Thursday, April 29, 2010
Monday, March 29, 2010
Sindhi Topi
m saleh
The campaign has been launched to repel propaganda by the Sindhi-phobic Urdu media after an anchor on a private TV channel criticised the Sindhi cap.
First ever Sindhi topi day planned on 6th Dec 2009.
Wake up Call
The call is believed to have been triggered as a reaction to the critical comments made by a private TV channel one of whose anchors passed some criticizing remarks on President Zardari who was wearing the Sindhi Topi while he was on foreign trips. Whatever the cause, but the call for celebrating Sindhi Topi Day is a fresh example of people’s enthusiasm .
Let's Join Hands Together
December 06, 2009, will be the first day in Pakistan’s history when Sindhi people will celebrate a unique cultural event – the ‘Sindhi Topi’ (Sindhi Cap) Day. Traditional Sindhi caps have started selling like hot cakes in Sindh and many a marketplace have already run short of the cap due to a rush of customers.
The distinctive Sindhi cap is part of traditional Sindhi getup and a symbol of Sindhi identity. The call for celebrating the first-ever Sindhi Topi Day also seems to have come out of the spirit of nationalism. The call for the Sindhi Topi Day has come directly from the public in Sindh, starting with cell phone sms messages that were passed from person to person and groups of contacts all around the province.
Culture
Sindhi topi and ajrak have been symbols of the Sindhi culture and civilisation for thousands of years and all the people of Sindh have an emotional attachment with these cultural symbols
The Sindhi culture is based on the centuries old Indus Valley Civilisation and his government would ensure this culture continues to thrive in the province..
m saleh
The campaign has been launched to repel propaganda by the Sindhi-phobic Urdu media after an anchor on a private TV channel criticised the Sindhi cap.
First ever Sindhi topi day planned on 6th Dec 2009.
Wake up Call
The call is believed to have been triggered as a reaction to the critical comments made by a private TV channel one of whose anchors passed some criticizing remarks on President Zardari who was wearing the Sindhi Topi while he was on foreign trips. Whatever the cause, but the call for celebrating Sindhi Topi Day is a fresh example of people’s enthusiasm .
Let's Join Hands Together
December 06, 2009, will be the first day in Pakistan’s history when Sindhi people will celebrate a unique cultural event – the ‘Sindhi Topi’ (Sindhi Cap) Day. Traditional Sindhi caps have started selling like hot cakes in Sindh and many a marketplace have already run short of the cap due to a rush of customers.
The distinctive Sindhi cap is part of traditional Sindhi getup and a symbol of Sindhi identity. The call for celebrating the first-ever Sindhi Topi Day also seems to have come out of the spirit of nationalism. The call for the Sindhi Topi Day has come directly from the public in Sindh, starting with cell phone sms messages that were passed from person to person and groups of contacts all around the province.
Culture
Sindhi topi and ajrak have been symbols of the Sindhi culture and civilisation for thousands of years and all the people of Sindh have an emotional attachment with these cultural symbols
The Sindhi culture is based on the centuries old Indus Valley Civilisation and his government would ensure this culture continues to thrive in the province..
SINDHI CULTURE
Pervaiz Akhtar
The Sindhis are peaceful, hardworking, hospitable, open-minded community. They have build up the image of Indians abroad as a prosperous and dependable people. They are free from inhibitions of caste and creed. In Sindhi Temples you will find the images of Sri Rama and Sri Krishna placed, side by side, with those of Shiva and Durga and Guru Nanak. The Sindhis are cosmopolitan in their outlook. Someone said that today in India it is difficult to meet an Indian: every one belongs to one province or the other. The Sindhis are the only Indians in India. The Sindhis are an enterprising and industrious people - full of the spirit of faith and courage. They know the subtle psychology of influencing the customer. 'Sindhi merchants' rightly said an Englishman, know how to "hypnotise the customers".
FOLK LORE
What exactly does the word folk lore connotes? In its simplest manifestation it symbolises the culture of the unsophisticated, the expression, mostly in song and dance, of the customs, tradition manners, aspiration, almost the entire social and religious life of the people at all levels of the common man.
There is no country in the world, which has not been enriched by folklore, for folk-lore, despite the fact that it has not been looked upon as the intelligent endeavour of the literate, is in the point of fact, the very pulse-beat of the national conscience manifesting itself in song, dance, riddle, proverb and even in superstition. Every Sindhi likes HOJAMALO. The song, which pertains to the BAHRANO, is a very famous song of JHULE, JHULE, JHULE-JHULELAL. It is only a Sindhi who can interpret the spirit of these songs, though any one who listens to them will, almost without exception, be carried by its rhythmic beat like no other rhythmic beat in the world.
Like the Folk songs, the folk dances are equally rhythmic and equally enchanting. These may be rugged and simple in their rhythmic beats. But they are full of life and vitality. There is a dance JHUMIR that is a counter-part of the dance of Laada in songs.
CHHEJ
Chhej is performed only by men. It is some what similar to Dokla Ras of Kathiawar, but considerably more intricate in pattern & steps and rhytmic beats. The instruments used are the SHARNAI and the DUDUL i.e. Shehnai and the drum. Another dance which is performed only by men is DHAMAL, performed by Fakirs and disciples of a particular shrine at the time when the flag of the shrine goes up. This is a dance which is characterised by a sort of religious frenzy and has, therefore, a very fast tempo. Nagharo (a big drum) instrument provides both the rhythmic beat and the tempo for the Dhamal.
There are many other dances, though the BHTAGA may be called the King-pin of them all. This is properly speaking a dance-drama enacted with the aid of song, Kalams etc.
LADDA
Ladda Songs which are sung before the actual weddings, the very lilt of which suggests careless abandon and gaiety that mark a wedding. Sindhis are very famous for showmanship, and on the occasion of the marriage of the son, they will not hesitate to spend thousands of rupees only on decorations, music dance and photographs, movie and on video shootings, They call a Laada party of famous singers and enjoy the music one day before the marriage and even on Janiya (Thread ceremony) etc. The famous Laado SONU BAJUBAND, LADO PANHIJEE KUNWAR LAI AANEDO AND DHIKH JE RAAT LADE MUNDIYOON GHARAYOON, MOOML MANA NA KAR MARUN SA, ALLA SON JO RUPAYA etc. Many other Laddas are so famous among the Sindhis that on the occasion of the marriage, specially ladies and relatives are invited on Laada ceremony where they offer the GHOR of rupees on the bride-groom whose marriage is to be performed. There are many folk songs, and many dances are composed. We cannot ignore our humorous songs. To get back however to Sindhi song, which does not treat only of love, there are some double meaning FOHIRAS too.
BHAGAT
Bhagat is an original and pure art form of Sindhi music and dance. This is one art form which can be truly called as Sindhi folk and meant for the masses. The mere announcement of a bhagat performance brought people from near and far off place. This song-n-dance extravaganza called for expertise in both forms namely singing and dancing. One without the other was no good. Mikes and sophisticated sound systems being not-existent in those days, it is rumoured that the bhagats of yesteryears could give many a Michael Jackson of Elton John a run for their money for not only was their singing soulful but it was loud and clear enough for a person sitting a quarter of a kilometre away from the singer.
The performances were usually held in the nights and lasted till the wee hours of the morning. Requiring a minimum of two or more performers from a band of six, this folk form was highly interactive and weaved in out from pure folk and devotional songs to narratives to stories thus giving wholesome entertainment rather infotainment to the crowds. Two-three of them are usually good singers with one being the lead singer and the other two known as peechhads or boliaraas (back-up singers). The lead singer or bhagat wore a chher, jamo, pagdi and kundal with a bright tilak on the forehead and sung in a style little bit similar to those of qawals. The crowd used to sit on two sides much akin to a fashion show with a ramp running into the audience. The bhagats used to sing and move back and forth in the crowd in the centre aisle. The back up singers usually stood in the back and faced the bhagat who would start of on a line with the back up singers interjecting with a simile or the latter half of a couplet.
Bhagat Kanwarram : Among bhagats, Sant Kanwarram was one of the most legendary performer who went on to become s saint for Sindhis. His soulful voice once brought back a dead child to life, a miracle many have seen with their own eyes. Especially known for his rendition of the Sur Prabhati (which is sung early in the morning), Sant Kanwarram was popular not only amongst the Sindhi Hindus but Muslims also. Besides Bhagat Kanwarram there were others who had carved out a niche for themselves. Notably amongst them were Bhagat Naru, Bhagat Jadaram, Bhagat Leelo (adh Kanwar), Bhagat Tharu, Bhagat Parso, Bhagat Motan, Bhagat Sobho, Bhagat Dharmu, Bhagat Dilo, Bhagat Shewo, Bhagat Dwaru, Bhagat Ghansho and Bhagat Khanuram. The back up singers sometimes dressed up as female characters also and they were most known by their nicknames. Notable amongst them were 'Shaman Guddi', 'Lal Chhuri' and 'Jalphatako'. The bhagats were in great demand usually at melas, annual darbar and dargah functions and sometimes for marriages also.
Pervaiz Akhtar
The Sindhis are peaceful, hardworking, hospitable, open-minded community. They have build up the image of Indians abroad as a prosperous and dependable people. They are free from inhibitions of caste and creed. In Sindhi Temples you will find the images of Sri Rama and Sri Krishna placed, side by side, with those of Shiva and Durga and Guru Nanak. The Sindhis are cosmopolitan in their outlook. Someone said that today in India it is difficult to meet an Indian: every one belongs to one province or the other. The Sindhis are the only Indians in India. The Sindhis are an enterprising and industrious people - full of the spirit of faith and courage. They know the subtle psychology of influencing the customer. 'Sindhi merchants' rightly said an Englishman, know how to "hypnotise the customers".
FOLK LORE
What exactly does the word folk lore connotes? In its simplest manifestation it symbolises the culture of the unsophisticated, the expression, mostly in song and dance, of the customs, tradition manners, aspiration, almost the entire social and religious life of the people at all levels of the common man.
There is no country in the world, which has not been enriched by folklore, for folk-lore, despite the fact that it has not been looked upon as the intelligent endeavour of the literate, is in the point of fact, the very pulse-beat of the national conscience manifesting itself in song, dance, riddle, proverb and even in superstition. Every Sindhi likes HOJAMALO. The song, which pertains to the BAHRANO, is a very famous song of JHULE, JHULE, JHULE-JHULELAL. It is only a Sindhi who can interpret the spirit of these songs, though any one who listens to them will, almost without exception, be carried by its rhythmic beat like no other rhythmic beat in the world.
Like the Folk songs, the folk dances are equally rhythmic and equally enchanting. These may be rugged and simple in their rhythmic beats. But they are full of life and vitality. There is a dance JHUMIR that is a counter-part of the dance of Laada in songs.
CHHEJ
Chhej is performed only by men. It is some what similar to Dokla Ras of Kathiawar, but considerably more intricate in pattern & steps and rhytmic beats. The instruments used are the SHARNAI and the DUDUL i.e. Shehnai and the drum. Another dance which is performed only by men is DHAMAL, performed by Fakirs and disciples of a particular shrine at the time when the flag of the shrine goes up. This is a dance which is characterised by a sort of religious frenzy and has, therefore, a very fast tempo. Nagharo (a big drum) instrument provides both the rhythmic beat and the tempo for the Dhamal.
There are many other dances, though the BHTAGA may be called the King-pin of them all. This is properly speaking a dance-drama enacted with the aid of song, Kalams etc.
LADDA
Ladda Songs which are sung before the actual weddings, the very lilt of which suggests careless abandon and gaiety that mark a wedding. Sindhis are very famous for showmanship, and on the occasion of the marriage of the son, they will not hesitate to spend thousands of rupees only on decorations, music dance and photographs, movie and on video shootings, They call a Laada party of famous singers and enjoy the music one day before the marriage and even on Janiya (Thread ceremony) etc. The famous Laado SONU BAJUBAND, LADO PANHIJEE KUNWAR LAI AANEDO AND DHIKH JE RAAT LADE MUNDIYOON GHARAYOON, MOOML MANA NA KAR MARUN SA, ALLA SON JO RUPAYA etc. Many other Laddas are so famous among the Sindhis that on the occasion of the marriage, specially ladies and relatives are invited on Laada ceremony where they offer the GHOR of rupees on the bride-groom whose marriage is to be performed. There are many folk songs, and many dances are composed. We cannot ignore our humorous songs. To get back however to Sindhi song, which does not treat only of love, there are some double meaning FOHIRAS too.
BHAGAT
Bhagat is an original and pure art form of Sindhi music and dance. This is one art form which can be truly called as Sindhi folk and meant for the masses. The mere announcement of a bhagat performance brought people from near and far off place. This song-n-dance extravaganza called for expertise in both forms namely singing and dancing. One without the other was no good. Mikes and sophisticated sound systems being not-existent in those days, it is rumoured that the bhagats of yesteryears could give many a Michael Jackson of Elton John a run for their money for not only was their singing soulful but it was loud and clear enough for a person sitting a quarter of a kilometre away from the singer.
The performances were usually held in the nights and lasted till the wee hours of the morning. Requiring a minimum of two or more performers from a band of six, this folk form was highly interactive and weaved in out from pure folk and devotional songs to narratives to stories thus giving wholesome entertainment rather infotainment to the crowds. Two-three of them are usually good singers with one being the lead singer and the other two known as peechhads or boliaraas (back-up singers). The lead singer or bhagat wore a chher, jamo, pagdi and kundal with a bright tilak on the forehead and sung in a style little bit similar to those of qawals. The crowd used to sit on two sides much akin to a fashion show with a ramp running into the audience. The bhagats used to sing and move back and forth in the crowd in the centre aisle. The back up singers usually stood in the back and faced the bhagat who would start of on a line with the back up singers interjecting with a simile or the latter half of a couplet.
Bhagat Kanwarram : Among bhagats, Sant Kanwarram was one of the most legendary performer who went on to become s saint for Sindhis. His soulful voice once brought back a dead child to life, a miracle many have seen with their own eyes. Especially known for his rendition of the Sur Prabhati (which is sung early in the morning), Sant Kanwarram was popular not only amongst the Sindhi Hindus but Muslims also. Besides Bhagat Kanwarram there were others who had carved out a niche for themselves. Notably amongst them were Bhagat Naru, Bhagat Jadaram, Bhagat Leelo (adh Kanwar), Bhagat Tharu, Bhagat Parso, Bhagat Motan, Bhagat Sobho, Bhagat Dharmu, Bhagat Dilo, Bhagat Shewo, Bhagat Dwaru, Bhagat Ghansho and Bhagat Khanuram. The back up singers sometimes dressed up as female characters also and they were most known by their nicknames. Notable amongst them were 'Shaman Guddi', 'Lal Chhuri' and 'Jalphatako'. The bhagats were in great demand usually at melas, annual darbar and dargah functions and sometimes for marriages also.
The Culture of Sindh
Mohammad Saleh
The Culture of Sindh ( سنڌي سڀيتا ) has its roots in the Indus Valley Civilization. Sindh has been shaped by the geography of the largely desert region, the natural resources it had available and the continuous foreign influences. The Indus or Sindhu River that passes through the land, and the Arabian Sea (that defines its borders) also supported the sea-faring traditions among the local people. The local climate also reflects why the Sindhis have the language, folklore, traditions, customs and lifestyle that are so different from the neighbouring regions.
History
The roots of Sindhi culture and civilization go back to the distant past. Archaeological researches during 19th and 20th centuries showed the roots of social life, religion and culture of the people of the Sindh: their agricultural practices, traditional arts and crafts, customs and tradition and other parts of social life, going back to a ripe and mature Indus valley civilization of the third millennium B.C. Recent researches have traced the Indus valley civilization to even earlier ancestry.[3]
Archaeological discoveries
Mohenjo-daro
Archaeological discoveries sometimes help to unfold the certain latent aspects of a specificculture. The excavations of Mohenjo-daro have unfolded the city life of a civilization of people with values, a distinct identity and culture. Therefore, the first definition of the Sindhi culture emanates from that over the 7000 year old Indus Valley Civilization. This is the pre-Aryan period, about 3,000 years B.C., when the urban civilization in Sindh was at its peak.
Ranikot Fort
In Sir Mortimer Wheeler's book, Civilization of the Indus Valley and Beyond, it is said that; "Civilization, in a minimum sense of the term, is the art of living in towns, with all that the condition implies in respect of social skills and disciplines." When people speak of Sindhi civilization, they have to concern themselves, mainly with the material and concrete side of human habitation of which Sindhi culture is the only essence called the superstructure.[original research?] The present day Sindh, along with the Northern part of the Indus Valley Civilization (around 3000 to 2500 B.C.) is located on its urban civilization.[4]
Ranikot Fort is also a landmark of the Indus valley civilization. It is the world's largest fort, with walls extending to 20 km. It has been called a "second Wall of China", and it attracts many visitors.
Language
Main article: Sindhi language
Sindhi language is an ancient language spoken in Pakistan and many other parts of the world. It is an Indo-Aryan language spoken by approximately 41 million people in Pakistan, and 12 million people in India; it is the second most spoken language of Pakistan, mostly spoken in the Sindh province. It is a recognized official language in Pakistan, and also an official language in India. Government of Pakistan issues National Identity Cards to its citizens only in two languages; Sindhi and Urdu.
Literature
Main article: Sindhi literature
History
Sindhi language is ancient and rich in literature. Its writers have contributed extensively in various forms of literature in both poetry and prose. Sindhi literature is very rich, and is one of the world's oldest literatures. The earliest reference to Sindhi literature is contained in the writings of Arab historians. It is established that Sindhi was the first Eastern language into the Quran, when it was translated in the eighth or ninth century A.D. There is evidence of Sindhi poets reciting their verses before the Muslim Caliphs in Baghdad.[5] It is also recorded that treatises were written in Sindhi on astronomy, medicine and history during the eighth and ninth centuries.[6]
Poetry
Sindhi poetry is also prominent in Sindhi culture. Poetry of Shah Abdul Latif Bhittai. Sachal Sarmast is very famous amongst all of Pakistanis. Regional poets are Shaikh Ayaz, Ustaad Bhukhari, Ahmed Khan MAdhoosh. Many Sindhi poets are doing their poetry work continuously.
Music
Main article: Sindhi music
Sindhi music has its own unique quality. It is performed in many different ways. Sufi music is performed at shrines, and other simple music is performed at studios and gatherings.[7]
[edit]
Cultural character
The ancient Sindhi civilization was the place, where the aesthetic utilization of leisure was freely indulged. There has been evidence, that the excavations of sites dating back to 3000 B.C. (all over Sindh) is also true, around 1200 years ago when Jaina Dakshiniya Chihna (778 A.D.) described the distinguished features of Sindhis in this way: "Elegant, with a lovely, soft and slow gait, they are fond of the art of Gandharvas (that is, songs, music and dancing) and full affection towards their country."
Sindhis celebrate Sindh Cultural day world wide on 6th December by wearing Ajrak & Sindhi Topi on that occasion.
Portrait of a Hindu girl from Sindh
Portrait of a Muslim girl from Sindh
The great Pakistani Sufi singer, Abida Parveen visited Oslo in September 2007
Zulfikar Ali Bhutto Junior in traditional Sindhi dress
Islam in Sindh
Tower at Mansura (Brahmanabad)
From the beginning of Muslim rule of the Sindh in 713 CE, the Muslim technocrats, bureaucrats, soldiers, traders, scientists, architects, teachers, theologians and Sufis travelled from the rest of the Muslim world to the Islamic Sultanate in Sindh, and settled there permanently. The majority of Sindhis converted to Islam by the Sufi mystics from Middle East and Central Asia. The Sindh became distinct in its identity and culture, and many contemporary writers in medieval age referred to Sindh and Hind as two different countries. The Sindhi culture flourished with a new stimulus from Islamic sources from Persia and Afghanistan. Many Baloch and Afghan tribes also settled in Sindh, adopting Sindhi culture.
Sports
There are many regional sports that are played in Sindh. Malakhiro(Malakhra) is one of the famous sports of Sindh. Other sports include Wanjh wati, Kodi Kodi, Beelarhoo, Thipai Rand, Notinn and Biloor.
Mohammad Saleh
The Culture of Sindh ( سنڌي سڀيتا ) has its roots in the Indus Valley Civilization. Sindh has been shaped by the geography of the largely desert region, the natural resources it had available and the continuous foreign influences. The Indus or Sindhu River that passes through the land, and the Arabian Sea (that defines its borders) also supported the sea-faring traditions among the local people. The local climate also reflects why the Sindhis have the language, folklore, traditions, customs and lifestyle that are so different from the neighbouring regions.
History
The roots of Sindhi culture and civilization go back to the distant past. Archaeological researches during 19th and 20th centuries showed the roots of social life, religion and culture of the people of the Sindh: their agricultural practices, traditional arts and crafts, customs and tradition and other parts of social life, going back to a ripe and mature Indus valley civilization of the third millennium B.C. Recent researches have traced the Indus valley civilization to even earlier ancestry.[3]
Archaeological discoveries
Mohenjo-daro
Archaeological discoveries sometimes help to unfold the certain latent aspects of a specificculture. The excavations of Mohenjo-daro have unfolded the city life of a civilization of people with values, a distinct identity and culture. Therefore, the first definition of the Sindhi culture emanates from that over the 7000 year old Indus Valley Civilization. This is the pre-Aryan period, about 3,000 years B.C., when the urban civilization in Sindh was at its peak.
Ranikot Fort
In Sir Mortimer Wheeler's book, Civilization of the Indus Valley and Beyond, it is said that; "Civilization, in a minimum sense of the term, is the art of living in towns, with all that the condition implies in respect of social skills and disciplines." When people speak of Sindhi civilization, they have to concern themselves, mainly with the material and concrete side of human habitation of which Sindhi culture is the only essence called the superstructure.[original research?] The present day Sindh, along with the Northern part of the Indus Valley Civilization (around 3000 to 2500 B.C.) is located on its urban civilization.[4]
Ranikot Fort is also a landmark of the Indus valley civilization. It is the world's largest fort, with walls extending to 20 km. It has been called a "second Wall of China", and it attracts many visitors.
Language
Main article: Sindhi language
Sindhi language is an ancient language spoken in Pakistan and many other parts of the world. It is an Indo-Aryan language spoken by approximately 41 million people in Pakistan, and 12 million people in India; it is the second most spoken language of Pakistan, mostly spoken in the Sindh province. It is a recognized official language in Pakistan, and also an official language in India. Government of Pakistan issues National Identity Cards to its citizens only in two languages; Sindhi and Urdu.
Literature
Main article: Sindhi literature
History
Sindhi language is ancient and rich in literature. Its writers have contributed extensively in various forms of literature in both poetry and prose. Sindhi literature is very rich, and is one of the world's oldest literatures. The earliest reference to Sindhi literature is contained in the writings of Arab historians. It is established that Sindhi was the first Eastern language into the Quran, when it was translated in the eighth or ninth century A.D. There is evidence of Sindhi poets reciting their verses before the Muslim Caliphs in Baghdad.[5] It is also recorded that treatises were written in Sindhi on astronomy, medicine and history during the eighth and ninth centuries.[6]
Poetry
Sindhi poetry is also prominent in Sindhi culture. Poetry of Shah Abdul Latif Bhittai. Sachal Sarmast is very famous amongst all of Pakistanis. Regional poets are Shaikh Ayaz, Ustaad Bhukhari, Ahmed Khan MAdhoosh. Many Sindhi poets are doing their poetry work continuously.
Music
Main article: Sindhi music
Sindhi music has its own unique quality. It is performed in many different ways. Sufi music is performed at shrines, and other simple music is performed at studios and gatherings.[7]
[edit]
Cultural character
The ancient Sindhi civilization was the place, where the aesthetic utilization of leisure was freely indulged. There has been evidence, that the excavations of sites dating back to 3000 B.C. (all over Sindh) is also true, around 1200 years ago when Jaina Dakshiniya Chihna (778 A.D.) described the distinguished features of Sindhis in this way: "Elegant, with a lovely, soft and slow gait, they are fond of the art of Gandharvas (that is, songs, music and dancing) and full affection towards their country."
Sindhis celebrate Sindh Cultural day world wide on 6th December by wearing Ajrak & Sindhi Topi on that occasion.
Portrait of a Hindu girl from Sindh
Portrait of a Muslim girl from Sindh
The great Pakistani Sufi singer, Abida Parveen visited Oslo in September 2007
Zulfikar Ali Bhutto Junior in traditional Sindhi dress
Islam in Sindh
Tower at Mansura (Brahmanabad)
From the beginning of Muslim rule of the Sindh in 713 CE, the Muslim technocrats, bureaucrats, soldiers, traders, scientists, architects, teachers, theologians and Sufis travelled from the rest of the Muslim world to the Islamic Sultanate in Sindh, and settled there permanently. The majority of Sindhis converted to Islam by the Sufi mystics from Middle East and Central Asia. The Sindh became distinct in its identity and culture, and many contemporary writers in medieval age referred to Sindh and Hind as two different countries. The Sindhi culture flourished with a new stimulus from Islamic sources from Persia and Afghanistan. Many Baloch and Afghan tribes also settled in Sindh, adopting Sindhi culture.
Sports
There are many regional sports that are played in Sindh. Malakhiro(Malakhra) is one of the famous sports of Sindh. Other sports include Wanjh wati, Kodi Kodi, Beelarhoo, Thipai Rand, Notinn and Biloor.
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