The History of Jugni

xBy Karamjit Singh Aujla.
Translated by Gurjant Singh.
Originally Published in Punjabi Tribune 24th Sept 2005.

The popularity of Jugni has always touched the hearts of Panjabi mentality. She became a permanent part in the Panjabi folklore right since the ancient times. But who is Jugni? Nobody ever tried to find the veracity and because of it's simple Jugni-stanzas and simple versification, academic scholars never cared.

Jugni-poetry and Jugni-music took birth a century ago in 1906. Before that time, nowhere do we find any mention of her in history or the folk memory.

Jugni-poetry and Jugni-music was created by two folk singers and most probably its creation was accidental. These folk singers were Bishna and Manda. They were from Majha area and whatever I heard about them is as written below.

According to the late Pandit Diwan Singh, a resident of Khadur Sahib, Manda was a Muslim Mirasi. His village was Hasanpur, Thana Vairowal in Amritsar District. His real name was Mohammad but he was popular with his name Manda. Nobody knows anything about his family.

Bishna was also from Majha and was from a Jatt family. Nobody knew about his background untill 1969 when was asked from a freedom fighter Baba Makhan Singh of village Dhathi Jaimal Singh, he told that their stages were seen a couple of times in Patti and Kasur. Their favourite topics were Mirza and Tappe but they invented Jugni in 1906.

Baba Makhan Singh told that in 1906 when both of them were youths, the Brtish brought Jugni to India. When I asked that how British brought Jugni and what was Jugni, Baba Ji's answer was that English Queen's rule was over 50 years at that time. British ruled several parts of the Planet Earth and they thought that they should take a Torche to whole of their Empire. That flame of the Torche was itself Jugni which was taken from city to city in every country under British rule.

Baba Makhan Singh told that that flame was put in a big gold utensil and was taken to the every headquater of the districts. Wherever Jugni was taken big celebration were observed by the Govt. In all those shows Bands, Police department, army, Zaildars,high officials and high society people visited. In these shows Manda and Bishna also held their stage.

When Baba Makhan Singh was all explaining this, then a nearby person who looked a bit more educated, interupped that English didn't bring Jugni-flame. In fact it was Jubilee which illiterate Bishna and Manda pronounced as 'Jugni'.
From that gentleman's interruption suddenly the mystery of the word 'Jugni' was found that the word 'Jugni' took birth from the english word Jubilee. It is clear that in 1906 the Jubilee flame was taken everywhere under the rule of Queen Victoria at her 50th anniversary on the throne.

This Jubilee flame was taken to every main city and at the district headquaters celebrations and festivities took place under the charges of DC. On these festivals, Bishna Jatt and Manda Mirasi held their stage where they sang their own composed stanzas of Jugni with the instuments of Dhad and King. Because of the simplicity and easy versification, these verses of Jugni became so popular very soon that many other people started versification of Jugni Verses.

Wherever we find a 'Jugni-Verse' there we must find some city's, village's, and palce's name. Wherever Jubilee-flame of the English rulers went Bishna and Manda also went to those places and put their small stage somewhere near the big festivals to perform. Their one original 'Jugni-verse' is like this:

Jugni jaa varhi Majithe
koi Rann na Chakki peethe
Putt Gabhru mulak vich maare
rovan Akhiyan par Bulh si seete
Piir mereya oye Jugni ayi aa
ehnan kehrhi jot jagaee aa

This 'Jugni's poetic style and versification later became a traditional method and started taking much more in it's clasp but the beginning of 'Jugni' always remained in some city or place:

Jugni jaa varhi Ludhiane
Uhnun pai ge Anne Kaane
Maarn mukkian mangan Daane
Piir Mereya Oye! Jugni kehndi aa
Jehrhi naam Ali da laindi aa

Manda and Bishna were already used to take part in fesivals of Patti, Kasur, Ajnala and other towns of Majha region. Their Akhara or stage performance was famous. Manda used to play the instrument of Dhad and Bishna played the King. Singing performance was always together. They sometimes had composed stanzas at right while performing. If someone gave them a Rupee, they had composed a stanza linking the donor and his village's name.

'Jugni' Jubilee flame went from city to city and Bishna and Manda followed. Their popularity also rose to the great level by time. In those days while the movement for freedom didn't rose but in the mind of the masses anger was there. On many places faminines spead and droughts came. Public was illiterate and the rulers were cruel. So it was sure that the agony and sufferings the public suffered came in their stanzas.

The stanzas of English rule's criticism and their tyranny were also composed. These new stanzas became so popular in public that now the rulers could not tolerate. Government started banning Bishna and Manda's shows. Then Bishna and Manda started performing at some distance from the Jubilee fesivals but they gathered hugh crowds there too and many time police lathi-charged those gatherings. In those of their shows, people started talking frankly agaist the English rule on India and their atrocities, had been coming back while singing 'Jugni' in revolutionary manner.

Sorrowful End

From city to city 'Jugni' alais Jubilee went, Bishna and Manda followed, hugh crowed gathered. Anger against the English rule's opression rose, public got more restless. In the same manner when Jubilee functions in the city of Gujaranwala became insipid against the Bishna and Manda's stage, irritated police arrested and tortured them both to death. It is said that police buried them both in the middle of night in some unknown cemetry.

Canes of police had make them mum but their 'Jugni' is still there in every city and will remain in the hearts of the people of this sub-continent forever. It comes in mind that something should be done in the memory of these two ignored and forgotten martyrs, some monument should be made.'Jugni' itself is a great memorial of these two worthy artists in the hearts of million but the monuments in the honour of Victorian jubilee are there in V.J. Hospital ( Victoria Jubilee ) in Amritsar and Victoria Terminal in Bombay which remind us the cruelity which faced generations and wiped the creaters of Jugni.

We don't find any information about the family or siblings of this pair of singers. Neither of them got married in their life time. In 1906 both of them were around the age of 50. Punjab and Punjabis have yet to thank these two greats, next year at the time of century we have a chance to do something important in their memory.

Waris Shah and his Heer

Muhammad Afzal Shahid



 Who was Waris Shah? Why he wrote Heer? What is special about his Heer? How his Heer was treated by his 'admirers'? Where does his Heer stand today? These are some of many questions still being asked by serious scholars of Waris Shah and his masterpiece creation Heer.

In Heer, Waris Shah says: 'Waris Shah vasneek Jandialray da', (Waris Shah is resident of Jandiala, Stanza 628). This small village of Sandal Bar of the old times is Jandiala Sher Khan which is now in administrative domain of district Sheikhupura in Pakistan.

The stanza 594 of Heer reads as: 'binan aml day nahin n'jat teri peya mar'en qutab deya beteya way' (even if you be son of a 'qutab', without practically following the commands you cannot secure salvation. In this line word 'qutab' means one level/rung, like a Vali, a Ghaos and an Abdal, of the sufi tariqa/order). Some have inferred from this line that Waris Shah's father's name was Sayyed Qutab Shah. On the contrary, family ancestral history indicates that his father was Sayyed Gul Sher Shah.

Like his date of birth, his date of death is also not known with certainty. Waris Shah says: 'Waris Shah j'vani di umr guzri ajay taba nanh hirs theen baz aaee' (Waris Shah has passed his youth and yet he has not overcome his greedy disposition; Stanza 439). Above all the maturity and experience revealed in Heer indicates that Waris Shah must have been at least in his fifties at the time of writing Heer (which was completed in 1766-7; Stanza 626).

Little is known about the person of Waris Shah. Lack of authentic and documented details of his life have proved a boon for some to put their own spin and fictionalize this great Punjabi scholar and poet of the Punjab. All sorts of baseless and questionable episodes have been fabricated. It is a matter of proverbial elephant in the hands of the blind describing whatever they can touch without any capacity to see or grasp the whole.

As was customary during his time, Waris Shah received his early education at home or in a Madrassah. This much is known from Heer that he went to Qasur for his higher education.

Qasur (now in Pakistan) was a popular place for higher education for young Punjabis. In particular Hafiz Ghulam Murtaza who headed a religious school (a seminary) was a religious scholar and a famous teacher. Bulleh Shah who was senior to Waris Shah by some twenty years went to Qasur for his higher education from Hafiz Ghulam Murtaza. Many years later Waris Shah also went to Qasur to become a pupil of the same teacher at the same institution.

Waris must have thoroughly quenched his thirst of knowledge from the fountain of scholarship springing from his great teacher. He certainly developed reverence for his beloved teacher which he lovingly expressed in Heer (Stanza 628).

Waris Shah mentions Qasur multiple times. For example, the devastation the marauders like Nadir Shah and Ahmad Shah Abdali wreaked on Punjab was painful to watch and unbearable to experience for Punjab and its inhabitants. Waris Shah was grieved by the devastation that ensued in and around Qasur (Stanza 628).

A sound knowledge and understanding of Arabic and Persian was necessary for a student in a mosque-school because majority of the course materials and textbooks were in Arabic and Persian. Waris Shah names an elaborate list of textbooks, subjects taught, interaction between students and teachers (Stanzas 33 - 36).

In addition to being well educated, Waris Shah had keen eyes to observe, examine, and explore. He had a sharp mind with clear and analytical disposition to analyze what ever came across him in his public and private space and time. His Heer provides a clear evidence of his mastery over all aspects of social and human experience. He is a literary master with powerful expression and clear communication through behavior and verbal expressions of his characters of varied intellectual levels and maturity. He presents a realistic and convincing picture of his time to the extent that a reader feels part of every scene and event described. Through his clarity of expression, a reader appreciates good, acceptable and, in human terms, 'lawful'. At the same time the reader can recognize what is wrong, exploitive, ugly and simply evil.

Waris Shah was well versed with the value system of his open-minded and tolerant society where a variety of diverging systems of religious, moral and cultural values and traditions prevailed. Hindus, Budhs, Sikhs, Yogis, Muslims and other 'dharamis' co-existed peacefully. Waris Shah clearly shows how member of one 'belief system' (Dhido Ranjha, a Muslim) can easily enter the fold of another (become a Yogi) and yet be acceptable to all because that was the 'natural' to a heterogeneously mixed society for its peaceful coexistence. It is the 'other' - a clear outsider, the likes of marauding Nadir Shah and Ahmad Shah Abdali who destroyed the peace of this tolerant, peace-loving and peaceful society.

Waris Shah is not the original author of romance of Heer and Ranjha. The first author to compose Heer in Punjabi poetry is Hari Das Harya. Other authors who composed this folk lore before Waris Shah are: Gang Bhat, Baqi Kolabi, Damodar Das, Saeed Saeedi, Ahmad Gujjar, Meeta Chanabi, Gurdas Guni, Gurdas Khatri, Chiragh Awan, Ahmad Yar Khan Yakta, Faqir-ullah Lahori, Mansa Ram Khoshabi, Mir Qamar-ud-Din, Hafiz Shah Jahan Muqbal, and Sundar Das Punjabi. Many of these authors were contemporary of Waris Shah. It is his version which has made the story of Heer popular and his a household name. The word 'Heer' and the name 'Waris Shah' have become so enjoined that all other composers of Heer seldom matter. No author of Heer has enjoyed the same level of popularity before or since Waris Shah composed his Heer.

In his search for knowledge, exploration and learning, Waris Shah travelled far and wide all over Punjab. During an extended stays at Malka Hans, he composed Heer in the year 1180 AH (1766-7 CE; Stanzas 626, 627). In Malka Hans, Waris Shah stayed in a room adjoining a mosque and was also pesh-Imam (Muslim prayer leader) of the village.

The plot of Heer is simple. Dhido is the youngest of eight sons and two daughters of Maoju, head of the Ranjha clan of Takht Hazara. Dhido is the most favorite of his father. This stirs waves of jealousy among his brothers who are all married. After Maoju dies, the brothers and their wives taunt and tease young Ranjha making his life miserable to the extent that he leaves his ancestral land. On his way to Jhang where he intends to try his luck on winning love, he encounters several ordeals. Finally, he meets Heer, beautiful daughter of Chuchak, the head of the Sial clan of Jhang. It is love at first sight for both. In order to perpetuate and ripen her newly found love, Heer recommends Ranjha to her father that he be employed as their cow-herd. Their love blossoms. A village elder named Kaido, strongly disapproves their secret love meetings. He actively spies on them. Finally he succeeds in winning over parents of Heer to marry her away to Saida of Khera clan of Rangpur. Heer bitterly protests and refuses to marry to Saida Khera. She stubbornly insists to only marry Ranjha. She is forced into the marriage against her will and, as was the custom, to join the Khera family in Rangpur. This marriage is never consummated. At the urging of Heer, the dejected Dhido becomes a yogi and arrives in Rangpor. There he encounters beautiful, proud and arrogant Sehti, the sister-in-law of Heer. After an initial bitter encounter with Sehti, the two are reconciled. Sehti and Heer both concoct a secret plan to run away with their respective lovers;  Heer with Dhido Ranjha, and Sehti with Murad Baloch.  The Kheras follow run away lovers and catch Heer and Ranjha. A Raja intercepts and awards Heer to Ranjha. Ranjha is cheated one last time; Heer is poisoned and on hearing the news Ranjha dies of shock. Thus, unlike other composers of Heer, Waris Shah brings the story of Heer to a touching and tragic end.

The rhyme-scheme called 'baent' which is derived from the Persian 'baet' for a line of poetry was used by Ahmad Gujjar (1682) and Hafiz Shah Jahan Muqbal (1741) in their versions of Heer many years before Waris Shah. Waris Shah adopted the same rhyme scheme for Heer. But it is because of his masterful expressive overtones to link joy, mischief and misfortunes of his characters in Heer to relate most effectively to lives of its readers. In addition to stitching flow of events of Heer seamlessly, he spiced it with philosophical and spiritual wisdom to console the aching hearts of Punjabis devastated by the foreign marauders.

This rhyme is sung in a special melody that is known as 'Heer' style of singing 'Heer'. Popularity of Heer and its rhyme has also led to a source of textual corruption of Heer of Waris Shah. Starting from 1887, many greedy poets and money-minded publishers and printers deliberately started corrupting the text of Waris Shah's Heer by indiscriminately mixing their own poetry to it. It seems the imposters did not or could not discern the difference of the text of Heer from the melody of Heer.

As to the question 'Why did Waris Shah compose his Heer?' one is reminded of two verses in Heer.  At the start of his Heer he states that his friends (in plural) implored him to compose Heer anew (Stanza 6). On completing his composition he states that he has fulfilled request of his dear friend (this time in singular, Stanza 629). He does not reveal identity of his friend(s).

A careful reading of Heer tells us that Waris had a much bigger and noble goal in front of him in composing Heer. He adopted the plot of a well known Punjabi folk lore of Heer and Ranjha. Being a keen and sensitive observer, he could not stay silent about the social ills prevalent around him in his society.  Disregard of human dignity, values and rights particularly towards women was wide spread. He knew that direct prohibition is counterproductive when it comes to encouraging masses to reform. So he used a host of characters of the story to bid his calling. These characters were living and acting in real lives all around him. They were Maoju raising a large family, love spoiled Dhido, ever toiling and jealous brothers, crafty sisters-in-law, stubborn but bribable Mullas of mosques, carefree citizens, world-wise Ludden - the boat-businessman, beautiful Heer and her loyal girl-friends, head of the Sial clan - Chuchak, ever suspicious trouble stirring Kaido - aloof, afflicted with and addicted to drugs, Qazi Shams, Mithhi Nain, cows and cow herds, honor-conscious Sultan - brother of Heer, street-wise yogis, conspiring and impatient disciples, probing ayali/herder, arrogant Sehti, Saida Khera and his father Ajju Khera, Raja Adli and his religious advisor - another self-righteous qazi, natural world with all its abundance, shades of superstitions, world of calamities, angelic five peers/guides, etc. All these characters were from the masses and masses could relate to them rather easily. All were afflicted with instinctive self-centered dark passions of humanity such as ignorance, greed, envy, deceit, jealousy, hate, arrogance, cruelty, etc., and at the same time also carried noble human qualities like love, sympathy, patience, understanding, wisdom, bravery, etc. Imbalance between good and evil was always present and all too real.

That is why Waris acknowledges and accepts the request of his real or fictitious friend(s) and sets out to create the romance of Heer in the best style possible (Stanza 7). Throughout the narration of Heer, in all praiseworthy and blameworthy scenarios, he never lets his noble goal of reformation of his society out of sight. Where necessary he uses the obscene street language of common folk so that he can carry similar members of the real society along. When necessary he cites ayats/verses from Qura'n, ahadis of Prophet Muhammad (PBUH) and words of saintly wisdom to let readers and listeners of Heer know that his narration of the folk lore is not just a cheap entertainment but there is bigger, serious and sincere purpose behind it. That is why he sets the stage between Heer and Qazi to debate the question of forcing marriage on innocent young girls against their free will and without their consent and acceptance (Stanzas 201-215). This practice was prevalent then, as is to a large extent even now, which was and still is contrary to religious teachings, woman rights, human rights, values and dignity. The result is that many verses from Heer have become proverbial words of wisdom. Ordinary people use those lines in their daily life even today. This is not an ordinary feat.

The textual corruption of Heer started soon after the printing presses came to Punjab during the middle of the 19th century. The first printing of Heer was at the Hoop Press, Lahore, in 1865. No copy of this printing is available but it is claimed that its text was re-printed first in 1973 and then in 1988. It is clear that even this first printing of Waris Shah's Heer was grossly corrupted. Later many more corrupted texts of Heer attributed to Waris Shah were produced. Literary excesses of many psedo Waris Shahs, their financial sponsors, publishers and printers is all too well known and well documented in the Heer circles. I find it distasteful and inappropriate to discuss those texts and those imposters for the sake of reverence to the person of Waris Shah.

During early parts of the 20th century, admirers of Waris Shah became concerned about the damage being done by the profit driven wave of imposters. So efforts were initiated to clean the text of Heer and to restore it to the original text as Waris Shah had written. That is when many scholars started comparing and contrasting all the manuscripts of Heer available to them. This included the hand-written old manuscripts as well as printed copies of Heer attributed to Waris Shah.

Several texts were produced with the claims that the said texts were clean, pure and authentic. A comparison of these 'authentic' texts of Heers shows that those claims were simply not true.

Almost all editors of those texts started with the same noble claim: restoring text of Heer to the original as written by Waris Shah. Unfortunately, so far no manuscript written by Waris Shah himself has been discovered. However, there are many old high quality and complete hand-written manuscripts going as far back as 1821. Some of these are written in Gurmukhi script instead of Persian-scripted Punjabi which is the script in which Waris Shah would have written his Heer. Gurmukhi script suffers from transliteration problem when it comes to writing Muslim-specific worlds of Arabic and Persian origin.

On the other hand Waris Shah's version of hand written Punjabi is generally difficult to read for two main reasons. One, the written script used is usually 'cursive' so that shapes of letters are grossly distorted. Two, different letters with common shapes and sounds were generally not differentiated. It becomes even bigger challenge if an editor/reader is not familiar with the classical Punjabi language as pronounced by Waris Shah in his Heer.

I have read hand-written and printed versions of Heer going all the way back to 1859 and as recent as 2009. My conclusion is that we are fortunate to have an excellent quality and complete text of Waris Shah in the form of a hand-written manuscript preserved in Punjab Public Library, Lahore, Pakistan. It was copied by Kirpa Ram of Hafizabad (a city in Pakistan) in year 1859 at the request of Hardev Singh who was a Minister in the Sikh Government. This manuscript is clear in beautiful calligraphic Persian-scripted Punjabi. Kirpa Ram was well versed with Persian and was scholarly to the extent that he has correctly copied ayat/verses of Qura'n and other religious textual references cited in Heer.

Another hand-written manuscript which has a date of 1861 (7 Shaban 1277 AH) is complete from the beginning but is missing the last 9 stanzas. The text of this manuscript is almost identical to that of Kirpa Ram manuscript cited above. Two conclusions can be drawn by comparing these two manuscripts. One, prior to the era of printing presses, corruption of Waris Shah's Heer was not prevalent and almost non-existent. Two, both manuscripts may have been copied from the same earlier manuscript.

I have based text of the present book of Heer by Waris Shah on the two hand-written manuscripts cited above. This book consists of 4260 lines of poetry in 631 stanzas of unequal lengths.

I was born and raised in Shahkot (an old town, until recently in District Sheikhupura and now a tehsil in district Nankana Saheb). I am a descendent of local Punjabi parents with local ancestry from many generations. Our history is pinned to this 'Jangli' land from the times of 'Bars'. I have spent years of my boyhood in small villages like Kurlathi, Jhanggar, Phanddar, Bheray-Wali, Pakka Khooh, Mirpur Bhattiyan, Kot Allah Ditta (on Nala Dek), Pithorana, Islam Pura (Renala Khurd), etc. In these villages, I had the pleasure of meeting, observing and listening to many 100 year old local Punjabi elders grooming younger generation in 'theth Jangli' Punjabi language and ways of life as pronounced by Waris Shah in his Heer. This takes me almost 150 years back in time; now I am almost 63.

What should be done next about Heer? This is an important question and must be addressed sincerely and honestly by all those who want to preserve Punjabi literary heritage and history. This one book is a cyclopedia of Punjab and North-western regions of one of the oldest civilization in the sub-continent. My own view is that we should reject all printed versions of Heer altogether since without exception all these texts of Heer are corrupted. We should build on the unique and apparently authentic text of Heer as preserved in the Punjab Public Library, Lahore and other similar hand-written older books of Heer. It is our duty to produce a standard text of Heer of Waris Shah. Moreover, in order to introduce Waris Shah and his work to the rest of the literary world, we must translate Heer in all major languages of the world.

THE WAGAH BORDER: FROM DIVISION TO BRIDGE

                                            

The residents of the city say there are only three places worth visiting in Amritsar:  the Sikh Golden Temple, Jallianwalla Bagh where the British Brigadier  Dyer in 1919 massacred unarmed Indians ---and the Wagah border. Indeed the flag-lowering ceremony at the end of each day on the India-Pakistan border at Wagah in Punjab has over the years become a tourist destination, attracting predominantly Indians and Pakistanis on the respective sides of the border, with a sprinkling of foreigners. 

 The Wagah check-point is about mid-way between the cities of Lahore in Pakistan and Amritsar in India, each about 25 kilometers away,  on the  only road link  between  the two neighbours.  Here the border is marked in white as it cuts across the historic Grand Trunk Road (GTR). The road has been closed for years now at Wagah by two metal gates,  one on each country’s side.  The two flag posts are located contiguous to the boundary line between the two gates.

 Traditionally the flag-lowering ceremony has been a display of macho and mutual hatred by the border security forces on each side, though the animosity has been toned down in recent years. As the guards muster on each side and the crowds on both sides wave their respective  flags,   the air  resonates with nationalistic slogans, including “Pakistan Jindabad (“Long Live Pakistan”)  and “Jai Hind  (“Long Live India”).On the Pakistani side, there is also  the intermittent playing of Koranic verses .

 Then, at the appointed time, both gates are thrown open, the border troops take giant exaggerated steps towards the flag

posts and stamp the ground vigorously with their boots. Their demeanor and facial expressions signify determination, defiance, even hostility.  After the flag lowering,  the two gates are shut with a loud clang, as if to signify a determination that each country will remain shut  to the other.   

 A South Korean visitor on the Pakistan side of the border last year could barely  contain his amusement over what, to him, looked like a farce. In his derisory merriment he forgot that it was  perhaps no more farcical than the  face-off between South Korean and North Korean troops at the Panmunjom on the 38^th parallel border between the two countries.

Among the Indian and Pakistani crowds the ceremony seems to arouse tangled emotions,   a mix of   sadness, hostility,  curiosity and perhaps a  yearning to connect.   I observed the hostility and tragic pathos last year on the Pakistani side:  an old man  with a white beard was trotting up an down the thirty  metres of GTR  enclosed by the public stands, shouting slogans and waving a Pakistani flag.  I was told he was eighty,  lived nearby,  had lost two sons in wars with India, and performs this demonstration  everyday during the flag lowering ceremony.

 But  there are  those who have seen enough of politics and  wars  and are immensely saddened by the futility of sustaining such hatred. After all, the flat landscape,  the rolling  brown  wheat fields of April, broken by occasional clumps of trees,  were identical on both sides of the border ; the people, though of different faiths are the same too;  and the birds flew freely from one side to the other oblivious of the man-made barriers and the  grotesque displays of physical and psychological divisions.

 At the end of the ceremony each day, the crowds on both sides flock  near the boundary fence and peer intently and

curiously at the other side. What unspoken emotions, what forces in the conscious and the subconscious propel them to do so? 

 The Indian province of  Punjab, which Senior Minister Goh Chok Tong visited recently, is India’s richest province, but it is only a small fraction of the pre-partition Punjab. It was then a land of five rivers and stretched from Delhi to Peshawar on the northwest frontier of today’s Pakistan.  The  present  Indian Punjab, with a  population of about 25 million, emerged from two partitions:  between  Pakistan and India in 1947, and, in 1966,  a  partition of the Indian Punjab into the three provinces of Punjab, Haryana and Himachal Pradesh as a result of Sikh demands for a Punjabi-speaking province.

  I

n view of the thaw in relations between India and Pakistan in recent years, there are  hopes that border might be opened up and there can be  people-to-people and business-to-business links with  Pakistani Punjab. The revival of the forces of democratization in Pakistan further encourages such hopes. When that does materialize, the absurdities of Wagah will be relegated to the dustbin of history. Common sense, together with the sense of a common Punjabi identity, could contribute to the breaking of barriers between India and Pakistan at this epicenter of the divide between the two countries.       

Us ne Mohabat ko b ek tijarat samjha

Us ne Mohabat ko b ek tijarat samjha.

Ek dhoka tha mein ny jisy chahat samjha.

Wo mery dil ko tor kar khush hota raha,

Main kaisa dewana tha jo dard ko b rahat samjha.

Us ne samjha hi nahi rishton k taqaddus ko kbhi,

Ye faqat khel tha main ne us ki aadat samjha.

Her bar us ne diya meri wafa ko fareb,

Main tha k apny pyar ko ek ibadat samjha...!!!'

Cute lines from a small boy

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Black Hair Color: It's the New Blonde!

Maybe it's the pop culture obsession with vampires or the whole Goth thing, but these days jet black hair is so hot it has a shot at toppling blond from the Most Popular Hair Color podium.

New Pinned-Up Hairstyle - Going Short With faux bob

Half pinned-up or faux bob hair style is now one of the latest hair trend among celebrities with longer hair. Celebrities such as Amy Adams, Taylor Swift and Milla Jovovich are the new proponents of this redefined trend for 2011. How to get the Look? - Check this video on how to fake a short bob to learn the basics and then make your own style at home. A great option for a night out!

   

New Celebrity Hair Extension

There are a lot of hair extensions available today. There are different price points and quality grades too. Pelo Hair, Los Angeles is a new company offering celebrity quality hair extensions at affordable prices. The products can be ordered nationwide by both consumers and stylists.

New Bridal Hair Styles Book

New bridal hair styles with 4 different views each. A new membership based website that offering over 500 bridal, formal and prom hair styles with an easy to navigate and simple gallery.

The bridal hair styles is also available on iPhone APP.

Medium-length Choppy Hair Cut

Medium-length choppy hair cut with waves, tousled texture and not so perfect soft finish are the perfect formula for successful hairstyle and becoming a hot new trend among celebrities. 

Say Hello To Art Of Retexturizing In Gentler Way

People wanting to tame or straighten their curly, frizzy or kinky hair now have a new alternative salon service - one that offers a kinder, gentler solution to re-texturize or re-shape their hair pattern to a soft, romantic wave or sleek straight and shinny locks.

New Funky Twist Hair Do

Here is a great, new up-do created by top Italian stylist Egidio Borri for those who like something different and edgy. Many runway models wear it. The look is trendy, fun and not as hard to create as it appears. 

A New Graduated Short Bob

A classic graduated short bob haircut with blunt bangs combined with cooler color tones of violet, pearl blonde and dark ash blonde. 

Blonde Bob Hairstyle

A classic straight but sophisticated and high fashion short bob hairstyle with high impact blonde hair color for those with fair skin tone and blue or hazel eyes.

A great choice for career women or those who like to look polished and professional. 

New Hair Style Without Chopping Your Hair

Want to change your hairstyle without drastically chopping your locks? Before you shell out major cash for a fresh style, consider modeling a new do with a simple variation on the way you part your hair.

If you naturally have a light brown base color, try going for highlights with a multi-coloring technique. Applying the highlights in several tones on the part area and keeping the layers underneath darker will give you a striking and unique look. 

Hairstyles Asian Way

These days, Asian hair is increasingly in the spotlight with many Asian and Asian-American celebrities gracing the covers of fashion and film magazines.

I consulted with Ngoc Huynh, a very talented and young stylist in Vietnam to learn more about the leaf or Japanese hair cut and find out the latest in hair color trend in Far East.