Urdu has nothing to do with the spelling of Ajrak. The most commonly used language in Sindh is Sindhi. Urdu was introduced to Sindh after the unfortunate partition of India in 1947.

Ajrak has been in Sindh since the era of one of the oldest civilizations in the world, the Moenjodaro civilization, or even before that. As to Devnagri script, letter 'k' is writable both in Devnagri and Arabic driven scripts. It may be the change in the dialects across the Geographical regions that may have changed "Ajrak-u" in Sindhi to "Ajrakh" in Kutchi and Gujrati.

Origins Of The Word 'Ajrak-u'
The true origin of the word "Ajrak" is unknown. In Arabic, Ajrak means blue or indigo. Blue color is dominantly used in Ajrak. Also, Sindh was traditionally a large producer of indigo and cotton cloth and both used to be exported to the Middle East. It is possible that the word Ajrak may have its origins in the use of indigo. It is unknown whether the word Ajrak came from Arabic to Sindhi or that it came from Sindhi to Arabic. As Sindhis we can proudly and historically justify that Ajrak was produced in Sindh and was exported from Sindh to Middle East countries. Hence, we will be right in insisting that it came from Sindhi to Arabic.

The subject of the origins of the word "Ajrak" it seems there are as many opinions as there are on some religious questions. The two primary literary sources on the subject are the books by Noorjehan Bilgrami "Sindh Jo Ajrak" (Published by the Pakistan Dept. of Culture and Tourism) and Lotika Varadarajan's "Ajrakh and Related Techniques" which looks at textile printing techniques in the Kutch district of Gujarat, India. Someone has done a very valuable and extensive research on the subject ( I am really sorry that I have not been able to get the name of this researcher. If anybody knows him, please let me know.) As the locale of that thesis was a particular printing village, Dhamadkha, in Kutch, it seemed reasonable (albeit, the researcher agrees, arbitrary) to go with the "ajrakh" spelling. This researcher says that, "I can assure you, that when I do the next stage of this research in Pakistan I will use the "ajrak" spelling. I wonder if the two spellings derive from differences in the Urdu and Devanagari alphabets? There also seems to a variety of opinions on what the word actually means and where it came from."

He continues, "I hope that the work I do, and the spirit with which it is done, adequately reflects the credit due to "the most intimate piece of printed textile in Sindh". In Kutch, ajrak is considered a man's cloth, while bandhani, is a women's cloth. Aside from the obvious gender related differences (women using it for a chaddar vs. men using it as a saafa or lungi), what are some of the other differences that mark the ways women and men use ajrakh differently?"

Ajrak-u is "a mark of respect when it is given to an honoured quest, friend or woman". In Kutch, it is most commonly given as a gift at Eid, at weddings, or on other special occassions - like a homecoming.

An anthropologist, who did her fieldwork in Pakistan, suggests that the use of ajrak is spreading more in urban settings as a sign of Sindhi pride and solidarity.

Sindhi Ajrak : Steeped in Antiquity

Use Of Ajrak-u in Katch:
In Kutch, ajrak is most commonly associated with specific Muslim ethnic groups such as Ahir, Jats and Mutuvas. In Kutch, the men who make ajrak are called khatri and, like in Pakistan, may be either Hindu or Muslim. The man with whom the researcher spent the most of the time was a Muslim and his ancestors migrated from Sindh to Dhamadka nine generations ago. The work he and his sons do is magnificent. Particularly when compared to the rather shoddy craftsmenship, one generally sees in shops.

There are so many classic ajrak patterns like, chhap, badam, chakki, etc. Most of these correspond to the patterns that has been observed as being printed in Dhamadka, Kutch, although the names were sometimes a little different as, for example, kakkar for kakaru.

Use Of Ajrak-u in Sindh:
Before the eastern most portions of Sindh, like Kutch, Rajasthan and Gujrat, were lopped off at Partition, that the names and patterns were probably fairly similar. There are, therefore, no indications of different traditions developing in terms of patterns used. However, while the influence of Sindhi culture is still very strong in Gujarat and parts of Rajasthan, the political and ideological separation will eventually find expression in a differing material culture.

Ajrak-u is probably the most intimate piece of printed textile in Sindh and is interwoven in Sindh's everyday life. Its versatility is amazing. It is a mark of respect when it is given to an honoured guest, a friend, or a women.

It is also spread over dead body of a friend or a family member before burial or cremation as a mark of respect to the departed soul and his/her relatives. It is used as a Chadar by women on their heads or to cover up their bodies, as a bed spread, as a spread for sitting, as a cover when sleeping, as a head gear by Sindhi men, as a kind of sash, as a curtain, as a place for eating, as a lower body garment like sarong by working men, as a cloth to tie up bundle of things to carry or to keep, as a support tied around the back and legs to sit comfortably, as a cumerbund for Sindhi form of wrestling known as "Mallh-a", as a hammock, as a swing for children, and I am sure many more uses.

Sindhi Wrestling Known As Mallh-a:
'Mallh-a' is Sindhi wrestling and the event of this wrestling is called 'Malakhro". It is pretty close to the Japani Suma wrestling. In Sindhi wrestling, the two participants tie Ajrak or other cloth rolled as a rope around the back almost as a cumerbund. The participants are only allowed to grab each other by these cumerbunds and force each other to drop on the ground with their body strength and leg tricks. The one who drops to the ground first looses. There is always two matches between the opponents. It is called a 'Joree'.

Ajrak is as old as Sindhi civilization. It is said that the statue of the King Priest found from the Indus Civilization site of Moen-jo-Daro (5,000 years BC) is shown wearing an Ajrak. The motifs on the cloth he is shown wearing is still common on Sindhi Ajrak.

The cloth used in the Ajrak is made of cotton and is called hirkhu, bafto, or latho. The dominant hues in the color scheme of Ajrak are rich crimson and a deep indigo blue. Against this groundwork are shown flower designs, or figured panels in contrasting colors, obtained solely by the manner in which the cloth is treated. There are lighter and darker shades; single or double pieces; with red dot white star ("Phulli") or wiothout; various motifs like ch akki, badam, chhap, challa, khar'k, etc.; and different types of border designs. In lighter designs, 'Kakar-u or the Cloud" are quite good looking. Thattai Hashu or border is quite famous. Kakkar and Kakar-u are samething. Kachhi language is basically a dialect of Sindhi language. Mr. Grierson in his linguist survey of India has also said the samething.

The Making Of An Ajrak-u:
An Ajrak-maker is called a Khattie. These Khatties are both Muslims and Hindus. The designs are printed on the cloth by wooden stamps. The process of Ajrak making is elaborate involving as many as seven stages. For a demonstration of this process, it is recommended to visit Sindhi Artisan's colony in Bhitshah, district Hyderabad, Sindh, Pakistan. Ajraks are made in many places in Sindh but Hyderabad district is the area where most of the Karkhanas (i.e. manufacturing plants) exist. Outside of Hyderabad district, Thato is quite famous. But historically, the most famous place for excellent Ajraks is 'Matiari' (14 miles north of Hyderabad City on the National Highway).

The Karkhana owned by a Hindu Khatti named Wassiumal in Matiari was quite famous. Lately however, Hala Nawan (35 miles north of Hyderabad) is considered the best place for excellent Ajraks. Most Ajrak design stamps are exclusively manufactured in Hala Nawan. Hala Nawan is also a huge market as it is the center of the Sindhi handicrafts of all kinds and is visited by local and foreign tourists in search of Sindhi handicrafts. Other places where Ajraks are manufactured include Tando Mohammad Khan, Saidpur, Khebar, Sekhat, Badin, etc.

A worthy child of Sindh Dr Altaf Memon was born and brought up in Matiarti (a centre of excellence in ajraka making). As a young boy, he used to visit couple of ajrak-u making places in his neighbourhood some 30-32 years ago. He even practised at some of the processes involved. Although, it has been a long time since and he has forgotten many of the technical aspects, he, however, clearly remembers that all artisans while working on ajraks constantly used to recite (sing) poetry of Shah Latif and other great poets of Sindh, Sachal Sarmast and Saami.

Certain ethnic groups of Kutch, Gujrat and Rajasthan are also living in LarR area of Sindh. As a matter of fact these tribes became partitioned with the partition of India. The tribal leaders of some of the tribes in Katchh live in Sindh and vice versa. Khatri and Khatie have the same meaning and linguistically are one and the same thing. Khatri is also used in Sindh but Khatie is more common.

Ajrak-u As A Symbol Of Sindhiat:
It is quite true that Ajrak and Sindh have become synonymous. Sindhi national movement in Sindh has adopted Ajrak as a sign of Sindhi national pride and solidarity. However, the spread of Ajrak in Sindh's urban areas and other parts of Pakistan is also due to the beauty, utility, and verstility of Ajrak. There have been efforts by non-Sindhis to produce Ajrak mechanically. Although they have succeded to certain extent but their products are much inferior albiet cheaper than the traditional hand made Ajraks. These Ajraks produced on the machines are much more common in urban areas.

Although Ajrak making is still alive and well in Sindh but the global capitalist forces are threatening its long term survival. I have not seen any statistics but my perception is that the production has not kept up with the population increase. In other words, on per capita basis the production is decreasing but on the basis of the number of units produced per year is probably at the same level as let us say ten years ago. Also, mechanized Ajrak production has cut into the traditional Ajrak market. People who love traditioanl and folk art should probably introduce Ajrak in the west and safeguard its long term survival.

For more detailed account on Ajrak, please refer to a book published by the Institute of Sindhology, Jamshoro, Sindh, Pakistan, entitled "The Crafts & Textiles of Sindh & Balochistan" By: Dr. Adrian Duarte. When you are in Pakistan make sure you meet with Dr. Nabi Bux Baloch and Dr. Ghulam Ali Allana. These two gentlemen are the former Vice Chancellors of the Sindh University, Jamshoro, Sindh, and are considered to be the authorities on the Sindhi culture, literature and history.

The two professors could be contacted through the Sindh University. The book that has been mentioned can be obtained from the following address:
Dr. Abdul Qagir Junejo, Director,
Institute of Sindhology
Jamshoro, Sindh, Pakistan

Sindh And Her Daughters:
Sindh, Gujrat, Kutch, Kathiawar, and princely states of Rajasthan have had centuries of historical, political, linguistic, and cultural relationship. At one time, Sindh was the mother country of these states. Over the years due to different reasons these states have become separated. Nevertheless, there still are cultural similarities that attest to the above-mentioned relationship. There are, therefore, cross-influences between Sindhi Culture and surrounding cultures.

A worthy child of mother Sindh, on a recent trip to central Africa, had the pleasure of staying for a week with some family friends who were Kutchi. He found thier culture to be very similar to his own Sindhi culture. In a lot of ways he thought it was a fair blend between Sindhi and Gujrati culture; which should not be surprising because Kutch is geographically located between Sindh & Gujrat. The greatest similarity he found was in the language. One example is this:
Sindhi: Po chaa thioa (What happened next ?)
Kutchi: Pachee croo thioa
The sentence in Kutchi is closer to Sindhi than is the same thing said in Gujrati : 'Pachee suu theiu'.

There were also some words that sounded very much the same but had very different meanings such as:
Sindhi: Vandee naa thea (Don't be idle.) Female
Kutchi: Vandee naa thea (Don't be worried/fearful) Female

He also found that some of the Kutchis had very unique names such as, for example, Abdul Kader Patel. Patel is very much a Gujrati surname.