A. AMUSEMENTS.
The Chaughan Bazi or Hockey on horseback, so popular everywhere north of Kashmir, and which is called Polo by the Baltis and Ladakis, who both play it to perfection and in a manner which I shall describe elsewhere, is also well known to the Ghilgiti and Astori subdivisions of the Shina people. On great general holidays as well as on any special occasion of rejoicing, the people meet on those grounds which are mostly near the larger villages, and pursue the game with great excitement and at the risk of casualties. The first day I was at Astor, I had the greatest difficulty in restoring to his senses a youth of the name of Rustem Ali who, like a famous player of the same name at Mardo, was passionately fond of the game, and had been thrown from his horse. The place of meeting near Astor is called the Eedgah. The game is called Tope in Astor, and the grounds for playing it are called Shajaran. At Gilgit the game is called Bulla, and the place Shawaran. The latter names are evidently of Tibetan origin.
The people are also very fond of target practice, shooting with bows, which they use dexterously but in which they do not excel the people of Nagyr and Hunza. Game is much stalked during the winter. At Astor any game shot on the three principal hills—Tshhamô, a high hill opposite the fort, Demídeldèn and Tshólokot—belong to the Nawab of Astor—the sportsman receiving only the head, legs and a haunch—or to his representative, then the Tahsildar Munshi Rozi Khan. At Gilgit everybody claims what he may have shot, but it is customary for the Nawab to receive some share of it. Men are especially appointed to watch and track game, and when they discover their whereabouts notice is sent to the villages from which parties issue, accompanied by musicians, and surround the game. Early in the morning, when the “Lóhe” dawns, the musicians begin to play and a great noise is made which frightens the game into the several directions where the sportsmen are placed.
The guns are matchlocks and are called in Gilgiti “turmàk” and in Astór “tumák.” At Gilgit they manufacture the guns themselves or receive them from Badakhshan. The balls have only a slight coating of lead, the inside generally being a little stone. The people of Hunza and Nagyr invariably place their guns on little wooden pegs which are permanently fixed to the gun and are called “Dugazá.” The guns are much lighter than those manufactured elsewhere, much shorter and carry much smaller bullets than the matchlock of the Maharajah’s troops. They carry very much farther than any native Indian gun and are fired with almost unerring accuracy. For “small shot” little stones of any shape—the longest and oval ones being preferred—are used. There is one kind of stone especially which is much used for that purpose; it is called “Balósh Batt,” which is found in Hanza, Nagyr, Skardo, and near the “Demídeldèn” hill already noticed, at a village called Pareshinghi near Astor. It is a very soft stone and large cooking utensils are cut out from it, whence the name, “Balósh” Kettle, “Batt” stone, “Balósh Batt.” The stone is cut out with a chisel and hammer; the former is called “Gútt” in Astori and “Gukk” in Gilgiti; the hammer “toá” and “Totshúng” and in Gilgiti “samdenn.” The gunpowder is manufactured by the people themselves.[42]
The people also play at backgammon, [called in Astóri “Patshis,” and “Takk” in Gilgiti,] with dice [called in Astóri and also in Gilgiti “dall.”]
Fighting with iron wristbands is confined to Chilasi women who bring them over their fists which they are said to use with effect.
The people are also fond of wrestling, of butting each other whilst hopping, etc.
To play the Jew’s harp is considered meritorious as King David played it. All other music good Mussulmans are bid to avoid.
The “Sitara” [the Eastern Guitar] used to be much played in Yassen, the people of which country as well as the people of Hunza and Nagyr excel in dancing, singing and playing. After them come the Gilgitis, then the Astoris, Chilasis, Baltis, etc. The people of Nagyr are a comparatively mild race. They carry on goldwashing which is constantly interrupted by kidnapping parties from the opposite Hunza. The language of Nagyr and Hunza is the Non-Aryan Khajuná and no affinity between that language and any other has yet been traced. The Nagyris are mostly Shiahs. They are short and stout and fairer than the people of Hunza [the Kunjûtis] who are described[43] as “tall skeletons” and who are desperate robbers. The Nagyris understand Tibetan, Persian and Hindustani. Badakhshan merchants were the only ones who could travel with perfect safety through Yassen, Chitral and Hunza.
DANCES[44]
Fall into two main divisions: “slow” or “Búti Harip” = Slow Instrument and Quick “Danni Harip,” = Quick Instrument. The Yassen, Nagyr and Hunza people dance quickest; then come the Gilgitis; then the Astóris; then the Baltis, and slowest of all are the Ladakis.
When all join in the dance, cheer or sing with gesticulations, the dance or recitative is called “thapnatt” in Gilgiti, and “Burró” in Astóri.
When there is a solo dance it is called “nàtt” in Gilgiti, and “nott” in Astóri.
“Cheering” is called “Halamush” in Ghilgiti, and “Halamùsh” in Astóri. Clapping of hands is called “tza.” Cries of “Yú, Yú dea; tza theá, Hiú Hiú dea; Halamush thea; shabâsh” accompany the performances.
There are several kinds of Dances. The Prasulki nate, is danced by ten or twelve people ranging themselves behind the bride as soon as she reaches the bridegroom’s house. This custom is observed at Astor. In this dance men swing above sticks or whatever they may happen to hold in their hands.
A Dance at Gilgit (Dr. Leitner and his Panjabi Attendants looking on).
The Buró natt is a dance performed on the Nao holiday, in which both men and women engage—the women forming a ring round the central group of dancers, which is composed of men. This dance is called Thappnatt at Gilgit. In Dareyl there is a dance in which the dancers wield swords and engage in a mimic fight. This dance Gilgitis and Astòris call the Darelâ nat, but what it is called by the Dareylis themselves I do not know.
The mantle dance is called “Goja nat.” In this popular dance the dancer throws his cloth over his extended arm.
When I sent a man round with a drum inviting all the Dards that were to be found at Gilgit to a festival, a large number of men appeared, much to the surprise of the invading Dogras, who thought that they had all run to the hills. A few sheep were roasted for their benefit; bread and fruit were also given them, and when I thought they were getting into a good humour, I proposed that they should sing. Musicians had been procured with great difficulty, and after some demur, the Gilgitis sang and danced. At first, only one at a time danced, taking his sleeves well over his arm so as to let it fall over, and then moving it up and down according to the cadence of the music. The movements were, at first, slow, one hand hanging down, the other being extended with a commanding gesture. The left foot appeared to be principally engaged in moving or rather jerking the body forward. All sorts of “pas seuls” were danced; sometimes a rude imitation of the Indian Nátsh; the by-standers clapping their hands and crying out “Shabâsh”; one man, a sort of Master of Ceremonies, used to run in and out amongst them, brandishing a stick, with which, in spite of his very violent gestures, he only lightly touched the bystanders, and exciting them to cheering by repeated calls, which the rest then took up, of “Hiù, Hiù.” The most extraordinary dance, however, was when about twelve men arose to dance, of whom six went on one side and six on the other, both sides then, moving forward, jerked out their arms so as to look as if they had all crossed swords, then receded and let their arms drop. This was a war dance, and I was told that properly it ought to have been danced with swords, which, however, out of suspicion of the Dogras, did not seem to be forthcoming. They then formed a circle, again separated, the movements becoming more and more violent till almost all the bystanders joined in the dance, shouting like fiends and literally kicking up a frightful amount of dust, which, after I had nearly become choked with it, compelled me to retire.[45] I may also notice that before a song is sung the rhythm and melody of it are given in “solo” by some one, for instance
Dānă dāng dānŭ dăngdā
nădañg dānŭ, etc., etc., etc.