Wednesday, October 24, 2007

Pashtoon History

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Sultan Shahabuddin Muhammad GhouriHis Excelency Sultan Shahabuddin Muhammad Ghouri was the one of the best kings of Pakhtoons.He had conquered all india and was the king of present Pakistan and Afghanistan.He had excluded all hindus from the present Pakhtoonistan and had settled here different Pakhtoon tribes like shalmani,afridi and shinwari etc.
Who are Pakhtoons
See this article at
We know that some historians has predicted that Pakhtoons are Aryan......But it is totaly wrong concept.Why? Because they have only proved that Pakhtoons have some habits like hindus and thus they are Aryan.And then they descibe some pakhtoon's human and places' names and try to compare them with Hindus and aryan names, and then say that Pakhtoons are Aryan.But yet these poor historians have not proved that they just like or approximatly same to that of pakhtoon's names.Then how can they say it or prove it.My dear there is a very very big big difference b/w Pakhtoons and Hindus, a big difference b/w habits and races, a very very big difference b/w our elder's sayings and our own thoughts.Dear historians please don't try to ignore your elder,s sayings, otherwise you must repeat this pakhto MATAL "Ka Ze Ze No aBaZo La Ba Raze".
Genealogy of Pakhtoons
(Shajar-e-Nasab)It is evident from the history of Pakhtoons and from the sayings of our elders that Pakhtoons are sons of Israel. But the real question that comes into one's mind, is that how they are the sons of Israel or Yaaqoob Alaisalam. Therefore at first I would like to show here the genealogical tree of Pakhtoons which is traced back to Hazrat Yaaqoob Alaisalam, Hazrat Ibrahim Alaisalam, Hazrat Noah Alaisalam and Hazrat Adam Alaisalam. But first of all, please note that what is the meaning of the word Israel in common and the word genealogical tree in Pashto or Pakhto. So Israel is the second name of Hazrat Yaaqoob Alaisalam, and genealogical tree means Shajara-e-Nasab in Pashto or Pakhto. Now we present the genealogical tree of Pakhtoons and traces it back not only to Hazrat Yaqoob but to Hazrat Adam Alaisalam who is the grand father of humans. The genealogical tree of Israel or Yaaqoob Alaisalam is : Yaqoob bin Is-Haq(Isaac) bin Ibrahim(Abraham) bin Tarih(Azar) bin Nahor bin Saroj bin RaAo bin Filij bin Ibar bin Shalah bin Arfikshad Bin Sam bin Noah bin Lamek bin Matoslih bin Edris bin Yared bin Mehlael bin Qenan bin Anosh bin Sheas(Seth) bin Adam. Now we begin our story from Yaqoob Alaisalam or Israel Alaisalam. So we know from history books that Yaqoob had twelve sons. He had four wives, Layya, Zulfa, Rahel and Balha. His 12 sons were from these four wives. Where Robin, Shamon, Ladi and Yahuda were from Layya. Jad, Ashar, Ashkar(Yasakar) and Zabolon(Roel) were from Zulfa. Yousaf and Binyamin were from Rahel. Dan and Nuftali were from Balha. Each of these twelve sons yielded their own sons and therefore every son's name became as a tribe name also. For example Binyamin etc. They are also called twelve tribes of Israel or bani Israel. In the period of Assyrians and Babylonians ten tribes were exiled from Syria and two were captured by Assyrian kings. These ten tribes were exiled to Iran and Khorasan. It must be noted in mind that with the passage of time each tribe had sub-tribes also. And then each sub-tribe had it's own name with respect to their ancestor name or their area name. That is why we see number of tribes in Pakhtoons now a day.
Pakhtoons are Israel
There are different theories about Pakhtoons, but all those theories are useless. Why? I think it is because those theories has very weak basis. And the most specific point in those theories is that every one has wrote their theories without their elders sayings. And they have wrote their theories only to get an international reputation. But they have not thought of their nation. For example Mr. Bahadur Shah Zafar Kaka Khel says that Pakhtoons are Aryans. But he had not thought about it that Arya was the name of a civilization not the name of a nation. There were different nations living in that period and in those areas. So may be in those days Pakhtoon would also present. But he however tell us some names of Pakhtoons tribes that are found in the oldest book of Hindus. Once again he fails in his mission and he cannot compare our tribes name totally. He also claim that the name Paktia a province of Afghanistan is found in the oldest book of Hindus and then he say that because this name is found in the book of Hindus therefore Pakhtoons are Aryan. But he again do not think that it is not enough to find a name in a book but it is also necessary to prove it four dimensionally. For example our elders sayings and history books etc. And it is not a new thing that this name is found in Hindu's book. I have hundreds of names that are related to Hindus and are the name of some places in Pukhtoonistan. But it does not mean that Pakhtoon are Aryan or Hindus. I think Mr. Bhadur Shah had not studied about the history of Pakhtoons. Because of he would have studied it then he would not use such weak words for Pakhtoons. Actuallly Pakhtoons have conquered these areas and have excluded Hindus from these areas where now they are living. Therefore the names of different places are given by Hindus and yet they are called by those names. However some of the names of those places are changed to Muslim and Pakhto names. Actually we do know that our elders say that we are Israel and we have not ever heard from our elders that we are Aryan. Then how can one say that Pakhtoon are Aryan. However if one can say it, then can he tell us that what is the genealogical tree of Pakhtoons which is linked to Aryan? Offcourse it is very difficult to show and yet no one has shown it to the world. And if some one ask us about our theory of Israel and ask us about the genealogical tree of Pakhtoons, we can answer them with blind eyes and can prove it. We have some of our tribe's names that are found in Syria in their original names and still those places are present. For example SHALMAN is the name of an area in northern Syria and still is present in Syria. And then the residents of Shalman are called Shalmani. And it is clear that from this name that Pakhtoons are Israel. Because Israel were exiled from Syria to Iran and Khorasan. And therefore it is a proof that these Shalmani are still present in Iran and in Khorasan which is the old name of Afghanistan. Now a days one can believe it that there are some Shalmani scientist in Iran and if some one want to know about it he should type the name Shalmani in Google search engine and he will get a lot of information on Shalmani. And then these Shalmani are also present in Pakhtoonistan in different places, for example in Swat state they were brought by Shahabuddin Mohammad Ghouri where they fought with Hindus and excluded them to southern India. Now shalmani are found in swat valley. So this was the only one proof to show that Pakhtoons are from Syria. There are many other solid proofs about it and we shall include all of them very soon in this web site. So please for now please be content with this little bit history and wait for more information also.
Explanation of Israeli Concept of Pakhtuns
Ibrahim Alai Salam:-
We will begin the history of pakhtuns from the prophet Abrahim. He was born in Ur (oor) city of the current Iraq. The name of this city was Ur because the people of this city were worshiping fire in those days, and in those days there was a famous furnace in this city. The people of this city were busy in the worship of fire. Now the word Ur belong to the language Ibrani which was the language of those people. And the meaning of this name is fire. In pushto it is called as Ur which mean fire and we know that pushto belong to this language of Ibrahim. Ok till now we discussed some thing about the word Ur and now we would like to go forth in our discussion. This city Ur is situated in the southern Iraq in the south west of Bughdad at a distance of 230 mile. Hazrat Ibrahim was born in 2160 B.C. He was the son of Tarih bin Nahur bin Saroj bin RaAo bin Filij bin Abar. Hazrat Ibrahim had two brothers also, whose names were Nahur and Haran. Hazrat Loot Alai Salaam was the son of Haran. Hazrat Ibrahim had three wives in total, Sarah, Hajra and Qatoora. Hazrat Sarah gave birth to Hazrat Ishaaq Alai Salaam who was the second son of Ibrahim and when Ishaaq alai salam was born the age of hazrat ismaeel was 14 years and the age of Ibrahim was 100 years.The descendants of Ishaaq are known as Bani Ishaaq and it is to be noted in mind that pakhtuns or pakhtoons are the descendants of Yaqoob alai salam who was the son of this Ishaaq Alai Salam. The second wife Hajra gave birth to Hazrat Ismaeel and the descendants of Ismaeel are known as Bani Ismaeel. Hajra was the daughter of Pharaoh of Egypt who was the resident of Iraq but was settled in Egypt and became the king of Egypt. The third wife Qatoora gave birth to six sons, isbaq, madan, zamran, sokh, madayan and yaqshan and the descendants of Qatoora are known as Bani Qatoora. Then Yaqshan had two sons shiba and dodan or dodal. Hazrat Ibrahim passed some of his life in Iraq and then he went to Syria with his wife Hazrat Sara and his nephew hazrat Loot. Hazrat Ibrahim died at the age of 175 years in Syria. He was buried in the land of Afran who was the son of Sahar in Kinaan. This land was bought by hazrat Ibrahim for this purpose. Similarly hazrat Sara, hazrat Yaqoob, Hazrat Yosuf and Hazrat Ishaaq were also buried here with Hazrat Ibrahim in this land. This place is now known as baithullahm or khalil. And at this place hazrat Isaa Alai Salam were also born.Now we would like to extend the story of hazrat Ishaaq alai salam and Hazrat Yaqoob Alai Salam, because pakhtoons are the descendants of Ishaaq Alai Salam and Hazrat Yaqoob Alai Salam.Hazrat Ishaaq Alai Salam and Hazrat Yaqoob Alai Salam :-
He is also called as Izhaaq or Zahaaq. He married Rabaqa who was the daughter of Baith Waeel. Baith Waeel was the son of Nahur and Nahur was the brother of Hazrat Ibrahim. Hazrat Ishaaq had two sons from Rabaqa. The two sons were Eisoo and Hazrat Yaqoob Alai Salam. Because Hazrat Yaqoob was born in Syria, so he was called by his son Hazrat Yosuf Alai Salam from Syria to Egypt and he lived for 430 years in Egypt. After 430 years he was again called by Hazrat Musa Alai Salam (Moses). Then hazrat ishaaq alai salam died at the age of 180 years and was buried beside the grave of Ibrahim.
Hazrat Yaqoob Alai Salam :- The descendants of Yaqoob Alai Salam are known as Bani Israel and we Pakhtoons have heard from our elders that we are Bani Israel in origin. We have not only heard it but we have also our genealogical records (shajara-e-nasab). Hazrat Yaqoob was also known as Israel. This name was given to him by the God and the meaning of Israel is “the traveler at the night time”. It is because he had left Syria at night time as his brother Eisoo was in search of his death because of some reason. Then in after he had came back to Syria as his brother Eisoo was very sad about him. His father Hazrat Ishaaq Alai Salam sent him to Iraq where he married the daughter of Labin. Labin was the brother of Rabaqa. The Labin’s daughter’s name was Layya. Hazrat Yaqoob married with Layya and a girl or lass given with Layya also. So Yaqoob had now two wives one was Layya and other was a girl given with Layya by her father, the name of he girl was Zulfa. Then Labin gave his other daughter to hazrat yaqoob and another girl also. The name of the second daughter was Rahel and the name of the girl given with Rahel was Balha. Therefore Hazrat Yaqoob had four wives in total, Layya, Zulfa, Rahel and Balha.Hazrat Yaqoob had twelve sons whose explanation is given as follows.
From Layya he had four sons: Yahuda, Ladi, Robin and Shamoon.From Zulfa he had four sons: Zaboloon, Yasakar, Aashar and Jid.From Rahel he had two sons: Yosuf and Bin Yamin.From Balha he had two sons: Dan and NaftaliIn the period of famine (failure of the harvest) Hazrat Yaqoob was called by his son Hazrat Yosuf Alai Salam to Egypt. When he went to Egypt his age was 130 years. He lived there for about 17 years and died at the age of 147 years in Egypt. He was also brought to Syria Kinaan according to his sayings and buried there with his father Hazrat Ishaaq and grand father Hazrat Ibrahim. Then Hazrat Yosuf was also died at the age of 110 years and according to his sayings he was also brought to Syria and was buried with his ancestors.Hazrat Musa Alai Salam :- After Yosuf Alai Salam the life of Bani Israel was not passing good in the Egypt and in the period of Musa Alai Salam, Bani Israel were brought to Syria. However Pharaoh (Firoun) tried to stop them but they got the way in the river of Neil and Pharaoh drown in the river. Musa brought his nation Israel to Elum and they stayed beside the mountain of Toor. Then God ordered them to go to Palestine where the Amaliqa nation was living in Palestine. Because God had ordered them to conquer Palestine and they could not conquered Palestine, so God became sad and ordered them to live in the desert of Sina for about 40 years.Bani Israel and their ascension (rising) :- When Israel conquered Palestine and the other nearest areas they divided it in their tribes according to the sayings of Musa Alai Salam. The areas they were conquered was ruling by 31 kings. Israel ruled on that areas for about 1400 years successively. They had about 70 sardars (head of the region) who were ruling their related areas for more than 400 years. In after when the situation became dangerous they selected Hazrat Taloot as their king and he killed Jaloot the king of Palestine. Hazrat Taloot ruled for about 47 years and then he died. After him Hazrat Dawood Alai Salam became the king of Israel. He ruled for about 40 years and then died. After him Hazrat Solomon Alai Salam became the king of Israel. He ruled for about 52 years and then died. Decline (setting) of Bani Israel: When Solomon Alai Salam died, Bani Israel decided to make their new king for them. For this purpose they decided to select the son of Hazrat Solomon, Rajaam as their king. Israel were twelve tribes in total and ten of them became worry from Rajaam because of some reason. Therefore the ten tribes decided to make their own king and state. They made Yarbaam as their king and he was also the son of Solomon. The name of their state was Israelia and their king was Yarbaam. The two tribes made their own state “Yahudia” and their king was Rajaam. When they divided their state in two states they became weak and from that day their destruction began. They were quarrelling among each other and were killing each other. During many prohets were sent by Allah to them but they were not obeying them and the God. Hazrat musa alai salam had told them that God says that I like Israel very much and I will give them kingdom and every thing they want. But if they did not obeyed me and left worshiping me, I will destroy them.We do know that when they started quarrelling among them, they became weak and weak, and the other nations like Asyrian and Babil crashed them. When these nations attacked Syria they exiled the Israel from their homeland and it was the time when the came out of Syria. They were brought by the enemies to Khorasan in Iran and settled them there in Iran and some were settled in other areas too.Exile of Israel from Syria:The first attack was of Asyrian nation on Israel. The Asyrian king Pal attacked them in 771 B.C and exiled them from Syria. This attack was on Israelia state of Israel. Please note that Syria and Asyria are two different names, where Syria is the name of the country where Israel were living and it is the present Syria (Sham) of the middle east and the Asyria was a nation in the time of Israel. This nation was living in an area beside Israel. When Asyrian knew that Israel are weak, they attacked them and exiled them. So when the Asyrian king attacked Syria he exiled them toward east of Syria to Iran Khorasan. In this exile of two tribes were namely Robin and Jad. Another Asyrian king Shalman II was very dangerous king and he also attacked Israelia in 761 B.C and exiled other tribes of Israel. Please note that there were about four kings of Asyrian whose names were Shalman I, Shalman II, Shalman III and Shalman IV, all of them very cruel and dangerous. Similarly Shalman II also attacked the state of Yahudia and exiled Israel tribes to Iran. After the Asyrian nation another nation appeared and there king was Bakht Nasar. He attacked Yahudia state in 597 B.C and exiled Israel toward east. The nation of Israel ruled over Syria for about 1400 years and their kingdom ended after their exile from Syria. In this battle thousands and hundreds thousands of people were killed from the Israel side. As there were twelve tribes of Israel in the two states Israelia and Yahudia. Ten tribes were in Israelia and two were in Yahudia. So in the battle ten tribes were exiled from the two states, and the remaining two tribes were arrested by the enemies. It should also be noted that there were some smaller tribes which were made from one particular tribe. So each of these twelve tribes had their smaller branches of tribes, because the twelve tribes were from the twelve sons of Hazrat Yaqoob(Jacob). And therefore after hundreds of years there were many branches made from them. Now it should be also cleared that all these tribes were not only exiled to Iran and Khorasan (the present Afghanistan) but some of their tribes men were also exiled in different directions of Syria i.e in four dimensions. That is why we see today that Israel are present in every corner of the world. Some of these Israel are collected from different parts of the world by the present Israel and are settled in the present state of Israel. But some of them are Muslims and they don’t want to go there. Note:As we know that Israel were exiled to Iran and Khorasan (Afghanistan), so from here the HistoryOf Pakhtuns begins. Because before this they were known as Israel as whole. However still the Pakhtun nation call themselves as Israel and still there are many tribes whose names are matching to those of the ancient tribes’ names. But it will be explained in later and now let us start the following to get the real ideology and theory.Pakhtun (Pakhtun, Pakhtoon, Pakhtan, Pathan, Batan, Pashtun or Pashtan):According to the above story we came to know that the ten tribes were exiled to Iran and Khorasan (Afghanistan). So in these tribes one tribe was Bani Pakht or Bani Pukht. It was a smaller tribe of the tribe Yahuda or Yehuda. When Israel exiled from Syria to Iran and Khorasan at first, the Bani Pakht tribe was also present and they had came here before the other Israel. Because Bani Pakht was the famous and politically strong tribe therefore all the Israel were known by this tribe’s name. And then the name Pakht was used for all the Israel. And, then they were called as Pakhtan, Pakhton or Pakhtun by Persian in every part of Iran and Khorasan. Please wait for more history
Farid Shahzada Shilmani

Hamza Baba Interveiw

مرکه کوونکے :مدثر شاه ډاکټرراج ولى شاه خټک پوښتنه دپښتو دقديم ادب چې هر کله ذکر کيږى نو زمونږ ليکوال او نقادان ورته کلاسيکى دور يا کلاسيکى شاعران وائى ستاسو څه خيال دے چې دغه ټول شاعران کلاسيکى وؤ؟ ځواب:- نۀ بالکل نه, دې کښې لږ فرق دے که مونږ چرې دپټې خزانې شاعرانو ته وګورو نو هغه ډير زاړۀ شاعران دى خو کلاسيکى نۀ دى. بايد مونږ دکلاسيک لږ وضاحت وکړو. کلاسيک ديو ادب يا فن هاغه معيارى تخليقاتو ته وائى چې کوم دراتلونکو نسلونو او وختونو دپاره دمعيار ، پيمانې او تلې سبب وى نو په دغه حساب چې دپښتو کلاسيکى دور شروع کيږى هغه دخوشحال خان خټک نه واخلې تر محمدى صاحبزاده، کاظم خان شيدا ، على خان ، عبدالقادر خان خټک، عبدالرحمان بابا، مصرى خان ګګيانے ، کامدار خان خټک او حميد بابا پورې رسيږى. دا هغه معيار دے چې چا دپښتو دادب خصوصاً دغزل يو داسې معيار قائم کړے دے چې راتلونکے ادب او دورونه ترې اثر هم اخلى او دخپل فن دپاره دايو معيار ګرځوى، نو کلاسيکى ادب په دغه معنى دقديمى ادب نه په دغه حواله جدا دے، دقديمى ادب خپل ارزښت دے خو هغې ته مونږ کلاسيکى ادب نۀ شو وئيلے. کۀ مونږ دکلاسيکى ادب ټاکنه کوؤ نو هغه به دخوشحال خان خټک يا کۀ لږ مخکښې ځو نو روښانيان هم په ځينې حوالو خصوصاً مرزاخان انصارى په دغې کښې شامليدے شى او دغه دور تر شلمې پيړۍ پورې رارسى يعنى دا دور دحمزه بابا پورې راغزيږى کوم چې دشلمې صدۍ شاعر دے. حمزه بابا هر څو کۀ دجديد دور شاعر دے خو ددې دور دپاره هغه کلاسيکى شکل لرى پوښتنه:- مونږ وئيلے شو چې حمزه بابا دکلاسيکى او جديد شاعرانو ترمنځه ديو پل کردار لرى؟ ځواب:- بالکل حمزه بابا نۀ يوازې دکلاسيکى او جديد ادب ترمنځه ديو پل کردار لرلو بلکې حمزه بابا دغزل فن يو داسې مقام ته رسولے دے چې دې دورکښې څوک دپښتو غزل ليکى نو دهغوى دپاره حمزه بابا يو کلاسيکى حيثيت لرى. پوښتنه:-پښتو شاعرۍ کښې درومانيت يا رومانى شاعرانو ذکر هم کيږى آيا دښتو شاعرۍ دا رومانيت يا رومانى شاعران هم په هاغه معنو کښې رومانى دى چې په کومو معنو کښې لويديز راوړى دى؟ ځواب:- نه ، بيخى نه, په ختيز کښې درومان معنى بل رقم اخستل شوې ده . غلطه ورته زۀ نۀ وايم خو لويديز کښې چې درومان کوم تحريک يا فلسفه ده دهغې رنګ دختيز نه بيخى جدا دے، دلته مشرق کښې چې کومو شاعرانو دعشق او محبت خبرې کړې دى يا دمينې شاعرى ئې کړې ده هغې ته رومانى شاعرى وئيل کيږى. هرڅو کۀ عشق او مينه هم درومان يو اړخ دے خو رومان بيخى يو جدا څيز دے دهغې ځانله فلسفه او معنې دى. کله چې مغرب کښې سائنس ترقى وکړه او هر يو څيز ئې دعقل او دليل په تله ناپ کول شروع کړل نو دې دوران کښې داسې خلق راپاڅيدل چې وئيل به ئې چې دژوند دټولو اړخونو دپاره عقل ضرورى نۀ دے دوى به وئيل چې انسان زړۀ او جذبات هم لرى او زړۀ او جذبه دعقل په بنياد نۀ شى تلل کيدے يعنى رومان دهاغه جذبو خبره کوى کومې چې دعقل په پيمانه نۀ شى تلل کيدے ځينې وختونو کښې مونږ وئيلے شو چې ځينې مابعدالطبيعات څيزونه کوم چې عقل نۀ شى پيژندے نو هغه درومان مضمون ګرځى. دپښتو په شاعرۍ کښې کۀ مونږ تصوف واخلو نو دا يوه رومانى جذبه ده ځکه چې دا دزړۀ دمينې او عشق په تقاضو انحصار کوى. نو اصل خبره دا ده چې درومان په معنى دلته چا ځان نۀ دے پوهه کړے. داخبره هم بايد وکړو چې کلاسيک او رومان ديو بل ضد دى کۀ مونږ وګورو نوغزل مونږ سره کلاسيکى فن دے. ددې فن دپاره څه تړلى قوانين او قاعدې دى خو څوک چې رومانى قدم پورته کوى نو ددغه قاعدو نه به بغاوت کوى يعنى ازاد نظم چې راغلو، دا په يو لحاظ رومانى ټوپ وؤ چې دوى ووهلو کۀ مونږ بيا فکر کښې وګورو نو دجذبې اظهار چې چرته شوے دے او کوم مضمون پکښې بيان شوے دےنو خوشحال خان خټک بيا رومانى شاعر دے هر څو کۀ هغه کلاسيکى شاعر دے ځکه چې دهغه مضمون تر ډيره حده رومانى په دې دے چې هغه دعقل په ځائې دعشق خبرې کوى. عقل سل دمصلحت بندونه که چې دعشق سيلاب پرې راشى واړه جوړه کړه دخوشحال خان خټک په شاعرۍ کښې چې دجنګ جدل ميړانې او بهادرۍ خبرې دى نو دا بيا رومان ته ځى. دداسې شاعرۍ مضمون رومانى وى خو دهغه ماهيت او شاعرى رومانى نۀ وى. نو دلته خلق ددې غلط فهمۍ ښکار شول چې هره خبره چې پکښې دعشق او محبت ذکر وى هغه به رومانى وى. دا داسې نۀ ده په دې کښې دجذبو نور بلها اړخونه ظاهريږى. پوښتنه:- حميد بابا ته رومانى شاعر وئيلے شى ، آيا ددۀ رومانيت هاغه رومانيت دے چې د ورډز ورتهـ، کيټس ,شيلے، بائرن يا نورو شناخت ګرځيدلے دے. کۀ نه دا رومان دحسن اوعشق په مفهوم کښې دے. ځواب:- نه بيخى نه ، حميد بابا کلاسيکى شاعر دے او دپښتو په کلاسيکى شاعرانو کښې شمارل کيږى. بيا دفارسۍ کلاسيکى شاعرانو ته دهغۀ فکر ډير نزدې دے. ورسره حميد بابا دغزل شاعر هم دے نو غزل کښې هر څو کۀ دعشق او مينې ذکر کيږى خو حميد بابا کله هم دغزل په شکل کښې نوې تجربې نۀ دى کړى او نۀ ئې دغزل دټاکلى قوانينو نه انحراف کړے دے نو په دې بنسټ حميد بابا يو کلاسيکى شاعر دے خو ځينې ځايونو کښې دهغۀ په فکر او خيال کښې رومانى احساس ليدل کيږىاو غالباً په دې خيال هغه ته رومانى شاعر وئيل شوے دے . چا درومانيت په معنى ځان نۀ دے پوهه کړے. داسې خودپښتو ژبې هر شاعر رومانى دے. پوښتنه:- ادب کښې دحقيقت نګارۍ نه تاسو څه مطلب اخلئ؟ ځواب:- ځينې خلق وائى چې دادب اصل مقصد بل ته مسرت خوشحالى يا لذت رسول دى او دوى وائى چې ادب بايد دادب دپاره وشى. خو بلخوا يو ګروپ خلق وائى چې ادب بايد ديو ښاغلى مقصد دپاره وشى چې دبنيادم ابتلا، طبقاتى کشمکش، لوړې ژورې اونفسياتى تضادات رابرسيره کړى يعنى په انسانى ټولنه يا چاپيريال کښې چې څه کيږى او پيښيږى بايد ددې عکاسى دادب په شکل کښې وشى. بلخوا ژوند کښې چې څه حقيقتونه دى هغې سره مونږ خپل يو شاعرانه صداقت ملګرے کړو نو دا يو رقم حقيقت نګارى شى، په شاعر باندې عموماً دا تور لګى چې دے دحقيقتونو نه تيښته کوى. اؤ دتخيل په دنيا کښې اوسى او دےدتصوراتى دنيا خبرې کوى دکومو چې ددې دنيا او ژوند سره تعلق نۀ وى، خو دا بله ډله وائى چې ادب ته دژوند ترجمان کيدل پکار دى دژوند ترجمانى به يو اديب هاغه وخت کوى چې دے دژوند حقيقتونه وپيژنى، زما په خيال دژوند نفسياتى، معاشى او اقتصادى حقيقتونو ته شاعرانه رنګ ورکول حقيقت نګارى ده، مونږ داهم وايو چې ادب دتعليم او تعلم ذريعه هم ده داهم مونږ وايو چې اديب يا ادب دتاريخ دانۍ فريضه هم ترسره کوى. نو دغه ځائې کښې اديب حقيقت نۀ شى پټولے. په دې لړ کښې په ادب کښې باقاعده تحريکونه پورته شوى دى خو دې سره څنګ کښې يو بل تحريک هم راپيدا شو چې ارتصاميت ورته وائى هغوى هم دعوه کوى چې مونږ حقيقت نګارى کوؤخو ورسره داهم وائى چې مونږ به حقيقت ته دبل په سترګو نۀ بلکې په خپلو سترګو ګورو. پوښتنه:- حقيقت نګارى او ترقى پسندى يو څيز دے او کۀ بيل بيل ؟ په دې کښې به فرق او تميز څنګه کوؤ؟ ځواب:- دواړو کښې فرق ضرورت شته. ترقى پسند اديبان حقيقت نګارۍ ته نزدې دى خو هغوى ديوې خاص نظريې لاندې حقيقت ته ګورى. په خصوصى توګه روسيه کښې داکتوبر انقلاب نه پس چې کله په 1935ء کښې انجمن ترقى پسند مصنفين جوړ شو نو ترقى پسندو او اديبانو صرف دژوند ديو اړخ حقيقت بيانولو په کار پيل وکړو يعنى هغوى صرف دطبقاتى فرق خلاف وؤ. ددوى په ليکنو کښې به دسرمايه دارانه نظام او دې سره دتړلو انسانى ستونزو ذکروؤ. خو بلخوا يوغير جانبدار حقيقت نګار چې کومې ډلې سره تعلق نۀ لرى هغه کۀ يو طرفته د سرمايه دارانه نظام بداړخونه بيانوى نو بل طرف ته ددغې نظام ښه والى هم دخپل قلم لاندې راولى، دخبرې مقصد دا دے چې ترقى پسندو هر حقيقت ته دخپلې نظريې په رڼا کښې کتلى دى او ځينې دانسانى نفسياتو نه ئې صرف نظر کړے دے خو دا يو حقيقت دے چې ترقى پسند حقيقت نګارۍ ته ډير نزدې دى. پوښتنه:- مزاحمتى ادب نه تاسو څه مراد اخلئ آيا نن پښتو کښې مزاحمتى تحريک کيږى او نن دمزاحمتى شاعرۍ ضرورت شته؟ ځواب:- نوابادياتى نظام کښې چې دکومو غلامو هيوادونو ليکوالو ادب تخليق کولو او خلقو ته به ئې دادب له لارې دازادۍ تعليم ورکولو او داستعماريانو خلاف به ئې مزاحمت کولو نو هغې ته مزاحمتى تحريک وئيلے شى. دغه وختونو کښې په افريقائى هيوادونو، اسيائى ملکونو او ځينې دمشرقى اروپا ملکونو کښې مزاحمتى ادب شوے دے دختيز اروپا په ملکونو کښې کميونسټى نظام وؤ او دليک دومره ازادۍ نۀ وې خو دلته په جمهورى هيوادونو کښې هم دغلامۍ، جبر او نظام خلاف دادب په ذريعه دخلقو رهنمائى شوې ده، خو ترقى پسندو ليکوالو چې کوم مزاحمتى ادب تخليق کولو صرف هغې ته مزاحمتى ادب ووئيل شول زما دا خيال دے کۀ مونږ مزاحمتى ادب په عامو معنو کښې اخلو نو دا په هر دور کښې موجود دے خو کۀ مونږ ددې تعريف په خصوصى معنو کښې کوؤ نو بيا ترقى پسند تحريک او مزاحمتى ادب سره يو کيږى او په دغه معنو کښې مونږ وئيلے شو چې ټولو ترقى پسندو مزاحمتى ادب تخليق کړے دے تر څو چې ددې وخت دپښتنو ليکوالو تعلق دے نو مونږ وئيلے شو چې دا وخت پښتنو شاعرانواو ليکوالو کښې داسې کسان شته چې مزاحمتى ادب تخليق کوى. دلته دابتداء نه زمونږ دليکوالو طرز تحرير مزاحمتى وؤ. خو دلته يوه عجيبه واقعه رامينځ ته شوه کله چې روس خپلې قواوې افغانستان ته راوليږلې نو افغانانو دروس خلاف مزاحمت شروع کړو او پيښور کښې به افغانانو دروس دجارحيت مخالفت کولو او مزاحمتى ادب ته ئې مټې راښکلې. خو ترقى پسندو ليکوالو دروس ددغې جارحيت مرسته کوله دلته بايد دا ووئيل شى چې افغانانو هاغه وخت پيښور کښې کومې مجلې خپرولې او ليکونه به ئې کول نو دغه مزاحمتى ادب دے خو ترقى پسندو ليکوالو چې نړۍ کښې دسرمايه دارۍ نظام خلاف کوم ادب تخليق کولو نو دغه هم مزاحمتى ادب دے مونږ داسې نۀ شو وئيلے چې ګنې يو مزاحمتى او بل نۀ دے يعنى مزاحمتى ادب مونږ يوې نظريې ته محدود کولے نۀ شو. څوک به ديو څيز مزاحمت کوى او څوک دبل. پوښتنه:- ډاکټر صيب تاسو دپښتو په مزاحمتى ادب څيړنه کړې ده نو دباچاخان خدائى خدمتګارۍ تحريک ته تاسو څنګه ګورئ؟ ځواب:- دا ډير اهم سوال دے. دلته عام طور خلق په غلط فهمۍ کښې پريوتى دى، زما مقاله دپښتو ادبى تحريکونه دى چې خالص دادب او د ژبې د ودې په خاطر کوم ادبى تحريک چليدلے دے کۀ هغه دتاريخ په مختلفو پړاونو کښې دى نو ما هغه تحريکونه راخستى دى. زما دمقالې دوه برخې يوه ستر توقعات او بل وراثت کښې دخدائى خدمتګار تحريک سره دتړلو شاعرانو او ليکوالو ذکر موجود دے تر دې چې کومو خدائى خدختګارو صحافت کړے دے نو دهغوى ذکر هم پکښې شته خو زۀ دا خبره نن صفا کول غواړم چې زما په نزد خدائى خدمتګار تحريک مخکښې يو سماجى تحريک وو او وروستو سياسى تحريک کښې بدل شو ، خدائى خدمتګارى تحريک ته ادبى وئيل مشکلات پيدا کوى البته مونږ دا وئيلے شو چې ددغې تحريک تر څنګ ادب تخليق شوے دے خو دغه سياسى تحريک دادبى تحريک پيداوار نۀ دے بلکې خدائى خدمتګارو چې ادب تخليق کړے دے نو هغه ددې سياسى تحريک پيداوار دے دهر ادبى تحريک خپل يو انداز، اسلوب او رنګ وى او هغه فقط ادب پورې تړلے وى دلته ددې ذکر پکار دے چې کله دهند دازادۍ تحريک روان وو نو دخدائى خدمتګار تحريک سره تړلو شاعرانو دسياسى شعور بيدارولو دپاره شاعرى کوله او ادب ئې تخليق کولو. دلته په مسلم ليګ کښې کمالى صيب يا حمزه صيب چې تعلق ئې دمسلم ليګ سره وو هغوى هم دازادۍ خبره کوى، زما په خيال خدائى خدمتګارى تحريک يو سياسى تحريک دے او تر څنګ ئې ادب هم تخليق شوے دے خو دغه رنګ ادب نورو سياسى ګوندونو هم زيږولے دے لکه جمعيت علماء هند يا خاکسار تحريک يا مسلم ليګ سره تړلى شاعران پوښتنه:- ادب کښې دتنقيد او نقاد ضرورت تاسو ته څنګه ښکارى؟ ځواب:- پښتو ادب کښې تنقيد دډير وړاندې نه کيدو خو کله چې مونږ دغربى ادبى تنقيد ذکر کوؤ نو اولسى ادبى جرګې په ړومبى ځل پښتو ادب کښې تنقيد معرفى کړو چې تنقيد وده ومومى . بيا حمزه بابا په دې لړ کښې زيات کار کړے دے دے چې ستائنه ئې پکار ده. دبده مرغه دپښتنو دناپوهۍ او جهالت له امله غربى علمى تنقيد پښتو ادب کښې وده نۀ ده کړې. دلته دپښتو ادب نقادان هم ګرم دى چې هغوى اديبانو ته هاغه باور ورکولو کښې نۀ دى بريالى شوى چې ځان غير جانبداره نقاد وښائى. لکه کۀ مونږ دسليم راز صيب مثال واخلو نو دې کښې شک نشته چې راز صيب يو تکړه نقاد دے خو سليم راز ديوې مخصوصې مکتبه فکر ليکوال دے يعنى ترقى پسند دے نو دهغۀ تنقيد به مارکسى تنقيد پورې اړه لرى خو بل شاعر کيدے شى چې جمالياتى ذوق لرى. ضرورت ددې خبرې وؤ چې کۀ دبلې ډلې يو شاعر ښۀ غزل ليکلے وى نو دهغې ستائنه پکار وه دخبرې مقصد دا دے چې دلته ښه نقادان متنازعه کړے شوى دى يا په فکرى حوالو يا په سياسى او نظرياتى حوالو چې له کبله ئې تنقيدى شعور په پښتو ادب کښې وروستو پاتې شو. پوښتنه:- پښتو ادب کښې افسانه دمعيار او مقدار په لحاظ کوم ځائې ولاړه ده؟ تاسو ترې مطمئن يئ؟ ځواب:- بيخى نه ، پښتو ادب کښې ډيرې کمې افسانې ليکل شوى دى پښتو ادب کښې دافسانې حالت هم ماته نزدې نزدې دتنقيد په شان ښکارى. دې کښې شک نشته چې راحت زاخيلى ښې افسانې ليکلى دى قلندر مومند صيب يو ښه نقاد او افسانه ليکونکے وؤ ګل افضل خان پښتو ادب ته ښکلې افسانې بخښلې دى خو ددې باوجود پښتو کښې افسانې وده نۀ ده کړې او زما په خيال دافسانې دوروستو پاتې کيدو يوه وجه دا هم ده چې دپښتو ژبې ليکوالو کښې تنقيدى شعور وروستو پاتې شوے دے. پوښتنه:- ډاکټر صيب تۀ دپښتو اکيډيمۍ ډائريکټر پاتې شوے ئې . په تيرو دوؤ پنځوسو کالو کښې داکيډيمۍ په کارکردګۍ تاسو څه وايئ؟ ځواب:- تيرو دوؤ پنځوسو کالو کښې اکيډيمۍ کار کړے دے دې کښې شک نشته چې دپښتنو داطمينان کار به نۀ وى شوے زۀ دا منم خو په هاغه وسائيلو کښې چې کوم وؤ نو دومره کار پرې کيدے شو چې کوم شوے دے يا هاغه حالاتو کښې فقط دومره ممکن وه ړومبى پينځه ويشت ديرشو کالو کښې دسياسى حالاتو له کبله اکيډيمۍ په ازاد مټ کار ونۀ کړے شو بيا چې داکيډيمۍ کوم مشران راغلل نو هغه متنازعه کړے شول او کار ته چاپرې نۀ ښودل خو مولانا عبد_________________ستا د سترګو بلا واخلم ناز په ما که

Sardar Ali Takar

Sardar Ali Takkar Zafar Ali Usafzai Endeavoring to Raise Pashto Music to New Heights Takkar, a small village in District Mardan, may be known to many of the Historians because of the Tragic War that took place between the British Army and the Villagers and which resulted in a mass bloodshed of the innocent villagers. But almost every Pakhtun around the world knew Takkar because of a veteran personality, which opened her eyes in this village. Long ago in the decade of 1960’s, when this child used to play in the streets of his village, perhaps none of the villager would have thought that this child would become the identity of their village, all over the world. This child when grew, decided to adopt singing, not as a profession but as a challenge to serve the Pashto music and raise it to new heights. Today the world knows this personality with the name of Sardar Ali Takkar. A veteran of the Pashto singing scene, Takkar is practically a household name almost all over the country among the Pakhtuns. Every Pakhtun feels pride on having his cassette with himself. He has been plying his trade since early 1980s, and has earned his big break by singing a veteran poets like Rahman Baba, Khushal Khan khattak, Khatir Afridi, Hamza Shinwari and of course the great Ghani Khan. Like a wild flower, which sprouts from the virgin soil and blossoms to full ambience untended, he became one of the most sought after Pashto singer. Born in 1956 at Takkar village (Thakt Bahi) Mardan, he passed his metric examination from his village school and did his F.Sc. from Government College Mardan. He completed his graduation in Mechanical Engineering from University of Engineering and Technology, Peshawar. Aside from this he has also attended special courses in U.K and Canada. From the very beginning, he had developed a flavor for music. Takkar had a natural flair for singing. He used to take part in Naat, Qirat and singing competitions during his school time. When he was in class 8th, he played mouth organ on the stage for the first time. He used to play different musical instrument stealthily at that time. He often used to play “Sitar” (a musical instrument) at one of the peasants home, namely Anwar Khan in the nearby village. Because of the social and political affiliations of his family, it was very difficult to play these musical instruments in the traditional Hujra. While in college, he started fiddling with the rabab, another stringed instrument. At university level, when Takkar was away from his family’s norms and values, he started giving full intention to this art. As a first step he joined the Abaseen Arts Council for formal musical training. Here he learnt playing different instruments like Rabab, Harmonium from Sardar Ustad. He also learnt from some of the great masters of the period: Khalid Haider Malik and Sultani Sahib. His University life provided him more chances to exhibit his hidden talent. Initially he used to present his skills before his friends, in different musical programme in the university. But it was in 1982 when Yar Muhammad Maghmum, a professor at the historic Edward College Peshawar, wanted to celebrate an evening with the great legendry and dynamic philosopher Ghani Khan, but was unable to find a singer who was ready to meet the challenge of putting Ghani’s poetry in music. When Takkar became aware of the situation, he agreed to sing in that programme. Some people also recorded this programme on audiocassette, which got so prominence that even the music stores started selling it on regular basis. In this way, his debut album (solely based on Ghani khan’s poetry) touched the market, so incidentally. It was in those days when a programme for youths named “Zalmey Kool” (Young Generation) used to broadcast from the Radio Pakistan. Takkar for the first time not only played different instruments but also sang two ghazals in that programme. After that, he also had the opportunity to record a programme at the Peshawar Center of Pakistan Television Vision (PTV). In 1984, Takkar left for Afghanistan. His stay in Afghanistan helped him in a way that he became able to sing poetry of those poets who were banned in Pakistan and his singing from Afghanistan also brought him prominence back at home. Kundan Lal Sehgal (1904-1947) had remained a great source of inspiration for Takkar. The sphere of K.L. Sehgal’s recorded music was very vast, as he had sung in Hindi, Urdu, Pashto, Punjabi, Bengali and Tamil. Takkar was so much inspired by Sehgal that at very young age he used to listen a music programme comprising of one of the Sehgal’s song, which was broadcasted from the radio daily in the morning. Such was the power and mystique of Sehgal's singing that Takkar too started his career singing in the 'Sehgal style' before etching out his own identity. Aside from Sehgal, he also got inspired from Jugjeth Singh, Punkaj Udhas and Mehdi Hassan. The major feature, which became the hallmark of his singing, was the selection of Ghani Khan’s poetry. From the very beginning, Takkar had an inclination towards Philosophy and used to read the Poet of the East i.e. “Allama Mohammad Iqbal” when he was in class 8th at his village school. After that he had also studied the poetry of Rahman Baba and Khushal Khan Khattak, but when he read Ghani Khan he felt him as the one whom he was searching for. This is due to the reason that in Ghani Khan’s poetry, he had found so many shades -- ranging from freedom, love of God, land and people, nationalism, fate, the mysteries of life and death, the joys of communion, and the woes of separation to beauty. Ghani khan was a true poet of modernism who was at home in variety of subjects like mysticism, romanticism, nationalism, skepticism, aestheticism, and philosophy. Terming his stance and love towards Ghani Khan, he often narrates an interesting story. He recalls that one day while roaming in the hostel at University, he got a verse of Ghani Khan written on one of the door. Which was: "Che Da Taqwa Zaar Sajde She Jama, Da Ishq Yo Saat Thre Jor She." [One thousand prostrations (bows) when combined, give birth to a lone moment of love] Seeing this verse gave birth to a motion and zeal in him, compelling him to search out for Ghani Khan’s poetry. As in those days, the government had banned Ghani Khan, therefore Takkar found it difficult to get any book comprising of his poetry. But this did not force him to stop there and he continued his search. At last, he succeeded in finding a book of Ghani Khan in the library of Area Study Center, University of Peshawar. Although this gave an extreme happiness to him, but to his sheer disappointment he was not allowed to borrow that book, being a reference book. For this Takkar had a novel solution, he used to stay till evenings in the library, noting down Ghani’s Poetry in his diary. Takkar is the first well-educated Pashto singer. Before him, the sphere of Pashto music listeners was very limited in which the educated class was next to none but it was Sardar Ali Takkar who not only compelled the educated people to listen Pashto music, but also paved the way for educated ones who wanted to adopt Pashto singing. The main reason for which is that before him, the Pashto singers were mostly uneducated who did not paid much heed towards the selection of poetry for songs. They used to sing in those few traditional styles, which were prevalent from centuries. They also did not tried to expose the great poets to general masses through music, which resulted in the immature and bad taste for Pashto music. Contrary to them, Takkar having inclination towards literature, selected genre like philosophy and mysticism and that too were presented in an innovative style that is why these trends were acknowledged by the masses immediately. They started listening him, not only for his melodious voice but also for his selection of the best poetry. Takkar had always focused on the content of poetry along with music, as he believed that quality poetry is must for quality music. Takkar has strived in almost all the genre of Pashto poetry, which include ghazal, rubayi, charbeta, tappa, nemake and badala. Takkar has also strived hard in selection and singing of ghazals, which has a special place in the literary universe. He has got a matchless style for presenting rubayi, which is developed by him lonely. His rubayi style had remained a striking force in shooting his fame. But the most laudable and inimitable aspect of Takkar singing is “Azad Nazam” which he put in the musical tones. Although Azad Nazam has proved too difficult to be understand but it was Takkar’s tireless efforts, which resulted in recognition of Azad Nazam in the general public. Regarding “Azad Nazam”, Takkar opines that until the singer gets over the original message contained in it, it is impossible to sing it. All it need is great willpower and mindset. In his opinion, the singer must strive to put his mind behind each word he renders. Even now when the moment he sings Azad Nazam, the clamor in the surrounding gives way to complete silence. After almost stumbling into a singing career, Takkar quickly touched the apex of success and his soulfully rendered Pashto rubahis and specially Azad Nazams of the great Ghani Khan, touched responsive chords among music buffs in the province. The mellifluous quality and timbre of his natural voice have a special appeal for the serious folks and students specially. In the beginning, Takkar was very selective regarding his selection of poetry and mostly serious people enjoyed it, but when in one of the TV programme, he sang tappe, majority of the common folk also liked him and wished him to continue singing for common folk also. It is pertinent to mention here that tappa is the lone genre of Pashto poetry, which does not exist in any other language. He had also attributed to the great singers of the past whose aura and charisma still remains intact including Muzaffar Khan, Gulnar Begum, Rafiq Shinwari etc by remixing their legendry songs. Being, himself a candidate of mysticism, it credits for Takkar who not only went for Rahman Baba’s mystic poetry but also acknowledged the elegant mysticism of Ghani Khan. Of the two, he terms the poetry of the later as the best regarding mysticism, which according to him is nothing but the acquaintance to the GOD Almighty. Regarding services for music, Takkar does not seem happy with most of the past singer who although bestowed with melodious voice, left singing but did not tried to serve their language in real meaning. He also feels uneasy with the present day Pashto music, prevailing in the market place, where by no heed is given to the selection of poetry and mostly substandard poetry is selected for singing. He considers it a serious threat to the Pashto music, which instead of promotion is causing huge loss to it. Looking in to the history of Pashto music, it become obvious that up till now none of the singer worked with proper planning for the development of Pashto language and music i.e. most of them have not taken this profession as a mission. They adopted it merely as their source of income. But when it comes to Takkar, he kept on doing new experiments in the Pashto music. He has intentionally tried to add the musical flavors of different languages in to the Pashto music. He has added the Arabic, Turkish, Spanish and African beat to his compositions. At the same time, Takkar’s outwit is that he has kept the identity of Pashto music intact. Takkar keeps on doing new experiments in the Pashto music with a missionary zeal. For instance he has recently come up with a new album (No.81) containing classical Pashto songs. The most interesting part is that he developed different tones (Raygs) and presented the poetry of the great mystic Rahman Baba in it. These raygs consists of Darbari, Shankara, beharwi, Meaig, Peelo Tumri, Classical Tarana and Istahani Antyra. It was his these efforts which led a Denmark based organization to confer him a special award for singing Rahman Baba’s poetry. In order to produce a quality music and carry forward his musical skills to the new generation, Takkar has established a studio named “Takkar Rhythms” where he keeps on doing new experiments regarding music. Presently he also participates in the “Khyber Beats- Classic” (a musical programme) of the lone private Pashto TV Channel. He also has intends to establish a video studio for making videos of songs. In his opinion, the videos, which are prepared presently, are not in conformity with what the singer sings. The singer sings something while the video comprises of totally different thing. According to him, a successful video is the one, which is made according to the urgency and spirit of “subjective music”. Unassuming, friendly and down-to-earth Takkar is a born and self-taught vocalist whose vocal resources have equipped him to also fluently render songs in languages other than Pashto like Farsi and Urdu. He had also held concerts not only in Pakistan, but also in Dubai, Britain, Canada, Germany and Afghanistan. In recognition of his unforgettable services to Pashto Music, the government of Pakistan awarded him with the Pride of Performance. He is also a recipient of numerous awards and certificates from a number of cultural organizations. -------------------------------------------------------------------------------- This article appeared in the Daily Statesman, Peshawar on 17 June 2005 and is reproduced here with the author's approval


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