The on-going folk festival of Pakistan, popularly known as “Lok Mela”, organised by Lok Virsa (National Institute of Folk and Traditional Heritage) here at Shakarparian is immensely contributing to documenting and preserving traditional folk crafts and projecting craftspeople.
Over 500 master artisans from different parts of the country including remote and far flung areas are actively participating in the festival, bringing with them their creativity in arts, crafts and innovation.
Each province and region has brought its own contingent of craftspeople to the festival that practice various folk crafts.
The crafts on display at the festival include block printing, lacquer work, Khussa making, pottery, tie and dye, doll making, camel skin work, bone and ivory work, mirror work, Okaiz sazi, darri weaving, truck art, basketry, wood carving, wood work, papier mache, metal work, Shawl weaving, khes weaving, traditional carpets, blue pottery, Ajrak, wax printing, stone work, pattu weaving and many others.
Being a prime institution dealing with Pakistani culture at federal level, Lok Virsa is cognizant of the need for gender equality which is seen in each event that it holds from time to time, because in this way both male and female practitioners afford equal opportunity of showing their talent and getting due recognition thereof.
In the present festival too, one can see a number of female artisans demonstrating their creativity. The most prominent among them is Farhat Bibi from D. I. Khan practicing lacquer work. Locally, it is called jundri or Jundi ka Kaam, which forms an intrinsic part of three provinces of Pakistan, involves the process of applying layers of Lac in different colours on wood, while the material is rotated on a simple wooden lathe machine. Patterns are etched with the help of thick iron needle on the surface, exposing each colour according to the requirements of traditional patterns. She has been participating in the Lok Virsa’s annual festival for the last 10 years and winning recognition of her talent. Another craftswoman from Sindh, Mst. Pari from Badin, 70 also catches the visitor eye. She is master artisan in traditional darree weaving. She learnt this art from her mother at very early age and is busy in transferring it to the coming generation to ensure continuity of the tradition.
Balochi embroidery artisan Aziz Fatima, 40-year is also equally good. She has carried on this centuries’ old tradition from her mother. She has devoted 28 years of her life to this art. Aziz Fatima stands out not only for her personal excellence but also in her tireless propagation of this ancient art by imparting it to the future generations. Among her apprentices, some of them have reached high professional levels and are practicing their art.
Among male artisans, one can see exquisitely prepared masterpieces at the stall of Sahib Dino Mallah from Sindh. Practicing Khes weaving, he belongs to a remote village Ranipur in Khairpur Mirus. He learnt the art of weaving from his father at an early age and since then, he has given 36 years of his life to keep this centuries’ old traditional craft alive.
Shah Behram, a master craftsman in Taghar (traditional woolen rug) weaving from D.I. Khan is also showcasing excellent display at the festival. His father was also an accomplished master craftsman of Taghar weaving who received pride of performance award in recognition of his talent.
Haji Habib-ur-Rehman is the master artisan in truck art. This colourful, sometimes dazzling, art is not only done on the bodies of trucks but also other vehicles and means of transportation like buses, tankers, mini-buses, rickshaws, tongas and even donkey carts moving on the road throughout the country.
Talking to this scribe, Lok Virsa executive director Khalid Javaid said “Pakistan with its rich and varied heritage has a craft tradition of more than 9,000 years dating back to the Mehergarh civilization in Balochistan, when reveals the earliest evidence for pottery production. The Indus Valley civilization of Mohenjodaro in Sindh and Harappa civilization in Punjab (5,000 B.C.) indicates impressions of woven cloth production from cotton and wool. The dominant historical influence still to be seen in the form, design and colour of Pakistani handicrafts is essentially Islamic, a fusion of Turkish, Arab, Persian and the indigenous Mughal traditions”.
He explained that the crafts represent a valuable material heritage, which forms a tangible part of our historical and contemporary culture. Unlike the west, most traditional crafts in Pakistan are neither a profession nor a hobby, but an essential component of the diverse cultural patterns – a product of the ethnic and communal attitudes and practices. As such, crafts have meanings and definite social context in traditional society.
However, the onslaught of the industrial age is erasing this craft heritage, even in rural areas. But there is a recent trend towards the use of crafts as art objects in urban homes. Historic forms and designs are being revived both by the increasing number of trained craftsmen and by designers for the tourist and export trade.
Pakistan is noted for some of the most varied and beautiful handicrafts of the world. Whether it is the elaborate dress of a bride or a simple household utensil, it is designed and created so artistically that it becomes an object of art. The different regions, towns and cities specialize in their own particular handicrafts. This is why there is so much diversity and variety in the crafts of the country.
The indigenous skills of Pakistan have evolved over centuries through communal practice and therefore constitute the most authentic representation of Pakistan’s traditional art.
The festival will continue with all its colours till Sunday, 15 April 2012 daily between 11:00 am to 10:00 pm.
