The history and roots of Pashtun have been a source of contention, with little progress made toward a consensus. Pakhtuns could be of Aryan, Jewish, Arab, or mixed ancestry, according to several views. None of them persuaded me to come to a conclusion. Pathans are obsessed with learning about their race’s origins, yet this may not be a huge interest for many other races. Some claim they are linked to Khalid bin Walid, and as a result, Pathans may have an Arabic ancestor. Another school of thinking connects them to Adolf Hitler, who has a link to the Afghans, Aryans, and eventually the Pathans of Peshawar.

Tappa:

Tappa is Pashto poetry’s oldest and most popular music of Khyber Pakhtunkhwa. The Tappa is a composition of two uneven meters, with the first line being shorter than the second, but it perfectly conveys all human thoughts and desires. All sentiments are expressed in the Tappa, whether they be labourers, peasants, or women. It is also typical among the Pashtuns for a schoolboy, elders in their hujrahs, or women in their homes and Godar alike to sing it. It is the only song that is performed in times of distress and during weddings. The indigenous Afghan musical instruments rubab and mangai are used in the music. Tappa features up to 16 different harmony models and is sung with full voice.

Charbetta:

Another prominent form is Charbetta, which consists of an epic poem with unique rhythms. Charbettas come in four different varieties. It is usually a four-line poem, although it can also be six or eight lines long. It touches on every element of life. This can involve legendary figures’ great exploits and heroism, as well as love impulses. The tempo is normally quite rapid, and the song is sung by two or more vocalists in a chorus, with one singer reading the opening line and the rest following. Tang Takore refers to a Charbetta’s singing or reciting. Charbetta is traditionally started after a Tappa and became one of the famous genre music of Khyber Pakhtunkhwa.

Neemakai:

Neemakai comes in a variety of forms, most of which are made up of women. It’s usually pretty brief (1 to 3 lines). In the middle of the song, the opening lines are repeated, and Tappa is frequently added depending on the subject and circumstances. In Pashtun culture, the majority of these songs have been expressed in many topics of daily life and love.

Loba:

Loba is a popular snack among the general public, and it is occasionally used with Tappas. This is a type of folk music that tells a storey. It necessitates the participation of two or more people who respond to each other in a lyrical manner. The lover and the adored are usually the two sides (the man and woman).

Shaan:

Shaan is performed in private congregations and social events, and is sung during happy occasions such as marriages or the birth of a child.

Badala:

Badala is a type of folk music of Khyber Pakhtunkhwa that is composed of an epic poem or a ballad. The rubab, harmonium, mungey, and tabla are some of the instruments employed. Tribal customs, as well as heroism, tragedies, and romance, are prominent themes in Badala. Because each couplet has a different beat than the others, Badala is made up of variants. It is traditionally performed late at night.

Rubayi:

Rubayi is a Pashto version of a Ghazal. Rehman Baba’s Rubayis are well-known among the populace and are sung before the start of Badala. The Rubayi, like the Ghazals, are significantly influenced by Arabic, Persian, and Turkic poetry.

Takki:

Takki are a common type of entertainment in large gatherings, despite not being exactly a literary style. Similar to a rap fight, two contenders take turns delivering extemporaneous lyrics assaulting the other. This is also known as Hujooh or Lughat, and it is more prevalent in KPK’s southern regions as well as areas over the border, such as Khost.