The softer side of the India–Pakistan border: Stories from Hussainiwala

The relationship between India and Pakistan needs no introduction. Shaped by history, politics, and emotion, it is often described as one of the most complex bilateral relationships in South Asia.

For many, this dynamic is best witnessed at the iconic Attari–Wagah border, where choreographed aggression, thunderous slogans, and roaring crowds dominate the daily Beating Retreat ceremony. Yet, away from the spotlight and the tourist rush, there exists a quieter, more intimate border experience—one that tells the same story of rivalry and pride, but with a gentler tone. Welcome to the Hussainiwala border.

Nestled along the banks of the Sutlej River in Punjab’s Ferozepur district, Hussainiwala is a small village located around 120 kilometres from Amritsar. On the other side of the border lies Ganda Singh Wala in Pakistan, near Kasur. Unlike Wagah, Hussainiwala is not widely known, but its historical and emotional significance runs deep.

Hussainiwala occupies a sacred place in India’s freedom struggle. It is here that the mortal remains of legendary revolutionaries Bhagat Singh, Rajguru, and Sukhdev were cremated after their execution by the British in 1931. Today, the National Martyrs Memorial stands tall at this site, reminding visitors of the price paid for independence. For many Indians, a visit to Hussainiwala is not just about witnessing a border ceremony—it is a pilgrimage of remembrance and respect.

The Beating Retreat ceremony at Hussainiwala may be lesser known, but it is no less stirring. In fact, its relative obscurity is what makes it special. With smaller crowds and fewer distractions, spectators are treated to a closer, clearer view of the events unfolding on both sides of the border. During the winter session, the ceremony begins at around 4 pm and continues for nearly an hour.

As the ceremony starts, patriotic songs from both India and Pakistan fill the air, setting a tone of pride rather than provocation. One striking point here is the absence of hostile slogans. There is no verbal antagonism hurled across the border. Instead, the atmosphere reflects a shared understanding: fierce love for one’s own country does not necessarily require hatred for the other.

Soon, the border guards take center stage. The ceremony unfolds with intense battle calls—loud, commanding screams that echo across the gates. These are followed by a dramatic display of synchronized movements: high kicks, sharp salutes, and rhythmic steps. The guards lock eyes, each movement designed to assert strength, discipline, and dominance. It is rivalry on display, but one that is carefully choreographed and mutually respected.

A particularly fascinating element is the playfulness that emerges during the performance. The guards, especially those with magnificent moustaches, theatrically twirl and flaunt them, using exaggerated gestures to “intimidate” their counterparts across the border. The crowd responds with laughter and applause, understanding the ritual for what it is—a symbolic contest rather than genuine hostility.

As the sun begins to set, the ceremony draws to a close with the lowering of the national flags. The final moment is perhaps the most powerful: the head guards from both sides step forward and exchange a firm handshake. It is brief, formal, and deeply symbolic—a reminder that even amidst rivalry, professionalism and mutual respect endure.

Hussainiwala may not have the fame of Wagah, but it offers something equally valuable: perspective. It shows that borders are not just lines of division, but stages where history, emotion, and identity intersect. In its quieter cheers and restrained theatrics, Hussainiwala tells a story of patriotism without provocation, rivalry without rancor, and pride without prejudice.

For those willing to look beyond the obvious, Hussainiwala stands as a powerful reminder that sometimes, the most meaningful experiences are found off the beaten path.

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