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Punjabi culture

(Redirected from Culture of Punjab)

Punjabi culture grew out of the settlements along the five rivers (the name Punjab, is derived from two Persian words, Panj meaning "Five" and Âb meaning "Water") which served as an important route to the Near East as early as the ancient Indus Valley civilization, dating back to 3000 BCE.[1] Agriculture has been the major economic feature of the Punjab and has therefore formed the foundation of Punjabi culture, with one's social status being determined by landownership.[1] The Punjab emerged as an important agricultural region, especially following the Green Revolution during the mid-1960's to the mid-1970's, has been described as the "breadbasket of both India and Pakistan".[1] Besides being known for agriculture and trade, the Punjab is also a region that over the centuries has experienced many foreign invasions and consequently has a long-standing history of warfare, as the Punjab is situated on the principal route of invasions through the northwestern frontier of the Indian subcontinent, which promoted to adopt a lifestyle that entailed engaging in warfare to protect the land.[1] Warrior culture typically elevates the value of the community's honour (izzat), which is highly esteemed by Punjabis.[1]

Traditional Punjabi dance, Kikkli.

Music

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Main article: Music of Punjab

Bhangra is one of the many Punjabi musical art forms that are increasingly listened to in the West and becoming a mainstream favourite.[2] Punjabi music is used by western musicians in many ways, such as mixing with other compositions to produce award-winning music. Sufi music and Qawali, commonly practiced in Pakistani Punjab; are other important genres in the Punjab region.[3][4]


History of Modern Music

Punjabi music started to develop and alter in the 20th century as it was impacted by Western musical genres including pop, rock, and hip-hop. As a result, a brand-new genre of Punjabi music emerged, fusing contemporary beats and production methods with traditional instruments and melodies. Gurdas Maan was a trailblazer of the new Punjabi music scene, becoming well-known in the 1980s with singles like "Challa" and "Mamla Gadbad Hai." Traditional Punjabi folk tunes were blended with contemporary production methods in Maan's music, while societal themes including drug misuse, poverty, and governmental corruption were frequently touched upon in his lyrics.[5]

Dance

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See also: Punjabi dance

Punjabi dances are performed either by men or by women. The dances range from solo to group dances and also sometimes dances are done along with traditional musical instruments. Bhangra is one of the most famous dances originating in the Punjab by farmers during the harvesting season. It was mainly performed while farmers did agricultural chores. As they did each farming activity they would perform bhangra moves on the spot.[6] This allowed them to finish their job in a pleasurable way. For many years, farmers performed bhangra to showcase a sense of accomplishment and to welcome the new harvesting season.[7] Traditional bhangra is performed in a circle[8] and is performed using traditional dance steps. Traditional bhangra is now also performed on occasions other than during the harvest season.[9][10] Ghidda is also a famous dance from Punjab. This dance is for women and originates thousands of years ago, it resembles femininity and beauty.[citation needed]

Art

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Painting in the Punjab developed during the reign of Iltutmish of the Khilji dynasty, who had patronized it.[11] A historical reference to this was made in the Tarikh-I-Ferozeshi.[11] Sikh art, including Sikh painting, is mostly derived from Punjab's art traditions.[11] B.N. Goswamy argues that painting in the Punjab goes back to the 16th century and became influenced by the Mughal school in the early half of the 18th century.[12] Punjabi Sikh forays into painting were mostly limited to wall paintings decorating the walls of religious sites up until the early 19th century.[13] Miniature painting depicting Hindu religious scenes and themes was popular in the Punjab Hills amongst the various Pahari Rajput states.[13]

Between 1810–1830, the Sikhs began to commission these Pahari artists to paint Sikh subjects and settings, mostly Sikh royalty and nobility.[13] After Sikhs began to progressively come into more and more contact with Europeans after 1830, the main influence on Punjabi Sikh art shifted from Pahari styles and methods to European ones.[13] The Punjabi form and localization of Company paintings would be born out of this increased interaction between European and Punjabi artists.[13] Thus, Pahari-influenced traditional miniature paintings began to be surmounted by European-influenced Company school paintings.[13] Lahori and Amritsari artists increasingly abandoned using the traditional Indic medium of gouache for watercolour techniques.[13]

In 1838–39, a British visitor hired local Punjabi artists to produce pictures covering the various kinds of inhabitants of northern India using British-supplied paper and bound into an album.[13] Images of the Sikh royals and military were documented in these British-patronized local paintings.[13] Many Europeans were employed by the Lahore Durbar, such as the Frenchman Jean-François Allard, and were sponsors of the local arts.[13] A few European artists who visited the Sikh court of Lahore and left a deep impact on the local art were: G. T. Vigne (visited in 1837), William G. Osborne (visited in 1838), Emily Eden (visited in 1838 alongside her brother), and August Schoefft (arrived in 1841).[13] Eden had a large impact, as her published work Portraits of the Princes and People of India (which included lithographic depictions of Sikhs and Punjabis) was a big success and many copies of the work made their way to Punjab where they ended up giving further shape to the emerging Punjabi Company School.[13] Schoefft spent over a year in Punjab painting various local scenes and subjects.[13] During the Anglo-Sikh Wars, many of the British officials and soldiers who made their way to Punjab were artists.[13] An example is Henry Lawrence, who painted local residents of various walks of life.[13] Many Indian artists who followed the Company school were hired to paint Punjabi subjects and settings.[13] When the Sikh Empire was annexed in 1849, local Punjabi artists working in the Company style created works based upon stock sets for the purpose of selling them to European tourists in the local bazaars.[13] These Punjabi paintings geared towards a European audience depicted "Sikh rulers, heroes, occupations, and costumes".[13]

Wall paintings

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Murals (including frescoes) feature prominently in Punjab and showcase various themes.[14] Punjabi murals differ from Punjabi miniature paintings in that the wall paintings were far more readily accessible and viewable by the general masses rather than being mostly an affair restricted to the privileged classes of the society, as in the case of miniatures.[14] Since murals could be seen by all walks of society, the things depicted in them were commonly understood subjects that required no specialized knowledge.[14] Punjabi murals can depict religious or secular settings.[14]

Religious themes

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Mural depicting a scene from Indic mythology, located within the Samadh of Maharaja Ranjit Singh in Lahore, ca.1840's. The mythological scene depicted is likely a Vaishnavist scene from the Mahabharata or Ramayana epics.

Religious-themed murals are often found at religious shrines, such as Hindu and Sikh temples.[14] Scenes from Indic mythology, such as the Mahabharata, are commonly found, an example being the unveiling of Draupadi.[14]

Religious murals depicting female figuratives were often Shaktist in-nature.[14] A prevailing theme of the divine (the Shakti) incarnating in feminine form (these unique forms are given various names, such as Kali) to battle with negative forces (that are hostile to the deities and mankind), including demons (such as Mahishasura) and giants (such as Shumbha and Nishumbha), is a commonly witnessed scene of Punjabi murals.[14] The scenes depicted by this category of wall paintings are seemingly drawn from the Markandeya Purana, which promotes the reverence of Shakti as the divine-mother figure.[14]

Other scenes found in Punjabi wall paintings seem to stem from the stories of the Bhagavata Purana.[14] An example of a type of mural scene derived from it is Radha being surrounded by youthful gopis.[14] Krishna is also commonly depicted alongside gopis in this sort of mural.[14] Krishna is sometimes shown playing his flute whilst the gopis perform the ras-lila around him or he is shown stealing clothes from the gopis, an episode known as chira-harana.[14]

Aside from Hindu themes, there are also depictions based upon Sikh history and themes, such as Sikh gurus, martyrs (shaheeds), and religious figures (an example being bhagats).[14]

Secular themes

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Fresco depicting a hunting scene from a Punjabi Muslim khangah (Khangah Dargani Shah at Dhun Dhaewal) located on the right bank of the Beas River near Chola Sahib, Tarn Taran district

Amid the murals based on profane subjects, depictions of scenes from traditional Punjabi folklore are commonplace, such as Heer Ranjha, Mirza Sahiban, Sohni Mahiwal, Sassi Pannu, Laila Majnun, Raja Rasalu, and more.[14] A lot of the depicted stories are ultimately based upon bardic literature, such as the legends of Shah Behram and Husan Banu.[14] There are also paintings based upon traditional folk ballads, such as Puran Bhagat.[14] Additionally, there are paintings of various Nayika themes, including the Ashta-nayika (eight heroines).[14] There also exists wall paintings based upon the Sat Sai of Bihari.[14] There are further depictions of various royal figures, such as Rani Jindan.[14] Many Punjabi wall paintings depict women and girls in the process of a variety of actions, such as feeding parrots, peacocks, or bucks.[14] Women are also depicted fondling pets or writing love letters in these wall paintings.[14]

 
Fresco depicting a dalliance scene from Jandwal temple in Hoshiarpur district

Usually displayed less conspicuously, there were also wall painting depicting sexual or erotic themes.[14] It was a common practice to decorate the walls of Islamic and Hindu palaces with erotic scenes.[14] The Sikh royalty and nobality during the reign of the Sikh Empire had their residences embellished with these erotic wall paintings. General Paolo Avitabile had his private residence quarters decorated with figures of scantily clad dancing girls and Indic deities in the act of making love.[14] At the Rani Mahal of erstwhile Nabha State, there are wall paintings of couples having sex in various positions, settings, and emotions based upon the Koka Shastra treatise.[14] However, it is important to note that these erotic-based murals were limited mostly to the areas frequented by the upper-classes of the Punjabi society at the time.[14]

Weddings

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See also: Punjabi wedding traditions

Punjabi wedding traditions and ceremonies are traditionally conducted in Punjabi and are a strong reflection of Punjabi culture. While the actual religious marriage ceremony among Muslims, Hindus, Sikhs, Jains, Buddhists and Christians may be conducted in Arabic, Urdu, Punjabi, Sanskrit, Hindi or Pali by the Qazi, Pundit, Granthi or Priest, there are commonalities in ritual, song, dance, food, and dress. The Punjabi wedding has many rituals and ceremonies that have evolved since traditional times and itself have evolved in Pakistani Punjab and Indian Punjab.

Cuisine

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See also: Punjabi cuisine
 
Tandoori chicken is a popular dish in Punjabi cuisine.

The local cuisine of Punjab is heavily influenced by the agriculture and farming lifestyle prevalent from the times of the ancient Indus Valley civilization. Dishes similar to tandoori chicken may have existed during the Harappan civilization during the Bronze Age of India. According to the archeologist Professor Vasant Shinde, the earliest evidence for a dish similar to tandoori chicken can be found in the Harappan civilization and dates back to 3000 BC. His team has found ancient ovens at Harappan sites which are similar to the tandoors that are used in the state of Punjab. Physical remains of chicken bones with char marks have also been unearthed.[15][16][17] Harappan houses had keyhole ovens with central pillars which was used for roasting meats and baking breads.[18] Sushruta Samhita records meat being cooked in an oven (kandu) after marinating it in spices like black mustard (rai) powder and fragrant spices.[19] According to Ahmed (2014), Harappan oven structures may have operated in a similar manner to the modern tandoors of the Punjab.[20]

Basmati rice is the indigenous variety of Punjab, and various meat- and vegetable-based rice dishes have been developed using it.[21][22][23]


Language and literature

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Main articles: Punjabi language and Punjabi literature
 
Baba Farid, considered the first major Punjabi poet.[24]

The Punjabi language is written with the Gurmukhi alphabet in India and with the Shahmukhi alphabet in Pakistan. Approximately 130 million people speak the Punjabi language.[25]

The earliest writings in Punjabi belong to Nath Yogi era from 9th to 14th century.[26] They referred to God with various names such as "Alakh Nirajan" which are still prevalent in Punjabi vernacular.[26]

The Punjabi literary tradition is popularly seen to commence with Fariduddin Ganjshakar (1173–1266).[24] Roughly from the 12th century to the 19th century, Punjabi Sufi poetry developed under Shah Hussain (1538–1599), Sultan Bahu (1628–1691), Shah Sharaf (1640–1724), Ali Haider (1690–1785), Bulleh Shah (1680–1757), Saleh Muhammad Safoori (1747–1826), Mian Muhammad Baksh (1830–1907) and Khwaja Ghulam Farid (1845–1901). In contrast to Persian poets, who had preferred the ghazal for poetic expression, Punjabi Sufi poets tended to compose in the Kafi.[27]

Punjabi Sufi poetry also influenced other Punjabi literary traditions particularly the Punjabi Qissa, a genre of romantic tragedy which also derived inspiration from Indic, Persian and Quranic sources. The Qissa of Heer Ranjha by Waris Shah (1706–1798) is among the most popular of Punjabi qisse. Other popular stories include Sohni Mahiwal by Fazal Shah, Mirza Sahiba by Hafiz Barkhudar (1658–1707), Sassi Punnun by Hashim Shah (1735?–1843?), and Qissa Puran Bhagat by Qadaryar (1802–1892).

Dress

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See also: Punjabi clothing, Clothing in India, Pakistani clothing, Indian wedding clothes, Mughal clothing, and History of clothing in the Indian subcontinent
Dastar
Main article: Dastar

A Dastar is an proud of headgear associated with Sikhism and is an important part of the Punjabi and Sikh culture. Among the Sikhs, the dastār is an article of faith that represents equality, honour, self-respect, courage, spirituality, and piety. The Khalsa Sikh men and women, who keep the Five Ks, wear the turban to cover their long, uncut hair (kesh). The Sikhs regard the dastār as an important part of the unique Sikh identity. After the ninth Sikh Guru, Tegh Bahadur, was sentenced to death by the Mughal emperor Aurangzeb, Guru Gobind Singh, the tenth Sikh Guru created the Khalsa and gave five articles of faith, one of which is unshorn hair, which the dastār covers.[28] Prior to Sikhi, only kings, royalty, and those of high stature wore turbans, but Sikh Gurus adopted the practice to assert equality and sovereignty among people.[29]

Punjabi suit
Main article: Shalwar kameez
 
Punjabi traditional dress in India

A Punjabi suit that features two items - a qameez (top), salwar (bottom) is the traditional attire of the Punjabi people.[30][31][32] Shalwars are trousers which are atypically wide at the waist but which narrow to a cuffed bottom. They are held up by a drawstring or elastic belt, which causes them to become pleated around the waist.[33] The trousers can be wide and baggy, or they can be cut quite narrow, on the bias. The kameez is a long shirt or tunic.[34] The side seams are left open below the waist-line (the opening known as the chaak[note 1]), which gives the wearer greater freedom of movement. The kameez is usually cut straight and flat; older kameez use traditional cuts; modern kameez are more likely to have European-inspired set-in sleeves. The combination garment is sometimes called salwar kurta, salwar suit, or Punjabi suit.[36][37] The shalwar-kameez is a widely-worn,[38][39] and national dress,[40] of Pakistan. When women wear the shalwar-kameez in some regions, they usually wear a long scarf or shawl called a dupatta around the head or neck.[41] The dupatta is also employed as a form of modesty—although it is made of delicate material, it obscures the upper body's contours by passing over the shoulders. For Muslim women, the dupatta is a less stringent alternative to the chador or burqa (see hijab and purdah); for Sikh and Hindu women, the dupatta is useful when the head must be covered, as in a temple or the presence of elders.[42] Everywhere in South Asia, modern versions of the attire have evolved; the shalwars are worn lower down on the waist, the kameez have shorter length, with higher splits, lower necklines and backlines, and with cropped sleeves or without sleeves.[43]

Festivals

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See also: Punjabi festivals, List of Sikh festivals, List of Hindu festivals in Punjab, and Festivals in Lahore

The Punjabi Muslims typically observe the Islamic festivals.[44][45] The Punjabi Sikhs and Hindus typically do not observe these, and instead observe Lohri, Basant and Vaisakhi as seasonal festivals.[46] The Punjabi Muslim festivals are set according to the lunar Islamic calendar (Hijri), and the date falls earlier by 10 to 13 days from year to year.[47] The Hindu and Sikh Punjabi seasonal festivals are set on specific dates of the luni-solar Bikrami calendar or Punjabi calendar and the date of the festival also typically varies in the Gregorian calendar but stays within the same two Gregorian months.[48]

Some Punjabi Muslims participate in the traditional, seasonal festivals of the Punjab region: Baisakhi, Basant and to a minor scale Lohri, but this is controversial. Islamic clerics and some politicians have attempted to ban this participation because of the religious basis of the Punjabi festivals,[49] and they being declared haram (forbidden in Islam).[50]

Preservation of Punjabi Culture

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In recent years, efforts have been made to preserve and promote Punjabi culture and heritage. One notable example is the Panjab Digital Library (PDL), founded by Davinder Pal Singh. The library's mission is to digitize and preserve historical manuscripts, books, and other materials related to Punjabi language, history, and culture. This initiative has helped to safeguard and promote Punjabi culture for future generations.[51]

See also

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Notes

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  1. ^ A Dictionary of Urdu, Classical Hindi, and English: chāk derives from the Persian "چاك ćāk, Fissure, cleft, rent, slit, a narrow opening (intentionally left in clothes)."[35]

References

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  1. ^ a b c d e Nayar, Kamala Elizabeth (2012). The Punjabis in British Columbia: Location, Labour, First Nations, and Multiculturalism. McGill-Queen's Press - MQUP. ISBN 978-0-7735-4070-5.
  2. ^ Moreno, Jacqueline. "Bhangra conquering one dance move at a time". The Observer. Retrieved 2019-12-26.
  3. ^ Pande, Alka (1999). Folk music & musical instruments of Punjab : from mustard fields to disco lights. Ahmedabad [India]: Mapin Pub. ISBN 978-18-902-0615-4.
  4. ^ Thinda, Karanaila Siṅgha (1996). Pañjāba dā loka wirasā (New rev. ed.). Paṭiālā: Pabalikeshana Biūro, Pañjābī Yūniwarasiṭī. ISBN 978-81-7380-223-2.
  5. ^ songs, Punjabi (2023-05-04). "Top 100 The Evolution of Punjabi Music: From Folk Traditions to Modern Pop Hits". Medium. Retrieved 2024-04-06.
  6. ^ Pandher, Gurdeep. "Bhangra History". Retrieved 28 November 2019.
  7. ^ Singh, Khushwant (23 May 2017). Land of Five Rivers. Orient Paperbacks. ISBN 9788122201079 – via Google Books.
  8. ^ Bedell, J. M. (23 May 2017). Teens in Pakistan. Capstone. ISBN 9780756540432 – via Google Books.
  9. ^ Black, Carolyn (2003). Pakistan: The culture. Crabtree Publishing Company. ISBN 9780778793489.
  10. ^ "Pakistan Almanac". Royal Book Company. 23 May 2017 – via Google Books.
  11. ^ a b c Kaur, Sukhandeep; Viranjan, Ram (24 April 2023). "A Historical Overview of Emergence and Development of Sikh Art in Punjab". ShodhKosh: Journal of Visual and Performing Arts. 4 (1): 389–402. doi:10.29121/shodhkosh.v4.i1.2023.293. eISSN 2582-7472.
  12. ^ Goswamy, B. N. (2000). Piety and splendour : Sikh heritage in art : National Museum, New Delhi, 2000. National Museum. OCLC 1195745832.
  13. ^ a b c d e f g h i j k l m n o p q r Hardgrave, R. L. (1996). An Early Portrayal of the Sikhs: Two 18th Century Etchings by Baltazard Solvyns. International Journal of Punjab Studies, 3(2), 213-27. Accessed via: https://www.laits.utexas.edu/solvyns-project/sikhs.html
  14. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Kang, Kanwarjit Singh (1988). "10. Murals - Social Documents". Punjab Art and Culture. Atma Ram & Sons. pp. 44–47. ISBN 9788170430964.
  15. ^ Lawler, Andrew (30 January 2013). "The Mystery of Curry". Slate.
  16. ^ Ritu, Grishm. "Virasat" (PDF).
  17. ^ Bhuyan, Avantika (9 April 2017). "How archaeologists across the country are unearthing the food of ancestors to shed light on the evolution of eating". The Economic Times.
  18. ^ "7 Kenoyer 2015 Indus Civilization.pdf: ANTHRO100: General Anthropology (002)". canvas.wisc.edu. Retrieved 2020-08-22.
  19. ^ "Full text of "Indian Food Tradition A Historical Companion Achaya K. T."". archive.org. Retrieved 2019-02-06.
  20. ^ Ahmed, Mukhtar (2014). Ancient Pakistan – An Archaeological History. Vol. IV. Foursome Group. pp. 211–. ISBN 978-1-4960-8208-4.
  21. ^ "Jeera Rice Recipe". Indianfoodforever. Indian food forever. 2 September 2019.
  22. ^ "KADHI CHAWAL RECIPE". Indianfoodforever. 2 September 2019.
  23. ^ "Punjabi Pulao Biryani". Khanapakana. Archived from the original on 28 November 2020. Retrieved 26 August 2015.
  24. ^ a b Encyclopaedia of Indian Literature (Vol. 2), Sahitya Akademi, p. 1263
  25. ^ "Punjabi language and the Gurmukhi and Shahmuhi scripts and pronunciation". Omniglot.com. Retrieved 2017-02-27.
  26. ^ a b Hoiberg, Dale (2000). Students' Britannica India. Popular Prakashan. ISBN 978-0-85229-760-5. Archived from the original on 2 April 2023. Retrieved 25 October 2020.
  27. ^ "Articles on Bulleh Shah's Poetry".
  28. ^ “Importance of turban in Sikhism”, earlytimes.in. 2018-05-29.
  29. ^ "Sikh Theology Why Sikhs Wear A Turban". The Sikh Coalition. Retrieved 13 November 2016.
  30. ^ Dominique, Grele; Raimbault, Lydie (1 March 2007). Discover Singapore on Foot (2 ed.). Singapore: Select Publishing. p. 35. ISBN 978-981-4022-33-0.
  31. ^ Fraile, Sandra Santos (11 July 2013), "Sikhs in Barcelona", in Blanes, Ruy; Mapril, José (eds.), Sites and Politics of Religious Diversity in Southern Europe: The Best of All Gods, BRILL, p. 263, ISBN 978-90-04-25524-1, The shalwar kamiz was worn traditionally by Muslim women and gradually adopted by many Hindu women following the Muslim conquest of northern India. Eventually, it became the regional style for parts of northern India, as in Punjab where it has been worn for centuries.
  32. ^ Khandelwal, Madhulika Shankar (2002), Becoming American, Being Indian: An Immigrant Community in New York City, Cornell University Press, p. 43, ISBN 0-8014-8807-9, Even highly educated women pursuing careers continue to wear traditional dress in urban India, although men of similar status long ago adopted Western attire. The forms of dress most popular with urban Indian women are the sari, the long wrapped and draped dress-like garment, worn throughout India, and the salwar-kameez or kurta-pyjama, a two-piece suit garment, sometimes also called Punjabi because of its region of origin. Whereas the sari can be considered the national dress of Indian women, the salwar-kameez, though originally from the north, has been adopted all over India as more comfortable attire than the sari.
  33. ^ Stevenson, Angus; Waite, Maurice (2011), Concise Oxford English Dictionary: Book & CD-ROM Set, Oxford University Press, p. 1272, ISBN 978-0-19-960110-3, Salwar/Shalwar: A pair of light, loose, pleated trousers, usually tapering to a tight fit around the ankles, worn by women from South Asia typically with a kameez (the two together being a salwar kameez). Origin From Persian and Urdu šalwār.
  34. ^ Stevenson, Angus; Waite, Maurice (2011), Concise Oxford English Dictionary: Book & CD-ROM Set, Oxford University Press, p. 774, ISBN 978-0-19-960110-3, Kameez: A long tunic worn by many people from South Asia, typically with a salwar or churidars. Origin: From Arabic qamīṣ, perhaps from late Latin camisia (see chemise).
  35. ^ Platts, John Thompson (February 2015) [1884], A dictionary of Urdu, classical Hindi, and English (online ed.), London: W. H. Allen & Co., p. 418
  36. ^ Shukla, Pravina (2015). The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India. Indiana University Press. p. 75. ISBN 978-0-253-02121-2. You can buy an entire three-piece salwar suit, or a two-piece suit that consists of either a readymade kurta or a kurta cloth piece, each with a matching dupatta. For these, you must have the salwar pants stitched from cloth you buy separately. A third option would be to buy a two-piece ensemble, consisting of the top and pants, leaving you the task of buying an appropriate dupatta, or using one you already own, or buying a strip of cloth and having it dyed to your desire. The end result will always be a three-piece ensemble, but a customer may start with one piece (only the kurta) or two pieces (kurta and pants, or kurta and dupatta), and exercise her creativity and fashion sense to end up with the complete salwar kurta outfit.
  37. ^ Mooney, Nicola (2011), Rural Nostalgias and Transnational Dreams: Identity and Modernity Among Jat Sikhs, University of Toronto Press, p. 260, ISBN 978-0-8020-9257-1, The salwar-kameez is a form of dress that has been adopted widely in Punjab and is now known in English as the Punjabi suit; J. P. S. Uberoi suggests that the salwar-kameez is an Afghani import to Punjab (1998 personal communication). Punjabi forms of dress are therefore constructs or inventions of tradition rather than having historical veracity.
  38. ^ Marsden, Magnus (2005). Living Islam: Muslim Religious Experience in Pakistan's North-West Frontier. Cambridge University Press. p. 37. ISBN 978-1-139-44837-6. The village's men and boys largely dress in sombre colours in the loose trousers and long shirt (shalwar kameez) worn across Pakistan. Older men often wear woollen Chitrali caps (pakol), waistcoats and long coats (chugha), made by Chitrali tailors (darzi) who skills are renowned across Pakistan.
  39. ^ Haines, Chad (2013), Nation, Territory, and Globalization in Pakistan: Traversing the Margins, Routledge, p. 162, ISBN 978-1-136-44997-0, the shalwar kameez happens to be worn by just about everyone in Pakistan, including in all of Gilgit-Baltistan.
  40. ^ Ozyegin, Gul (2016). Gender and Sexuality in Muslim Cultures. Routledge. p. 222. ISBN 978-1-317-13051-2. What is common in all the cases is the wearing of shalwar, kameez, and dupatta, the national dress of Pakistan.
  41. ^ Rait, Satwant Kaur (14 April 2005). Sikh Women In England: Religious, Social and Cultural Beliefs. Trent and Sterling: Trentham Book. p. 68. ISBN 978-1-85856-353-4.
  42. ^ Shukla, Pravina (2015), The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India, Indiana University Press, p. 72, ISBN 978-0-253-02121-2, Muslim and Punjabi women—whether Muslim, Sikh, or Hindu—often wear the dupatta over the head to create a modest look while framing the face with color. When entering a temple, Hindu women might comparably use their dupattas to cover their heads. Though the dupatta is often made of flimsy cloth and does not actually cover the body, its presence implies modesty, like many of the outer garments worn by Muslim women that do not cover much but do provide a symbolic extra layer, ...
  43. ^ Koerner, Stephanie (2016), Unquiet Pasts: Risk Society, Lived Cultural Heritage, Re-designing Reflexivity, Taylor & Francis, p. 405, ISBN 978-1-351-87667-4, The Pakistani National dress worn by women is Shalwar Kameez. This consists of a long tunic (Kameez) teamed with a wide legged trouser (Shalwar) that skims in at the bottom accompanied by a duppata, which is a less stringent alternative to the burqa. Modern versions of this National dress have evolved into less modest versions. Shalwar have become more low cut so that the hips are visible and are worn with a shorter length of Kameez which has high splits and may have a lowcut neckline and backline as well as being sleeveless or having cropped sleeves.
  44. ^ Official Holidays 2016, Government of Punjab – Pakistan (2016)
  45. ^ Official Holidays 2016 Archived 2018-09-01 at the Wayback Machine, Karachi Metropolitan, Sindh, Pakistan
  46. ^ Census of India, 1961: Punjab. Manage of Publications
  47. ^ Jacqueline Suthren Hirst; John Zavos (2013). Religious Traditions in Modern South Asia. Routledge. p. 274. ISBN 978-1-136-62668-5.; Eid ul-Fitar, Ramzan Id/Eid-ul-Fitar in India, Festival Dates
  48. ^ Tej Bhatia (2013). Punjabi. Routledge. pp. 209–212. ISBN 978-1-136-89460-2.
  49. ^ The ban on fun, IRFAN HUSAIN, Dawn, Feb 18, 2017
  50. ^ The barricaded Muslim mind, Saba Naqvi (August 28, 2016), Quote: "Earlier, Muslim villagers would participate in Hindu festivals; now they think that would be haraam, so stay away. Visiting dargahs is also haraam"
  51. ^ Sharma, Sarika (2023-04-23). "20 years of Panjab Digital Library: 6.5 crore manuscripts & counting". The Tribune. Retrieved 2023-04-28.

Other sources

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  • Wrestling in Punjab, documentary film on the history of wrestling in Punjab by filmmaker Simran Kaler.
  • Quraishee 73, Punjabi Adab De Kahani, Abdul Hafeez Quaraihee, Azeez Book Depot, Lahore, 1973.
  • Chopra 77, The Punjab as a sovereign state, Gulshan Lal Chopra, Al-Biruni, Lahore, 1977.
  • Patwant Singh. 1999. The Sikhs. New York: Doubleday. ISBN 0-385-50206-0.
  • Nanak, Punjabi Documentary Film by Navalpreet Rangi
  • The evolution of Heroic Tradition in Ancient Panjab, 1971, Buddha Parkash.
  • Social and Political Movements in ancient Panjab, Delhi, 1962, Buddha Parkash.
  • History of Porus, Patiala, Buddha Parkash.
  • History of the Panjab, Patiala, 1976, Fauja Singh, L. M. Joshi (Ed).
  • The Legacy of The Punjab by R. M. Chopra, 1997, Punjabee Bradree, Calcutta.
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