article by Mahira. trends of sindhi dramas

Article by Mahira Majid Ali
Roll No. 2k14/MC/155
Trends of Sindhi Dramas


There was a time, when Sindhi media, especially dramas were jam-packed with a number of talented producers, directors, writers, as well as, actors. Many talented entities opened their eyes here. Sindhi dramas proved to have an intense effect on the viewers from the very beginning. But now, slowly and gradually this impact is drifting off.

Before partition, a huge number of Sindhi stage dramas took place. Mirza Qaleech Baig’s dramas like, Enquiry Officer, Zeenat, Khurshed and Gulan Wari Chokri, Khanchand Daryani’s drama, Zamindari Zulm and Mohammad Usman Diplai’s drama, Shadi, are some of the prominent stage dramas and writers of that time.


After partition, Sindhi people continued stage dramas, in which they showed their grief and nuisance. They sustained the trend of open-air theatres. The stage dramas were presented in Besant hall and Zubaida Girls College hall Hyderabad. Open-air theatres were commonly in practice, in the rural areas of Sindh. People say, "The beauty of open-air theatre is that, it attracts a large audience for entertainment and helps convey a critical message in the local language of the people”. In a region, where the majority of the rural population is illiterate, theatre is an effective way to communicate new ideas. The dramas of that time, were not so stretched but, their sole aim was to give information on subjects including message of peace, humanity, love and were frequently on the reality of society.

There is not a precise history of Sindhi stage dramas. But, they were typically based on Sindhi traditions and literature. The era of revolution of media aroused, when Pakistan Television (PTV) started to catch the eye of viewers and introduced a strategy to show programs in every province in their mother tongue. It was an effective way to keep endurance of provinces and their languages. Many dramas like, Marvi (a modern version of Sindhi folk tale), Amar Jaleel’s, Mitti Ja Marhun (real face of the society and the reality faced by poor people from feudal lords), Hafiz Kumbhar’s, Hathen Gul Mehandi, a good piece of Sindhi culture, beside these, Morr Udanra Morr, Aaino, Natak Rang, Abdul Qadir Junejo’s, Rani Ji Kahani and Khan Sahib, Hayat Ali Shah’s, Khuwab Aeen Khwahishun and Jinni Kanr Jiyas, Razaq Mehar’s, Jyapo, and especially "Dangea Manjh Darya" scripted by Ali Baba, produced by Haroon Rind, from PTV also achieved an award in German festival.

Other than these, dramas of Rashid Sabir, Shamsher Hydri, Shaukat Shoro, and Agha Rafique produced by Abdul Kareem Baloch, Sultana Siddiqui, Haroon Rind, Nawab Mehdi, Hamid Halepoto, Faiz Bughiyo, Mohammad Bux Samejo, Naeem Baloch and many others, were launched, through which viewers learned a lot. PTV used to present quality programs with vital importance of moral lessons. PTV dramas were very much bountiful that, in Poona institute, Indians used to get trained in acting by watching them.

After 2004, many private channels like KTN, Kashish TV, Sindh TV, Mehran TV and Dharti TV emerged and Sindhi media became one of the largest media society. There are around more than 20 private Sindhi media channels, which are on-air in Pakistan. Presently, these channels are presenting dramas like, Mama Laalu, Pathar Dunya, and Dunya Dardan Ji. The usual and all-inclusive theme of these dramas is tight-fisted and based on feudalism, sub-standard comedy, vulgarity, terrorism, and immoral dialogues like kutr kutr kare chadendo saeen and khairaan jay sir jo khair hujy, all the more so, drama Dunya Dardan Ji is dubbed version of Indian drama.

According to some writers, such spectacular exhibition of feudalism lifestyle is actually creating antagonism and severe fissures between social classes, whereby entirely obliterating chances of inspiring any positive change. The prime focus should be themes that the general viewership can relate to. Nowadays, merely 10% dramas of these private channels are promoting Sindhi culture, while others are representing Sindhi people as orthodox and obscurantist. Reality is that, interest and investment are two main pillars, through which any business can make progress and while it comes to Sindhi private media channels, no one invests, even actors are not given proper wages. Consideration of new script in Sindhi media, seems like a castle in Spain. Because, skilled writers like, Abdul Qadir Junejo, Shaukat Shoro and Ali Baba are not given chance to write. The producers and directors of the private channels are not well-trained and qualified like, PTV directors and producers that is why they are lacking quality programs.

The core reality is that, the emergence of these private channels, internationalization and commercialization has induced diminishing or no interest in Sindhis towards their mother tongue and their culture by showing this type of programs. Legends like Shafi Muhammad Shah, Qurban Jeelani, Ghazala Rafeeq, Noor Muhammad Lashari, A.R Baloch and Mansoor Baloch are hard to find. There is not any comparison between the golden age of Pakistani entertainment programming and today’s dramas (especially Sindhi). What is being consumed by the people today? Sindhi dramas should educate the masses, yet the only education most of them provide is on how the illiterate people of interior live, dress, eat, and socialise. Well-trained and educated writers, producers, directors should be given a chance to work for the revival and triumph of our Sindhi dramas.

This practical work was carried under supervision of Sir Sohail Sangi, Department of Media and Communication Studies, University of Sindh 

#MahiraMajid, #SindhiDrama, #Hyderabad, Shafi Muhammad Shah, Qurban Jeelani, Ghazala Rafeeq, Noor Muhammad Lashari, A.R Baloch, Mansoor Baloch