most middle class/upper class families in pakistan from the 80s onwards have done the same because they feel punjabi is a backwards language and because children will struggle in schools if they used punjabi as the main language because the mode of education in schools was mostly urdu, nowa days its both urdu and english, of course.
so you mgiht call it cringe worthy but there is a solid reason behind it, but it also means we are losing touch with our original identity. we have turned our native language in Punjab into a language used only by the lower working class or uneducated people. it is such shame.
thats is why i think we should not be pointing fingers at others. All power to the neighbors. get rid of the old colonial names and go with your original identity. You will have a lot more respect from people like me who know history and value connection to your roots.
I think there are deeper roots to the marginalisation of the Punjabi language in Pakistan. In 1901 of the 186 vernacular newspapers and periodicals published in the Punjab, 137 were in Urdu. The two most important newspapers in the province at the time were both published in Urdu:
Akhbar-i Am and
Paisa Akhbar.
In her book,
The Social Space of Language, Farina Mir has made the case that colonial policies were crucial. The colonial state opted to replace Persian as the language of administration with Urdu rather than Punjabi. Some officials regarded Punjabi as not a language in itself but a derivative dialect of Urdu, or in the words of one colonial official: “merely a
patois of the Urdu.” Other officials claimed that Punjabi was unsuitable because it was “inflexible and barren, and incapable of expressing nice shades of meaning and exact logical ideas with the precision so essential in local proceedings.” The decision in favour of Urdu also enabled the East India Company to use administrators who had worked in north India and therefore already had knowledge of the language. Mir also points out that some officials perceived it as a Sikh language rather than language of the region and some officials feared alienating rural elites as “Urdu is the language of the educated classes.”
Mir adds that “Lahore colonial officials” also “nurtured Urdu literature.” Particularly important was the Anjuman-i-Punjab which sponsored Urdu
mushairas. This patronage was timely in the context the shock of the rebellion in 1857. In the aftermath, the centre of gravity for the output of Urdu literature moved westwards to Lahore. Key intellectuals such as Azad and Hali spent time in the city. Azad reached Lahore in 1861 after the trauma of 1857 and remained there until death. He helped organise a modern style of
mushairas and authored Urdu textbooks that helped spread the language in the city. Hali’s stay was temporary but seminal in his intellectual development. His famous and powerful
Musaddas (The Flow and Ebb of Islam) was published in the city in 1879.
As a result of the colonial decision to opt for Urdu rather than Punjabi there was no standardisation, modernisation and codification of Punjabi as a language.
This is the overall context. Since Pakistan’s independence the importance of projecting class aspirations has accentuated the trend. Punjabi, seen as a rustic language, does not rate high in the hierarchy: English and Urdu are directly linked with aspirations for progress.
This said, we should not take the argument too far. Punjabi still has significant emotional resonance. It has always been a language associated with oral circulation and oral performance, even if it is not widely read in Pakistan. Think of the rich tradition of Punjabi poetry and of the tradition of Punjabi Qisse. These traditions remain vibrant. We might also point to the highly popular film Maula Jatt (1979), and the rural Punjabi folk genre it represented and shaped. Maula Jatt, the peasant-warrior wielding a gandasa and talking in a plain manner, was a very different kind of icon to what appeared in Urdu films up to that point and was represented by actors like Nadeem Baig.
Perhaps no Punjabi poet is as called upon in contemporary Pakistan as Bulleh Shah. In lines such as the following, we see see the tremendous ability of the poet to utter profound insight with the simplest of lines and the beauty of his native tongue:
Bullhia: mullan ate mashalci dohan ikko citt
Lokan karde canana ap hanere nitt
Bullha, the mullah and the torch bearer both have the same intent. They spread light to people, but are always in the dark themselves.
(Translated by Christopher Shackle)