Abstract
Pashtun societies are well studied by international and national scholars of Pakistan and Afghanistan. The existing scholarship largely presents a male perspective while explaining the nature, structure, and interpretation of Pashtunwali in Pashtun society. A rigid and fundamentalist view of Pashtun society is usually portrayed such as tarborwali, revenge, honor killings, etc. Our research work was focused specifically on the pashtun females’ experiences and episteme of transmission patterns of Pashtunwali—Pashtuns cardinal code of conduct, among Pashtun women in Pakistan. This study was carried out in three districts of Khyber Pakhtunkhwa (KPK)—namely, Charsadda, Karak, and Swat of Pakistan. Thirty-nine (39) Pashtun women having diverse backgrounds concerning age, education, and locale were in-depth interviewed for data collection. The data was analyzed through the thematic qualitative data analysis technique using Standpoint feminism (Sandra Harding and Dorothy Smith) as a major theoretical guide. The study has revealed the endowment of Pashtun women (especially mothers, grandmothers, and mothers-in-law) in preserving, sustaining, and transmitting the Pashtun value system towards the young generation (daughters). Unconditionally, Pashtun women (especially mothers) had a significant role in the creation and promotion of Pashtun culture through folklores, proverbs, songs, dress code, arts, literature, and by cooking traditional cuisine, etc. In Pashtun culture, notions of honor, dignity, and shame are described as driving fuel behind all cultural values and structures. The study reflected the perspective of Pashtun women that they were appreciative and insightful about the meaning, history, and cultural composition of Pashtunwali and their identity but at the same time, they were not benighted about the contemporary emerging challenges that have been faced by traditional Pashtun culture. Pashtun women highlighted that Pashtuns are ghairatmand –mind their words and commitments and never compromise on the basic principles. They emphasized that it is necessary to reconsider and revisit social heritage to better reflect on the changing notions and demands of the contemporary age. Hujras/Baithaks have been identified as the most celebrated and accustomed places in Pashtun society. Keywords: Pashtunwali, Pashtun Women, Standpoint, Experiences
Highlights
The idea of Pashtunwali has attracted the attention of several local and foreign anthropologists who have provided a detailed account of the Pashtuns’ way of living and the significance of Pashtunwali for them
The present study is guided by feminist standpoint theory as experiences of Pashtun women, attitude formation, nature of the relationship, level of understanding, patterns of interaction, and construction of their self-identities have been studied under the heading of a meaningful relationship between mother-daughter, grandmother-granddaughter, and mother-in-law and daughter-in-law
The research findings revealed that the majority of the Pashtun women, irrespective of their socio-demographic background, identified multiple traits and principles which are recognized, practiced, and transmitted among Pashtun women throughout generations
Summary
The idea of Pashtunwali has attracted the attention of several local and foreign anthropologists who have provided a detailed account of the Pashtuns’ way of living and the significance of Pashtunwali for them. Pashtun culture is backed by the “Pashtunwali” which, in a real sense deciphered as the “the method of the Pashtuns”, is an unwritten code of honor that is necessary to have Pashtun identity. Pashtunwali is the code of life as comprehended, interpreted, and rehearsed by Pashtuns. It is the center of social conduct for Aziz, Ali & Khan. Pashtuns—translated as the way of the Pashtuns. It is a set of customs, cultural codes, and values that regulate the Pashtun society and has been previously discussed in detail by various authors (see Alley, 2012; Benson & Siddiqui, 2014; Hawkins, 2009; Yousufzai & Gohar, 2005; Kakar, 2004; Spain, 1972)
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