Tent pegging is an intense and powerful equestrian sport, played enthusiastically by the elite class in Pakistan. The rhythmic galloping of majestic horses combined with the vibrantly dressed riders creates quite a spirited ambiance for the participants and the spectators alike.
The sport requires a rider on horseback to retrieve the symbolic tent peg from the ground with his lance.
Capturing the fast paced movements without compromising on the magnificence of the sport through a camera lens is no easy feat. I first heard of Abbrar Cheema through my love for tent pegging.
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A photographer by profession and passion, Cheema demonstrates a remarkable ability to let his pictures speak of the true grace and elegance of our nation.
For a country consistently on the verge of chaos, his photographs depict hope and confidence, proudly displaying the resolve of common Pakistanis which remains incorruptible.
Cheema’s admiration for tent pegging stems from the sport’s unique nature and his regard for it as a source of immense pride for Pakistan. His collection of photographs on tent pegging successfully transports the onlooker to the forefront of the game; seamlessly capturing the entire breath of the sport, almost as if they were witnessing it live.
When I first interacted with this talented photographer, I immediately developed a deep admiration for his work. His pictures spoke to me unlike the others displayed along with his that appeared drab and boring in comparison. His work maintained a stunning level of authenticity, while the creativity used to frame and shoot each piece kept me transfixed.
I felt compelled to reach out to him. We were able to connect through social media and establish an enduring friendship. Abbrar’s roots are in Lahore, where he presently resides and finds himself immersed in the rich culture, heritage and history the walled city offers. But Abbrar likes to maintain a strong connection to nature and the land where he was born and raised.
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As a child, he frequented his village Sau Wala which helped cultivate a deep reverence for the rural life. It was the purity of that lifestyle that influenced Abbrar’s personality and his work tremendously. His photos focus on the vitality of village life, the beauty of Pakistan’s fertile lands, and the indisputable role of agriculture within the country.
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One particular photo showcases an agricultural worker diligently handling a sack of seeds while dust permeates the air. The satisfaction and smile on this workers face is incredibly inspiring. Amidst the dust and heavy bags of seed; one can easily discern the vigour of our workers.
Not only is he extremely talented but a humble soul always eager to help and teach others. With respect for his peers and friends in the field, Abbar does, however, admit to some drawbacks of the profession, ‘It is too competitive’ he once told me ‘to the extent that sometimes people refuse to help one another.’
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Not wanting to be counted among those who weren’t generous with nurturing another’s talent, Abbrar with over 20 years of experience with a camera lens has spearheaded several photography workshops engaging youth across Pakistan. His passion for photography stems from his foremost desire to help project the softer image of Pakistan and his fellow Pakistanis, he shared during one of our informal conversations.
The photographer in his mid 40s finds endless inspiration in a diverse range of subjects and events. From Pakistan’s rural life to bull racing, tent pegging and Mughal architecture, Abbrar manages to capture this priceless imagery comfortably, maintaining the utmost regard for preserving the truth.
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He has ventured to the heart of the Cholistan desert where he traverses between the impressive Derawar and Din Garh forts to arrive at the village of Channan Pir. It is here that the sacred dargah (tomb) of Sufi saint Channan Pir is built.
Abbrar’s collection includes scintillating images of the spiritual Urs an annual festival celebrating the life and devotion of Channan Pir.
The saint’s visitors fling tabarruk (sacred offering, in this case sweets) and those fortunate enough to catch and eat the sweets are believed to be blessed with prosperity and growth. His photos illustrate the spirit and energy of this event.
His excursions have also taken him to the historical city of Uch Shareef founded by Alexander the Great. There, he photographed the impressive tomb of Bibi Jaiwindi built in 1493 by Iranian prince Dilshad. The mausoleum pays homage to Bibi Jaiwindi, who was the great granddaughter of Jahaniyan Jahangashth, a deeply loved Sufi saint.
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Wanting to also fulfil his social duty Abbrar is committed to giving a platform to the problems which plague our community. Several of his series are dedicated to poverty-stricken children, a troubled mother struggling to feed her two children surrounded by complete emptiness
These powerful images awaken our conscience or at the very least create palpable concern and demand that we deliver a higher degree of responsibility to our country and people.
Overall, I found Abbrar’s work inspiring and captivating.
Every time I see one of Abbrar’s images translating so eloquently Uch Shareef, Channan Pir, and tent pegging, I feel incredibly inspired.
-Photographs by Abbrar Cheema