Culture,

 Shah Latif portrayed whatever he searched out in the passionate lyricism with seven characters, all women symbolizing the determination for upholding 'truth' in an antagonistic status-quo largely directed by ever changing tide of time. Tharparkar is the central theme of this classical text consummated by the fascinating lyric and rhythm, Marvi a local Thari girl symbolizes the human attachment and relation ship with the institutions and traditions. The history of Tharparkar, in letter and spirit, is the account of this sentimental humanoid attachment and its reaction towards the changing nature of social fabric.

The indigenous myth and measures to cope with calamities like draught and dearth were loosing their potential in the wake of strong influence of cash economy. The fascinating colour of grazing lands and the romantic instinct of tending the flocks of cattle are diffusing in the mushrooming needs of daily life.

The tribes and castes in Tharparkar adopt a kaleidoscopic settlement pattern rather than territorial segregation. Successive waves of invasion have therefore created a mosaic of cultures and ethnic groups in Thar. But all have, in time, bowed to similar means of production and to a common material culture.

The Tharis are honest, hard-working people and are very generous in hospitality. The gatherings between castes is largely restricted to men. The locale for such interactions being the "autak". Each hamlet will have at least one "autak" situated a discrete distance beyond the thorn hedge of the family quarters. Failing an "autak" the nearest shady tree is designated for meetings with outsiders.

Women largely communicate within their own caste, within which they marry exclusively. Opportunities for meeting women ofother castes become more restricted with higher status. Rajput women observe strickpurdah (seclusion) while poorer Bajeer, Bheel, Menghwar and Kohli are freer to undertake their field tasks.