthun communities. The Hujra is like a house which is
basically made for guests. The social rituals pertaining to men are performed in the Hujra, such as marriage ceremonies
and funeral prayers. The Hujra is open to all and is particularly useful for those who are poor, for they can easily go
themselves and take their guests to the nearby Hujra. In the Hujra the guests are treated as guests of the entire Hujra
community and can live there as long as they want. The Hujra is a place which is a haven for guests. From beginning
to end it is the place for hospitality for a guest where the Pukhtun value of melamastiya hospitality is practised.
A person can make a mistake and some people are foolish. This world is full of emotional people and sometimes their
foolish acts can lead them astray. Their stories become tales which are part of a Hujra and narrated to the youth so that
they can learn what not to do. One such real life story at the Hujra of Deri Khan is that of Nazar Mama.
21
Hujra in Matta. Photo Credit: Imtiaz Ali
22
Nazar Mamas father, Akramay and mother Gul Zarin came to the Hujra of Deri Khan and asked for refuge. He
offered that he and his 12 year-old son would work in the Khans fields and his wife would work in the household. Khan
looked at Akramay and said, You look like a good man. You can come and live in the Hujra. No one will be able to take
advantage of you here. Akramay told Deri Khan that he liked the room at the right. Khan said it was alright. He could
use that room but would have to look after the Hujra, Akramay replied, You dont have to worry. Akramay and his
son Nazar got busy with Baz Khan on his farm. They would toil all day and return at sunset to the Hujra where they
would partake of the food and sleep in the room allotted to them. They were happy to be in this village.. That year the
Khan had a good yield from his farm. Everyone was happy but suddenly Akramays wife died. Everyone in the village
came together for the burial of Gul Zarin. After the Chelum of Gul Zarin, Khan came to Akramay and said, Look
whatever happened was the will of God, now you should get back to living. I have other farmers working for me also ,
so I can get you remarried. But Akramay kept refusing. He was happy to be just looking after the Hujra and toiling
on the Khans farms. Nazar, as he grew older, also started to master farming and developed the best way to look after
the Hujra. Both father and son were settling down but Gul Zarin was dearly missed.
so all these friends used to smoke a lot to the extent that they would secretly grow tobacco and opium on their farms.
One day Deri Khan noticed the tobacco and opium growing on his farm and said, Who has grown this stuff? The
farmers answered that it was Nazar. Deri Khan was shocked and said, Why so much? Kamand Kaka replied, He is
your favorite and does not listen to us. We cannot say anything to him. He says that these weeds which grow with the
crop have some form of intoxicant in them. He pleaded with Deri Khan to do something because Nazar was totally
spoilt. Deri Khan agreed to reprimand Nazar and asked for him to be brought to him immediately. Kaka said, He is at
the field near the river. Deri Khan replied, Bring him to me in the evening. I will talk to him. He is a good boy and
will correct his ways.
One Day Nazar was crying over some problem and his father was trying to calm him like a mother. Khan came out of
his house and said to Akramay Why are you talking to your child like a woman? You should remarry. Nazar will get
a mother and you will have a wife.Akramay became emotional and said, No Khan, my son is very young, I was very
fond of Nazars mother; she is no more but her Nazar is still here with me; I dont want to be separated from my son.
Khan replied, So you are a lover then; whatever you want then, but if you change your mind, I can find you a wife.
When Nazar turned 13 years tragedy struck once again. In the dark hours of a Friday night Nazars father died. When
Nazar came to wake his father up in the morning, he saw that he had left this world; his body was stiff and there was
no breath in him. There was an announcement in the mosque that Akramay Chacha had died and the funeral would be
after the Friday prayers. Deri Khan was very saddened at the death of Akramay and said Man plans a lot but fate may
have something else in store. Deri Khan hugged Nazar and said, Do not work, take your time. You do not have to do
any work till you yourself understand it fully. Everyone in the village was kind to Nazar. There were other farmers
near by the Hujra who were working at Deri Khans farm. Among them was the 50 year old Kamand Kaka who came
and took Nazar to his house and said, From now on you will be a part of my household. But Nazar replied,, I will
stay where my father lived and look after the Hujra. Deri Khan was happy and praised Nazar and said, Till you
turn 16, you are not allowed to do any work. When Nazar turned 17, he started working hard both at the farm and
the Hujra. One day he came to Deri Khan and said, Deri Khan instead of two bullocks you should buy four bullocks,
I will look after them. Deri Khan agreed to his suggestion and Nazar Mama got busy working on the farm. The sons
of the other farmers of Deri Khan had by now also grown up. These included Gul Batorr and Ghafoor who became
Nazars friends. These were olden times when everyone used to work on the farms in the daytime and in the evenings
they would enjoy themselves, narrating stories, singing songs and playing the rubab, and then going to bed to have a
good nights rest. Nazar and his two friends would continue gossiping and singing till the early hours of the morning.
Eventually this type of lifestyle took its toll. After spending the entire night enjoying music and songs and smoking
the hukka, everyone started looking strange with swollen and red eyes. There is always a Hukka is there in every Hujra
23
Hujra Near Bazar. Source: Google
That same evening, Gul Batorr and Ghafoor picked some of the Mandano plant which is a jungle plant and so poisonous
that even the animals dont eat it for they know that this may result in their death. The Mandano plant has a white
milk-like fluid in its stems which is the poisonous part of the plant. The two friends collected the Mandano in a bowl
and as soon as they saw Nazar they offered it to him, telling him that they had already drunk it and this was Nazars
share which they had saved for him because of its delightful taste. Nazar trusted his friends and promptly drank the
Mandano sap. Seeing Nazar consume the poisonous liquid Gul Batorr and Ghafoor started laughing and laughed even
more when , Nazars eyes became bloodshot and he said to his friends, I am going to sleep. You can revel and enjoy
yourselves. When it was time to wake up next morning, Nazar was still fast asleep. The men at the Hujra became
worried for, when Kamand Kaka tried his best to wake up Nazar he found that he was in such a deep sleep that no
amount of shaking and poking was enough to wake him. Kaka went running to Deri Khan and told him that Nazar
seemed to have drunk something new today and was in deep sleep in the Hujra. Deri Khan replied Let him be. Let
him sleep today and wake him up tomorrow morning, for by then the effect of the intoxicant would have worn off.
The next morning Kaka went again to wake up Nazar and saw him in the same state. He reported this to Deri Khan
who did not feel it was cause for concern and said let him sleep, he will wake up himself. He must have worked hard
the field near the river. His two friends also came and tried to wake up Nazar but could not make him budge. Everyone
at the Hujra tried waking Nazar but he refused to respond. In the afternoon when everyone returned from the farms
they found Nazar still asleep in the same position. By now everyone was very worried. They did not know how to wake
Nazar. One of them started massaging his arms, another sprinkled water on his face but Nazar would not budge. The
two culprits quietly left the Hujra hoping that no one had seen them offering the Mandano milk drink to Nazar. In the
evening when the days work was over Gul Batorr and Ghafoor went straight to Nazar and saw that Kaka was also
there still trying to wake up their friend. Kaka was worried. He kept shaking Nazar and saying, God only knows what
he has drunk. Oh God what should I tell the Khan who wants to see Nazar? Oh God what has this foolish boy drunk?
The second night passed in the same way. On the third afternoon Nazar finally woke up and complained of a severe
Matta Swat. Photo Credit Imtiaz Ali
24
headache and asked his friends to press his head to relieve the pain. His friends started pressing his head Nazar kept
repeating, Press harder, press harder but the Mandano milk had gripped him. His friends pleaded with Nazar not
to tell Deri Khan because he would be very angry and would lock them up in the Hujra. Nazar reassured his friends
but reprimanded them for what they had done to him. He could not understand what was happening to his head and
kept repeating, Press harder, press harder. After a little while he ate some food and left for the farm. He returned
late in the night at two in the morning, had some tea and left again. At dawn when Kaka went to the farms, he found
Nazar working like a madman and said, Look Deri Khan wants to see you, go back to the Hujra. He has been waiting
for you for three days now. When Nazar returned to the Hujra, Deri Khan confronted him, What have you drunk
that you are so intoxicated? You should be careful or you can die. Nazar reassured Deri Khan that this was only an
experiment. I have learnt my lesson but I have a severe headache.Deri Khan advised him to have some Buffalo milk
which might help. Nazar could not sleep for the next five nights and when he eventually slept he went into a, deep sleep
as before and kept sleeping for the next two days and nights. Nazar used to be very talkative but he lost this habit and
became very quiet and moody. He also suffered a disturbed sleep pattern. He would go without sleep for five days and
nights followed by two days and nights of continuous sleep. He started losing weight and soon was a shadow of his
previous self. Deri Khan took him to a lot of Hakims but in vain for Nazar kept becoming weaker. Eventually he lost
his hearing and could now neither hear nor talk much, so he spent his time in silence. When Nazar was 20, he was still
unmarried although even his younger friends had married and his two buddies also had their own families. Nazar was
now left alone in the Hujra without his childhood friends.
One day Nazar went to Deri Khan and requested him to get him married. Deri Khan replied, When you have
regained your health I will get you married. During the last nine years you have been like this; you need to regain your
health and then I will get you married. One day Gul Batorr and Ghafoor came to Deri Khan and said, We have made
a serious mistake. We were the ones who gave Mandano milk to Nazar, please tell the Hakim so that proper cure can
be given to him. Deri Khan was shocked and asked how they could have done something so dangerous. How foolish
they were; did they not know that a human being cannot digest something that even the animals cannot. Deri Khan
told the Hakim the cause of the problem and the role of his friends. The Hakim said it is too late now. Whatever damage
the pulpolak could do was already donethere was nothing he could do to reverse this. Deri Khan was anxious at this
news. During the five days interlude when Nazar was better and awake, he would keep pestering Deri Khan to get him
married and then would forget about it for the next two days. By age 30, Nazar became worse. He started going to the
other Hujras in the village. Deri Khan kept stopping him but by now he was an old man and would remain most of
the time in his own house. He did not know that Nazar was continuously disappearing to the other Hujras. First he
would disappear for weeks but soon enough this ended with an absence of months. The men at the Hujra kept telling
the Khan to forget about Nazar and give his work to someone else; but Deri Khan kept telling everyone that till Nazar
was alive no other person would take his place at the Hujra. This kept happening for about five years, till finally Nazar
Mama disappeared for one year.
During this period Deri Khan died. Nazar Mama did not return for his funeral. After three months of his death Nazar
returned and asked for Deri Khan telling everyone that, His son has returned, tell the Khan that his son is back.
People looked at Nazar and said, You are too late now, Deri Khan is no more, pray for his soul. Go and meet Deri
Khans son who is the elder at the Hujra. Drun Khan looked at Nazar and remembered how his father used to care for
him. Because of my fathers love for you, I am advising you to stay at the Hujra and share in all that God has blessed
the family with. Nazar stayed at Deri Khans Hujra for a week and then disappeared again. After three months he
returned, a much weakened man in still poorer health. He quietly lay on his bed moaning. Deri Khans son immediately
called for the Doctor, but his health was very poor; all attempts to revive him failed and after a week Nazar Mama died.
________________________________________________________
25
26
Story of Mayar Hujra

Narrated by Sikander Zaman, Dir
Jundoo Area, FATA
I do not remember when I first went to the Hujra although I remember when I first went to school at the age of five.
It is the same as a mosque. You dont remember when you first went to a mosque because you start going with an
older family member very early in life. Asking me to remember when I first went to a Hujra is like asking me to
recall when I first saw my mother.
I started going to the Hujra when I was just a little child.my first learning was between the Hujra and the
deowari (entrance lobby to the house). The deowari was where only those men were allowed who were close members
of the family. This was also the passage to the house and the semi-private space. I remember my grandmother and
some of the other family women would pass through the deowari to the house. They would sometimes exchange a
few words with the family men and sometimes when relatives of one of the women would come to visit them, they
would meet in the deowari.
The Hujra is a community centre for us. Ours is a family Hujra although there are Hujras which are the village
Hujra. The Jirga is something that I remember well because it is central to the Hujra. I witnessed a lot of jirgas over
the years. The most memorable are the ones which go on for days, particularly the ones which involve inter-tribe
fights. Our elders tell us that the Jirga started in Pushtoon society much before Islam came to this area. It is a very
sophisticated system and the process is very important and covers aspects which are central to peace building; for
instance Tega (truce) Sulah (reconciliation) and in between is the long period of negotiation. Nanawati is another
important mechanism for peace building but it is between individuals and not tribes. Before Islam came to this
region there was another way of keeping peace among warring tribes and that was by marrying into each others
families. There are some well-known historical examples, for example Babur marrying a Yousafzai chiefs daughter
to bring this major tribe into a peaceful relationship with the Mughals. I dont know whether this is recorded but it
is in the living memory of our people and narrated to us by the elders in the Hujra. The chief, Malik Ahmed Khan
(or Malik Suleman Yousafzai) lies buried above the village Thana in the mountains in Malakand agency. We were
fascinated by their accounts..they spoke about Alexander marrying a local Pukhtun girl for the same reason. This
was the period of Budmat (Buddhist period). Our elders told us that this was the custom which became abused and
turned into Suvara..I am personally very against Suvara. It is tragic that something which had been practiced
by our ancestors as a way of peace building and transformation became abused and a way of taking revenge (badal).
I dont recall when Suvara was last used in the Bajur Agency but most people now realize that this custom has to
change. My father was a mechanical engineer and we stayed mostly in the Punjab. Sometimes this type of exposure
does one good.
The Jirga has a deep influence in Pukthoon society. The first king, Ahmed Shah Abdali, was made through the
Jirga system which lasted a continuous 18 days. But there are serious problems such as excluding women and the
kasabar; if the system can make changes then it would truly be the representative of the public at large. At present
it is only men. You might ask what a Pukhtun is and I will say to you that the definition keeps changing according
to the times. In times of war everyone living in the area is a Pukhtun whereas in times of peace only landowners
are Pukhtuns.
27
Theater activity on Jirga in session. Photo Credit: Punjab Lok Rahs
28
PASHTO TAPAS GLORIFYING GUDOR AND A POPULAR SONG
SONG ON THE GUDOR
The Gudor has a special significance in Pashto folk poetry. There are numerous tapas which glorify
various aspects of a typical village Gudor; tapas describing the Gudor are attributed to both men and
women as it used to be the only rendezvous for lovers. Young girls used to fetch water from a well or
natural fountain in a village. Folk poets have romantized this particular aspect of cultural life of Pashtuns.
In this modern age the Gudor has ceased to exist but still it is a symbol of romance and living poets use
it profusely in their poetry. The following Tapa is translated by Pukhtun scholar Sher Alam Shinwari.
The following is another translation from Sher Alam Shinwari, of the most popular Pashto song written
by noted senior poet Dr Israr and sung by a young singer, Haroon Bacha, who is now settled in the US.
This moving song is full of nostalgia about the Gudor.
Girl: If you are really in love with me/ take the corner by the well on lease.
Boy: Every herb of the well has medicinal effect / the shawl of damsels might have touched them.
Girl: I am going to the well; you follow me there/ I have brought paratas in my pitcher for you.
Boy: The well is overgrown with red flowers/ girls throng it with pitchers on their heads.
Girl: Come after me as I am going to the well/ my two pitchers will break my fragile back.
Boy: Make my grave near the well/ girls will place broken pitchers on it.
Girl: May the well flow forever/ it serves as an excuse to have a look at my beloved.
Boy: Two sisters together came to the well/ one shoots and the other supplies her with arrows.
In the good old times, there used to be Tte--tte every afternoon

Girls would swarm the well with pitchers on their heads
Every herb of the well-used to be the scent of the best quality
But now only ugly winds blow over there.
What spell have you cast over the people and their village?
Your need is no longer felt by them
Tte--ttes were set ablaze
Lovers of the village too, fell upon bad times
Now a- days lovers are being mistreated
Damsels having long black tresses will never appear again
Israr! Now you will wander lonely over here
When saddened, you may recall old times
Girl: I go to the well to fetch water/ I will serve it to my beloved with my red cupped hands.
Boy: They have arranged pitchers in a row / as if it is to serve as a small market.
Girl: Happily I am heading towards a well/ because my beloved has grown red flowers on the way.
Boy: A red shawl could be seen over the well/ may a lovers heart suffer a crush.
Girl: Water of the downward well is sweet/ but for your sake I fetch water from the upward well.
Boy: It gives me pleasure when you pick up a pitcher/ I manage to arrive at the corner by the well.
Walking towards the Gudor. Source: Swat Women c 1940s-
29
Social Practices The Way to Peace and Social Cohesion
WHAT YOU CAN LEARN FROM TRADITIONAL SOCIAL PRACTICE

If you start analysing a traditional social practice you will discover that social interaction is not just
about communication; it is about building bridges of peace, tolerance, mutual respect and understanding
between people.
For example, if you look at the workings of the Jirga in the part on social practices:
The practice and notion of the Jirga is actually operative, at all levels of society, for various purposes and objectives.
There exists a common understanding amongst the Jirga members, on issues that may seem complex.
A student washing her Takhti at a Gudor.

Photo Credit: Imran Rashid Imran of Sarhad Conservation Network
30
Social Practices The Way to Peace and Social Cohesion

What Students Learn
You see that this teaches so many skills, for example:
Mediation and Negotiation Skills: Enhances the individuals capacity to mediate in conflicts and foster
healthy relationships with people of the community.
Conflict Analysis Skills: The crux of the Jirgas dynamics is to resolve conflicts and maintain peace.
Leadership Qualities: By taking up roles like the Malak, the Jirga members are acquainted with the
skillof leading the people of their community by the example of good character.
Objective Thinking: One aspect of arbitration in conflicts is to maintain neutrality on the issue and
unbiased behaviour towards both parties. This allows children to develop the ability to think objectively
about these issues without having to take sides on unreasonable grounds.
Respect for Elders: Children would need to rely on wisdom and knowledge gained from the peers
and elders including the stories, references and idioms that have been passed on to them in order to
arbitrate convincingly and effectively.
Decision-Making: Children can learn a great deal about the process of decision-making through the
Jirga exercises, and gain wisdom, knowledge and confidence to make rational decisions.
Investigative and Analytical Skills: Children are curious beings. They love to investigate. When a
dispute is notified to the Jirga, it is only good and transparent investigation that helps in verifying the
nature and causes of the conflict and helps in analysing the options to resolve the conflict.

Primary Sources
Secondary Sources
Oral History
Books
Persons
The Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debates
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artifacts
Essays
Observation (animate/inanimate objects)
Television
Photography
Radio
Maps
Some secondary sources hand-outs have been included for your use in the Additional Resources
(Appendix 5).
In this way all the social practices listed here and others which you may discover in your students
communities can be analysed to help you focus on various aspects, as you plan the lessons.
EXPLANATORY NOTE ON RESOURCES IN APPENDICES and CDS

The accompanying CD has the information you will require for your lessons. These are in the form of
images to explain the lessons better.
Students should be encouraged to use both primary sources and secondary sources of information.
Primary sources are original materials. They provide first-hand testimony or direct evidence concerning
a topic under investigation.
Photo Credit: Shaheed Bhutto Foundation
31
32
This Part gives Five Lesson Plans that have been extracted from the themes outlined in the Resource Material
Part of this Section. The Lesson Plans are supplemented with Student Activity Sheets as guidelines for teachers
to devise their own activities that are suitable to their needs and requirements and in line with the objectives of the
lessons.
LESSON 1: Introducing the Project Social Practices
Theme 1: Develop an understanding of the concept of traditional social practices and change in the

societys worldview of it over time.
Student Activity 1: All About Me and the Rules of My Home
LESSON 2: Types of Social Structures and Practices
Theme 2: Learning various traditional/social practices of KPK, FATA
Student Activity 2: Identify the Social Institutions and List Their Characteristics.
LESSON 3: Enhancing the Mediation Techniques Using Social Practices
Theme 3: Mediation, Arbitration and Negotiation Skills
Student Activity 3: The King, Queen and the Vizier
LESSON 4: Integrating Problem Solving Techniques Using Social Practices in a Mathematics/Science class
Student Activity 4: Call a Jirga meeting to investigate & resolve a water dispute in your village
LESSON 5: Integrating Problem Solving Techniques Using Social Practices in History/Social Studies/Art classes
Student Activity 5: Meet at the Gudor to discuss and resolve the issue of girls education in your village.
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advance
Art class in session at Bacha Khan Trust for Education Foundation Peshawar
33
Credit Magazine Sahar
34
Social Practices - STUDENT ACTIVITY SHEET #2

Lesson 1 and Lesson 2
Social Practices & Worldview

Learning Category
LESSON 1
Age Group
Introducing the
Project Social
Practices
Objectives & Learning Activities

Assess the students prior
knowledge of social practices
by asking basic questions about
practices in their household.
Ask students to identify and
relate to the traditional systems
of social practices and decision
making in their community.
Learning Outcome
Children develop an
concept of traditional social
practices and change in
societys worldview of it.
Use the Who, What, Where,

When and How approach to
ask students about the popular
cultural practices of their
households and communities.
A Student Activity sheet for

this lesson is provided in the
backflap of this Module.
LEARNING OUTCOMES:
1. Children develop an understanding of the concept of traditional social practices
and change in societys worldview of it over time.
2. Students and teachers demonstrate a good understanding of the structures and
dynamics of traditional/social practices of KPK, FATA.
Introduction to Social Institutions & Types of Social Structures
Teachers refer to Resource Material on this section to develop their questions/ideas
for classroom discussion. Think about discussing the following questions/ideas in
the classroom.
Teachers Name:
Students Name:
Village/Town/Tehsil/District:
Date:
Month:
Year:
Class:
Age:
All About Me and the Rules of my Home

Where are you from? Where is your home located?
________________________________
How do you take care of your guests?
________________________________
Where are the male guests of your father entertained?
________________________________
Where are the female guests of your family entertained?
________________________________
What are the rules of hospitality for your guests?
________________________________
How many rooms does your home have?
________________________________
How many rooms are reserved social spaces for men only?
________________________________
What is the favourite section of your house? Why?
________________________________
Make a Labelled Drawing of Your Household Below:

2. What kind of social practices are observed in their household?
3. What are the possible applications of social practices? Has any student been taught
about them in their household? What is their understanding of it?
4. What languages are associated with social practices?
5. Ask students to compare the elements of traditional social practices with the present
day concept of human rights.
6. How can traditional social practices promote peace and equality, especially
womens rights?
7. Have the students conduct the exercises in the Student Activity Sheet provided after
delivering the initial lessons.
35
36

Student Name:
Learning Category
LESSON 2
Age Group
Types of Social
Structures &
Practices
Learning Outcomes
Ask students to identify and

differentiate between the
various kinds of traditional
social structures and indigenous
institutions of decision-making.
Students and teachers

demonstrate a good
structures and dynamics of
traditional/social practices
of KPK, FATA

Date:
Month:
Year:
Age:
Class:
___________________________________________________________________________________________
Look at the Pictures Below:
1.
2.
3.
4.
LEARNING OUTCOMES:
1. Children develop an understanding of the concept of traditional social practices
and change in societys worldview of it over time.
2. Students and teachers demonstrate a good understanding of the structures and
dynamics of traditional/social practices of KPK, FATA.
Introduction to Social Institutions & Types of Social Structures
Teachers refer to Resource Material on this section to develop their questions/ideas
for classroom discussion. Think about discussing the following questions/ideas in
the classroom.
2. What kind of social practices are observed in their household?
3. What are the possible applications of social practices? Has any student been taught
about them in their household? What is their understanding of it?
4. What languages are associated with social practices?
5. Ask students to compare the elements of traditional social practices with the present
day concept of human rights.
6. How can traditional social practices promote peace and equality, especially
womens rights?
7. Have the students conduct the exercises in the Student Activity Sheet provided after
delivering the initial lessons.
37
Identify the Activity or Place in the Picture from the given Words and Put the Correct Word in
:
the same order as the Picture Number in the Box Below
a. Jirga
b. Hujra
c. Gudor
d. Mizari
1
38
Which one of the above words is the odd one out?


Questions & Observations:

Design & Physical Features
1. What does a Hujra look like?
2. What does a Gudor look like?
3. What does the Jirga look like?
Where is it located?
Have you seen it somewhere? Where?
How long have you known them?
Have you been to any of these places?
What dierences did you observe in
their structures?
Functions:
4. How does the Hujra work?
5. How does the Gudor work?
6. How does the Jirga work?
What happens there?

What is it used for?
Who are the people involved?
Have you been to any of these places?
What was your most memorable
experience with them?
What dierences do you see in their
functions?
Building Materials:
7. Of what is the Hujra made of?
8. Of what is the Gudor made of?
What material are they made of?

What is their texture?
What do you need to build them?
Theatre Activity on Public Dialogue. Photo Credit: Punjab Lok Rahs
9. What is the Jirga made up of?
39
40

Lesson 1 and 2
Student Names:
Learning Category
LESSON 3
Age Group
Competing to
Enhance Mediation
Techniques Using
Social Practices

Students learn to use phrases,
idioms, proverbs and orally
express examples effectively
in order to make convincing
arguments for or against an
issue at hand.
Date:
Month:
Year:
Age(s):
Class:
Teachers Name:
Learning Outcome
Students are able to
demonstrate and apply
Mediation, Arbitration
& Negotiation Skills to
problem solving and for
resolving conflicts

LEARNING OUTCOMES:
CREATE A DIALOGUE BETWEEN FATHER, MOTHER AND THE SON

Instructions for the Activity
Read the Story of Hujra of Khan Karimullah Khan, Village Amazo Ghari, District Mardan
Identify the Key Social Issues Highlighted in the Story and List Them
Create a Dialogue from the Issues in the Story between a Father, Mother and Son
The Dialogue is focused on the culture of Hujras in 3 villages of District Mardan
The Main Argument of the Dialogue is Hujra is a Good Place for Holding a Jirga
The Father is in favour of the Argument
The Mother is against the Argument
The Son is neutral.
1. Students are able to demonstrate and apply Mediation, Arbitration & Negotiation Skills on
problem solving and resolving conicts.
2. Students and teachers understand social practices in the modern context and are able to apply
their understanding to improving their critical and analytical thinking skills.
their understanding to improve their critical and analytical s k i l l s and are able to resolve
challenging emotional and psychological conicts with a sense of cultural pride.
Integrating Social Practices in Subject Areas like Maths, Science, Social/Pakistan Studies,
and Language Classes:
Teachers may refer to Resource Material on this section to develop their questions/ideas for classroom
discussion. Think about discussing the following questions/ideas in the classroom.
1. How are conicts and disputes resolved through traditional social justice systems?
2. What are the similarities and dierences between present-day legal systems and traditional
systems of justice?
3. What are the possible applications of social practices in achieving peace and harmony?
4. What is globalization and what eects does it have on cultural practices?
5. Ask students to compare the elements of Asher with the modern concept of human rights.
6. What elements of traditional social practices have become threats to human rights?
7. How can traditional social practices promote peace and equality in the region?
8. What are the traditional methods of protecting the environment in your region?
9. If combined with modern techniques of environment protection, can they improve the living
conditions of your region?
41
42

Learning Category
LESSON 4
Age Group
Integrating
Problem Solving
Techniques Using
Social Practices
in a Mathematics/
Science class

Lesson 3, Lesson 4 and Lesson 5
Learning Outcomes
Students learn to combine

modern and traditional methods
of inquiry, investigation,
research, to arrive at a solution
to a technical problem or conflict
based on technical issues.

understand social practices
in the modern context
and are able to apply their
understanding to improving
their critical and analytical
thinking skills

Names of Jirga Members

1.
2.
3.
4.
5.
6.
7.
Day/Month/Year:
Tasks for the Malak & Jirgamar
To Investigate and Resolve Water Dispute
____________________________________________________________________________________
Get the Jirgamars settle into a circle as shown below, go through the rules of the activity:
LEARNING OUTCOMES:
Each Jirgamar takes turn in greeting the members across.
Jirgamars discuss the main purpose of sitting in the circle, and decide amongst themselves to choose a

systems of justice?
43
Each Jirgamar in the circle introduces themselves by their name, and tribe
Malak to assign them a task.
At the centre of the circle are task cards for all Jirgamars, and the Malak nominates one Jirgamar from
After reading or explaining the task, the task card holder takes the role of Malak and chooses Jirgamars
the circle to pick up the task card and read it out to everyone.
from the circle to carry out the task.
*TASK CARD - FRONT

There are three tribes in the village Utror and Kalam, Swat valley who are out to kill each other under the
pretext that they have diverted rain water channels to each others agricultural fields and orchards that have
inundated and destroyed those fields. The matter has been brought to the Jirga.
What happened?
How did it happen?
Where did the rain water come from?
Was there any other destruction caused in the villages besides the fields of the tribes in question?
What is the amount of loss experienced by each tribe?
What is the amount of loss experienced by the others in the villages?
Who are the witnesses?
What is the history of relations between the three tribes?
Resolve the dispute by convincing the tribal leaders of the three tribes that the cause of destruction was
flooding due to rainwater.
*TASK CARD - BACK

Name of the Malak:
Roles:
Jirgamar:
Tribal Leader #1:
Tribal Leader #2:
Tribal Leader #3:
Keeper of Land Records:
Police Officer:
Utror Council Member:
Kalam Council Member:
HOW THE CONFLICT IS RESOLVED:______________________________________________________________
44

Learning Category
LESSON 5
Age Group
Integrating Problem
Solving Techniques
Using Marginalized
Social Practices
in History/Social
Studies/Art class

Lesson 3, Lesson 4 and Lesson 5
Learning Outcomes
Students learn to utilize as

well as combine modern and
marginalized and extinct spaces
for inquiry, investigation,
research to arrive at a solution to
a technical problem or conflicts
based on gender-related social
issues.

understand social practices
in the modern context
and are able to apply their
understanding to improve
their critical and analytical
and are able to resolve
difficult emotional and
psychological conflicts with
a sense of cultural pride

Names of Participants
1.
2.
3.
4.
5.
6.
7.
Day/Month/Year:
Each person at the Gudor meeting point introduces themselves by their name, and tribe
Each participant takes turn in greeting the members across.
Participants discuss the main purpose of meeting, and decide amongst themselves to
choose a Malika to assign them a task.
At the centre of the circle are task cards for all participants and the Malika nominates one
participant to pick up the task card and read it out to everyone.
After reading or explaining the task, the task card holder takes the role of Malika and
chooses participants to carry out the task.
After the task is done, all participants develop a tapa based on the discussion they had
on their villages education situation for girls.
*TASK CARD - FRONT

Education, Please?
Instructions for meeting at the Gudor
LEARNING OUTCOMES:
Task for Gador Members
There are no schools for girls in the village Darmai, Azad Banda in tehsil Matta in Swat, and their parents are
concerned. Here is the information you have to solve the problem:
The only school girls can go to is 50 miles from village, whereas the boys school is 15 miles from the
village.
Parents cannot afford transport costs for the girls.
The Gudor of village Darmai is a popular gathering place for girls and women to share stories and
invent tapas.
There are teachers in the village but they are engaged in other income generation skills like embroidery,
and crafts after the schools were blown up in their village.
The village has an active farming community and is well known for its apples, peach, pears, apricots,
walnut and almonds
Parents are generally reluctant to send girls to schools because of the social stigma attached to their
gender.
*TASK CARD - BACK
systems of justice?
Roles at the Gudor:

Mother:
Daughter:
Sister:
Wife:
Aunt:
Boy Student:
Girl Student:
Craftsperson:
Farmer:
How Many Ways Can the Problem Be Solved?
______________________________________________
________________________________________________
________________________________________________
*Teachers are encouraged to add their own task cards on issues they feel are important to address.
45
46
Thematic Project
Learning Category
TP-1:
My Community, My
Home
TP-2:
TP-3:
Our Town, Our
Context
TP-4:
Mela
47
Objectives and Thematic Activities
Learning Outcome
TP-1: Enhance a students sense of pride

and identity through mapping of his/her own
communities.
TP-2: Enhance Students appreciation
and knowledge of the variety of Intangible
Cultural Heritage present in their respective
communities.
TP-3: Collect information regarding games
which are presently being played and how
they have changed over time
TP-4: Enter information in the School
Database for further use in the suggested
lessons
Students and teachers are

able to document and map
their own communities,
identify and relate to
the intangible cultural
heritage present in their
communities and be able
to pinpoint the changes to
the ICH over time and their
causes.
Use the Thematic Projects booklet included

with the Introduction Module of the TRK to
plan student activities.
Khyber Agency Hujra. Photo Credit: SAP (South Asian Partnership)
48
Part 4: Annex
Sr.
No.
Word
Meaning
1.
Arbitration
The hearing and determining of a dispute or the

settling of differences between parties by a person or
persons chosen or agreed to by them.
2.
Adaptation
The act of adapting. The action or process of

adjusting to a given environment.
3.
Colonization To form a colony. The act or process of establishing a

colony or colonies.
4.
Identity
The state or fact of remaining the same one or ones,

as under varying aspects or conditions; the condition
of being oneself or itself, and not another. It is a persons conception and expression of their individuality
or group affiliations (such as cultural identity)
5.
Inherit
To take or receive (property, a right, a title, etc.) by

succession or will, as an heir.
6.
Intervener
A person who intervenes, especially in a lawsuit.
7.
Modernity
The quality of being modern. The condition of being

new and modern - a style of architecture that combines tradition and modernity
Objectivity
The state or quality of being objective. Judgement

based on observable phenomena and uninfluenced
by emotions or personal prejudices.
9.
Pacifist
A person who believes in pacifism or is opposed to

war or to violence of any kind. Someone who chooses
peace in opposition to violence as a means of settling
disputes.
10.
Patriarchy
A form of social organization in which the father is

the supreme authority in the family, clan, or tribe
and descent is reckoned in the male line, with the
children belonging to the fathers clan or tribe.
11.
Diplomacy
The conduct by government officials of negotiations

and other relations between nations. Action of a
neutral, outside party as an intermediary between (or
among) principals in a dispute, without direct principal-to-principal contact.
* The Teacher may add any words that they feel need to be explained to the students.
49
Part 4: Annex
Appendix 2
Glossary (Local to English Translation)
*Vocabulary
8.
Appendix 1
(English to Pushto/Hindko/ Seraiki/Chitrali and any local language translation)

Suggested Glossary: Please add more words along with the Pushto/local language words and put a
copy of this on the classroom wall/notice board, for the students. Students should also be given a copy
to use.
Local Term
English
Melmastiya
Badal
Nanawati
Tapa
Mahiya
Malak
Lashkar
Tega
Masharan
Kasabar
Jirgamar
Hujra Life. Photo Credit: Sher Alam Shinwari
Hujra in the mountains of Swat. Photo Credit: Imtiaz Ali
50
Part 4: Annex
Appendix 3
Assessment and Feedback

Schools and teachers already have standardized methods of assessment of student progress and
performance. While standardized assessment methods are by all means encouraged, here is one
suggested form for students that you may find useful to inform assessment on ICH-integrated learning.
Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation
Tackles new tasks confidently

Appreciates and owns his/her cultural history/heritage
Emotional
Can control attention and resist distraction
Intellect
Is calm and focused on the activity
Monitors progress and seeks help appropriately
Persists in the face of difficulties
Negotiates when and how to carry out tasks
Can resolve social problems with peers
Demonstrates leadership qualities in a group
Social
Intellect
Is aware of feelings and ideas of others and respects them
Engages in independent cooperative activities with peers
Shares and takes turns independently
Can apply the wisdom and logic of ICH in subject learning and linking
them with modern concepts
Can speak about how they have done something or what they have
learnt
Cognitive
Intellect
Can plan and execute planned activities
Can make rational choices and decisions in a challenging environment
Can make distinctions between good cultural practices and bad
cultural practices
Initiates activities
Finds own resources without adult help
Motivation Develops own ways of carrying out tasks
Plans own tasks, targets & goals
Enjoys solving problems
TOTAL SCORE
51
*Score
Hujra in Matta, Swat. Photo Credit: Imtiaz Ali
10
*1=Needs Improvement, 2=Could Try Harder, 3=Could Do Better, 4=Well Done, 5=Excellent
Maximum Average Score = 100
Minimum Average Score = 10
52
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP, LAHORE
Tel: +92-42-35880822
Text: Sajida Haider Vandal (editor), Sher Alam Shinwari

Photography: Samra Mohsin Khan, Tehsin Ullah Jan
Printers:

Contents

1.
2.
3.
4.
How to use this Section

Lesson Objectives
Preparing for the Lesson
Delivering the Lesson
1
2
3
4
Part 2 : Resource Material

Pir Hamid kheshgi : Illustration for an Animated Film for the Master in Multi-Media
Arts at National College of Arts Lahore.
The Living Tradition of

Pukhtun Folklore
Promoting Peace and Social Cohesion
through Heritage Education
Resource Kit on Intangible Cultural Heritage

of Khyber Pukhtoonkhwa and FATA
1.Introducing the ICH Element: The Living Tradition of Pukhtun Folklore

2. Importance of Safeguarding Folkore and Oral Traditions
3. Types of Literary Expressions in Pukhtun Oral Tradition
4. Illustration of Pukhtun Folklore and Oral Traditions
5. What You Can Enjoy and Learn With One Folklore
5
7
8
9
43
50
PART 3: STUDENT ACTIVITY
51
1. Lesson 1: Introducing the Project The Living Tradition of Pukhtun Folklore

Theme 1: Develop an understanding of the living tradition of folklore, and the
importance of safeguarding folklore and oral traditions.
2. Lesson 2: Types of Literary Expressions in Pukhtun Oral Tradition
Theme 2: Forms of indigenous literary expressions
3. Lesson 3: The Pleasure of Learning Poetry with Pukhtun Folklore
Theme 3: Analysing Folklore and Oral Traditions
4. Lesson 4: Lesson Plan 4: Integrating Pukhtun folkore in Language/History classes
Theme 4: Folklore and Language
5. Lesson 5: Introducing Poetry in Science/Social Studies/Pakistan Studies/Art classes
Theme 5: Integrating Folklore in Modern Subject Areas
6. Lesson 6: The Art of Qissa Khwani
Theme 6: Integrating Traditional Storytelling in the Art of Speech/Language
53
SECTION B: THEMATIC PROJECTS
65
55
57
59
61
63

PART 4: ANNEXURES
Appendix 1 Vocabulary

Appendix 2
Appendix 3
Appendix 4
Appendix 5
Glossary(English to Local Language)

Classroom Activity Sheets (Included in Back flap of this Module)
Additional Resources
67
68
69
70
2. LESSON OBJECTIVES
S/No.
Title of the Part
Description
Part 1
Using the Section

Read the Introduction Section to enhance your understanding on how to blend
on Living Tradition folklore and oral traditions into the classroom teaching and lesson planning.
of Pukhtun Folklore The introduction also provides the different approaches and concepts which
may help you to converse with your students, effectively.
Part 2
Resource Materials This part consists of detailed literature on the pre-partition and post-partition
history of Pukhtun folklore and oral traditions including cited literature from
some of the well-known and respected tradition bearers of our times.
Teachers will find here a diverse and colourful collection of translated folklore,
poetry, matals, tapas, naaray, landays and Pashto proverbs , which they could
use in planning and executing student activities or extra-curricular projects.
Part 3
Student Activities
This part has been developed to guide teachers in adopting and planning
student activities focused on ICH. It gives an outline for devising lesson plans
based on the information and material provided in Part 2.
This part is divided into two distinct categories: Student Activities and Thematic
Activities. Student activities refer to activities that can easily be conducted in
the classroom as part of daily or weekly teaching routine. Thematic activities
refer to activities based on the four thematic projects that are aimed at
linking students with their community and ancestors outside the classroom.
Instructions, guidelines and student activity sheets are included as separate
hand-outs for teachers.
Part 4
Annexure
This part contains the vocabulary, glossary of useful Pashto terms and student
feedback and assessment forms. Additional resources supplementing this
section are included as separate hand-outs for teachers.
The main purpose of using this section is to make

young students own and appreciate the living
heritage of their folklore and oral traditions and
the implications of promoting values of peace, love,
honesty, tolerance, equality of sexes, humility and
respect for ancient knowledge and wisdom. In order
to achieve these goals, teachers are encouraged
to focus on the following points for delivering their
lessons:
Pashto being an ancient language is rich in folkloric

tradition and one can find true images of Pukhtuns in
them. Take for instance tapas and matals; they are not
just relics of the past, rather they portray the complete
life of Pukhtuns.
In the words of Dr Leonard N (Len) Bartlotti,
Proverbs are not folkloric relics, verbal decorations,
or collector-s items. They are very much alive and play
an important role in the speech of Pukhtuns today.
Pashto proverbs are found in textbooks, newspapers,
radio and television dramas, as well as in conversation
in bazaar and homes, between and among men and
women. They are heard in political speeches and
political commentaries, in situations of social conflict,
and in heated family arguments.
Get to know students by asking them about

the important moments of Pashto history and
history of their own communities, villages or
Being a robust and vibrant nation Pukhtuns have lived
tribes. Use the Who, What, Where, When, Why through their refine romantic feelings and sensibilities
and How approach.
because of their natural habitat. High mountains,
Enhance students understanding of the art flowing streams, tall trees and snowcapped peaks
of storytelling, the methods and techniques have inspired them to love poetry, music and natural
used by storytellers that leave a long-lasting beauty.
stamp on the collective memory for generations The Pukhtun tapas, matals, riddles, and Sufi poets teach
to remember. Ask students to share interesting ways of peaceful life where harmony, tolerance and
stories they have either read in books or heard equality prevail, where women and men enjoy equal
rights in society, where old heritage is preserved, where
from their elders.
Find, explore and draw wisdom and practical youngsters have healthy and positive activities, where
elders have a forward-looking vision, where issues are
lessons from folk tales.
Inculcate the spirit of appreciation for settled through arguments not with weapons, where
books and pens are the strongest of weapons, where
folklore and oral traditions by highlighting the women are respected and given education.
positive human values they teach like love,
equality of the sexes, tolerance, wisdom, survival skills, and respect for nature and respect for cultural
diversity as well as views of other people.
Bring out in students the inspiration to promote goodness and prosperity by using the beauty and
indigenous wisdom of folklore and oral traditions.
i. Teaching Historical Timelines and Changes through Time:
Students learn that the folklore and oral traditions of yesterday that speak of peace, tolerance, equality,
beauty and love are greatly needed even in todays so-called world of progress and modernity. Although
with time changes take place as this is living tradition and constantly responds to the time and the context
there is a common feature and that is that traditional folklore enables children to elevate their pride
and sense of belonging in the modern world through appreciation and acceptance of their cultural and
literary roots.
Developing an understanding of Changes with Time:
Use the Pashto poetry, Tapas, matals and riddles to compare and analyse the present-day social practices
of your area, and think about how they can be used to promote peace, tolerance and protection of natural
environment in your area and the world at large.
1
Living Tradition Of Pukhtun Folklore
2
Living Tradition of Pukhtun Folklore
ii. Enhancing Knowledge and Positive Creativity:
Broaden the students knowledge and creative thinking on

the variety and types of oral expressions in poetry which
promote peace, tolerance and social cohesion in KPK and
FATA and whenever possible, other parts of the world.
iii. Develop an Understanding of the Meaning, Form and
Context of Language in Folklore:
Guide students in extracting the moral lesson and wisdom
of folklore by enabling them to examine the different forms
and context of the language used to develop and express
those ideas.
iv. Integrate ICH knowledge and wisdom in Subject
Teaching:
Refer to the Introduction Section to understand the
benefits of integrating ICH knowledge into subject areas
like Language, Social Studies, History, Science and
Mathematics (if applicable). ICH-focused learning would
Khushal Khan Khattak
encourage students to take value-based actions and make
well-informed decisions that benefit the environment and their community.
The lesson plans are designed to improve a
students cognitive intelligence and speech,
using Pashto poetry, storytelling and
analytical thinking skills. Teachers should
ensure that students have mastered the
basic ideas and concepts before proceeding
to the lesson activities and thematic projects.
TIPS ACHIEVE OBJECTIVES IN THE CLASSROOM

Incorporate the knowledge from folklore and oral traditions
into classroom teaching and learning
Familiarize yourself with varying learning needs of age
groups and divide children into small groups (5-10 students per
group). If you are teaching in a co-educational school, please
ensure you divide students into groups without discrimination,
i.e., equal nunmber of boys and girls in each group.
Encourage children to talk to their elders in the family, and
peers and learn from them about the social practices of their
time.
Use visuals and introduce creative writing activities and
poetry circles based on oral traditions and folklore in the
classroom.
Organize competitions between classes like Bait Bazi (a verbal
game that could be played by composing verses of Pashto
poems, Tapas, matals, and riddles).
Invite elders and tradition-bearers in the community to
participate in teaching folklore and oral traditions.
Get children to draw comparisons (similarities and differences)
between modern poetry and folklore.
Encourage Children to find out more about the literary roots
and history of oral traditions of their communities.
The teachers should look at the vocabulary

and glossary appendices at the end of this
booklet to familiarize themselves with
unfamiliar words so that these may be
explained to the students.
They should also make their own list of
words that they think need to be explained
to the students.
A multi-step process has been developed
for teaching and learning, which starts from
simpler to more complex activities.
Teachers should lead students through
the process of connecting one concept to
another and also putting concepts into a
hierarchy from minor to major.
plans generally incorporate experiential learning and projects.
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Lessons can however be adapted with minor changes for different age groups/levels.
You may focus on developing and improving childrens cognitive, linguistic and analytical skills and inculcate a
sense of human well-being, mutual respect, tolerance and peace by teaching them these humane and diverse
principles expressed beautifully and aesthetically in their folklore and oral traditions.
The intent of the lessons would be focused on providing opportunities for children to understand and share the
various forms of Pahsto poetry and folklore and
What Teachers Need To Think About Before Delivering Lessons
be able to relate and narrate the underlying key
1. What are the possible applications of folklore and oral traditions?
messages.
2. Ask students if anyone in their household taught them or talked
This will include teaching children to read and
to them about their folklore and oral traditions?
recite traditional poetry, improve their mental 3. What forms of word structures are associated with oral
dexterity using for example, Tapas and riddles to traditions?
teach them about sequencing and logic. Similarly, 4. What learning activities should be associated with folklore and
teachers could refer to proverbs to resolve oral traditions?
situations of problems and conflict being discussed 5. What types of teaching and learning methods should be used
to integrate folklore and oral traditions into lessons?
in Social Studies classes.
Bringing folklore and oral traditions into the 6. What types of student evaluation methods should be associated
classroom, they help children experientially grasp with folklore and oral traditions?
skills and concepts relevant to their cognitive, 7. How can the living tradition of Pukhtun folklore promote peace
and equality?
emotional and psychological development that is 8. What past and contemporary cultural issues are associated
in tune with their cultural identity.
with folklore and oral traditions?
The living heritage of Pukhtun folklore is an 9. Depending on the topic/subject and learning outcome,
excellent example of an integrated approach to determine what specific cultural knowledge, skills, and behavior
learning where cognition, speech, language and learners will be, or should be exposed to concerning the topic/
experiential learning are activated simultaneously. subject so as to learn about it.
It is also a good model of the sequential approach
to learning, where learning competency at higher levels is dependent on prerequisite knowledge and skills at
lower levels.
4
1. Introducing the ICH Element: The Living Tradition of Pukhtun Folklore
Social issues became dazzling headlines and fiery editorials were printed. After partition, Abdul Haleem Asr (19101978) brought out the first Pashto weekly magazine, Insaaf ,in 1948 from Mardan which published literary pieces and
research articles aimed at promoting the region`s language and literature.
Hamish Khalil, in his book Da Qalam Khawandaan (A

Directory of Pakhtun Men of Letters), has mentioned
around 3,000 Pakhtun poets and writers between 1800
and 1975 who were prolific writers and have contributed
to Pashto language and literature by writing books both
in prose and poetry. Pashto has never enjoyed official
recognition and patronage, as it has never been the
court language despite the fact that Ahmed Shah Abdali
and Sher Shah Suri were Pakhtun kings; even they
preferred Persian to Pashto for court proceedings and
other matters.
The history of the written word in Pashto goes back

to 522-486 BCE with the discovery of a three-line
poetic piece engraved on the rock of a mountain
near Baghistan, Iran. If so it can be assumed that the
written history of Pashto is 2,500 years old. However,
researchers have identified three periods of the history
of Pashto literature. The first period begins with
Ameer Korer Ghuri (747 CE), the second period starts
with Bayazid Ansari (1535-1579) popularly known as
`Pir Roshan` or the enlightened Pir, while the third
period according to one theory began in 1908
when Rahat Zakheli Baba (1884-1963) wrote the first
ever short story in Pashto language.
After the advent of the British, the Pashto language and literature took a new turn. The British and Orientalists
rediscovered literary giants like Khushhal Khan Khattak (1613-1690), Rahman Baba (1653-1711) and other classical
poets and writers.
Pakhtun writers and poets of the early 20th century began to express their feelings and emotions by bringing out
literary magazines and pamphlets. These journals not only helped Pashto to flourish but also brought about a change
in the social, political and cultural vision of the Pakhtun nation. There were Translations from English to Pashto. Nun
Paroon was one such literary magazine published from New Delhi in the pre-partition era edited by the founding
Director of the Pashto Academy, University of Peshawar, Maulana Abdul Qadir (1905-1969).
Abdul Ghafoor alias Saidu Baba brought out the first ever Pashto monthly magazine in the pre-partition era titled,
Islam in 1884. In addition to Pushto, it used to publish scholastic and literary translations from Persian as well as
Urdu classics. It was followed by Anjuman, Payam-i-Haq and Anjuman-i-Himayat-i-Islam. One cannot term these
journals as being pure literary as they carried religious teachings too .They would not touch upon social issues or
criticize government policies. After all, the environment was not conducive for freedom of expression under the
British Raj.
Today more than 100 literary magazines are published
Many attempts at bringing out weekly newspapers
and monthly journals were made but each one faced
closure following the imposition of the 1910 Press
Act. Abdul Ghaffar Khan (Bacha Khan), founder of the
Khudai Khidmatgaar Tehrik, launched the first ever fullfledged Pashto magazine, Pakhtun under the auspices
of the Anjuman Islah-i-Afaghina in 1927 to bring about a
qualitative change in the outlook of the Pakhtun.
in Pashto from various places like Afghanistan and

of course from Peshawar, Kohat, Mardan, Bannu,
D.I.Khan, Charsadda, Karachi and Quetta. Most
of these literary magazines have gone out of print
due to financial constraints, yet they are considered
milestones in the history of Pashto literature. Despite
various problems, it is the Pukhtun poets and writers
who have had kept the Pashto language alive and
enriched.
A government sponsored magazine Jamhoor-i-Islam (later renamed Abaseen) attracted writers and poets as
it paid well and also highlighted the government`s policies and programmes. Apart from these magazines, some
Urdu daily newspapers like Shabaz, Anjaam and Baang-i-Harum also catered to Pashto readers by publishing a
separate supplement.
Pashto poetry has its roots in Sufism, Mirza Khan Ansari
the grandson of legendary Sufi saint and pioneer of
Pashto prose Bayazid Ansari was the first major poet
who propagated the Sufi tradition and several Pashto
poets followed his style integrating Sufism in their poetry.
The whole era spread over several decades dominated by
only Sufi poetry was termed as the Roshanite movement
till it reaches the time of Rahman Baba. Prior to Rahman
Babas period, diction of most of the Pashto poets was
Arabicized and Persianized. Khushhal Khan Khattak was
the first poet who deviated from the prevailing trend and
introduced new genres and subjects and also changed
the diction of Pashto poetry. Rahman Baba, though a Sufi
poet being a contemporary of Khushhal Khan Khattak
has touched upon a variety of issues in addition to the
Sufi tradition of Mirza Khan Ansari.
With early 20th century Pashto literature and the

dawn of the Pashto poets affiliated with the Khudai
Khidmatgaar Tehrik of Bacha Khan motivated the
masses to rise against the British government and
work for gaining freedom. They also introduced new
subjects and trends and changed the course of poetry
too. The subjects of humanism, Sufism, universal
brotherhood, peace and romanticism are scattered all
through the poetic thought of all the Pukhtun poets.
Amir Hamza Khan Shinwari, called the father of Pashto
ghazal, amalgamated the spirit of Khushhal Khan
Khattak and Rahman Baba in his poetry. His stress
was on Sufi thought and Pukhtunwali. He influenced
almost three generations of Pukhtun poets. Qalandar
Momand, Ajmal Khattak and Ghani Khan are other
great poets contemporary of Hamza Baba with their
unique style.
Khushhal Khan Khattak, a multi-faceted personality, is considered the father of Pashto who gave a new twist to
Pashto poetry and prose. Modern Pashto poetry in fact has its origin in his thought. The early 17th and late 18th
centuries are the renaissance of the Pashto language and literature. Then comes the most vibrant era of Pashto
folk poetry. A large number of extempore Pashto poets commonly referred to as Charbetee Shairaan. Their era
started with early 19th century till the time the arrival of the Bruisers in undivided India. In the beginning, most poets
versified stories related to the Prophets and their companions and later some of them have versified romantic folk
tales in Pashto. With the advent of the British, many Pashto Charbeta poets devoted their talent to versifying tyranny
being perpetrated by the British officers on common people.
The living tradition of Pashto is still retained where Pukhtun poets and now poetesses can participate in poetry
recitals on various platforms including media outlets and the cell or net connections.
Prominent men of letters affiliated with the Tehrik would contribute their poetic and prose works in it but in 1930
Bacha Khan was arrested and the magazine was closed down. It was re-launched in 1931 under Abdul Khaliq
Khaleeq and after several closures and re-launches, it was finally banned in 1948.
With the publication of Pushto weeklies and monthlies like Sailaab (1931), Strray Mashay (1932), Azad Pakhtun
(1932), Rahbar (1936) and Jamhooriat (1937), the scope of public awareness was enhanced.
5
6
The Living Magic of Oral Tradition
human learning inside or outside the classroom.
Apart from the historical account of the development of Pushto poetry and the personalities associated
with it; it is in fact the living tradition of narrating poetry of the great masters and the art of poetry which
is an important intangible heritage of the communities of KPK and FATA. Many an evening is spent in the
Hujras, and several Tapas have emerged from gatherings at the Gaudor.
3. Types Of Literary Expressions In Pukhtun Folklore
The oral tradition of KPK and FATA essentially rejuvenates the appreciation for love, beauty and peace.
The mehfils (sessions) that are continuously being held in various locations point to the fact that women
and men continue to use poetry as a means of expressing their emotions, which is of value to their
communities. For example, in the Chitral District, Poetry Circles are held on a regular basis to keep this
oral tradition alive.
2. The Importance of Safeguarding Folklore and Oral Traditions

In 1989, at the UNESCOs 25th session held in Folklore and oral traditions are the universal heritage
Paris, France, member state governments adopted of humanity, as coined by the UNESCO. These are
a recommendation to take practical measures important especially for the children from indigenous
in safeguarding the folklore and oral traditions communities to be able to communicate through folk
of communities in their countries. Folklore (or tales and stories of their oral traditions that form a
central part of their cultural identity. Folklore and
traditional and popular culture) is the totality of
oral traditions are at the brink of extinction as a result
tradition-based creations of a cultural community, of globalized economy. Already, the UNESCO has
expressed by a group or individuals and recognized identified 6000 indigenous languages and cultures
as reflecting the expectations of a community in so that have dissipated and disappeared under the folds
far as they reflect its cultural and social identity of globalization and Western imperialism.
its standards and values are transmitted orally, by
imitation or by other means. Its forms are among others, language, literature, music, dance,
games, mythology, rituals, customs, handicrafts, architecture and other arts.1
It is therefore not only essential but necessary for regional peace and tolerance to keep the centuriesold transference of information and wisdom of human experience alive and integrated into modern-day
1 Text of the UNESCO 25th Session, 1989 - http://portal.unesco.org/en/ev.php-URL_ID=13141andURL_DO=DO_TOPICandURL_

SECTION=201.html
8
QAISAS OR STORIES2
of you. You know very well that I never talk to strange girls. Now,go home and I hope you never repeat
this mistake in future, Yousaf Khan advised his sister. On her way home Bandai was intercepted by
Sherbano to know Yousaf Khan is reply but she observed complete silence and passed on. This hurt
Sherbano. She cursed Bandais brother, May a misfortune befall him in the hills. After a while Yousaf
Khans hounds came running home from the hillside, meaning that something terrible had happened to
her brother. The Mother and sister of Yousaf Khan rushed towards the mountain and in the meanwhile,
Sherbano too followed them. They saw that Yousaf Khan was hanging from a high cliff as his enemies
had tied him with a rope to snatch his prey.
Yousaf Khan and Sherbano

In Turlandai village of Swabi, lived Shah Mohammad Khan who had only one son named Yousaf Khan and
a daughter Bandai. He died very young and left his children behind in the care of his mother. When he
grew up Yousaf Khan was a diehard lover of hunting. He had hounding dogs which used to accompany
him while hunting. His dogs had leashes with bells around their necks. One day, Yousaf Khan was going
past the home of Sherbano. The jingling sound of bells roused her from her deep sleep. She became
very angry at this. She leaned over the wall to see what had disturbed her peaceful sleep. She saw a
handsome young man riding with hounds down the way; the jingling of bells around their necks had
woken her up but her anger subsided when she was attracted to the young man.
Sherbano did not know anything of the handsome young man. One day, she ran into a girl near her home.
After an exchange of greetings, she asked her her name and family background to which the girl replied
that her name was Bandai, the sister of Yousaf Khan, who went past this way for hunt every day in the
nearby mountains. The girls duty was to cook a meal for her brother on his return from hunting along
with his dogs. Hearing this, Sherbano made an earnest request to Bandai to convey her compliments to
Yousaf Khan.
Sherbano asked Bandai to cut the rope and let Yousaf Khan fall into her lap which she did. He thanked
her for saving his life. It was revealed to him that his rescuer was no other than Sherbano of Sheraghund
village. He agreed to marry the brave girl, Sherbano. To commemorate her courageous attempt to save
his life, Yousaf Khan secretly went to Hindustan to earn money to end his extreme poverty. Somebody
told Sherbano that Yousaf Khan had deceived her as he had fled to a far off land to bring wealth and
get married to a beautiful lady. Sherbano said she would wait any length of time for she was positive
that Yousaf Khan would return one day. After a year, cousins of Yousaf Khan forcibly wanted to marry
Sherbano to another member of their family because they thought he (Yousaf Khan) would never return.
Sherbano was not ready for a forced marriage. Being helpless, the mother and sister of Yousaf Khan
could not save Sherbano from the impending tragedy.
Bandai at first refused flatly, saying that Pukhtun girls never talk on such issues with their brothers.
No no, how can I, being a sister of Yousaf Khan, take a message from an alien damsel to him. He will
mind it. He is very dear to me and I dont want to annoy him in anyway, Bandai declined. Sherbano,
however, convinced her that it would be but for one time only that she would become a go-between her
and Yousaf Khan. I implore you Bandai, please do it and I shall never force you a second time. Present
my compliments to your dear brother and tell him that a girl, Sherbano, in Sheraghund village loves him
dearly, Sherbano beseeched. Bandai conveyed Sherbanos to Yousaf Khan.
As fate would have it, Yousaf Khan returned from Hindustan and heard the story about the whole situation
from his sister Bandai. I wanted to earn enough money to bring Sherbano to my home in a befitting
manner. I was sure she would stand up to any kind of force and would never get ready to marry any other
man than Yousaf Khan. True love never dies, Yousaf Khan told his mother. He paid all the debts incurred
by his mother and sister whilst he was away. He also forgave his unkind cousins. The long awaited day
arrived when Sherbano got her hearts wish fulfilled. Both Yousaf Khan and Sherbano began living a
happy life.
Bandai, you are my dear sister but you have committed a serious mistake today which I didnt expect
2 Pushto Lok Kahanian by Mohammad Shahid of Rustam, Pashto Academy University of Peshawar in collaboration with Lok
Virsa, Islamabad (2008)
Jirga-1 - Punjab Lok Rahs
10
Adam-Khan and Dur-Khanai
The Story
Introduction
This classic romance has been called the Pashto Romeo and Juliet (Darrnesteter 1888-1890:17); it
has both a written and an oral tradition. A seventeenth-century composition in couplets has survived
in nineteenth-century manuscripts and was published in 1960 by the Pashto Academy with extensive
annotation; other nineteenth-century compositions exist in both prose and verse (Blumhardt and
MacKenzie 1965: 100, 126-7). Ghazanvi (1978: 51) has suggested that the events of the story took place
during the reign of the Moghul emperor, Akbar (1556-1605 C.E.).
The recording for this translation is based on verses by a late nineteenth-century poet, Sayyid Abu Ali
Shah; the preface in a bazaar chapbook puts its composition at the time of Umra Khan, whose story is
also included in this volume. The poet has several subplots in his narrative, which differ from those of
some other versions. The singer, whose usual audiences could be assumed to have the underlying plot
in mind, has included many verses from the subplots. It may therefore be helpful for readers unfamiliar
with the story and its social context to glance briefly at the Endnotes first.
Ive seen this related in a book, and thus it is described

beneath my pen.
In the country of Swat, there were several villages, which
were more beautiful than any others. One was known as
Upper Bazdara and the other was called Lower Bazdara.
To be brief, they were like gardens of paradise in which
every flower was a beauty mark on a sweethearts brow.
In Lower Bazdara there was a Pashtun whose blood
coursed constantly with manly valor always active day and
night. The name by which he was renowned was Hasan
Khan and he was glorious with his head crowned by honor.
God gave him the kind of son who was outstanding among
the worlds beloveds. His parents named him Adam Khan
and the light from his face was like stars in the sky. He had
a friend, a comrade whose name was Miru, and the name of
another friend, Balu, was known everywhere. They walked
all over arm in arm and he was a pearl in its shell with them
around him. Their houses were all in Lower Bazdara and
the hearts of suitors looking at them would be shattered.
Dur-Khanai
The house of Bibi Dur-Khanai was in Upper Bazdara and it was famed in all directions for its elegance.
It belonged to the fine gentleman in Upper Bazdara who was known by the name, Taus Khan. He had no
boys, not a son in his house, and he was in sorrows fetters, suffering for a son. He did have this perfectly
beautiful daughter who was the image of a nymph in Paradise. Her parents had named her Dur-Khanai
and she was much esteemed in that land.
Her father said, My daughter, thats very nice, and what you say all seems admirable to me. But it
wouldnt be a proper situation for you, sitting for the Mullah with a burqa on your head. Lesson time for
you is over, so sit veiled inside and dont go wandering around!
To be brief, friend, every day Dur-Khanai expressed this longing to her father in the same way. The
result was that she made her father agree by that means and he said, All right, fine girl, take your
lessons! So the Mullah came to her every day and Dur-Khanai said her lessons to him. She was always
accompanied by her good-natured old maidservant whose name was Gulunai. Dur-Khanai was always
saying her lessons and God imparted every kind of knowledge to her.
[In those days] there was a man named Payu Khan who was known to everyone by that very name. Son,
my cherished child, said his honored father, tell me a little of your hearts secret. [He replied,] My
heart longs to be betrothed to Dur-Khanai, so do that to make my heart a flourishing flower garden.
The narrative came thus from the narrator, and I saw this romance in a book. Dur-Khanai had an
aunt in Upper Bazdara who lived there in her own house. She had a daughter [ready to be married]
whose name was Baskai and everyone knew songs of her beauty. [The aunt decided,] Dur-Khanai
should come to Baskais wedding, for some girls will be coming from the grooms side and some
from Baskais. Baskais mother set off by herself like a nightingale going on its way to Paradise. She
made this speech before Dur-Khanais father, explaining politely and respectfully, Baskais wedding
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12
is arranged for today or tomorrow, and since Dur-Khanai would enjoy being there, may I take her.
Khan is madly in love with Dur-Khanai and, as you may realize, this will cause great mischief. If Payu
learns about this matter, your life will be in danger, believe me!
Dur-Khanais father turned his face from Baskais mother and he politely put the matter this way. Since
weve become responsible to other people for Dur-Khanai, we are not now free in regard to her. Shes
been betrothed to Payu and if she leaves the house now, it would be very bad. [But] in short, Dur-Khanai
and also her nurse, Gulunai, both went off in burqas with the aunt. When they all entered Bazdara, after
greeting Baskai, they all embraced each other. [There at the wedding] every man was gripped by love for
Dur-Khanai and truly, theyd have given up life and wealth for her.
It is said that at that time there was a saint [named PirSalih ] whod be counted as among the best of
saints. When that sage learned of his situation, he got extremely sad and depressed. [His nephew] Ikram
Khan said, Uncle dear, why do you grieve and what makes you sit heartsick, lost in thought?
When the nephew learned the reason, he made this speech to PirSalih. Now listen so youll
understand it, for its a pearl in the hands of meaning. Ill have a splendid young man come to the
wedding. He is known by the name, Adam Khan, and people say his fathers name is Hasan Khan.
Ikram Khan set off from home with his uncles permission and when he arrived at the house of
Adam Khan, Adam Khan gave him a saints welcome and said, May God bless this meeting with
a saint. Im standing here eager to serve you and may the Lord grant all that you ask. Ikram Khan
said, In fact, Im just sent by my dear uncle whose sitting back there secluded on a bed of sorrows.
Adam Khan together with friends of his own age set off to visit the faqir. PirSalih raised his hands in
prayer and he offered a prayer for Adam, May courage from prayers accompany him! and he said,Go,
may God anoint you with a dream fulfilled!
When Hasan Khan learned that news, all sense and reason instantly left his heart. He quickly sent a
messenger to Adam Khan, Come, and sit quietly at home! Adam Khan sped off with no delay and with
him were Miru, Balu, Shamshad, and his father. Dur-Khanai had gone off like a fairy, and she was filled
with a beauty like Josephs.
When day passed, then nights turn came, and nights darkness spread far and wide. Adam Khan said
to Miru, My friend, I cant rest after seeing my beloved. Im breathing my last breath, Im in agony, for
the beautiful vision of my sweetheart is in my heart. They both discussed strategies together and their
hearts were desolate with sorrow.
Leaving Balu in that place, they set off as they went in search of Dur-Khanai, his shining moon. Miru said
to Adam Khan, My noble sir, sit here, dont leave this place. Ill go first and find out the situation for you
and then Ill give your name there on this matter. Though I would die, Im your devoted friend to the death
and I should be counted in the circle of your servants.
To be brief, Miru set off in the direction [of Dur-Khanais house] and he entered her house politely. [With
the way cleared,] Adam Khan set off toward his beloved and the stars in the sky were watchmen for his
good luck.
0 Sayyid Abu Ali Shah, when lovers meet
The sorrows of separation all vanish from them.
Sayyid Abu Ali Shah, may the Lord be his companion!

May every difficulty ahead of Adam be solved!
[Adam Khan sings at the wedding.] Show me the white cheeks of the new moons face and well be happy
for years like two titmice. Thus Adam sang fine ballads and Dur-Khanai was listening inside in a corner.
[She said,] A sweet voice comes to my ear in such a way that my soul goes in the air with excitement.
The rebecs gentle voice joins with it too and my grief- stricken heart is happy. He plays each string of the
rebec in such a way that the living would die entombed by his song.
The nurse said, 0 my darling, Ive raised you like my hearts daughter. That [singer] is a Pashtun named
Adam Khan and the crowds are in an uproar over him everywhere. If you want to see him, get up quickly,
and put ointment on your heart yourself!
At the nurses speech, Dur-Khanai went quickly and at the wall she revealed her slender neck.
She revealed for a moment her brows beauty spot and she slew the whole gathering without
a sword. Dur-Khanais gaze fell on Adam Khan and sense and reason left her body. Instantly
she fell face down on a bed like a date palm falls down in a typhoon. She said, Mother nurse,
I was unprepared today, my mouth was open today to breathe my last breath too early.
When Dur-Khanais aunt heard her words, she sat by her, devastated. She said, My niece, whats come over
you that youre burning from head to toe, suffering over someone? Which countrys prince has ravaged your
house and whos consigned your sweet body to sorrow? [She replied,] My soul is leaving, aunt, for Gods sake,
silence! Dont give advice to me twice. Adam Khans taken my heart from me, Ive lost my heart to Adam Khan!
So Baskai was married, people dispersed from there, and a commotion arose over the love of Adam Khan
and Dur-Khanai. One man went in a hurry to Hasan Khan and he said, Khan, come, hear this tale! Adam
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When daylight made the skys edge red, Miru called out to Adam Khan. Miru cried, Adam Khan, the time
is short! Be alert, Im telling you! Come on, leave this meeting! Thats enough now, or the watchman will
tell folks about you.
[Learning of the marriage, Adam Khan runs off to the wilderness and then returns to his fathers house.]
Putting both hands on his forehead respectfully, he gave a deep bow to his father, the Khan. He said,
Father, kind sir, hear my humble words, hear how todays tidings have put great sorrow on me! DurKhanai holds my heart in her hand, and so I sat disheartened in the forest.
Adam Khan left Dur-Khanai and he was filled with trembling like an autumn leaf. The three, Balu and
Miru together with Adam, all departed, weeping in sorrow as they took leave.
When Dur-Khanais eyes saw the ring, her body was instantly a burning brand. Poor Dur-Khanai came to
life at that sign and she began to sparkle, freed of her agony.
0 Sayyid Abu Ali Shah, if someone tells the truth,
He is doubtless the best of poets.
The mosques priest calls for prayers for gain and Dur-Khanai quickly raised her head to gain. On some
pretext, she left her home and she went to her nurses dwelling, my fine friend! She said, Oh mother, Im
sad and depressed, and some time has passed since youve come to ask about this poor girl. You raised
me like a pet mynah and youve rid me of grief in days past. Id sacrifice life and wealth for my beloved
if it were possible but the way Im being cheated of him, it seems pointless. Something has happened to
me, mother nurse, and I have no one but you to sympathize! [Go!] Tell him, Shes mad with grief over you
and shes forever fleeing from the house, just going wild. Have him ask about my situation some time,
for my last breath is going from my throat!
When the nurse heard Dur-Khanais condition, she too was turned inside out with grief. She quickly
sent a man to Adam Khan, telling him, Go again to that beautiful house! Give Dur-Khanais greetings
respectfully to Adam Khan and after the greetings, give him her statement, and say to him, Leader of all
the Pashtuns, may God keep you constantly from sorrows burden.
There was a man known as Mirmai and he was like a beautiful moon in wealth and holiness. Hasan Khan
went to his house for aid, going personally to great lengths against Payu. [Abasing himself] Hasan Khan
said to him, Great friend, I regard even the maidservants at your door as fine ladies! When Payu took
Dur-Khanai to his house, he put a fire of sorrow on Adam Khan. Give me help for Gods sake, Ive come
for help, heal my heart! Get up and tie honors sword at your waist. Dont drive me away in anger, speak
to me nicely! Mirmai said, Everyone should take care of whatever friends he has in such a situation.
Adam Khan and Hasan Khan, Miru and Balu too, and all the relatives and elders gathered together.
Mirmai also had all his relatives along and his son, Gujar Khan, was in it with them. When all those
people were assembled at [Payus house in] Bazdara, people were amazed at the rows of riders. Adam
Khan had sent a man earlier to tell his beloved that he was on his way. Adam Khan mounted Dur-Khanai
behind himself and he quickly took her clear away. Adam Khan took Dur-Khanai away rapidly and then
they went for shelter to the house of Mirmai. Dur-Khanai stayed in Mirmais house while Payus house
turned ashen without the light of her beauty.
The words written in the book [that I read] are quite correct regarding Dur-Khanais stay at the house
of Mirmai. After some lime, Payu spoke in this way with Mirmai, talking of an agreement with him, I
will give you great wealth beyond counting, for my hearts breath is staying in your house. Dur-Khanai
has been the apple of my eye since long ago and Ill die from the taunts about this affair. Ill give you
uncountable wealth and money if youll give Dur-Khanai back to me, for Gods sake! [Betraying his trust,
Mirmai accepts the bribe and gives Dur-Khanai back to Payu.]
Seeing the light, that man set off and in Bazdara he went bustling up to Adam Khan. Its my duty to tell
you about all the sorrows visiting that miserable girl. If you dont ask about that poor girl, youll soon hear
that shes been buried.
He said, Messenger, get up, go back, and may the sweepers use my eyelashes at my beloveds door!
[Take her this necklace and say] Here is a sign sent by that wretch burdened down with grief in his love
for you. The messenger relayed all those words of her beloved.
0 Abu Ali Shah, he put more grief upon her.
One day it happened that Payu got ready and he set out with friends, intending to hunt. He said, Come
on, friends, lets go hunting and then on the tenth day, well return to our town.
When Dur-Khanai learned that Payu had left, her heart went again toward her beloved. She said to
Gulunai, Be quick, go to my lover and say, Come quickly to the fine bazaar of beauty! The gardeners left
the garden, the garden is empty and the black crow stands back in grief for it.
Gulunai goes off by way of the garden and her pace is very stately, lest anyone be looking. [She says to
Adam Khan,] Bibi Dur-Khanai invites you to come quickly, so get up, Dur-Khanais expecting you. Payus
gone hunting, get there quickly, reunions cup awaits your hands. When Adam Khan learned that news,
he gave many pearls to Gulunai. Miru was one, Balu was the second, and Adam Khan was the third who
hurried off to Dur-Khanai.
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Dur-Khanais heart had by then become one with Adam Khans and the villain, Mirmai, acted wrongly
toward them. Adam Khan and Dur-Khanai kept beating their foreheads with sorrow and both of them
had eyes constantly brimming with tears. Adam Khan said to Gujar Khan, Friend, your father acted quite
despicably toward me. I had brought my beloved to his house and he behaved without any sense of shame
at all.
and her eyes full of tears. To be brief, being separated was like being put in an oven, and Adam Khan and
Dur-Khanai were in great agony.
When Gujar Khan heard that kind of statement, he turned pale and held back his fears. Gujar Khan
instantly gathered together each one of his relatives and he stated his contempt [for his father] to them
all, Since my father has acted extremely dishonorably, theres a stain on us until the Resurrection.
Gujars supporters came with weapons slung over their shoulders as side by side, they went after Payu,
Since we are acting for honor against Payus relatives, well fight on a clean field with Gujar Khan!
[After an unsuccessful fight to retrieve Dur-Khanai] the wounded all lay everywhere, Payu had won
victory, and Gujar Khan was defeated. Balu was also wounded and, he finally died, and Adam Khan was
tarnished with grief over him. [Roaming about deranged by Balus death and the loss of Dur-Khanai]
Adam Khan wandered on the plains of separation and like the legendary Farhad; he was out of his mind.
The words from the mouth of Sayyid Abu Ali Shah,
Are pearls coming to the gatherings ears.
Now they say that there was then a group of ascetics whose proper country, it seems, was in India.
They had come here for their own amusement and they wandered around to guesthouses quite secretly.
Those hermits saw Adam Khan when worries were raining on him day and night. The ascetics inquired of
someone, Why is that man shouting and making such a noise?
Miru said to them, He had a friend whom he needed constantly at his side. His friend whose courage
was admired by everyone gave his life bravely in service to him. And in Bazdara there was a fairy-faced
girl who was like the sun among all beloveds. The poor man is so deeply in love with her that he got down
from his throne to become a beggar. That fairy was named Dur-Khanai and shes made his throat choke
up with grief. His names well known, its Adam Khan, and in truth he is a lion of Pashtuns.
When the hermits learned these matters, they immediately started talking to Miru this way. Well have
him meet with Dur-Khanai and well make the rest of this business our responsibility. They quickly
threw ochre robes on Adam Khan and they made him a hermit like themselves. They did that to both
Adam Khan and Miru and then they took the two of them along.
When the group entered Bazdara, they sat in the guesthouse of Payu Khan. They put on such a show for
him that men and women too stood all around them. Payu said to the ascetics, This house is yours and
a feast has been fixed for you here. [Dur-Khanai comes to watch and] when Adam Khans eyes looked
around, he raised them to that sun of beauty. Dur-Khanai was standing there for him as before, with her
black eyes, slender lips, and long neck. The hermits went out of there to a garden and they were seeking
some signals from the lady.
Now when Payu Khan would go somewhere out of the house, my brother, the house would be empty
for Dur-Khanai. Dur-Khanai would rush out to the garden and shed sit in the shade beside the wall. One
day Dur-Khanai had been waiting for Adam Khan and suddenly Payu came peering down on her. Payu
had been suspicious of the hermits and he instantly took precautions of his own. Payu drove away the
hermits, the maidan was emptied, and Dur-Khanais sorrow returned to what it was before.
The hermits set off, going toward their homeland, and Adam Khan and Miru then went to their own
homes. Dur-Khanai went crazy from her great grief, and her hair was tangled, her clothing in tatters,
17
Adam Khans father, Hasan Khan, was in mourning because his son was set on fire by love. One day
Hasan Khan called Miru to him and he said, Listen to what I say! Adam Khan ought to have a wife
somewhere and thus he may kill the fire of grief with the water of patience. They say that in one village
theres a certain girl whos as slender as an Iranian sword. This flower bud is named Gulnaz and shed
suit this nightingale of ours. You should show her to him however you can, and you might look at her with
your own eyes too.
When Miru was told those matters, he went and stood before Adam Khan, 0 prince, lets go somewhere
and travel from village to village for otherwise well just sit here grief-stricken. When they entered the
village of Bibi Gulnaz, they wandered in the lanes all through the village. Miru said, There is a house
here with a girl in her fine youth whos like a fairy of Paradise. Shes named Gulnaz and shes admired
among all beauties. It would be good now for us both to see her and maybe youll like that girl with the
elegant neck. Adam Khan said, Good, lets go, friend, well walk as far as her street.
When their call for alms came to Gulnazs ears, she immediately rushed toward the street. She herself
filled their skirts with alms and she said, Take this, hermits, and go in some other direction. [Miru
said,] I am Miru, this other one is Adam Khan, and this poor mans come here himself to see you. For
Gods sake, give him orders from your lips and refresh his eyes dried up by separation. Being denied his
lovers curls consumes him and so he has come to you weeping.
When BibiGulnaz learned of this situation, she was overjoyed in her heart, Dur-Khanais lover needs
me! Ill be the fashion among lovers in this world! Then Gulnaz said to him, Leave this place and dont
sit alone any more. Theres an old woman in a certain house and shes become an expert in the book of
love. [And Gulnaz says she will meet him there.]
When Adam Khan learned these things, he set off with Miru right away. They both stayed in the old
womans house and thanks to her, his anguish went away and he was happy. [Gulnaz arrives at the door.]
A lovely fragrance wafted from her clothes and her beauty was of the highest order. The old woman took
the beautiful Gulnaz inside [to Adam Khan] and it was like nightingales coming to the same place in a
meadow.
Now when BibiGulnaz went inside, she became at once the confidante of Adam Khan. They laughed and
joked all night long and it would make any listeners mouth water. [But her spell wears off and Adam
Khan thinks of Dur-Khanai] Then Gulnaz got up and went home, for she couldnt cope with the cries of
the grieving man.
Adam Khan started on the road for home and his eyes overflowed with cascades of blood tears. He took
to his bed, ill with fever, and his tongue called for his darling constantly, Tell her how ill I am, wake her,
get her up from the sleep of ignorance! If only shed come, Im about to breathe my last! My souls just
is waiting for the sight of her. Still pleading, he gave up his soul for his beloved and Azrael took him to
the sky.
0 Sayyid Abu Ali Shah, the world is transitory.
In a short time, this dwelling place is desolate.
Freed of grief, he fell peacefully into deaths embrace and all the world learned of his death. One woman
sped to Dur-Khanais side and she said, Dur-Khanai, see Adams honor! That famous man perished for
love of you and hell be renowned for his faithfulness until the Resurrection. People were saying, Adam
Khan has died today and he crumbled away with grief over Dur-Khanai.
18
When Dur-Khanai learned of this rumor, she instantly fell face down on her bed. [To the maid who told
her] Dur-Khanai said, May you be childless, for youve made me drunk with this grief. Putting a hand
on her breast, she breathed her last. Lifeless at that moment, she gave up her soul.
One day while sitting among her friends, Shahai heard about the handsome, generous, and hospitable
Dalay. Overwhelmed, she became curious to see this young man with her own eyes but could not
express her wish in open. One night Shahai slept deep in her thoughts about Dalay and in a dream
found herself talking to him but soon woke up. To her dismay found that it was just a dream and it
further aggravated her situation.She ate and drank less as she lost her interest in things around her.
After some time she turned pale. This worried her parents who arranged medicines for her treatment
but to no avail. In fact it was the fire of love that consumed her and doctors failed to douse it..
A hue and cry arose immediately at Dur-Khanais death and Payu too learned the news from those cries
and shouts. Some people say that when Dur-Khanai learned of Adams death, she fell on the bed and
started to scream. [She cried,] Lord, make me Adam Khans companion, dont burn me alive in red fire
anymore!
Listen to this! Adam Khan was buried there and this is how they found solace together in one place.
Dur-Khanai was buried near the same place as Adam Khan and beholds how she was loved by her lord!
People had made the grave and when opening up the niche, they saw Adam Khan was in it, soiled with
earth. Dur-Khanai was lying there with him in an embrace and all the people were completely amazed at
this. [The two were reburied separately.] To test this, they again tore open the graves and Adam Khans
arms again held Dur-Khanai. This time they both were left in the earth of the grave and theyll be lying in
each others arms until the Day of Resurrection.
0 Sayyid Abu Ali Shah, come then, stop it!
Humble yourself ten times over at the door of God.
Shahai remained drooped in thoughts about Dalay restlessly till the day when a wise old woman
turned up and suggested that she could cure Shahai if permitted to meet her in isolation. Her parents
reluctantly allowed her to do so. The old woman talked to young Shahai in a polite manner and retrieved
from her what caused her strange illness. Hayat Khan was angry to know about the real cause of his
beloved daughters illness but then succumbed to her genuine wish saying what is destined could not
be changed. The parents of Shahai requested the wise old woman to persuade Dalay to marry their
daughter. She embarked on her journey from Topai village and crossed over the (Abaseen) Indus River
and walked up to Dalazak village where Dalay was found engrossed in chatter with his friends and
guests at his hujra.
The old woman in brief words told Dalay that Hayat Khan wanted to give his beautiful daughters hand
in marriage to him. He became very happy as he had already heard about Shahais stunning beauty.
He accepted the proposal on the condition that he would consult his close friends and family members
as he had two wives as well. There was opposition from members of Hayat Khans tribe that such a
beautiful girl should marry Dalay, a man from thee Dalazak tribe. This saddened Shahai but she was
hopeful of achieving her aim as her father was a man of his word. After mutual agreement, the much
awaited marriage of Shahai and Dalay was happily celebrated. Being eager to see the shining face
of Shahai, Dalay dispersed the company of his friends earlier than usual at his hujra and went to the
room where Shahai was attired in beautiful bridal dress and jewelry.
How dare you want to unveil my face as you have not gifted me with the necklace of King Akbars
daughter? Shahai apparently taunted Dalay. He withdrew his hand and stood up in anger telling his
bride that he would not touch her till he came up with the necklace for which she wished. Shahai,
realizing her mistake tried to stop him from going away. She said, It was but a slip of my tongue, I
did not really mean it, it was too late. Dalay went out, mounted his horse, reached and scaled up the
walls of a fort at Attock where incidentally Mughal King Akbar was staying along with his wife and a
daughter, who owned a beautiful necklace. Dalay was caught while approaching the room of the kings
daughter and was put in prison on a charge of robbing the princess.
Dalay and Shahai

Dalay was a young man from the Dalazak tribe. Being a landlord he was a generous, hospitable and brave
person and used to respect scholars and pious people. He was widely known in his area for keeping his
hujra always open for guests and strangers. He was chief of his own tribe. A beautiful young girl Shahai
also lived in Topai village whose father, Hayat Khan, was Sardar of his Yousafzai tribe. He had everything
but no male child, Shahai was his only daughter whom he loved very much.
Shahai was widely acclaimed for her matchless beauty; people compared her to a shining moon while
others likened her to a rose as she had bulging black eyes, pencil thin physique, sparkling teeth and a
high stature. She was a shy, sweet, respectful and pious girl. She enjoyed the company of her friends and
most often walked to a garden to keep herself away from worldly worries.
19
Shocked by the news Shahai reached the premises of the Mughal fort. She came across a merchant
there who asked her why she was so disturbed. She narrated the whole story to him. The merchant
assured her of the safe release of her husband. King Akbar is friend to me and he trusts me. I will
request on your behalf and clarify the situation, the merchant said. He walked up to King Akbar
and explained the real intentions of young Dalay. The king issued orders for Dalays release from
captivity. The merchant thanked the king and took his leave. He took Dalay and Shahai to his home
and entertained them in the best possible manner. Meeting once again Shahai and Dalay pledged to
live together happily..
20
Reward of Honesty
Once upon a time a hardworking and honest person lived in a village. He used to go daily to a jungle, cut
down trees and earn his livelihood by selling them in the market to feed his family. One day while cutting
the branches of a tree near a riverbank, his axe slipped from his hands and fell down into the river. He
got down from the tree and tried to fish out his axe but all in vain. Despite his efforts he could not find his
axe. Much disappointed he sat by the riverbank.
MainWhy
Characters
of the
, Woodcutter
and Fairy
After a while a fairy appeared from the river. She asked the man,
are you
soStory
dejected?
He narrated
the whole story of what had happened to him a while ago. He said, It was the only source of earning for
me. What will I do if I cant find it? The fairy consoled him and told him not to worry about it any longer
as she would dive into the water and find it in no time.
She dived into the river and came out with a golden axe and offered it to the man but he refused to take it
saying that it was not his. I shall not take it because it is not my axe, The beautiful fairy again dived into
the roaring water and this time came out with a silver axe and gave it to the villager. No this too is not
my axe, please put it away, I am not going to take it, he said. The fairy dived into the river for the third
time and took out an axe made of iron. Seeing the iron axe pleased the wood cutter, he walked up to her
and grabbed the axe from her hands, clasped it to his chest and said, This is my axe, the loss of which
grieved me so much. I cannot afford losing it as it is the only source of income for my family.
The fairy was so moved by the honesty and truthfulness of the man that she gave the other two axes. I
am so impressed that you are so honest and truthful, I gift the golden and silver axes as a reward to you,
the fairy told the woodcutter. The poor man thanked the fairy and took all the three axes to his home.
Later, local poets praised honesty in their verses.
Honesty and trustworthiness are a great blessing;
They outweigh all other petty things.
Man receives his reward in the end;
To Almighty, being honest is a great virtue.
Always speak the truth and enjoy your hard-earned income.
God and his Prophet have praised hard work profusely.
Keep on working hard but never beg from others.
21
22

Essa Khan and the Traveler
Essa Khan, a poor farmer, lived in a certain village
long ago. He had many children. He could hardly
make both ends meet despite his hard work day
in and night out. This most often would lead to
arguments with his wife. Extreme poverty kept
him at bay from taking a rest. Essa Khan had
a donkey; he ran it all the day long as it was his
only companion, both engrossed in hard work all
through the day.
One day Essa Khan walked to a nearby river bank
to fetch water for his home. A traveller showed up
there. He seemed to be very tired and sick. Seeing
his miserable condition, Essa Khan took pity on him
and brought the traveller to his home. His wife took
very ill of the untimely arrival of his guest. You
brought a guest while you cannot afford making
both ends meet. If your children starve, how can
we serve your guest with food? Essa Khans angry
wife said.
Please dont raise your voice, the guest is very
tired and sick and is in need of due care, everything
will go well , Essa Khan begged his wife. The guest
stayed with them for three days till he was fully
recovered and felt fit for his onward journey. On the
fourth day, the traveller took along Essa Khan to a river bank and asked him to turn over a big stone lying
near the bank which he did. There was a cauldron underneath. Essa Khan found it full of golden coins
after removing its lid. The traveller gifted it to his kind host. At first, he refused to take it but the traveller
insisted that he accept it adding that his happiness, linked to its acceptance, was a reward from God for
showing kindness, unflinching care and hospitality to a stranger.
Overjoyed, Essa Khan returned his home holding a bag full of golden coins in his hands. He narrated the
story to his wife. I dont know why you got angry when I brought the guest a few days back. You know a
guest is a great boon and not a bane from God, he convinced his spouse. He invested the money in trade
and soon became a wealthy person. The couple began living together happy and content. A day hardly
went by when guests and strangers did not throng their home.
A poet says, it is a virtue of a Pukhtun to be hospitable and caring. His rigidity melts into kindness on the
arrival of a guest. Being a hard working farmer, Essa Khan was liked by Allah, he was rewarded for his
honesty, hospitality and hard work.
23
24
Jackal and the Lion
Facing towards the people the thief addressed them, Once I had stolen a book from my friend when I
was a small boy. I took it to her, and she did not scold me for it, in spite of the fact that she knew I had
committed theft but even then she kept silent which led me to this worst day. Had she tried to mend my
ways at that very young age, I would have never been a robber.
How beautifully a poet says, nip the evil in the bud.
If you shut your eyes over it
One day it will grow into a bigger misfortune.
Once upon a time, there was a man who went into a

jungle, where he saw a lame jackal. He could not walk.
The man became curious as to how God served food to
the staggering jackal. To find out the secret of its survival
in the jungle, he veiled himself amidst the trees of the
thick forest. He saw that a lion came with a goat in its
mouth. He began eating it in front of the sick jackal. After
the lion swelled his belly, he left behind the rest of his
prey and went away.
The jackal limped towards that prey and ate its fill.
Observing this incident, the curious man thought if God
could serve food to this sick jackal in the forest, Almighty
Allah would serve food to him as well. Saying this he couched in a corner and began waiting for a miracle
to happen. When nothing happened despite the lapse of three days, hunger struck him bitterly. He
became sick with hunger.
A saint happened to pass by and seeing his fragile body for want of food and water, took out a loaf of
bread and water from his bag and fed him. After his condition improved, the saint asked him what the
problem was with him. . He related his story in detail. The saint said, No doubt God serves food to the
limping jackal in the jungle but why have you become a sick jackal? I advise you become a lion so that
you could eat yourself and feed others as well.
Khushhal Khan Khattak says,
An eagle never gets tired of hunting
May a young jackal be sacrificed on the old lion
A lions share is always the neck of the cow
The rest of its parts go to jackals and foxes.
A Thief and His Mother
A boy once stole a book from his friend. He took it to his
home. He gave it to his mother. His mother did not say
anything to him. She observed silence. When he grew up, the
boy turned into a big thief. He began robbing people.
One day he was caught during a robbery on a charge of
murder. He was awarded a death sentence. Before going to
the gallows he expressed his last wish to see his mother.
When his mother was brought according to his desire, he
requested his mother to get close to him as he wanted to
whisper something in her ear. When she got closer to him,
he clenched his teeth on her ear so tightly that her ear parted
with her body. People present on the occasion rebuked him
for mistreating his mother at the hour of his impending
death.
25
An Arrogant Crow
A crow found the feathers of a peacock. He hit on an idea. If he
planted the feathers of the peacock on his body, he would look
beautiful and graceful. He planted those feathers on his body and
began arrogantly detaching himself from the flock of other crows.
Keep away from me you black crows , look I have become a
peacock now, I am no longer a crow and therefore, I am supposed
to have no relation with you people, he admonished the other
crows. He walked and sat among peacocks.
At first sight, the peacocks recognized that he was a crow.
They began attacking him with their sharp beaks. His feathers
uprooted and fell down and the peacocks were able to oust him
from their company. After receiving a furious beak beating from
the peacocks, the so called arrogant crow rejoined the company of his own race in a miserable condition.
You kept yourself away from our flock, now why have you rejoined our company? the crows told him.
The arrogant crow received a punishment for his arrogance. Neither side was ready to accept him. He
neither became a peacock nor a crow again. A poet says,
Never abandon your own people
lest they soon will drive you away
I know very well your real origin which is clay
neither have you been created from light nor fire.
Farmer and the Potter
There was a man who had two daughters. One was married to a farmer and the other was married to
a potter. One day the man paid a visit to his daughter who was wife of a farmer and asked about their
family. The daughter told her father that their fields had been dried up due to dearth of rains and pleaded
him to pray for rain otherwise her family would starve. The father raised his cupped hands and prayed to
Almighty Allah to bless his daughter with plenty of rain water.
Then the next day he went to find out about the plight of his other daughter. On his arrival his daughter
married to a clay potter told him that their furnace was ready for making clay pots and pleaded him to
pray for it not to rain as it would ruin all the pots. The father raised his hands and prayed, O! My God,
I am unable to make just two daughters happy with their wishes poles apart, I wonder, how You keep
your creatures happy and satisfied. Now it is up to You which one of my supplications gets accepted or
rejected.
26
A poet says,
MATAL OR PROVERBS3
The farsighted Almighty is so great

He is kind to all.
He supplies food to trillions of people
Rustam Pehlwan and the Thief

One night Rustam Pehlwan was sleeping in his home, a thief broke into his courtyard, he woke up and
saw that a thief untied Rustams horse and taken it away. Rustam followed him, thief mounted the horse,
and Rustam also got on behind him and began punching the thief on his back. After a while the thief
turned his head to his back and told the back rider, My buddy, why are you making mockery at me,
please be at rest so that we can have an undisturbed ride.
He was surprised that the thief had taken had mocked his punches and the he did not know that he
(Rustam) was the champion of wrestling of the time. How would I retake my horse from him, Rustam
said to himself. Suddenly he hit an idea; he got down from the horse forthwith and uttered a loud cry, look
up! Rustam is coming; with this the thief too dismounted the horse and ran away.
Rustam took his horse and headed towards him.
A poet says,
Nobody is afraid of the lion till it appears/ once it shows up,

it is better to budge afar.
A Selection of Matals from the Book, Rohi Mataluna (Pashto proverbs), a publication of Pashto Academy,
University of Peshawar; authored byMuhammad Nawaz Tair and Thomas C. Edwards:
The Book has the original Pashto text, hence page numbers have been given above each Matal for
reference
Page No: 138, Proverb No: 511
1: Black brings fear, white brings rain.
This refers to the clouds. It is equivalent to the English proverb, Barking dogs seldom bite. The notion
is that that black (clouds), perhaps are like barking dogs, may look aggressive and threatening, but
actually may not bring rain. Also it may mean that people who talk too much may not intend to act.
People who talk too much are not men of action.
2: You can test a good friend in bad times.
This is similar to the English proverb about the character of true friendship. A friend in need [that is, a
friend who helps when one is in need] is a friend indeed. A true friend will always stand by you whether
good or bad times. This is in fact the spirit of sincere friendship.
3: Even the council of the crows is good.
The Jirga or council is an integral part of Pashtun culture, enabling the leaders of a community to resolve
issues. A Jirga can range from just five people to a large gathering depending on the scale of the issue
under discussion. The meaning here is that a joint effort is wise. Issues and conflicts can be resolved
peacefully through mutual understanding and debate.
4: Iron breaks iron.
In English, we say, A diamond cuts a diamond conveying a similar meaning. This proverb is used for
proud men and women with strong characters, meaning it takes a person of greater pride or strength
to defeat them. We need equal force and strength if we want to defeat someone stronger and powerful
than us, otherwise, we shall bring a shameful defeat on us. We need knowledge, science, and a strong
national character to compete with the developed nations of the world.
5: The sieve taunts the water jar because it has two holes in it.
The common water jar, like a teapot, has two openings. This proverb makes ironic reference to those,
who while having many fault, ridicule others with fewer faults. The message it conveys is that we should
not find fault with others if we have shortcomings ourselves. Before criticizing others, we should look
into our own faults. In other words, we should first of all correct ourselves before pointing fingers at
others.
3 Rohi Mataluna (Pashto proverbs), Pashto Academy, University of Peshawar
27
28
Page No: 55

Riddle No: 3: It possesses a hundred mouths but has neither belly nor lungs.
Sieve
6: Ones own tongue is a fort as well as a calamity.

You can use your tongue both for good and bad purposes. Your tongue may save you from danger, but
may also endanger you. The English proverb If speech is silver, silence is gold tells us that being too
talkative may expose weaknesses and may prove disastrous. It is better to use our tongue carefully and
intelligently so that it could serve as fortification to defend us rather than prove a source of destruction.
7: A wren in hand is better than a hawk in the sky.
A bird in hand is worth two in the bush. The meaning of both the Pashto and English proverbs is that it
is better to be satisfied with the little that one has rather than risk losing it to gain something bigger and
better. Some people try to become wealthy overnight for which they resort to unfair means and in the
meanwhile they get caught and lose what they already have.
8: A mustard seed doesnt sprout in the hand.
This proverb is spoken when a person wants something done at once. Rome was not built in a day and
Haste makes waste. Both these proverbs used in English want us to show tolerance and perseverance
while accomplishing a task. Great goals could be achieved through constant efforts. Take education for
instance is a long and slow process.
Page No: 58

Riddle No: 1: Its walls are deep green with beds inside all deep red.
Water melon
Page No: 65

Riddle No: 1: It is black in colour but not a crow, it flies away but not a bird, it digs out earth but it
is not a wolf.
Dung beetle
Page No: 69

Riddle No: 1: A green sheet stained with blood.
Leaf of henna

Page No: 69

Riddle No: 2: It is sweeter than honey but more powerful than a lion in strength.
Love
Page No: 69

Riddle No 3: I got hold of it in head-land, dragged it into the palm-land and smothered it in the
nail-land.
9: A woman is the lamp of the home.

Another Pashto proverb says, A woman is the clothing of a man. Both these proverbs represent a
positive view of women in a typical Pashtun society. The wife glorifies her husband and adds grace and
comfort to his being. The role of women in every society is very important especially an educated woman.
A quotation goes, give me an educated mother, and I shall give you an educated nation.
10: If the gold is pure it has no fear of fire.
That is, it glitters all the more. This proverb can mean that a person with a clear conscience needs not to
worry or that a persons true character will be revealed.
ARROONA or RIDDLES4
The Riddles (Arroona - plural arr - singular) are an important part of the Pashto folklore. Pukhtuns at their
leisure time repeat them to check the intelligence of persons by asking them to resolve it. Some of the popular
Pashto riddles are given below for the interest of the students. They make a very fruitful mental exercise.
Page No: 38

Riddle No 3: Although it is not a stuff to be eaten, yet people in general eat it:
Swear
4 Prof Dawar Khan Daud, An English translation of some selected Pashto riddles, Pashto Academy, University of Peshawar
29
30
Louse
FOLK POETRY:5
Page No: 89

Riddle No 2: Although father has not been born, yet the son wanders about on the roofs.
Smoke
Badala: It is one of the oldest genres of Pashto folk poetry. It has resemblance to Persian Masnavi a
long poem. It is also called sandara folk song having one rhythm but its rhyming scheme is different.
Sometimes like a Masnavi, each of its couplets has a different rhyming scheme while sometime two of
its couplets run in the same rhyming scheme and many a time the whole Badala is narrated in one and
the same rhyming scheme.
Page No: 101

Riddle No 2: When young it sports a grey beard but when it grows old, its beard turns black.
Ear of corn
Page No 110

Riddle No: 3 It has a belly but no lungs, it has a head but no brain, it has a mouth but no tongue.
Tea-pot
Badala is considered the most powerful vehicle of expression as it is fit for versifying complete incidents
relating to history, romantic tales, and stories of the Prophets. Popular Pashto romantic tales like Adam
Khan and Dur-Khanai, Fateh Khan and Rabia, Jalat Khan and Mahbooba, Momin Khan and Sherinai, Sher
Alam and Mamoonai while Farhad Shareen , Laila Majnoon and some other stories have been translated
into Pashto in verse form. The subject of most of the folk Badalas is love and morality. Folk singers still
sing it with traditional musical instruments rabab and mungay. Old women used to tell them to children
in homes.
A famous Badala is presented here. Being an oral tradition, its poet is anonymous:
My heart is ablaze with the fire of love
Only sighs of love could come out of my mouth
My heart is engulfed by the fire of love
Like a fish it is being roasted in blood
My proud beloved is oblivious to my condition
Why should I keep on moaning deep in my heart?
I lost my dignity and honour all in love
Like water washes away dry twigs on the surface of the sea
I dont know for what sin I am being punished
Roast my eyeballs with fire
Her heart is a like stone or iron
She begins laughing when I narrate my story of grief
5 Pukhto tapa (in Pashto) by Professor Dawar Khan Daud and An intangible heritage the walled city of Peshawar by
Professor DR Rajwali Shah Khattak
31
Photo Credit: Imtiaz Ali
32
Loba
Loba enjoys widespread popularity among Pukhtuns because of its musical quality. Most it is sung to
the accompaniment of music than just verbal narration. Another important feature of this folk by poetry
genre is its dramatic flow. It is narrated in a dialogue form. The best sound for singing is that of a female.
Most lobas are sung by a pair. The metre and rhyme of the opening lines (Ser) of the loba are dissimilar;
in most cases it determines the topic or main subject of the loba. A loba may have from three to six
stanzas.
Example:
O! Malik your village will soon be flooded
You will be ruined.
I see your village being ruined because of your oppression,
I see the poor flourish and thrive.
I see the filthy rich being grieved,
You never thought of such a change,
You are destined to be ruined.
Neemakai
It is the simplest genre of Pashto folk poetry. It has close similarity to tapa. Its first line is half, which is
called opening-ser of the Neemakai and it is repeated throughout after every second line. Like tapa,
Neemakai is also recreated by a Pukhtun woman. It narrates a historical incident or story and at times
it also narrates romantic tales. Like a poem, it maintains unity of impression from beginning to its end.
Most women recite Neemakai in homes while doing household chores and also on Goudar. On wedding
ceremonies women recite Neemakai in the form of a chorus. One woman recites ser the opening line
while rest of the women answer her by reciting tapas and in the end all singing women together recite
ser of the Neemakai. Ser in fact sets the tone of the song.
Example
My heart is aching
Why dear sister?
Being overwhelmed by grief of my beloved, I may die.
Why dear sister?
You enjoy sound sleep on bed,
Why dear sister?
While tears are making inroads over my face.
Your separation caused me great grief,
Why dear sister?
As if an earthquake caused cracks in a big mountain.
Why dear sister?
Would that the death followed by life,
Why dear sister?
I would know the intentions of aliens and relatives.
Why dear sister?
33
Poet takes his place in the center to Recite his poetry
Bagatai
This particular oral tradition is almost extinct now. However, some examples of it could still be found in
parts of Afghanistan and in areas in and around Peshawar. It has been converted into loba and charbeta;
it has close similarity to the short rhymed charbeta. Its main subject revolves round love. Contrary to
charbeta, Bagatai could be sung along with dance as it is in recited with a great upbeat, therefore, it
stimulates people to dance with it. Some people say that in ancient times there used to be a Pukhtun by
this name; therefore, Bagatai was named after it but no such Pukhtun tribe bearing this name is living
today.
Example
Those black eyes ignore me,
Never would they know about my condition.
She enjoys an overview on a high knoll,
With her black eyes and henna dyed hands.
She has decorated her head with fresh flowers.
An ugly rival will catch sight of her.
Those black eyes ignore me,
Never would they know about my condition.
34
Charbeta
TAPA6
Like Pashto tapa, charbeta too enjoys widespread fame among Pukhtuns. It is similar to an epic poem
but it has own its metre and rhythm. Each of its stanzas consists of four lines. Unfortunately, most of
the famous charbetas now no more in currency could not be preserved. Earlier charbetas have glorified
incidents of heroism, romantic tales, miracles of the Prophets and those abound with love stories are
inspiring.
Tapa is one of the three forms of unwritten Pukhtun literature compiled

by women, the other two being Landay and Naaray. Pashto tapa, a
wonderful expression of Pashto folk poetry was invented by Pashtun
woman thousands of years ago to give vent to their stifled emotions and
feelings. A two liner couplet, its first line consists of nine while its second
line has thirteen syllables. Tapa covers the complete life of the Pashtuns
irrespective of tribe, age and gender. Every Pashtun man and woman can
compose tapa. Being a strong vehicle of expression, Pashto tapa is fit for
versifying any and every kind of topic on any and every occasion. Tapa,
therefore, tops all other forms of folk poetry is Pashto. In short, tapa is a
timeless and space less oral tradition. Tapa covers history, culture, and
psyche and the social and political life of Pashtuns down the ages. It is
sung with rabab and mungay in hujra.
The early 19th century motivated large number of extempore Pashto poets who have versified mass
British atrocities and raised the voice for freedom. Meera, Taukal, Nooruddin, Qamar Din, Ahmad Din
Talib, and towards the end of the last half of the 20th century many modern Pashtos were inspired to
write charbetas. Poets have composed charbetas in different forms, Karaband and Zanziri are two most
popular forms of charbeta in Pashto. Abdul Qalandar Taikhadar was considered the father of Pashto
modern charbeta. It is sung with rabab and mungay with fast music in hujras. Great Pashto poet and
literary critic Qalandar Moomand also has composed a few popular charbetas.
A tapa by Dr Salma Shaheen from her

Two-Volume Book Tapas
A few tapas are presented for the interest of the students.
Example
I am Muslim and my beloved is a Hindu,

Yet I am ready to help him clean the temple
The first stanza of a famous charbeta is given here.

Night, I had been to the bazaar of her hair tresses,
I got mingled with the lawn of hair tresses like a beetle,
I had been to the lawn of your hair tresses,
I got mingled with ecstasy of pomegranates like a beetle,
Then I dipped my teeth in pure and delicate chin.
I enjoyed the fragrance of my darling garland of hair tresses,
I got mingled with the lawn of hair tresses like a beetle.
This tapa highlights harmony, co-existence and religious tolerance. Whether Hindu or Christian, the tapa
extols that we should help anyone in need. In this tapa a Muslim helps his Hindu friend clean the temple.
I am not short of you in household worries,
I am not that foolish to seek help of the village.
A housewife reiterates that she has the strength to overcome the hardships befalling her husband and
that she maintains the decorum not to disclose the secret of being in distress to the village folk. The
woman is normally blamed for leaking out household secrets thus exposing the inner weaknesses which
at times endanger the sanctity and security of the home. In this tapa, the wife assures her husband that
she has the potential to withstand any bad time and wise enough to manage the household.
O! man dont be proud of your high stature,
If you are like a poplar tree, I am a branch overgrown with flowers.
A female tells her male counterpart not to boast of his high stature as she too is delicate and refined in
terms of physical beauty. In a typical Pashtun society a man always boasts of his power and strength but
in this tapa a woman says that she too is not less than anyone. If a man has some qualities, a woman too
has attributes and characteristics which make her special.
It does not matter, let my beloved hurt me,
But I shall continue doing him favors.
This tapa tells us that even if someone hurts us, we should not answer him/her in the same coin. We
should restrain impatience instead we should do good towards those who hurt us, maybe one day they may
repent their mistreatment. It discourages revenge and retaliation prevailing in society and encourages
goodwill and harmony.
Fortunate is the one,
Who reconciles others with love
This tapa praises those people who are engaged in settling intra or inter personal disputes and consider
them fortunate as they enjoy good reputation in their society for this wonderful job. Implicitly, it refers to
35
Kids performing at a mela
6 Sher Alam Shinwari, 2013
36
the role of Jirga which settles intra and inter-tribal issues that may lead sometime to unending battles.
Most Pashtuns believe in peaceful settlement of disputes.
LANDAY
Guests must be accorded due respect,

Because a guest is always a boon from God.
The Pukhtunwali Pukhtun code of life has hospitality (Melamastia) as a core value. There are numerous
tapas which are replete with description of according respect and honor to the guests. Pukhtuns keep
open doors of their hujras for guests whether acquaintances or strangers. A guest is considered a
blessing of God.
Charity should be extended only to those people,
Who live their whole lives in destitution.
There is an explicit appeal in this tapa for extending charity to deserving people in society. It breeds
goodwill and mutual cooperation among various sections of society in the time of dire need. We should
help out those who are in need of our timely assistance.
O! People of the world,
I equally share your bad days:
This particular tapa contains a universal message for larger brotherhood. We cannot live in isolation as
the world has shrunk into a global village and we have to share problems being faced by humanity across
the globe irrespective of race, creed, gender, language and country.
He who observes patience
Shall remain successful every moment of this life
It advocates tolerance and patience especially when emotions run high. This tapa asks for controlling our
unbridled emotions. If we become tolerant, we can achieve our desired goals. Impatience and emotionality
cannot lead us anywhere.
Get up and display outright courage
So that your thorny paths might be overgrown with flowers.
This tapa says if we show resilience and courage, we can easily face any difficulty. We can have our
thorny paths being turned into flowery tracks. It also implies that we should not get afraid if we fall upon
bad times. We should face challenges with courage.
Tapas of Dr Salma Shaheen
The most enchanting landay have been sung by Pashtun women in battlefields and during episodes of
love. Such as:
Oh flower on the mountain peak,
It is I who water you, God knows who would own you
The Pukhtun woman in love goes through unbearable pain and suffering. Pakhtunwali (the code of
Pakhtun conduct) demands that the man should be enduring and should not let the hardships of life
dishearten him. Therefore she bears without question and says:
In secret I will endure heartaches,
I will not tell of my misery to my unkind lover.
In another landay the Pashtun maiden sends the message of her faithfulness to her separated lover in
these words:
You keep wandering happily on Indian soil,
I will save my black eyes in your name.
Eastern poetry is full of condemnations of the rival and the tale-bearer, and this has such a great effect
that the word rival, used to be written upside down in hand written compilations of poetry. In landay
composed by Pashtun women different scenes of the rival are depicted. For example, when a maiden
sees her lover sleeping under a poplar, she says:
May you catch fire by yourself,
That my lover sleeps under your shade.
The gardeners envy and the nightingales wish depicts another scene of rivalry in this landay:
God will let the nightingale feast on his flowers,
It is your eagerness Oh gardener that makes me cry.
During the spring season when young women dance in flowerbeds, not paying the slightest attention to
the wretched lover, he addresses the women:
Your pride will ruin springs beauty
With green sandals you tread on yellow flowers.
The faithful woman, who is attracted to her lover answers in these words:
Spring and flowers are plentiful,
I will present flowers of my forelock to my beloved.
In Pashto literature the expression of love, unlike in Dari literature, is not only the privilege of man or
lover. The Pashtun woman deems it her right to express her feelings of love and pain freely in landay.
See how an afflicted woman describes her pain and grief in tears:
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38

Do not slap my face, Oh cruel lover,
Whom should I turn my tearful eyes to?
The Pakhtun woman not only demonstrates her feelings in the world of love, but she also used landay
in the battlefield. We come across events in our national history where the singing of a single landay by
a woman has proved to be more effective than weapons. After hearing such couplets, men have always
rushed to the battlefield without hindrance. She addresses them in these words:
Do not ever lose heart my love,
I will hang a garland of flowers around your neck.
In the battle of Maiwand, when Pakhtuns prepared to fight for their country, a Pashtun maiden proudly
sent off her lover to the battlefield and dispatched this message to the commander of this patriotic war:
Convey my greeting to Ayub Khan,
I have sent off my lover to lend a hand.
The Pashtun woman, not only sent her lover to fight but accompanied him into battle.
Why should my love not wield the sword?
I accompany him halfway to the trenches.
When love vies with the nation, the patriotic Pashtun woman chooses to sacrifice her love rather than
accept defeat and disgrace:
May you come riddled with bullets,
For I do not want to hear news of your cowardice
When the young Pashtun returns triumphant from war, his lover greets him as such:

NAARAY
Generally there are two characters playing the leading roles in a love story that is the lover and his
beloved. The story revolves around the actions of these two. The lover also has his own naaras, but the
naaras of his sweetheart are delicate and touching.
Attarn is an old tribal custom of the Pashtuns, and when young men and women come together to dance
filled with rupture, the fire of love is kindled and the young men sing love songs in their melodious voices.
The maidens accompany them with their ecstatic whirls of dancing and singing. For example, notice how
a young lover from Kandahar expresses his love for a girl from Bori in the following Attarn nara.
The Bori girls are dancing the Atan, how befirring,
As they stretch their back, their braids caress their navels.
Hearing this naara, the Bori girl proclaims her love for the Kandahari lover as such:
Like pears in the trees of Kandahar, my tresses grew long,
How long should I stay without a lover?
Flow, flow oh water in the brook, convey my greetings to my love,
And take this flower from my bosom to him.
While dancing the Attarn, happiness and love are moving and exciting states. We see here how explicitly
a Pashtun women, inspired by love expresses her passion and mutual attraction in this naara:
My tresses are touching the rocks,
When they hear me coming,
The youths come flocking like pigeons.
Welcome! Welcome home, thanks be to God,

You were not humbled before the enemy.
And so we see the part of Pashtun women in Pashto folk literature. Another part of folk literature are
naara in stories and ghara in the national dance called Attarn and sandarey (songs) recited in weddings
to which women have contributed significantly. In fact, most of the naras and wedding songs have been
authored by women.
In Pashto love stories the woman enjoys a special status similar to that of a hero. For example, in the
tales of Fateh Khan and Rabia, Momin Jan and Sherino, Shadi and Bibo, Adam Khan and Dur-khanay,
women express the tender feeling of the fair sex in naaras in a charming literary manner.
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40

Sometimes these idyllic songs also describe a womans family structure and her own position in the
home, and one can picture the situation of a Pashtun woman in her household. For instance:
I have made a snug home buttressed by the foothill,
My father-in-law has many sons,
And I have claimed the most precious of them all.
In love stories also the womens part and her statements are worthy of special interest and attention
which express the tender feeling of the world of love in a literary form. For example, Adam Khan, conveys
this message to his sweetheart, Dur-Khanai.
My fair lady, Dur-Khanai queen of my heart,
The fame of your beauty has spread wide and far,
Your seductive glances afflicted Adam,
Would you caress him with the tip of your tresses?
In answer to this naara Dur-Khanai describes her pain of endless waiting:
I sit waiting on one side of the bed,
Leaving the other for you to come,
As you dont come dear Adam,
Every hair of my forelock cries separately.
The tale of Shadi and Bibo also is an unforgettable treasure of Pashto folk literature., The naaras and
songs of Bibo in this tale have special warmth and attraction, and this Pashtun lady expresses her
stricken hearts feelings in naaras.
When Shadi is starting on his journey, and Bibo is trying to dissuade him, she says:
Much as I try to dissuade Shadi Jan he wont stay.
Even if I offer him my luscious lips,
My handsome Shadi still will not agree.

Mother, please go tell my father.
I am fainting, burning all over,
Shadi has gone, he is not returning,
Without Shadi life is barren and charm less.
Alas, alas, I lost my Shadi!
The flames of Bibos love, however, do not extinguish, and in the hope of finding her lover again, she goes
out to see every caravan that crosses the Bakwa desert. But Shadi does not come, and Bibos love gets
further inflamed. Disappointed she utters these words from the depth of her heart:
Caravans are crossing the Bakwa desert,
Caravans are crossing the Bakwa desert,
Shadi Khan is not among them,
The rest cant quench my thirst of love,
Alas, alas, I lost my Shadi!
These naraas are recited in a colloquial accent to express the Pashtun feelings. There is a special force
and charm in their composition and the way they are sung. The repetition of some lines has also a special
meaning. For instance, in the above naara, the succession of caravans in the Bakwa desert suggests the
persistence and continuity of love, and the fact that Bibo goes out to watch every passing caravan in the
hope of seeing her lover again but returns disappointed, is indeed a painful and heart-rending scene.
The same force of interpretation and the originality of expression could be seen more clearly when the
naara begins with an ambiguous and conditional statement. Such a naara could be fully appreciated by
a native speaker only.
For example, Gul Makey, another Pashtun girl in love addresses her lover, Musa Jan, in these words:
The sky turned red, Musa go on stride your mount,
For my heart is drenching in the sweat of death.
Thus the part played by Pashtun women in the stories and naaras of folk literature is also quite significant,
and we see to what extent a womans feeling and literary talent have contributed to Pashto literature.
Once again the maiden in love tries to stop Shadi and soften his heart. In this naara we can clearly see
the effect of simplicity of imagination and pure feelings:
I will fill up the pipe with cloves,
Put my golden nose ring on its top,
Then take the pipe and
Offer my tender lips to Shadi.
The offering of her lips by a maiden to her lover is a precious gift and has a special charm, and it is a very
delicate and interesting state in the world of love appreciated to the full extent only by those disposed
towards love.
In spite of all this, Shadi went away and Bibo fails in her efforts. She is left alone and lonely in darkness.
She is distressed and addresses her mother:
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What You Can Enjoy and Learn From OneLiving Tradition of Pukhtun Folklore
If you start deconstructing folk poetry you will discover the aesthetic value and joys of social interaction
as there is so much of wisdom, cultural knowledge and richness embedded in folklore and oral traditions.
For example, look at the English translation of one of the most popular Pashto folk poetry passed on
orally expressed in the form called Badala, by an anonymous poet who is quoted by people to whom this
poem is still being passed on as part of their living heritage of oral tradition .
The Badala resembles the Persian Masnavi (Long Poem). The rhyming scheme of the poem is different
and it is sometimes also referred to as Sandara (Folk Song) that has only one rhythm but varying
rhymes. Looking at this Badala, students can learn the following schemes of poetry.
Student Learning Outcomes:

Form and Free Verse: Students understand the variety of genres in poetic expressions of the oral
tradition (Ref to Overview of Folklore and Oral Traditions).
Rhythm: The students are able to feel the emotional value and tensions in the poem through its
rhythm by the length of scenes, speech and description, timing or recurrent themes in the poem. For
example, the illustrated Badala has strong emotional value as it shows the poets tension over the
theme of love, and his despair over love lost. The emotional value and tensions experienced may vary
from individual to individual, of course.
Voice and Diction: They are the crucial elements for reciting a poem effectively. Every poem has a
tone. With practice, a student can master the tone of the poem in order to convey the most authentic
meaning, feeling and effect of the poem to his or her audience.
Imagery: Children get excited by images that words incite in them. Early exposure to poetry
enhances the childs capability to associate words with imagery.
Meter: Develops childrens sense of constructing rhyming phrases that convey emotional meaning
effectively and sensibly.
Figures of Speech: Children would learn to rely on wisdom and knowledge hidden in the literal
and figurative forms of speech that would improve their linguistic skills and emotional reasoning.
Sense of Grammar and Rhyme: Children are naturally driven to rhymes and riddles that rhyme,
and it leaves an unusual stamp on their memory, which also explains why poems passed on orally
have reached us in intact form and still available for us to learn from. Moreover, children are excited
to accept the challenge to construct poetic sentences that not only rhyme but are also grammatically
correct.
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Credit History of Pakistan photofiles Qissa Khawani, Peshawar 1910
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Folklore of Rehman Baba:

Abdur Rahman Baba (circa - 1650-1715)
Sincerity
See what an exalted place sincerity occupies;
That the whole world is slave to sincerity
Sow Flowers
Though climbing from earth to sky is hard,

The distance is but one step for sincerity.
Sow flowers that your surroundings become a garden.

Dont sow thorns; for they will prick your own feet.
If you shoot arrows at others; take it from me
That the same arrow will come back to hit you.
That which gives the sincere mystical powers

Is all the revelation of sincerity
Customs and rituals are not fixed forever,
But the life of sincerity is constant.
Dont dig a well in an others path;

In case you come to the wells edge yourself.
Insincere Islam is not sweet;

If there is Islam, it is the Islam of sincerity.
If another does you harm, do him good;

For every tree that bears fruit is harvested.
Its no surprise that the inebriated surround

Any saqi who holds a bowl of sincerity.
The sound of a broken pot will never ring true;

Everyones behavior is divulged by their speech.
Its no surprise that huma is tangled in the snare

Of the hunter who lays the trap of sincerity.
If you dont look for faults of others,

Everyone will keep your weaknesses concealed.
After death there will not be love and sincerity;

So if you are to be sincere, the time is now.
Dont expect scent from a picture of flowers;

Painted birds have no song.
The poems of Rahman are sweet for this reason;

Because his every verse is the verse of sincerity.
I am a like tree that is steadfast in its own place.

It doesnt matter if autumn or spring comes.
You couldnt restrain me from my beloved
Nor prevent the morning breeze from entering the garden.
Every tree is standing in prayer before Him;
Every blade of grass extols his greatness.
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Musicians accompanying the Recital
46
Tolerance
Nay, that is naught but lunacy.

What brings reward above all count?
Good counsel must the answer be.
What wins the favour of all eyes?
At all times generosity.
And Hell on Earth a man may taste,
By keeping bad company.
By Amir Hamza Khan Shinwari (1907-1994)
Having braved the gush of water,

Bone dry land turns into pasture.
A tolerant father and polite mother,
Can turn a poor child into a king.
Tolerance is like a righteous reaction,
Clouds on soothing soon resort to rain.
Like a transparent mirror can house,
A tolerant heart inhabits a whole world.
A large heart serves as a dome to cries,
A coward heart serves as a wilderness.
Source: The poems of Khushhal Khan Khattak by Evelyn Howell, Oalf Caroe, pub: Pashto Academy University of Peshawar, Pashto version on page No 66, English translation on page No 67.
Everlasting peace
By Khyber Afridi
Every victory got through fighting and war,

Shall remain faulty, can never be perfect.
It begets inferiority complex and endless hatred,
It is considered as cruelty, violence and oppression,
It pollutes every conscience and soul,
It is a destructive stage in evolution,
War is the root cause of all famines in the world.
Being a human being I need evolution,
O, war! I prefer peace over you.
To a student
Amir Hamza Khan Shinwari
Parents separated you from their lap,

They want you to light their dark eyes.
Beware! You are a dometo the echo of your sound,
It is up to you whatever way you cry.
So tired you came all the way from school,
A shining morning star will you become.
An important day comes once in ones life,
For you, the day has already come round.
Dont be afraid of a sea of troubles around you,
Like a skilful diver you will reach its bottom.
The philosopher
By Khushhal Khan Khattak
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Far above all I count good health.

Its better far than sovereignty.
And what is better than wealth?
Put honour in the first degree.
To outward deference prefer
Self-conduct and sincerity.
And what can free mans heart from care?
To bear his lot contentedly.
By crawling dost thou seek to climb?
WOMEN POETS
Compiled Literature
Beside folk literature, women have played an important role in
compiling Pashto literature and we see that the womans hand is
at work in both Pashto prose and poetry, and here creative talent
is passed on from generation to generation.
The greater part of Pashto compiled literature is unfortunately
now lost, but it seems that women had a hand in the literary
movement from the earliest times. When Mohammad Hotak was
compiling his Pata Khazana (Hidden Treasure), he devoted one
part of his book to Pashtun poetesses, and it is due to the efforts
of this author that today we know of some learned women in the
history of Pashto literature.
Zaitoon Bibi
The ollowing is a selection of poems from some prominent female poets of KPK extracted from the Pashto
Quarterly Vol. 3, No. 3, 1980 and Pata Khazana (Hidden Treasure) compiled by Mohammad Hotak.
48
Zarghuna Kakar
An Iraqi has folded the philosophy of love and pain in his poetic logic as such:
According to Mohammad Hotak, the literary works of women date back five
hundred years in the history of Pashto literature, and the oldest poetess that we
know is Zarghuna Kakar. It is estimated she lived after the year 1471 A.D. She was
a learned poetess and was a stylistic calligrapher. She lived in the historic Panjwayi
of Kandahar. Her father was Mullah Din Mohammad Kakar, and she was married
to Saadullah Khan Nourzai. In 1524 she versified in Pashto the famous Bustan of
Shaikh Saadi, and when one writes the history of ethical poetry in Pashto literature
Zarghuna Kakar surpasses all others.
Other works of this eminent poetess do not exist today but Mohammad Hotak has
Haseen Gul
quoted this story from her Pashto Bustan which illustrates the eloquence and fluency of her style.
A story I have heard
Sweeter than honey is its every word.
One morning on Eid day
Bayazid was on his way,
He had come out from a bath
And was walking on the path.
Someone threw down some ash
Unknowingly from a stash,
His face and head were soiled
And his clothes were spoiled.
Bayazid thanked God with grace
And said as he cleaned his face:
I am worthy of this fire
May it burn my attire,
Ash I do not despise
Nor will I complain in guise.
Wise men seek to be humble
With pride they do not rumble,
Those who proudly yelp
Cannot look at God for help.
By boasting, honor you wont attain
From pride you should abstain,
With humility you will earn fame
Pride will destroy you in shame.
(Pata Khazana, p. 193)
Rabia
Rabia is another old Pashto poet who, according to Mohammad Hotak, lived in Kandahar during the reign
of Babur Shah. Mohammad Hotak has recorded one of her quatrains in his book. The author does not say
much about the life or family of Rabia. But even this one quatrain is very valuable, both from the viewpoint of
meaning and wording, and it seems that Rabia was an experienced poetess and deep thinker who lived to the
year 1541.
Poets have found many and varied subjects in the life of man on love and pain. Mawlana Balkhi wrote:
49
With love, the earth of man was made of mud,

Untold mischief and suffering were born in this world;
A hundred times was the vein of soul pierced
A single drop dripped to the ground;
And they called it the heart.
The very first wine poured into the cup,

Was borrowed from the captivating eyes of the cup-bearer;
In the world wherever there was heartache,
It was brought together and they called it love.
In the same vein Rabia also has a quatrain which embodies some very deep meaning. The Sufi and the Ishraqi
scholars believe that man has been separated from a supernal origin and that his soul is always seeking its
original source and that the world is a home full of the pains of separation. Therefore we hear a continuous
and interrupted wailing of separation everywhere. In the words of Mawlana Balkhi:
Since I was cut off from the reed-bed,
Men and women have cried over my separation.
Whoever is left from his origins
Of necessity must seek the day of unification.
Rabia also pictures the world of separation, a world full of pain and sorrow, and mans role in it in these words:
He brought man to the worlds mire
And put his inner body on fire,
By creating hell on earth called separation
To endure, if you Divine love desire.
(Pata Khazana, p. 195)
The first quatrain signifies the philosophy of pessimism which is shared by some later scholars such as
Schopenhauer. The second quatrain is an indicator of mans separation from the Divine source. These
thoughts have entered Pashto literature from other sources and are not considered as the original thinking of
the Pashtuns.
Explanatory Note on Resources in Appendices and CDs
The Accompanying CD has the information you will require for your lessons. These are in the forms of images
to explain the lessons better.
PROJECT LIVING TRADITION OF PUKHTOON FOLKLORE
Primary sources are original materials. They provide first-hand testimony or direct evidence concerning a
topic under investigation.
Primary Sources
Oral History
Secondary Sources
Books
Person or Group of People
Internet
Interview
CD Rom
E-Mail Contact
Encyclopaedia
Event
Magazines
Discussion
Newspapers
Debate
Video Tape
Community Meeting
Audio Tape
Surveys
Articles
Artefact
Essays
Television
Photography
Radio
Some secondary sources hand-outs have been included for your use in the Additional Resources Pocket (Appendix 5).
Some secondary sources hand-outs have been included for your use in the Additional Resources
50
Pocket (Appendix 5).
Instructions for Teachers on Executing Lesson Plans

This Part gives Five Lesson Plans that have been extracted from the themes outlined in the Resource
Material Part of this Section. The Lesson Plans are supplemented with Student Activity Sheets as
guidelines for teachers to devise their own activities that are suitable to their needs and requirements
and in line with the objectives of the lessons.
1. Lesson 1: Introducing the Project The Living Traditions of Pukhtun Folklore
Theme 1: Develop an appreciation and understanding of the importance of safeguarding folklore
and oral traditions.
EXPECTED LEARNING OUTCOMES

1. Students develop an appreciation and understanding of the importance of safeguarding folklore and
oral traditions
2. Students and teachers demonstrate a good understanding of the various forms of folklore of
3.
2. Lesson 2: Types of Literary Expressions in Pukhtun Oral Tradition

Theme 2: Exploring the various forms of folklore of KPK and FATA
4.
3. Lesson 3: The Pleasure of Learning Poetry with Pukhtun Folklore

Theme 3: Enhancing linguistic and cognitive skills with indigenous poetry and folklore
5.
6.
4. Lesson 4: Integrating Pukhtun folkore in Language/History classes

Theme 4: Folklore and Oral Tradition for Peace in the Modern Era
5. Lesson 5: Introducing Poetry Circles in Science/Social /Pakistan Studies/Art/Math classes
Theme 5: Tradition, Social/Pakistan Studies, Arts and Humanity
6. Lesson 6: The Art of Qissa Khwani
Theme 6: Tradition, Social/Pakistan Studies, Language, Literature
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
KPK and FATA

Students show enhanced/improvement and development of their linguistic and cognitive
skills with indigenous poetry and folklore.
Students are able to collate folklore and oral traditions with the concept of achieving peace and
social cohesion in the modern era.
Students demonstrate with confidence that their oral tradition and folklore is the universal
heritage of humanity, and useful tool to promote values of peace in the region.
Students have a firm grasp of qissa khwani and are able to combine modern storytelling
techniques with qissa khwani, recall and narrate folk tales, and convey the essential messages
of peace, love and tolerance to others in an eloquent colloquial manner.
Lesson Objectives
To let students know the significance of tapas, matals, riddles in day to day life.
To enable students understanding on how to revive the oral tradition
To find, explore and draw wisdom and lessons from folk tales
To enable students in sharing interesting stories they have either read in books or
heard from their elders.
5. To inculcate the spirit of the old folk tradition to practice harmony, tolerance and
involve themselves in healthy activities, to appreciate their cultural diversity and
respect views of other people.
6. To tell students how they can promote goodness and prosperity to the others by
using the beauty and indigenous wisdom of their folklore and oral traditions.
1.
2.
3.
4.
Guiding Thoughts & Ideas:

Incorporate the knowledge from folklore & oral tradtions into classroom teaching and learning
Familiarize yourself with varying learning needs of age groups and divide children into small
groups (5-10 students per group). If you are teaching in a co-educational school, please ensure you
divide students into groups indiscriminately, i.e., equal no. of boys and girls in each group.
Encourage children to talk to their elders in the family, and peers and learn from them about the
social practices of their time.
Use visuals and introduce creative writing activities and poetry circles based on oral traditions and
folklore in the classroom.
Organize competitions between classes like Bait Bazi (a verbal game that could be played by
composing verses of Pashto poems, Tapas, matals, and riddles).
Instructions for
Teachers on Executing
Lesson
Plans & oral
Invite elders and tradition bearers in the community
to participate
in teaching
folklore
Living
Tradition
of
Pukhtun
Folklore
traditions.
51
Children at a Mela
Get children to draw comparisons (similarities and differences) between modern poetry and
traditional poetry
Encourage Children to find out more about the literary roots and history of oral traditions of their
communities.
52
Social Practices and Worldview

Learning Category
Age Group
LESSON 1
Introducing the
Project The Living
Tradition of Pukhtun
Folklore
Objectives and Learning Activities

Students are able to identify
the salient points of hearing a
story in comparison to reading
them.
Students understand the
history of Pukhtun folklore
and oral traditions in their
community
Learning Outcomes
Children develop
an appreciation and
importance of safeguarding
folklore and oral traditions
Students are able to narrate

Living Tradition of Pukhtun Folklore Student Activity Sheet #1
stories
and folklore that
Storytelling
has been passed on by their
FOKLORE
ancestors
Full Name:
Date:
Month:
Year:
Class:
Age:
The 4 characters, Anwar, Gul Gotay, Saifuddin Chitrali, Mohabbat Khan have been
placed in the boxes below.
53
1. What is each of the characters holding in their hands?
54

Learning Category
Age Group
LESSON 2
Types of Literary
Expressions in
Pukhtun Oral
Tradition
Learning Outcomes
Students understand the form

and structure of 11 different
kinds of literary expressions in
Pukhtun folklore

demonstrate a good
various forms of folklore of
KPK and FATA
Students are able to identify

and differentiate between the 11
forms of literary expressions in
Pukhtun folklore
Living Tradition
of Pukhtun
Student Activity Sheet #2
Students
are
able toFolklore
create
Oral Traditions
their own prose and poetry
based
onTRADITIONS
these literary genres.
ORAL
Full Name:
Date:
Month:
Year:
Class:
Age:
Look at the translation of the following Pashto verses in the boxes below:
1. Identify and place the name of the form used in each of the verses.
1.
2.
3.
4.
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56

Learning Category
LESSON 3
The Pleasure of
Learning Poetry with
Pukhtun Folklore
Age Group

Learning Outcomes
Students are familiarized with

notable figures in Pashto poetry
of the past and present
Students show enhanced/

improvement and
development of their
Students are able to decipher linguistic and cognitive
the meanings and main message skills with indigenous
poetry and folklore.
behind their poems
Students are able to associate
these poems with presentLiving
Tradition
of Pukhtun Folklore
day
social
conditions
of their
Storytelling
communities and the world at
large FOLKLORE
Full Name:
Date:
Month:
Year:
Class:
Age:
The illustrations for the story Reward of Honesty are placed below:
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58
Living Tradition of Pukhtun Folklore Student Activity Sheet #4

Oral Traditions
ORAL TRADITIONS
Learning Category
LESSON 4
Integrating Pukhtun
folkore in Language/
History classes
Age Group

Traditional forms of poetic
expressions are used as
examples to teach modern
poetry. For example, draw
parallels in expressions of
nature between Rahman Baba,
and Walt Whitman.
Students are expected to
learn about the history of literary
movement in KPK, FATA as an
integral part of the history of
British imperialism in the sub
continent.
Learning Outcomes
Students are able to collate
folklore and oral traditions
with the concept of
achieving peace and social
cohesion in the modern era.
Full Name:
Date:
Month:
Year:
Class:
Age:
Listed below are four Matals:

1. A woman is the lamp of home
2. Black brings fear, white brings rain
3. The sieve taunts the water jar because it has two holes in it
4. Iron breaks iron
a. Re-write the above Matals in your mother language:
b. What is the importance of Matals? Why do we use them?
59
60

Learning Category
LESSON 5
Age Group
Introducing Poetry
Circles in Science/
Social /Pakistan
Studies/Art/Math
classes
The Living Tradition of Pukhtun Folklore Student Activity Sheet #5

Oral Traditions
Learning Outcomes
1. Narrate or write a story looking at one image
Organize inter-class
competitions like bait bazi to
hone students poetry recital
skills by reciting tapas etc.
Students demonstrate with

confidence that their oral
tradition and folklore is
the universal heritage of
humanity, and useful tool
Poetry Circles can be
to achieve peace, tolerance,
organized
in ofMath
andFolklore
Science
The Living
Tradition
Pukhtun
equity and regional
classes as means to improving
Oral Traditions
counting and sequencing skills. stability.
ORAL
TRADITIONS
For
example,
matals and riddles
Student Name:
Date:
Month:
Year:
Age:
Class:
The 4 characters, Anwar, Gul Gotay, Saifuddin Chitrali, Mohabbat Khan have been
placed in a setting below:
61
2. Weave a story with the four images together
62

Learning Category
LESSON 6
The Art of Qissa
Khwani
Age Group
Learning Outcomes
Students understand the

basics of storytelling and narrate
examples of storytelling from
their community
Students have a firm grasp

of qissa khwani and are
able to combine modern
storytelling techniques
with qissa khwani, recall
and narrate folk tales,
and convey the essential
messages of peace, love
and tolerance to others
in an eloquent colloquial
manner.
Be able to identify the

strengths of a good storyteller
Be able to identify factors that
can affect the authenticity of a
story
Students are able to pinpoint
and appreciate the positive
values of the Pukhtun culture
like Melmastiya, love, humility,
tolerance and peaceful coexistence from the stories
63
Rehman Baba poetry
Student Name:
Date:
Month:
Year:
Age:
Class:
Listening to a Qissa Khwan

Instructions for the Activity
o
o
Invite a storyteller from your community to your school

Get him or her to narrate and/or sing traditional folklore or story from KPK, FATA (you
can select from Resource Material section)
Record the story using a voice recorder device
Ask them to answer the following questions
Play the recording to students
1.
What is the story about?
2.
Who are the characters of the story?
3.
Which character did you like the most?
4.
At what part of the story does the Qissa Khwan sound happy?
5.
At what part of the story does the Qissa Khwan sound sad?
6.
What is good about this story?
7.
What part of the story did you like the most? Why?
8.
What instrument was the storyteller using?
9.
Do you agree with the ending of the story? Why or why not?
64
Thematic Project
Learning Category
TP-1:
My Community, My
Home
TP-2:
TP-3:
Our Town, Our
Context
TP-4:
Mela
65
Learning Outcomes
TP-1: Enhance the students sense of pride

and identity through mapping of their own
communities.
TP-2: Enhance the students appreciation
and knowledge of the variety of Intangible
communities.
lessons

causes.

66
Part 4: Annexure
Appendix 1
Part 4: Annex
Appendix 2
Vocabulary
Word bank/Khazana;
This is a handout for the students and for the Notice Board. Copies are available in CD for printing.
Teacher should add any words that they feel needs to be explained to the students. The students should
add words that they think are challenging for them.

This is a list of Suggested Glossary: Please add more words along with the Pushto/local language
words and put a copy of this on the classroom wall/notice board, for the students. Students should also
be given a copy to use.
Sr.
No.
Word
Meaning
1.
Anthology
A book or other collection of selected writings by various authors, usually in the same literary form, of the
same period, or on the same subject.
Local Term
Tapa
2.
Authentic
Not false or copied; genuine; real
3.
Anecdote
A short account of a particular incident or event,

especially of an interesting or amusing nature
4.
Folklore
the traditional beliefs, legends, customs, etc., of a

people; lore of a people passed through the generations by word of mouth
Arr
Chinar
5.
Idiom
A language, dialect, or style of speaking peculiar to a

people.
6.
Poetry
Literary work in metrical form; verse. The art of

rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative, or elevated
thoughts.
7.
8.
Prose
Proverb
The ordinary form of spoken or written language,

without metrical structure, as distinguished from
poetry or verse
A short popular saying, usually of unknown and
ancient origin, that expresses effectively some commonplace truth or useful thought; adage; saw.
9.
Rhyme
Identity in sound of some part, especially the end, of

words or lines of verse.
10.
Riddle
A question or statement so framed as to exercise

ones ingenuity in answering it or discovering its
meaning; conundrum.
67
English
Mahiya
Qissa Khwan
Landay
Nuqul
Sandara
Badala
Loba
Nimakai
Bagatai
Charbeta
68
Part 4: Annex
Appendix 3
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
69
*Score
Hand-outs with relevant reading material for each section have been included for your use in the
Additional Resources Pocket. Students should also be encouraged to use their own primary sources
and secondary sources of information.
Primary sources are original materials. They provide first-hand testimony or direct evidence
concerning a topic under investigation.
Primary Sources
Secondary Sources
Oral History
Books
Internet
Interview
CD Rom
E-Mail Contact
Encyclopaedia
Event
Magazines
Discussion
Newspapers
Debate
Video Tape
Community Meeting
Audio Tape
Surveys
Articles
Artefact
Essays
Television
Photography
Radio
10
Appendix 4
Age Group
Part 4: Annex
Credit SAP (SOuth Asian Partnership) Khyber Agency Hujra
70
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822
Text: Sajida Haider Vandal (editor), Fakhra Hassan

Photography: Imtiaz Ali, Ali Shahbaz, Tehsin Ullah Jan,
Printers:

Content
PART 1: USING THIS SECTION
3. Preparing for the lesson
PART 2: RESOURCE MATERIAL
1. Introducing the ICH Element: Traditional Games
2. Importance of Safeguarding Traditional Games and Cultural Knowledge
3. Traditional Games (introduction) and some selected games
4. What You Can Learn From One Traditional Game
5. Description of Traditional Games with Illustrations/Instructions

Lesson Plan 1: Introducing Traditional Games.
Theme 1: Develop an understanding of the concept of games and societys
worldview of it.

Lesson Plan 2: Types of traditional games
Theme 2: Learning various traditional/cultural games of KPK, FATA

Lesson Plan 3: Studying and playing games that are meant to improve life and
survival skills.
Theme 3: Honing Survival Skills in Nature

Lesson Plan 4: Integrating traditional game activity in a Mathematics/Science
class

Lesson Plan 5: Integrating traditional game activity in a History/Social
Studies/Art class

TRADITIONAL GAMES
Honing Skills and Dexterity
PART 4: ANNEXURE
Appendix 1 Vocabulary
Appendix 2 Glossary (Local to English translation)
Appendix 3 Assessment and Feedback
Appendix 4 Additional Resources
1
2
3
4
5
5
6
7
8
19
20
23
25
27
29
33
35
36
37
This Section is divided into four parts.

Part 1: Using the Section on Traditional Games
Part 2: Resource Materials for Teachers/Educators
Part 3: Student Activities
Lesson Plans
Sub-Themes
Part 4: Annexure
It can be assumed with a fair amount of certainty that children all over the world share one common passion they
love playing games, be it traditional or contemporary. In most societies, traditional games form the backbone of a
community or society. However, most of the traditional games and sports, expressions of indigenous cultures and
ways of life contributing to the common identity of humanity, have already disappeared and those that have survived are
threatened by imminent disappearance and extinction under the combined effect of globalization and harmonization
of the rich diversity of world sport heritage1 .
Read the Introduction Booklet accompanying this Resource Kit to enhance your understanding of
how to integrate cultural knowledge into classroom teaching and lesson planning. The introduction also
provides various approaches and concepts which may help you to communicate with your students.
Prepare yourself by going through the Resource Materials for a thorough understanding of the
Traditional Games project objectives (Refer to Part 2 for Details)
Integrate the information on traditional games from Part 2 in planning and preparation of activities and
exercises for Sports, Science, Maths, Social Studies, Language and History classes. (Ref: Part 3).
Visualize and formulate lesson plans based on the main themes and sub-themes elaborated in this
section (Ref: Part 3)
Devise your teaching methodologies based on the following lesson objectives. The introduction also
discusses the various teaching methodologies which may be useful.
Therefore, in order to safeguard traditional games and Sports we need to add value in terms of cultural comprehension.
We also need to promote these games and share them with our colleagues world wide. This will not only add to
knowledge but will also enhance mutual respect and tolerance. Games play an important role in building peace
amongst nations. If you look at the way sports like cricket, squash and hockey have been a means for achieving respect
for each other you would agree that traditional games can also play a similar role. Traditional games can teach
children various important lessons, therefore when we plan our lessons we should include the following objectives.
Please remember that all objectives cannot be met in one activity alone and sometimes several lessons are needed
to impress important ideas and concepts. The lesson objectives for educators should include the following:
Students learn that the games of yesterday are similar to the games played today. Although with time changes take
place as this is a living culture and constantly responds to the time and the context. There is a common feature and
that is that traditional games enable children to acquire survival skills.
Developing an understanding of Changes with Time: Compare the similarities and differences between traditional
and contemporary childrens games.
ii. Enhancing Knowledge:
Broaden the students knowledge of the variety of games played by children in KPK, FATA and whenever possible
other parts of the world
iii. Acquiring an understanding of the Mechanisms for Transfer of Knowledge:
Develop the students understanding of how childrens games and their variations have
been passed on through generations and around the world.
iv. Developing Survival Skills:
To develop the students understanding that some traditional/cultural games were played
to encourage life skills and improve dexterity.
v. Integrating ICH in Education and Learning:
To integrate these games in subject areas like Social Studies, History, Science, Mathematics,
Language and others.
1
Traditional Games: Honing Skills and dexterity
Kids playing Stapu, Photo Credits, Imtiaz Ali
1 http://www.unesco.org/new/en/social-and-human-sciences/themes/physical-education-and-sport/traditional-sports-and-games/
TIPS ON HOW TO ACHIEVE OBJECTIVES
There are a variety of ways in which a school, teachers and technology can support and safeguard
traditional games and its incumbent cultural knowledge. One of the most effective ways to rejuvenate
and revive students interest in traditional games is by combining modern techniques of game play with
traditional ones.
Schools or teachers will be adopting games-based pedagogy in their lesson plans. Games-based pedagogy simply
refers to the incorporation of games in both teaching and learning. There are many advantages in schools or
teachers adopting game-based pedagogy.
Games are generally motivating. Though challenging they are physically beneficial, and though exhausting
they are great fun.
Remember that you are trying to achieve the following:

The excitement of being able to play improves the class atmosphere for learning.
Incorporate the knowledge from games into classroom teaching and learning
Encourage children to play traditional games during break and after school
Provide a dedicated space (and props) for playing traditional game
Organize traditional games festivals or competitions between classes
Invite elders in the community to participate in teaching traditional games
Encourage Children to find out more about their communities
Besides putting play back into the classroom, games help children experientially grasp skills and concepts
relevant to their cognitive, effective and psychomotor development.
Traditional game-playing is an excellent example of an integrated approach to learning where cognitive,
affective and psychomotor learning is activated simultaneously.
It is also a good model of the sequential approach to learning, where learning competency at higher levels is
dependent on prerequisite knowledge and skills at lower levels.

The lesson plans are designed to improve physical fitness, mental dexterity and honing skills.
Teachers should ensure that students have mastered the basic ideas and concepts before proceeding
to gaming activities and thematic projects.
The teachers should look at the vocabulary and glossary appendices at the end of this booklet to
familiarize themselves with unfamiliar words so that these may be explained to the students. They
should also make their own list of words that they think need to be explained to students.
A multi-step process has been developed for teaching and learning, which starts from simpler
to more complex exercises. Teachers should lead students through the process of connecting one
concept to another, and also put concepts into a hierarchy from small to large.
Students should be encouraged to make a visual representation of what they are learning. All
lesson plans generally incorporate experiential learning and projects.
Game of Cheendro in session, Photo Credits, Imtiaz Ali
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Game of Cheendro in session, Photo Credits, Imtiaz Ali
Lessons may however, be adapted with minor changes for eac age group/level.
3
4
1. Introducing the ICH Element: Traditional Games
The form and content of childrens games, the process of play and the method of transmission are effectively an
integrated and holistic form of education and socialization. The form and content of the game can be perceived as a
locally improvised curriculum, the process of play that inculcates a sportsman spirit and imparts important character
values like learning to play as a team, accepting defeat, conceding victory, humility and a healthy competition under
the guidance of mentors in the community as local teachers.
Traditional childrens games of each region and community are shaped by local culture and the local environment.
The physical space, materials available and seasons Guiding Questions for Initiating and Delivering Lessons
may determine where and when they are played, What are the traditional games popular in your area/town/
the props that are used and the form a game takes. village?
Social and cultural norms, expressions and attitude
What are the favorite games you usually play?
may be reflected in who plays, the way the game
What cultural knowledge and skills are associated with each
is played or in the goals of the game. Traditional
traditional game?
childrens games often incorporate cultural
What use is the game to you? Who taught you the game?
knowledge, values and skills that have emerged
What is the history of each traditional game?
over time from the reciprocity between a particular
What languages are associated with traditional games?
society and its given environment.
Embedded in traditional childrens games are rich
repositories of historical, environmental, social,
scientific, mathematical, social, kinesthetic, visual
and musical knowledge, values and skills, inherited
over time and through experience. Rather than
resigning ourselves to the widening gap between
traditional and modern knowledge and learning,
purposeful exchange between the two can lead to
mutual gain. The ability of modern institutions of
learning to document and communicate, to adopt
and adapt, and to imbue traditional games with new
life will go a long way in ensuring the continuity,
evolution and application of cultural knowledge.
What learning activities are associated with Traditional Games?

What types of teaching and learning methods should be used
to integrate traditional games in lessons?
What types of student evaluation methods are associated with
each traditional game?
What is the ideal location for playing the game, and what are
the rules of the game?
What past and contemporary cultural issues are associated
with traditional games?
Depending on the topic/subject and outcome statement,
determine what specific cultural knowledge, skills and behavior
learners will be, or should be exposed to concerning the topic/
subject so as to learn about it.
2. Importance of Safeguarding Traditional Games and Cultural Knowledge

Both globalization and western imperialism have had a negative impact on tradition and local cultural identities.
The rapid processes of modernization have hampered the continuity of cultural knowledge transmission, which
has resulted in breaking that continuity and leaving us with fragmented forms of cultural knowledge and dispersed
indigenous communities.
3. Traditional Games (introduction) plus some selected games

Traditional games are not new for children who
are used to playing on the streets, in mohallas
and empty plots. Young men even go to parks
and fields, including Shahi Bagh, Wazir Bagh and
Jinnah Park, to play. According to the author Prof
Dr Raj Wali Shah Khattak, most of the outdoor
games in Peshawar are played by boys while
indoor games are played by girls. Some games
are common even today, while some are unique to
particular places.
Elaborating on the games played in Peshawar, Prof Dr. Raj Wali

Shah Khattak, in his book An Intangible Heritage: The Walled City
of Peshawar, mentions that before British rule, the only games
found in KPKs largest city, Peshawar, were the traditional ones.
KPK and FATA encompass 24 districts, 7 tribal agencies and 6
frontier regions. Pashto is the main spoken language in the region.
However, UNESCO has identified 26 different endangered
languages and Pashto dialect spoken by the indigenous
communities in the area. For example, Pashto is spoken mainly
in Peshawar, while Kalami, Gawri and Torwali are the spoken
languages in Swat, Dir and Kohistan that are relatively smaller
areas in KPK and FATA, and geographically connected like the
twin cities of Rawalpindi & Islamabad.
While valuable insight has been given by Dr. Raj Wali

Khattak, on the situation in Peshawar, traditional Therefore, the same games that children play may have different
games were played with equal enthusiasm by names individual communities. Children played Chopun Chopaay
children all over the province and the tribal areas. (hide-and-seek), Cheendro Shpa, Tabey Kharbey (up-and-down),
You will find that some of the games mentioned Cha Cha Chooch and Kanderyan. The young boys play Kabddee and
below were played by your students parents and Geeryan. They also liked wrestling. The game of toop dandu, which
grandparents. You will also find that the same resembles American baseball, was also very popular .
game is known by varying names in various parts of the country. You will also find that some games are unique to a
particular part of the province or tribal area and not known elsewhere at all. This is what makes all our communities
so unique and interesting.
The special quality of traditional games is that they can be played anywhere. These games do not require a special
space, a large dedicated playground or specialized equipment. Thus traditional games are more inclusive. There is
also a whole genre of field games that KPK and FATA players have excelled at such as football, volleyball, as well as
cricket, hockey, basketball and squash. All of these are played internationally and have purpose-built or dedicated
spaces, equipment and strict rules.
For example, some of the new introductions such as high-rise living, consumer goods and competitive education
have led to reduced opportunities and demand for traditional game playing. Traditional game-playing is losing out in
the face of commercially-produced games and toys, electronic games, increased focus and time dedicated to formal
education and schooling, reduced independence and mobility of children and space restrictions etc.
Childrens games develop and evolve through improvisation and are transmitted through the process of mentoring by
members of the community. Mentoring by elders and older peers is one of the means by which cultural knowledge,
values and skills that are relevant to a particular society and its context, are transmitted to the younger generation.
Cultural content is often embedded in the songs and chants, gestures and movements, roles assigned and goals of
the game.
5
Game of Lewishtenak in sessionPhoto Credits, Imtiaz Ali
6

4. Description of Traditional Games with Instructions
What You Can Learn From One Traditional Game

If you start deconstructing a game you will also discover that while games are great fun to play and children
love to play games, there is so much of wisdom embedded in a game.
Look at the game Lewishtenak given in the part on traditional games; you see that this game teaches so many
skills, for example:
The following list of games has been included as a resource for you to use. This is a non-exhaustive list and can be
increased to include others especially the traditional games played by your local communities. This can be easily
done if you take up Thematic Projects (Ref to Part 3: Student Activity).
Improvisation: The game allows the two children to improvise on the basic game, by creating any number
of shapes with the hands, feet, legs and arms. Thus it teaches a very basic skill, that of improvising rather
than rote learning
1.
Skhay
10.
Teet Pu Teeta
Imagination and Creativity: The matching of a shape created by the two leaders with an object, for example
a lake, canal or whatever, which an individual will normally cross, hones the imagination.
2.
Toop Dandu
11.
Mazray
3.
Pash or Golee Dandu
12.
Dugh
4.
Ya Nuglee (Angaey)
13.
Yandu
5.
Cheendro
14.
Lewishtenak
6.
Sapatat
15.
Kon Banay Ga Jungle Ka Badshah
7.
Akoo Bakoo
16.
Aungo Mango
8.
Ttup Ttupanrray
17.
Makha
Kootey or Achunku or Koda
Mathematical and Geometric Concepts: By creating shapes, the players get familiar with a number of
geometric shapes and also maths elements such as width, height and so on. Score keeping also teaches simple
maths concepts, for example that of addition.
Critical Thinking: Children have to estimate the distance/ ability against their own ability thus building
the childs abilities.
Environment: The play also inculcates knowledge of the local environment by using features such as a
canal or drain and so on. This game also conveys danger which may exist in the immediate environment.
Crossing a rapidly flowing stream. Lewishtenak is popular in Upper Swat which has dangerous water streams
and rapids in the river.
Agility, Dexterity: It has in-built high jumps, manoeuvrability; motor action which help contribute towards
physical development.
In this way all the games listed here and others which you may discover being played in your students
communities can be deconstructed to help you focus on various aspects of it as you plan the lessons.
Game of Lewishtenak in sessionPhoto Credits, Imtiaz Ali

Game of Akku Bakku in session, Photo Credits, Imtiaz Ali
7
8
Traditional Games: Honing Skills and exterity
Skhay
Pash or Golee Dandu
The game involves two teams.

Each team usually consists of 6-8 players, 4 is a minimum.
Before starting the game a particular spot is specified which the defending team needs to touch.
All the players must hop on one leg, holding the other leg tightly gripped in the opposite hand.
The key player is guarded by his teammates so he or she can reach the spot safely.
If, before touching the spot, the key player is forced to open his or her gripped hand for his or her foot, his
turn comes to an end; therefore, the teams try to unlock or open each others hands and feet.
Once the spot has been successfully reached by one team, it is the other teams turn.
Normally the girl/boy selected as the key player is one who can hop fast on one leg.
If a team fails to reach the spot five times consecutively, they lose the game.
Toop Dandu
Photo Credits, Ali Shahbaz
This game is played between two teams, each consisting of 8-10 players.
Two circles are drawn, a furlong apart.
A wooden stick and a tennis ball are used (which is why it is similar in some ways to baseball).
The defending team gets into one circle while the opposing team stands outside to catch or retrieve the ball.
One player in the circle has a chance to hit the ball with the stick and then run fast to the other circle.
Another of his team-mates hits the ball and runs to the second circle while the first player runs quickly back
to the home circle.
If the ball is caught, the player is out; if not, they try to hit the player with the ball while he is running between
the circles, which will also make the player out.
When all the players are out, the other team starts its innings.
This game is considered to be very useful for exercise and the art of defending oneself.
Traditional Games: Honing Skills and Dexterity
The game is also very popular in the Punjab where it is known as Gulli Danda. It is usually played by boys. In cities you
often find children playing the game in the streets.
This is a game played with one long stick of wood and another short one, about nine inches long.
Both the edges of the short stick are sharpened.
The game is played between two teams, each of no more than six players.
Before starting the game the team to have the first innings is chosen either by tossing a coin or using a method
which involves both sticks.
The captains of the two teams, one after the other, use the long stick to hit the short stick up into the air, and
then continues to hit it as many times as possible to keep it in the air.
Each hit is counted, and the go stops only when the short stick touches the ground.
The winner is the one who bats the stick in the air for the most number of times; and his team earns the right
to the first innings, after which the game begins.
All the members of the playing team get into a circle.
First a particular number of hits in the air (that is hitting the short stick into the air and out of the circle) are
specified and then each player tries to achieve this goal.
The aim is to keep the short stick out of the circle; if it comes into the circle the player is out.
If a player succeeds in hitting the short stick outside the circle for the required number of times, he keeps
himself alive for another turn; otherwise he is out.
All the players in the circle do this in turn.
The player who remains alive can play again and compete for any of his or her team-mates who are out,
and so make them alive once more, but if he or she then the whole team isout, and so they must be made
alive once more, but if he or she fails then the whole team has to go out and the opposing team takes its turn.
The real charm of the game is that if all the members of the team remain alive, they have the liberty to hit
the short stick as hard and as far as possible so that it lands a long distance away.
The other team, who needs to retrieve the stick, have to run long distances which tires them.
10
Ya Nuglee (Angaey)
Sapatat
This is one of the many examples of games that are not dependent on special equipment and material but things
which are easily available in homes.
This is another game which is popular with girls.

The game is played with four little sticks of cane.
It is played by two teams, each with two members.
A circle is drawn and four pebbles are taken by each of the four players.
Within the circle two diagonal lines are drawn.
The sticks are tossed in the air turn by turn; the head and tail of the sticks have different values calculated
in inches.
The value of the throws moves both teams around the circle, and the one who completes the whole length
of the circle first is considered to be the winner.
The winners kick the straw sticks and hop away on one foot while the losers collect these scattered straw
sticks, run after the winners, catch them and bring them back to the circle on their backs.
This is a game played between two teams of six to eight members each.
The game is played in the evening or at night, using the high and wide walls of a Pashtun house.
First, the captain of one team arranges his players in a row in a particular order.
The captain of the opposing team does the same.
Then one team hides behind one corner of the wall keeping in the same order, while the second team does the
same on the other side.
Both the captains shuffle their teams, making them change places, and line up again at the opposite corner.
Then the captain of a team calls the name of the player standing at the head of the row.
If he or she is not part of the pair with the other team (based on their original placement), then the captain calls
out again the name of the first standing player.
This continues until a pair is finally arrived at.
When this happens, the captain invites the team to come in, and the players of his or her team are carried on
the backs of the players of the losing team to the other corner.
Cheendro
This is a game usually played by girls. It goes by various names, for example in Swat it is called Sindakh. Variations of
it are found in different parts of the country and even abroad. In Britian, the game is known as hop scotch. It is played
by two teams each consisting of three or four members.
Cheendro is the name of a diagram, similar to a parallelogram or rectangle, which is drawn on the floor with
chalk or marked out in the ground with a stone or stick.
Within the shape there are some seven or eight columns drawn on the floor, usually with chalk powder or
limestone.
A round striker made of baked clay or some other material is thrown turn by turn into columns, and then
pushed with the foot to the other column.
If the striker lands on a line it is a foul, and the players turn comes to an end.
Photo Credits, Imtiaz Ali
11
Akoo Bakoo
This is a game played by little girls. One girl is selected to count akoo bakoo. The words she says are these:
akoo bakoo sarsansudakko ghwa mey larra pa trapakoo
abaseen belay belay,
jeenakay khwarey warrey
While saying this, at every syllable she puts her finger on each of the other girls in turn; the one who is
touched as the last syllable is spoken is considered to be a thief.
All the other girls run away and the thief runs after them to catch them.
On catching a girl, she is joined by her and the two girls together try to catch the rest, and when they catch
another she joins the catchers as well: in this way the number of those chasing the others increases until the
last girl is caught.
Then the game is over.
12
Ttup Ttupanrray
Mazray
This is a game for little boys and girls.

A few children get together and sit in a circle around a pond of water.
Two teams are formed, each with a captain.
One captain questions the second captain:
First: Has my hen come to you sister?

Second: Yes sister.
First: Has she given the egg, sister?
Second: Yes sister.
First: Have you kept it for me, sister?
Second: No sister.
This is an indoor game played by two adults.

A diagram is drawn on the ground or cemented floor.
Twenty pebbles and four stones are used, divided equally between the two teams.
The pebbles are called gudey (sheep) and the stones which are able to cut or eat the pebbles
belonging to the sheep are called gud (rams).
Each player selects a side and places the pebbles on specific columns.
The gudey are moved towards the opposite side while also trying to block the guds from
moving.
If one player succeeds in taking more sheep, his opponent is weakened and less able to
defend his remaining sheep.
The game is won if both the opponents guds are blocked and the player with more sheep wins.
First: Have you fried it for yourself?

Second: Yes sister.
First: Have you some for me?
Kootey Or Achoonku
This is a game for six people. In Swabi, the game is called Koda, and it is only played with marbles.
Second: No sister.
First: Then I should quarrel with you less or more?
Second: Less or more.
After this answer, both teams start beating the surface of the water with their hands, which is supposed to be a
war between the two.
The team which is pushed back loses.
Teet Pu Teeta
This is a game played by several boys who take turns to toss a coin to identify both a winner and a loser.
First a hole is dug in the ground and each player has a walnut/marble to play with.
The game is played with one hand and the middle finger of the other hand.
Turn by turn each player tries to hit another players walnut with his or her own walnut propelled by the force
of his/her middle finger plus hand.
If a player manages to hit anothers walnut/marble, he or she wins that walnut, and then he or she tries to
fill the hole with walnuts/marbles.
The player who has lost his or her walnut is out of the game, and the game continues until one player has all
the walnuts/marbles.
In Swabi, Koda tournaments are held annually and are accompanied by traditional Pashto music on Dulkay.
The boy who wins the toss gets up on the back of the loser and calls out khan khan pu teetee and the loser
replies, teet pu teetee.
With this the mounted boy gets down and
runs after the other boys: he tries to catch
them while they try to get up on the losers
back.
If the first boy succeeds in catching any of
the others, the captive takes the place of the
loser and the catcher gets up on this back.
The boy who was the original loser then
tries to catch another player and the cycle
continues.
Game of Teet Pu Teeta in session in a Swat. Photo Credits, Imtiaz Ali
13
14
Yandu
Dugh
Yandu is a hard game, played mostly in the southern districts of KPK. It is popular among the Khattak and Marwat
tribes and is played only by young men who can run fast and who have tremendous stamina.
This is a game played by the shepherds who take their herds to graze in fields far away from their village.
They play this game on the way back to the village in the afternoon.
It is a game for two persons, but if there are more than two, it can also be played in pairs.
The game is played with the stick which shepherds use to guide their animals.
One shepherd throws his stick as far away as possible in a manner that sends it rolling with both ends on the
ground.
The other tries to hit this stick by throwing his or hers in its way.
If the rolling stick is hit, the first shepherd must take the other on his back to the place where the rolling
sticks are lying.
If the second player misses the stick both run fast towards the sticks.
Whoever reaches his or her stick first then takes the lead in throwing again.
This game helps the shepherds to get home as quickly as possible.
Two fast runners are made the captains (sarakee) of each team.
Both captains select their team using a method called laprree cheend or cheend kuprree.
Two players leave the main group and in a quiet place together agree on a symbol for each of them.
They return and ask the captains to select a symbol each.
The captain gains the player whose symbol he or she selects.
In turn all the players are divided this way and the teams are formed, called dangey.
The teams sit on the ground and the captain starts running around in a circle.
He is chased by two players from the opposing dangey who tries to catch him or her and make him or her
fall. If they succeed in making the person fall, he or she is out.
During the running the player being chased tries to hit either chaser with his or her hand and if he or she
succeeds in touching him or her, the chaser is out and the first player can complete his or her running back
in the same way.
When one team loses all its players, the other is the winner.
It is an interesting game requiring the players to be physically very fit.
Khon Bana Ga Jungle Ka Badshah

This is again a popular game in some parts of the province and played by both boys and girls of the 5-12 age-group
although older children are also known to enjoy this game. Any number of children can play this game.
The following steps are followed:
The children first hold hands and make a circle
Then one child starts reciting a rhyme/ phrase and at each syllabus points to a child in the circle. The child
who gets the last word i.e. Badshah of the phrase is declared out of the game
The Rhyme has seven syllabus which mean Who Will Be The King of the Jungle
When only two players are left, the rhyme is again repeated and when one gets the word badshah, she or
he stomps on the other players foot and starts running.
This is the cue for the other players to start chasing each other and stomping on the feet of another player
to declare a player out of the game.
15
16
Lewishtenak
The game is played by little boys and girls of age 5 to 10 years. It allows for improvisation and can be shortened
or lengthened according to the interest of the players. The game develops dexterity, motor skills, maths skills,
improvisation and creativity/imagination. It is played in the following way:
First two children are chosen as leaders who are responsible for setting the targets for the other children. The
rest of the children form a queue and take turns playing the game.
The two leaders start by sitting on the ground on their haunches and with their hands vertically placed on top of
each other either as closed fists or open fists invite the queued up children to jump over the closed or open fists.
When the fists are closed they call out Bund Gobi (closed cabbage) and when open Khuli Gobi (open
cabbage)
At each stage of the game the two leaders using their hands, arms, legs increase the jumping height or create
more intricate shapes for the players to jump over or cross. (Refer to CD for some steps).
If a player touches the hands or feet of the two leaders they are declared out. The players have to be constantly
deciding on how to cross over the shapes created by the hands, arms, legs and feet of the two leaders.
The two leaders also name the shape, for example calling out Ghunta Wala (Big Canal), Lakhtey (Drain) etc.
At the end of the game there is a little role playing. One girl joins her hands palms outwards and the other
players will pretend this is a mirror and look into it to do their make-up. This is accompanied with laughter and
remarks.
Once everyone is dressed up and ready they will all sit in a circle and partake of make believe fruits and food.
The two leaders sometimes act as hosts and coax the others to eat.
Through this step one of the fundamental values of the Pakhtunwali (unwritten code of honor of the Pashtuns)
that is Melmastia (hospitality) is communicated/transferred.
Aungo Mango
This is a game popular in Upper Swat communities. It is played by children of all age groups in the outdoors or the
courtyard of the houses. It is a popular game in other parts of the province or country as well as around the world. In
Britian it is called Statue.
The players stand at random while one child (the lead player) calls out the following action oriented phrases upon
which the players follow these actions:
Aungo Mango,
Look Up
Look Down
Join your hands
Join your feet
Twirl your Body
Become a statue.
If you move from your position you will get one punch and one kick and will be out of the game
The lead player goes round keenly observing any movement of any of the players. Upon spotting a movement the
player is given a gentle punch, a kick and declared out.
This goes on till the last player is out of the game.
17
Kids playing Ango Mango,

Other Lesser Played Games

Many of the games which were popular in the past are not played any more in Peshawar and other urban areas.
However some of these may still be played in other parts of the province:
Makha or Mukha
A type of archery is the traditional game of Swabi District, especially in the
village of Kaddi. The game is played as follows:
A long bow (ghashay) and a long arrow (leenda) made from bamboo sticks
are used.
Instead of a pointed tip, the arrow has a saucer-shaped metallic plate at
the blunt end, which is called the Tubray.
The archers play in teams and attempt to hit a small white wooden target Preparing for game of Makha, Photo Credits, Wikipedia
called Takai which is surrounded by a circle or ring or Kwaara.
The target is kept in wet clay at some height, a few meters away from the archer.
The team that hits the maximum number of targets accurately, wins.
Koda
Played with round-shaped pieces of yellow and green marbles, Koda is a
traditional game in Swabi and Buner districts.
The game is very popular with children and adults, and attracts
crowds.
When Koda tournaments are held, traditional Pashto music Dulkay is
played.
Game of Makha in session, Photo Credits, Wikipedia
18
This Part gives Five Lesson Plans that have been extracted from the themes outlined in the
Resource Material Part of this Section. The Lesson Plans are supplemented with Sample Student
Activity Sheets as guidelines for teachers to devise their activities that are suitable to their needs
and requirements.
Traditional Games & Society
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advance
Learning Category
Age Group
LESSON 1
Introduction to
Traditional Games
Project
Learning Outcome
Students are able to identify and

distinguish between popular
games and traditional games of
their communities
Students develop an
concept of games and
societys worldview of it
Students understand and

appreciate the importance of
knowing games of their own
communities
Instructions for Teachers on Lessons 1 & 2
LEARNING OUTCOMES:
1. Students develop an understanding of the concept of games and
societys worldview of it.
2. Students and teachers demonstrate a good understanding of the
structures and dynamics of traditional/social practices of KPK,
FATA.
Science
Make comparisons to the games students play today.
Discuss the items used and where the games are played.
Use a large Venn diagram to record similarities and differences during the
discussion.
Circulate the traditional games items and ask students to discuss what they
think they are used for and how they think the games are played.
Bring the class together and list the students ideas and responses to the items.
Ask the students 'How did you know what this was used for and how to use
it?'
o Direct them to generalise that games can be passed on by family and
friends.
Split the class into groups and have rotations of games around the world,
playing similar games with the variations from different countries.
Use the Thematic Projects booklet for ideas and suggestions on communitylevel activities for students.
Mathematics
Introduce exercises in the Math classes to help students to sharpen their

logical skills on the games they have been taught and have been playing.
Ask them what game they like the most and what does it teach them about
numbers and counting.
19
20
Traditional Games Student Activity Sheet

Lesson 1 Introduction to Traditional Games
Student Name:

a. Identify the game being played in each picture.
Date:
Age:
Class:
Month:
Year:
1.___________________________________
2.___________________________________
3.___________________________________
4.____________________________________
Look at the pictures below carefully.

1.
5._____________________________________
2.
6._____________________________________
b. Do think these games are important today? Why or why not?
3.
4.
c. Make a list of your favourite games. Why do you like them?
5.
21
6.
22

Learning Category
LESSON 2
Age Group
Types of Traditional
Games

Students are able to distinguish
between the types of traditional
games
Students are able to
demonstrate how to play the
traditional games
Develop an understanding that
games can be passed on by
family and friends
Lesson
2 Activity
Sheet
Traditional Games
Student
Activity
Sheet
Learning Outcome
demonstrate a good
history and techniques of
various traditional/cultural
games of KPK and FATA
StudentName:
Name:
Student
Understanding the Types of Traditional Games of KPK and FATA

1. Why do people use
1. rocks, sticks and
marbles in some traditional games? Give
an example of any game played today
that uses objects like that.
3.
3. Do you think these games are important

to the Pukhtun culture? Why?
5.
23
Date:
Date:
Month:
Age:
Year:
Class:
Age(s):
Month:
Class:
Year:
Teachers Name:
2. What life skills

2. do these games teach?
4.
4. What other cultures use games to teach

life skills to children?
6.
24

Date:Lesson 1 Introduction to Traditional Games
Student Name:
Learning Category
Age Group
Students learn about the honing

skills and dexterity required
to master a traditional gaming
activity
LESSON 3
Studying and playing
games that are
meant to improve
life and survival
skills
Learning Outcome
Students demonstrate
honing, dexterity and
survival skills in order
to protect themselves,
their community and their
natural
Instructions for Teachers for Lessons
3, 4environment
and 5
LEARNING OUTCOME:
Lesson 3 Activity Sheet
Month:
Year:
Date:
Age(s):
Age:
Class:
Class:
Teachers
Month: Name:
Student Name:
Year:
Analyze a Traditional Game

Instructions for the Activity:

Below is a table of traditional games from Peshawar, and some of them have been highlighted.
1. Students understand traditional games in the modern context and

are able to apply their understanding to improving their critical and
analytical thinking and language skills.
2. Students demonstrate honing, dexterity and survival skills in
order to protect themselves, their community and their natural
environment.
history and techniques of various traditional/cultural games of
KPK and FATA.
Social/Pakistan Studies & History
Set a homework task requiring students to nd out the types of games played
by their parents and/or grandparents in their childhood.
Read the Resource Material Section (for rules of the games)
1.
Ask students to deconstruct the highlighted traditional games
2.
For each of the games, answer the following questions:
1.
Skhay
2.
Cheendro
3.
Akoo Bakoo
8.
Kootey oor Achoonku or Koda
14.
Khon Bana Ga Jungle Ka Badshah
12.
Yandu
1. What is improvising? Which of the games highlighted in the table teaches us about
3.
4.
improvising?
Examples of objects used in traditional games such as rock, sticks, chalk and
marbles.
Invite tradition- bearers and members of the students families to school to
share the games of their ancestors
.
Refer to the Thematic Projects booklet for ideas and suggestions on community
level activities on traditional games.
Language
Introduce exercises in the Language classes to help students increase their
knowledge and vocabulary of indigenous terms for games played in KPK and
FATA.
Encourage students to come up with names and terms they associate with
games in their own and other languages.
Ask them what game they like the most and why.
25
2. Which of the games uses shapes? Draw the shapes.
3. What are the materials required for each of the games?
5.
6.
4. Which of the highlighted games depends on mathematical calculations like counting?
5. Which of the highlighted games resemble a story? Why?
6. What is the meaning of Yandu and Akoo Bakoo?
26

Learning Category
Age Group
LESSON 4
Integrating
traditional game
activity in a
Mathematics/
Science class

Learning Outcomes
Students are able to apply

the mathematical and logical
concepts of games into their
learning experience in the
classroom

understand traditional
games in the modern
context and are able to
apply their understanding
to improving their critical
and analytical thinking
Instructions for Teachers for Lessons 3, 4 and 5
skills
LEARNING OUTCOME:

environment.
KPK and FATA.
Student Names:
Date:
Month:
Year:
Age(s):
Class:
Teachers Name:
Whats the Traditional Name of the Game?

Instructions for the Activity:
Select any 6 games from the Resource Material and List them in the blue
boxes.
Get students to list the no. of players and the rules of the games.
Answer the following questions.
How Many Players?
Name of the Game
What are the Rules of Game?

marbles.
.
Language
FATA.
27
1. What would happen if these games became extinct?
2. What would the world look like without any games to play?
28

Learning Category
Age Group
LESSON 5
Types of Traditional
Games

Students become familiar with
the local as well as the foreign
dialect of the nomenclature of
the games and be able to show
that some games promote
peace and social cohesion in the
community, and the world

Learning Outcomes
understand traditional
games in the modern
context and are able to
apply their learning from
games onto real-life
situations.
Students are able to link rules

of the games with mathematical
logic and art (shapes and
Instructions for Teachers for Lessons 3, 4 and 5
geometry)
LEARNING OUTCOME:

environment.
KPK and FATA.
Student
Names:
Student
Name:
Date:
Date:
Month:
Month:
Year:
Year:
Age(s):
Age(s):
Class:
Class:
Teachers Name:
Teachers Name:
Whats the Traditional Name of the Game?
Draw a Line Connecting the Game in the Middle Column with Words in the Left & Right Columns
Instructions
the Leg
Activity:
Hopping for
On One
Tabey Kharbay
Marbles
Cheendro
Hospitality
Select any 6 games from the Resource Material and List them in the blue
boxes.
Head
or Tail (Two Sides of
Pash
Coin)
the
Get
students to list the no. of players and the rules of the games.
Ttup Ttupanrray
High & Wide Walls of Pukhtun
Answer the following questions.
House
Process of Selecting Captains

How Many Players?
Ram
Dugh
Name of the Game
What are the Rules of Game?
Sapatat
Sheep
Gud
Statue
Skhay
Stick with Shepherds


Kootey
To Sit in a Circle Around a

Pond of Water
Teet Pu Teeta
Long Stick, Short Stick
Gudey

Ya Nuglee
Dulkay
marbles.
.
Paralellogram or Rectangle
Saucer-Shaped Object
Language
FATA.
29
Drain
Laprree Cheend
Ghanta Wala
Up and Down
Four Little Sticks of Cane
Lakhtey
Melmastiya
Aungo Mango
Traditional Pashto Music
1. What would happen if these games became extinct?

Big Canal
Tubray
2. What would the world look like without any games to play?
30
Lesson Plan for Cheendro

Developed by Zubaida Khatoon and Her Group, FATA
Lesson Plan for Makha
ICH Element Selected from Teachers Resource Kit: Traditional

Games/Cheendro
Objective:
1. To inculcate appreciation and ownership of traditional games
as students living heritage
2. To explain the concept of energy with the game of Cheendro
Class Nominated: 5th Grade
Game of Cheendro in Session, photo credit: Imtiaz Ali, Swat
Period Allocated: School Activity
Subject Allocated for ICH element: Science
Time Allocated for Heritage Education Class: 2 hours (2 periods)
Space Allocated for Activity: Classroom and School Playground
Materials Required: Chalk, Blackboard, Cubic Box
Methodology: Class Lecture on Cheendro followed by Group Activity in the School Playground and
Home Assignments
DAY 1
Step 1: Build students prior knowledge of energy by asking/exploring the following questions:

a. When you eat or drink food, what do you get?

b. When you apply any kind of force push or pull upon yourself or an object, what happens?

c. What happens when you run?

d. What kind of games do you play? (Cheendro, Pitthu Garam, Rassi Taap)

e. Which one of them is your favorite, and why?

f. What happens when you play these games?
Step 2: Explain to students the rules of Cheendro using chalk and blackboard. By using the cubic
box, show them how by applying force to move from one box to another, they are spending energy.
Step 3: Divide students into groups, and get them to try the game in the school playground
Step 4: Ask students about the sources of energy in the game for the

a. Stone/Pebble

b. Persons Playing the Game
Step 5: Assign homework to students to list the rules of Cheendro and write a note on why games
are important for maintaining physical health.
DAY 2
ICH Element Selected from Teachers Resource Kit: Traditional Games/Makha

Objective:
1. To inculcate appreciation and ownership of traditional games as students living heritage
2. To understand the structure and function of the ghashay (bow), leenda (arrow) and takai (target)
used in the game of Makha
Subject Allocated for ICH element: Science/Mathematics/Art
Space Allocated for Activity: Classroom & School Playground
Materials Required: Pictures of Ghashay, Leenda and Takai, Clay, Bamboo Stick, Rubber Bands, Tin Foil
Methodology: Class Lecture on Makha followed by Project Work in the School Playground and
Home Assignments
DAY 1
Step 1: Build students prior knowledge of the game by asking/exploring the following questions:

a. What do you know about the game of archery?

b. What kind of materials are used to play the game?

c. How is the game played? How many players?

d. Do you find it interesting or like it? Why?

e. What happens when you play these games?
Step 2: Explain to students the rules of Makha using chalk and blackboard. By using the visual
aids, tell them about the concepts of precision and accuracy and how important they are in making
the arrow land on the target.
Step 3: Divide students into groups, and get them to create a setting for Makha in the school
playground with the materials provided.
Step 4: Then divide students in two teams, and get them to play the game.
Step 5: Assign homework to students to list the rules of Makha and write a note on why games are
important for concepts of Mathematics and Science.
DAY 2
Step 6: Students present their homework assignments.
Step 7: Use the Assessment & Feedback Form to Evaluate the Activity.

Step 7: Use the Assessment and Feedback Form to Evaluate the Activity.
31
32
Thematic Project
Learning Category
TP-1:
My Community, My TP-1: Enhance students sense of pride
and identity through mapping of their own
Home
communities.
TP-2: Enhance Students appreciation
TP-2:
My Elders, My Iden- & knowledge of the variety of Intangible
tity
communities.
TP-3:
Our Town, Our
Context
lessons
TP-4:
Mela
33
Learning Outcome

causes.
Kids playing Ango Mango, Photo Credits, Imtiaz Ali
34
Part 4: Annexure
Appendix 1
Part 4: Annexure
Appendix 2
Vocabulary
Word bank/Khazana;
This is a handout for the students and for the Notice Board. Copies are available in CD for printing. The
teacher should add any words that they feel needs to be explained to the students. The students should
add words that they think are difficult for them.

Suggested Glossary: Please add more words along with the Pushto/local language words and put a
copy of this on the classroom wall/notice board, for the students. Students should also be given a copy
to use.
Local Term
Sr.
No.
Word
Meaning
1.
Alert
Fully aware and attentive; wide-awake; keen.
2.
Cheendro
Parallelogram or Rectangular shape
Badshah
3.
Dexterity
Skill or adroitness in using the hands or body; agility.

Level of skill in performing tasks, especially with
hands
Lakhtey
4.
Furlong
A unit of distance, equal to 220 yards (201 meters) or

1/8 mile (0.2 km). An eighth of a mile, 220 yards
5.
Grip
The act of grasping; a seizing and holding fast. A firm

hold; a tight grasp or clasp - manner of grasping or
holding something.
6.
Hone or
Honing
To make more acute or effective; improve; perfect.

To brush up polish - bring to a highly developed
finished, or refined state - amend better improve
to make better
Manipulate
To manage or influence skillfully, especially in an unfair manner. Control (others or oneself) or influence
skillfully, usually to ones advantage.
7.
8.
Sharp
Having a thin cutting edge or a fine point; well-adapted for cutting or piercing. Having an edge or point
that is able to cut or pierce something - keen - acute
- smart pointed precise alert
9.
Shepherd
A person who herds, tends, and guards sheep.
10.
Valour
Boldness or determination in facing great danger,

especially in battle; heroic courage; bravery.
* Teacher may add any words that they feel needs to be explained to the students.
35
Project Handmade : Intricacy of Crafts Skills
English
Tubray
Dangey
Sarakee
Sindakh
Gudey
Dulkay
Cheendro
Ghunta Wala
36
Project Traditional Games: Honing Skills and dexterity
Part 4: Annexure
Appendix 3
Part 4: Annexure
Appendix 4
Assessment & Feedback

Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
37
*Score
10
38
Project Traditional Games: Honing Skills and dexterity
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822
Text: Sajida Haider Vandal (editor), Samra Mohsin Khan

Printers:

Contents
3. Preparing for lessons
5. Assessment and Feedback (Appendix 4)
1
2
5
5
6

1. Handmade Craft making skills
a. An Overview of Traditional Crafts
b. The Importance of Safeguarding Craft Skills and Cultural Knowledge
c. Traditional crafts of KP and FATA
2. Introducing Truck Art; Art on Wheels
a. Background Information for Students;
b. The Persons involved in the process of decorating a truck
c. The Decorated Parts of a Jingle truck
d. Parts of a truck which are decorated
3. Explanatory Note on Resources in the Appendices and CDs
7
7
7
8
9
9
11
13
14
15
Part 3: Student Activity Section
17
A. Lessons
PROJECT HANDMADE
THE INTRICACY OF CRAFT SKILLS
Truck Art
Promoting Peace and Social Cohesion through
Heritage Education
Resource Kit on the Intangible Cultural Heritage
Lesson 1: Introducing the Project Truck Art

Theme 1: Developing an understanding of the concept
of Popular Art and how it represents peoples world view
Lesson 2: Studying various images and motifs used in decorating trucks
Theme 2: Social Organization and Harmony
Lesson 3: Making a personalized truck
Theme 3: Learning from traditional wisdom
Lesson 4: Painting an everyday object in truck art style
Theme 4: Tradition and Modernity
B. Thematic Projects
Thematic Project 1: My Home, My Community; Oral History

Thematic Project 2: My Elders, My Identity; Learning from tradition bearers
and Elders: Suggested activity; Visit to Truck Kharkhana
Thematic Project 3: Our Town, Our Context; Field visits
Thematic Project 4: My Culture, My Pride; Melas and Festivals
Part 4: Annex
Appendix
Appendix
Appendix
Appendix
Appendix
1
2
3
4
5
Vocabulary
Glossary (English to Mother Language translation)
Thematic Project Forms and Student Activity Sheets
Additional resources
19
21
22
24
27
29
30
31
32
Part 1: Using the Section on Truck Art

Part 2: Resource Materials for Teachers/Educators
Part 3: Student Activities
A. Lesson: Lesson Plans, Sub- Themes
B. Thematic Activities
Part 4: Annexure
Read the Introduction Booklet accompanying this Resource Kit to enhance your understanding on how
to integrate cultural knowledge into the classroom teaching and lesson planning. The introduction
also provides the different approaches and concepts which may help you to communicate with your
students.
Prepare yourself by going through the Resource Materials for a thorough understanding of Truck art
project objectives (Refer to Part 2 for Details)
Integrate the information on Truck Art from Part 2 in the planning and preparation of activities and
exercises for Science, Maths, Social Studies, Language, Pakistan Studies and History classes. (Ref:
Part 3).
Become familiar with the suggested activities and formulate additional ones based on the main
themes and sub-themes elaborated in this section (Ref: Part 3). You may also want to develop
additional sub-themes and prepare lesson plans accordingly.
Devise your teaching methodologies based on the lesson objectives given in the paragraph below.
You can also refer to the introduction where the various teaching techniques have been discussed.
Encourage your students to ask questions, and find ways to engage them in these interesting
elements of their living culture.
Cultural Heritage is the legacy of the tangible and intangible attributes of a society, community, group and
sometimes individuals. It is inherited from the past generations, maintained in the present and bestowed
for the benefit of future generations. In most societies, traditional crafts form the fibre of communities.
They are also important expressions of indigenous cultures and ways of life contributing to the common
identity of humanity. They are part of the intangible cultural heritage and are more fragile than the
tangible heritage, as they are embodied in the craftsperson. The craft skills are deeply connected to the
identity of a community.
Globalization and homogenizing of culture is a major threat to intangible heritage and indigenous
craft-making. As a result, many craft techniques have already disappeared and those that survive are
threatened with imminent disappearance and extinction. Therefore, in order to safeguard Traditional
craft-making practices, we need to add value in terms of cultural comprehension. We also need to
increase the participation of people who have connections with traditional crafts and also to value
community-held knowledge. Teaching children about the cultural heritage of their communities will
promote a sense of appreciation and develop cultural identity and a sense of pride. This is also one way
to safeguard traditional knowledge and wisdom by passing it into young hands. By introducing craft
traditions of various communities, the students will also learn to appreciate other communities, thus
enhancing mutual respect and tolerance between communities.
Helping and encouraging children to appreciate and enjoy the tangible and intangible aspects of cultural
heritage will make children recognize cultural heritage as a personal expression of creativity. Encouraging
children to be proud of their identity, culture and traditions can assist them in understanding that every
citizen has a duty towards heritage properties and practices.
The educational system is a means of preparing children for their role in an
increasingly uncertain world. Schools have a significant part to play in helping
children to develop a secure sense of themselves, both as individuals and
members of various groups within society. Therefore lessons may be planned
to include the following objectives. Please remember that all objectives cannot
be met in one activity alone and sometimes several lessons are needed to
impress important ideas and concepts.
The lesson objectives for educators may include the following:
Students learn that the crafts of yesterday are similar to the products made
today. However they undergo changes with time as these are living cultures,
which constantly respond to the factors of time and the context.
Developing an understanding of Changes with Time:
Compare the similarities and differences between traditional craft-making
over the ages and contemporary practices.
ii. Enhancing Knowledge for promoting Peace and Tolerance:
Broaden the students knowledge of the variety of crafts made by communities
in KPK, FATA and whenever possible other parts of the country and the world.
1
Handmade: The Intricacy Of Craft Skills
2
Truck Art

iii. Acquiring an understanding of the Mechanisms for the
Transfer of Knowledge:
Develop the students, understanding of how craft making traditions
and their variations have been passed on through generations and
around the world.
iv. Developing Skills:
Develop the students, understanding of how some traditional
or cultural crafts encourage skill and, knowledge and improve
dexterity.
v. Integrating ICH in Education and Learning:
Integrate these crafts in subject areas like Social Studies, History,
Science, Mathematics, Language, Pakistan Studies and others.

Examples of Truck Art
Tips On How To Achieve Objectives

There are a variety of ways in which a school, teachers and technology can support and safeguard
traditional crafts and its incumbent cultural knowledge. One of the most effective ways to rejuvenate and
revive students interest in traditional crafts is to find ways the a craft skill may be used for preparing
products of use for your students ; for example Truck Art Work the cover in which their copy books; as/
off making a paper basket from the weaving technique and such others.
Another important concept to be conveyed is that of Sustainability. In some lessons new ways to use
waste material has been suggested such as plastic bags, n0ewspapers etc. Recycling and reuse of waste
material is one way that your students can learn stewardship of the environment.
Remember that you are trying to achieve the following:
Incorporate the knowledge of crafts into classroom teaching and learning
Encourage children to enjoy traditional crafts by preparing objects for themselves or as gifts during
their leisure time.
Dedicated a space in your classroom for the display of traditional crafts. Also consider providing basic
materials to your students such as glue, paper and scissors, for their craft-making.
Organize traditional craft festivals or craft competitions between classes
Invite elders in the community to participate in teaching traditional craft practices
Encourage children to find out more about their communities and crafts.
3
4
Truck Art
3. Preparing For Lesson
What the Teacher Needs to Think about before Delivering the Lessons:
The lesson plans are designed to help the students gain an understanding of craft practices as well
as the meaning and function of handmade objects of KPK and FATA. Teachers should ensure that
students have mastered the basic ideas and concepts before proceeding to higher level activities and
sophisticated cross-cutting themes.
The lessons help the students appreciate the relationship between physical artifacts and culture.
Students should understand how their culture shapes their world.
The teachers should look at the vocabulary and glossary appendices at the end of this booklet to
familiarize themselves with difficult words so that these may be explained to the students. They
should also make their own list of words that they think need to be explained to students.
A multi-step process has been developed for teaching and learning, which starts from simpler to
more complex exercises. Teachers should lead students through the process of connecting one
concept to another and also putting concepts into a hierarchy from minor to major.
plans generally incorporate experiential learning and projects.
Here are some questions to generate classroom discussions: We need to find ways to get the students
involved in the lesson and provoke critical thinking:
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
1. Do you know any craft work? Or does your mother or father?

2. What are the traditional crafts famous in your area/town/village?
3. What are your favorite crafts and why?
4. What cultural knowledge and skills are associated with each traditional craft?
5. What is the use of the craft for you?
6. What is the history of each traditional craft?
7. What languages are associated with traditional crafts?
8. What learning activities are associated with Traditional crafts?
9. What types of teaching and learning methods should be used to integrate traditional crafts in Lessons?
10. What types of student evaluation methods may be associated with each traditional craft?
11. What is the traditional location, famous for the craft, and what are the processes of the craft?
12. What past and contemporary cultural issues are associated with traditional crafts?
13. Depending on the topic/subject and outcome statement, determine what specific cultural knowledge,
skills and behavior learners will be, or should be exposed to concerning the topic/subject so as to
learn about it.
Lessons can however be adapted with minor changes for different age groups/levels.
Schools or teachers will be adopting project-based pedagogy in
their lesson plans. Project-based pedagogy simply refers to the
incorporation of projects in both teaching and learning. There are
many advantages for schools or teachers in adopting project-based
pedagogy.
The excitement of being able to create improves the class atmosphere
for learning.
Crafts are generally motivating because though hard they are
definitely fun, and though frustrating they are definitely pleasant.
Besides putting fun back into the classroom, projects help children
experientially grasp skills and concepts relevant to their cognitive,
affective and psychomotor development.
Traditional craft-making is an excellent example of an integrated
approach to learning where cognitive, affective and psychomotor
learning is activated simultaneously.
It is also a good model of the sequential approach to learning, where
learning competency at higher levels is dependent on prerequisite
knowledge and skills at lower levels.
The students are encouraged to follow in the footsteps of their elders,
by emulating traditional practices of their communities.
5
Popular Culture is the collection of ideas, perspectives, attitudes, images, and other phenomena that affect
the mainstream culture. It represents the values of the mass culture and this collection of ideas influences the
everyday lives of society.
5. Assessment and Feedback

The Assessment Form is attached as Annexure 4 Part 4 which is to be used for each individual student.
Assessments are meant to evaluate the progress of each student and must never be used to put down a
student. They provide you a yardstick of how well you are communicating with the student.
6
Truck Art

1. Handmade Craft making skills
Throughout history people have made traditional crafts to use in the home or to give as gifts to close
friends and family. Many of these crafts are in danger of being overrun by the modern age. Preserving
traditional craft-making is important in order to safeguard intangible cultural heritage and to prevent
the marginalization of the communities who make these crafts.
a. An Overview of Traditional Crafts
Traditional crafts of each region and community are shaped by local culture and the local environment.
The physical space, materials available and seasons may determine where and when they are practiced,
the motifs/designs that are used and the techniques used. Social and cultural norms, expressions and
attitude may be reflected in who makes the craft, the way the craft is practiced. Traditional crafts often
incorporate cultural knowledge, values and skills that have emerged over time from the reciprocity
between a particular community and its given environment.
Embedded in traditional crafts are rich repositories of historical, environmental, social, scientific,
mathematical, kinesthetic, visual and musical knowledge, values and skills inherited over time and
through experience. Rather than resigning ourselves to the widening gap between traditional and modern
knowledge and learning, purposeful exchange between the two can lead to mutual gain. The ability of
schools in creating an interest in their students in the craft-making skills of their communities, will go a
long way in ensuring the continuity, evolution and application of cultural knowledge.
b. Importance of Safeguarding Craft Skills and Cultural Knowledge
The introduction of mass produced consumer goods and competitive markets have led to reduced
opportunities and demand for traditional craft-making. At the same time, increased focus and time
dedicated to formal education and schooling, has reduced respect for tradition bearers, community
elders and the individuality of children.
Traditional crafts develop and evolve through improvisation and are transmitted through the process of
mentoring by members of the community. Mentoring by elders and older peers is one of the means by
which cultural knowledge, values and skills that are relevant to a particular society and its context, are
transmitted to the younger generation. Cultural content is often embedded in the materials, processes,
and uses of the crafts.
The various craft forms, their processes of production and the method of transmitting this knowledge
are effectively an integrated and holistic form of education and socialization. These can be perceived as
a locally improvised curriculum. The process of making
traditional crafts inculcates respect for the environment,
stewardship of valuable resources and imparts important
values like learning to work together, respecting elders,
valuing tradition bearers, humility and honest hard work
under the guidance of mentors in the community as local
teachers.
In order to provide livelihood and economic opportunities
for traditional craft persons, they must produce
products that respond to market forces and be linked to
contemporary tastes and tourism.
7

c. Traditional Crafts of KPK and FATA
KPK and FATA encompass 24 districts, 7 tribal agencies and 6 frontier regions. Craft-making is practiced
in all areas of KPK and FATA as an important part of everyday life. Ms. Farida Rashid , terms human
creations as the language of visual signs that artisans use to express their experiences of time and space.
Human emotions and feelings are expressed through musical instruments, popular art images and craftmaking. The account of a societys civilization and culture can be had from its material traditions.
Traditional crafts like basket making and embroidery used to be practiced in the homes, mohallas
and tribal communities all over KPK and FATA. While some crafts like copperware and Rubab-Making
are unique to particular places (Bazar Misgarah and Dabgari Bazaar, Peshawar) others are practiced
throughout the region without distinction.
d. What You Can Learn From Traditional crafts:

If you start deconstructing a craft you will also discover that while crafts have great practical value there
is so much wisdom embedded in making a craft.
Look at the craft of Truck art and you see that this craft teaches so many skills, for example:
Improvisation: The craft allows the students to improvise on the basic theme, by creating any number
of designs with new motifs and patterns. Thus it teaches a very basic skill: that of improvising rather
than rote learning
Imagination and Creativity: The making of contemporary use items with traditional craft methods
helps hone imagination and creativity.
Mathematical and Geometric Concepts: By creating shapes and patterns
the students become familiar with different geometric shapes and also
math elements such as width, height etc.
Critical Thinking: Evaluating and applying information gathered from, or
generated by field observation, personal experience, self-reflection, or
communication with tradition bearers promotes critical thinking.
Environment: Craft-making also inculcates knowledge of the local
environment and materials. It instills a respect for the immediate
environment and teaches students the importance of sustainable
practices.
Agility, Dexterity: It teaches the students to work with their fingers and
improves eye-hand coordination.
Symbolism and Meaning of Non Verbal Communication: Crafts
incorporate meaning and symbolism through patterns and motifs that
have been used which often represent that which is of value or importance
to a community. Students are introduced to the concept of non-verbal
communication.
In this way, all the crafts listed here and others which you may discover being
practiced in your students communities can be deconstructed to help you
focus on different aspects of them as you plan the lessons.
8
Truck Art

2. Craft 1: Introducing Truck Art; Art on wheels
Truck art is an artistic form of the popular culture
of Pakistan. Popular culture means the cultural
activities or commercial products reflecting,
suited to or aimed at the tastes of the general
masses of people. Popular culture is constantly
changing and is specific to place and time. Items
of popular culture most typically appeal to a
broad spectrum of the public.
Truck art is thought to have originated in the
region of KPK and FATA. It represents the Pathan
peoples cultural values and their world view.
These decorated trucks of the region are also
called Jingle Trucks. As these trucks travel
from the Khyber Pass in the North to Karachi in
the South and across all cities in Pakistan, they carry their cultural expressions. Every truck is unique,
as it carries images and text chosen especially by the driver or owner. They display particular symbols
like Buraq, hands, eyes and fish or verses conveying the drivers opinion of the world, friendship or love.
They personalize the truck along with the details of the decorative elements that each driver chooses for
decoration of the various parts of his truck.

This art reflects the cultures collective realities we can learn a lot about what is happening in our
culture by studying truck art. As the driver spends months on the road with his truck; driving it to
various parts of the country on his assignments, he develops a close bond with his truck, sometimes
treating it as an extension of his persona via the personalized art painted on it. The symbolism of the
truck art is connected with safety of the truck and the livelihood of the truck driver. The need to avoid
misfortune and gain good fortune provides a simple explanation for the amulets, symbols and religious
motifs on the truck.
Truck decoration is an expensive undertaking. It costs about Rs. 500,000 to do the bodywork and
decorative work on a truck. There is no direct economic benefit in decorating a truck and this form of
art is solely for the pleasure of the driver. Peshawari trucks have some distinct features like wooden
carved doors from Swat and are usually painted with flowers, animals and heroes.
The innovative tradition of truck art started around the 1920s and has its roots in the days of British
rule when craftsmen used to decorate horse carriages for the rich. Khyber Pakhtunkhwa province is
considered to be the birthplace of this art.
The Kohistan Bus Company asked Ustad Elahi Buksh, who was known as the local Michaelangelo, a
very talented craftsman, to paint and decorate the buses of its company. Ustad Elahi Buksh worked
with a group of artists from the town of Chiniot in the Punjab. These craftsmen belonged to families of
traditional fresco painters and Ustads who had worked on many great palaces and mosques during the
Mughal era.
This decorative work made the buses very attractive for the passengers. The other truck owners followed
this practice with their own designs. Today, the materials used have changed from wood and paint to
metal, tinsel, plastic and reflective tape. There has also been the addition of embellishment with blinking
fairy lights. The tradition of decorating trucks, Suzuki vans and even rikshawas has been vigorously
maintained.
The Peshawari trucks are unique;, they are more like an art gallery going down the road. The trucks
are completely covered with paintings, ornaments, hammered metal fittings, woodcarving, chamakpatti
and chains. The difference in the Peshawari and other trucks from other parts of Pakistan is that the
Peshawari truck has wooden carved doors of the cabin. Apart from the art, there is always Pashto or
Urdu poetry written on their rear. The concept, according to the drivers, is to decorate the bus to make
it look like a bride. For a truck driver, his truck is his bride, says Baqir Khan, a trucker, who drives on
the route from Peshawar to Karachi. Truck drivers take great interest in the decoration of their trucks by
choosing the picture to be painted and choosing the phrases and verses to be written on it. It is all done
to increase the beauty of the truck, which then becomes a one of a kind work of art. No two trucks are
ever identical.
9
10
Truck Art
B. The Persons involved in the process of decorating a truck:

The decoration of a truck involves many processes which are carried out by the following specialists:
1. DENTER:
A denter is the first person who undertakes work on the truck including:
i. Removing the dents from the body of the truck.
ii. Smoothing the trucks surfaces for application of decoration.
2. TINTER:
i. He uses proteins to get an even surface.
ii. He colors the body of the truck to get an even base.
iii. He usually has 3-5 shagirds/students training under him.
3. PAINTER:
The painter is the artist.
i. He paints figures, flowers, people, and different designs on the trucks.
ii. He has 4-6 shagirds/students working with him.
iii. He also sometimes paints cinema billboards and posters.
It takes around one and a half month of hard work to complete the decoration of a truck. The trucks are
literally rebuilt from the ground up currently, the four-ton, 207 horsepower Hino rig has replaced the
old Bradford engines. The completed truck looks like a massive mural on wheels it has been dubbed ;the
jingle truck by foreigners and is considered by Peshawaris to be an object of pride in their lives. The
art transforms the lifeless machine into a living expression of art.
2 The term ,Jingle Truck is attributed to the jingling sound made by the metallic chains and elements attached to the back of the
truck behind the rear wheels. These at times touch the ground and produce a sound like a jingle.
11
12
Truck Art
C. The decorated Parts of a Jingle truck:
D. Parts of a truck which are decorated:
Some important elements used for decorations are:
Although every inch of a truck is decorated profusely, some parts are given special attention, these
are:
i. Chamakpatti/reflectors: These are available in sheets, which are colorful and shiny on one side and
sticky like a sticker sheet on the other side. They have bright, fluorescent colors and illuminate in the
dark. It is imported from china. The designs are drawn on the patti and is cut and applied on the buff
surface of steel plates which are fixed on the wooden body of the truck. The steel is cut into pattiz of
about 5 in width and chamakpatti is pasted on it.
ii. Lights: Reflectors and blinking lights; colors ;blue, red, yellow, white, green. A truck can have from 20
to 200 lights.
iii. Simple and disco painting (rangai): Enamel paints are used to paint the trucks in bright colors. Spray
paints are also used. The popular colors are mainly primary ( red, blue, yellow) and secondary colors
(parrot green, purple, orange) and white.
iv. Plastic work: Plastic/acrylic sheet/plastic sheesha: This is used to make shapes of decorative objects.
Holes are drilled in the plastic object to nail it to the wooden frame of the truck. The plastic sheets are
bought from Karachi; it is available in the following colors: red, yellow, green, blue and orange. A stencil/
furma is used to draw the design on the plastic before it is cut. Different designs are made in the plastic
sheet for decorating the truck. The machine used for cutting plastic designs is called shipakka, Plastic
decorative work was introduced into truck decoration about 25 years ago.
i. Taj/crown
v. Chain-work: The Chains are considered to be the jewelry of a truck. The chains also produce a jingling
sound with the movement of the truck. They are put both on the front and back of a truck. There are two
popular chain designs; the gungroo/
bells and the pan patta/leaf.
iv. Back
ii. Darwaza/Doors
v. The Interior
of the Cab/cabin
iii. Sides
Truck art turns large juggernaut steel vehicles into mobile art galleries with Romanized portraits of
national heroes, buraq, national and holy places, idyllic landscapes, film heroines, owners children,
animals, flowers, candles, hands, eyes, planes and missiles, verses, proverbs. The portraits and figures
are made by hand. The pictures copied from photographs or calendars.
13
14
Truck Art

The Accompanying CD has the information you will require for your lessons. These are in the form of
Primary Sources
Secondary Sources
Oral History
Books
Person
The Internet
Interview
CD Rom
E-Mail Contact
Encyclopedias
Event
Magazines
Discussion
Newspapers
Debate
Video Tapes
Community Meeting
Audio Tapes
Surveys
Articles
Artefact
Essays
Television
Photography
Radio
Truck A
15
rt
16
Truck Art

Learning Outcomes
What the Teacher Needs to Think about before Delivering the Lessons:
Here are some questions to generate classroom discussions: We need to find ways to get the students
involved in the lesson and provoke critical thinking:
1. Do you know any craft work? Or Your mother or father?
2. What are the traditional crafts famous in your area/town/village?
3. What are your favorite crafts and why?
4. What cultural knowledge and skills is associated with each Traditional craft?
5. What is the use of the craft for you?
6. What is the history of each traditional craft?
7. What languages are associated with traditional crafts?
8. What learning activities are associated with Traditional crafts?
9. What types of teaching and learning methods should be used to integrate traditional
crafts in Lessons?
10. What types of student evaluation methods are associated with each Traditional craft?
11. What are the traditional locations, famous for making the craft, and what are
the processes of the craft?
12. What past and contemporary cultural issues are associated with Traditional crafts?
13. Depending on the topic/subject and outcome statement, determine what specific cultural
knowledge, skills, and behavior learners will be, or should be exposed to concerning the
topic/subject so as to learn about it.
Lesson Plans
Lesson 1: Introducing the Project Truck Art.

Theme 1: Developing an understanding of the concept of Popular Art & how it represents people's
world view.
Material & Equipment Required: Images of Truck Art; (See Attached CD File)
Class Activity: The students will participate as a class in interactive discussions.
Time Required: 45 minutes.
Lesson 2: Studying various images and motifs used in decorating trucks
Theme 2: Social Organization & Harmony
Material & Equipment Required:
i. Images of Truck Art; (See Attached CD File.)
ii. Photographs, newspaper pictures and drawings of truck art designs & motifs.
iii. Chart paper for organizing motifs/designs.
iv. Glue, pins and tape for attaching designs to chart paper and to pin completed charts to the
soft board or wall.
Group Activity: Suggested Groups of 4-5 students each
Time Required: 60 minutes
17
Project Handmade: The Intricacy Of Craft Skills
18
Truck Art
Handmade - STUDENT ACTIVITY SHEET #1

Truck Art

TRADITIONAL CRAFT-MAKING 1
Full Name:
A. LESSONS
This Part gives some Lesson Plans for the teachers to use in the classrooms and they may also plan their
own lessons that meet the project objectives set earlier.
Date:
Class:
Age:
Month:
Year:
Look at the pictures below and note your observations about the craft in the table given:
*Age Group
Lesson Category
LESSON 1: Introducing
the Project Truck Art.
Age Group
B I A
Theme 1: Developing
an understanding of the
concept of Popular Art
and how it represents
peoples world view.
Material and Equipment
Required: Images of
Truck Art; (See Attached
CD File)
Class
Activity:
The
students will participate
as a class in interactive
discussions.
Time
Required:
45
minutes.
19
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Teaching Activities
Learning Outcome
Put up a display of photographs of

decorated trucks. Ideally the display would
include photographs that illustrate modern
and historic images of truck art.
Students develop an
concepts of
customs
practices
symbols
traditions of society
societys world view
Discuss as under:
Introduce the name of the project
Where is it from?
What is it about?
Why is it important?
1.
2.
3.
4.
Some other suggested discussion points:
Value learned
Respect for the diversity
Point out that decorated trucks are
of world views held by
important because they are historic
records of places (Khyber Pass) and people different people.
(Benazir Bhutto, Major Aziz Bhatti etc.).
They represent peoples values (Maan
ki dua, jannat ki hawa) and beliefs ( Buraq,
Kabaa, mosques images etc.).
Symbols (fish and eyes) to ward off evil.
20
Truck Art

Lesson Category
Age Group
LESSON 2:
Studying various images and motifs
used in decorating trucks.
B I A
Theme 2: Social Organization and

Harmony
Material and Equipment Required:
i. Images of Truck Art; (See Attached CD
File.)
ii. Photographs, newspaper pictures
and drawings of truck art designs and
motifs.
iii. Chart paper for organizing motifs/
designs.
iv. Glue, pins and tape for attaching
designs to chart paper and to pin
completed charts to the soft board or
wall.
Group Activity: Suggested Groups of 4-5
students each
Teaching Activities
Learning Outcome
Lesson Category
Age Group
Teaching Activities
The motifs provided in the CD will

be the starting point.
The teacher may ask;
What is this?
Why do you think it is used?
Does this look good?
What kinds of designs would
you use if you had to decorate
your truck?
What images look good or
funny on trucks?
The students will

understand the range and
variety of truck art motifs.
LESSON 3:
Making a Personalized truck
B I A
The lesson will teach an

An Ustad of truck art could be invited to appreciation of the knowledge
guide students about decorating a truck of tradition bearers within the
mural in the class.
classroom frame work.
The students may divide the

motifs in to different groups:
human images, animals,
flowers, buildings, landscape etc.
The students will develop

symbols and what they
might mean to the user/
driver.
The students will learn
organization of visual
images and cooperation in
carrying out a task.
They may make a wall chart with Value learned

Appereciation
of Art forms
headings of the
types -of
motifsACTIVITY
Handmade
STUDENT
SHEET #2
and organize their collection of
Truck Art
motifs under each heading.
TRADITIONAL CRAFT -MAKING 1

Full Name:
Date:
Class:
Age:
Month:
Year:
Theme 3: Learning from

traditional wisdom
Materials and Equipment
Required:
i. Images of Truck Art; (See
Attached CD File);
ii. Pencils, Color Pencils,
markers, crayons,
iii. glue, tape,
iv. scissors
Group Activity: Suggested
Groups of 5-7 students each
Full Name:
Learning Outcome
That wisdom and ethics are

Students may collectively design a
derived from direct experience
truck choosing their own decorative
with tradition bearers.
motifs:
The lesson will teach
A large drawing of a truck may be
students to make a visual
made on a wall panel.
representation of what they are
Each student could Handmade
draw or make
a
- STUDENT
ACTIVITY SHEET #3
learning.
collage of a motif of his/her choice.
Truck Art
Value learned: humility
The teacher may help in assembling all
TRADITIONAL
CRAFT
-MAKING
the designs onto
the truck
drawing1 on
the wall.
Date:
Class:
Age:
Month:
Year:
1. Look at the images below and write which part of the truck is shown , and what is painted on
it:
1. Look at the images below, what do you think they mean?
Image 1
Image 2
Image 1:
NOTES:_____________________________________________________________________________
_____________________________________________________________________________________
21
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
22
Truck Art

Lesson Category
Age Group
LESSON 4:
Painting an everyday object in truck art style
Theme 4: Tradition and Modernity
Materials and Equipment Required:
1. Images of Truck Art; (See Attached CD
File)
2. Images of modern objects including
cloths decorated in truck art style.
3. Small terracotta plates, bowls, vases, etc.
4. Poster paints; primary (red, blue, yellow)
and secondary colors (green, orange,
purple, black and white). One poster paint
pot of each color for a group of 4 students
5. Flat Paint Brushes (width 1, 1/2 , 1/4 )
for every group.
6. Lacquer/varnish in tin container or spray.
7. Individual Activity: Every student will
make their own design
B I A
Teaching Activities
Learning Outcomes
The students will be shown

various modern/everyday
objects painted in the truck art
style to help them understand
the concept of the art passing
into the contemporary age.
The teacher may ask the
students to bring small
terracotta or plastic utensils;
plates, bowls, jars etc.
The students will

understand how truck
art has transcended its
traditional use and can
now be used to decorate
and beautify different
objects.
They will appreciate
that traditional crafts
and practices can be
part of their world.
Value learned
Nurturing and practicing
traditional crafts
Handmade - STUDENT ACTIVITY SHEET #4

Truck Art
TRADITIONAL CRAFT -MAKING 1

Full Name:
Date:
Class:
Age:
Month:
Year:
1. Look at the images below and list which is a tradition way and which is a modern way to use
truck decoration:
Image 1:
23
__________________________________________
___________________________________________
24
Truck Art
25
26
Truck Art
B. THEMATIC ACTIVITIES
The thematic activities are planned as a continuation of the lessons carried out in the classroom
and to increase a students knowledge about his community and town.
Thematic Project Sequence
Suggested Activity
Learning Outcome
TP 1:
My Home,
My Community;
Oral History*
Students should collect data and

take photographs of truck art
images on houses, rickshaws, vans
and other objects in their homes and
communities through:
Interviews, Discussions, Research,
Recording, Observation and
photography.
Students and teachers are able to

identify and relate to the intangible
cultural heritage practices in their
communities.
Data is Collected by Students of
their own community.
*Refer to My Community, My Home

Activity Sheet
TP 2:
My Elders
My Identity
Learning from tradition-bearers and
elders*
An Ustad should be invited to the

school to show the students how
some decorative processes of truck
art are carried out.
TP 3:
Field visits*
A students visit should be arranged

to a Truck Kharkhana.
To Collect information regarding
crafts which are presently being practiced and how they have
changed over time
Teachers should organize the data

for the School/Class DataBase
Developing respect for tradition

bearers.
*Refer to My Elders, My Identity

Activity Sheet.
identify traditional practices of the
communities and appreciate cultural diversity.
*Refer to Our Town, Our Context

Activity Sheet
TP 4:
My Culture, My Pride:
Melas & Festivals*
Students and teachers should

arrange a school melas/festival
where truck art products made by
the students are displayed and sold.
Students and teachers are able

to participate in the intangible
communities.
*Refer to My Culture, My Pride

Activity Sheet
27
20
Truck Art
Part 4: Annexure
Appendix 1
Appendix 1
Vocabulary/Khazana of words
Appendix 2
Glossary (English to Local Languages)
Appendix 3
Student Activity Sheets
Appendix 4
Appendix 5
Part 4: Annexure
Appendix 2 & 3
Appendix 2: Glossary
Suggested Glossary; please add more words along with the Pushto/local language words and put a
copy of this up on the class wall/notice board for the students. Students should also be given a copy to
use.
English
Local Language
amulet
artifacts
Vocabulary
Word bank/Khazana;
The teachers may add any words that they feel need to be explained to the students. The students
should add words that they think are difficult for them.
Sr.
No.
Word
Meaning
concept
experiential
mural
originated
persona
1.
Abundance
an extremely plentiful or over sufficient quantity or supply
2.
Appreciate
to be grateful or thankful for; to Value
representation
symbolism
3.
Domestic
of or pertaining to the home, the household, household affairs, or the family
4.
Fibrous
containing, consisting of, or resembling fibers;
5.
indigenous
originating in and characteristic of a particular region or country; native; produced,

growing, living, or occurring naturally in a particular region or environment
6.
Natural
existing in or formed by nature (as opposed to artificial)
7.
Resource
a source of supply, support or aid, especially one that can be readily drawn upon when
needed.
8.
Technique
the manner and ability which an artist, writer, dancer, athlete, or the like employs the
technical skills of a particular art or field of endeavor. Method
9.
Vertical
being in a position or direction perpendicular to the plane of the horizon; upright; plumb.
10.
Variation
the act, process, or accident of varying in condition, character, or degree. Difference
visual
Appendix 3: Activity Sheets for Lessons

Sheets for Student Activities suggested in the Lessons can be found in Part 3, Student Activity section.
* Teacher should add any words that they feel needs to be explained to the students.
29
30
Truck Art
Part 4: Annexure
Appendix 4
Part 4: Annexure
Appendix 5
Libraries
Pushto Academy, Peshawar University.
Truck and Suzuki workshops and Karkhana in Peshawar and your city
CD in Resource Kit Pack
Ustads and craftsmen
Local People
Local Historians
Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Books and Internet Sources

http://www3.amherst.edu/magazine/issues/05spring/trucks/index.html
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
31
On Wings of Diesel: The Decorated Trucks of Pakistan, Amherst Magazine Spring 2005.
*Score
http://www3.amherst.edu/~jjelias/truck_site/trucks.html
en.wikipedia.org/wiki/Truck_art_in_Pakistan
The Jingle Trucks of Peshawar
http://www.thenational.ae/apps/pbcs....0/0/multimedia pakistantruckart.com
http://truckartproject.com/
http://twistedsifter.com/2011/09/decorative-truck-art-pakistan/
http://centralasiaonline.com/en_GB/articles/caii/features/pakistan/2010/12/11/feature-01
http://thewondrous.com/decorated-vehicles-in-pakistan/
10
32
Part 4: Annexure
33
Appendix 4
30
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822

Printers:

Contents
Refer to the earlier section

1. Introducing the craft of basket weaving

2.The various materials used to make mizari products
3. Range of Mizari products
4. Techniques used for weaving
5. Note on Resources in Appendixes and CDs
1
2
2
4
7
1. Lesson 1: Introducing mizari weaving.

Theme 1: Sustainability; Use of indigenous materials for everyday objects.
2. Lesson 2: Telling a personal story with a mizari product from your home.
Theme 2: Historical and Cultural Context: Story telling and Hospitality.
3. Lesson 3: Learning basic weaving techniques.

Theme 3: Maths concept of Measurement of space; perimeter and area.
4. Lesson 4: Weaving a mat with waste material.
Theme 4: Recycling.
10
21
12
14
17
1. Thematic Project 1: My Home, My Community : Oral History.

2. Thematic Project 2: My Elders, My Identity : Learning from tradition-bearers and elders.
3. Thematic Project 3: Our Town, Our Context : Field visits.
4. Thematic Project 4: My Culture, My Pride: Melas and Festivals.
Part 4: Annex

Mizari / Basket Weaving
Promoting Peace and Social Cohesion through Heritage

Education
Resource Kit on the Intangible Cultural Heritage
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Vocabulary
Glossary (English to Pushto/ Hindko/ Seraiki/ Chitali/local language translation)
Activity Sheets
23
24
25
26
27
1. Introducing the craft of basket weaving
2. Various materials used to make mizari products
Weaving is one of the worlds oldest forms of craft-making. Woven baskets, mats and other products
are easily made in homes, are lightweight and unbreakable, making them ideal for multiple uses.
Woven baskets serve the important purpose of storage of many food and non-food items as well as
serving the needs of carrying goods around.
Baskets can be made of many different materials, as long as they are flexible enough to be woven but
strong enough to retain their shape. Baskets are commonly woven from rushes, reeds, raffia, cane,
bamboo and date palm leaves. Date palm leaves and wheat straw are the most popular materials for
basket-weaving. However, different types of materials require different weaving methods.
In KPK and FATA, Mizari is the traditional weaving of natural materials to make everyday products for
use in the home. A large number of products are made like mats, chhabas, tokrey/baskets etc. The
mizari work is usually done by women at home.
The name mizari is derived from the name of the wild plant which is used to weave the baskets and
assorted items. The leaves of this plant are used for weaving various household products. This plant is
found in areas of KPK, and FATA, like Hangu, Tal, Para Chinar, Paniyala, Jhanday etc. In all Pathan tribes,
women are mainly involved in making of baskets, from seeking out the material to the finished product.
Today, the village of Janday is very popular for products like baskets; its roadside bazaars are lined with
shops filled with basketry products. The materials used for the various products like Mizari, a fibrous
plant (of the upper Indus valley) and moonj (raffia) grow in abundance along the river banks and are
extensively used for weaving baskets.
The following materials are used in KP K and FATA :

i. mizari (dwarf leaves)
ii. kana
iii. rushes
iv. moonj (raffia)
v. date palm leaves
vi. wheat stalk and straw
vii. at times, roots, twigs, and vines.
Natural grasses used for mizari. 2
3. Range of Mizari products

There are many mizari products available commercially; these are popular for domestic and decorative
use. These products are used in most homes of KPK and the tribal areas:
i. chitai/saf; rug or mat for sitting and praying.
ii. shkoor; tray made with mizari for chapatti
iii. pachi; tray used for carrying things
iv. changir /petargay; bread basket
v. chabas; bread platters
vi. tokras; baskets
vii. babuzey; hand fans,
viii. chappals; sandals
Many materials used for making of Baskets.1
Handmade : Intricacy of Crafts Skills
1. http://mccarlgallery.wordpress.com/2013/03/29/the-history-of-basket-weaving/
2. http://www.ehow.com/info_8556660_wheat-stalk-crafts.html
3. http://en.wikipedia.org/wiki/File:Phragmites_australis1.jpg
4. http://en.wikipedia.org/wiki/Phragmites
5. http://en.wikipedia.org/wiki/File:Sugarcane_field.jpg
2
Mizari Basket-weaving

4. Techniques used for weaving
There are basically four basket making methods: coiled, twined, woven and plaited. In general, baskets
based on their construction and form, exhibit a wide range of variations. The three classes are
coiled, twined and plaited.
A. Woven
Woven products use a warp (tana) and weft (bana). There are several varieties that can be achieved by
using slightly varied weaving patterns. Weaving involves two elements, namely the rigid stakes that form
the ribs or warp and a more pliable material that is used to weave in and out of the ribs to create the sides
of the basket, or the woof. This method allows for the use of a wide range of materials as long as they are
flexible enough for the woof and rigid enough for the warp.
i. Checker work: It is largely used for the bottom of baskets. It is also used to make matting. In the
picture below the tana and bana are both of the same thickness, are interlaced singly, passed over and
under one another.
ii. Twilling: Is another form of basket weaving. Each thread of the bana passes over and then under
two or more tana strips, creating a diagonal pattern. By varying the width or by using color, different
effects may be obtained. Twined weaving uses multiple materials, one that is more rigid for the base
and another two that are more flexible for the sides of the basket. Chitais, jai namaz and hats are woven
using this technique.
The designs used in mizari products are geometrical. Traditional patterns are multicolored square or
triangular motifs with repeated patterns.
The basic colors are the natural beige color of the materials used, and some dyed shades like red, green,
blue and yellow. Pink and black are popular colors. To create colorful materials for weaving, basketmakers use natural pigments to dye date palm leaves. The dyed leaves are used with natural-colored
fibers to create patterns. First, the leaves from the date palm are dyed to the desired color. The women
then wrap the leaves around tight bundles or coils of reed fibers until the desired pattern and shape has
been achieved.
Craftspeople in some regions decorate mizari work with feathers or beads. Colored wool is also used for
decorating baskets. There is also the use of glittery pani patti (silver foil strips)
3
4
B. Coiled basketry:
Coiled basketry is the second type of weaving method. This method uses a needle and sews the
coils together. The materials used are stripped leaves, grass stems etc. The material is soaked
in water to soften the material and make it flexible for coiling. Different types of pots and bread
containers, decorative cups, bowls and shkoor are made by coiling. The main material is palm
leaves, which are stripped to narrow strings for strength. The stitches lace the coil together.
Coiled weaving usually employs softer materials such as grasses. Strands of grass are stitched together
to form a spiral that is moulded into a basket shape. The base material is usually straw or willow, while
raffia can be used for sewing.
5
6
5. Note on Resources in Appendices and CDs

The accompanying CD has the information you will require for your lessons. These are in the forms of
Primary Sources
Secondary Sources
Oral History
Books
Persons
Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debate s
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artefacts
Observation (animate/inanimate
objects)
Essays
Photography
Radio
Mizari chabas in Pushtun Culture Museum, Peshawar
7
Television
Baskets made with Reed and Straw. http://arteducationdaily.blogspot.com/2011/10/resources-forbasketry-and-weaving.html
8
A. LESSONS
This Part gives some Lesson Plans for the teachers to use in the classrooms and they may also plan
their own lesson plans that meet the project objectives as described earlier.
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advance
mizari weaving
Theme 1: Sustainability
; use of indigenous
materials for everyday
objects
Materials and Equipment
Required: Images of
Mizari products; (See
attached CD File);
Class discussion: The
in an interactive class
discussion.
Time Required: 45
minutes.
9
Age
Group
Lesson Category
B
Objectives & Thematic Activities

Explain the Project Objectives
provided to you in the following
steps:
Introduce the name of the project
Where is it from?
What is it about?
Why is it important?
Initiate a discussion about Basketweaving and woven products. The
students should be introduced to
the concept of sustainability and
the importance of using indigenous
materials in everyday life.
Talk about the source of the woven
material used; plants (mizari, reeds,
palm dates). Ask the students if they
are familiar with these plants.
List the various kinds of traditional
household products of mizari
mentioned by the students.
Ask students if they know how the
mizari is woven.
Use the images in the accompanying
CD
Learning Outcome
Learning about the
variety of traditional
products made with
mizari.
Need for reciprocity
between for human and
natural worlds - resources are viewed as
gifts.
Understanding that
Nature sustains human
needs.
Value learned:
Respect for land and
nature for nurturing human life.
10
Handmade Student Activity Sheet #1

Mizari

TRADITIONAL CRAFT -MAKING
Full Name:
Date:
Class:
Age:
Month:
Year:

Lesson Category
1. Look at the Pictures Below and note your observations about the craft in the table given :
1.
2.
LESSON 2:
Telling a personal story with
a mizari product from your
home
Cross theme:
Language and vocabulary
Theme 2: Historical and
Cultural Context: Story
telling and Hospitality
3.
4.
Material & Equipment

Required: Images of Mizari
products; (See Attached CD
File)
Group Activity: The students
will be divided into groups of
4-5 persons each.
Age
Group
B

A The students will be divided into
groups of 4;
Each group will be asked to
bring in a mizari product from
their homes; fans, chabas,
sandals, baskets, etc.
Learning Outcomes
The lesson helps
students to understand:
How traditional crafts

like basket making
played an important
part in peoples
The students may asked to make everyday lives
up and narrate a story (kissa)
The use of
based on the item they have
traditional products
brought which shows how the
as an important part
item was used as an important
of welcoming and
part of entertaining guests in
entertaining people in
their homes/hujras.
their homes.
The teacher should encourage
the students to make up
imaginary stories.
Value learned:
Crafts are part of
important cultural
traditions.

Mizari
Table for Recording Information & Observations:

Aspects to be
observed
Function of craft
Materials &
Construction used in
craft
Description:
Design & features of
craft
Questions
Observations
Further Research
Why was it made?

What was it used for?
Personal
Social
Religious
Commercial
others
What is it made from?
How was it made?
Describe what it looks
like
What is the color?
What
kinds
of
patterns are used?
What is the texture?
2. Do you think it is important to practice this craft -making today? Why or Why Not?
______________________________________________________________________________
______________________________________________________________________________
11
______________________________________________________________________________
______________________________________________________________________________

______________________________________________________________________________
12

Mizari
Full Name:
Date:
Class:
Age:
Month:
Year:
1. Look at the Picture and note the kinds of things made with mizari:

Age
Group
Lesson Category
LESSON 3:
Learning basic weaving
techniques
Cross theme: Maths
Theme 3: Maths concept
of Measurement of space;
perimeter and area.
Required:
i. See Power Point
presentation showing step by
step procedure in attached
CD
ii. Paper
iii. Scissors
iv. Tape/glue
Individual Activity: Each
student may make an item.
Learning Outcome
The students will be guided

through the process by the steps
given in the CD.
The designs created may be
used to measure the area and
perimeter of the finished design.
Learning the technique

of weaving.
The teacher may ask the

students to count the different
colored squares on all four
sides for calculating perimeter;
alternately the teacher may ask
students to count the squares on
two attached sides and multiply
them to calculate the area of the
weave.
Learning the
variations that can be
achieved in the design
using different color
tana & bana strips.
Learning how to
calculate the area and
perimeter of a square
figure.
The students may display their

woven pattern samplers on the
notice board/wall.
2. How many of these are in your home?

______________________________________________________________________________
3. What are the items shown in the picture called?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
13
14

Mizari

Learning Basic Weaving Technique with Colored Paper
Mizari

TRADITIONAL

Mizari
CRAFT Handmade
-MAKING Student Activity
Sheet #3
Mizari
TRADITIONAL
CRAFT
-MAKING
Learning
Basic Weaving
Technique
with Colored Paper
TRADITIONAL
CRAFT
-MAKING
Mizari
TRADITIONAL
CRAFT with
-MAKING
Learning
Basic Weaving Technique
Colored Paper

Mizari

Mizari
Mizari
Step 5: Build up the pattern to a size of 6' x 10'.

Step 1: Cut strips of colo red paper; 1' wide and 12' long

Step
of of
colo
red red
paper;
1' wide
and 12'
long
Step1:1:Cut
Cutstrips
strips
colo
paper;
1' wide
and
12' long
Step 6: Finish the piece by cutting and folding the loo se ends on one side of the
pattern.
Step 2: Start with two horizontal and two vertical strips of different colored paper.
Mizari
pattern.
pattern.
Step
6: students
Finish
the
piece
by
cutting
and
folding
the
loo of
sethe
ends
one
side of the
StepStep
7: The
count
the
number
of
small
squares
each
ofonthe
four
7: The
students may
may count
the
number
of small
squares
on eachon
four
pattern.
sides
of The
their
pieceand
and
add
them
together
to get
the
(A+B+C+D)
sidesStep
of their
piece
addcount
them
together
getperimeter.
the
perimeter.
(A+B+C+D)
7:
students
may
the
number
oftosmall
squares
on
each of
the four
sides of their piece and add them together to get the perimeter. (A+B+C+D)
Step 8: 7:
TheThe
students
may count
smallthe
squares
on the shorter
side
of the on
piece
students
may the
count
number
squares
each
the four
StepStep
8: The students
may count
the small
squares of
onsmall
the shorter
side of
theof
piece
and then
thestudents
ones onmay
the count
longerthe
side
and squares
multiplyon
both
to get
thepiece
area of
Step
8: The
small
the numbers
shorter side
of the
sides the
of their
andlonger
add them
together
to getboth
the numbers
perimeter.to(A+B+C+D)
and then
onespiece
on the
side and
multiply
get the area of
the piece.
(A xones
B) on the longer side and multiply both numbers to get the area of
and
then the
the piece.
(A(Ax B)
the piece.
x B)
Step 8: The students may count the small squares on the shorter side of the piece
and then the ones on the longer side and multiply both numbers to get the area of
the piece. (A x B)
Step 3: Using a horizontal strip of paper, weave a simple pattern of one-above -andone-under the vertical strip.
Step 4: Repeat the same weaving technique with the three primary colors; red, blue and
yellow. Use yellow colored strips vertically and red and blue colored strips horizontally.
15
16
Hand made Student Activity Sheet #4

Mizari

TRADITIONAL CRAFT-MAKING
Lesson Category
LESSON 4:
Weaving with waste materials to
make a mat.
Cross theme:
Art & Crafts
Theme 4: Recycling
i. See attached CD File for
instructions
ii. Waste materials; Old cards,
cartons, papers,
iii. Scissors,
iv. Glue/tape,
v. Stapler.
Individual/group Activity: The
students may make the project
individually or in groups of 2.
Age
Group
Objectives & Thematic

Activities
The teacher may explain

the concept of recycling.
The student may learn to
recycle empty cartons and
containers to make a mat.
The students may be guided through the process
through the steps given in
the CD.
Recycling Waste Materials
Learning Outcomes
appreciation of recycling waste material.
Value learned:
Conservation of
resources through
reuse.
Step 1: Collect some used cartons, old invitation cards or colored papers.
They may make the mat as

large as can be managed.

Mizari
Step 2: Cut the cartons, card or newspapers into 1' long strips.
Step 3: Place 4-6 strips horizontally. Take a strip of a different color and weave it
through vertically, going over 2 horizontal strips, then going under two horizontal
strips.
Step 4: The next vertical strip should be woven alternately by first going under two
horizontal strips and then going under two horizontal strips again.
17
After weaving four vertically placed strips, a pattern will begin to emerge.
18

Mizari
Step 7: Trim the outer lengths of the design to about 1.5 inches.
Step 8: Take strips and glue them on to the ends of the woven panel to finish the design.
Q.1) What did you learn through this exercise?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Q.2) What other things can you make by recycling used materials?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
19
20
B. THEMATIC PROJECTS
The thematic activities are planned as a continuation of the lessons carried out in the classroom and to
increase a students knowledge about his community and town.
Thematic Activity sequence

TP 1:
My Home,
My Community;
Oral History*
TM 2:
My Elders,
My Identity.
Learning from tradition bearers
and Elders*
TM 3:
Our Town, Our Context;
Field visits*
TM 4:
Melas & Festivals*
Suggested Activity
The students may go home and ask
their grandparents about mizari
products that were in use in their
time. Next, they may ask their
parents about the mizari products
used in their time. The students
could write about the different
items in their grandparents, parents
homes and their experiences, noting
what changes have occurred in the
craft.
Data is collected through
discussions, research, recording,
observation and photography.
*Refer to My Community, My
Home Instruction Form
Instruction Form .
Students should find what natural

materials are available in their
localities which are used for
weaving mizari products. they can
bring these into the classroom and
talk about these.
Instruction Form
arrange a school mela/festival where
weaving products made by the
students are displayed and sold.
Learning Outcome
communities.
Teachers may organize the data for the
School/Class DataBase
Develop respect for tradition-bearers.

communities and appreciate cultural
diversity.

communities.

Instruction Form
21
14
Mizari (basketry)
Part 4: Annexure
Appendix 1
Part 4: Annexure
Annex
Appendix 2
Vocabulary Word bank/Khazana;
Appendix 2:
This is a handout for the students and for the Notice Board. Copies are available in a CD for printing.
The teacher may add any words that they feel need to be explained to the students. The students should
add words that they think are difficult for them.
Glossary (English to Pushto/Hindko/ Seraiki/Chitrali or any local language translation)

Suggested Glossary; please add more words along with the Pushto/local language words and put a copy
of this up on the class wall/notice board for the students. Students may also be given a copy to use.
Sr. Word
No.
Meaning
Abundance
extremely plentiful or over sufficient quantity or supply
Appreciate
to be grateful or thankful for; Value
Domestic
of or pertaining to the home, the household, household affairs, or the

family
Fibrous
containing, consisting of, or resembling fibers; tough
Domestic
Indigenous
originating in and characteristic of a particular region or country; native;

produced, growing, living, or occurring naturally in a particular region or
environment
Fibrous
Natural
existing in or formed by nature (as opposed to artificial)
Resource
a source of supply, support, or aid, especially one that can be readily

drawn upon when needed.
Technique
the manner and ability with which an artist, writer, dancer, athlete, or the
like employs the technical skills of a particular art or field of endeavour.
Method
Vertical
being in a position or direction perpendicular to the plane of the horizon;

upright; plumb.
10
Variation
the act, process, or accident of varying in condition, character, or degree.

Difference
23
English
Local language Translation
Abundance
Appreciate
Indigenous
Natural
Resource
Technique
Vertical
Variation
24
Part 4: Annexure
Appendix 3
Part 4: Annexure
Annex
Appendix 4
Appendix 3: Activity Sheets for Lessons
Sheets for Student Activities suggested in the Lessons can be found in Part 3 of this section.
suggested form for students that you may find useful for ICH-integrated learning.
Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
25
*Score
10
26
Part 4: Annexure
Appendix 5
Primary Sources
Secondary Sources
Oral History
Books
Internet
Interview
CD Rom
E-Mail Contact
Encyclopaedia
Event
Magazines
Discussion
Newspapers
Debate
Video Tape
Community Meeting
Audio Tape
Surveys
Articles
Artefact
Essays
Television
Photography
Radio
27
28
MizariMizari
Basket-weaving
/ Basketry
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822

Printers:

Contents
Part 2 : RESOURCE MATERIAL

1. Mystical Instruments of KPK and FATA

2. Introducing Traditional Musical Instruments
3. The processes of making some Instruments
1
2
5
8

A. Lesson Plans
10
12
13
14
Lesson 1:
Lesson 2:
Lesson 3:
Lesson 4:
Discussing types of traditional musical instruments

Learning about the construction of traditional musical instruments
Drawing, coloring and labeling parts of a rubab
Designing a motif/design to decorate a rubab
B. Thematic Projects
Thematic Project 1

Thematic Project 2
Thematic Project 3
Thematic Project 4
15
My Home, My Community: Oral History
Talking to family and neighbors about musical instruments
in their homes
My Elders, My Identity: Learning from tradition-bearers and elders
Our Town, Our Context.: Field visits
My Culture, My Pride: Melas and Festivals
Part 4: ANNEX
Appendix 1

HANDMADE
Musical Instruments
Heritage Education
A Resource Kit on the Intangible Cultural Heritage
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Vocabulary
Glossary (English to Pushto translation)
Student Activity Sheet for Field trips
17
18
19
20
1. Musical Instruments of KPK and FATA
2. Introducing Traditional Musical Instruments
Music is an integral part of Pashtun culture,

with the young and old enjoying the playing of
traditional musical instruments and performing
attarn to celebrate weddings and other festivals.
Music expresses feelings and emotions of
the Pashtuns and is considered an important
element of Pushtun culture. Many romantic lore
are connected to rubab players like Adam Khan,
whose music entranced Durkhanai.
i. The Rubab
A Pathans hujra would be incomplete without a chillum (pipe) and a rubab. Singing and dancing called
Tang tagore is an integral part of the hujra culture, where people gather at the end of the day to play
music and relax.
A Pashto couplet (tapa) describes these feelings:

When my ears heard the sound of your rubab, I
Musicians baithak in a Dabgari Balakhana, 1986
was so captivated that I have not been able to quench my
thirst, although I am standing with a glass next to the water pot.
A couplet of Rehman Baba, a renowned saint poet states:

Whenever a player begins to play the rubab, it has a bewitching effect on my heart.
The rubab is quite often placed next to a weapon to indicate the importance of both in a Pushtuns
life. It also gives a glimpse into the duality of Pushtun culture. The rubab is one of the most popular
instruments of music in every Pushtun tribe. It is the only musical instrument that has survived the
popularity of modern musical instruments and is still just as popular among the Pashtuns today as it
was centuries ago.
The rubab is known to have been in use from the 7th century CE. It is mentioned in old folk stories, and
many Sufi poets mention it in their poems. It is true that recitation of mystic poetry with music has itself
a cultural dimension. This instrument is also used as a general instrument of music and is played in all
social or cultural gatherings, and to perform attarn.
Pashtun music is heavily influenced by Afghan and Iranian musical forms as well as those of India.
Dabgari Bazaar is a famous part of Peshawar city, which has traditionally been linked with the production
of musical instruments and musicians. The Dabgari Bazaar, is on Peshawar road with many winding
internal streets with wooden buildings on both sides. This was once the hub of Pashtu singers, dancers,
musical groups and shops of handmade musical instruments. It was called Dabgari due to the fact that
leather sacks and boxes/containers for oil were manufactured here. With time, metal containers and
now plastic containers have replaced the leather ware. The traditional Dabgari mohallas and havelis
especially the first floors (balakhanas) above the street shops have been home to many musicians and
instrument players from all over KPK.
Unfortunately, in the last few years, scores of singers and instrumentalists have been vacating their
balakhanas after continuous harassment. Intimidation has reduced the number of shops making the
traditional Pashtu musical instrument, the rubab, to two.
The musical instruments of the Pashtuns can be
generally divided into two types;
II. Instruments of Taal;

These are instruments which are played with fingers,
hands and sticks. These include the rubab, dhols, tabla,
ghara, harmonium with the duff being the most popular.
Shaukat Khan Sarhadi playing the rubab for a PTV
recording in his baithak in 1987
2 ibid pg 7
3 Khattak, Raj Wali Shah (2007) Pathano key Kasab o Hunar. Pushto Academy, Peshawar University and Lok Virsa, Islamabad.
The drum is tuned to a specific note, usually either the tonic, dominant or subdominant of the soloists
key and thus complements the melody. Playing technique involves extensive use of the fingers and palms
in various configurations to create a wide variety of different sounds. The heel of the hand is used to apply
pressure or in a sliding motion on the larger drum so that the pitch is changed during the sounds decay.
iii. The Harmonium/Baja
A baja is an organ-type instrument. It is an integral
part of Pashto music and is usually used by singers
as an enhancement to singing. Its keys are played with
one hand while the other hand is used to pump air into
the instrument. It is played very commonly all over the
Indian sub-continent and Afghanistan. The harmonium
is usually decorated and is very colorful.
I. Instruments of Sur;
These are instruments which are played by blowing
into them, that is, wind instruments like the bansuri,
shehnai, algoza and powangi.
ii. The Tabla/ Duprai/Dukrai

The Tabla is the instrument which most often accompanies the rubab. It is a membranophone percussion
instrument. Amir Khusru is credited with inventing the instrument and creating its popularity in the
subcontinent. The name tabla is derived from the word tabal, the name given to a war drum. The tabla
consists of a set of two pieces. The piece on the right side has a smaller head than the left side. The
dayaan(right) and the bayaan (left). . The smaller drum (dayaan) is played with the dominant hand, the
right one. The larger drum, the bayaan, is played with the other hand, and has a much deeper bass tone.
iv. The Dhol

Dhols are traditionally used to make important
announcements within tribes. The sound of a dhol
carries far and prompts people to gather. The dhol is
one instrument which always accompanies the Attarn
performed by tribes.
Rubab shop, Dabgari ,1982
2
Musical Instruments
A dhol is a two sided percussion instrument, which comes in many sizes. It is sometimes played by
striking it with bare hands and sometimes with wooden sticks. It is widely used all over the Indian subcontinent. In Pashto speaking areas, it is commonly used by the tribes for various forms of Attarn as
well as for the Khattak dance. It can be, and is used as a stand-alone instrument which accompanies
wedding songs sung generally by Pushtun women.
A framed pencil sketch of Samandar Khan10;

Antique rubab from the 8th century 7
Haji Mirza Lodi, Dir, NWFP,1983 8;
v. The Duff
The duff also called the tumbal is a folk instrument most commonly found in each home. It is
an instrument traditionally played by the women. The Duff is equally used with the Rubab in the
ceremonies of many communities. The Duff is usually round made of wood with animal skin. The most
popular skin used is goat-skin. The Duff has three main parts; the frame is wooden, the skin is glued
on the frame.; then the pins are applied to the back part of the frame in order to keep the skin on to the
frame tight. This instrument is usually not taught formally, but the technique of playing it is passed on
from generation to generation.
vi. The Shpelai (Bamboo Flute)
A Shpelai is a common bamboo flute used almost all over the world. It has a very special place in
Pashto music and is loved by almost everyone, especially when faintly heard from far away in the quiet
of a moon-lit summer night. It is frequently played by sheep-herders, just as it has been played by
sheep-herders since thousands of years.
6
7
8
9
http://en.wikipedia.org/wiki/Rubab_%28instrument%29
Pushtun culture Museum, Pashto Academy, Peshawar.
http://www.pbase.com/noorkhan/image/82589565
http://dawn.com/2011/05/12/peshawar-and-an-instrument-called-rabab/
Samandar, rubab saz, Dabgari Bazaar,Peshawar,198211
vii. Ghara or Matka/ Mangay

This is a terracotta vessel for collection of water which is used as a traditional musical instrument. The
Mangey (pushto) is played with the hands and is very popular in Pushto tapey:
My love, play the ghara fast and melodic. The female guests are standing eagerly at the back of the
house to hear you.
12
Ustad Mushtaq Hussain, 45, crafting a rabab in his workshop, May 12, 2011 ;
Khurram Shahzad, 23, drills a hole in a rubab he is making
10 http://dawn.com/2011/05/12/peshawar-and-an-instrument-called-rabab/
11 http://www.pbase.com/noorkhan/image/78077943
12 http://dawn.com/2011/05/12/peshawar-and-an-instrument-called-rabab/
4
Musical Instruments
3. The processes of making some musical Instruments
B. The Tabla
A. The Rubab
One of the earliest rubab makers in Dabgari was the legendary
Ustad Wasil, who learnt the art of making the rubab in Kabul
in the era of Amir Abdul Rehman of Afghanistan. He migrated
from Kabul to Peshawar a century ago and settled in Dabgari
where he started making the rubab. He earned fame for making
this musical instrument in both Afghanistan and Pakistan. Many
people have been coming over from Kabul and the province
for his rubabs. His great grandson, Ustad Mushtaq Hussain is
currently one of the two rubab makers in Kucha Risaldar. Usatd
Mushtaq has spent his life associated with the craft of rubabmaking. Along with rubab his family also makes tablas.
Another famous rubab-making family is that of the late
Samandar Khan, who was a very talented rubab craftsman and
received a Pride of Performance award for his excellence in
this craft. The family workshops are located at Purana Bazaar
in Dabgari gardens. His grandsons are carrying on the family
traditions. Ustad Khurram, still occupies the original workshop
in Dabgari bazaar and produces beautiful rubabs with elaborate Craftsman in Dabgari crafting the rubab 13
inlay work.
The tabla is one of the most popular percussion

instruments in South Asia and is used all over
Pakistan to accompany other instruments like the
Rubab and harmonium in classical and folk forms
of music. The instrument consists of two drums
commonly known as the dayaan and bayaan, each
employing a different playing technique. The Dayaan
is made from a conical piece of teak or rosewood
hollowed out to approximately half of its total depth.
The Bayaan can be made of any of a number of
materials. Brass is the most common, copper is more expensive, but generally held to be the best, while
aluminum and steel are often found in inexpensive models. One of the major reasons for the popularity
of the tabla is its distinct tonal quality, which is mainly derived from the complex manner in which the
instrument is constructed.
The process of making a
good quality tabla centres
around two factors; the
skin and application of
a black paste known as
siyahi on the centre of
the playing surface. The
selection of the skin is the
first stage of tabla making.
Peshawari tabla-makers
prefer goatskin and claim
that it is ideally suited
to the demands of tabla
playing in terms of tone
and reliability. The skin is
removed of hair by soaking
it in solution of limewater.
The next step is to shape
the skin into a form known
as saancha, which involves
Tabla manufacturers in Dabgari Bazaar
the skin being stretched
and shaped on a circular
wooden board. During this stage, the thick outer edge of the playing surface known as gajra is woven on.
The gajra is either made of cow, buffalo or camel skin and assists in the tuning of the instrument. The
skin is then placed on the shell constituting the bottom half of the instrument and the siyahi is applied.
The head of each drum has a central area of tuning paste called the siyahi. This is made by using
multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins.
The siyahi is an iron-based compound and each tabla makers has his own composition of the materials
used. One of the most crucial elements of tabla-making is applying the siyahi on the centre of the playing
surface. The siyahi is responsible for the distinct sound of the tabla and is the main difference between
a bad and good tabla. A smooth stone known as a kausauti is used to smooth the siyahi and assists in
tuning. The tabla makers of Kucha Risaldar also play the instrument and listen to the correct tone of the
instrument as they apply siyahi to it.
The rubab is a short-necked instrument whose body is carved

out of a single piece of wood, with a membrane covering the
hollow bowl of the sound-chamber, upon which the bridge is
positioned. It has three melody strings tuned in fourths, three
drone strings and eleven or twelve sympathetic strings. The
instrument is made from the trunk of a mulberry tree, the head
from an animal skin such as a goat skin, and the strings either
gut (from the intestines of young goats, brought to the size of
thread) or nylon.
Ustad Sarfaraz Khan, 60 plays the rubab.

theDated 14/07/2010 14
One instrument costs Rs15,000 and upwards, depending on

embellishment and quality of the material. It takes 15 days to a
month to make one rubab. An important part of the rubab is the
inlay work that the handle is decorated with. The inlay work was
done traditionally with mother of pearl and ivory. Today animal
bones are used to make the designs which are personalized
by the owner of each rubab. Factors of cultural changes and
displacement of people associated with making and playing the
instrument has affected sales and the popularity of the rubab.
Ustad Ejaz, a Rubab player at Lok Virsa, Islamabad

13 http://factum.com.hr/en/films_and_authors/all_films/peshawar_rubab
14 http://centralasiaonline.com/en_GB/articles/caii/features/pakistan/2010/07/14/feature-01
Musical Instruments

The tabla is tightened with the help of leather straps, which pass through the edge of the gajra and
the bottom. Finally eight cylindrical pieces of wood are equally passed through the straps in the
wooden drum to assist in tuning the instrument to the required note. Selection of the material for
the bottom half of both drums also plays a vital role in the overall resonance. The dayaan is normally
made of rosewood whilst copper is preferred for the bayaan. Each tabla maker is identified by his own
distinct tone and specific speciality which has resulted in tabla players preferring the work of certain
craftsmen.
Making a Harmonium
7

The accompanying CD has the information you will require for your lessons. These are in the forms
of images to explain the lessons better. Students should be encouraged to use both primary sources
and secondary sources of information. Primary sources are original materials. They provide first-hand
testimony or direct evidence concerning a topic under investigation.
Primary Sources
Secondary Sources
Oral History
Books
Persons
The Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debates
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artefacts
Essays
Television
Photography
Radio
8
Musical Instruments
A. LESSONS
*Age Group
9
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Lesson Category
Age Group
Teaching Activities
Learning Outcome
LESSON 1:
The types of traditional Musical
instruments
Initiate a discussion about musical

instruments. Ask the students about the
instruments in their homes and if they are
able to play them.
List the various kinds of traditional musical
instruments mentioned by the students.
Ask students if they can relate a tappa about
a musical instrument.
Show pictures of musical instruments and
let students identify them.
Ask the students to produce the beat of
these instruments; orally or through beating
on their desks.
Talk about the traditional bazaar and baitaks
of Dabgari Gardens.
Learning about the variety

of traditional musical
instruments.

Required:
Images (See Attached CD
File);
Class discussion: The students may participate in an
interactive class discussion.
10
Musical Instruments

Musical Instruments

Full Name:
Date:
Class:
Age:
Month:
Year:
Lesson Category
Teaching Activities
Learning Outcome
LESSON 2:
B I
A
Handmade
Student
Activity Sheet
#2
Drawing, coloring and labeling parts of
The students
should
be given
To learn
the names of the parts
Musicalbe
Instruments
a rubab
A4 size sheets and should
of the instruments
Material and Equipment Required: TRADITIONAL CRAFT-MAKING
asked to
sketch and color
a
Handmade Student Activity
Sheet #2 Instruments
Musical
Handmade
Musical
Student
Activity Sheet #2
Instruments
Images (See Attached CD File);
rubab.
Instruments
Field trip: The students may undertake
They-MAKING
should be askedMusical
to
TRADITIONAL
CRAFT
TRADITIONAL
CRAFT-MAKING
a field trip.
name the parts of a rubab.
Time Required:
as
per
teachers
plan
of
Full Name:
Date:
excursion.
Full Name:
Date:
Month:
1. Look at the Pictures Below and name the instruments:

1.
Age Group
2.
Full
Name: Village/Town/Tehsil/District:
Full
Name:
Month:
Year:
Year:
Date:
Class:
Class:
Date:
Age:
Month:
Age:
Class:
Year:
Age:
Class:
Month:
Age:
Year:
1. Color the Rubab and learn the name of its parts:
3.
4.

1.
2.

Musical Instruments
2. Write down the information about a Rubab that you have learned in lesson 1 in the
table below:
Observations
Questions
Observations
Further Research
3.
Function of craft
Materials &
the craft
Description:
the craft
Why was it made?

Personal
Social
Religious
Commercial
others
How was it made?
Handmade Student4.Activity Sheet #2

Musical Instruments
2. Name the parts of the Rubab

like?
What is the color?
What
kinds
of
patterns are used?
1.
2.
3.
4.
2. Do you think it is important to make Rubabs and other musical instruments today?
Why or Why Not?
1.
2.
3.
11
4.
12
Musical Instruments

Lesson Category
Age Group
LESSON 3:
Designing a motif/design to decorate a
rubab
Images (See Attached CD File);
Paper for drawing (A4 size)
Colored pencils/crayons/markers
Tape/glue
Individual Activity: Each student would
make a
separate drawing.
Teaching Activities

Learning Outcome
The students should be

To learn the importance of
given A-4 size sheets and
decorating and personalizing a
should be asked to sketch
rubab.
and color a motif/design for
a rubab.
They should be encouraged
to discuss the various motifs
that they have
seen
aActivity
Handmade
on
Student
Activity
Sheet #1
Handmade
Student
Sheet #3
Musical
Instruments
Musical
Instruments
rubab and suggest new
ones.
TRADITIONAL
CRAFT -MAKING
Lesson Category
Age Group
LESSON 4:
Listening to Music
The teacher invite invite an Ustad
into the class to perform on the
tabla.
Class Activity: The students should participate as a class.
Date:
Date:
Month:
Class:
Year:
Class:
Age:
Age:
Month:
Full Name:
Full Name:
Learning Outcome
A tabla ustad may be invited to

Students develop an
perform in the classroom.
He should explain the various
musical sounds and beats
beats and rhythms of the
produced by a tabla.
instrument and play
for the
Handmade
Musical Instruments
students.
The students should be
encouraged to reproduce the
beat by playing it on their
tables.
Musical
Instruments
Full Name:
Full Name:
Teaching Activities
Date:
Date:
Month:
Year:Class:
Class:Age:
Age: Month:
Year:
Year:
1. Look at the images below and write the name of the instrument and note the kinds of
decorative designs made on them.

1.
2.
3.
4.

1.
2.
3.
4.
Image 1:
13
14
Musical Instruments

Lesson Plan for Dhol
Developed by Mohammad Yousaf, GHSS #1, Peshawar Cantt
increase a students knowledge about his/her community and town.
Thematic Project Sequence
Suggested Activity
Learning Outcome
TP1:
My Home,
My Community;
Oral History*
The students may go home and ask their

grandparents about musical instruments
that were in use in their time. Next, they
will ask their parents about the instruments
used in their time. The students may
write about the different items in their
grandparents, parents homes and their
experiences, noting what changes have
occurred in the craft.
Data collected through discussions,
research, recording, Observation and
photography.

communities.
Teachers should organize the data
for the School/Class DataBase
*Refer to My Community, My Home Thematic

Project TP 1 Form
TP 2:
My Ustads,
My Identity.
Learning from tradition-bearers and
Elders*
Invite an ustad to come and play a musical

instrument in the classroom.
TP 3:
Field visits*
i. Visit to Pashto Culture Museum

To see the various traditional musical
instruments there and discuss how they
have changed through the ages.
Develop a respect for traditionbearers.
*Refer to My Ustad, My Identity Activity

Sheet.

diversity.
ii. Take the students to visit a rubab maker

in Dabgari bazaar or a tabla maker in Kucha
Risaldar. Talk to the traditional craftsmen
who make rubabs and tablas.
*Refer to Our Town, Our Context Activity
Sheet
TP 4:
Melas & Festivals*
Students and teachers should arrange a

school mela/festival where the students may
play musical instruments. Ustads may also
be invited.
*Refer to My Culture, My Pride Activity
Sheet
15

communities.
ICH Element Selected from Teachers Resource Kit: Handmade

Crafts/Musical Instruments/Dhol and Bansuri
Objective:
1. To inculcate appreciation and ownership of traditional musical
instruments as students living heritage
2. Teach students the structure and function of musical instruments played
during weddings
Subject Allocated for ICH element: Art
The Dhol, photo credit: Samra Mohsin Khan
Space Allocated for Activity: Classroom
Materials Required: Drawing Books, Colored Pencils/Crayons/Markers etc, and Pictures of the Instruments.
Methodology: Lecture on Musical Instruments used for Weddings followed by Class and Home
Assignments.
DAY 1
Step 1: Build on students prior knowledge of traditional musical instruments by asking the
following questions:
a. Have you attended weddings in your family?
b. Do you go to Mehndi and Barat functions?
c. Have you seen musical instruments played at weddings?
d. Which musical instruments are used for producing music at weddings?
e. What do they look like?
f. Do you know how to play them?
Step 2: Show students pictures of the musical instruments played during weddings
Step 3: Class Assignment: Draw a Dhol using the following instructions:
1. Draw a baysa (circle)
2. Then draw two parallel lines dropping down from the circle
3. Join the ends with a semi-circle
4. After drawing, fill the shape with beautiful colors in a shaded manner.
Step 4: Ask students who know how to play the instrument to give a demonstration the next day.
Step 5: Home Assignment: Draw a bansuri in the drawing book and color it as instructed.
DAY 2
Step 6: Students present their home assignments followed by a demo on playing the dhol.
Step 7: Use Assessment and Feedback Form to Evaluate the Activity.
16
Musical Instruments
Part 4: Annexure
Appendix 1
Part 4: Annexure
Appendix 2 & 3
Appendix 1
Vocabulary/Khazana of words
Appendix 2: Glossary
Appendix 2
Glossary (English to Pushto/Hindko/ Seraiki/Chitrali and any local language translation)
Appendix 3
Student Activity Sheets
Appendix 4

copy of this up on the class wall/notice board for the students. Students should also be given a copy to
use.
Appendix 5
English
Local Language
integral
Appendix 1: Vocabulary
Word bank/Khazana;
This is a handout for the students and for the Notice Board. Copies are available on the CD for printing.
The teacher should add any words that they feel need to be explained to the students. The students
celebrate
express
emotion
Sr. Words
No.
Meaning
1.
to go along or in company with; join in action
Accompany
romantic
captivate
2.
Announcement
public or formal notice announcing something; a short message or commercial, especially a

commercial spoken on radio or television.
3.
Celebrate
to observe (a day) or commemorate (an event) with ceremonies or festivities. To Rejoice
influence
musician
4.
Decorate
to furnish or adorn with something ornamental or becoming; embellish
5.
Integral
of, pertaining to, or belonging as a part of the whole; constituent or component. vital
perform
terracotta
6.
Intimidation
to make timid; fill with fear. Threat
7.
membrane
a thin, pliable sheet or layer of animal or vegetable tissue, serving to line an organ, connect
parts, etc. covering
Appendix 3: Student Activity Sheets for Lessons
8.
Personalize
to ascribe personal qualities to; personify.
Sheets for Student Activities suggested in the Lessons can be found in Part 3 of this Section.
9.
Reproduce
to make a copy, representation, duplicate or close imitation of
10.
Survive
to remain or continue in existence or use to last
17
18
Musical Instruments
Part 4: Annexure
Appendix 4
Part 4: Annexure
Appendix 5
Appendix 5: Additional Resources

Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
19
Date
Observation
*Score
Libraries
Ustad Khurram Shehzad, Purana Bazaar, Dabgari Gardens
Ustads and crafts-persons in your areas.
Shaheen, Salma (2008), Pushto key Mauseekey ke Alat. Pushto Academy, Peshawar University. and
Lok Virsa Islamabad.
Khattak, Raj Wali Shah (2007) Pathano key Kasab o Hunar. Pushto Academy, Peshawar University.
and Lok Virsa Islamabad.
http://www.khyberwatch.com/Sahar/Dec%202009.pdf
http://harmoniummusicblog.wordpress.com/2013/05/18/pride-of-the-pathans-kheyal-mohammad/
http://en.wikipedia.org/wiki/File:Rubab.jpg
http://www.digplanet.com/wiki/Rubab_%28instrument%29
http://www.afghanland.com/entertainment/music/instruments/instruments.html
http://www.worldmusicalinstruments.com/c-2-String-Instruments.aspx
http://www.umass.edu/chs/about/whyheritage.html
http://www.pbase.com/noorkhan/image/82589565
http://dawn.com/2011/05/12/peshawar-and-an-instrument-called-rabab/
http://factum.com.hr/en/films_and_authors/all_films/peshawar_rubab
10
20
Musical Instruments
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822

Printers:

Contents
Part 2 : RESOURCE MATERIAL

Introducing the ICH Element: Mis

Bazaar-e-Misgarah and the making of copperware
The process of making copper utensils
1
2
4
5
Lesson 1: Introducing the craft of Mis and the craftsperson misgarah.

Theme 1: Developing an understanding of the craft of mis and the craftspersons.
Lesson 2: Coloring a map of Peshawar city and making places of historic

craft-making; Misgarah
Theme 2: Historical and Cultural Context: Story-telling and Hospitality
Lesson 3: Making a rubbing with a copper utensil
Theme 4: Art work collage
Lesson 4: Making a design using the foil etching technique.
Theme 4: Nurturing and practicing traditional crafts.

Thematic Project 1: My Home, My Community : Oral History.

Thematic Project 2: My Elders, My Identity : Learning from tradition-bearers and elders.
Thematic Project 3: Our Town, Our Context : Field visits.
Thematic Project 4: My Culture, My Pride: Melas and Festivals.
10
12
16
19
Part 4: ANNEX
HANDMADE
Copperware in Bazaar Misgarah
Heritage Education
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Vocabulary
Glossary (English to Pushto translation)
Activity Sheet for Field trips
21
22
23
24
25
1. Overview of the craft of Mis; copperware
2. Bazaar-e-Misgaran and the making of copperware
In Hindko (language of Peshawar city) copper is called as Mis, and the individuals who craft this metal are
called Misgar. Misgarah Bazaar, means, the bazaar of copper craftsmen. In the past, the people of Peshawar
and other cities gave copper household utensils to their daughters as Dowry. These utensils included water
storage and cooking ware, which were beautifully and intricately carved. They became family heirlooms to
be passed on from generation to generation and used at special events. Every year these items received a
fresh application of kali so that they retained their shine and glitter. Copperware was traditionally considered
good for health and hakims recommended patients use copper katoras (bowls) for drinking water.
The best copperware of Peshawar originated from the Bazaar-e-Misgaran, located within the Qissa
Khawani Bazaar near the Kabuli gate. This was an important halting station on the trade route from Kabul
to Lahore. The two important gates of the walled city of Peshawar were the Kabuli gate facing Kabul and the
Lahori gate facing the route to Lahore. There were many caravan serais, both outside the city and within
it. Qissa Khawani, the story tellers bazaar was at the heart of the city, thronged with locals and travelers
from all over Afghanistan, Central Asia and the Sub-continent. The hospitality and kehwa-khanas of Qissa
Khawani bazaar were famous throughout the region. The Bazaar-e-Misgaran was an important part of this
tradition of hospitality as its craftsmen provided the beautiful samovars, cups, aftabas and other copperware
utensils which were used in the many serais and cafes of Qissa Khawani and all other bazaars of Peshawar.
The traditional craftsmen of copper were working and travelling between Srinagar, Kashmir and
Peshawar and there was a great exchange of patterns and craftsmen. The styles and patterns of each
city influenced the other. The Kashmiri intricate style of carving can still be found on many copper items
in the houses and shops of Peshawar city. Kashmiri patterns are sought after due to their finer details.
Bazaar Misgarah in the 1980s. Source; Noor Khan
The coppe items made in Bazaar-e-Misgaran ranged from household utensils of daily use to
decoration pieces. Traditionally, Copper utensils used to be common in household uses, especially
in the villages. Now these have slowly and gradually vanished due to the use of china and glassware,
but copperware handicrafts shops can still be found displaying the master craft of the artisans.
1
2
1
1
View of a shop in bazaar Misgarah with assorted traditional and modern wares .
Taken April 2013

Survey carried out April 2013
2

3. The process of making copper utensils
The art of copper engraving by hand has been practiced for the last 150 years at the Bazaar-e-Misgaran.
Most of the work is now being done in Lahore where the items are carved on machines.
The remaining ustads/master craftsmen of the bazaar are making copperware items at their residences
rather than in factories. They are crafted by hand using traditional tools. Then, they are sold in shops
owned by the families of the craftsmen at the Bazaar-e-Misgaran. They include mostly items used for
decoration purposes in special designs including decorative motifs and calligraphy. The home based
kharkhana consists of one Ustad with upto seven to eight shagirds/craftsmen training and working under
his supervision.
One ustad from Bazaar Misgaran is Khawaja Safar Ali , whose family have been master craftsmen of
copper for the last 160 years. He explained the decline of the craft and craftsmen at the bazaar. His
sons have learned the craft but are not practicing it and have adopted other professions. He blames
the reason for the decline on the high price of the raw material (Rs. 1000/kg of copper) and the cheaper
availability of stainless steel utensils. They are currently producing decorative copperware items like
samovars for foreign tourists.
The copper was covered by a coat of kali, a thin plating of silver to remove its poisons (CuSo4) mixing in the
cookware. The silver plating (Kali) is applied as a thin layer using a cotton swab on the hot copperware.
Nowadays the silver-plating of a glass costs Rs 200 and is seems too expensive for domestic usage. The
designs are made with a pattern (thappa) on the vessel. Then a cork filling (lak) is put inside a hollow
vessel. Small chisels (qalams) of different sizes are used with a small hammer to beat the designs on the
outside. The work of engraving is called naqqashi and chitar-kari.
9 Copper bowl/katora for drinking water
Bazaar-e-Misgaran sells both antique and modern pieces of copperware and several of the works from
here have been presented to various heads of states including Queen Elizabeth II of Great Britain. The
smiths are proud and skilled men, many of them have achieved national and international acclaim.
The copperware of the Bazaar include lamps, vases, plates, different kitchen utensils, and decorative
pieces. The old items includes finely worked plates and samovars, trays, teapots and water jugs. One
of the most celebrated copper item of Bazaar-e-Misgaran is the samovar (tea-kettle of Russian origin).
The copperware is decorated with floral, stylized, geometric, leaf and even calligraphic motifs that are
engraved or embossed on copper. The raw material came from Amritsar in pre-partition days and after
partition it came from Gujaranwala. Peshawar artisans make both engraved and embossed patterns on
bowls, shields, bottles, kettles and jugs in Mughal, Kashmiri, Afghani, Peshawari and Amritsari styles.
Currently there are around four to five shops at the bazaar with a mix of the old copper-work and the
newer brass-work items. They include pots, kitchen utensil, old design dishes, hookas, decoration pieces
and swords. Most of the shops in the bazaar now deal in stainless steel, silver steel and plastic ware.
About 250 engravers and other artisans were attached to the copperware shops in the Bazaar-e-Misgaran
in its heyday. The price of copper has escalated over the last 50 years and payment to the artisans has
been very low in relation, this is a major factor in the slow demise of the making of this craft. Old ustads
are leaving the craft and new ones are not being trained in the craft making.
3
Ustad Khawaja Safar Ali explaining the technique of copperware engraving/

chitar-kari.
A tray of Kashmiri engraving
4

The Accompanying CD has the information you will require for your lessons. These are in the forms
of images to explain the lessons better. Students should be encouraged to use both primary sources
and secondary sources of information. Primary sources are original materials. They provide first-hand
testimony or direct evidence concerning a topic under investigation.
Primary Sources
Secondary Sources
Oral History
Books
Persons
Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debates
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artefacts
Essays
Observation (animate/inanimate
Television
objects)
Photography
5
Radio
6
A. LESSONS
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
the craft of Mis and the
craftsperson misgar.
Theme 1: Developing
an understanding of
the craft of mis and the
craftpersons.
Required:
i. Images of copper
products; (See Attached
CD File);
discussion.
Time Required: 45
minutes.
7
Age
Group
Lesson Category
B
Learning Outcomes
The teacher may give the students

the information provided about Mis and
bazaar e misgaran, to give them an
overall understanding of the craft and its
products.
The teacher may then put up a display
of photographs from the resource
CD. Ideally the display would include
photographs that illustrate the copper
products and crafts-persons.
Some images are supplied with the kit.
Initiate class discussion about this
display.
Some suggested discussion points:
How are the copper utensils used in
the house?
Images made on copper plates
represent peoples values (Quranic
verses ) and historic places (Khyber
Pass, mosques images etc.), swords,
etc..
8

Misgarah
Full Name:
Date:
Class:
Age:
Month:
Year:

Lesson Category
1.
2.
LESSON 2:
Drawing and Coloring a
map of Peshawar City or
your town focusing on
the craft of Copperware.
Theme 2: Historical and
Cultural Context: Story
telling and hospitality
3.
Group Activity: The

students will form
groups of 4 for the
activity.
4.
Time Required: 60
minutes.
Misgarah
Table for Recording Information and Observations:

Aspects to be
observed
Function of craft
Materials &
craft
Description:
craft
Questions
Observations
Further Research
Why was it made?

Personal
Social
Religious
Commercial
others
How was it made?
Age
Group
B

A The teacher may use the map of
Peshawar provided with this kit
when talking about Bazaar-eMisgarah?
The students may be divided into
groups of 4 and asked to draw small
maps of their own town showing
where craftspersons make copper/
brass any other metal items.;
Each group may be asked to
make up and narrate a story (kissa)
based on what they have heard
about Bazaar Misgarah or any other
bazaar of their town which houses
traditional copper craft-making.
The use of copper utensils in
entertaining guests in their homes/
hujras.
They may be encouraged to talk
about the important tradition of
hospitality and the role of the
kehwa-khanas in their region.
Learning Outcomes
The lesson helps
students to understand:
How traditional
crafts like mis played
an important part in
peoples everyday lives
The use of
traditional products
as an important part
of welcoming and
entertaining people in
their homes.
Value learned:
Crafts are part of
important cultural
traditions.
The teacher may encourage the

students to make up imaginary
stories.

like?
What is the color?
What
kinds
of
patterns are used?
2. Do you think it is important to practice this craft -making today? Why or Why Not?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
9
10
TRADITIONAL

Misgarah
Handmade Student ActivityMisgarah
Sheet #2
CRAFT-MAKING
Sheet #2
Misgarah
CRAFT-MAKING
TRADITIONAL
Copperware
TRADITIONAL
CRAFT-MAKING
Misgarah
Copperware
Copperware
Date:
Copperware
TRADITIONAL
CRAFT
Month:-MAKING

Full Name:
Full Name:
Date:
Full Name:
Date:
Year:
Month:
Full Name:
Date:
Month:
Class:
Year:
Month:
Full Name:
Date:
Year:
Age:
Class:
Year:
Class:
Class:
Age:
Class:
Age:
Age:
1.Village/Town/Tehsil/District:
Look at the images and name the things shown:Age:
Month:
2.
LESSON 3:
Making a rubbing with a
copper utensil
Theme 3: Art work
collage
Image 1:
3.
Image 1:
Image 1:
Image 1:
Age
Group
Lesson Category
1. Look at the images and name the things shown: Year:

1. Look at the images and name the things shown:
1. Look at the images and name the things shown:
1.
4.

Misgarah
Materials required:
i. Copper plates, trays
and decorated bowls etc.
ii. White paper or kite
paper or newspaper
iii. Crayons, black and
colored pencils
iv. Scissors
v. Glue/tape.
Individual Activity: The
students may make the
item individually.
Learning Outcomes
Students may bring in some copper

utensils with raised designs. The teacher
will explain the process of making a
rubbing3
The students will surely

understand the range
and variety of copperware
motifs.
The students may be divided into 5-6

groups.
Each group can choose two or more
copper utensils; maybe a flat one (tray,
plate) and one round object (jug, bowl,
etc.)
The rubbing may be made in pairs
using different colors or making
rubbings of the different parts of the
utensil.
The rubbings can then be collected
and arranged as a collage4.
The students will learn

organization of visual
images and cooperation in
carrying out a task.
Value learned: Harmony
Image 2:
Image 2:
Image 2:
Image 2:
Time Required: 60
minutes.
Image 3:
2. Draw the things made of copper/brass/silver /stainless steel other metals in your homes
which are used for eating and drinking.
3 Rubbing; one of the most universal and perhaps oldest of techniques used in printmaking. Rubbings are made by
carefully pressing paper onto a carved or incised surface so that the paper conforms to the features to be copied. The paper
is then blacked or colored using a pencil or a crayon and the projecting areas of the surface become dark/colored, while
indented areas remain white. A carefully made rubbing provides an accurate, full-scale image of the surface reproduced.
Rubbings are generally used to reproduce an accurate record of the work of others.
4 Collage: An art where the artwork is made from an collection of different materials. A collage may sometimes include
newspaper clippings, ribbons, bits of colored or handmade papers, portions of other artwork or texts, photographs and other objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years.
11
12

Misgarah

Making a Rubbing with a Metallic U tensil
Step 1 - Take any vessel with a raised surface.
Step 2: Take some colorful markers or soft crayons.
13
14

Age
Group
Lesson Category
LESSON 4:
Making a design by foil
etching.
Theme 4: Nurturing and
practicing traditional
crafts.
Materials required:
i. Aluminum Foil
ii. cardboard,
thermopore or folded
chadder
iii. thin stick, match
stick, pencil, pen
iv. Scissors
v. Glue/tape
Individual/group
Activity: The students
can work on the project
individually or in groups
of 2.
Learning Outcomes
The teacher may give the following

instructions:
The students should prepare the
surface for creating a relief5, pin a sheet
of aluminum to a soft surface, such as a
sheet of cardboard or thermopore or a
folded cloth/chadder..
The students may be given a piece of
foil (A4 size). They should start writing
their names (any or all three versions:
Urdu, Pushto, English) in the foil by using
the back of a pencil, they may use their
fingers as well.
Ask the students to gently press
using a combination of the tools above
mentioned. When he/she is satisfied with
the image, they should remove the tacks
and turn over the foil to reveal the bas
relief name plate.
The students will

understand how copper
work etching has
transcended its traditional
use and can now be used
to decorate and beautify
personal objects.
They will appreciate
that traditional crafts and
practices can be part of
their world.
Value learned: Nurturing
and practicing traditional
crafts.
Time Required: 60
minutes
5 Relief: is a sculptural form, which gives the impression that the sculpted material has been raised above the
background plane.
15
16

Sheet #4
Misgarah

Foil Etching
Foil Etching
Step 1: Take a piece of Foil

Step 1: Take a piece of Foil
Step 2: Put it on a soft surface like a folded cloth or cardboard

Step 2: Put it on a soft surface like a folded cloth or cardboard
17
18

B. THEMATIC PROJECTS
TP 1:
My Home,
My Community;
Oral History*
TM 2:
My Elders,
My Identity.
Learning from tradition-bearers
and Elders*
TM 3:
Field visits*
TM 4:
Melas & Festivals*
Suggested Activity
The students may go home and ask
their grandparents about mizari
products that were in use in their
time. Next, they will ask their
parents about the mizari products
used in their time. The students
can write about the different items
in their grandparents, parents and
their experiences, noting what
changes have occurred in the craft.
Research, Recording, Observation
and photography.
Instruction Form .
Students should find what natural

materials are available in their
localities which are used for making
mizari products. they can bring
these into the classroom and talk
about them.
Instruction Form
arrange a school mela/festival where
products made by the students are
displayed and sold.
Learning Outcome
communities.
Teachers should organize the data for
the School/Class DataBase
Develop respect for tradition-bearers.

diversity.

communities.

Instruction Form
19
12
Part 4: Annexure
Appendix 1
Part 4: Annexure
Appendix 2
Appendix 2:
This is a handout for the students and for the Notice Board. Copies are available in the CD for printing.
The teacher should add any words that they feel needs to be explained to the students. The students

Suggested Glossary; please add more words along with the Pushto/local language words and put a copy
of this up on the class wall/notice board for the students. Students should also be given a copy to use.
Sr. Word
No.
Meaning
Antique
of or belonging to the past; not modern. Very Old
Exquisite
of special beauty or charm, or rare and appealing excellence, as a face, a

flower, coloring, music, or poetry. Beautiful
Foreign
of, pertaining to, or derived from another country or nation; not native
exquisite
Generation
the entire body of individuals born and living at about the same time
foreign
Glitter
to reflect light with a brilliant, sparkling luster; sparkle with reflected

light. Shiny
generation
English
antique
glitter
Heirloom
a family possession handed down from generation to generation.
heirloom
Intricate
having many interrelated parts or facets; entangled or involved; complex
intricate
Recommend
to present as worthy of confidence, acceptance, use, etc.;commend; mention favorably; advise
recommend
Traditional
10
Vanish
disappear
11
Utensil
any of the instruments or vessels commonly used in a kitchen, dairy, etc.;

A tool
21
traditional
vanish
22
Part 4: Annexure
Appendix 3
Part 4: Annexure
Appendix 4
Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
23
*Score
10
24
Part 4: Annexure
Appendix 5
Libraries
Bazaar Misgarah
CD with Resource Kit Pack
http://en.wikipedia.org/wiki/Peshawar,_NWFP
http://pakistan786.tripod.com/Peshawar.html
http://visitpak.com/coppersmiths-bazaar-near-qissa-khawani-bazaar-peshawar
http://www.imagesofasia.com/html/pakistan/coppersmiths-bazaar.html
25
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822

Printers:

Contents
Refer to earlier section
PART 2 : RESOURCE MATERIAL
1. Overview of the ICH Element: Embroidery work
2. Introducing the craft of embroidery
3. The range of embroidered textiles
4. Materials and Stitches used for embroidery
5. Symbolism of embroidery motifs

1
1
5
7
12
13
15
1. Lesson 1: Introducing the craft of embroidery.

Theme 1: Developing an understanding of the craft.
2. Lesson 2: Drawing and Coloring an embroidery pattern.

Theme 2: Designs and symbolism.
3. Lesson 3: Making a local flower/plant/animal in collage.

Theme 3: Historical and Cultural Context.
16
22
1. Thematic Project 1: My Home, My Community : Oral History.

2. Thematic Project 2: My Elders, My Identity : Learning from tradition-bearers and Elders.
3. Thematic Project 3: Our Town, Our Context : Field visits.
4. Thematic Project 4: My Culture, My Pride: Melas and Festivals.
18
20
PART 4: ANNEX
HANDMADE: The Intricacy Of Craft Skills

Tribal Embroidery
Heritage Education
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Vocabulary
Glossary (English to local language translation)
Activity Sheet
23
24
25
26
27
1. Overview of ICH element: Embroidery

The craft of hand embroidery is a traditional art form passed from generation to generation in diverse
cultures. It has a long history, with the earliest evidence of a worked textile found amongst pottery and
ornaments discovered in a grave at the site of Mehrgarh, Balochistan (6500-4500 BC). Similar items have
also been recovered at Harappa (3500 BC), indicating the earliest cultivation of the cotton plant, which
was used both to weave the fabric and for making the thread. The Indus valley civilization had extensive
trade links with the Sumerian civilization and Mesopotamia, that were established by land and sea. Cloth
manufactured in the Indus Valley cities was taken to the Persian Gulf by the sea route and onwards to
Egypt and Babylon. These fabrics were also embellished by intricately designed embroidery. These
embroidered textiles served important purposes as religious objects and household use items. These
were important hallmarks of social status and signs of the affluence of a family in many ancient cultures
in the sub-continent and other parts of the world.
2. Introducing the craft of embroidery

In KPK and FATA the tradition of embroidery has been prevalent since the artisans of the Gandhara era.
This is indicated by similar geometric patterns in both the stonework and the embroidery of the region.
Embroidery is also an important traditional skill and part of tribal customs that has been passed on from
generation to generation in KPK and FATA. It has been maintained by each tribe as a valuable asset and
as an integral part of their social identity. Embroidering is a communal activity which helps the women
of the community to come together to chat, sing and forget a common value system.
1
The various groups of Pathans, have their own and at times distinct styles of embroidery. There is also
a difference between Pathan urban embroidery and traditional Pathan nomadic embroidery. Most of the
pieces created by the nomadic women of different tribes are vibrant in color; the fabric is woven from
coarser natural materials and dyed with natural dyes. The nomadic embroidery uses primary color shades
and displays strongly geometric patterns and beaded trimmings. The urban pieces are more sophisticated,
made on finely woven cotton, linen, wool and silks, using geometric and floral patterns, the colors used for
embroidery are pastels and monochromatic shades.
Many of the patterns used by the tribal women of Kohistan and FATA areas show influences of the silk
route, from Afghanistan and Central Asia. The nomadic tribes on the bordering areas of Pakistan and
Afghanistan, also known as Kuchi, use patterns and color palettes prevalent on both sides of the border.
Embroidery is one of the crafts which is easy to transport beyond borders, allowing a piece to be carried
and copied from one region to another.
2
Tribal Embroidery

Traditionally, embroidery was a domestic product
made by women in their homes for themselves,
their family and friends. Usually, these were
traditional items, not to be sold and bought in a
bazaar, but given as gifts on auspicious occasions,
like weddings, births etc. Today, embroidery-done
is mainly for a commercial purpose. It is a source
of much-needed income for many of the women,
whose families are displaced from FATA and are
living in Swat, Peshawar and Hazara division. They
make contemporary pieces which are smaller with
cross-stitch embroidery, beadwork and tila-work.

Tribal embroideries from the FATA region, include bodice pieces which are stitched on to the upper part
of a flared Kurta. The kurta is made of around 6 meters of fabric and is flared. The embroidery work is an
integral part of the dress. It is made more elaborate for wedding dresses and less intricate for day to day
wear. The dresses are noted for multi-colored silk embroidery on a monochrome cotton or silk ground.
The embroidery is worked in satin stitch in complex geometric designs that radiate out from a central
motif, such as a star. Another embellishment added to the embroidery is the use of coins, beadwork,
small metal pieces and small metallic bells (ghungroo). Small round pieces of mirrors are also used
within designs. The colors used are black, red, orange, yellow, indigo, brown and green.
Embroidery is used by people of KPK and FATA

to decorate a wide range of textiles. It is used for
household objects such as table cloths, mats,
towels, curtains, bags, prayer cloths, as well as
decorative blankets for horses and camels. Pashtun
embroidery is very vibrant and symbolic. Some of
the regions are known for their embroidery work.
i. The Embroidery-work of Swat
Swati embroidery uses strong colors and geometric patterns and designs. The embroidery is used
to decorate dresses, shawls, blankets, bed sheets, pillow covers, table cloths, veils, head scarves,
handkerchiefs caps. The traditional textile used is cotton with which is dyed black with motifs embroidered
in vivid pink-red hues using silk thread.
ii. The Embroidery of Chitral
The Kalash women usually wear colorfully embroidered black dresses, headdresses, shawls and belts.
These are embroidered with bright colored threads, buttons and cowrie shells. They use intricate
geometric and floral designs on clothes, bags, hats and accessories for their own use. The women use
both cross stitch and satin stitch for the work.
The local embroidery uses silk that is believed to have been introduced from the 7th century by the
Chinese .
iii. The Embroidery of The Tribal areas
Although the practice of embroidery has suffered due to the displacement of the FATA tribes in the
last 30 years, modern versions of the craft continue to be produced by the tribal women for economic
sustenance.
3
Within the context of FATA, the Kaker and Karak Pathans have a distinct style of embroidery which uses
bold designs including stylized leaves / flowers and geometric patterns. The work uses a red, orange
and rust color palette and is also embellished with coins. The colors used are yellow, orange, red, with
green and pink. The embroidery of the Waziristan region has a dark color palette not unlike the dark red
carpets of the neighboring Afghanistan. This embroidery uses small and fine stitches made with fine
silken threads and it incorporates intricate details.
4
Tribal Embroidery
3. The range of embroidered textiles:

There are many kinds of embroidered textiles found in this region, some include the following;
i. Womens kurtas
The women wear deep indigo and black cotton kurtas embroidered with brilliant magenta silkfloss. The embroidery varies from small, scattered to thickly embroidered panels. The dresses have
embroidered fronts, cuffs and hems. They also add bead work, and beaded and woven tassels. The
back of the kurta is usually left undecorated.
ii. Dress Bodices:

Intricately worked bodice pieces are made to decorate the front of both men and womens kurtas.
iii. Waistcoats
Waistcoats for Pashtun men are often decorated with gold or silver colored braids, which are sewn in
intricate, geometric designs onto the ground material, such as red velvet.
iv. Caps:
Gold and silver braid embroidery is also used for mens caps in KPK and FATA. Chitral is unique in
making embroidered caps for women.
5
6
Tribal Embroidery

iv. Wallets
Cross-stitch embroidery and beadwork are used
to embellish wallets and small purses.
v. Beadwork, Buttons and Amulets
Traditionally, beadwork was used to make small
amulets; today the designs have been made into
buttons.
vi. Mirror Belts
Belts are made using mirrors, embroidery and
beadwork. These are worn by women.

embroidery. Mulberry trees grow in both Swat and Hazara, and the silk thread obtained from the slik worms
are washed and dyed in the cities of the KPK. Traditionally silk thread was used for all Swat embroideries.
Nowadays cheaper synthetic thread and chemical dyes are also used.
Techniques of preparing the cloth to be embroidered are also common throughout KPK. The pattern is
always dictated by local traditions. Most women bring their cloth to the local chapagar or block printer in
the bazaar who stamps their chosen patterns. Embroiderers often have their own blocks for smaller motifs
at home. Other methods now practiced used tracing paper and sometimes stencil papers are employed,
particularly by commercial producers. Traditionally, the cloth is then stretched over a frame, especially
for large size embroideries and for commercial productions. Hoops are also used now. The tools used for
this craft consist of different sizes of needles, aar, wooden frames, stretchers, sharp penknives or razor
blades, scissors and silk and cotton thread in required colors matching with cloth as well as golden and
silver threads and beads.
vii. Shawls and Chadors

Shawls and Chadors are an important part of
the culture of KPK and FATA. Womens shawls
represent a distinct embroidery tradition which extends from within the province to Hazara and continues
down to the Punjab. Shawls and Chadors are intricately embroidered. Many become heirloom pieces.
viii. Bed Sheets/table cloths etc
Textiles for everyday use, like bed sheets and table cloths, are embroidered in Swat and other areas.
Some items can feature one large design in the center. These are mostly made for dowries.
ix. Turbans:
Turbans worn by men on their wedding day are lavishly embroidered on both sides, with such dense
patterns that the ground cannot be seen.
4. Materials and Stitches used for embroidery

Embroidery is done on cotton, satin, linen, woolen or silk fabric, using a needle with cotton or silk thread.
Embroidery is done by the movement of the embroidery needle from the back of the fabric to the front
and back to the back side of the fabric. The thread stroke produced this way is called a stitch. In the
context of embroidery, an embroidery stitch means one or more stitches that are executed in the same
way, forming a recognizable and definite shape or figure. Embroidery patterns are formed by many
embroidery stitches, either all the same or different; either following a printed chart, following a design
on the fabric or even working freehand with colourful or dyed thread or lace.
The Embroidery pattern is made by outlining the intended designs with running stitch, and then filling in
the outline with multiple stitches. The characteristic phulkari stitch of closely placed, parallel threads
resembles a satin stitch. To achieve geometric precision in the design, all the threads must be counted
to make the outline of the design and the inner design. In Hazara, the phulkari designs are outlined in a
dark colour before the inner shapes are filled in with bright colors.
There is an intimate connection between the Swat Mulberry tree and the silk thread used in Swat
7
8
Tribal Embroidery

There are a number of stitches used for embroidery, they may be used separately or in conjunction
depending on the region;
i. Satin Stitch,
ii. cross stitch,
iii. darning stitch
iv. surface darning stitch
iv. tent stitch

either as roundels with feathered or serrated edges or as border designs with branched designs along
the edges of shawls and garments. Close to the Kohistani style of geometric cross stitch embroidery is
the Chitral and Hunza embroidery.
In contrast to Kohistan with its fondness for tiny cross-stitch designs, the Hazara region is more closely
related to the neighboring Punjab with embroidery of the phulkari. The embroidered shawls of Hazara
use diamond and chevron patterns. The Hazara pieces, typically use a colour scheme of dark pink on a
white or dark-blue ground, in contrast to the yellow and orange of the Punjab and the design elements
themselves often have a feathered effect on the outlines unlike the straight edges seen in the Punjabi
pieces. Another distinctive shawl made in Hazara has a white-ground with pink and red designs with
curling horn and star patterns.
v. running stitch
Embroidery Patterns
The traditional embroidery patterns incorporate decorative elements prevailing in the environment. As a
result, traditional embroideries preserve evidence of the social and cultural and contextual knowledge.
The patterns used all over KPK and FATA are usually geometric. The folk embroidery of Swat, Hazara in
KPK, Kohistan and FATA display an orderly and grid-like alignment.
In the FATA areas, the tribal embroideries use the small cross-stitch to make densely worked embroidery
pieces. The geometric designs of certain Kohistan embroideries are similar to the gul motifs found, in
central Asian textiles. The surface darning stitch embroidery used in Kohistan is almost always employed,
9
10
Tribal Embroidery

The motifs of Swati embroidery like Swati
woodcarving have predominantly geometric and
floral patterns are repeated in an orderly fashion.
Both crafts show organized composition, a sense
of balance and symmetrical placement of patterns
and rows of patterns. Swati patterns are tightly
constructed and organize the surface plane
meticulously. Placement, spacing and motifs are
what make the Swati embroidery tradition unique.
Sometimes the cloth has space organized by a
central pattern like an arabesque with borders,
sometimes a medallion pattern is used in the
center and the rest is decorated with borders. A
popular pattern is the four petal motifs, the bagh
(phulkari in Hazara) and repeated lozenges with
chevron motifs in each corner and small chevrons
in the center. The border can be of concentric running zigzags. Small patterns, floral or geometric, are
reserved for borders. But there is no strict morphology; a design featured in the center of one item can
be reduced and relocated to the border of another. Swat embroidery is frequently filled with such dense
patterns that the ground cloth is scarcely visible.
11

5. The Symbolism of Embroidery motifs
Embroidery serves as a non-verbal form of communication and motifs, color and composition signify an
individuals group identity and occupation and social status.
Symbols used in the textiles may be religious and ritualistic. These symbols are sometimes attributed
with magical or spellbinding powers. Amulets and talismans made through embroideries are magical
protectors against evil forces. Kohistani textiles are richly embroidered with the tree of life or the solar
disc motifs around the bodice, as symbols of fertility and sustenance.
Similarly embroidered patterns of flowers, are called bagh, or flower garden in Swat. In Hazara the
floral pattern is called phulkari, an Urdu word derived from phul, meaning flower. The Kohistani, tribal
and Swati embroidered textiles display stylized flower gardens. Local plants are made in geometric and
stylistic fashion by the tribal women.
Beadwork in embellished fabrics is used to make stylized images of flowers, plants, camels and horses
and other domestic animals.
To ward off the evil eye, to protect the wearer and the textile, sometimes a nazar-battu, is added; for
example, the blue patch is embroidered on to the magnificent pink bagh. The perfect is deliberately made
imperfect.
12
Tribal Embroidery

The Accompanying CD has the information you will require for your lessons. This is in the forms of
Students may be encouraged to use both primary sources and secondary sources of information.
Primary Sources
Secondary Sources
Oral History
Books
Persons
Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debates
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artefacts
Essays
Television
Photography
Radio
Maps
13
14
Tribal Embroidery
A. LESSON PLANS
their own lesson plans that meet the project objectives as described earlier. The following are the
detailed instructions for carrying out the lessons. Teachers should keep the learning outcomes in
mind when delivering the lessons. Students must be given freedom and space in the exercises for
personal expression.
*Age Group
5-8
9 - 11
12 - 15
Beginners
Intermediate
Advanced
Age
Group
Lesson Category
LESSON 1:
Introducing the craft of
embroidery
Theme 1: Developing
craft
Required:
i. Images of embroidered
textiles; (See Attached
CD File);
students may participate
discussion.
Learning Outcomes
The teacher should generate a class

discussion about embroidery:
Some images are supplied with the
kit.
Some suggested discussion points;
Why are embroidered textiles
made; for personal use, gifts,
commercial use etc?
What kinds of products are made?
What kinds of designs and colors
are used?
What do these designs/motifs
mean? Good luck, warding off the evil
eye, etc.
To learn about the

variety of traditional
products made with
embroidery.
How traditional crafts
like embroidery play an
important part in peoples everyday lives.
Value learned:
Crafts as part of important cultural traditions.
Time Required: 45
minutes.
15
16
Tribal Embroidery

Tribal Embroidery
Full Name:
Date:
Class:
Age:
Month:
Year:
Lesson Category
1. Look at the pictures below and note your observations about the craft in the table given
1.
2.
LESSON 2:
Drawing and Coloring an
embroidery pattern from
resources in CD.
Theme 2: Designs and
symbolism
3.
4.
Materials required:
i. Images from CD
ii. A-4 size paper
iii. Color pencils,
markers, crayons,
iv. Scissors
v. Glue
Age
Group
B

A The teacher should ask the
students to choose a motif/design
from the images provided in the CD
or from an embroidered textile from
their homes.
The students should be given an
A-4 size paper to draw and color the
motif.
The motif/design should be cut
and put on the classroom wall/notice
board.
A classroom discussion may be
generated regarding the significance
and meaning of the motifs drawn by
the students.
Learning Outcomes
The lesson helps them
to understand the
range and variety of
traditional motifs and
designs and what these
may represent.

students should work
individually
Time Required: 60
minutes.
17
18
Tribal Embroidery

Tribal Embroidery

Tribal Embroidery
TRADITIONAL
CRAFT -MAKING
Date:
Full Name:
Full Name:
Class:
Date:
Age: Month:
Month:
TRADITIONAL CRAFT
-MAKING
Year:
Year:Class:

Tribal Embroidery
Full Name:
Date:
Month:
Year:
Class:
Age:
Age:
1. Look at the patterns
below and write which kinds of lines and shapes they use:
1. Look at the patterns below and write which kinds of lines and shapes they use:
1.
2.
Image 1:
3.
Age
Group
Lesson Category
4.
LESSON 3:
Making a local flower/
plant/animal with paper
squares
Theme 3: Environmental
and Cultural Context
Materials required:
i. Images from CD
ii. A-4 size paper
iii. Colored paper/old
cards/wrapping paper
iv. scissors
v. glue
Learning Outcomes
The students should be asked to

observe a local flower/tree/animal.
They should draw this image on
A-4 size paper.
Colored paper/newspaper/old
cards/gift wrapping paper should be
cut into small squares.
The squares should be glued
inside the paper drawing, using
colors to distinguish between the
parts of the drawing.

The students will
understand the range
and variety of natural
plants and animals.
Value learned:
Appreciation of local
wildlife and flora.

students should work
individually
Image 1:
Time Required: 60
minutes.
19
20
Tribal Embroidery
Handmade Student
Student
Activity
Sheet
Handmade
Activity
Sheet
#3#1
TribalEmbroidery
Embroidery
Tribal
Full
Full Name:
Name:
Date:
Date:
Month:
Class:
Year:
Age:
Class:
Month:
Age:
Year:
1. Look at the image and write which kind of animal is shown.

1.
3.
2.

TP 1:
My Home,
My Community;
Oral History*
Suggested Activity
The students may go home and
ask their parents and grandparents
about embroidery products that
were in present in their time and
their usage. The students may write
about the different items in their
grandparents, parents and their
experiences, noting what changes
have occurred in the craft.
Research, Recording, Observation
and photography.
Learning Outcome
communities.
Teachers should organize the data for
the School/Class Data Base
4.
TP 2:
My Elders,
My Identity.
Learning from tradition-bearers
and Elders*
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
TP 3:
Field visits*
2. Can you explain why it has been embroidered in the cloth?

_____________________________________________________________________________________
_____________________________________________________________________________________
TP 4:
Melas & Festivals*
An embroiderer should be invited
to show and guide the students
about various stitches and
embellishments.
Instruction Form .
The teacher may take students to
visit the local women who make
embroidered textiles or a workshop
where it is taught. The teacher
should hand out the student activity
sheet and talk about what kind of
information and observations the
student may note.
Instruction Form
arrange a school mela/festival
where local embroidery pieces are
displayed and sold.

appreciation of the knowledge of
tradition-bearers within the classroom
frame work.

That wisdom and ethic is
derived from direct experiences with
tradition-bearers.
diversity.

communities.

Instruction Form
21
22
Tribal Embroidery
Lesson Plan for Dandi Tanka

Developed by Zubaida Khatoon, FATA Area
ICH Element Selected from Teachers Resource Kit: Handmade
Crafts/Tribal Embroidery/Dandi Tanka
Objective:
1. To inculcate appreciation and ownership of tribal embroidery as
students living heritage
2. To familiarize students with types of tribal embroidery and their
techniques
The Technique of Dandi Tanka, photo credit:
Fakhra Hassan

Subject Allocated for ICH element: Home Economics
Space Allocated for Activity: Classroom
Materials Required: Handkerchief, Thread, Needle, Embroidery Hoop
Methodology: Lecture on Dandi Tanka followed by Class and Home Assignments
DAY 1
Step 1: Build on students prior knowledge of Dandi Tanka by asking the following questions:
a. What kind of clothes do you like to wear? (choose from skirts, frock, shalwar kameez)
b. Do you like embroidered clothes?
c. Why do you like embroidered clothes?
d. Which ones do you like the most?
e. How can you get flower embroidery done on your clothes?
Step 2: Explain to students the idea of Dandi Tanka and why Learn it.
Step 3: Demonstrate the technique of Dandi Tanka by making a flower on a handkerchief
Step 4: Ask students to try the technique on the teachers handkerchief turn by turn
Step 5: Assign homework to students to make flower patterns on a handkerchief using the Dandi
Tanka technique.
DAY 2
Step 7: Use the Assessment and Feedback Form to Evaluate the Activity.
21
22
Tribal Embroidery
Part 4: Annexure
Appendix 1
Part 4: Annexure
Annex
Appendix 2
Appendix 2:
The teacher may add any words that they feel need to be explained to the students. The students

copy of this up on the class wall/notice board for the students. Students may also be given a copy to
use.
This is a handout for the students

Sr. Word
No.
Meaning
Communal
used or shared in common by everyone in a group
Embellish
to beautify by or as if by ornamentation; ornament; adorn
Generation
a group of individuals, most of whom are the same approximate age,

having similar ideas, problems, attitudes, etc
Nomadic
pertaining to, or characteristic of nomads
Magical
produced by or as if by magic
Stylized
to design in or cause to conform to a particular style, as of representation

or treatment in art; conventionalize
Sustenance
means of livelihood
Technique
Symbol
something used for or regarded as representing something else; a

material object representing something, often something immaterial;
emblem, token or sign.
Sustenance
Talisman
a stone, ring or other object, engraved with figures or characters

supposed to possess occult powers and worn as an amulet or charm
10
Technique
the manner and ability with which an artist, writer, dancer, athlete, or the
like employs the technical skills of a particular art or field of endeavor
23
English
Generation
Embellish
Communal
Nomadic
Magical
Symbol
Talisman
Stylized
24
Tribal Embroidery
Part 4: Annexure
Appendix 3
Part 4: Annexure
Appendix 4
Assessments & Feedback
Age Group
5-8
Beginners
Name of Student
Class
Name of Teacher
Subject
ICH Category
Skill Set
9-11
Intermediate
12-15
Advance
Date
Observation

Emotional
Intellect
Social
Intellect
learnt
Cognitive
Intellect
cultural practices
TOTAL SCORE
25
*Score
10
26
Tribal Embroidery
Part 4: Annexure
Appendix 5
Primary Sources
Secondary Sources
Oral History
Books
Internet
Interviews
CD Rom
E-Mail Contacts
Encyclopaedias
Events
Magazines
Discussions
Newspapers
Debates
Video Tapes
Community Meetings
Audio Tapes
Surveys
Articles
Artefacts
Essays
Television
Photography
Radio
27
Thematic Projects
UNESCO, ISLAMABAD
Islamabad
Tel: +92-51-2600242-8
ISBN 978-969-8035-18-1
THAAP,
Tel: +92-42-35880822
Text: Sajida Haider Vandal (editor) with Saba Samee

Photography: Imtiaz Ali with Ali Shahbaz, Tehsin Ullah Jan
Printers:

The book is available at the UNESCO Office Islamabad.
The views expressed in this book are soley those of the authors and contributors
Contents
Introduction
TP 1 My Home, My Community
TP 2 My Elders, My Identity
17
29
Introduction
Thematic Project
The Thematic Projects Part of this resource kit is closely linked with the Lesson Plans of the Student
Activity Section.
The Thematic Projects are categorized in the following manner:
The intent of this Thematic Project is that students are drawn to their own community and themselves
and start Gaining Knowledge from their home and community. It encourages the students to define their
own identity, their Self and how it is embedded within the community in which the student lives and
breathes. This Thematic Project is meant to encourage students to make simple observations like notice
the words and gestures that their parents and community elders use for saying thank you, how they
greet their elders, a peer, a stranger, a youngster and their parents. Gradually this Project can be made
more complex; e.g. marriage songs, lullabies, riddles popular in a family. Notes can be compared in the
class by devoting 10 minutes daily to this Project. This Project establishes the basis of how and why you
should explore yourself and your community.
1.
2.
3.
4.
TP-1
TP-2
TP-3
TP-4
The instructions and related forms for teachers are arranged within each Thematic Project. This section
also contains a detailed overview of these Thematic Projects as Table 1. This table provides a detailed
outline of the objectives and focus of the Thematic Projects, the Ideas and Methodologies with which
these Projects should be carried out and possible research questions which can be investigated under
each theme. Each category also contains the outline of the Roles and Responsibilities of various student
groups.
OBJECTIVES
To make students aware of their Cultural Heritage.

To make students Appreciate their heritage.
To help them develop Interest in their culture.
To enable them in developing a Sense of Ownership towards their cultural heritage.
To make students aware of the Cultural Diversity present in their culture and to make them appreciate
this diversity and encourage Respect & Tolerance.

Each Thematic Activity also has its own focal objective
TA-1
TA-2
TA-3
TA-4
Gaining Knowledge from your home and community

Respecting the source of knowledge
Appreciation for the cultural diversity
Sharing of the cultural heritage as Group Heritage
TP-1
This Thematic Project would mainly consist of motivating the students to explore their community and
their homes. Other opportunities such as establishing an ICH Data Base should be considered by the
School to act as a Resource Bank for such Projects. Students must also be encouraged to seek out
individuals in their homes and community who might be helpful. This can be an on-going Project which
the student starts in a junior class and continues till the final class at increasing levels of complexity. It
can be assigned through term time and during vacations. Students can also find out more about some ICH
elements which may be under threat of vanishing and need to be safeguarded within their community. For
instance it could be health care practices in the community, environmental management which responds
to the environmental context and knowledge about the nature of the community concerned.
The methodology for the documentation of this Project can be recording and writing observations
made during the visit; interviews conducted of the community members and participation in events.
The information gathered during these visits and events under various roles and responsibilities can be
carried out through maintaining a separate journal or scrap book for these Thematic Projects. This journal
can contain photographs, drawings, sketches, written interviews and other gathered written information.
This information can then be formally presented in the form of a written report. Presentations can also
be part of the de-briefing discussion in which students can show videos, audios and photographs of this
Project. This presentation can be a good start to share the traditional knowledge and appreciate the
tradition bearer and create a holistic picture of their valuable cultural heritage.
This section contains the instructions for teachers at various stages of TP-1. An overview of the TP-1 is
provided in Table 1.
1- Instructions For Teachers Organizing & Preparatory Tasks

These instructions should be followed before sending the students in the community under the Thematic
Project, My Home, My Community
1. Prepare various types of assignments to be given to the students with clear objectives.
2. Prepare a Checklist for all the tasks and steps to be followed for the assignment in order to reduce the
chances of forgetting something. Checklist Form is attached as Annex A. This Checklist can be expanded
as per the requirement.
3. It is advisable that the concerned teacher should be well informed of the communities to which the
students belong. Otherwise the teacher should make an effort to visit the location prior to sending the
1
Thematic Projects
2
TP 1 My home, My Community
Thematic Project
TP-1
students in the community in order to know the community by him/herself. This will help the teacher in
gaining information about what kind of observations students can make upon their visit.
Thematic Project
Mathematician
This activity /
assignment can
be conducted
/ given in a
Mathematics
class.
Understands the
relationships between
objects using numbers and
patterns.
Responsible to make
observations and
calculations as per
instructions in the activity
sheet.
How many siblings do you have?

How many languages are spoken in
your home?
How many houses are there in your
street?
How many storeys are there in your
home?
How many windows of your home
open in to a courtyard/street?
How many friends you have in your
neighborhood?
Biologist
This activity /
assignment can
be conducted /
given in Science /
Biology class.
Studies life, including plants

and animals.
Examines the evidence
collected by the
photographer, and writes
a story about the animal
and plant life of the area as
per the instructions in the
activity sheet
Is there a tree in your home?

How many trees are there in your
street?
Do you have a pet in your home?
Does your family have a special food
dish? When do you cook it? What are
the ingredients? How is it prepared
and preserved?
Photographer
This activity /
assignment can
be conducted
/ given in
Photography or
Art class.
Finds or locates artefacts,

buildings and people, and
records their stories about
the history of the site using
photography.
What do you think the symbol means?

What is the story of the symbol? Has
anyone seen this symbol been used
anywhere?
Do you have an object which is very
important to you? Why is it important?
What is the story of the object?
Studies the Earths surface,

including landforms,
climate, vegetation, and the
living conditions of people
and their involvement with
nature.
What kind of spaces does your home

have and how are they used?
Do you have open courtyards, garden,
trees and rooms?
Does your home stay cool?
Academic Planning By Teachers

Prepare the activity sheet according to Table 1 indicating the overview of the Thematic Projects. You can
take relevant explanatory questions from the table under this Thematic Project and through employing
the indicated methodology and objectives instruct your students to gather information.
A separate Journal or Register should be kept for these Thematic Projects in which all the information
gathered is recorded. In addition a Recorder should be procured to record audio information such as
interviews with people, songs and stories. Preferably a Video Camera would be ideal equipment. For
recording, a Digital Camera is also very useful. Students can present their information if they have a
visual record.
The following questions should be taken as initial inquiry steps for information gathering:
i.
ii.
iii.
iv.
What I know (from home, elders, school and other sources)

What I want to know (information gathering)
How I will gather this information (recording equipment, material)
What I have learnt through this visit (presentation of the gathered information)
Roles & Responsibilities

In any specific class, your role as a teacher will be that of a Facilitator. You would be leading the class
discussion among students to communicate their thinking and ideas among each other. The academic
planning will be carried out keeping in mind the objectives of the Thematic Activities as stated in the
beginning of this section.
The following table indicates various possibilities of information gathering in any specific class with each
having a focused Role assigned for observation.
Group
Facilitator
3
Thematic Projects
Class
Role
Teacher Incharge of any

specific class
can act as a
facilitator. For
instance, A
Mathematician
in a Mathematics
Class is also a
Facilitator.
Opens lines of
communication between
students of various groups.
Leads preview and
debriefing
Assigns roles to the group
members. Reinforces
student learning by asking
questions.
Observations
What do you notice?
Why do you think that?
How do you know?
Have you ever seen anything like
this before?
What do you think when it was
made?
What do you think how big or small
this is?
TP-1
Environmentalist This activity /

assignment can
be conducted
/ given in an
Environmental or
Social Sciences
class.
4
Thematic Project
Musician
Artist
Historian
This activity /
assignment can
be conducted /
given in a Music
or Art class.
This activity /
assignment can
be conducted /
given in an Arts
class.
This activity /
assignment can
be conducted /
given in a History
class.
Identifies and makes notes

on the types of musical
instruments played in the
community.
Work together with
the Photographer in
documenting evidence.
Uses imagination and

creativity to design spaces,
images, and models. His or
her role is to draw objects
and make notes about them
as per the instructions in
the activity sheet.
Examines the evidence

collected by the
photographer, artist,
geographer and
mathematician and weaves
a story about the site as
per the instructions in the
activity sheet provided.
TP-1
Do you have any story, activity, song or
game which is important to you?
Why is it important to you?
Why do you remember this song, story
or activity?
Is it because this song, story, game
or activity makes you remember
something, such as your grandparents,
parents, friends, playful times or any
festival or celebration in your family?
Is there a musical instrument in your
home? If yes, who in your home plays
this instrument?
How do you celebrate a Birth in your
family? Is there any special food
distributed? Is the home decorated?
What do you do when a boy is born
and when a girl is born? Why is there
a difference (if any)? What do you do
to mourn a Death in your family? How
do you celebrate Weddings in your
family? What kind of food is cooked?
What types of celebrations do you have
before, during and after the day of the
wedding? How does your family dress
for the occasion? What sorts of gifts
are given?
Who are you? Who were your
ancestors? What language do you
use in your home? What language do
you use in the school? Is it different?
Do you know other languages than
your own language? What words do
you like best in your language and
why? Does your family use any unique
word which is not used commonly?
Do you know of any Metaphors in your
language? Do you know any Proverbs
in your language? Would you like to
investigate the story behind a Proverb?
Engage each student in discussion by asking the questions above, and encourage the students to use their
imagination to observe their homes and communities.
Thematic Project
TP-1
2- INSTRUCTIONS FOR TEACHERS Conducting the Project Assignments

The following should be observed before sending the students to their homes and community:
- Introduce the assignment in the class with a written activity sheet.
- Ask students if they have understood what the assignment is.
Clearly convey to the students the mode of submission and evaluation criteria
3- INSTRUCTIONS FOR TEACHERS Class Discussion & Submission

These instructions should be followed AFTER the students come up with the information gathered from their
community. A de-briefing session can have the following components
1. When the students bring the assignment submission, hold a class discussion.
2. Encourage students to share their observations by asking questions from each student.
Afterwards, collect the assignment from each student. Mark the assignment according to the assessment
criteria.
4- INSTRUCTIONS FOR TEACHERS Assessment

An assessment of the performance of the students and the successfulness of the Assignment should be
carried out upon the completion of the task given.
After observing the community, do you think the site connected to one role more than the others? If so,
which role and why?
On a scale of 1 to 5, 5 being the BEST, how well do you think you work:
No
Categories
Exploring this Site / Location
Recording of Observations
Sharing your ideas in the Class
Interacting and cooperating with one another
What could help you earn a 5 next time?

Annex A:
Checklist For Tasks
Name of the Location
Name of the Teacher Incharge
Date of the Assignment
No
Tasks
Status
Activity Sheet
Discussion Session Question list
Assessment/Marking sheet
5
Thematic Projects
6
Thematic Project
TP-2
The intent of this Thematic Project is that students are made aware that their elders are the Tradition
Bearers and Custodians of the rich cultural assets which give them identity and have the right to be
respected as a vital source of transmitting cultural knowledge to the next generation. This Thematic
Project is meant to highlight for the students a critical source of traditional knowledge and wisdom that
rests with Tradition Bearers, Practitioners and the respected Elders in their communities. This Project
extends one step further from the TP-1 and explores other communities. This opens up more possibilities
for the teachers to invite these keepers of traditional knowledge to the schools.
For this TP-2 the word Elders is used to refer to the students grandparents, recognised ustads, poets,
writers, historians and other knowledgeable, respected elders of the community. The use of this word
can also be expanded or limited as per the requirement of the roles and responsibilities defined for
students for making various observations. This Thematic Project would mainly consist of inviting the
Tradition Bearer to the school, or the student can be motivated to explore other opportunities such as
the Resource Kit. Students must be encouraged to seek out such individuals in their own community and
elsewhere.
The methodology for documentation of this Project can be recording and writing observations made during
the visit; interviews conducted of the community members and participation in events. The information
gathered during these visits and events under various roles and responsibilities can be carried out
through maintaining a separate journal or scrap book for these Thematic Projects.This journal could
contain photographs, drawings, sketches, written interviews and other gathered written information.
This information can then be formally presented in the form of a written report. Presentations can also
be part of the de-briefing discussion in which students can show videos, audios and photographs of this
Project. This presentation can be a good start to share the traditional knowledge and appreciate the
Tradition Bearer and create a holistic picture of their valuable cultural heritage.
This section contains the instructions for teachers at various stages of TP-2. It also contains necessary
formats of various permission and invitation letters, forms for logistics and for the procurement of
equipment and materials, attendance sheet, detailed roles and responsibilities and a checklist for all the
tasks to be conducted for this project. An overview of the TP-2 is provided in Table 1.
Thematic Project
TP-2
during the visit. Form attached as Annex D.

5. Prepare Attendance Sheet for the students. Attendance Sheet format attached as Annex E.
6. Prepare a Checklist for all the tasks and steps to be followed for organizing the Field Tour in order to
reduce the chances of forgetting something. Checklist Form is attached as Annex F. This checklist
can be expanded as per the requirement of the Field Tour.
7. It is advisable that the concerned teacher and a class representative should visit the Tradition Bearer
and present the Letter of Invitation personally.
8. With mutual consent establish what kind of observations students can make upon his or her visit.
Academic Planning For Teachers

gathered is recorded. In addition a Recorder should be procured to record audio information such as
recording, a Digital Camera is also very useful. Students can present their information later on if they
have a visual record.
The following questions should be taken as initial inquiry steps for information gathering.
v.
vi.
vii.
viii.

What I want to know (information gathering according to the Role)
How I will gather this information (recording equipment, material, activity sheet)
What I have learnt through this visit (presentation of the visit)
Roles & Responsibilities
1- INSTRUCTIONS FOR TEACHERS Organizing & Preparatory Tasks
As a teacher your role will be that of a Facilitator. You would be introducing the Tradition Bearer among
the students and encourage the students to interact with him/her and ask questions related to his / her
expertise. A Facilitator should also stimulate students to communicate their thinking and ideas among
each other and the Tradition Bearer. The academic planning will be carried out keeping in mind the
objectives of the Thematic Activities as stated in the beginning of this section and in Table 1.
These instructions should be followed while preparing and organizing for inviting a Tradition Bearer or
Elder under the Thematic Project of My Elders, My Identity.
The following table indicates various possibilities of Group formation with each having a focused Role
assigned for observation and information gathering.
1. Obtain permission from the School for inviting the Tradition Bearer. The relevant form is attached
as Annex A.
2. Invite the Tradition Bearer. The relevant form is attached as Annex B.
3. Students must be informed about this visit well before time so that they can come prepared.
4. Organize logistics for the transport to and fro of the Tradition Bearer. The form for the logistics is attached
as Annex C.
5. Procure the required equipment and material/s for academic activities and recording to be carried out
7
Thematic Projects
8
Thematic Project
TP-2
Group
Role
Facilitator
Opens lines of communication between What do you notice?

students of various groups.
Leads preview and debriefing
How do you know?
Assigns roles to the group members.
Reinforces student learning by asking
questions.
Mathematician
Understands the relationships between

objects using numbers and patterns.
Responsible to make observations and
calculations as per instructions in the activity
sheet.
Mathematics Teacher can invite a

Tradition Bearer who is known for
his / her traditional mathematics
skills, or musical skills.
Biologist
Studies life, including plants and animals.

Examines the evidence collected by the
photographer, and writes a story about
the animal and plant life of the area as per
instructions in the activity sheet.
The Science or Biology Teacher can

invite a Tradition Bearer who is known
for his / her traditional knowledge of
local plants and animals.
Photographer
Finds or locates artefacts, buildings or people An Art Teacher can invite a Tradition
and records their stories about the history of Bearer who is known for his / her
the site using photography.
traditional knowledge of portrait
making, painting, sketching or
photography.
Environmentalist Studies the Earths surface, including

landforms, climate, vegetation, and the living
conditions of people and their involvement in
nature.
Musician
Artist
Historian
9
Thematic Projects
Observations
A Science or Social Studies Teacher

can invite a Tradition Bearer who
is known for his / her traditional
knowledge of the environment of
the area, its climate, vegetation,
landscape, and people.
Identifies and makes notes on the types of A Music Teacher can invite a
Tradition Bearer who is known for
musical instruments played in the area.
Works together with the Photographer in his / her traditional knowledge of
Music and Musical instruments,
documenting evidence.
traditional Songs, Poetry and so on.
Uses imagination and creativity to design
spaces, images, and models. His or her role
is to draw objects and make notes about them
as per the instructions in the activity sheet.
An Art Teacher can invite a Tradition

Bearer who is known for his / her
traditional knowledge of portrait
making, painting, sketching, and so on.

photographer, artist, geographer and
mathematician and weaves a story about the
site as per the instructions in the activity sheet
provided.
A Social Studies, Art and History

Teacher can invite a Tradition
Bearer who is known for his / her
traditional knowledge of the History
of the area, tribes, crafts and others.
Thematic Project
TP-2
2- INSTRUCTIONS FOR TEACHERS Introducing the Tradition Bearer and Conducting

an Interactive Session
These instructions should be followed before the beginning of the interactive session with the Tradition
Bearer.
1. Introduce the Tradition Bearer to the students and then the students should one by one introduce
themselves to their guest.
2. Give a brief description of the expertise the Tradition Bearer will be talking about and then invite him
/ her to an interactive session with the students.
3. Talk to the students to ask if they understand the importance of the guest who has come to visit the
School and to share his knowledge with them. Ask the students if they appreciate his / her gesture of
spending his valuable time with them.
4. Act as a Mediator and a Facilitator during this session. Keep the discussion on the right path so that
the maximum number of objectives is achieved and the students get the best out of this visit.
5. Encourage the students to use their imaginations to analyse the information provided by the Tradition
Bearer.
6. Conclude the talk with a question and answer session.
3- INSTRUCTIONS FOR TEACHERS Debriefing, Presentations

These instructions should be followed AFTER the interactive session with the Tradition Bearer has
concluded. A de-briefing session can have the following components
A discussion among teachers and students on various observations made by students during the
visit of the Tradition Bearer.
A presentation of the information gathered by students in groups.
A written report by each group stating the gathered information.

An assessment of the performance of the students and the successfulness of the Field Tour should be
carried out upon the completion of the tour.
Did anyone notice a group who seemed to do a really good job exploring the expertise of the Tradition
Bearer? What, specifically, did that person say or do which you liked?
On a scale of 1 to 5, 5 being the BEST, assess you worked together as a group:
No
Categories
Understanding the expertise of the Tradition Bearer
10
Thematic Project
TP-2
What could help you earn a 5 next time? Annex A:
Annex A:
PERMISSION FROM SCHOOL ADMINISTRATION FOR INVITATION
To,
The Principal,
<Name of the School>,
Subject: PERMISSION TO INVITE <NAME OF THE TRADITION BEARER>
Dear Madam / Sir
I am writing this letter to seek your permission from the schools administration for inviting

Name of the Tradition Bearer:
Expertise:
For the Class:
Number of Students:
Staff/Facilitator:
We wish to invite the Tradition Bearer On (Day)______(Month)_________(Year)_________

At________a.m or p.m

For_________hours/days
I would also like to request the following:
1. A vehicle and driver to transport the Tradition Bearer to and fro.
2. A token of appreciation for the Tradition Bearer for his/her invaluable services rendered.
3. Cash in advance to purchase informative material such as books, maps and other
related literature and for the procurement of required equipment.
4. Light Refreshments for the Tradition Bearers and others
We look forward to your kind approval.
Yours faithfully,
<Name of Staff>
Designation

-Approval granted
-Regret, not granted

Signature
<Approving Authority>
Date:
Stamp:
11
Thematic Projects
Thematic Project
TP-2
Annex B:
LETTER OF INVITATION
To,
<Name of the Tradition Bearer>,
<Expertise>
<Address>,
Subject: LETTER OF INVITATION
Dear Madam / Sir
I am writing this letter to invite you warmly to our School as a Tradition Bearer / respected Elder.
School:
Class:
Phone Number of School:
Phone Number of Staff-in-Charge:
Number of Students:
Staff/Facilitator:
The school is planning for your visit
On (Day)_____(Month)______(Year)______
At________a.m or p.m
For_________hours/days
Should you require it, we shall be pleased to provide school transport to and from your home/other. Do let us
know.
This invitation is related to the Thematic Project of My Elders, My Identity with the following objectives:
To help them develop an Interest in their culture.
To enable them to develop a Sense of Ownership towards their cultural heritage.
To make students aware of the Cultural Diversity present in their culture, to make them appreciate this
diversity and to encourage Respect & Tolerance.
Your kind help in achieving our objective will be highly appreciated.
We look forward to your visit.
Yours faithfully,
<Name of Staff> (Designation)

Date:
School Stamp:
12
Thematic Project
Annex C:
LOGISTICS
(This form should be attached with the Permission Letter from School Administration, Annex A)
Name and Address of the Tradition Bearer

Name of Staff-in-Charge
TP-2
Thematic Project
TP-2
Annex D:
EQUIPMENT & MATERIALS
Name of the Tradition Bearer

Name of the Staff-in-Charge
Date of the Visit
Date of the Visit

Time for picking up the guest
Books, Equipment & Materials Required
Available from the School
To be purchased
Time for dropping off the guest

Kind of Transportation required
Number of Vehicles required
Approved:
Signature
Date:
Stamp:
13
Thematic Projects
14
Thematic Project
TP-2
Annex E:
ATTENDANCE SHEET OF STUDENTS
Name
TP-2
Annex F:
CHECKLIST FOR TASKS
Name of Staff-in-Charge: Class:

No
Thematic Project
Status ( or )

Name of Staff-in-Charge
Date of the Field Tour
No. Tasks
Status ( or )
Permission from School Administration

Letter of Invitation
Logistic Arrangements
Procurement of Equipment
Procurement of Material
Attendance Sheet
Activity Sheets
15
Thematic Projects
16
Thematic Project
TP-3

The intent of this Thematic Project is that students can explore various aspects of their surroundings,
their Towns and their Context and begin to appreciate the Cultural Diversity of their towns and context.
For this TP-3 the word Town is used to refer the students city, town, village, tribe; and the word Context
is used to refer the region (South Asia), country (national context), province and district. The use of these
two words can also be expanded or limited as per the requirement of the roles and responsibilities
defined for students for making various observations. This Thematic Project would consist mainly of Field
Tours to various Locations and Sites. They could be World Heritage Sites, Factories, Craft Workshops,
Museums and Libraries.
The methodology for documentation of this Project can be recording and writing observations made during
the visit; interviews conducted of the community members and participation in events. The information
gathered during these visits and events under various roles and responsibilities can be carried out
through maintaining a separate journal or scrap book for these Thematic Projects.. This journal can
contain photographs, drawings, sketches, written interviews and other written information gathered
during the field tour. This information can then be formally presented in the form of a written report.
Presentations at the end of the tour can also be part of the de-briefing discussion in which students can
show the videos, audios and photographs they have collected during the field tour. This presentation can
be a good start to share ideas and create a holistic picture of the field tour.
formats of various permission letters, forms for logistics and for the procurement of equipment and
materials, attendance sheet, detailed roles and responsibilities and checklist for all the tasks to be
conducted for this project. An overview of the TP-3 is provided in Table 1.

These instructions should be followed while preparing and organizing for the Field Tour under the
Thematic Project, Our Town, Our Context
1. Obtain permission for conducting the Field Tour from the School and obtain security clearance from
authorities. The relevant form is attached as Annex A.
2. Obtain permission from the relevant authorities / owners of the Location/s. The relevant form is
attached as Annex B.
3. Students must obtain written permission from their parents. The relevant form is attached as Annex C.
4. Organize logistics, Guides / Facilitators and Staff for the tour. The Guides / Facilitators can be
volunteer parents of students, community members and helpers. They must always stay with the
students and will be responsible for the safety of the students and the sites they visit. The form for the
logistics is attached as Annex D.
5. Procure the required equipment and material/s for academic activities and recording to be carried out
during the Field Tour. Form attached as Annex E.
6. Prepare Attendance Sheet for the students. This will also come in handy for checking and keeping
track of the students. Attendance Sheet format attached as Annex F.
7. Prepare a Checklist for all the tasks and steps to be followed for organizing the Field Tour in order to
reduce the chances of forgetting something. Checklist Form is attached as Annex G. This checklist
can be expanded as per the requirement of the Field Tour.
17
Thematic Projects
Thematic Project
TP-3
8. It is advisable that the concerned staff should visit the location prior to taking the Field Tour and
make all the necessary arrangements, such as

b. Prior arrangements for any advance bookings, purchasing of tickets and obtaining any
informative brochures and pamphlets

c. Checking the toilet facilities and health and safety measures

d. Organizing availability of food and water

e. Establishing what kind of observations students can make upon their visit
9. For the purpose of identification and orientation, student Groups must carry some kind of identification
pole or flag designated to their group which is visible from a distance.
ACADEMIC PLANNING FOR TEACHERS

gathered is recorded. In addition, a Recorder should be procured to record audio information such as
recording, a Digital Camera is also very useful. Students can present their information later on if they
have a visual record.
The following questions should be taken as initial inquiry steps for information gathering:
i.
ii.
What I want to know (information gathering according to the Role)
iii.
How I will gather this information (recording equipment, material)
iv.
What I have learnt through this visit (presentation of the visit)
ROLES & RESPONSIBILITIES

As a teacher your role will be that of a Facilitator. You would be getting students of various groups to
communicate their thinking and ideas among each other. The academic planning will be carried out
keeping in mind the objectives of the Thematic Activities as stated in the beginning of this section.
The following table indicates various possibilities of Groups formation with each having a focused Role
Group
Role
Observations
Facilitator
Opens lines of communication

between students of various groups.
Leads preview and debriefing.
Assigns roles to the group members.
Reinforces student learning by asking
questions.
What do you notice?

How do you know?
Have you ever seen anything like this before?
When do you think it was made?
What do you think about how big or small this is?
18
Thematic Project
TP-3
Mathematician
(A Mathematics Teacher can accompany How tall are the doors?

How many windows are present in each space?
the tour and lead this group)
How many various kinds of spaces are used in the
Understands the relationships between plan?
How many tiles are used in the flooring? What is the
objects using numbers and patterns.
Responsible to make observations and size of each tile? Calculate the size of the space?
calculations as per instructions in the How high are the ceilings?
How old do you think it is?
activity sheet.
Biologist
(A Science or Biology Teacher can

accompany the tour and lead this group)
Studies life, including plants and animals.
photographer, and writes a story about
the animal and plant life of the area as
per the instructions in the activity sheet
Photographer
How many kinds of plants are growing on the site?

How many kinds of animals did you see on the site?
Did you see any extraordinary plants, animals or flowers?
What sort of flowers did you see?
Were there any medicinal plants of which you know?
(An Art Teacher can accompany the tour What did you notice?
Is it a unique thing? Do people still use it?
and lead this group)
Finds or locates artefacts and buildings and When do you think it was made?
also people and records their stories about How big or small do you think this is? How old
do you think it is?
the history of the site using photography.
Environmentalist (A Science orSocial Studies Teacher How many kinds of stones did you gather?
can accompany the tour and lead this What is the color of the soil at the site?
Is the climate humid, hot, dry or cold?
group)
What is the landscape of the site, its grounds
Studies the Earths surface, including and gardens?
Were there any old trees present on the site?
landforms, climate, vegetation and the How many did you see?
living conditions of people and their What kinds of flora and fauna and types of
involvement with nature.
houses did you see?
Musician
Historian
19
Thematic Projects
(A Music or Art Teacher can accompany How many different kinds of noises did you hear at
the site? Could you distinguish them? Could you see
the tour and lead this group)
any musical instruments or pictures of them? Is
Identifies and makes notes on the types somebody playing the instrument?
of musical instruments played in the Can you play an instrument?
Are there any songs related to the site? Is there any
area.
traditional poetry associated with the site?
Work together with the Photographer Is there any rhythm in the decorations and features
in documenting evidence.
on the site? (such as door-window-door, or windowcolumn-door-column-window)
(An Art Teacher can accompany the tour What do you notice?
and lead this group)
Is it a unique object? Do people still use it?
Uses imagination and creativity to design When do you think it was made?
spaces, images, and models. His or her How old do you think it is?
role is to draw objects and make notes
about them as per the instructions in the
activity sheet
Thematic Project
Historian
TP-3
(A History and Social StudiesTeacher What is the Timeline of the site, building, and
can accompany the tour and lead this object? What is the importance of the site,
group)
building or object? Does the site, object or
building have any significant features? What are
Examines the evidence collected by they? Are they old or new?
the photographer, artist, geographer
and mathematician and weaves a story
about the site as per the instructions in
the activity sheet provided.
Talk to each group and student, ask the questions above, and encourage the students to use their imaginations
to observe the Location/site through the roles and responsibilities assigned to them.
Please set aside five-ten minutes before entering and leaving the sites to conduct preview and debriefing
sessions with your group.
Please fill the following table in order to identify students in their groups and roles. Every group should have
no less than 5 students and no more than 10 students.
Name of Group
Group 1
Date
2- INSTRUCTIONS FOR TEACHERS Briefing before leaving the School
These instructions should be followed before leaving for the Location from the school. Students should be
assembled in one classroom and all the relevant material and equipment should be distributed Groups should
be formed and Roles should be clearly identified.
1.
2.
3.
4.
5.
Divide the students into Groups identified in the Roles & Responsibilities.
Every group should have no less than 5 students and no more than 10 students.
Ask the students to read the descriptions of their responsibilities aloud.
Make sure every student has an activity sheet.
Allow time for idea sharing.
3- INSTRUCTIONS FOR TEACHERS At the Site

Start by giving the students five-ten minutes to explore the site. Instruct each student to select one element,
or have 1 question ready from within their Roles and Responsibilities. Upon their return the students should
hand over that question/s to the teacher who will respond to these observations.
20
Thematic Project
TP-3
1. Ask the students to look at the name of the site and think about how it might connect to their roles, culture
and heritage.
2. Tell the students they will be exploring the site with connections to their responsibilities. They should be
prepared to play their role at the site.
3. Encourage students to read their questions silently using them to guide their thinking.
4. Tell the students they will have 30 minutes to explore the keeping in mind their assigned responsibility.
5. Reinforce a student is learning by asking questions such as:

a. What do you notice?

b. Why do you think that?

c. How do you know?

d. Have you ever seen anything like this before?

e. When do you think it was made?

f. How big or small do you think this is?
6. Select a meeting place at the site and show students where you will debrief at the end of the 30 minutes.
7. Emphasize among groups that a good group member always help others learn by sharing new ideas and
listening to others. This will generate an environment of positive sharing and coordinated efforts.
8. Emphasize to students that good listeners look at the person speaking with great concentration and
respond only when the speaker has finished. A good student should always wait for his/her turn.
9. Ask students to look at the questions on their activity sheets and make observations. Select a few students
at each site location to share their ideas with the rest of the group.
10. All students will share their ideas at the end of the activity.
4- INSTRUCTIONS FOR TEACHERS Field Work Debriefing, Presentations

These instructions should be followed AFTER the tour has been successfully conducted and the students are
back in the class. A de-briefing session can have the following components
A discussion among teachers and students on various observations made by students of each Group.
A presentation of the information gathered by each group according to their roles and responsibilities.
A written report by each group stating the gathered information.
Thematic Project
TP-3
Annex A:
PERMISSION FROM SCHOOL ADMINISTRATION & SECURITY CLEARANCE
To,
The Principal,
<Name of the School>,
Subject: PERMISSION TO CONDUCT A FIELD TOUR
Dear Madam / Sir
I am writing this letter to seek your permission to conduct a Field Tour for students as follows:
Class:
Number of Students:
Staff-in-Charge:
Accompanying Staff:

Voluntary Guides (Parents / Community Members / Helpers):

The Group will be visiting
Name of Location:
Date of the Visit:
Time of the Visit: Departure__________Return__________
On receiving your approval, the students will seek permission from their parents / Guardian. Permission from
the custodians of the Location have been obtained. The Permissions attained have already been submitted to
your offices prior to taking students on this Field Tour, for your reference.
1. A vehicle along with a driver and conductor
2. Cash in advance to purchase tickets and informative material such as brochures, maps and pamphlets and
for the Procurement of required equipment
3. Security Clearance from the Authorities

An assessment of the performance of the students and the success of the Field Tour should be measured upon
the completion of the tour.
Did anyone notice a group member who seemed to do a really good job exploring the site/field? What,
specifically, did that person say or do which you liked?
After visiting the site, do you think the site connected to one role more than the others? Which role was that
and why?
On a scale of 1 to 5, 5 being the BEST, how well do you think you worked together as a group:
No
Categories
With kind regards,

Yours faithfully
<Name of Staff>
(Designation) Approval granted
Regret, not granted

Signature: ___________
Date:
Stamp:
What could help you earn a 5 next time? Annex A:
21
Thematic Projects
22
Thematic Project
TP-3
Thematic Project
Annex B:
PERMISSION FROM AUTHORITIES /OWNERS
Annex C:
PERMISSION FROM PARENT / GUARDIAN
To,
<Name of the Authority / Owner>,
<Designation and Department>
<Name of the Location>,
PERMISSION FOR YOUR CHILD TO PROCEED ON A FIELD TOUR TO
Subject: PERMISSION TO VISIT <NAME OF THE LOCATION>

Dear Madam / Sir
I am writing this letter to request your kind permission to visit__________.
A Field Tour for students has been planned as follows: School:
Class:
Phone Number of School:
Phone Number of Focal Person:
Number of Students:
Teacher Incharge:
Total Number of Visitors:
We are planning to visit as follows:
Date (Day)____Date_____Year_____
Time of Visit:_______hours or ____am/pm
Duration of Visit:_______hours
This Field Tour has been organized with the following objectives:
To help them to develop an Interest in their culture.
To make students aware of the Cultural Diversity present in their culture, to make them appreciate this
diversity and to encourage Respect & Tolerance.
Your kind help in achieving these objectives will be highly appreciated.
We look forward to your kind permission to visit your site.
With our thanks,
Yours faithfully,
<Name of Teacher>
(Designation) -Approved
-Regret, not approved

Signature
<Designation>
Stamp:
Date:
23
Thematic Projects
TP-3
Dear Parents / Guardian

As part of this terms curriculum students are required to go on a Field Tour. As the Staff-in-Charge I am
writing this letter to request you to grant permission to your child to visit <Name of the Location>. The
following are details of the Field Tour:

Phone Number of The School:

Phone Number of Focal Person:
The school is planning to conduct this Field Tour on the
Date of Visit:
Time of Visit:
Time of Return:
This Field Tour has been organized with the following objectives:
To help them develop a greater Interest in their culture.
To make students aware of the Cultural Diversity present in their culture and to make them appreciate this
diversity and encourage Respect and Tolerance.
Please provide your child with a packed lunch and drink. A full school uniform should be worn for easy
identification. You are welcome to accompany this tour as a voluntary guide / facilitator in support of this tour
and the children.
Kindly please fill in the attached form with your written permission.
Your cooperation will be highly appreciated.
With thanks and kind regards,
Yours faithfully
<Name of Teacher>
(Designation)

Written Permission
I / We give permission to ____________________to go on a school-organized Field Tour to________________

Name of the Child___________________________
Name of the Location__________________________
Parental/Ward Signature _______________________Date _________________________
Name in block letters_________________________Father/Mother/Guardian
24
Thematic Project
Annex D:
LOGISTICS

Name of the Staff-in-Charge of the Field Tour
Address of the Site to be visited
Number of Students
TP-3
Thematic Project
TP-3
Annex E:
EQUIPMENT & MATERIALS

Name of the Staff-in-Charge
Equipment & Materials Required
Available from the School
To be purchased
Number of accompanying Teachers

Number of voluntary Guides / Facilitators,
Helpers
Time of Departure of the Field Tour
Time of Return (approximate)
Kind of Transport requested for this Tour
Number of Vehicles requested
Staff-in-Charge:___________________________________

Approved:
Signature
Date:
Stamp:
25
Thematic Projects
26
Thematic Project
TP-3
THEMATIC ACTIVITIES Forms For Teachers
AnnexAnnex
F: F:
ATTENDANCE
SHEET
OF STUDENTS
ATTENDANCE
SHEET
OF STUDENTS
Thematic Project
TP-3
Annex G:
CHECKLIST FOR TASKS
the Teacher:
NameName
of theofTeacher:
Teachers,
Guides
Helpers
mustremain
stay withwith
students
at all times
are responsible
for the safety for
of their
Teachers,
Guides
andand
Helpers
must
students
at alland
times
and are responsible
the safety at the
students and the sites they visit. This sheet can also be used for listing down accompanying teachers, volunteers
sites they visit. This sheet can also be used for listing accompanying teachers, volunteers and helpers.
and helpers.
No

Name of Staff-in-Charge of the Field Tour
Name
Class
Permission
from
Parents
Attendance
From
At
To
School
Location
School
No. Tasks
Status ( or )
Permission from School Administration

Permission from Authorities, Owners
Permission from Parents
Location / Site Visit
Logistic Arrangements
Procurement of Equipment
Procurement of Material
Attendance Sheet
Activity Sheets
Students Group List
Accompanying Teachers List
Volunteers, Helpers List
27
Annex G:
Thematic Projects
28
Thematic Project
TP-4
Thematic Project
TP-4
The following table indicates various possibilities of Groups formation with each having a focused Role
The intent of this Thematic Project is that students can share and celebrate their common Cultural
Heritage and Expressions with communities, friends and guests as a Group Heritage collectively
owned by the entire community. This Thematic Project would mainly consist of a School Mela as an endof-the-year activity. In this activity students are encouraged to showcase what they have learnt during
the year regarding their ICH. The Tradition Bearers identified through TP-2 can also participate in this
Mela. In the present circumstances there are few opportunities for the traditional melas to be held thus
the young people have diminished choices and venues of informal transmittal of cultural knowledge.
Group
Role
Facilitator
Opens lines of communication amongst students of various groups.

Leads preview and debriefing. Organizes and prepares multiple activities.
Assigns roles to the group members. Reinforces student learning by asking
questions.
Musician
Can prepare a music composition representing traditional musical songs and

poetry, others
The methodology for documentation of this Project can be recording and writing observations made
during the Mela; interviews conducted of the community members and participation in events. The
information gathered during these visits and events under various roles and responsibilities can be
carried out through maintaining a separate journal or scrap book for these Thematic Projects.. This
journal can contain photographs, drawings, sketches, written interviews and other written information
gathered during the Field Tour. This information can then be formally presented in the form of a written
report. Presentations at the end of the event can also be part of the de-briefing discussion in which
students can show the videos, audios and photographs they have collected during the activity.
Biologist
Can present a play with a story line concerning the safeguarding of trees, flowers
and animals and demonstrating their importance.
Photographer
Can act as the official photographer of the Mela and capture cultural moments
of the celebrations
Environmentalist
Can make the participants aware of the importance of preserving our environment.
Artist
Can design the decorations and stage settings, Crafts, stall management and
other creative activities.
formats of various permission letters, forms for logistics and for the procurement of equipment and
materials, attendance sheet, detailed roles and responsibilities and checklist for all the tasks to be
conducted for this project. An overview of the TP-3 is provided in Table 1.
Historian
Can employ traditional ways of Mela and festival management and make students
aware of the importance of these events.
Please fill the following table in order to identify students in their groups and roles. Every group should have
no less than 5 students and no more than 10 students.
Names of the Participants
Group 1
These instructions should be followed while preparing and organizing for the School Mela under the
Thematic Project, My Culture, My Pride.
1.
Obtain permission for conducting the School Mela from various authorities. The relevant form is
attached as Annex A. Preparation for the Mela can be used to highlight traditional systems of management
and conflict resolution such as the Jirga. The Planning Phase should be visualized as the opportunity for
students to imbibe skills of social organization and management and develop interpersonal skills for
social cohesion. Representatives of the community, parents, teachers and students can work together for
preparing the event. During the Mela students can be given specific assignments based on observation
and interviewing as well as specific roles and responsibilities.
2.
Prepare a Checklist for all the tasks and steps to be followed for organizing the School Mela in
order to reduce the chances of forgetting something. Checklist Form is attached as Annex B.
ROLES & RESPONSIBILITIES

As a teacher your role will be that of a Facilitator. You would be getting students of various groups to
communicate their thinking and ideas among each other. Groups can present relevant information in the
Mela or prepare a cultural Drama.
29
Thematic Projects
Date
2- INSTRUCTIONS FOR TEACHERS Briefing before leaving the School
These instructions should be followed before initiating the School Mela. Students should be assembled in their
respective classrooms and all the relevant material and equipment should be distributed, Groups formed and
Roles clearly identified.
1.
2.
3.
4.
Divide the students into Groups identified in the Roles & Responsibilities.
Provide them with the description of their Roles and Responsibilities.
Ask students to read the descriptions of their responsibilities aloud.
Allow time for idea sharing.
30
Thematic Project
TP-4
An assessment of the performance of the students and the successfulness of the School Mela should be
carried out upon the completion of the tour.
Did anyone notice a group member who seemed to do a really good job organizing and preparing for the
School Mela? What, specifically, did that person say or do which you liked?
On a scale of 1 to 5, 5 being the BEST, how well do you think you worked together as a group:
Categories
What could help you earn a 5 next time?
TP-4
Annex A:
PERMISSION FROM ADMINISTRATION
No
Thematic Project
To,
The <Authority>,
Subject: PERMISSION TO CONDUCT A SCHOOL MELA
Dear Madam / Sir
I am writing this letter to seek permission to conduct a School Mela
Number of Students:
Teacher Incharge:
Accompanying Teachers:

Voluntary Guides (Parents / Community Members / Helpers):
Plans for the Mela
Venue:
Date: Day_______Month______Year________
Time:___________am/pm to________am/pm
Duration:________hours
1. A vehicle along with a driver and conductor for transporting participating students
2. Cash in advance for the procurement of material and equipment
3. Security Clearance from the Authorities
With our thanks and kind regards,
<Name of Teacher>
(Designation) -Approved
-Regret, Not approved

Signature
Date:
Stamp:
31
Thematic Projects
32
Thematic Project
Annex B:
CHECKLIST FOR TASKS

Name of the Staff-in-Charge of the Project
No. Tasks
33
Thematic Projects
Status
TP-4

Teachers Resource Kit - Intangible Cultural Heritage of Khyber-Pakhthnkhwa and FATA

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Teachers Resource Kit - Intangible Cultural Heritage of Khyber-Pakhthnkhwa and FATA

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Students taking art lessons at the Baacha KhanTrust for Education Foundation school in Peshawar

Text: Sajida Haider Vandal (editor) with Saba Samee

Copyright 2013- UNESCO, Islamabad

Having braved the gush of water,

B. MESSAGE from FATA Secretariat

D. ABOUT THIS PUBLICATION

1. What the Various Types of Culture and Heritage Mean

Dr. Kozue Kay Nagata

Muhammad Islam Bangash

Children at a Gudor. Photo Credit: Imtiaz Ali

Prof Sajida Haider Vandal

Traditional Truck Art

Even If the mountain is high, - there is a way to its peak.

About This Publication

Attarn at a tribal event, Archives of SAHAR Journal

What the Various Types of Culture and Heritage Mean

Indus Valley Civilization & Hakra

Kabul Shahi Dynasty

British Indian Empire

Historical Monuments at Makli, Thatta (1981)

Shah Jahan Mosque, Thatta (1993)

Tomb of Shah Rukn-e-Alam (2004)

Walled cities and old towns/settlements are the repositry of tangible

BOX 1: Convention Concerning the Protection of the

In 1972 UNESCO adopted the Convention Concerning

INTANGIBLE CULTURAL HERITAGE:

Lake Saif al Maluk

Medicinal plants in Matta, photo credit: Imtiaz Ali

Introduction to Teachers Resource Kit

Archives South Asian Partnership

What Are The Key Concepts Of Intangible Cultural Heritage?

Introduction to Teachers Resource Kit

(e) traditional craftsmanship

Mechanism & Systems for Transmittal and Institutions:

Hujra Matta, Credit Imtiaz Ali

Change and Re-creation:

Children in Matta. Photo Credit: Imtiaz Ali

Introduction to Teachers Resource Kit

Rights and Ethics:

Introduction to Teachers Resource Kit

Girls playing Stapu in Matta. Photo Credit: Imtiaz Ali

Pukhtuns comprise a large number of tribes and

IDENTITY, DIVERSITY AND PLURALISM

Chilam Joshi Festival in Kalash, Chitral

Children playing in a Hujra in Matta. Photo Credit: Imtiaz Ali

SUMMARY: TANGIBLE, NATURAL AND INTANGIBLE CULTURAL HERITAGE

Water mill in Swat Valley, photo credit: Imtiaz Ali

Culture Reinforces Identity and Invokes Pride:

within the Pushtuns you can identify several ICH

Source of Economic Empowerment & Development:

Social Empowerment of Communities, particularly of

In most cases, transference of ICH knowledge begins

school as well as used in the classroom for subject teaching.

Subject Infusion: Infusing Subjects with ICH and ESD knowledge

The Revival of the traditional systems of peace, dialogue

The Reasons for Integrate Heritage Education in Education

HOW TO INTEGRATE CULTURAL KNOWLEDGE IN EDUCATION AND LEARNING:

Introduction to Teachers Resource Kit

Assessment on Lesson Category #1 CULTURAL MAPPING

The modules provide a step-by-step framework on

Lesson Category #2 INTRICACIES OF INDIGENOUS LANGUAGE

Why are literacy

Example of an Exercise from UNESCO ESD Sourcebook

Values & Attitudes