Speen Tumbal (white Tambourine)

Dr. Yaseen Iqbal Yousafzai

Publishing Date: Tuesday, November 22 2005

Authored by: Mr. Nisar Mohammad Khan
Published by: Pushto Academy Peshawar (2005)
Pages: 262
Price: Rs.180

Pukhtun is one of the culturally richest nations of the world. Apart for being their mother tongue, Pukhto has been a code of their life as well. This code includes a democratic and justice system (i.e. Jirga), faithfulness, bravery, self-pride and many social values and norms. The verbal promise of a Pukhtun had attained such a high level of reliability that none used to bother about writing agreements or keeping records. This was good in the sense that Pukhtuns tried their best to keep their promises but as a consequence of these verbal codes, the culture of writing could not nourish properly. Consequently, no attention was paid to Pukhto-writing until the Ameer Sher Ali Khan's initiatives (1863-1879) who was advised by Jamal-ud-Din Afghani to develop his mother tongue. In spite of the very rich culture, we have very little on record. The rapid cultural transformations and revolutions in communication systems are speculated to wash away the colourful global cultural diversity. Our present plays the role of a junction between the past and the future but sometimes we forget our past, resist our present and ignore our future. This attitude damages cultures and leads to vacuums where national identities are lost. In such situations, we need talented pioneers who not only promote cultures and traditions but have the capabilities to preserve them as well.

Mr. Nisar Mohammad Khan, born and bread in the culturally rich land of District Swabi (NWFP) has played a key role in broadcasting and presenting the Pukhtun culture through radio, TV and cinema. It is worth mentioning here that Paneni who wrote the grammar of the prehistoric language "Sanskrit" and Hafiz Marghozay who wrote the only Pukhto Shahnama of Ahmad Shah Abdali came from the same district. After a life long struggle to promote Pukhtun culture, Mr. Khan has now stepped forward to preserve the knowledge and history of the national art and artists, particularly music by writing his unique book SPEEN TAMBAL "The white tambourine". The quality and quantity of information compiled in the book indicates that his several decade long association with Radio Pakistan Peshawar was that of a missionary who encouraged artists, musicians, writers and poets in an environment where art is loved but the artist is looked down upon.

The book under-review has been written in a unique style of one-to-one dialogue of the author with the moon in a sequential and skilful manner. The author's visualization of the full moon as a "white tambourine" consistent with the context of the book presents a calculated reflection of the artistic as well as philosophic standard of the author. On one hand the author is well-equipped with the knowledge and art of his subject and on the other hand the moon has been posed as witnessing the culture from times immemorial. The book is full of the very cultural scenes and words which in itself enriches the language. The beauty of the book has been increased by the rare photographs of many artists whose voices were known to the lovers of Pukhto music and drama for many decades but none had ever seen the faces behind those evergreen songs. The book carries the rare photographs of Gulnar Begum who had sung several thousands top class songs for Radio Pakistan Peshawar and Pukhto film industry but observing the traditional Pukhtun veil (Purda), she never exposed her face to the audience till her death. The book is full of rare autobiographies of artists and musicians which helps the reader to build a relationship between the old and new art of music and film.

The author has neither compromised the comprehension of the book nor ignored a single genre of Pukhto poetry. There is no doubt in author's authority of the subject but the most exciting and thrilling aspect of the book is the description of forty one forms of ATHENR (a specific traditional tribal dance). These traditional dances constitute a substantial part of Pukhto music and culture but were never discussed in such a systematic manner. Keeping in view the 52 tribes of Pukhtuns each having her own ATHENR, there should be 52 forms of ATHENR which needs to be explored. Additionally, the book has discussed the visits of various foreign artists of the time to Peshawar and their contribution to local art.

The book is one of the very valuable books ever written on Pukhtun culture in Pukhto and will not only enthral its readers but will motivate others to preserve their art and culture as well.