
Saraiki Culture Day, also known as Saraiki Ajrak Day, is celebrated every year on 6 March across the Saraiki Belt of Pakistan. On this day, millions of people in South Punjab and beyond wear the iconic blue Saraiki Ajrak, dance the Jhoomar, recite the poetry of Khwaja Ghulam Farid, and celebrate a civilisation whose roots reach back to the ancient Indus Valley. This guide explains what the day means, how it began, why the blue Ajrak matters, and how it is celebrated from Multan to Dera Ismail Khan.
| Official Name | Saraiki Culture Day |
| Other Names | Saraiki Ajrak Day, Saraiki Cultural Day, Ajrak Festival |
| Date | 6 March (annually) |
| First Celebrated | Early 2010s (widely reported from 2013 onwards) |
| Region | Saraiki Belt: South Punjab, parts of Khyber Pakhtunkhwa, Sindh and Balochistan |
| Language | Saraiki |
| Traditional Dress | Blue Saraiki Ajrak, shalwar kameez, turban (patka/pag), khussa |
| Symbol | Blue Saraiki Ajrak (Sajarak) |
| Main Cities | Multan, Bahawalpur, Dera Ghazi Khan, Rahim Yar Khan, Muzaffargarh, Dera Ismail Khan |
| Main Activities | Wearing Ajrak, Jhoomar dance, rallies, folk music, poetry recitals, seminars, handicraft stalls |
Saraiki Culture Day is an annual celebration of the language, traditions, dress, music, poetry and identity of the Saraiki people. The Saraiki language is spoken by tens of millions of people, with its heartland in the districts of South Punjab — a region its people affectionately call the Saraiki Waseeb.
The purpose of the day is threefold. First, it is a celebration: a joyful public expression of a culture famous for its hospitality, Sufi spirituality and soulful music. Second, it is an act of preservation: by wearing the Ajrak, dancing the Jhoomar and reciting Saraiki poetry in public, communities pass living traditions to the next generation. Third, it is a statement of recognition: organisers have long demanded that Saraiki Culture Day be acknowledged at the government level, in the same way Sindhi and Punjabi culture days are celebrated.
Because the blue Ajrak shawl is the centrepiece of the celebrations, the occasion is popularly known as Saraiki Ajrak Day — the two names refer to the same event.
Compared with the ancient culture it celebrates, the day itself is young. Celebrations of a dedicated Saraiki cultural day were reported from the early 2010s, and news coverage records that the tradition took hold from around 2013, when Saraiki writers and cultural activists began promoting the idea of a day devoted to local culture — inspired in part by the huge success of Sindhi Culture Day, which Sindh has celebrated each December since 2009.
The veteran Saraiki writer and journalist Zahoor Dhareja, chairman of the Saraikistan National Council, is widely credited as the founder of the Ajrak Festival and remains one of the day’s leading voices. Speaking at Ajrak Day ceremonies in Multan, he has repeatedly demanded that the day be recognised officially, arguing that the Saraiki people are heirs to a civilisation thousands of years old and deserve the same cultural recognition as other communities in Pakistan.
Minor variations in the date appear in early reports — some events in the mid-2010s were held on 7 March — but 6 March is now firmly established as the annual date, confirmed by national media and official messages.
No symbol is more closely tied to the day than the blue Saraiki Ajrak, also called the Sajarak. It is a block-printed shawl in the wider Ajrak textile tradition of the Indus River basin — a craft whose ancestry is often traced to the Indus Valley Civilisation, where the famous “Priest-King” statue of Mohenjo-daro wears a patterned robe strikingly similar to Ajrak designs.
The word Ajrak is generally derived from the Arabic azraq, meaning “blue.” A popular local account, related by the Saraiki researcher Professor Shaukat Mughal, holds that when Arab soldiers arrived at Multan in the 8th century they saw locals wrapped in blue shawls and exclaimed “azraq, azraq” — and the name stuck. Like many origin stories, this is tradition rather than documented history, but it captures a truth: the deep blue shawl has been part of the region’s visual identity for a very long time.
The specifically Saraiki Ajrak is a more recent development, inspired by the neighbouring Sindhi Ajrak. Where the Sindhi shawl is dominated by deep crimson and black, the Saraiki Ajrak is instantly recognisable by its blue and cyan colour scheme, chosen to give the Saraiki Waseeb a symbol of its own.
Saraiki Ajrak features deep cyan, navy blue, and black palettes with striking crimson accents. These block-printed shawls use geometric and floral motifs, deeply rooted in the Indus Valley. They symbolize regional pride in Southern Punjab, typically worn as scarves, turbans, or dupattas during cultural events.
Traditional Ajrak printing is a slow, skilled craft: fabric is washed and treated, then printed on both sides with hand-carved wooden blocks using resist-printing techniques and dyes traditionally derived from indigo and madder, with repeated dyeing, washing and sun-drying stages. Modern Saraiki Ajraks range from hand-blocked artisan pieces to machine-printed shawls produced for the huge demand around 6 March.
Today the blue Ajrak appears far beyond the shawl: caps (topi), turbans, dupattas, dresses, wall hangings, wedding stages and even vehicle decoration. Presenting an Ajrak to a guest is a gesture of honour — at official ceremonies, dignitaries are welcomed by having an Ajrak placed over their shoulders. A newer “Alphabet Ajrak,” printed with the letters of the Saraiki script, has also grown popular as a statement of linguistic pride.
Celebrations blend festivity with cultural advocacy. The most common activities include:
The day is celebrated in every district of the Saraiki region. Highlights city by city:
Multan, the cultural capital of the Saraiki Waseeb, hosts the flagship celebrations: the Tea House gathering, Arts Council programmes, rallies, Jhoomar performances and craft stalls beneath the city’s shrine-studded skyline.
In Bahawalpur, celebrations unfold against the backdrop of Noor Mahal and the former princely state’s heritage, with university students and literary societies playing a leading role.
Dera Ghazi Khan, gateway between Punjab, Balochistan and KP, marks the day with rallies and cultural shows that reflect its blend of Saraiki and Baloch traditions.
In Muzaffargarh, between the Chenab and the Indus, schools and local organisations arrange Ajrak distributions, folk music and Jhoomar circles.
Rahim Yar Khan celebrates at the edge of Cholistan, where desert folk traditions, camel decoration and Saraiki song meet.
Lodhran holds school events and community gatherings along the Sutlej, with local poets reciting for enthusiastic crowds.
In Khanewal, railway-town community halls and colleges host cultural programmes and Ajrak ceremonies.
Layyah, in the Thal, is known for passionate literary sessions — fitting for the home district of poet Shakir Shuja Abadi.
Rajanpur, Punjab’s southernmost district, marks the day with tribal and riverine communities joining rallies in blue.
In Vehari, the cotton belt turns blue for a day as schools and bazaars celebrate with music and dress-up events.
Bhakkar celebrates with Thal-desert folk traditions, Jhoomar and community feasts.
Dera Ismail Khan carries the celebration into Khyber Pakhtunkhwa, proof that the Saraiki Waseeb crosses provincial lines; the city adds its famous Sohan Halwa to the festivities.
On 6 March the region dresses in its identity:
No Saraiki celebration is complete without the region’s table:
Jhoomar is the signature dance of the Saraiki Belt: dancers move in a slow, swaying circle around the drummer, arms rising and falling like the rhythm of the river. It is performed at weddings, harvest festivals and, above all, on Culture Day, when public squares fill with spontaneous Jhoomar circles.
Saraiki folk music is built on the kafi — the Sufi lyric form perfected by Khwaja Ghulam Farid — and on romantic folk tales sung to traditional instruments: the dhol, alghoza (double flute), iktara, chimta, sarangi and harmonium. On Culture Day, stages across the region echo with the repertoire of legends like Pathanay Khan and Surraiya Multanikar alongside modern stars.
The day honours the people who gave the culture its voice, among them:
Saraiki Culture Day is more than a festival. For a community whose language is spoken by tens of millions yet still fights for institutional recognition, the day is an annual assertion that the culture of the Waseeb — its history, its poetry, its music and its crafts — is a living treasure of Pakistan. Congratulatory messages from the Prime Minister and the Chief Minister of Punjab in recent years, and official ceremonies at institutions like Alhamra in Lahore, show how far the day has travelled from its activist beginnings; the campaign to have it formally recognised at government level, as Sindhi Culture Day is, continues.
For visitors, the first week of March is one of the best times to experience South Punjab — see our South Punjab tourism guide and photo gallery to plan a trip.
Saraiki Culture Day is celebrated every year on 6 March across the Saraiki Belt of Pakistan.
Saraiki Ajrak Day is another name for Saraiki Culture Day. Because wearing the blue Saraiki Ajrak is the centrepiece of the celebrations, the two names are used interchangeably.
Blue was adopted to give the Saraiki region a distinct identity within the wider Indus Ajrak tradition. The word Ajrak itself is linked to the Arabic word azraq, meaning blue, and the colour echoes the sky, the Indus River and the blue tilework of Multan’s shrines.
Both belong to the same Indus Valley block-printing tradition. The Sindhi Ajrak is dominated by deep red and black, while the Saraiki Ajrak (Sajarak) uses a blue and cyan colour scheme and is a more recent adaptation inspired by the Sindhi original.
The day grew out of the efforts of Saraiki writers and cultural activists in the early 2010s. The writer and journalist Zahoor Dhareja, chairman of the Saraikistan National Council, is widely credited as the founder of the Ajrak Festival.
News reports record annual celebrations from around 2013 onwards, inspired in part by Sindhi Culture Day, which began in 2009.
Throughout the Saraiki Belt — Multan, Bahawalpur, Dera Ghazi Khan, Muzaffargarh, Rahim Yar Khan, Lodhran, Khanewal, Layyah, Rajanpur, Vehari, Bhakkar and Dera Ismail Khan — as well as by Saraiki communities in Lahore, Karachi, Islamabad and overseas.
No. It is a community-driven celebration, though it has received official congratulatory messages from national and provincial leaders, and organisers continue to campaign for formal government recognition.
Jhoomar is the traditional dance of the Saraiki region, performed in a slow, swaying circle around a drummer. It is the signature dance of Culture Day celebrations.
The blue Saraiki Ajrak is essential, worn over shalwar kameez. Many also wear Ajrak-print caps and turbans, embroidered dresses, and Multani khussa shoes.
Multani and Dera Ismail Khan Sohan Halwa, sajji, saag with makki roti, lassi, dates, churi, and the famous mangoes of South Punjab.
Khwaja Ghulam Farid is the greatest Saraiki poet; Shakir Shuja Abadi is the most celebrated living poet. Pathanay Khan, Surraiya Multanikar and Attaullah Khan Esakhelvi are the region’s most beloved singers.
Waseeb is a Saraiki word for homeland or cultural region — the Saraiki Waseeb refers to the Saraiki-speaking belt centred on South Punjab.
Ajraks are sold in the bazaars of Multan, Bahawalpur and other Waseeb cities, especially around early March, and by numerous Pakistani online craft stores. Hand-block-printed pieces cost more than machine-printed ones.
Visit Multan in the first week of March for the main gatherings, wear a blue Ajrak, and combine the trip with the shrines of Multan, Noor Mahal in Bahawalpur, and Derawar Fort in Cholistan. See our tourism guide for details.
Note: the account of the word Ajrak’s origin at Multan is a popular tradition related by regional researchers and is presented as such, not as documented history.
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