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The Chitrali Sitar, a distinctive and cherished musical instrument of northern Pakistan, is celebrated for its delightful melodies and profound cultural and musical significance. Its notes carry the essence of Chitrali folk music and create an emotional connection with listeners, reflecting the region's rich history of folk music. Often played at local gatherings, the sitar’s tunes express feelings of longing and sorrow, sending out message of love and peace. As Amjad Aslam Amjad beautifully writes in "Barish Ki Awaz" (Amjad, 2014)
ستار کی لے میں بسی ہے وہ خاموشی
جو ہر درد کو موسیقی میں ڈھالتی ہے
Translation: "The melody of the sitar turns every silent pain into soulful music."
The origin of the Chitrali sitar has many theories, but most historians link it to Amir Khosrow Dehlvi (1253-1325), a famous musician and poet credited with inventing the sitar in the Delhi Sultanate. The sitar likely traveled from India to Central Asia and Afghanistan, eventually reaching Chitral, northern Pakistan at least seven centuries ago. Sufi saints, followers of Maulana Jalal ud-Din Rumi, may have introduced it to spread love, devotion, and peace through music.
In one of Rumi's poems from the “Diwan-e-Shams Tabrizi”, he writes:
نہ زِتارو، نہ زِ چوب و نہ پوست
آز کجا میآید این آوازِ دوست
Translation: "This soulful sound doesn’t come from wood, wire, or skin (the sitar’s components). Where does it come from? It comes from the soul."
This verse shows the spiritual power of sitar music during Rumi’s time, suggesting it was already important in Persian culture. This implies the instrument was first invented in Central Asia and reached India, where Amir Khosrow adapted it to Indian cultural and folk music, which was largely Persianized back then.
The Chitrali sitar was indigenized by local musicians and artisans, making the instrument a symbol of the area’s cultural and musical heritage. Its rich, emotional melodies attract listeners and help preserve the region’s musical tradition.
Thus, sitar’s roots trace back to Persian music, culture and language in the medieval era. In the 13th century, when Persian hymns and songs arrived with the sitar in Chitral, it found a warm welcome. Persian, spoken by the elite and used in daily life, made the introduction of the sitar easy. Its blend with Persian poetry matched the local culture and spirit and they embraced it without questioning.
Since then, the sitar holds a respected place in Chitral’s musical heritage. It often pairs with Persian ghazals and hymns, spreading messages of love, peace, and mysticism, becoming a tool for both music and cultural connection. (Decker, 1992)
The Chitrali sitar is a complex instrument, showing generations of musical craftsmanship across the Chitral region. Construction of one sitar takes two to three weeks of careful work by an expert artisan. (Uddin, 2020)
The instrument is carved from mulberry wood, known for being light, strong, and porous, which helps create its sweet, resonant sound that matches the vocal pitches of traditional Khowar singers.
It has several parts. The soundbox (dor) is hollowed out and made thin for better acoustics, taking about a week to finish. The chest (paz) is attached next, followed by the neck (ghazdar), which is glued securely to the soundbox. Thirteen frets are added to the neck, shaping the notes of Chitrali music. The frets, once made from sheep intestine, are now made from plastic or aluminum, changing the tone slightly, and compromising the quality of melody.
Five steel strings running across the chest, over the bridge (kharek), are attached to tuning pegs (goshek). The middle string, the parda-e-saaz, is key for harmonizing the melody, while the two outer strings add resonance when played with drums or percussion.
Playing Sitar needs both hands. The index finger of the right hand plucks the strings while the index, middle, ring and even the little finger of the left hand move along the frets on the neck. Good coordination between the fingers of both hands brings out the full, expressive sound, with improved harmony and sweetness of the notes. (Sultan, 1980s)
Mulkho region of district Chitral has traditionally been the cradle of Khowar (language) and Kho culture, as research and verbal testimony indicate. The name ‘Khowar’ basically stems from ‘Kho’—the name of communities spread in Mulkho valley from Lot Ovir to Terich.
A skilled sitar player adjusts the frets to match his musical style and the standard pitch of Khowar folk songs. With expertise, he sets the thirteen frets in sweet sounding places, each producing a wide range of tones and melodies. These frets allow for complex musical compositions, making the Chitrali sitar a highly versatile instrument. (Muluk, 2023)
The sitar music of Upper and Lower Chitral differs greatly. In Upper Chitral, the music is slow, emotional, and reflective, often seen as classical and thoughtful. It evokes peace of mind and melancholy. In contrast, Lower Chitral’s sitar music is fast and sharp, focusing more on speed and intensity than lyrics, often played below the parda-e-saaz.
In Upper Chitral, the music splits into classical and modern styles. The classical style peaked from the 17th to 19th centuries with artists like Bajani Lal, Shah Gul Zar, and Mashat from Meragram and Sonoghor villages. Shah Gul Zar’s son, Absar Khan, carried on this legacy, becoming one of the last great artists of the tradition.
Shah Gul Zar’s music, like "Yar Man Hamin," is known for its complex rhythms and melodies, creating a magical listening experience. However, classical sitar never became widely popular due to its complexity, the dedication needed to master it, and the lack of recording tools like tape recorders and radio broadcasts. (Muluk, 2023)
The modern school of Chitrali sitar is led by Ali Zuhoor Khan, who transforms the instrument with innovation and creativity, producing the 'Ali Zuhoor Brand.' This style draws inspiration from the shehnai, focusing on improving the sitar's sound clarity, depth, sweetness, and acoustics rather than the song's lyrics. Ali Zuhoor’s approach redefines sitar music by emphasizing musicality, making it more accessible and appealing to today’s audiences. (Muluk, 2023)
Chitrali sitar music features two main rhythms: Dani and Sauz. Dani plays slowly and soulfully, marked by softness and emotional depth. The player skillfully executes the music's turning points, creating an appealing experience for listeners. In contrast, Sauz is fast-paced and lively, full of enthusiasm and energy.
In Chitral, these rhythms often blend in a single performance, with slower parts called Dani and faster segments named Sauz. Iconic Dani pieces include 'Arab Khano Dani,' 'Rustamo Dani,' 'Yarkhuno Hakimo Dani,' 'Dok Yakhdeez,' and 'Charvelu Khano Dani,' each with a rich cultural story.
Over time, many original lyrics have been lost, so modern sitar players often perform melodies without knowing the words or their histories. This applies to pieces like 'Qoqnooz o hang' 'Krui Komoro,' 'Ali Sher Khano Dani,' and 'Arab Khano Dani.'
The modern school of Chitrali sitar gained public exposure thanks to Zar Wali Khan Zahid, who recorded and shared Ali Zuhoor Khan’s sitar music on Radio Pakistan Peshawar in the 1980s. His efforts brought sitar music into the public attention in Chitral, Peshawar and Gilgit Baltistan, helping it evolve and thrive. (Zahid, 2018)
To preserve and promote the rich cultural legacy of Chitrali sitar music, we must blend traditional rules and techniques with modern music principles while keeping its unique cultural essence. Participation in national and international music festivals can showcase this art form to a global audience, enhancing recognition and appreciation.
A collaborative effort between government and private sectors is crucial to promote Chitrali sitar. By offering economic incentives to artisans and performers, we can safeguard the music and improve its quality and technical skills over time.
A collaborative effort between government and private sectors is crucial to promote Chitrali sitar. By offering economic incentives to artisans and performers, we can safeguard the music and improve its quality and technical skills over time.
Encouraging young musicians to pursue formal music education at national and international institutions can spark innovation, merging traditional techniques with contemporary creativity in the field. This academic engagement will nurture the next generation of musicians, empowering them to elevate Chitrali sitar on a global stage. (Hussain, 2024)
Shams ud Din is a Chitral based writer, sitar player, trekker and tour guide.
Contact: laghshormedia@gmail.com
