Attan

Dance native to the Pashtuns
the village in Yemen
Attan , the national dance of Afghanistan, is a traditional dance originating from the tribal Pashtun regions. The dance is performed during weddings or other celebrations (engagements, weddings and informal gatherings). The Attan was also conducted by Pashtuns in times of war such as the British occupation and the Pashtun resistance movement, when Pashtuns used the dance to instil confidence and energy among warriors readying to battle the colonisers. It is now considered the national dance of Afghanistan, popularly carried by other ethnic groups in Afghanistan as well as by the Pashtun ethnic group in Pakistan. Attan is usually performed with a Dohol, which is a double headed barrel drum. The dance can be anywhere from 5 to 30 minutes long. There are many different regional and tribal variations and styles of Attan, the most famous being Wardaki, Logari, Paktia, Khosti, Kandahari, and Herati. Depending on the region and tribe, there are different methods and styles of the Pashtun attan, for example Paktia attan and styles. Attan is performed traditionally segregated although in modern times, Afghans have performed the dance with both men and women. Closely related circle dances can be found in the Khorasan and Sistan and Baluchestan provinces of Iran,

Most scholars believe the Attan has Zoroastrian roots, identifying the dance as a religious ceremony of early Zoroastrianism. The dance dates back nearly 3,000 years and was performed during Zoroastrian religious ceremonies. According to Zoroastrian folklore, King Yama, a figure in Iranian mythology, celebrated Nawroz by performing an Attan with his warriors. During King Yama's time, Attan was performed before going to war because it used to give the army the confidence that they could win the battle. As well as being the national dance of Afghanistan, attan is also a very popular part of festivals, weddings, and other forms of celebrations. Some believe the dance is connected to Ancient Greece and the time of Alexander, connecting the Attan to the ancient Pyrrhic war dance.

Most essential instrument of course is the Dhol (Drum). But dohls vary by sizes, for some types the size is relatively small. The reason for that could be geographic but the distinction between dohls is apparent among the various types of Attans. The tablah is a single headed hand drum found in most Arab music ensembles. The goblet shaped body (cylindrical with a slightly narrowed waist) was traditionally made out of fired clay, and the sounding head out of goat, calf, or fish skin, stretched and glued permanently on the body. The second most important instrument is the zurna surnay, although very common, the surnay is not essential with every type.

Performers often wear traditional regalia when participating in the lively dance. Usually during the celebratory occasions, men can also be seen wearing suits and ties for a more formal look. The women can be found wearing bright, colorful dresses. These dresses can be accompanied with tiny mirrors on them which are said to symbolize light. The tiny mirrors add great detail and shine under the lights as the women move and dance. In some versions of Attan, Pashtun men would flick their jet black hair in a circular motion. Men would also wear traditional turbans referred to as Lungee or Patkya which signifies what tribes they’re from and holds great importance.

The Attan is performed differently in many of the different parts of Afghanistan and also Pakistan. Some styles of Attan portray themes of war while others portray celebration, especially for events such as marriage, engagements, family gatherings and also as a prelude to the arrival of spring. All different kinds of Attan are danced with the beats of the drums. However they all differ in style. The beater of the drum known as "Dum", who instantaneously change the rhythm, is circled by the performers. Below is a list of common Attan styles. Kochai/ Kochyano Pashtun nomadic style done in Afghanistan. Kochyano Attan literally means Attan of the Kuchi. Women usually perform this Attan during their own occasions, such as childbirth or new years (nou rooz) and coming of spring. The men usually perform with long hair, almost to shoulder length and cut straight across the back, and some may sport a very wild mustache or beard. It is usually performed with handkerchiefs, and involves many spotting movements, with multiple twists and squatting. This dance can be up to ten steps, and also involve men walking with their knees or standing erect and snapping their head in random directions to the beat of the Dhol. The depth and complexity of their Attan may be because of the wide range of valleys they trek, and many other forms may have influenced it. This dance is performed with the musician tuning the beat to the technique of the performers. Logarai From the Afghan province of Logar Logari dancers have always been known for their shyness and also for their rhythmic interruptions and spins during their local dance. Their Attan also has the trademark spins of the Logari style, using the clapping and the full twists in place, as arms are usually in the air and come together medially during the circular dance with one or two claps in the center. It is not uncommon to see one ore two circles in one. This dance typically performed by men and/or women or even young boys and/or girls. The men occasionally wear Turbans and they are taken off usually during the end of the dance when the beats get faster. The sweat on their heads from wearing the Turban, puts added weight to their hair. This dance is performed either with the beat of the musician or the musician tuning the beat to the technique of the performers. Paktiawal / Khostai Notable Attan style originating from the provinces of Paktia and Khost by the Pashtun tribes there, typically the Zadrans and Mangals tribe in Afghanistan Paktia/Khosti is typically a 5 7 step and can be longer. Because of the head movements the head is snapped left and right as their long jet black hair fling through the air, and eventually ends with the dancers turned medially and squatting with arms to their sides towards the center. This dance is performed with the musician tuning the beat to the technique of the performers. Shinwari Done by the Shinwari tribe of the Pashtuns from the Afghan province of Nangarhar. Wardag/Wardaki Da Wardag Attan, another famous style of Attan. Wardaki consists of body movements no clapping and many turns and twists, and Spotting, as well as handkerchiefs in their hands to accentuate their spins. The men usually boast wild mustaches, including hair that is greased as to accentuate the spotting and give more weight to the hair during turns. This dance is performed either with the beat of the musician or the musician tuning the beat the technique of the performers. In some regions of Wardak within the wardaki (wardagi) attan the leading men followed by the rest will sing a song at the start of the attan, while they are still moving at a slow pace. Later on as the pace is picked up and the attan gets faster, then they stop singing and they focus all of their energy on the (movement) attan. Khattak Attan is a traditional type of attan performed by the Khattak Pashtun tribesmen in Pashtun areas of Pakistan. In this dance the tribesmen would skip in a circle with continuous drumbeats. They also commonly use swords with them whilst dancing twisting and twirling them in a motion
Mehsud Attan. Typically performed by the Mehsud Pashtun tribe of Waziristan. The men would have long black beautiful hair and flick it around. In this version if the attan, the Mehsud would arm themselves with guns and would actually fire upwards in the air whilst kneeling during creating an echo of sounds whilst dancing proudly and fierociusly. Kabuli Attan is a modified Attan with modern music typically done by people of kabul and non pashtun groups. In this dance, the dancers perform to the beat of the musician. This dance typically performed by men and women. It involves 2–5 steps, ending with a clap given while facing the center, after which the process is repeated again. The hip and arms are put in a sequential movement including left and right tilts, with the wrists twisting in sequence, with ultimately a hand is projected outward and brought in a 'scoop like' fashion towards the center where the other hand meets it for a clap. This dance is typically performed with the musician dictating the duration and speed.

The women, colourfully clad in traditional (Firaq partug) dress, join in the dance.