In the remote valleys of Chitral, Northwest Pakistan, the tradition of crafting Chitrali Shu, a handwoven woollen cloth, reveals the essence of the community. This cloth symbolises Chitral’s heritage, skill, and communal spirit. Adil Iqbal, the Principle Investigator for the EMKP Project documenting Chitrali Shu explores the mythology, superstitions, and folk poetry of Shu, with insights from Cultural Historian, Dr. Inayatullah Faizi, underscoring the urgent need for preservation. They remind us that in the threads of Shu, we find stories of human endeavour, deeply woven into the fabric of life in Chitral.

“In every thread of Chitrali Shu, there is a story woven of resilience and tradition. This craft is not merely about creating fabric but about preserving a way of life that has sustained the people of Chitral through generations.” – Adil Iqbal

The Mythological Weave

An interview with Cultural Historian, Dr. Inayatullah Faizi, sheds light on the Shu craft, which is deeply embedded in the spiritual, mythological, and practical aspects of Chitral’s culture. The conversation revealed that Shu transcends mere historical interest, providing a profound understanding of the region’s lifestyle and traditions. It presents a living, breathing culture, where every spin of the wheel and every carded thread is a testament to a community’s resilience and identity. As modern influences creep into Chitral, the challenge remains to preserve these narratives and ensure that the threads of Shu continue to tell the story of the people, their land, and their myths.

For example, the story of Shandur Lake, where a young girl tragically drowned while washing sheep, entwined with the animal’s horns, reflects the deep-rooted belief in the sacredness of nature among the local community. This tale symbolises how the natural world, in its unpredictable and sometimes harsh beauty, is interwoven with the lives and livelihoods of the people. The girl’s entanglement with the sheep represents the inseparable connection between humans and the animals they depend on, as well as the land and water that sustain them. The lake, believed to mystically send its waters to Herchin village, represents unseen forces that nourish and sustain the community, much like the threads of Shu—the hand-woven wool fabric—bind people together through their shared traditions and reliance on the natural environment. In this way, the story reflects both the fragility of life and the enduring ties between the people, their environment, and their cultural heritage.

Superstitions and Spinning

The act of spinning in Chitral is surrounded by a host of superstitions that reflect the community’s intricate relationship with fate, fortune, and the unseen forces that shape their lives. For instance, if a spinner’s thread breaks repeatedly, it is believed to signal her unmet needs, such as hunger or emotional turmoil, revealing a spiritual and physical connection to her craft. Similarly, dropping a ball of thread or the “maku” (the shuttle in weaving) is thought to predict impending shortages or unfulfilled desires, illustrating how closely community members attune to their tools, interpreting even minor occurrences as reflections of the balance between their work and well-being.

Some brought with them omens, both good and ill. When a woman showed exceptional skill in sorting and carding wool, she was hailed as “capable,” a beacon of good fortune for the entire village. The older women bestowed upon her the title of a “capable daughter” as a mark of honour. Conversely, the presence of certain individuals wasn’t as welcome. Whispers would float among the group, suggesting that their task’s slow progress was due to a particular woman’s wickedness. “Because of her, the wool won’t separate,” they’d murmur, her presence becoming synonymous with bad luck, a curse in the otherwise harmonious night.

As young women mastered the art of carding, teasing, and spinning, their mothers added another layer of mysticism. With deep-rooted belief, they would tie an amulet, spinning it anti-clockwise, ensuring protection, luck, and perhaps a hint of magic for their daughters. These superstitions, combined with age-old practices, demonstrate the reverence with which they approach their everyday tasks, viewing spinning not merely as a craft but as a mirror to their inner and outer worlds.

Language and Lore

In Chitral, the tools and techniques of Shu-making are embedded in the everyday language, demonstrating the craft’s pervasiveness in societal consciousness. Phrases like “Dundini Bik” (bowing down like a carding bow) metaphorically describe aging or ailments, reflecting how crafting metaphors run deep in the interpretation of human conditions. “Shubinik” (warping thread on a loom), used to describe frequent visits, shows the dynamic nature of community interactions mirrored in the rhythmic motions of Shu-making.

Similarly, “Warketi Bik” (becoming too old or weak) and “Puchuti Korik” (crushing a green belt underfoot) use the imagery of Shu-making tools and processes to describe the broader textures and events of life. These phrases not only convey linguistic creativity but also underscore the community’s deep connection with their environment and their craft.

The process known as “Bohtik” is central to the creation of Shu. It involves a rigorous method of washing and felting wool, integral to the fabric’s durability and texture. This method is so culturally significant that it has given rise to local proverbs, illustrating the community’s values and philosophies. For example, the term “Bohtik” itself has transcended its literal meaning to denote thoroughness and hard work in the broader cultural lexicon of Chitral.

Proverbs such as “Bohtik felting is like giving punishment” express the intensive labour and meticulous effort involved in felting, highlighting the cultural ethos of diligence and perseverance. Similarly, comparing heavy snowfall to the bunches of wool, with phrases like “snow falls as thick as bunches of wool,” illustrates the intertwining of natural phenomena and daily life in the local discourse, showcasing the community’s connection with their environment.

“The delicate patterns of Shu tell tales of Chitral’s mythological past and spiritual depth, serving as a canvas where every colour and knot captures a piece of our shared history.”
(Dr. Inayatullah Faizi, in conversation with Adil Iqbal)

Echoes in Folk Poetry

The integration of Shu into Chitral’s cultural expressions is perhaps most beautifully rendered in its folk poetry. Verses speak of the art of Shu-making not just as a craft but as a life’s pursuit that parallels the weavings of fate and destiny. For instance, an anonymous poet contrasts two weavers—one fed better than the other—highlighting social status and human worth through the lens of their craft.

Ta mosh di jula awa di jula
Dayuso te chirginj mate shula

تہ موش دی جھولا ، اوہ دی جھولا
دایوسو تین چھیرگرینج مہ تین شولہ

Your husband is a weaver; and I am also a weaver.
He is served with meatless rice while I get rice with meat.
(Translated by Arshad Irfan)

In another popular oral song, Ashurjan, a young girl’s lament on her arranged marriage is interwoven with imagery of grazing sheep and teasing wool, using Shu-making as a backdrop for personal and emotional expression.

Ma shirin Nanei nan kia
Ma bulbul nanei nan kia
Tan lishpayan rochi kia
Tan warketian dumi kia
Giti benda phretam kia
Kol neeshi asur nan kia

مہ شیرن نانے نان کیہ
مہ بلبلول نانے نان کیہ
تان لیش پایان روچھی کیہ
تان ورکھیٹیو دھومی کیہ
گیتی بیندہ پھریتام کیہ
کول نیشی اسور نان کیہ

She narrates the love in her heart saying that:

My beloved mother! After having grazed the sheep and lambs, and teased the baskets of wool,
I happily entered the door, but I was shocked to see that “he” had been seated in the house.
(Translated by Arshad Irfan)

(Irfan, M. I. (2017). Chitral Kay Lok Geet. Lok Virsa. p. 8.)

Beghash, a poet of the near past writes:

Sawoz boyan e shu berang zindagio shutrari
thasurko ghon gherduman falako makuwa awa.

ساوز بویان ای شو بے رنگ زندگیو شوتراری
تھسوروکو غون غیردومان فلکو ماکوا اوہ

A woollen fabric is being woven from the threads of a colourless life.
I am forced to revolve like a “Thasuruk” inside “Maku” of the mortal world.

(Translated by Arshad Irfan, paraphrased by Dr. Inayatullah Faizi)

(Beghash, Shahzada Aziz ur Rahman. Gudaz. Peshawar: The Print Man, December 2001)

Thasuruk” is a bobbin, an 8-10 cm long hollow piece of wood, which holds rolls of single-ply thread in the boat shuttle for weaving. “Maku” is an oval, boat-shaped wooden shuttle for weaving. The boat-shaped shuttle itself, vividly conveys the ceaseless and often monotonous cycle of existence. Beghash’s metaphor underscores a life spun and woven in the loom of the universe, where one is compelled to persist within the confines of the mortal realm.

Adding to this rich tapestry, Amin ur Rehman Choghtai, a contemporary poet, offers his contemplations:

“Khayate falk shoqa koroi
Sueer-o-che barter
Ma hash dumitai, hash dumitai
Ki dumphus arer.” 

خیاط فلک شوقہ کوروئے
سوئروچے باہتیر
مہ ھش دھومیتائے ھش دھو میتائے
کی دھوم پھوس اریر

“The mortal world is like a tailor.
It tailors a shoqa (long overcoat) and felts it.
In my case, it turned up like a spinner.
It teased me into such pieces which could not be spun.”

(Rehman Choghtai, Amin ur. Thakna Thaki. Peshawar: Rizwan Printer, July 2000, p. 80)

For Amin, the world is likened to a meticulous tailor, crafting and shaping destinies. Yet, Amin’s personal experience reveals a world that fragments and disassembles, leaving him in a state of disarray, akin to fragments of wool that cannot be spun.

These poetic reflections, grounded in the traditional crafts of Chitral, invite readers to ponder the intricate, often turbulent weave of life. Beghash and Amin, through their evocative verses, illuminate the enduring struggles and the poignant beauty found within the threads of our shared human experience.

To the untrained ear, these might sound like simple verses, but for the Chitrali, they are a mirror to their soul, their history, and their indomitable spirit. The poetry, akin to the intricate patterns of Shu, threads together the joys, sorrows, and dreams of a people.

The craft of Shu, as illuminated by cultural historian Dr. Inayatullah Faizi, is more than a historical curiosity; it embodies the spiritual, mythological, and practical essence of Chitral’s culture. This ancient craft, rich with superstitions and linguistic metaphors, reflects the community’s intimate connection with their environment and their resilience. Shu-making is woven into the fabric of daily life, from the tragic tale of Shandur Lake to the proverbs inspired by the arduous process of felting. The poetic reflections of Beghash and Amin further entwine this craft with the philosophical musings on existence and destiny. As modern influences encroach, preserving Shu and its narratives becomes paramount to maintaining the cultural tapestry of Chitral, ensuring that every spin of the wheel continues to tell the story of its people and their enduring spirit.

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Authored by Adil Iqbal. Edited by Chrisyl Wong-Hang-Sun.