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Pakistani folklore
Pakistani folklore
Pakistani folklore
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Jahangir and Anarkali.

Pakistani folklore (Urdu: پاکستانی لوک ورثہ) encompasses the mythology, poetry, songs, dances, puppetry and swimming from Pakistan's various ethnic groups.[1]

Origins

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See also: Ancient Iranian religion and Historical Vedic religion

Both Indo-Aryan mythology and Iranic mythology, which evolved from the earlier Indo-Iranic mythology, have played an instrumental role in the development of a wide variety of Pakistani folklore. Despite the historical influence of linguistic and religious differences, the country’s rich folklore tends, in all regions, to deal with the broad themes of love, war, historical events and the supernatural. However, broadly speaking, the folklore of the southern regions tends to draw mainly upon historical events, such as a peasant uprisings and tragic love stories, while the folklore of the northern regions tends to lay greater emphasis on the supernatural, featuring magical/mythological beings such as Deos (giants) and Pichal Peri (fairies).[2]

Types

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Sindhi folklore

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Main article: Sindhi folklore

Sindhi folklore (Sindhi: لوڪ ادب) is composed of folk traditions which have developed in Sindh over many centuries. Sindh thus possesses a wealth of folklore, including such well-known components as the traditional Watayo Faqir tales, the legend of Moriro, the epic tale of Dodo Chanesar and material relating to the hero Marui, imbuing it with its own distinctive local colour or flavour in relation to the folklore of its neighbouring states. The love story of Sassui, who pines for her lover Punhu, is known and sung in every Sindhi settlement. Yet further examples of the folklore of Sindh include the stories of Umar Marui and Suhuni Mehar.[3] Sindhi folk singers of both sexes have played a vital role in the preservation and transmission of Sindhi folklore. They sang the folktales of Sindh in songs with passion in every village of Sindh. Sindhi folklore has been compiled in a series of forty volumes under Sindhi Adabi Board's project of folklore and literature. This valuable project was accomplished by noted Sindhi scholar Nabi Bux Khan Baloch. The material for the project has been collected both from the oral traditions village folks and the written record. This folklore series deals with many different genres within Sindhi folklore and literature, including (among others) fables, fairy-tales, pseudo-historical romances, folk-poetry, folk songs, proverbs and riddles.

Tales

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The most famous Sindhi folk tales are known as the Seven Heroines (Sindhi: ست سورميون) of Shah Abdul Latif Bhittai.

Dance

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Baloch folklore

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Main article: Balochi culture § Folklore

Baloch folklore (Balochi: بلوچ لوک) consists of folk traditions which have developed in Balochistan over many centuries.[4] The majority of such folk traditions are preserved in the Balochi or Brahui languages and deal with themes such as tragic love, resistance and war.[5] The Baloch are known to respect bravery and courage, as is required under the Baloch code of Baloch Mayur. Many Baloch tribal leaders (Tamandar) are honoured through folk songs and ballads, notably those Tamandar remembered for their zeal in defending the principle of ahot (protection).

Tales

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  • Hani and Sheh Mureed
  • Kiyya and Sadu[6]
  • Shahdad and Mahnaz
  • Lallah and Granaz
  • Bebarg and Granaz
  • Mast and Sammo
  • Balach and the Bulethis[7][8]
  • Shahdad Chota – tells the tale of a Baloch mercenary who battled the Portuguese in Makran.[9]

Dance

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  • Chaap - a Baloch style of dancing, has a curious rhythm distinguished by an inertial back sway with every forward step.[1]

Chitrali folklore

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Main article: Chitrali folklore

Chitrali folklore (Khowar: کهووار لوک) encompasses folk traditions which have developed in the Chitral region of Khyber Pakhtunkhwa. Tales from this region are centered on the supernatural realm of ghosts and spirits and the events related in them are usually said to have taken place on cold winter nights.[10]

Tales

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  • Azhdaar - a type of Chitrali dragon, described as a large, winged serpent with a golden mane like that of a lion. Tales surrounding the azhdaar usually feature its protecting treasure and devouring warriors. Such tales often feature the motif of a warrior protecting himself from being devoured by an azhdaar by placing his sword above his head with the tip of the blade in one hand and the hilt in the other, resulting in the laceration of the dragon's fish-like mouth.
  • Halmasti - folk tales describe the Halmasti as a wolf-like creature the size of a horse, which spits flames out of its mouth (compare the black dog of European folklore). According to local tradition, encountering the halmasti is a bad omen, with such sightings happening usually at night. To this day, many truck and jeep drivers from Chitral's remote valleys will claim to have seen the halmasti running alongside side their vehicles at night, just before experiencing harrowing accidents.
  • Barmanu - The Chitrali equivalent of bigfoot or the yeti, described as large bipedal apes, which often attack livestock or attempt to abduct women, although sightings of such creatures in Chitral are extremely rare, with some claiming that the true source of tales of the barmanu lies in the Ghizer district of Gilgit-Baltistan.
  • Chatiboi - described as a creature which howls out horrible cries during flash floods and avalanches in Chitral.
  • Chumur Deki - described as an iron-legged creature, which roams about Chitral on snowy winter nights.
  • Nangini - a type of female entity rooted in the ancient folk religion of Chitral, the Nangini was believed to be the supernatural protectress of the home, and consequently held in high reverence.

Dance

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According to Anjuman Taraqqi Khowar Chitral, there are several main Chitrali dances:[11]

  • Shishtuwar
  • Nohtik
  • Phastok
  • Barwazi
  • Shabdaraz
  • Tatari Wawari
  • Khongora Phonik

Kashmiri folklore

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Main articles: Kashmiri folklore and Kashmiri mythology

Kashmiri folklore (Kashmiri: کٲشِرؠ لوک) are folk traditions that have developed in Pakistan-administered Azad Jammu and Kashmir and Indian-administered Jammu and Kashmir over a number of centuries. Kashmiri is rich in Persian words [12] and has a vast number of proverbs, riddles and idiomatic sayings that are frequently employed in everyday conversation.[13] Folk heroes and folktales reflect the social and political history of the Kashmiri people and their quest for a society based on the principles of justice and equality.[14]

Tales

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  • Layak Tchoor (transl. Exemplary Thief) tells the tale of a young man who was known to steal from the rich and distribute it among the poor in the Kashmir Valley. He would cover himself in oil, enter the premises of wealthy individuals through their chimneys and then escape with all their gold. Layak Tchoor is among several venerated thieves in Kashmiri folklore, including, Usman Cacha, Madav Lal and Layak Singh.[15]
  • The Legend of Himal and Nagrai (Himal Nagraya)
  • Shireen Farhad
  • Aka Nandun
  • Gul Noor

Dance

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Dances are done on all major functions and weddings in Kashmiri traditions such as birthdays, weddings, and crop harvesting. These include:[16]

  • Kud
  • Dumhal
  • Rouf
  • Bhand Pather
  • Bacha Nagma
  • Hafiza
  • Bhand Jashan
  • Wuegi Nachun

Pashtun folklore

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Main article: Pashtun folklore

Pashtun folklore (Pashto: پښتون لوک) are folk traditions which have developed in Khyber Pakhtunkhwa and Afghanistan over a number of centuries.

Tales

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Dance

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Punjabi folklore

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Main article: Punjabi folklore

Punjabi folklore (Punjabi: پنجابی قصه) is a tradition of Punjabi language oral story-telling that came to Punjab with the fusion of local people and migrants from the Arabian peninsula and contemporary Iran.[17] Where Qisse reflect an Islamic and/or Persian heritage of transmitting popular tales of love, valour, honour and moral integrity amongst Muslims, they matured out of the bounds of religion into a more secular form when it reached Punjab and added the existing pre-Islamic Punjabi culture and folklore to its entity.[17] The word qissa is an Arabic word meaning epic legend or a folk tale.

The Punjabi language is famous for its rich literature of qisse, most of the which are about love, passion, betrayal, sacrifice, social values and a common man's revolt against a larger system. In the Punjabi tradition, friendship, loyalty, love and qaul (verbal agreement or promise) are given utmost importance and most of the stories in the qisse hinge on these critical elements. Qisse are attributed to have inspired folk music in Punjabi and have added depth and richness to its delivery. These traditions were passed down generations in oral or written forms and were often recited, told as bedtime stories to children or performed musically as folk songs. Each qissa, if performed, has its unique requirements. A person able to sing or recite one may not necessarily transmit another.

The vocal ranges on the musical scale and accurate pauses, if not performed well leaves a performer breathless and unable to continue. Most of the beats used in modern Punjabi music (often misleadingly labelled Bhangra), originated from qissa tradition and recitations in old times. Qisse also boast to be among the best poetry every written in Punjabi. Waris Shah's (1722–1798) qissa of Heer Ranjha (formally known as Qissa Heer) is among the most famous Qisse of all times. The effect of Qisse on Punjabi culture is so strong that even religious leaders and revolutionaries like Guru Gobind Singh and Baba Farid, etc., quoted famous Qissas in their messages. It will not be wrong to say that popularity and nearly divine status of Qisse in Punjabi actually inspired many generations of spiritual leaders and social activists to combine the message of God with teenage love tales. This gave rise to what is known as the Sufi movement in Punjab region. The most popular writer/poet to have written Punjabi Sufi Qisse was Bulleh Shah (c.1680-1758).

Tales

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Main article: Punjabi Qisse

Most of the Punjabi folktales (qisse) were written by Muslim poets who wandered the land.

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pakistani folklore

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Pakistani folklore encompasses the diverse array of folk songs, folktales, myths, legends, customs, proverbs, and traditions originating from the ethnic groups across Pakistan's four provinces—Punjab, Sindh, Khyber Pakhtunkhwa, and Balochistan—as well as its tribal areas and territories such as Azad Kashmir and Gilgit-Baltistan, reflecting the country's rich multicultural heritage passed down orally through generations. This body of oral and performative traditions includes elements such as , music, dances, and , serving as a mirror to the socio-cultural contexts of local communities and embodying shared values, beliefs, and historical narratives. Shaped by a complex historical tapestry, Pakistani folklore draws influences from ancient civilizations including the Indus Valley, Vedic periods, Persian incursions, Indo-Greek interactions, and later Islamic and British colonial legacies, which have layered diverse motifs into its narratives. Post-1947 partition, these traditions have further evolved under the impact of Sufi and formation, often integrating Islamic themes while preserving pre-Islamic elements like heroic epics and romantic quests. Regionally, Pakistani folklore exhibits striking variations that highlight ethnic diversity: in , romantic epics like —an 18th-century Punjabi tale by depicting forbidden love and spiritual devotion amid agrarian life—dominate, alongside proverbs and folk theatre addressing social issues such as gender exploitation. Sindh's traditions feature Sufi-infused love stories like Sassui Punhun, , and Umar Marui, which emphasize themes of sacrifice, chastity, and resistance, often set against the landscape and drawing on the province's historical role as an early center of in the subcontinent. In , Pashtun folklore includes ballads such as Adam Khan and Durkhanai and proverbs (mataloona) that reinforce codes like —encompassing honor, hospitality, and gender norms—while Balochistan's epics, like Hani and Shah Mureed, portray tribal heroism and loyalty in arid, nomadic settings. Common themes across these traditions include romantic love as a for divine pursuit, valor in the face of adversity, social critique, and the preservation of , often functioning as tools for , community cohesion, and resistance against . Festivals like the in the northern regions exemplify folklore's role in fostering unity amid diversity, blending sports, , and to regenerate communal bonds. Despite challenges from modernization and colonial legacies that have led to neglect, efforts in documentation and performance continue to underscore folklore's enduring significance in constructing a multifaceted .

Origins and Influences

Ancient and Pre-Islamic Roots

The ancient roots of Pakistani folklore trace back to the Indus Valley Civilization (circa 3300–1300 BCE), where archaeological artifacts from sites like and reveal early motifs of mythical creatures and symbols that persisted in oral traditions and symbolic beliefs. Steatite seals from often depict tigers and composite animals, interpreted as representations of a tiger-goddess associated with and protection, alongside terracotta figurines of mother goddesses emphasizing abundance and regeneration. These motifs influenced later South Asian folk narratives, with tiger-like figures symbolizing guardianship in regional tales of human-animal harmony. Similarly, unicorn-like figures on seals represent a sacred animal motif, echoing in broader South Asian legends of mysterious entities tied to natural cycles. Vedic influences, originating from the composed in the region (Sapta Sindhu, encompassing parts of modern ) around 1500–1200 BCE, shaped early folklore through hymns praising rivers like the Indus (Sindhu), nature deities, and heroic deeds that evolved into Punjabi and Sindhi proverbs, riddles, and tales of cosmic order and . Indo-Greek interactions during the (circa 3rd–1st century BCE) introduced motifs of heroic quests and hybrid creatures into northwest folklore, as seen in local legends of Iskander () battling dragons and giants in and regions, blending Greek adventure narratives with indigenous spirit beliefs. Zoroastrian and Buddhist influences from pre-Islamic eras further shaped northern Pakistani , particularly in and , through rituals and epic narratives of heroism and cosmic order. Zoroastrian elements appear in Balochi traditions as deities like Khorshed (sun ) and Meher ( of light), invoked in protective prayers akin to ancient practices that venerate elemental forces for guidance and warmth. These blend with pre-Islamic customs, fostering tales of heroic figures battling chaos, reflective of Zoroastrian dualism between light and darkness. Buddhist contributions, evident in Gandhara's legacy, include —moral stories of the Buddha's past lives featuring animals and cosmic struggles—that informed oral epics of and enlightenment in Taxila's scholarly milieu. Such narratives, transmitted orally before inscription, influenced legends of protagonists overcoming moral trials, as seen in fragmented heroic cycles emphasizing karma and rebirth. Pre-Islamic tribal customs in the and regions preserved oral epics centered on s and nature spirits, documented through and local lore in . Petroglyphs in areas like the Swat Valley and depict armed horsemen in battle, symbolizing a nomadic ethos tied to and intertribal conflicts, as recorded in early 20th-century ethnographies. Legends such as the Kesar Saga, a Central Asian-derived epic variant found in Hunza and , recount a hero's quests against demonic foes, blending martial valor with animistic reverence for mountain spirits. Nature spirits, including fairies (pari) and protective deities like Murkum in the Haramosh Valley, feature in tales attributing rock carvings to nocturnal magical rituals, underscoring a worldview where humans negotiate with beings for . Central Asian migrations, including Scythian and Kushan movements from the 1st millennium BCE, introduced motifs like dragon slayers and nomadic proverbs into Pakistani folklore, particularly in the northwest. Indo-Iranian heroic archetypes, such as those exemplified in the legend from Scythian-influenced traditions, portray thunder-god avatars slaying serpentine dragons symbolizing chaos and watery depths; such motifs may have been disseminated via traders to influence epics in the Indus Valley. Sogdian inscriptions along northern Indus routes (4th–7th centuries CE) evidence cultural exchanges that embedded dragon-slaying narratives in local epics of cosmic battles. Nomadic proverbs emphasizing resilience and horse mastery, rooted in Scythian , appear in Pashtun and Balochi sayings about enduring hardships, reflecting migratory adaptations to rugged terrains.

Islamic and Sufi Influences

The arrival of Islam in the region that now constitutes began in the 8th century, primarily through Arab traders along the coastal ports of and the Umayyad Caliphate's military conquest led by Muhammad bin Qasim in 711 CE, which established Muslim rule in . This introduction facilitated the integration of Islamic supernatural elements, such as —supernatural beings mentioned in the —and narratives of prophets like (), into pre-existing local mythologies. For instance, tales of inhabiting ancient ruins, trees, and rivers became commonplace in Sindhi and , often blending with indigenous spirit beliefs to create hybrid stories where could be benevolent helpers or malevolent tricksters, as seen in legends associating Koh-e-Suleiman with the prophet's control over . stories, drawn from Islamic tradition, were adapted to emphasize moral lessons, such as 's wisdom in taming supernatural forces, thereby enriching local oral traditions with themes of divine justice and the unseen world. Sufi saints played a pivotal role in embedding moral allegories and devotional tales into Pakistani folklore, using poetry to bridge Islamic spirituality with vernacular culture. In Sindh, Shah Abdul Latif Bhittai (1689–1752), a revered Sufi poet, incorporated local romantic legends into his collection Shah Jo Risalo, transforming folk heroines like Sassui into symbols of spiritual longing and divine love, thus infusing Sufi mysticism with indigenous motifs of separation and reunion. Similarly, in Punjab, Bulleh Shah (1680–1757) drew on Punjabi folk traditions in his kafis (devotional poems) to promote unity beyond religious divides, portraying everyday rural life and folklore characters as vehicles for Sufi teachings on humility, love, and the rejection of orthodoxy. These works not only popularized Sufi ideas among the masses but also preserved and evolved folklore by layering Islamic ethical narratives onto secular tales, fostering a shared cultural idiom. During the medieval period, particularly in and under Muslim rule from the 12th to 18th centuries, a profound synthesis occurred as Sufi poets reinterpreted Hindu epics and local legends through Islamic lenses, creating romantic narratives that emphasized universal themes of devotion and transcendence. , such as the Punjabi qissas (romantic epics) and Sindhi baital poetry, adapted elements from epics like the into allegories of the soul's journey toward God, influenced by Sufi orders like the Chishti and Suhrawardi, which promoted syncretism between Vedantic and Islamic . This fusion is evident in how romantic legends, such as those of Heer-Ranjha in , were imbued with Sufi symbolism of divine union, transforming secular love stories into moral and spiritual parables that resonated across communities. In the colonial era of the 19th and 20th centuries under British rule, preservation efforts documented these blended traditions, particularly in and the tribal areas along the northwest frontier, through ethnographic works by British administrators and scholars. Richard F. Burton, a British officer in , compiled a comprehensive list of Sindhi legends in his 1851 publication Sindh, and the Races that Inhabit the Valley of the Indus, capturing oral tales that merged Islamic prophet narratives with local myths, such as lore tied to ancient sites. In , Captain R.C. Temple's 1884 collection Legends of the recorded folk stories from rural and tribal communities, including Sufi-influenced romantic epics and moral tales, aiding in the transcription of oral traditions amid modernization pressures. These efforts, while shaped by colonial agendas, helped safeguard hybrid elements in printed form before widespread altered transmission practices.

Shared Elements

Folktales and Legends

Pakistani folklore is replete with folktales and legends that form a core part of its narrative traditions, serving as vehicles for exploring human experiences through stories of love, adventure, and ethical dilemmas shared across diverse ethnic groups. These narratives, often embedded with motifs of fate, honor, and communal values, transcend regional boundaries and reflect the syncretic cultural fabric influenced by ancient migrations and historical exchanges. Unlike terse proverbs or ritual customs, these extended tales emphasize character-driven plots that instruct and entertain, fostering a of in a multi-ethnic society. Romantic tragedies dominate many folktales, featuring the archetypal motif of lovers separated by fate, where societal barriers or inexorable circumstances lead to and unfulfilled longing. These stories frequently portray forbidden as a defiant act against rigid norms, culminating in poignant resolutions that blend human passion with spiritual undertones, such as divine intervention symbolizing as a transcendent force. For instance, narratives often depict protagonists enduring trials like separation by family feuds or natural calamities, underscoring themes of devotion and inevitability that resonate universally in Pakistani oral lore. elements occasionally enhance these tales, introducing jinns or fateful omens to heighten the of romantic destiny. Heroic legends center on quests for or , embodying generalized tribal honor codes that prioritize valor, , and retribution as pillars of communal integrity. Protagonists, typically warriors or adventurers, navigate perilous journeys to uphold principles akin to —encompassing , for wrongs, and of the vulnerable—while confronting adversaries in tales of bravery and moral reckoning. These legends illustrate the hero's pursuit not merely of material gain but of restoring equilibrium in tribal societies, with conflicts resolved through cunning strategy or unyielding resolve, thereby reinforcing ideals of collective honor over individual gain. Moral tales, frequently anthropomorphic fables featuring animal protagonists, impart lessons on community values such as , cunning, and ethical conduct, using clever beasts to mirror follies and virtues. In these stories, characters like foxes or outwit stronger foes through wit rather than force, teaching that resourcefulness and sustain social bonds, while or invites downfall. Such narratives, drawn from shared Indo-Persian influences, emphasize practical for daily life, encouraging listeners to prioritize communal harmony and shrewd navigation of challenges. The oral transmission of these folktales and legends occurs primarily through storytelling during communal gatherings, such as evening sessions around firesides or festivals, where elders recount narratives to impart cultural continuity and entertain younger generations. This method has been crucial in preserving folklore amid historical upheavals, particularly post-1947 partition, when displacement and modernization threatened indigenous traditions; institutions like Lok Virsa, established in 1974, have since documented and promoted these stories to safeguard national heritage against urbanization and literacy gaps. Despite challenges like diminishing family storytelling due to technological shifts, these oral practices endure as vital links to pre-partition identities, ensuring the motifs of love, heroism, and morality remain alive in collective memory.

Proverbs, Riddles, and Customs

Pakistani folklore is replete with that encapsulate moral and social wisdom, often drawing from agricultural cycles, dynamics, and concepts of fate. These pithy expressions, transmitted orally across generations, reinforce communal values and cautionary lessons. For instance, a common Punjabi proverb translates to "What you sow, so shall you reap," emphasizing the inevitability of consequences from one's actions, akin to the harvest's yield. Similarly, in Punjabi, "Sae di man bhani" conveys that "A woman's worth lies in her husband's approval," highlighting traditional hierarchies and expectations. Another Punjabi variant, "A is a guest in her father’s house," underscores the transient role of women in natal families, perpetuating patriarchal norms. A shared proverb, "Da zrra pa zrra ye pa zrra" (One who sows thorns reaps thorns), echoes the agricultural theme of consequences across ethnic lines. These , analyzed in ethnological studies, illustrate how linguistic variations in Punjabi, , and other tongues sustain cultural stereotypes while providing practical guidance. Riddles form a playful yet educational component of Pakistani oral traditions, particularly in rural settings where they sharpen skills through tied to everyday surroundings. Often posed during family gatherings or festivals, these enigmas promote and communal interaction, reflecting agricultural and domestic life. A classic Punjabi riddle asks, "A handful of rice tied in a piece of blue cloth. Lost in the day, found again at night," with the answer being the , evoking natural phenomena observable in agrarian nights. Another, "A dry bramble lays eggs," refers to a spinning-wheel, symbolizing household productivity in textile-based rural economies. In a more agricultural vein, "Four pitchers full of ambrosia and not overflowing though turned upside down" describes the udders of a cow or buffalo, linking to central to farming livelihoods. Such riddles, embedded in , serve as intellectual pastimes that teach attentiveness to the environment and objects of daily use. Customs in Pakistani folklore intertwine rituals with oral expressions, embedding proverbs and riddles into life-cycle events and seasonal observances to affirm social bonds. Wedding traditions, such as the mehndi night, involve applying designs while women play the dholki—a small folk drum—accompanying songs that often weave in proverbial wisdom about love and family. The dholki ceremony, held pre-wedding, features rhythmic beats and folk tunes that reinforce communal harmony through participatory music. Harvest celebrations like in mark the wheat crop's culmination with fairs, bhangra dances, and folk songs expressing gratitude for abundance, where riddles and proverbs about sowing punctuate gatherings. These practices blend with routine, using short oral forms to impart lessons on resilience and . The linguistic diversity of Pakistan—spanning , Punjabi, Sindhi, , and others—has shaped the evolution of these elements, with regional variants adapting shared themes. Post-1947, emerged as a unifying medium, facilitating the dissemination of proverbs and riddles across ethnic lines to foster amid partition's upheavals. This integration, while preserving local flavors, allowed customs like rituals to incorporate Urdu-inflected songs, bridging diverse traditions. Such elements occasionally integrate into folktales for moral elaboration, but stand distinctly as concise vehicles of wisdom.

Supernatural Beliefs

In Pakistani folklore, beliefs form a core element of cultural narratives, blending pre-Islamic tribal traditions with Islamic cosmology to interpret the unseen forces shaping human life and the environment. These beliefs often portray invisible entities as intermediaries between the mundane and the divine, influencing daily behaviors, rituals, and explanations for misfortune. Central to this worldview are , ethereal beings capable of shape-shifting and interacting with humans through possession or pacts, reflecting a pervasive fear and fascination with the unpredictable. Jinn, derived from Islamic texts but enriched by local lore, are depicted as intelligent, free-willed entities made of smokeless fire, inhabiting desolate places like ruins and deserts across . They are known for their ability to assume various forms—such as animals, humans, or whirlwinds—to deceive or aid mortals, with tales emphasizing their role in possession, where an afflicted person exhibits erratic behavior, seizures, or prophetic utterances attributed to the 's influence. Bargains with feature prominently in oral traditions, where humans seek favors like wealth or revenge in exchange for servitude or offerings, though such deals often lead to ruin due to the 's capricious nature. Ifrits, a powerful subclass of characterized by their fiery temperament and immense strength, appear in similar stories as cunning antagonists who guard hidden treasures or enforce supernatural justice, underscoring the moral perils of tampering with the unseen realm. These motifs persist in rural communities, where exorcisms by spiritual healers address perceived interference in health and prosperity. Female spirits like pari and churail embody contrasting aspects of benevolence and retribution, often tied to the natural world and gender dynamics. Pari, ethereal fairies of exquisite beauty, are believed to dwell in remote mountains and forests, acting as guardians of and while occasionally bestowing blessings on pure-hearted wanderers through dreams or visions. In contrast, churail—vengeful witches transformed by untimely during or —haunt the living as shape-shifters with backward-facing feet, preying on the wicked by luring them into madness or draining their vitality. These entities punish moral transgressions, such as or neglect of nature, reinforcing communal values through fear; churail tales, in particular, serve as cautionary narratives against harming women or the environment. Both figures appear briefly in shared folktales as allies to heroes or spectral foes, heightening dramatic tension without dominating the plot. Northern tribal beliefs introduce motifs of colossal giants and protective animals, generalized as archetypal forces safeguarding sacred landscapes from human encroachment. Giants, envisioned as towering, primordial beings, symbolize untamed wilderness and are invoked in lore to explain massive geological formations or sudden disasters, embodying the awe-inspiring power of remote terrains. Guardian animals, such as spectral wolves or hounds, patrol ethereal boundaries, warding off intruders and guiding lost souls, their presence linked to ancestral pacts that ensure ecological balance. These elements draw from animistic traditions, portraying nature as alive with vigilant spirits that demand respect. Supernatural beliefs traditionally account for natural phenomena, attributing events like earthquakes to the subterranean writhings of immense dragons or serpentine creatures disturbed by human folly, thus framing disasters as cosmic warnings. In modern , these ideas endure as superstitions, with rural populations performing rituals to appease or churail before farming or travel, and urban migrants consulting healers for possessions amid psychological distress. Such practices highlight the resilience of folklore in contemporary life, blending with Islamic piety to address uncertainties like crop failures or personal crises.

Performing Arts

Folk Music and Songs

Pakistani folk music forms a vital component of the country's oral traditions, serving as a medium for , emotional expression, and communal bonding within . Rooted in diverse ethnic groups, it encompasses devotional, narrative, and functional songs that reflect daily life, , and historical legacies. These melodic traditions often feature call-and-response patterns and , drawing from indigenous practices blended with external influences over centuries. A prominent example is , a Sufi devotional characterized by rhythmic , harmonium , and performances that evoke ecstatic union with the divine. Performed primarily at shrines dedicated to Sufi saints, qawwali explores themes of divine love and spiritual longing through poetic in , Punjabi, and other languages, often praising the Prophet Muhammad or saints like Data Ganj Bakhsh. Originating in 13th-century Persianate Sufi traditions, credited to the poet-musician during the , it remains a cornerstone of Pakistani folk expression, with artists like the exemplifying its communal and trance-inducing style in the . Beyond devotional forms, Pakistani folk songs include structural types such as lullabies, which soothe infants with gentle melodies, and work songs, like those sung by river boatmen or farmers to coordinate labor and alleviate toil. These songs utilize indigenous instruments, including the rubab—a plucked prominent in northwestern Pashtun and Baloch communities for its resonant strings—and the , a double-headed drum providing rhythmic drive in Punjabi harvest celebrations and other provincial gatherings. Common across regions, these instruments facilitate group singing during rituals and daily activities, fostering social cohesion. Thematically, folk songs frequently address separation—evoking longing for loved ones or homeland—and joy, celebrating unions, victories, or natural abundance, often infused with metaphors from rural life. This emotional duality draws from Hindustani classical traditions patronized during the (1526–1857), where gharanas like integrated ragas into folk genres, enriching ghazal-like structures with melodic sophistication. Post-1947, preservation efforts have sustained these traditions through Radio Pakistan's national broadcasts, which maintain extensive archives of folk recordings in regional languages and promote cultural unity via programs featuring diverse provincial artists. Additionally, annual festivals organized by Lok Virsa, the National Institute of Folk and Traditional Heritage established in 1974, showcase live performances to safeguard intangible heritage against modernization. also provides rhythmic accompaniment to traditional dances, enhancing their narrative depth in communal settings.

Traditional Dances and Puppetry

Traditional dances in Pakistani often manifest as circle and group formations that emphasize communal bonds and collective celebration. These dances typically involve participants forming a ring or line, performing synchronized steps such as clapping hands and swirling movements to express unity and joy during social events. For instance, the Luddi dance features performers clapping and spinning while advancing in a circular pattern, symbolizing shared happiness and often enacted at weddings or family gatherings to foster community spirit. Similarly, group dances like those observed in Baloch and Punjabi traditions during harvest seasons or nuptials reinforce social cohesion through rhythmic, inclusive motions that mimic life's cyclical harmony. Accompanied briefly by folk songs on instruments like the , these performances highlight the participatory nature of , where every member contributes to the cultural narrative. Martial elements infuse certain traditional dances from Pakistan's tribal regions, portraying valor and historical conflicts through dynamic, combative . Dancers in these forms wield swords or sticks to simulate battles, executing swift strikes, parries, and formations that evoke warrior prowess and tribal resilience. Such dances, prevalent among Pashtun and Baloch communities, serve as both entertainment and a means to preserve narratives of bravery, often performed by men to honor heroic legacies during festivals or rites of passage. The use of props like curved swords or sticks underscores the dances' roots in defensive training, transforming into a vivid reenactment of ancestral struggles. Puppetry represents a vital strand of Pakistani folklore, particularly through string puppet traditions that blend visual storytelling with moral instruction. In Sindh, string puppets known as putli are manipulated by itinerant families using simple bamboo stages, with wooden figures clad in ornate attire depicting characters from historical or folk tales. These performances, influenced by pre-partition Indian practices from and , enact plays like those set in Mughal courts, featuring clowns and dancers to convey ethical lessons on , , and social harmony. The art form, revived in the mid-20th century by cultural councils, employs and rod variants alongside strings to educate audiences on folklore themes, maintaining its role as a portable medium for plays amid community gatherings. Gender roles shape the execution of these dances and , delineating performative spaces along celebratory and heroic lines. Women frequently lead group dances for joyous occasions like weddings, incorporating graceful, expressive movements in vibrant attire to symbolize and festivity, as seen in forms where female participants sway and clap in harmonious circles. In contrast, men dominate displays and certain manipulations, using physicality to embody strength and narrative authority, reflecting traditional divisions that align with cultural expectations of communal versus combative expression. This bifurcation, while evolving, underscores folklore's role in reinforcing yet subtly challenging societal norms through embodied performance.

Regional Folklore

Sindhi Folklore

Sindhi folklore is deeply rooted in the poetic masterpiece , compiled by the 18th-century Sufi poet , which weaves together tales of historical and semi-historical figures through mystical narratives drawn from local traditions. These stories often center on heroic adventures tied to the , symbolizing trials of love, separation, and resilience, as seen in the legends of the Seven Queens—heroines like Sohni in Sohni-Mahiwal, who braves the river's treacherous currents on a clay pot to reunite with her lover, and Sassi in Sassi-Punnun, whose quest traverses arid landscapes and hidden wells. Bhittai's verses elevate these riverine and desert journeys into allegories of spiritual devotion, preserving Sindh's oral heritage while influencing regional identity. Performance traditions in Sindhi emphasize communal expression through s that accompany festivals and life events. Chhej, a vigorous group performed by men wielding sticks in rhythmic clashes, symbolizes unity and joy during religious processions and celebrations like Eid or , often forming circles to mimic flowing movements evocative of the Indus. Jhumar, meanwhile, features synchronized steps by men and women to the beats of and , integral to wedding rituals where participants sing or sehra folk songs, fostering social bonds through its lively, circular formations. A prominent Sufi-inspired element is , a and song honoring Jamalo's legendary victory and safe return, performed enthusiastically at saints' festivals to invoke blessings and communal ecstasy. Dancers move in lines or circles, clapping and chanting the refrain "Ho Jamalo," blending devotion with historical pride in a that traces back to Sindhi pastoral and warrior customs. Customs preserved in Sindhi folklore include intricate tomb paintings from 14th- to 18th-century sites, particularly during the Kalhora period (1680–1783), which depict scenes of folk battles, romantic adventures, and musical performances to commemorate the deceased. In tombs like those at Shahdadkot and other Kalhora structures, murals illustrate epic confrontations and instruments such as the dhol and been, reflecting rulers' patronage of music and dance as extensions of daily and spiritual life. These artworks, featuring tales like Sasui-Punhun, serve as visual folklore archives, though many face deterioration from environmental factors.

Baloch Folklore

Baloch folklore, rooted in the arid landscapes and tribal structure of , emphasizes themes of valor, honor, and resilience amid nomadic migrations and intertribal conflicts. This oral tradition, preserved through epic narratives, reflects the Baloch people's historical movements from regions like western in present-day to areas around and in during the 15th and 16th centuries, a period known as the heroic age of . These stories celebrate tribal chiefs as embodiments of bravery, such as Mir Chakar Khan Rind, the great chief of the Baloch confederacy who ruled from and led a population exceeding 100,000, fostering a culture where young nobles were expected to excel in , , and horsemanship. Epic tales like that of Sheh Mureed and Hani highlight resistance against internal betrayals and rival tribes, portraying Sheh Mureed—a master archer with his "Iron Bow"—as a hero who endures exile and trials to reclaim his beloved, underscoring the nomadic warrior ethos in the face of intertribal wars like the Rind-Lashari conflict that tested Baloch unity. A prominent example is the epic of Sheh Mureed and Hani, where Sheh Mureed, son of a Kahiri , demonstrates unparalleled valor through feats like piercing three arrows in flight, symbolizing the unyielding spirit required for survival in desert migrations and tribal defense. These narratives often weave in Islamic heroic influences, as seen in Sheh Mureed's 30-year pilgrimage to and , where he composes devotional poetry, blending Baloch tribal pride with spiritual devotion to affirm immortality through love and honor. Such epics reinforce the cultural imperative of bravery, with s like "Death on the field is the road to " extolling sacrificial valor in battle as a path to divine reward, while warnings against betrayal, such as those condemning traitors to , highlight the perils of disloyalty in harsh, unforgiving wastelands where trust ensures communal survival. Another , "Those who avenge make mountains their forts," illustrates the adaptive resilience of nomadic life, portraying deserts and highlands as natural strongholds for upholding honor against treachery. proverbs, like "You should have affection for the person for a century who once offered you a glass of ," further emphasize mutual support as essential for enduring arid isolation. Baloch performing arts vividly capture this ethos through dances and music. The Dochaap, a men's group dance performed in circles with synchronized clapping and rhythmic movements of feet, neck, and head, symbolizes communal unity and martial vigor, often enacted during celebrations to honor tribal bonds and valor. In contrast, the Lewa serves as a women's celebratory dance, featuring graceful circular steps and hand claps, originating from the coastal region and typically performed at weddings or joyous occasions to express joy and cultural continuity in nomadic settings. Musical narratives accompany these traditions, with the soroz—a bowed string instrument akin to a —providing melodic support for shayr, a of poetic recitations that narrate epic stories of ancient Baloch kings, heroic deeds, historical migrations, and social advice, evoking the grandeur of figures like Mir Chakar through evocative tunes that preserve tribal memory.

Chitrali Folklore

Chitrali folklore, rooted in the rugged mountains of , embodies an animistic worldview shaped by pre-Islamic northern beliefs, where natural landscapes are inhabited by spirits and mythical beings that influence human life and rituals. This tradition, preserved among the Chitrali people who speak , emphasizes harmony with the environment through stories of divine birds, protective entities, and seasonal ceremonies, often blending with influences from neighboring Kalash communities known for their ancient polytheistic practices. These narratives and customs highlight themes of protection, renewal, and communal celebration in isolated valleys. Central to Chitrali myths is the Quqnoz, a majestic phoenix-like bird said to have originated the region's . Described as possessing over 300 pores in its beak and living for 500 years, the Quqnoz sings atop a at the end of its life, only to be reborn from its ashes with the arrival of spring rain, symbolizing cyclical renewal and inspiring traditional melodies. Complementing this is the Nangini, a benevolent household spirit revered as a guardian that protects homes, brings good fortune, and safeguards livestock such as and herds; hunters traditionally offer libations of milk and blood to appease her before pursuits. These myths underscore the Chitrali view of the supernatural as intertwined with daily sustenance and artistic expression. Tales of guardian spirits abound in Chitrali lore, including Peris—ethereal fairies who protect and occasionally intermarry with humans—and Khangi, domestic sprites that aid household tasks. In contrast, menacing figures like the Halmasti, a celestial hound associated with thunder that preys on newborns and the deceased, evoke fears of natural perils. Giants such as the Deo, a fire-wielding , the regenerating Barzangi, and the elusive Barmanu (a yeti-like creature) are said to roam remote valleys, their stories tied to Kalash influences that preserve archaic animistic elements from the Hindu Kush. Performative traditions bring these beliefs to life through dances like the , a vibrant group circle performance led by rhythmic drum beats, often featured in communal gatherings to invoke joy and unity. Sword dances, known as Khongora Phonik, showcase martial prowess with synchronized blade maneuvers and are prominently displayed during fairs such as the Shandur Festival, symbolizing valor and alliances between humans and protective spirits. Customs in Chitrali folklore include spring festivals like Chilam Joshi, where communities in the Kalash-influenced valleys gather for invocations to deities and spirits, offering prayers for protection against harsh weather, bountiful harvests, and prosperity in the coming season. These rituals, involving music, , and sacrifices, reinforce communal bonds and the enduring reverence for guardians in the mountainous terrain.

Kashmiri Folklore

Kashmiri folklore in Azad Kashmir emphasizes poetic narratives deeply intertwined with the region's alpine landscapes, seasonal transitions, and communal harmony. These traditions draw heavily from the works of 16th-century poetess , known as the Nightingale of , whose vakhs (lyric poems) express themes of romantic longing, natural beauty, and resilience amid separation. Her verses, blending indigenous Kashmiri rhythms with Persian influences, have shaped folk literature by infusing tales with emotional depth and seasonal motifs, such as blooming springs and misty mountains. Central to this folklore are legends of floral maidens and mountain quests that evoke quests for love and self-discovery. 's own legendary life story portrays her as a woman who became queen to Yusuf Shah Chak, only to wander the valleys and peaks—like the pyramid-shaped Habba Khatoon Peak in —after his exile, symbolizing an enduring quest through rugged terrains. Floral maidens, often depicted as ethereal Pari (fairies) residing in flower-laden meadows and guarding sacred springs, feature in tales where heroes undertake perilous mountain journeys to win their favor or retrieve lost treasures, highlighting human-nature . These narratives, passed orally through generations, underscore themes of beauty's transience and the soul's pursuit of unity with the divine landscape. Shared fairies like the Pari occasionally bridge mortal and mystical realms in these stories, adding layers of enchantment without dominating the poetic core. Performing arts in Kashmiri folklore vividly capture community celebrations, particularly through dances tied to festivals and life events. The Rouf dance, a graceful circle formation performed by women during spring occasions like Eid and Navroz, involves synchronized hand-clapping and swaying to folk tunes, evoking the valley's floral awakening and collective joy. In contrast, the Dumhal dance is a vigorous men's performance exclusive to the Wattal tribe, featuring performers in vibrant robes and tall conical caps adorned with peacock feathers, who dance to the beat of a damhal drum during weddings and harvest rites to invoke prosperity. Other dances include Bacha Nagma, a lively celebratory form where a young boy, attired in feminine garb, leads a with singing and rhythmic steps accompanied by traditional instruments like the rubab, often at social gatherings. The Hafiza dance, performed by women in groups, serves a devotional purpose with elegant movements and chants honoring saints, typically during religious festivals to seek blessings for the community. Complementing these are customs like Band Pather, a satirical folk theater that integrates dance, music, and improvised dialogue to lampoon social vices, staged by wandering troupes during Navroz and other festivals to foster reflection and laughter among villagers.

Pashtun Folklore

Pashtun , deeply intertwined with the tribal code of , emphasizes themes of honor, revenge, and communal solidarity, reflecting the martial ethos of Pashtun communities in and the former of . , an unwritten ethical framework, governs social interactions through principles like (revenge) and nang (honor), which manifest in oral narratives passed down across generations. These tales often depict quests for retribution following violations of tribal honor, such as killings or insults, where protagonists rally kin and allies to restore balance. For instance, legendary accounts of the of Ipi, a 20th-century Pashtun leader who led resistance against British forces in , portray him evading capture for decades through supernatural cunning and tribal pacts, embodying as a sacred duty that unites clans against external threats. Similarly, historical folklore from Anglo-Afghan conflicts narrates how collateral harm to innocents ignites cycles of vengeance, forging temporary alliances among disparate tribes to avenge collective dishonor. These stories underscore the enduring tension between personal vendettas and broader tribal coalitions, ensuring Pashtun identity remains rooted in resilience and loyalty. Central to Pashtun performative are dances that simulate preparations and victories, reinforcing the spirit. The , an ancient , originated as a war ritual among straddling and , where participants form rings around a to build morale before combat. Performed in open spaces during tribal gatherings or celebrations in regions like North , it involves synchronized steps that evoke unity and readiness, with dancers clapping and turning in rhythmic patterns to the beat of a double-headed barrel . The dance, a swift variant from the tribe, amplifies this essence through energetic sword-wielding and handkerchief flourishes, mimicking ' exploits in a five-step sequence where performers whirl and strike poses of defiance. Historically enacted before raids, it highlights agility and bravery, with the adapting tempos to the dancers' fervor, and traces its roots to pre-Islamic eras, possibly influenced by ancient Eastern Iranian traditions. Pashtun proverbs, distilled from centuries of tribal wisdom, encapsulate the values of (melmastia) and (shuja'at), serving as moral guides in and daily life. A common saying on hospitality asserts, "What does it matter if there are a hundred guests in someone else’s house?" illustrating the boundless to and feed strangers, even at great cost, as a divine obligation that elevates the host's honor. On bravery, proverbs like "A brave man can take the fields as well as the crops" praise those who seize opportunities through bold action, equating valor with resourcefulness in harsh terrains. Another warns, "He is not a Pushtoon who does not give a blow in return for a pinch," linking true Pashtun identity to retaliatory spirit against even minor slights. Musical epics form a cornerstone of Pashtun oral tradition, recited with the rubab—a lute-like instrument central to the culture—to chronicle historical battles and heroic deeds from the 16th century onward. In badala, professional bards intone epic poems at night, narrating tribal valor and conflicts with instruments like the rubab, harmonium, and tabla, preserving accounts of alliances and triumphs that shaped Pashtun history. These recitations gained prominence during the Roshaniyya movement led by warrior-poet Bayazid Pir Roshan in the 1500s, where rubab-accompanied songs rallied troops with patriotic fervor amid battles against Mughal forces. Such performances not only commemorate events like resistance in Waziristan but also reinforce Pashtunwali's emphasis on honor through rhythmic couplets that vary in tempo to heighten dramatic tension.

Punjabi Folklore

Punjabi folklore, deeply rooted in the rural landscapes of province, celebrates the rhythms of agrarian life through epic tales of passionate romance and tragic separation, often infused with Sufi mysticism and social commentary. These narratives, passed down orally and later immortalized in poetry, reflect the struggles of lovers defying caste, family, and societal norms in a pastoral setting of fields, rivers, and villages. Central to this tradition are the qisse, or romantic epics, which emphasize themes of divine love and human longing, drawing from the everyday experiences of farmers and herders. Among the most renowned legends is , penned by the 18th-century Sufi poet in his qissa Heer, which portrays the forbidden love between Heer, a wealthy landowner's daughter, and Ranjha, a dispossessed Jat who becomes a flautist and ascetic. Their story unfolds in the verdant countryside of , culminating in tragic separation when Heer is forcibly married off, only for the lovers to reunite in death, symbolizing the soul's quest for union with the divine. Similarly, Sassi Punnun recounts the tale of Sassi, a girl raised by washermen, who falls in love with the prince Punnun; their separation occurs when he is abducted by his tribe, leading Sassi to wander the desert in despair until she perishes. depicts the elopement of Sahiban with her lover Mirza, a skilled horseman, but ends in tragedy when her brothers pursue them, and Sahiban breaks Mirza's arrows to prevent bloodshed, resulting in his death. narrates the devotion of Sohni, a potter's wife, to Mahiwal, who ferries her across the nightly on a clay pot that ultimately dissolves, drowning her in pursuit of love. These stories, collected and adapted in Punjabi oral traditions, highlight the inexorable pull of fate and social barriers in rural . The performing arts of Punjabi folklore further enliven these romantic and rural themes through vibrant dances that accompany celebrations, weddings, and fairs. Bhangra, a high-energy men's dance originating from agricultural rituals, features vigorous shoulder shrugs, heel beats, and leaps performed to the beat of the drum, embodying the joy of bountiful crops and communal labor in Punjab's fertile plains. In contrast, is a women's circle dance involving synchronized handclaps, spins, and narrative gestures that recount daily life, joys, and sorrows, often alluding to the emotional depth of love legends. Jhumar and Luddi serve as inclusive group dances; Jhumar involves swaying side-to-side movements in a semi-circle, typically by men during or fairs to honor agricultural prosperity, while Luddi features clapping and shoulder movements in lines or circles, commonly at weddings to foster family bonds and festivity. These dances, integral to rural social gatherings, reinforce the folklore's focus on community and seasonal cycles. Punjabi proverbs, woven into the fabric of , offer wisdom on farming, family, and human relations, often drawing from the Sufi insights of poets like , whose Heer integrates idiomatic expressions reflecting rural ethics. Phrases such as "The farmer's wealth is in his fields, but his true harvest is patience" underscore the virtues of perseverance in agriculture, while sayings like " are the roots that hold the village tree" emphasize and communal amid life's separations. 's verses, rich with such proverbs, blend —equating romantic longing with spiritual devotion—with practical advice on enduring familial and societal pressures in Punjab's . These elements collectively impart moral lessons on love's transcendence and rural resilience.

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  89. https://chandrakantha.com/music-and-dance/film-and-pop/bhangra/
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  92. https://www.academia.edu/38962113/250_Years_of_Heer_Waris_Shah_1766_2016
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