The problem with Shahbaz Gill’s Ajrak comments

Recently, Special Assistant to the Prime Minister (SAPM) Shahbaz Gill mocked Bilawal Bhutto for wearing a facemask with an Ajrak print on it. He said that the Ajrak face-mask worn by Bilawal resembled the cloth tied around the mouths of calves in villages in order to stop them from drinking too much milk, as they both have a “colorful” print. What was even more profane, but not shocking, was that the entire panel on the television show, during which these remarks were made, was found going into fits of laughter in agreement with the prime minister’s aide. Such behavior inadvertently sows the seeds of hatred and bias against a particular culture. For this reason, it has become important now more than ever to explain what the Ajrak truly represents.

Ajrak is a block printed cloth with a deep crimson red and indigo blue background, bearing symmetrical patterns and motifs. More than just a fabric, Ajrak is a Sindhi tradition, a cultural cloth, the lineage of which can be traced back to the Indus Valley Civilisation, which was a prosperous society during the period of 2500-1500 BC. Excavations in Pakistan have revealed the presence of famous ancient cities and their material cultures that existed thousands of years ago on the land of the river Indus.

One such excavation discovered a statue of the much celebrated King Priest at Mohenjodaro, which has a trefoil motif on the draped shawl. The trefoil signifies the three Sun-disks which merged together to characterise the unity of the gods of the Sun, Water and Earth. This particular cloud pattern is known as ‘kakar’, prominent in the Ajrak pattern. The use of trefoil can be traced to Mesopotamia as well. In fact, the Ajrak was presented to the Persian King Darius-I at his crowning ceremony in 500 BC. The use of Ajrak can be found throughout Sindh and parts of India, especially Kutch.

The famous orientalist Elsa Kazi, a well-known German scholar, translated selected verses of Shah Abdul Latif Bhittai’s “Shah Jo Risalo” where the mention of Ajrak can be found. The scholar maintains that Ajrak was very much in popular use during the lifetime of Shah Abdul Latif Bhittai (1689-1752). The symbolic use of Ajrak can be found in the excerpts from the chapter “Mumal and Rano” reproduced below:

“Like fresh pan-leaves are Ajraks (shawls) they wear of shimmering emerald silk-

Their bodies all refreshed with atter and ambergris rare;

From fulsome platis sandal and musk perfume all-round the air”

Hence, Ajrak is not merely a cloth. It is a symbol of peace, unity, and love. It signifies dignity, honour, and respect, with different levels of meaning and representation for both men and women. Ajrak has an important role in Sindh’s societal value system, and is regarded as being sacred. The colour, pattern, and motif are signs of identity, social status, and a protective talisman. In Sindh, Ajrak is used from the cradle to the grave. It is used as a hammock for an infant; it is used as a turban and a shawl; it is also a bridal accessory, a bed-cloth, a gift, and a token of respect. Politicians use Ajrak in public meetings to show respect to the culture and traditions of Sindh. These multifaceted uses of Ajrak are a matter of pride and solidarity for the people.

Ajrak is also a social, cultural and political symbol, and is emblematic of ethnicity. Understanding the relationship between Ajrak and ethnicity is a complex phenomenon since Ajrak represents different ethnicities in Sindh. Across Pakistan, different textiles and objects serve as key features of different regions and are symbolic of their identity. In the case of Sindh, Ajrak and the Sindhi topi (cap) are important symbols of cultural and ethnic identity of the people of Sindh. These cultural regions do not have any specific geographic patterns; rather, these regions share a rich history.

Many mesmerising worlds were unravelled when Asian painters met the Ajrak craftsmen of Kutch. The abundant geometric patterns, the motifs and the stars, and the craft which is not able to exist without the colour indigo leaves us with many questions. What is the true essence of an Ajrak? Is this cloth influenced by Islam?

What we know is that Ajrak has a connection with the universe. The Earth from above looks blue, the seas from above appear dark blue, and the sky above us is also blue. Ajrak is inspired by the night sky, using a lot of stars in its pattern. Black signifies the night sky whereas red signifies dusk and twilight; hence the colour palette of Ajrak is representative of the Universe. Red represents the Earth, blue represents the sky, whereas white represents the clouds. Additionally, Sufism has had an important influence on the craftsmanship and the philosophy of an Ajrak. The idea of the universe in an Ajrak pattern resonates with the concept of unity and universality of Sufi philosophy. As Rumi says in ‘Diwan-e-Shams-i-Tabrizi’,

“You are the Soul of the Soul of the Universe. And your name is Love.”

As a result, Ajrak has persevered over thousands of years as it is deeply integrated with the culture of Sindh. Let us hope that this symbol of love sustains all tests of time and ignorance, and let us also hope that ignorance of a culture will not become the basis for fanning hatred and bias against it.