Baluchi Music Has Risen From The Heart of History

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Summary: The Baluchi tribe is one of the oldest Iranian tribes whose music is influenced by Indian melodies because of being close to India. Of musical instruments in Baluchestan one may refer to Tanburak (small guitar), Setar (three stringed guitar), Qalam, a flute with five or seven sections, the pitcher, the oboe, ordinary and small kettledrum, the tambourine and roebuck or Hijdah (eighteen) Tar.

Of melodies popular among the Baluchi tribesmen which are sung for a mother who has given birth to a baby, one might refer to Sepad, Vazbad, Shabtagi, Liloo or Looli (Baluchi lullaby) as well as songs for separation, complaining about hard times, Zayirak (derived from the world Zahir and meaning longing and sadness) which is the most melancholy Baluchi music accompanied by the flute, Gheichak (small scissors) and banjo.

Text: That music which we hear nowadays in Baluchestan differs with genuine Baluchi music because of many reasons. One of these reasons is the big distance between Baluchestan and the capital and lack of attention by former regimes to the impoverished and far flung region. Anotherreason is that Baluchestan neighbors Pakistan and is influenced by Pakistani Baluchi music as well as Indian music.

From ancient times this region has had close commercial and cultural ties with India. The Indian influence was also due to the fact that Baluchestan was too distant from the central governments in Iran and was ignored by these governments. By exploring the root of such influence we will come across geographical and historical facts. Aside from dynasties such as the Sogdians whose seat of government was in Sistan and Baluchestan during the second century A.D., lack of roads and communication with interior parts in the country where Iranian culture prevailed, was another reason that physically and spiritually exposed Baluchi music to Indian culture.

Although the Baluchi tribesmen are strictly religious and fanatic, the musicians are treated as confidantes and intimates and they are permitted to play in private parties where women are also present. However, Baluchi women do not play musical instruments and only sing songs mostly in groups and behind the curtain and where their voice cannot reach male ears. One can rarely find a woman in Baluchestan to be a professional singer in wedding, birthday, circumcision and other festive parties. The musical instruments through which the Baluchi singer pours outs his/her restless and deep sentiments, are genuine instruments such as Tanburak (the small guitar), Setar (three stringed guitar), Qalam (a flute divided into five or six sections), the pitcher, the oboe, ordinary and small kettledrum, the tambourine and roebuck or Hijdah (eighteen) Tar.

Another native musical instrument in Baluchestan province is banjo on which many changes have been made and it has been converted into a native instrument in the Sind Province in Pakistan. Eighty percent of the population in Sind Province are composed of various Baluchi tribesmen. The most famous banjo player in Sind was the late Lavarborji who had descended from Dashtiari Baluchi sect in the Iranian Baluchestan. The next native instrument in Baluchestan is Dongi (whose Pakistani name in Sind Province is different). Dongi includes a pair of male and female flutes. The best Dongi players in Baluchestan who had universal fame came from the Siri tribe and were called Mesri Khan Jamali and Khabir Khan Jamali. Banjo and Dongi are so intermingled with other Baluchi instruments that have become naturalized in Baluchestan. The preservation of tribal traditions such as Sepak, Shabatagi, Liloo, Sote, Liko, Laloo, etc. which are accompanied by music, has helped this remote Iranian province to retain samples of genuine Baluchi music. Moreover, one can find singers and musicians in Baluchestan who are devoted to their traditional music. The singers and musicians who have inherited the art from their ancestors from generations to generations are called Pahlevans. "Pahlevan" is a combination of "Pahloo" and "Van". Pahloo is derived from Pahlavi language and means brave and powerful. "Van" means a singer. Meanwhile in the Baluchi language "Vang" also means singing. Therefore, "Pahlevan" means one who shows bravery and chivalry.

Here we will briefly refer to several examples of genuine Baluchi music which is now popular in Baluchestan. Sepad which means praise are a series of melodies which are sung after the birth of a child. Such songs continue for 14 nights while the mother prepares herself to wash her body. Sepad is sung only by women and by groups and is aimed to help the mother to forget the pains that she has suffered during child delivery. In these songs they mostly praise God, the Prophet (peace be upon him) and the elders of the religion and wish health and happiness for the mother and the newborn. Vazbad also means laudation and are a group of songs which are sung by either a single lady or a group of ladies and responded by another group. Such melodies which continue for about 14 nights at the newborn's house, praise God and the Prophet for bestowing a child to the woman.

Shabtagi is another rite in Baluchestan. When a baby is born the lady's relatives, neighbors and friends assemble in her house in the evenings and at times stay all the night and pray for the health of the mother and the baby. They congratulate the relatives for the newborn and sing poems in a soft tune accompanied by the oboe and tambourine. These poems and songs are known as Shabtagi which means to remain awake in the night. The majority of Shabtagi melodies are in praise of God, the Prophet, the Prophet's companions and elders of religion in which they congratulate the mother and the father and wish health and a brilliant future for the newborn. During such rites they officially sing the Azan (Muslim call for prayer) into the baby's ear which means that the newborn is a Muslim. Shabtagi songs help the mother to forget her labor and refreshes her spirit and bestows strength to her body. Moreover, the Baluchi tribesmen believe that evil souls and evil wishers await in ambuscade to attack and harm the mother and the newborn by talisman and by magic spells. For example they believe that Jatooq who is a devil and sorcerer will devour the child's heart and liver. Jatooq is believed to be an evil and cunning woman who longs for her newborn which she lost during delivery. She envies the others' children and harms such women. The Baluchi women believe that Jatooq's evil spirit secretly devours the baby's heart and liver and for that reason they must not let the mother and the new born remain alone for a minimum of three days and nights. As a result they assemble beside the mother and the child and recite the Quran.

Shabtagi extend from 6 nights to 14 nights at times to even 40 nights according to the family's financial condition. Loola is another song which is sung during festive occasions such as wedding parties and has different meanings. But Laloo shesghani is specially dedicated to the sixth day of the baby's birth. In this song the singer appeals to Almighty God, the Prophet and His blessed family for a happy life for the new born. For example if the baby is a boy, they wish him to be brave, true to his promise, a good swordsman, truthful, kind, hospitable and pious, obedient to elders and other good qualities which is admired in the Baluchi culture. But if the newborn is a daughter, they pray her to be chaste, faithful, a good housewife, truthful, hospitable, kind to her husband, brother and sisters and faithful to Baluchi culture. The christening and circumcision is often performed on the sixth night of childbirth and during that night femaleguests are entertained by food, perfume, and oil.

Liloo or Looli is in fact lullaby which the mother sings to put the child to sleep. Zayirak is the most melancholy melody among the Baluchis which complains of separation, from unkind darling or miseries of life. Zayirak or Zayirik is accompanied by doleful melodies and the music is played only by Qalam or flute. However, nowadays Zayirak is played with banjo as well. This is a long, monotonous and doleful music which is played with drum and the notes are repeated with slight difference. Zayirak is divided into various branches among which the most famous ones are Ashrafdor Zayirak, Janoozami Zayirak and Zamerani Zayirak. When you hear Zayirak it seems that you are sitting at a melancholy coast listening to the repeated sad notes of the flute with the Gheichak. This resembles the sea waves which start with violence at first but as they approach the coast the tempest subsides and at last the ripples find peace at the seashore. The music starts with a shrill tune, rises to its peak, then gradually subsidies and grows silent. Then after a short pause, again the flutes wail shrilly, and the episode is repeated again and again. Zayirak is sung with or without musical instruments and is sung for the absence of close relatives, such as father, mother, brother, sister, daughter, son, wife, a mistress and even for absence from one's homeland. Zayirak is derived from Zahir which according to the Dehkhoda Encyclopedia means remembrance, sadness and a wish to meet the beloved one. Zahir also means melancholy and dejected. Formerly Zayirak was sung by women during their daily chores specially when they gathered near the mill to grind their wheat into flour. At those times the melody was sung alternately by two groups of women. Such a method of singing is no more observed these days. Nowadays Zayirak is only sung by men by flute, Gheichak and banjo.

In spite of the intrinsic hostility of its landscape and climate, archaeological discoveries have confirmed that Baluchistan was already inhabited in the Stone Age, and the important neolithic site at Mehrgarh is the earliest (7000-3000 B.C.) on the subcontinent. Until its overthrow by Alexander the Great, Baluchistan was part of the Persian Empire, whose records refer to it as "Maka".

In 325 B.C. Alexander led part of his army back from his Indus campaign to Babylon across the Makran Desert at the cost of terrible suffering and high casualties. Thereafter Baluchistan lay for centuries on the shadowy borderlands of the Zoroastrian rulers of Iran and the local Buddhist and Hindu dynasties of northwestern subcontinent.

Islam was brought to Baluchistan in 711 when Muhammad bin Qasim led the army which was to conquer Sind across the Makran route, but the area was always too remote for firm control to be exerted by any of the later local dynasties. It accordingly receives only very passing mention in the court histories of the time. The connections of the inland areas were variously with Iran, Afghanistan and India, those of coastal Makran rather across the Arabian Sea with Oman and the Gulf.

The name "Baluchistan" only came into existence later with the arrival from Iran of the tribes called Baluch (usually pronounced "Baloch" in Pakistan). Just how and when they arrived remains a matter of hot debate, since the traditional legends of their Middle Eastern origins, supposed to have been in the Aleppo region of Syria have been further confused by cranky theories either that like the Pathans they may descend from the Ten Lost Tribes of Israel, or that they originated from Babylon, since "Baluch" is phonetically similar to the names of the god Baal or the Babylonian ruler Belos.

Better evidence is suggested by the Baluchi language which beIongs to the same Iranian group of Indo-European as Persian and Kurdish. This suggests that the Baluch originated from the area of the Caspian Sea, making their way gradually across Iran to reach their present homeland in around A.D. 1000, when they are mentioned with the equally warlike Kuch tribes in Firdausi's great Persian epic, the Book of Kings:

Heroic Baluches and Kuches we saw,
Like battling rams all determined on war.

Warlike the history of the Baluch has certainly always been. As the last to arrive of the major ethnic groups of Pakistan they were faced with the need to displace the peoples already settled in Baluchistan. Some they more or less successfully subjugated or assimilated, like the Meds of Makran and other now subordinate groups. From others they faced a greater challenge, notably from the Brahui tribes occupying the hills around Kalat.

The origins of the Brahuis are even more puzzling than those of the Baluch, for their language is not Indo-European at all, but belongs to the same Dravidian family as Tamil and the other languages of south India spoken over a thousand miles away. One theory has it that the Brahuis are the last northern survivors of a Dravidian-speaking population which perhaps created the Indus Valley civilisation, but it seems more likely that they too arrived as the result of a long tribal migration, at some earlier date from peninsular India.

As they moved eastwards, the Baluch were initially successful in overcoming the Brahuis. Under Mir Chakar, who established his capital at Sibi in 1487, a great Baluch kingdom briefly came into existence before being destroyed by civil war between Mir Chakar's Rind tribe and the rival Lasharis, whose battles are still celebrated in heroic ballads. Although the Baluch moved forward into Panjab and Sind, the authority of the Moghuls stopped them establishing permanent kingdoms there, although the names of Dera Ghazi Khan in Panjab and Dera Ismail Khan in NWFP are still reminders of the Baluch chiefs who conquered these lands in the 16th century. The Baluch who settled in the plains gradually became largely detribalised, forgetting their native language and increasingly assimilated to the local population, with their tribal origins remaining little more than a proud memory.

In Baluchistan itself, which came only briefly under the authority of the Moghuls, the tables were turned on the Baluch by the Brahuis who succeeded in re-establishing their power in Kalat. Throughout the 18th century, the Khans of Kalat were the dominant local power, with the Baluch tribes settled to the west and to the east of them being forced to acknowledge their suzerainty.

The greatest of the Khans was Mir Nasir Khan (1749-1817), whose military success owed much to the regular organisation of his army, with its separate divisions recruited from the Sarawan and Jhalawan areas which constitute the northern and southern parts of the Brahui homeland. The Khanate of Kalat became the nearest thing there has ever been to an independent Baluchistan. This extended beyond the modern boundaries, since Mir Nasir Khan's authority ran as far as the then insignificant town of Karachi. Although dominated by the Brahuis, they themselves became increasingly "Baluchified". Today, for instance, the Brahui language only keeps the first three of its old Dravidian numbers. From "four" upwards Brahuis count in Baluchi, in which most are anyway bilingual.

With the British expansion into northwestern subcontinent and their disastrous first Afghan war (1839-41), internal power struggles within Kalat prompted the first British military interference, and the signing of a treaty in 1841. The British annexation of Sind in 1843 from the Talpur Mirs, themselves a dynasty of Baluch descent, and the subsequent annexation of Panjab meant that Kalat and the other regions of Baluchistan were now part of the sensitive western borderlands of British India, where the possibility of Russian interference induced a permanent state of imperial neurosis. Although the eastern Baluch tribes were partially pacified by the efforts of Sir Robert Sandeman, it was thought easiest to leave the Khan and his subordinate chiefs in control of most of the rest of Baluchistan.

A further treaty was signed in 1876, which forced the Khan to 'lease" the strategic Quetta region to the British but left him in control of the rest of his territories with the aid of a British minister. Granted the rank of a 19-gun salute to mark the size if not the wealth of Kalat, the Khans were for a while content to pursue the eccentric Iifestyle characteristic of so many south Asian princes of the time. One Khan became legendary as a passionate collector of shoes, and made sure no pair would ever be stolen by locking up all the left shoes in a dungeon below the Fort at Kalat.

With the last ruler of Kalat, Mir Ahmad Yar Khan (1902-79), the Khanate again briefly entered the political arena. Exploiting the opaque clauses of the 1876 treaty, which left some doubt as to just how independent Kalat was supposed to be, he hesitated to join Pakistan in 1947. The brief independence of Kalat finally ended in 1948 when the Khan signed the necessary merger documents, followed by his formal removal from power and the abolition of the state's boundaries in 1955. The present shape of Baluchistan was finally rounded out in 1958 when the Sultan of Oman sold Gwadar, given to one of his ancestors by the Khan of Kalat, back to Pakistan.

This land also witnessed the glorious era of Indus civilization about 8000 years B.C when the first village was found at Mehargarh in the Sibi District of Balochistan comparable with the earliest villages of Jericho in Palestine and Jarmo in Iraq. Here, during the last decade i.e., 1980’s, the French and Pakistani archaeologists have excavated mud built houses of the Mehergarh people and their agricultural land known for the cultivation of maize and wheat, together with polished stone tools, beads and other ornaments, painted jars and bowls, drinking glasses, dishes and plates.

The archachaeologists believe that by 7000 B.C., the Mehergarh people learnt to use the metal for the first time. From the first revolution of agricultural life the man moved to another great revolution in his social, cultural and economic life. He established trade relations with the people of Turkmenistan, Uzbekistan, Iran and the Arab world. He not only specialized in painting different designs of pottery, made varieties of pots and used cotton and wool but also made terracotta figurines and imported precious stones from Afghanistan and Central Asia. This early bronze age Culture spread out in the countryside of Sind, Balochistan, Punjab and North West Frontier Province of Pakistan.

This early beginning led to the concentration of population into the small towns, such as Kot Diji in Sind and Rahman Dheri in Dera Ismail Khan district. It is this social and cultural exchange that led to the rise of the famous cities of Mohenjodaro and Harrappa, with largest concentration of population including artisans, craftsmen, businessmen and rulers.This culminated in the peak of the Indus Civilization which was primarily based on intensively irrigated agricultural land and overseas trade and contact with Iran, Gulf States, Mesopotamia and Egypt. Dames were built for storing river water, land was cultivated by means of bullock-harnessed plough - a system which still prevails in Pakistan, grainaries for food storage were built, furnance was used for controlling temperature for making red pottery and various kinds of ornaments, beads of carnelian, agate, and terracotta were pierced through and above all they traded their finished goods with Central Asia and Arab world. It is these trade dividends that enriched the urban populace who eveloped a new sense of moral honesty, discipline and cleanliness combined with a social stratification in which the priests and the mercantile class dominated the society. The picture of high civilization can be gathered only by looking at the city of Mohenjodaro, the First Planned City in the World, in which the streets are alligned straight, parallel to each other with cross streets cutting at right angles. It is through these wide streets that wheeled carrages, drwan by bulls or asses, moved about, carrying well-adorned persons seated on them appreciating the closely alligned houses made of pucca-bricks, all running straight along the streets. And then through the middle of the streets ran stone dressed drains covered with stone slabs - a practice of keeping the streets clean from polluted water, seen for the first time in the world.

The legacy of our predecessors at the time of our independence, on August 14, 1947, came to us as a treasure which may be called as Pakistan’s national heritage. So rich and diversified is this heritage that Pakistani nation can be proud of its glorious past, be Islamic, Post Islamic or pre-Islamic period as far back as pre-historic times. No other country of the world can produce the treasure of by gone days as can be found in Pakistan. It is now incumbent upon us to treasure our national heritage and save it from further deterioration and theft.

The establishment of NFCH is much appreciated and a great interest is shown by the general public hence since its establishment in 1994 hundreds of proposals were received from different agencies and individuals for the conservation, preservation and publication of the Pakistan’s national heritage. It is hoped that with the continued patronage of the government, the Philanthropists and the Business Community to the NFCH we shall be able to achieve the aforesaid goal.

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