Pakistani folklore

Pakistani folklore () encompasses the mythology, poetry, songs, dances and puppetry from Pakistan's various ethnic groups.
Origins.
Both Indo-Aryan mythology and Iranic mythology evolved from the earlier "Indo-Iranic" mythology, have played an instrumental role in the development of various Pakistani folklore. Despite linguistic and religious differences at one time, the folklore from across the country seem to revolve around the themes of love, war, historical events or the supernatural. Generally, folklore from the southern regions tend to be based upon historical events, such as a peasant uprising or a tragic love story. In contrast, folklore from the northern regions appear be based on the supernatural, such as on "Deos" (giants) and "Pichal Peri" (fairies).
Types.
Sindhi folklore.
Sindhi folklore () are folk traditions which have developed in Sindh over a number of centuries. Sindh abounds with folklore, in all forms, and colors from such obvious manifestations as the traditional Watayo Faqir tales, the legend of "Moriro", epic tale of Dodo Chanesar, to the heroic character of Marui which distinguishes it among the contemporary folklores of the region. The love story of Sassui, who pines for her lover Punhu, is known and sung in every Sindhi settlement. examples of the folklore of Sindh include the stories of Umar Marui and Suhuni Mehar. Sindhi folk singers and women play a vital role to transmit the Sindhi folklore. They sang the folktales of Sindh in songs with passion in every village of Sindh. Sindhi folklore has been compiled in a series of forty volumes under Sindhi Adabi Board's project of folklore and literature. This valuable project was accomplished by noted Sindhi scholar Nabi Bux Khan Baloch. The material for the project has been collected both from the oral traditions village folks and the written record. This folklore series deals with diverse segments Sindhi folklore and literature, i.e., fables and fairy-tales, pseudo-historical romances, folk-poetry, folk songs, proverbs, riddles, etc.
Tales.
The most famous Sindhi folk tales are known as the "Seven Heroines" ("ست سورميون") of Shah Abdul Latif Bhittai. 
Baloch folklore.
Baloch folklore () are folk traditions which have developed in Balochistan over a number of centuries. Almost all folk traditions are in the Balochi language or Brahui language and deal with themes such as tragic love, resistance and war. The Baloch are known to respect bravery and courage, as is required under the Baloch code of "Baloch Mayur". Many Baloch tribal leaders (Tamandar) are honoured through folk songs and ballads such as who is remembered for defending the principle of "ahot" (protection).
Chitrali folklore.
Chitrali folkore (Khowar: ) are folk traditions which have developed in the Chitral region of Khyber Pakhtunkhwa. Tales from this region are centered on the supernatural, within the realm of ghosts and spirits and are usually set in cold winter nights.
Dance.
According to "Anjuman Taraqqi Khowar Chitral", there are several main Chitrali dances:
Kashmiri folklore.
Kashmiri folklore () are folk traditions which have developed in Azad Jammu and Kashmir and Jammu and Kashmir over a number of centuries. Kashmiri is rich in Persian words and has a vast number of proverbs, riddles and idiomatic sayings that are frequently employed in everyday conversation. Folk heroes and folktales reflect the social and political history of the Kashmiri people and their quest for a society based on the principles of justice and equality.
Dance.
Dances are done on all major functions and weddings in Kashmiri traditions such as birthdays, weddings, and crop harvesting. These include:
Pashtun folklore.
Pashtun folklore () are folk traditions which have developed in Khyber Pakhtunkhwa over a number of centuries, as well as parts of eastern Afghanistan.
Punjabi folklore.
Punjabi folklore () is a tradition of Punjabi language oral story-telling that came to Punjab with the fusion of local people and migrants from the Arabian peninsula and contemporary Iran. Where "Qisse" reflect an Islamic and/or Persian heritage of transmitting popular tales of love, valour, honour and moral integrity amongst Muslims, they matured out of the bounds of religion into a more secular form when it reached Punjab and added the existing pre-Islamic Punjabi culture and folklore to its entity. The word "qissa" is an Arabic word meaning ‘"epic legend"’ or a ‘"folk tale"’. The Punjabi language is famous for its rich literature of "qisse", most of the which are about love, passion, betrayal, sacrifice, social values and a common man's revolt against a larger system. In the Punjabi tradition, friendship, loyalty, love and ‘"qaul"’ (verbal agreement or promise) are given utmost importance and most of the stories in the "qisse" hinge on these critical elements. "Qisse" are attributed to have inspired folk music in Punjabi and have added depth and richness to its delivery. These traditions were passed down generations in oral or written forms and were often recited, told as bedtime stories to children or performed musically as folk songs. Each qissa, if performed, has its unique requirements. A person able to sing or recite one may not necessarily transmit another. The vocal ranges on the musical scale and accurate pauses, if not performed well leaves a performer breathless and unable to continue. Most of the beats used in modern Punjabi music (often misleadingly labelled Bhangra), originated from "qissa" tradition and recitations in old times. "Qisse" also boast to be among the best poetry every written in Punjabi. Waris Shah's (1722–1798) "qissa" of ‘"Heer Ranjha"’ (formally known as "Qissa" ‘"Heer"’) is among the most famous Qisse of all times. The effect of "Qisse" on Punjabi culture is so strong that even religious leaders and revolutionaries like Guru Gobind Singh and Baba Farid, etc., quoted famous "Qissas" in their messages. It will not be wrong to say that popularity and nearly divine status of "Qisse" in Punjabi actually inspired many generations of spiritual leaders and social activists to combine the message of God with teenage love tales. This gave rise to what is known as the Sufi movement in Punjab region. The most popular writer/poet to have written Punjabi Sufi "Qisse" was Bulleh Shah (c.1680-1758). So popular are his "Kalams" (poems) that he is frequently quoted by young and old alike with same respect and on matters of both love and God. In recent times, South Asian singer's have sported these folklores on their albums, for instance, the most famous folklore duo like Kuldeep Manak and Dev Tharike Wala wrote and sang about almost every Qissa, and Recently, "Rabbi" by (Rabbi Shergill) contained ‘"Bulla Ki Jaana Main Kaun"’, translated in English as ‘"I know not who I am"’, written by Bulleh Shah. A few years back another singer, (Harbhajan Maan), a Canada-based Punjabi singer rejuvenated the story of ‘"Mirza Sahiban"’, a work by Peelu. Daim Iqbal Daim from Mandi Bahauddin District, Pakistan also wrote many qissas in Punjabi language like Mirza Sahiban, Laila Majnu, Sohni Mahiwal, Bilal Biti etc. Daim got popularity by writing "Shah Nama Karbla" and "Kambal Posh".
Tales.
Most of the Punjabi folktales ("qisse") were written by Muslim poets who wandered the land.
Saraiki folklore.
Saraiki areas in the south are equally rich in folklore.