essay on teacher in sindhi

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No nation can think of attaining prosperity without having an inclusive education system. Those that realised the significance of education have achieved unprecedented success while those that continue to undermine its importance have been handicapped by wicked problems such as corruption and nepotism.

Like many other postcolonial societies, the crisis of education in Pakistan is acute and chronic. In this regard, the abysmally low passing ratio in the JEST test — a test conducted for recruiting junior elementary school teacher — should come as no surprise to the policy-makers of Sindh. Pervasive poverty, rising rate of early dropouts, existence of ghost schools and teachers, and sheer negligence are just some of the factors that lie at the heart of the education crisis in Sindh. Moreover, the latest Annual Status of Education report has put the education system of Sindh at the very bottom due to underlying structural flaws. To begin with, it illustrates that 56.2% of children in grade 5 cannot read a story in any national language while 69.5% cannot solve basic mathematics problems. However, what is most worrisome is the fact that a staggering 6.5 million children are currently out of school in the province. Owing to corruption, the biometric mechanism introduced by Sindh government proved to be a counterproductive and failed to compel ghost teachers to be punctual in schools. Without an efficient, vibrant and impartial system of accountability, educational anomalies cannot be solved and good results cannot be achieved. The government must take prudent measures to improve the overall system. It is true that the crisis of education has further been exacerbated by the pandemic, but the province can overcome the crisis by taking serious efforts and introducing meaningful reforms.

The world has reached at its peak level in educational field, but the students of Sindh are suffering under decades old teaching practices and rote learning. Inexperienced or low qualified teachers are appointed both in private and government institutions. Because of this, students’ rising abilities are destroyed, and their future is at stake. As they do not achieve education, instead they learn bad manners and cheating strategies.

In addition, there are more students in a class than chairs, especially in government schools, and students have no alternative but to sit on the floor. The government has failed to refine the standard of education.

Although every now and again we hear the amount of budget allocated for the improvement of education sector, I wonder why we still have to go through an old curriculum, why are we destined to be studying under the old teaching methods; why are we not provided with desks or chairs?

This is ironical condition of schools in all parts of rural Sindh and of Karachi’s government schools. Furthermore, I am a student and as far as my knowledge is concerned, it is all hogwash to invest in metro trains, flyovers, motorways and buildings, and instead, investing in human development and strengthening institutions to encourage meritocracy and to encourage talent is the only way for a nation to progress.

So, it is my humble request to the education departments and the government of Sindh to have a pity on the youth and improve the standard of education because it is the youth who can bring about a new revolution in society.

Abdul Wahab Magsi

Rawalpindi trash, problems of education in parom, bushra bibi moves ihc for medical examination in shaukat khanum, rain, urban flood emergency declared in balochistan.

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Shah Latif's Poetry: An Alternative Source to Study the History of Sindh

Shah Abdul Latif Bhitai (1689-1752), the poet par excellence of the Sindhi language and literature lived for 63 years during the last decade of the seventeenth century and the first five decades of the eighteenth century. This was a turbulent period in the history of Sindh and the Indian subcontinent. Despite the fact that Latif belonged to an elite class of his times, he never associated himself with this class, which was involved in the worst kind of oppression of the masses. On the contrary, he pleaded the cause of oppressed classes of Sindhi society. Hence, Latif's poetry can be taken as an alternative source in the examination of the history of Sindh. The purpose of this paper is to study his poetry as a significant source of understanding the socio-political and economic conditions of his contemporary times.

Related Papers

Dr. Ali Lajwani

Sindhi people are tolerating forbearing and famous for their good practices of hospitality. There is always a guest house (Otaque) at village level in Sindh society where guests are served delicious food with simplicity. The welcoming moments of the male and female guests are bringing many sensitizations and lovable feelings when they are presented with indigenous cultural gifts like Sindhi cap and Ajark. These human values and good traditional practices reflect about Sindh as piece of land with vigorous seed of spirituality. This congenial seed was spread on Sindh with the friendly visits of Shah Abdul Latif Bhittai along with his disciples. He observed the social and cultural dynamic values of common people who were living for flung areas in Sindh. He composed his poetry in the language of the common people. Shah did not prefer luxury life but he faced many hardships during the travel in far and wide areas. His poetry highlights social conditions of people living in Sindh where social and cultural values are presented in each chapter of poetic collection. Shah's poetry is a chief source of offering folk-wisdom to those people who are not formally educated but they keep all good qualities of a well-educated person. The poetry sensitizes people to own their peculiarities with good character building customs in present times as well. The poetry has been travelling in oral and written forms with much of interest of readers which are very rare phenomenon. Many non-literate women are participating in scholarly discussions with references of Shah's verses generally they keep memorizing very difficult words. This is largely rendered and discussed in literary forms. The exploration of good values and traditions from Shah's in the field of social sciences will perform some characters building qualities to our future generations to bring peace, tolerance and respect for the societies.

Dr. Phuloo K H A K O O Meghwar

Dhat or Dhaat is the central part of Thar. Its language is Dhatki, inhabitants are called Dhaati. Shah Abdul Latif Bhittai visited Dhat/ Dhaat (Thar) several times. He observed the culture, language(s), and other aspects of social life of inborn people. Dhat/ Dhaat is neighbouring area surrounded by Marwar (Rajistan), Kathiawar, Kutch, Laar, and Naaro. From G. A. Grierson to Dr. Abdul Jabbar Junejo and Hidayat prem, including Kako Bheeroo Mal Mehrchand Aadvani and Dr. N. A. Baloch narrated that Dhatki is not an independent language. They said, Dhatki is a mixture or dialect of Sindhi Language or she is a sub-dialect of Thari dialect of Sindhi. It is not proved decisively if it is a language, dialect or sub-dialect, it needs more research. He heard folk literature, especially folk tales in their native language, Dhatki. He was inspired and impressed by all facets. He borrowed various folk tales from this region, and composed poetry based on those tales. In his Risalo’s Surs, fifteen surs have direct or indirect connection with this region. Like a genius artist, he used a kind of language in cultural background related to characters of Dhat/ Dhaat (Thar). He used Dhatki language frequently in all surs of his poetry. This research paper is confined to the Sur Maaree; ‘Socio-Linguistic and Cultural Study of Dhatki Language in Sur Maaree’ which purely belongs to the area of Thar.

European Scientific Journal

mubarak ali lashari

ashfaque soomro

Tanvir Anjum

Sudheer Ayaz

Hafiz Qasim

Faisal Hussain

The region of Sindh is positioned atop a fertile land making conditions suitable for farming and irrigation. Being centrally connected to the River Indus has gained an advantage in horticulture and farming over the years. The wide variations in geographical conditions, altitude, soil, climate and culture have created a rich floristic diversity in Sindh. The soil of Sindh land is considered fertile and productive for vegetation. The vegetation of Sindh is naturally beautiful scenic for everyone. Vegetation is also considered part of our literature. Poets and writer always refer the beauty of our nature through the vegetation and green fields of homeland. There are multiple uses of vegetation which are commonly employed by local inhabitants as medicine, fodder and fuel even for agricultural purpose. Since a long time the people of Sindh have used different plants including herbs, shrubs and trees for the treatment of diseases locally. It is investigated that local or traditional medicines are cheaper and easily available for common use. The natural vegetation and greenery is vanishing due to overgrazing of domestic animals, salinity, water-logging and floods. Rapid growth of population is also a principal cause of diminishing the vegetation. The precious knowledge of flora is rapidly vanishing due to the illiteracy among the local people and also due to destruction of the medicinal plants. Therefore, it is an urgent need for our local communities and educated people that they should be directly involved in creating the awareness about the importance of vegetation of Sindh. The present study was designed to convey the knowledge and importance of medicinal flora as well as traditional uses of such plants in daily life and create the awareness about vegetation of Sindh.

Rashid Ali Khuhro , kais Kadhim , Sardar Ali Shah

This study analyses and establishes the Argument structure of the Sindhi verbs in Sindhi language. The study attempts to answer the research question: What are the Argument/thematic structures of the Sindhi verbs? The study analyses the argument structure of the Sindhi verbs and also finds how and what theta roles are assigned by the Sindhi verbs to their arguments. Each verb phrase in our data is analysed and studied in terms of Argument structure to find theta roles in the Sindhi language. The data have been analysed on the basis of the Carnie's (2006) theoretical framework; 'Theta Roles and Thematic Relation'. The data come from natural spoken Sindhi. Towards the end, it is found that the Sindhi language has all the theta roles which are proposed by Carnie (2006). These theta roles are assigned by the verbs to their arguments in sentences. Thus, this study confirms the presence of theta roles/thematic relations in Sindhi language. This study also serves as a preliminary in the area; it gives way for conducting similar research at broader level on the area to find more theta roles in Sindhi or any other language in future.

Pardeep Meghwar

Abstract of The thesis My research is based on cultural and religion anthropology, it is an anthropological study. Nath Panth is particular sect or group of people all over the world. Who are mostly rely on the super power, which given by Shive Shanker Bholy Nath. Or known the founder of this Panth, this Panth is worldly isolated with all world’s culture. The etymologically the word Nath has derived from Sanskrit word Natha mean “Protector, lord, or refuge”. The marhi serves as the place of worship of Nath Jogis. It’s near toTaluka Hussain Bux Mari district Mirpur-Khas (MPS) Sindh Pakistan. The pooran Nath Ji marhi is and fabulous religious and sacred place for Hindus. There are many Naths have come and worship for their tantric study mean they pay jog. Nath tradition is an old tradition have started from 9th and 10th century, “the seals of Shiva in a yogic pose have been found in Indus Valley and Harpan excavation, Shiva is generally believed to be the pre-Rig-Vedic non Aryan’s God Nath Yogis Belong to an ascetic group of Shivism”. Culturally this cult is famous in religious perspective. They wear its own traditional dress, dhoti, oracle kameez (shirt), Rudra, shela-singi and turban on the head. They use kashkol (black bowl). In eating purpose, but now days they don’t use much as used before. They never do marry, and not celebrate any kind of ceremonies without religious purposes. There are total 5 gadi nasheen have passed. And 6th is now present. He is well known personality in Meghwans community. The community people believed that he is crown of this community. Padam Nath his age about 70years. Still he is well, healthy and active. The income source of this Panth is depend on followers and disciples. They never do job and not get education, they get religious teaching from his own grue. The disciple will follow whatever learned whole history in oral way. Nath have spiritual power which are achieved by hard worship. The people of this Panth also cast out the ghost from person. Also solve many illness, social, cultural and economic problems. And also house disputes. They have command to solve the issues by their mantras and jantras power. This is a rich field for finding anthropological perspective. It is totally changed from our common people’s life. This study will help us to understand many new things and dimension of social cultural and religious perspective of the people. And also help students of social sciences, comparative religion, religion, and also helpful for mystical people. Those who are related and interested in mysticism.

VIII. LITERATURE

8. modern period:.

The development of modern Sindhi literature is divided into two periods: British era (1843 –1947) and post partition era (1947- onwards).

8.1. Development of Sindhi literature during the British era:

After the establishment of British rule in Sindh in 1943, the rulers decided to run the local administration and education in Sindhi. The Arabic Sindhi writings system was recognized and standardized for the language. Due to the encouragement from governmental and non-governmental agencies and due to the availability of printing presses and contact with English and other Indian languages, the journalism and literature grew remarkably. The Sindhi papers and literary magazines like Sindh Sudhar (1866), Saraswati (1890), D J Sind College Misecellary (1901), Jot (1892) Hindu (1917), Hindwasi (1917), Bharatwasi (1922), Sindhu (1932) Bharat Jeevan (1936), Gulstan (1944), Mehran (1946) Agite Qadam (1947) and Nai Duniya (1947) etc; the publications like Ratan, Asha and Kahani etc and literary oraganizations like Sindh Sabha (1889), D.J. SInd College Amatem Dramatic society (1894), Chandrika Amateur Dramatic society, Sindhi Sahit Society (1914), Rabindranath literary and Drama club, Balkan-ji Bari(1926), Muslim Adabi Society (1931) etc, played a major role for the development of Sindhi language and literature during the British era On the basis of literary trends, the British era is divided into two phases - 1843 to 1907 and 1907 to 1947.

8.1.1. Development of Sindhi literature during 1843 to 1907 A.D:

Along with the poetry, the prose also grew rapidly.

1. Sindhi Poetry (1843 - 1907):

During the first phase (1843 – 1907) of British era, the Sindhi poetry was stereotypical and was highly influenced by Persian poetry in the content as well as form. The Persian prosodic forms used by some poets in the medieval period continued during this period. A number of Deewans (collections) were compiled by many poets like Gul Mohammed ‘Gul’ (1807-55), Mohammed Kasim (1806-81), Hasan Ali Hasan (1829-1909), Abdul Husain Sangi (1851- 1924), Fazil (1857-1919) and Shamsudin Bulbul (1857- 1919). Ghazal became the most popular form of this period. The poetry was also composed in Rubai, Masnavi and other forms.

2. Sindhi Prose (1843 - 1907):

The First phase of Sindhi prose was the period of grammar, dictionaries , textbooks and translations. Many dictionaries and grammar books were published by European and Indian scholars during this period. Main works published in this field were Vocabulary of Sindhi language by East wick (1843), Vocabulary of seven languages spoken in countries west of Indus (1843) by Leach, A grammar of the Sindhi language (1845), English -Sindhi Dictionary (1849) and Sindhi -English Dictionary (1855) by Capt Stack, English Sindhi Dictionary (1868) by L.V. Paranjpe; Jawahar-al-Lughat - a Sindhi Persian Directory (1871) by Abdur -Rahim Abbasi, Grammar of Sindhi language (1872) by Capt. Trummp, Sindhi English Dictionary (1879) by Shirt Udharam Thanvardas and Mirza Sadiq Ali, Viyutpati Kosh (1886) and Sindhi Vyakaran ( 1872) by Jhamatmal Narumal Vasnani; Sindhi proverbs with English equivalents (1895) by Rochirans Gajumal, Gul Shankar - a collection of Proverbs (1905) by Kevalram Salamatrai Advani and Garib-al-Lughat (1907) by Bherumal Mahirchand etc. A number of major writings of English, Persian, Hindi, Urdu and Gujarati etc were translated in Sindhi which encouraged the Sindhi readership. Along with these translations original prose was also written in Sindhi. Essays on different topics and textual and literary criticism enriched the Sindhi prose. Some prose in other forms ie, drama, novel, short story, biography and travelogues were written in Sindhi. The early masters of Sindhi prose were Kauromal Chandanmal Khilnani, Mirzaqalish Beg, Dayaram Gidumal and Paramanand Mevaram. Kauromal Chandanmal (1844-1916) is known as the ‘Father of Sindhi prose’. He has written many essays on various topics in a simple and effective style. His 44 essays written up to 1907 were compiled by his son Manohar Das Khilnani and published by Sahitya Akademi, Delhi in 1960. The author’s other original works are Pako Pahu (1862) in which he strongly pleaded for woman education. He was the first scholar who compiled Samia ja Salok in three volumes (Vol. I &II 1885; Vol III 1892). He translated Hersh dev’s Sanskrit drama Ratnavali (1888) and Arya nari Charitra – biographies of Indian women (1905) from English. Mirza Qalick Beg (1853 – 1929) is known as ‘Aftab-e-Adab’ (the Sun of literature). It is said that he compiled more than three hundred works, which are mainly educational books and translations. He was a pioneer of literary criticism in Sindhi. His Life of shah Abdul Latif ’ (1885) was the first piece of literary biography and criticism. He also compiled Lughate-Latifi - a dictionary of Shah Latif (1913) and Lughat-e-Qadimi - (1923) in which lexicons used by Shah Latif and other poets are given. His novel, Zeenat (1890) is considered the first original novel in Sindhi. He also translated many essays and dramas in Sindhi. Dayaram Gidumal (1857 – 1927) is known as the first critic of Sindhi literature. His commentary on samia Je salokani Jo Tatparju’- gist of Sami’s Salokas (1885), comments on ‘Jap Sahib’ (1891), Essence of Bhagvad Gita (1893) and Interpretation of Pantanjali’s Yoga Darshan (1903) are considered the classics of Sindhi prose. Chahbuk Manalai Ain Rihan (in five volumes 1825-29)’ is the beautiful example of poetic prose in Sindhi which deals with the philosophical topics. Paramand Mewaram (1865-1938) is known as ‘The Addison of Sind’. He was a well known journalist, essayist and lexicographer. In 1900, he became editor of Jot - a very popular Sindhi paper which was started in 1896 and played a major role for the development of Sindh language and literature. Parmamand’s some writings were compiled and published in four volumes of Dil Bahar (1912). His selected articles on different topics published in Jot were compiled in Gulphul ( vol II, 1925 and vol II 1936). He combined morality and wit in his writings. He also compiled Sindhi-English Dictionary (1910) and English Sindhi Dictionary (1933) which are still considered the standard works of reference in Sindhi.

8.1.2. Development of Sindhi literature during 1907 to 1947 A.D.:

The Russian revolution, freedom movement and cultural awareness, changed the taste of the readers and it was reflected in the Sindhi literature. It became more realistic, patriotic and secular. It grew from the point of view of content as well as style. Apart from the translations from different languages, original writings also become very popular during this period.

1. Sindhi Poetry (1907 - 1947):

Kishinchand ‘Bewas’ ( 1885-1047) – a school teacher, gave new direction to the Sindhi poetry by introducing new topics, new style, rhythmic freshness and sweet and simple language which was admired by common people. His main collections are Shirin- Shair (1929), Samundi Sipoon (1929), Mauji Geet (1935) and Shair-Bewas (1951). All his writings were compiled and published in a volume entitled Sadu Parado Sagiyo ( 1984). His realistic idealism, devotion and humanitarian approach established a new trend in the Sindhi poetry . He says " Make your heart bigger in this world, you can live and I too can live". Lok Kavi Hundraj Dukhayal (1910-2003), Hari Dilgir (b.1916), Ram Panjwani(1911-1987), Prabhu ‘wafa’ ( b.1915) and his other followers carried his task ahead. The tradition of Persian model poetry also continued by Lekhraj Aziz (1897- 1971), Haru Sadaranjani(1913- 1992), Niyaz, Agha, Rahimbax, Khiyaldas Fani(1914-1995) and Parasram Zia (1911-1958) etc. Many poetic translations were also published during this period. Umar Khayam joon Rubaiyoon by Mirza Qalich Beg, Poorab Sandesh , an adaptation of Edwin Arnold’s Light of Asia (1937) by Devan Azad, Preet ja geet Tajore’s Gardernerr (1940), His Geetanjali (1943) by M.U. Malkani, Kalida’s Meghadoot (1947 ) by Nanikram Dharm das and poetic translations by many translations are worth to mention.

2. Sindhi Prose (1907 - 1947):

Four masters of Sindhi prose of this period were Hotchand Gurbaxani, Bherumal Mehar Chand Advani. Jethmal Parasram Gulrajani and Lalchand Amardinomal Jagtyani. Dr Hotchand Gurbaxani (1883-1947) was the most eminent scholar of this period. Shah jo Ri Salo (1923, 1930) compiled in three volumes has been considered the best work in the field of Sindhi textual and literary criticism. He adopted modern methods while discussing about the Shah Latif’s life and poetry. He also wrote a novel entitled Noorjahan (1915) which was based on Sardar Jogender Singh’s novel written in English . On the basis of Dr Gurbaxani’s report in 1921, Sindhi was introduced by the University of Bombay . Bherumal Meharchand(1875-1950) was a successful translator and original prose writer. His essays on different topics are compiled in Gulzar- Nasur (1929). Two books, one on Sindhi grammar and second on history of Sindhi language , Vado Sindhi Vyakaran (1925) and Sindhi Bolia ji Tarikh’- history of Sindhi language (1941) are still considered the standard works in Sindhi Jethmal Parasaram (1886-1948) was a versatile essayist and profound critic. His main books on Shah and Sachal are Shah joon Akhaniyoon in three volumes (Vol I 1922, Vol II and III 1923) and sachal sarmast (1922). He also wrote on mystics and sufism in English. H.T. Sorely was inspired by his writings on Shah and Sufism, who wrote Shah Abdul Latif of Bhit (1940) the first book in English in which along with the translation of selected poetry of Shah, details about shah’s life and history of Sindh was given. Lalchand Amardinomal (1885-1954) was a great prose writer who wrote essays on various topics. His selected essays compiled in Phulam Muthi (1927), Shahano Shah (1914) and Soonharo Sachal (1916) are his scholarly works of literary criticism. His prose style is too individualistic and his language is simple, with full of native idioms and phrases . By his sincere efforts, Sindhi was introduced at the post graduate level by the Women’s University, Mumbai. Other scholars of this period were U.M. Daudpoto (1896-1956) and Md. Sidiq Memon. Daudpoto was an eminent scholar of Arabic, Persian and Sindhi who translated and edited Tarikh-e-Chachnama (1932) and Tarikh-e-Mausumi (1938) and wrote a book on the poetry and life of shah Abdul Karim entitled shah karim Buliriavare jo Kalam (1937) and assisted Hotchand Gurbaxani in compiling Shah jo Risalo , Sidiq Memon wrote many articles and Sindhi Adab ji Tarikh- history of Sindhi literature (1937). The other works in the field of essay and literary criticism worth to mention are Chinig (1940) by Tirth Basant, Adabi Aino (1941) by Lekhraj Aziz, Anardans (1942) by N.R. Malkani, Shah Joon Soormiyoon (1944) by Naraindas Bhambhani, Adabi Ghun Cho (1945) by Naraindas Bhambhani and Ram Panjwani and Tarikhi Mazmoon (1946) by Chetan Mariwala. During the period (1907-1947) K.S. Darya and M.U. Malkani and some other writers popularized Sindhi dramas . Among them M.U. Malkani is considered the founder of one act plays in Sindhi. In the field of fiction, Hur Makhia Ja (14) by Lalchand Amardinomal was the first original story in Sindhi. He also wrote Krishnia Jo Kashtu , Jethmal Parasram wrote a story entitled Chamra Posh (1923). But Ado Abdur Rahman (1930) by Amarlal Hingorani was the first short story in which the realistic approach was adopted by the author. Mirza Nadir Beg (1891-1940) wrote some short stories and Miss Rustamji Achhut and Ghar ji Chhik are popular stories written by him. Asanand Mamtora (1903-93) published two collections of his short stories Javat Prem aim Paap Joon Kahanyoon (1939) and Arsi ain Biyoon Akhanyoon (1943). Most of his stories deal with psycho analysis of characters. kiki - a story of sensitive young woman is considered the first story, which presents the sex problem artistically. Sard Ahoon (1941),a collection by Gobin panjabi and Rajastani Phool (1944) edited by Gobin Malhi represents the selected short stories of the pre-partition period. As it is mentioned, entire Zeenet by Mirza Qalich Beg was the first original novel in Sindhi. After that Lalchand Amandinomal wrote Chothi jo Chandu (1904) . Shewak Bhojraj (1906- 1988) was the first novelist who wrote a novel on the back ground of freedom movement and Gandhiyan philosophy entitled Ashirwad (1930). His second novel, Dada Shyam (1934) portrays the child psychology. Shair (1934) by Asnand Mamtora and Ithad (1941) by Guli Sadarangani encouraged the inter-caste and inter religion - marriage respectively for the cause of national integration. Famous novels of this period were Malhin (1942) and Vidhva (1943) by Naraindas Bhambhani and Qaidi (1943), Sharmili (1944) and Latifa (1945) by Ram Panjwani. Some travelogues written during this period were Sindh Jo Sailani (1923) and Latifi Sair (1926) by Bherumal Meharchand, Kashmir jo Sair (1925) by N.R.Malkani, Hind jo Sair (1939) Manohardas Kauromal and Sair Kohistan (1942) by Alah Bachayo, etc. A single biography worth mentioning was written by Mirza Qalich Beg in 1923 and published in 1965. Baranr Sair (1870) by Mirza Qalich Beg is condsidered the first collection of children rhymes in Sidhi. Barana Geet (1891) by Kaurnal Chandanmal and Baranyoon Bolyoon (1926) by Naraindas Malkani and Mauji Geet (1943) by Kishinchand Bewas and Hari dilgir are main collections of the children literature. Shewak Bhojraj started Gulstan (1944) – a children magazine to popularize. The children literature. Fatahchand Vaswani his brother Melaram Vaswani wrote and published many children books in Sindhi. Apart from two standard dictionaries by Paramnand Mevaram, many collections of Sindhi literature were also published during this period i.e Sindhi Bolia ji Soonhan , a collection of Sindhi idioms (1910) by Ghanshyamdas Bhagat , Sindhi pahaka , Sindhi proverbs (1911) by Kauromal Chandanmal, Pahakani ji Hiqmat (1925) by Mirza Qalich Beg, Gulkand - a collection of Sindhi idioms and proverbs(1928) by Bherumal Meharchand and A hand book of Sindhi idioms (1937) by Mohanlal Shahani, etc. Thus during the British era, like other major modern Indian languages, Sindhi was also used in all the formal domains like administration, education, mass media and literature.

8.2. Development of Sindhi Literature in India after the Partition (1947):

During British era (1843 -1947) Sindhi was used in all the formal and creative domains like education, administration, mass media and literature, under the official patronage. Many non-governmental agencies also contributed remarkably. The state of Sindhi language underwent a drastic change due to the partition (1947). On the one hand, about one million Hindu Sindhis who played a major role in the development of Sindhi language and literature were compelled to leave Sindh on the political ground. In Sindh, before the partition, a large number of educationists and litterateurs belonged to the Sindhi Hindu community. After the migration, Sindhis scattered in different parts of India. They established many educational institutions and started cultural and literary forms in their pockets to maintain their linguistic and cultural identity. Many non-governmental agencies started publishing newspapers, magazines and books on different topics in Sindhi. They also pressurized the government adopting constructive and constitutional means to give Sindhi its due place. In 1957, Sindhi was recognized by Sahitya Akademi and at the same time some stations of All India Radio started broadcasting programes in Sindhi. In 1967, Sindhi was included in the Eighth Schedule of Indian constitution. National council for promotion of Sindhi language and Sindhi Academies established by different states and some non-governmental organizations are contributing for the development of Sindhi language and literature in India. In the beginning, for about one and half decade, the progressive trend was dominating the Sindhi literature. But the realities for the classless Sindhi community were quite different from the main theme of class conflict. During this period, Sindhi writers expressed the sense of nostalgia, suffering of refugee camps, courage, enterprising spirit and self respect of the people which helped them to adjust themselves in a totally new environment. Gradually, the Sindhi writers in India became bi/multilinguals and came in contact with the world literature through Hindi and English. The progressivism was replaced by the individualism and neo-classicism continued for a decade and it dominated the modernism and post-modernism. The development of different branches of Sindhi literature is briefly discussed below.

8.2.1. Development of Sindhi poetry:

From the beginning of twentieth century, Sindhi poets brought a new wave of realism, idealism, patriotism and socialism in the place of traditional mysticism and romanticism. After the partition, Lekhraj Aziz (1897 - 1971), Haroo Sadarangani (1913 - 92) Khiyaldas Fani (1914 -95), and some other poets expressed their new thoughts by adopting Persian prosody. Among the Bewa’s followers, Hundraj Dukhayal (1910 - 2003) composed poetry adopting Gandhian philosophy and joined the Bhudan movement started by Vinoba Bhave. Ram Panjawani (1911 - 87) sang devotional songs and, became the cultural ambassador by popularizing Jhulelal - the water Deity as a symbol of unity among the scattered community. Hari Dilgir (1916 –2004) expressed his optimistic thoughts in different poetic forms: Prabhu Wafa (b. 1915) composed poems on beauty, truth, love and present days realities. Parasram Zia (1911 –58) was a poet of the mass who composed satiric poems on the pity life of refugee camps. Sugan Ahuja (1921 –66 ) also wrote beautiful poems with a great sense of humor adopting the Persian prosody. Arjan Shad (b. 1924), Krisim Rahi (b. 1932), Moti Prakash , (b. 1931) Ishwar Anchand (1928 –98) and Goverdhan Bharti (b. 1929) were the poets of the progressive trend, who also composed many poems. expressing the sense of nostalgia and agony of rootlessness. In one of his poems, Shad says "Let my glance fly over the boundaries and see my native land, don’t cut off the chain that binds my soul with my heritage. How can I live without my culture, which has its roots in Sindh". Krishin Rahi (b. 1932) used main traditional forms of poetry with the folk rhythms fully flavoured with the native diction. Ishwar Anchal started composing the progressive type poems on different topic adopting pessimistic attitude and reached the height of deep thought of relation between soul and super soul. Goverdhan Bharati composed many nazms , ghozals and Rubaies but is more known as a lyricist . His sweet lyrics are similar to the folk and classical poems. He also composed many children rhymes. His poem sanitoriam mein pahirein rat is considered the first modern poem in Sindhi. The passionate expression of grief of the loss of human values is found in Inder Bhojwani’s (1918 – 92) poetry. He has also composed many poems about the home land. He says, "If some body asks me to compose a poem in one word I would immediately write Vatan (Native land)" v Narain Shyam (1922-89) brought neo classicism in Sindhi poetry. He experimented different forms i.e Persian ghazal, Sindhi bait and wai, Hindi metrical forms, English sonnet, French triplet, Japanese haiku etc. He also wrote a short epic Roop Maya based on the mythological story of Menka and Vishvamitra. M.Kamal (b. 1925) and Arjan Hasid (b. 1930) are experts in composing ghazals. M Kamal has expressed the complexity of modern urban life. Hasid’s ghazals are having lyrical intensity and variety in topics. He has also written new poetry. Harikant (1935- 1994) has reacted against the corrupt and rotten political system in his such joon suratoon - collection of poems is considered first poetry dealing with political satire in Sindhi. Due to the influence of contemporary English and Hindi poetry and facing problems of cosmopolitan life, new poetry and ‘anti-poetry’ became popular in Sindhi. Harish Vaswani (b. 1940) Anand Khemani (b. 1933) Vasudev Mohi (b. 1944), Prem Prakash (b.1946) Motilal Jotwani(b. 1936) Namdev (b. 1946) and Shyam Jaisinghani (b.1937) are the main poets of this trend. Most of their poems are the result of serious thoughts which try to make the readers to understand the complexity of modern machine like life. Other poets who have enriched the Sindhi poetry are Vasudev Nirmal (b. 1936) Pahlaj Musafir (b.1939) Rocho Khwabi (b.1929, Goberdhan Sharma Ghayal (b. 1940), Dholan Rahi (b. 1949), Kheman Mulani (b. 1944), Gope Kamal (b. 1948), Mahesh Nenvani(b.1954) and Shrikant sadaf (b.1959) etc. Popati Hiranandani (b.1924), Rukmani Chainani (b. 1930), Indra Vaswani (b.1936) Rita Shahani (b.1934), Indra ‘Shabanam’ (b.1952) Veena Shrangi (b.1948), Rashmi Ramani (b.1960) and some other poetess have also contributed in this branch. During this period, Ghazal remained the most popular form of Sindhi poetry. All traditional poets have composed their poetry using their own diction. Apart from it, Rubais by Haroo Sadarangani, wais by Narain Shyam Krishan Rahi and Goverdhan Bharati. Panjakiras – a poetic form having five lines by Prabhu Wafa, tisita by Hari Dilgir, haiku by Narain Shyam, tanha single line poems by Inder Bojwani, sonnets by Narain Shyam and Hari kant and folk songs like sweet lyrics by Goverdhan Bharts became very popular in Sindhi. Thus a variety of themes and forms with artistic grace is found in the Sindhi poetry which can be qualitatively compared with any other modern Indian poetry.

8.2.2. Development of Sindhi Prose:

During the post partition era sufficient work in different branches of Sindhi prose has been published in India.

Tirth Basant (1909 – 1994) published five collections of essays on different themes in his individualistic syle ; Vasant Varkha (1959), Sahit Sar (1962), Itihas Darshan (1964), Khushaboo (1978) and Sarang (1979). Jairam Das Daulatram (1891 – 1979) wrote many research oriented articles on history of Sindh language and literature. His selected essays are compiled in a collection entitled Sindh Ji Khoj (1993). Chetandas Mariwala (1916 –1984) published his essays on Historical topics in his collection Itihasik Chitra (1951). Haroo Sadarangani wrote many informative essays on various topics in simple native style. His selected essays are published in Kakhainkana (1966). Dil kar Darkhat je Dastoor (1956) is a collection of essays on moral teaching by Tirth Sabhani (1906 - 90). Lalsingh Ajwani (1899 - 1976) wrote articles on different social aspects on Sindh. Uchhal (1960) by him is a collection of scholarly prefaces of different literary books. Sipoon (1976) - collection by Ram Panjwani deals with different social themes. Hiku Pushpu Pandrahan Pankhuryoon (1962) by Popati Hiranandani and Adabi Gul (1957) by Moti Prakash are important collections A.J. Uttam (b. 1923), Gobind Malhi (b. 1921) Kirat Babani (b.1922) and other writers also wrote essays on different topics.

2. Criticism:

Due to contact with other languages Sindhi literary criticism became mature gradually and flourished remarkably. Many scholarly articles and books are published on different aspects of practical as well as theoretical criticism during this period. Kalyan Advani(1911 –1994) wrote critical books entitled Shah (1951) Sami (1953) and Sachal (1954) and he also compiled Shahjo Risalo Mujamal (1966) - an annotated abridged collection of poetry of Shah Latif which became very popular among the students and common readers. Bhojraj Nagrani (1903 – 1984) compiled Samia ja Salok in three volumes (1955, 1958 and 1967). Lekhraj Aziz wrote sami (1965). Haroo Sadrangam presented a comparative study of shah Latif and other Hindi, Punjabi and Persian poets in his book Kanwar Paroon Patal (1984). Shah jo Risalo Hiku Abhyas (1992) by M.K Jetley and Shah Abdul Latif - his life and works (1975) by Motilal Jotwani are scholarly works on Shah Latif. Hiro Thakur (b.1943), Jhamatmal Bhavanani (1905 – 1984) and Jhamu Chhugani (b. 1940) contributed in the field of textual criticism on three major poets of the medieval period namely Qazi Qadan jo Kalam (1978), Dadu Dayal (1980) and Swami Mahamati Prannath ji Sindhi Vani (Vol I, 1991, Vol II 1986) respectively. Bewas ain Naon Daur (1970) by Arjan Shad, Sindhi Sahit (1971) and Sindhi Natak , Kahani ain tanqeed (1981), A.J Uttam (b 1923), Adab mein Qadurani jo Suwal (1974), Okh Dokh (1981) and Sindhi Kahani Virhange bad (1984) by Kirat Babani, Sindhi Adabji Rooprekha (1966) by Jagadish Lachhani (b. 1939) Fankar ain Felsoof Sugan Ahuja (1973) by Mohan Kalpna (1930- 1992), Aziz hiku shakhsu ain Alim (1978) by Papati Hiranandani and many other works were written adopting the traditional principles of literary criticism. Kahani Kala jo Vikas (1972) was written by Lal Pushp (b.1935) on the modern principles of literary criticism, which was followed by other scholarly book Jiddat jo Mafhoom ain Sindhi Kahani (1975) by Hiro Shevkani (b. 1935) Vishnu Bhatia (b.1941), Harish Vaswani (b. 1940), Param Abichandani (b. 1926) Anand Khemani (b.1933), Prem Prakash (b. 1946), Shyam Jaisinghani (b. 1937), Namadev Tarachandani (b.1946) and some other critics adopted modern approach of literary criticism and discussed about different aspects of Sindhi poetry, fiction and drama in detail. Satish Rohra (b.1929) and Lakhmi Khilani (b.1935) also enriched practical criticism in Sindhi by writing reviews on the current works. Many books on theoretical criticism are also written during this period, i.e Adabi Usool (1950) by M.U. Malkani, Chhand Sugandh (1953) Itr-e-Arooz (1954) and Panj Ganj (1984) by Jhamatmal Bhavani; Fan-e- shairi (1984) by Inder Bhojwani and Satu Saru (Vol I 1980, Vol II and III 1992) by Param Abichandeni etc. Some books on history of Sindhi literature are written in Sindhi and English. M.U. Malkani wrote a comprehensive history of various forms of Sindhi prose in his book Sindhi Nasur ji Tarikh (1968). Bharat meni Sindhi Adab jo jaizo (1980) is also an important contribution by him. Lalsingh Ajwani wrote History of Sindhi Literature (1970) in English which has been translated in Hindi and Sindhi. M.K Jetley Wrote Sindhi Sahit Jo Itihas in 1972. Papati Hiranandani wrote History of Sindhi Literature (1947- 1976) in English in 1984. Azadia Bad Sindhi Sahit jo Itihas - history of Sindhi literature after the Freedom (1994), has been written by Lilaram Ruchandani(1924- ). Dayal Asha (b.1936) has given the History of Sindhi poetry in detail in his book ‘Sindhi Shair ji Tarikh’ (1984). Sindhi Natya Darshan (1984) by Jetho Lalwani (b.1945) and Sindhi Natak ji Osar (1993) by Prem Prakash are scholarly works on the development of Sindhi dramas.

After the Partition (1947) many dramatic societies were established in Mumbai, Delhi, Jaipur, Ahmadabad, Kolkata, Gandhidham, Nagpur and Bhopal etc who encouraged Sindhi drama by presenting many adaptation from other languages and organizing the drama festivals in different parts of the country. M.U. Malkani, Ram Panjwani, Gobind Malhi, Goverdhan Bharti, Moti Prakash, Krishin Khatwani (b. 1927), Kirat Babani Hari Kant, Jetho Lalwani, Lachhman Komal (b 1936) Sunder Agnani (b. 1936) Madan Jumami (b. 1934) Lakhmi Khilani, M.Kamal, Prem Prakash, Shyam Jaisinghani, Bhagwan Atlani, Meghraj Gurnani and other play wrights contributed in the field of Drama. M.U Malkani - the most famous one act play writer, and artists to popularize Sindhi drama; Jeevan Chachita (1957), Papukin Punju (1962) and Khurkhabita, the Timikani (1967) are the collections of his one act plays. Ram Panjwani wrote Sat Natak (1952) - Seven one act plays based on seven famous Sindhi folk tales. He also wrote Ayo Naon Zamano (1978) - a full length social drama dealing with the complexity of joint family in the urban life. Gobind Malhi exposed the out dated values and social evils, through his plays. Bigiriyal Ghar (1960) – a social play by Goverdhan Bharti is considered the first full length drama in Sindhi. Moti Prakash wrote two full length dramas Parde Agyaan Parde Puthyaan (1975) and Rat hik Toofan ji (1963). Ashiyano (1976) a full length drama by Krishn Khatwani (b. 1927) deals with the eastern and western values in the modern life. Soorja Sadu Kayo (1972) by Kirat Babani presents martyrdom of young patrist Hemu Kalani. Harikant’s plays Munkhe Kunwar Khape (1964) – a satire on the dowry system and Makaan Khali Ahe (1977) became very popular among common people. Jetho Lalawani wrote Gham Munhinja Ahini (1980). Mumal Rano and Suhini Mehar are the beautiful operas based on famous folktales written by Lachhman Komal. Pachha (1987) is a collection of Radio and shadow plays by Suder Agnani. Kako Kalumal (1990) by Modan Jumani is the first ever ‘one actor play’ in Sindhi. The one act plays by M. Kamal are satire on modern urban life. Lakhmi Khilani wrote full length dramas ; Panhijo Dushman (1993) dealing with nexus between money and power and Varja Sando Kot (1987), Portrays the nostalgia of home land and the suffering of refugee camps. Prem Prakash popularized experimental drama in Sindhi. He was the founder of Sindhi Drama workshop, where a number of artists were trained and many experimental dramas were presented Picnic (1994), a full length drama by Prem Prakash is a brilliant satire on the institution of marriage. It also underlines the meaninglessness and boredom of the modern life. Merchabandi (1979) his another full length play is a satire on the present day politics. His many experimental one-act plays, ie. Parda Kathau and Bahi etc, also depict satire on the social and political systems. He also edited Atha Taturbati Natak (eight experimental one-act plays) in 1977. Zalzalo (1992) by Shyam Jaisingham is a representative of ‘new drama’ in Sindhi. It is true that only a limited number of full length original dramas are written in Sindhi. But many successful one act plays covering variety of themes with artistic techniques, are written and presented in Sindhi.

4. Short Story:

In India, Sindhi Short story has gradually developed and has become mature and it can be compared with other modern Indian languages in the content as well as form and technique. In the beginning, for about a decade the progressive trend was popular. The economic stress, hardship of refugee camps, struggle for livelihood, self-respect, nostalgic feeling for homeland, pessimistic attitude towards the realities of new environment and cultural awareness were the main topics of the short story which were dealt with a simple narrative style. A.J. Uttam Gobind Panjabi (1918), Gobind Malhi, Kirat Babani and Sundari Uttam Chandani (b. 1924) were the main short story writers presenting the progressive ideology in their writings, Kashma kash (1971) by Uttam, Suraj mukhi (1960) and Hua Moti Aei (1980) by Gobind Panjabi, Iha bi ka Akhani Ahe (1984) and Agte Qadani (1986) by Gobind Malhi, Hua (1956), Dard jo Dil mein ‘Samaiji na Saghyo’ (1966) and Avhin sabh Nanga Ahyo (1993) by Babani and Achha Var garha Gul (1065), To Jani ji Tat (1970) Bhoori (1979) and Vichoro (1965) by Sundai Uttam Chandani are the main collections of the writers. Gamiro written in 1947 by Gobind Panjabi is considered the first nostalgic short story in Sindhi. Iha bi ka Akhani ahe by Malli artistically presents a great personal loss due to the partition. Chunu muni by Babani is a satire on the neorich class. Boori by Sundari Uttam Chandani is a representative story of a bolel women who sells papars . ‘spiced crisp thin cakes made of pulse’ for the livelihood with self respect. Along with the progressive writers some other writers i.e. Ram Panjwani, Loknath Jetley, Moti Prakash Narain Bharti (b.1932), Anand Golani (b. 1925), Krishin Khatani, Goberdhan Bharti, Popati Hiranandani, Kala Prakash (b. 1934) and Tara Mirchandani (b. 1930), etc kept themselves above from any particular ‘ism’ and wrote short stories on different themes adapting the humanistic approach. Most of the stories by Ram Pajwani are based on his personal experiences which became very popular among the common readers. His three short story collections that are published are Ajeeb Akhanyoon (1958), Anokha Azimreda (1962) and Tunhinja Munhinja Tajurba (1957) by Visarya na Visirani (1957). Loknath Jetly is a representative collection of nostalgic stories. Dastavez – a memorable story by Narain Bharati deals with the human relations, which are above any religious or political boundaries. Zini by Moti Prakash is a beautiful story based on the nostalgic feelings. Anand Golani wrote many social realistic stories on the serious themes with a touch of humor. Sindhu , a story by him deals with the quality of Sindhi community to adjust in the new environment. Krishin Khatwani started writing stories with the influence of progressive trend but afterwards he gradually made his new path by writing stories on the sentimental themes with his own style : Tutan Jaranu , Hik Sindhia jiatamkatha and Insan jo chehir are his representative stories written on different topics. Pilo chand ain Lal Dag (1966) and Pandhi Purano Vaat Naeen are the collections of selected stories by Goverdhan Bharti. Popati Hiranandani has published three collection of her short stories Kali Gulab ji sagar sharab jo (1967), Moon Tokhe Pyar Kayo (1975) and Khizauni jo Daur Pooro Thyo (1976) which deals with the women revolt against the male dominated world. Brahma ji Bhul is the most popular story by her. Kala Prakash (b. 1934) has written many stories based on the middle class family life. Hik dil Hazar Arman (1957) Shishe ji Dil (1970), Hik supino sukhani jo (1971) and Hayati Hotani Re (1974) are the collections of her selected stories. Her female characters are humble, obedient, affectionate and aware about their rights and duties. The natural sensitive dialogues in native diction is the peculiarity of her style. Khanvahan is considered her best story based on the nostalgic memories of her small village in Sindh. Mamta joon Laharoon (1963) is a beautiful collection of poetic prose based on the tender feelings towards her children. Tara Mirchndari (b. 1930) has written many stories based on different themes in simple and effective style. Aeeno ain Aqsa (1965) Rabarji Gudi (1966), Uljhiyal Tandoon Resham joon (1986) and Dard (1991) are the collections of her stories. Mohan Kalpna (1930 - 92), Lal Pushp (b. 1935) and Guno Samtani (1934 – 97) reacted against the trend of progressive and idealistic stories written in simple narrative style. The social topics were replaced by individual complexities. They brought a new wave of individualism and neo classicalism in Sindhi fiction. Mohan Kalpna is considered the most popular among them who adopted the romantic and individualistic approach. Mohi Nirmohi (1961) , Chandicism Zahar (1964), Farihtani ji Dunya (1967) Uha Sham ( 1981), Atheen Katha (1989) and Dard ji Talash (1995) are the collections of his selected short stories. He dealt with contemporary themes with his own style. Pathar jo Dushman and Hiku Sharif Manhoon Gadia mein by him are the master pieces of Sindhi short stories. Lal Pushp dealt with the inner complexity of his characters which made him most successful fiction writer in Sindhi. He had made many experiments in the content, form and techniques. Dairo (1964) Bandhan ain Arman (1965), Punarmilan (1966) Varia ja Mahal (1966) Khal ee khal (1970) and Karz ji Darkhast (1976) are the collections of his stories. Karz ji Darkast is a sensitive commentary on the absurd bureaucracy. Guno Samtani brought neo-classicalism in Sindhi short story. His characters as well as incidents do not look close to the real life. Even then their impact is very strong due to the admixture of classical and modern approach, with the flash back technique and selective choice of vocabulary and style. Abhiman (1964) and Aparajita (1970) are two collections of his selected stories. Kathje Sanche mein (1971) by K. S. Balani (1930- 1970) is also a representative collection of contemporary short stories written during this period. After 1965, modern short stories became popular. Vishnu Bhatia (b. 1941) Ishwar chandra (1937) – 1992), Anand Khemani (b. 1933), Harish Vaswami, Shayam Jaisingani Prem Prakash, Param Abichandani, Motilal Jotwani, Brij Mohan (b. 1943) and Namdev are main writers of Modern and post modern short stories in Sindhi. They wrote individualistic experimental stories around the disbelief, helplessness, dehumanization and machine like monotonous urban life. Vishnu Bhatia denounced the traditional social values and moralities through his stories. Ishwar Chandra, a distinguished modern short story writer wrote in Sindhi and Hindi. Thadha Chap (1965), Mualu Makoro (1971), Panhinja ee Ghar mein (1973) Sakht chehire varo Manhoon (1980) Moti Ayal Maazi (1981), Sat Kahanyoon (1983) and Ghatnauni jo Chakar (1987) are the collections of his selected stories. His stories are the mirror of the present day middle class family life. The complexity of different social relations in the modern life reflects the hopes and despairs aspirations and frustrations of the common man in his stories. Panhinje ee Ghar meins , Na Maran jo Dukh and Safar and many other stories deal with such realities. Luchi (1965) and November ji Akhiriri Rat (1976) are the collections by Anand Khemani. Chalih Asi (1980) is a collection of modern short stories by Harish Vaswani. Ghanti written by him in 1985 is an artistic presentation which underlines the danger of loss of linguistic identity by the Sindhi community in India. Shyam Jaisughani- a post modern fiction writer portriats the complexity of urban life. Nango Asman (1987) Thaungo ( ) Mailani jo Safar ( 1983) , Hiku Biyo Dil and Zindah Machhi (2002) are the collections of his short stories. Vilen (1976) and Veeh (1994) by Prem Prakash, Bhav Abhav (1991) by Param Abichandani; Paramparahin (1970) and Sunjanap jo Sankat (1992) by Motilal Jotwani, Gum Thiyal Chehro (1973) by Brij Mohan (b. 1963) and Vikhoon (1981) by Namadev are the main collections of modern short stories. Mohan Deep (b. 1948), Hiro Shevkani, Satish Rohra Bhagwan Atlani (b. 1945) Nari Padam (b. 1938), Gope Kamal, Hari Himthani (b. 1933) Ishwar Bhati(b.1942) Tirth Chandwani (b. 1946) and Bansi Khub Chamani (b. 1943)and many other writers have enriched the Sindhi short story. Among the women writers Ishwari Jotwani (b. 1930), Rita Sahani (1934), Indra Vaswani (1936) Maya Rahi, Kamala Goklani (b. 1950), Vina Shringi (b. 1948) and others have also contributed in this field.

After the partition, apart from a number of translations from other languages many original novels were written in Sindhi. Gobind Malhi, Ram Panjwani, Chanduilal Jaisinghani (1919 – 93), Guli Sadarangani (1906 – 94), Sundari Uttam Chandani, Papati Hiranandani, Tara Mirchandani, Kala Prakash and Krishin Kathwani enriched the Sindhi novel by writing on different topics related to the nostalgic love and social aspects. Their novels became very popular among the common people.

Gobind Malhi known as ‘Novel Samrat’, ‘the emperor of Sindhi novel’, wrote about two dozen novels. Pyar ji Pyas (1972), his most popular novel, protrays the charactor of Mohini who is sexually exploited by men every time. Dehi Pardehi thya (1961) written in the form of letters, deals with the emontional attachment among the two communities living in two different countries. Ram Panjwani wrote Ahe Na Ahe (1955) - a religio social novel and Shal Dhiaru Na Jaman (1957) based on the dowry system. Chandulal Jaisinghani wrote many novels on legal themes. Guli Sadarangani wrote two novels. Sadhana jo Supino (1960) and Akhreen Inqlab (1979) based on the social themes. Sundari Uttam Chandani wrote Kirandar Deevaroon (1953) and Prect Purani Rit Nirali (1956) which depict the socio-economic realities and role of women in the changed environment. Papati Hirandani wrote four novels : Manju (1950), Hasiratuni ji Turbat (1961), Jia mein Jhoori tan mein Tat (1965) and Sailabu zindagia jo (1981). Her last novel is based on the partition. The women characters portrayed by her are very bold who strongly fight for their rights. Kala Prakash has written six novels which deal with the sufferings of partition and different social aspects of the middle class joint families. She narrates the tender feelings of family members in native diction. Krishin Kathtwani wrote romantic novels like Amar Prem (1961) and Yad Hik Pyar Ji (1976). His Munhiji Mithiri Sindh (1962) is based on the nostlgic feelings for the homeland.

Like in the short story, Mohan Kalpna Lal Pushp and Guno Samtani brought freshness and variety of experiments in the field of novel also. Mohan Kalpna wrote about one dozen novels. Runj ain Pachha (1968) is an autobiographical romantic novel by him. His three novels alavatani (1974), Mau (1980) and Kaanu ain Samand (1981) artistically depict the sufferings of banished community. Lal Pushp became the most successful novelist for his experiments in the theme form and technique. He mainly wrote antihero novels, Hik sard Divar (1969) Hunje Atamjo Maut (1978) and Tadahin ain Hane (1978) are his representative novels. Hunaje Atamjo Maut , the most discussed novel is based on only one event. Guno samtani interwines the tender feelings of love and humanity in his own style.

Vishnu Bhatia, Anand Khemani, Param Abichandani, Shyam Jaisinghani and Motilal Jotwani are the main novelists of the modern and postmodern era. Vishnu Bhatia wrote four novels on different contemporary themes. Hik Shakhsa ji Vasana (1970) by Anand Khemani is considered the first novel in Sindhi which deals with the search of ‘self’ Param Abichandani has written four novels Jharna (1962) , Hik Jar Ba Jibhoon (1964) , Ien Bi (1988) and Kaya Kalp (2000). Kaya Kalp is a multidimensional novel which deals with the complexities of upper class society in the modern urban life. Shyam Jaisinghour has used new symbols, and new technique in his novels. Kacha Dhaga (1966) and Khahia je chautarf (1976), his both novels represent the pattern of post modernism and depicit all the negative forces of life, defeat and the sense of alienation. Motilal Jotwani has written three novelettes , Pili Bhatiate (1974), The Rishta Nata (1982) and Koth (1988) based on the relationship between man and women in the cosmopolitan life. He has also written an autobiographical novel entitled Aun jo ee Ahyan so ee Ahyan (1999). Hath yogi (1990) by Tara Mirchandani, Pirah ja Piyak (1992) by Rita Shahani, Soor Jooon Sau Sooratoon (1997) by Goverdhan Bharti and Tarandar Badal (1998) by Krishin Kahtwani are the four novels written in the traditional style, on different themes , which gave new life to the Sindhi novel. Hath yogi is an artistic presentation based on a story narrated by Nanak Hingorani. Pirahga Piyak is a spiritual journey of Acharya Anand , Soor joon San Soooratoon is base on the author’s self experience as a T.B. patient admitted in a sanitarium . Tarador Badal depicts the nostalgic feeling for home land , the struggle for maintaining the identity , hypocrisy of the neo rich class and the curiosity of younger generation to know about their roots. Anand Golani, Asandas Mantora, Moti Prakash, Hari Himthani, Lakhmi Khilani, Hari Motwani, Mohan Deep, Nari Padam Namdev and some other writers have also contributed in this field.

6. Biography and Autobiography:

Many biographical works by Tirth Basant, Baldev Gajra (1885- 1968), Kanhaiyalal Taluja and others have been published in Sindhi. kanwar , biography of Kanwar ram (1885-1939) ‘a renouned martys saint singer’, is the best literary work in this field . Chetan Mariwala(1916-1984), N R Malkani, M.U Malkani, Popati Hiranandani, Mohan Kalpna, Hari Dilgir, Kirat Babani, Motilal Jotwani, Narain Bharti and some other writers wrote their autobiographies which have literary importance. Chetan Mariwala has narrated some important incidents of his life. N.R. Malkani has discussed about the political situation with the Gandhian philosophy along with his life experiences in Nirali Zinadagi (1973) M.U. Malkani has artistically recorded the memories of his young age in Juvania ja Jazba Piria joon Yadgiryoon (1975) ; Munhinje Zindajia ja Sona Ropa Varq (1981) by Popati Hiranandani is considered the best literary work among the all autobiographies written in Sindhi . Apart from the ups and downs occurred in her life , she has artistically narrated awful conditions and sufferings of the community due to the partition. Bukh Ishq ain Adab (1987) by Mohan Kalpns is other important work having all the qualities of a successful autobiography. Hari Dilgir has faithfully opened the pages of his life before the reader by giving th account of the weak and strong points of his personality in Cholo Munhinje chik mein (1987) and Gandhu Munhinje Godi mein . Gobind Malhi has written his detailed autobiography in Adab ain Abid published in five volumes (1987, 1988, 1989, 1990 and 1991) in which he has discussed about his native village, home land and friends. He has also discussed about the struggle of the rootless people to maintain there self respect and rich cultural traditions. Kujhu Budhayumi Kujhus Likayumi , by Kirat Babani, Atam Katha je Nale mein (1994) by Motilal Jotwani and Sarau jo panu (1995) by Narain Bharati are the important contributions in this field.

7. Travelogue:

M.U. Malkani wrote Pachhimi Yatra in 1963. Apart from the above mentioned work, most of other travalogues are about the visits to their homeland, Sindh Sabhu Samdhyumi Saah Sein (1987) by Moti Prakash, Je Hiare Manjhi Hurani (1987) by Kala Prakash, Miti Munhinje Mulk ji (1989) by Narain Bharati, Munhinja Masuarar ( ) by Krishin Khatwani, Juryal Jani Saan Jind (1988) by Hari Motwani and Jite Munhija othiara (2003) by Rita Shahani are the major work in this field. Se Sabhu Sandhyami Saah sein by Moti Prakash is considered the best work in which he has narrated about the changed conditions of Sindh in detail.

8. Children Literature:

Hari Dilgir and Goverdhan Bharti are the most successful poets who have written a number of children rhymes which have become very popular. Mauji Geet by Bewas and Dilgir is a collection of the children rhymes. Mazeda Geet by Dilgir was published in 1983. Gul ain Mukhryoon (1956) and Latyoon (1958) are the popular colections by Goverdhan Bharti. Jeevat Gogya (1929- 1995) contributed in this field by writing many children stories and some rhymes. His four collections published are Dadia Joon Akhanyoon (1960), Paryuni joon Akhanyoon (1968), Akhanyoon ee Akhanyoon (1979) and Rang Birangi Geet ain kahanyoon (1991). Hundraj Balwani (b. 1946) is the most popular writer who has written a number of Children stories, dramas and songs on various topics. Parasram Zia, Dayal Asha, Vasudev Nirmal, Jagdish Lachhani, Jetho Lalwani and others have also enriched the Sindhi Children literatue.

9. Folklore:

Sindhi folklore has a rich tradition which reveals the attitude, beliefs, social customs and way of life of the community. After the partition in India, Narain Bharati collected, compiled and published Sindhi folk songs and folk tales which include Hojmalo (1961), Sindhi Lokgeelani win Samajik Pasmanzaro (1991) – a critical study of social aspects in Sindhi folk songs. Lilaram Ruchadani has also written some books and articles on Sindhi folklore . Parso Gidwani (b. 1937) and Jetho Lalwani have collected Sindhi folk literature from the Banni region of Kutch district in Gujarat. Jetho Lalwani has also written some books on different aspects of Sindhi folk literature i.e Sindhi LokNatak (1988), Sindhi Pirolyoon (1995), Bannia jo Sindhi Lok Adab (1996), Sindhi folklore (1988) and Asaan jo Varso (2001). There is a great need of undertaking a project on the line under taken in Sindh, to record and preserve the Sindhi folk literature from the boarder areas of Gujarat and Rajasthan.

10. Language and Linguistics:

After the partition in India, a number of articles and some books were written on the different aspects adopting traditional as well as modern linguistic approach. Sindhi Bhasha ka Parichy (1957) in Hindi by Kishan Chand Jetley (1910 –1995) gives a brief description about the development of Sindhi, its dialects and structure based on the traditional model. Bhasha Shastra by Popati Hira nandani and Sindhi Boli (1989) by Lilaram Ruchndani are also written adopting the traditional approach. Sindhi Bolia ja Hazar Sal (2000) edited by Manohar Matlani and published by University of Mubai consists of four articles related to the development of the Sindhi language i.e origin of the Sindhi language and its development up to the fifteenth century by Murlidhar Jetley. Sindhi language from 1500 to 1843 A.D. by Hiro Thakur, Sindhi language during the British era by Jetho Lalwani and Development of the Sindhi language in India after the partition by Kanhaiyalal Lekhwani (b. 1942) are noteworthy . Lachhman Khubchandani (b. 1932) Murlidhar Jetley, Satish Rohra, Yashodhara Wadhwani ( ), Kunhaiyallal Lekhwani and Dundari Parchani have published a number of articles and some books adopting the modern lingustic approach. Sindhi Samaj ain Bhasha vigyan (2001) by Lachhman Khub chandani, Bolia jo Sirshto ain Likhavat (1999) by Murlidhar Jetly and Bhasha ain Bhasha vigyan (2001) by Satish Rohra are important works written in Sindhi in this field. Sufficient work in the field of dictionary making is done in India. A Hindi - English Sindhi Dictionary compiled by Deepchand, Devdatt and Prabhdas was published in 1962, Hindi Sindhi Laghu Kosh (1984) was compiled by Satish Rohra and Murlidhar Jetley. They also asssisted in compiling Hindi - Sindhi English Dictionary (1988) by writing the Sindhi equivalents. Mulidhar Jetley also assisted Narvane by providing Sindhi proverbs for Bharatiya Bhasha kahavat kosh by Narvane. Lachhman Hardwani (b. 1942) has compiled two important dictionaries namely Matathi-Sindhi dictionary (1991) and Sindhi Marathi Dictionary (1995). Bunyadi - Sindhi - Hindi Dictionary (1996) and Sindhi - Hindi - English Pictorial dictionary (2001) are compiled by Kanhaiyalal Lekhwani. Sindhi Shabda Mahran , (1999) a small thesaurus is compiled by Kishin Chand Jetley and edited by his son Murlidhar Jetley. Some collections of Sindhi Idioms and proverbs are also published. ‘Sindhi Istilah’ (Sindhi idioms) by Lekharaj Aziz is published in two volumes (1976, 1987). Satrumdas Sail (b.1914) compiled ‘Durani ji Dabu li’ a collection of Sindhi proverbs in 1982 and ‘Manik Moti’ - acollection of Sindhi Idioms and phrases in 1983. ‘Sindhi Pahaka ain Muhavra’- a collection of Sindhi proverbs and idioms compiled by Santdas Kishinani and edited by Murlidhar Jetley published in 1993 has been considered the most important work in this field.

11. Translations:

After the partition, in India many literary works of Indian languages and English have been translated into Sindhi. Jagat Advani (1913 - ) is considered the most successful translator in Sindhi who has translated more than one fiction work in Sindhi from Hindi, Marathi, Gujarati, Bengali and English. His translation are beautiful and faithful to the originals and very popular among the readers. Lal Pushp, Kirat Babani, Gobind Malhi, Shyam Jaisinghani, Krishin khatwani, Lakshmi Khilani and some other writers enriched the Sindhi language by translating representative works from other language along with their original writings. Kishin Chand Jetley has translated the Sanskrit classics Shringar Lahar (1972) and Meghdoot (1981) into verse form. Dayal Asha has also translated Vikram Urvashi and Meghdoot into Sindhi. Tulsoyo Talreja translated Tulsidas’s Ram Charit Manas into Sindhi. Rita Shahani has translated G.D. Madgulkar’s Marathi Geet Ramayan into Sindhi. Lachhman Hardwani has translated Iravati Karve’s Marathi novel yugant and many representative Marathi short stories into Sindhi. Among the non fiction writings two books wrote in Sindhi are very important, Fun-e Tahqiq ain un ja usool (1997), an Urdu book by A.S. Dalvi translated by Baldev Matlani and Sindhi Adab ji Tarikh (1919). Lalsingh Ajwani’s English book History of Sindhi Literature is translated into sindhi by Hiro Shekani. A number of Sindhi writings have been translated into English, Hindi, Marathi , Gujarati, etc. Hashu Kevalramani translated some representative Sindhi short stories into English and published them in 1962. Moti lal Jotwani published Sindhi short stories (1985) – a collection of the selected Sindhi short stories translated by him. He has also translated the poetry of Qazi Qadam and Shah Karim into English. Param Abichandani has translated many contemporary Sindhi short Stories and poems into English. Bharat Bhushan Agrawal has translated the selected Sindhi Rubais by Haroo Sadarangani into Hindi poetic form. Motilal Jotwani has translated two collections of Sindhi short stories and Zeenat , novel by Mirza Qalich Beg into Hindi. Rita Shahani has translated her own novel Piya ja Piyak into Hindi. Many other short stories and some novels are also translated into Hindi. Lachhman Hardvani has translated some representative Sindhi short stories into Marathi. Tolaram Raheja has translated Bhimbhirkeji Bhun Blun , a novel by Rita Shahain and some short stories in Marathi. Yashodhara Wadhwani has translated Sindhu Kanya – a famous Sanskrit novel in Sindhi. She has also translated some short stories into Gujarati and Marathi. Jayant Relwani (b. 1936) is the most popular translator who has translated many Sindhi writings into Gujarathi and vice versa. Jetho Lalwani, Hundraj Balwani and others have also contributed in this field. Sahitya Akademi is regularly publishing translations of the representative Sindhi writings Surabhi , a Hindi literary magazine edited by Lachhman Bhambhani and Kamla. Goklani is playing an important role in this field by publishing selected Sindhi writings into Hindi.

Conclusion:

Thus during the last fifty seven years sufficient literature is published in Sindhi. But due to two main reasons, its readership in Sindhi is declining rapidly. Firstly, most of the Sindhi speakers have become bi/multilinguals, therefore, they have come across the better literature on variety of themes in other languages. Secondly in most of the cases, they do not get opportunity to learn their mother tongue, therefore they are not able to enjoy and appreciate their our literature.

8.3. Sahitya Akademi Awards:

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मेरे शिक्षक पर निबंध (My Teacher Essay in Hindi)

पहले के समय में हमारे देश में शिक्षक को इस तरह का सम्मान दिया जाता था, परन्तु आज के समय में शिक्षक और छात्र दोनो ही बदल गये है। पहले के समय में शिक्षण एक पेशा ना होकर एक उत्साह और एक शौक का कार्य था, पर अब यह मात्र एक आजीविका चलाने का साधन बनकर रह गया है। लेकिन मुझे लगता अभी भी सब कुछ खत्म नही हुआ है। जब भी मैं छात्रों को शिक्षक दिवस मनाते हुए देखता हूँ मैं काफी भावुक हो जाता हूँ और इसके साथ ही काफी प्रसन्न भी महसूस करता हूँ। यह सब देखकर मुझे लगता है अभी भी हमारे दिलो में शिक्षको के लिए विशेष स्थान है।

शिक्षक दिवस पर 10 वाक्य | मेरे प्रिय अध्यापक पर निबंध

मेरे शिक्षक पर छोटे तथा बड़े निबंध (Short and Long Essay on My Teacher in Hindi, Mere shikshak par Nibandh Hindi mein)

मेरे शिक्षक पर निबंध – 1 ( 250 – 300 शब्द).

इस बात से को इनकार नही कर सकता है कि स्कूल के पहले दिन से लेकर कालेज के आखिरी दिन तक वह हमें पढ़ाते है हमारी कमियां खोजते है और हमें शिक्षा देते है। इसके अलावा वह हमारे व्यक्तित्व का भी निर्माण करते है अगर संक्षिप्त में कहे तो वह हमारे भविष्य का निर्माण करते हैं।

शिक्षक हमारे भविष्य के निर्माता

वैसे तो कई रिश्ते है जिनका हमारे ह्रदय में विशेष स्थान होता है और मुझे विश्वास है कि उनमें से एक है शिक्षक का रिश्ता जो हमारे लिए सबसे प्रिय है। खासतौर से वह जो हमारे साथ सख्ती से पेश आते थे और हमें गलतियों पर सजा दिया करते थे।

जैसे-जैसे हम बड़े होते जाते है यह नफरत प्रेम में बदल जाता है, क्योंकि हम अपने पेशे में डांट का महत्व महसूस करते है। कबीर दास ने शिक्षक के कार्य को नीचें के पंक्तियो में बखूबी समझाया है।

“गुरु कुम्हार शिष कुंभ है, गढ़ि गढ़ि काढ़ै खोट, अंतर हाथ सहार दै, बाहर बाहै चोट”

उपर के पंक्तियों में कबीर दास जी कहते है कि शिक्षक एक कुम्हार के तरह है और छात्र पानी के घड़े के तरह जो उनके द्वारा बनाया जाता है और इसके निर्माण के दौरान वह बाहर से घड़े पर चोट करता है और इसके साथ ही सहारा देने के लिए अपना एक हाथ अंदर भी रखता है।

इसलिए मैं अपने शिक्षक को इतना प्रेम करता हूँ (खासतौर से उनका जो मुझे ज्यादे डांटते थे)। वो वह व्यक्ति थे जो मेरे भविष्य निर्माण के लिए जिम्मेदार है।

जब मैं एक छात्र था, तब मैं एक अंग्रेजी लेखक बनना चाहता था। जब यह बात मैंने अपने दोस्तो और माता-पिता को बताया तो वह मुझ पर हंसने लगे क्योकि मेरी अंग्रेजी काफी खराब थी। मेरे शिक्षक हमेशा डांटते और सजा दिया करते थे पर मैनें कभी अपना धैर्य नही खोया। यह उनके मार्गदर्शन और मेहनत का फल ही जिससे कि मैं एक अंग्रेजी शिक्षक और लेखक बन पाया। पहले मैं उनके द्वारा मुझसे कड़ाई बरतने पर मुझे काफी बुरा लगता था, पर अब मैं उन्हे धन्यवाद देता हूँ क्योंकि उनके कड़ाई और मेरे उपर किये गये मेहनत का फल मुझे प्राप्त हुआ।

तो आपको भी अपने कड़ाई बरतने वाले शिक्षको की बातो का बुरा नही मानना चाहिए, क्योंकि वह आपको वो बनायेंगे जो आप बनना चाहते हो। दूसरे शब्दो में कहे तो वह आपके भविष्य के निर्माता है।

Meri Teacher par nibandh – 2 (400 शब्द)

यह सच है कि हमारे माता-पिता हमारे पहले शिक्षक है। वह हमें काफी कुछ सिखाते है, इस बात इन्कार नही किया जा सकता है, पर हमारी असली शिक्षा तब शुरु होती है जब हम स्कूल जाते है। जहा हम अपने शिक्षको द्वारा ज्ञान प्राप्त करना शुरु करते हैं। शिक्षक एक व्यक्ति के जीवन में बहुत ही महत्वपूर्ण भूमिका निभाते है।

हमारे जीवन में शिक्षक का महत्व

एक शिक्षक एक मार्गदर्शक, गुरु, मित्र होने के साथ ही और कई भूमिकाएं निभाते है, जिनके बारे में हम सोच भी नही सकते है। यह विद्यार्थी के उपर निर्भर करता है, कि वह अपने शिक्षक को कैसे परिभाषित करता है। संत तुलसी दास के ने इसे नीचे के पंक्तियों में बहुत ही अच्छे तरीके से समझाया है।

“जाकी रही भावना जैसी, प्रभु मूरत देखी तिन तैसी”

उपर के पंक्तियों में संत तुलसी दास ने बताया है कि भगवान/गुरु एक व्यक्ति को वैसे ही नजर आयेंगे जैसा कि वह सोचेगा। उदहारण के लिए अर्जुन भगवान श्रीकृष्ण को अपना मित्र मानते थे, वही मीरा बाई भगवान श्रीकृष्ण को अपना प्रेमी ठीक इसी प्रकार से यह शिक्षक के उपर भी लागू होता है।

मेरे नर्सरी शिक्षक – मेरे सब कुछ

मेरे नर्सरी शिक्षक के व्यक्तित्व में कुछ जादू सा था, मैं उन पर आंख मूंदकर भरोसा करता था। मैं उनके साथ के अपने इस रिश्ते को बयान नही कर सकता पर हाँ मैं यह अवश्य कह सकता हूँ कि यह कई रिश्तो का मिश्रण था।

मेरे प्राइमरी (प्राथमिक) शिक्षक – मेरे गुरु

ऐसा कहा जाता है कि एक इमारत की नींव मजबूत हो तो इमारत मजबूत होती है, और व्यक्ति जितने चाहे उतनी मंजिले उसमें जोड़ सकता है लेकिन अगर नींव कमजोर हो तो ऐसा करना काफी खतरनाक होता है। मैं काफी भाग्यशाली था जो मुझे इतने अच्छे प्राथमिक शिक्षक मिले जिन्होंने मेरे जीवन में चरित्र और शिक्षा की नींव रखी और इसी मजबूत नींव के वजह से आज मैं इस मुकाम पर पहूँच पाया हूँ।

मेरे माध्यमिक विद्यालय के शिक्षक – मेरे अनुशासन कर्ता

आज मेरे अंदर जो भी अनुशासन है वह मेरे माध्यमिक विद्यालय के शिक्षक के द्वारा ही दी गयी है। वह मुझे डांटा करते थे, मुझ पर चिल्लाया करते थे और मुझे मेरे सीमा तक पहूँचाते थे। जब मैं विद्यालय में था, तब मुझे उनकी बातो का काफी बुरा लगता था, पर अब मैं इस बात को समझ चुका हूँ कि यह सब उन्होंने मेरे भलाई के लिए किया।

मेरे सेंकडरी और हायर सेकेंडरी स्कूल के शिक्षक – मेरे दोस्त

किसी ने सच ही कहा कि जब बेटे/बेटी के जूते उनके माता पिता या शिक्षक के जूते के बराबर हो जाये तो वह दोस्त बन जाते है। मैं अपनी हर व्यक्तिगत बाते अपने शिक्षको के साथ बांटा करता था, जिससे वह इन बातो में मेरा मार्गदर्शन किया करते थे। यह उनका मार्गदर्शन ही था, जो मैं किशोरावस्था के कई समस्याओं से बच गया।

एक शिक्षक हमारे जीवन में एक अभिनेता की तरह कई भूमिकाएं निभाता है, जो हमारी जीवन में हमारे लिए मददगार साबित होती है। जिनसे हमें एक बेहतर व्यक्ति एक अच्छा इंसान बनने की प्रेरणा मिलती हैं।

निबंध – 3 (500 शब्द)

मेरे लिए यह बताना काफी मुश्किल है कि एक व्यक्ति के जीवन में शिक्षक का क्या महत्व है, क्योंकि हम में ज्यादेतर लोगो की वह एक पूरी दुनिया ही होते है। वह लोग काफी सौभाग्यशाली होते है, जिन्हे अच्छे शिक्षक मिलते है।

शिक्षक का हमारे जीवन में महत्व

एक पैदा हुए बच्चे का दिमाग बिल्कुल खाली होता है, हम कह सकते है यह एक खाली स्लेट की तरह होता है और इस स्लेट पर एक शिक्षक जो भी सिखाता है वह उस बच्चे का व्यक्तित्व बन जाता है।

हमें शिक्षा देने वाले

एक शिक्षक का मुख्य लक्ष्य छात्रों को ज्ञान देना होता है। वह अपने छात्रो को सबसे अच्छे तरीके से सीखाने का प्रयास करता है और उनके जरुरत के हिसाब से खुद को ढालता है। इसके साथ ही एक शिक्षक को कई बार काफी कम संसाधनो या बिल्कुल ना के बराबर के संसाधनो के साथ विद्यार्थियों को पढ़ाना होता है जैसे की सरकारी विद्यालयों में जो वाकई में एक चुनौती का कार्य होता हैं।

कई बार एक शिक्षक को अपन वित्तीय जरुरतो को पूरा करने के लिए काफी लम्बे समय तक कार्य करना होता है क्योंकि एक शिक्षक को काफी कम वेतन मिलता है। इसके साथ ही शिक्षा की गुणवत्ता बनाये रखने के लिए एक शिक्षक को उस विषय में नोट बनाने और अन्य जानकारी प्राप्त करने की आवश्यकता होती है। इस प्रकार से हम कह सकते है कि एक शिक्षक का कार्य काफी कठिन कार्य होता है।

शिक्षक एक चरित्र निर्माता

किताबी ज्ञान देने के अलावा एक शिक्षक बच्चों को नैतिक ज्ञान भी देते हैं। जो कि कई बार औपचारिक रुप से होता है तो कई बार साधरण रुप से, जब मैं एक बच्चा था तो एक बार मैने अपने एक दोस्त से बिना पूछे उसका रबड़ ले लिया और उसे लौटाना भूल गया। इस पर मेरे दोस्त ने मेरे शिक्षक से जा कर कह दिया कि मैने उसका रबड़ चुराया है। इस बात पर मैं रोने लगा और कहा मैं उससे पूछना भूल गया था, मैंने चोरी नही की, इस बात पर मेरे शिक्षक ने मुझसे कहा की “मैं तुम्हारी बात पर यकीन करता हूँ, लेकिन तुम्हे दूसरे की वस्तु लेने से पहले पूछना चाहिए था” तब से लेकर आज तक उनके इस बताये गए पाठ को मैं कभी नही भूला।

छोटी-छोटी चीजे जो विद्यालयों में सिखायी जाती है, जैसे कि तमीज, झूठ ना बोलना, हमेशा धन्यवाद और कृपया कहना, कक्षा में आने पर या कुर्सी पे बैठने से पहले आज्ञा लेना आदि, भले ही यह चीजे काफी छोटी प्रतीत होती हो पर मेरा यकीन मानिए यह छोटी चीजे आसानी से परिस्थितियों को तोड़ और जोड़ सकती है।

शिक्षक एक पथ प्रदर्शक और एक गुरु

जब मैं 10वीं कक्षा में था, तो मुझे समझ नही आ रहा था कि मुझे कौन सा विषय चुनना चाहिए विज्ञान या वाणिज्य, मैं जितने लोगो से सलाह लेता उतना ही ज्यादे भ्रमित हो जाता। अंत में इस विषय में मैने अपने शिक्षक से सलाह ली और “उन्होंने मुझसे कहा अपने दिल की बात सुनो तुम्हे अपना उत्तर मिल जायेगा” और वास्तव में मुझे मेरा उत्तर मिल गया।

एक शिक्षक एक दोस्त

मुझे इस बात का पूरा विश्वास है कि कोई व्यक्ति कितना भी प्रतिभासाली क्यों ना हो, अगर वह भावनात्मक रुप से अच्छा नही है तो वह अच्छा प्रदर्शन नही कर सकता है। अगर एक छात्र अपने शिक्षक को अपना मित्र मान ले तो मेरा विश्वास मानिए वह अपने भावनात्मक बाधाओं को आसानी से पार कर जायेगा।

शिक्षक हमारे शुभचिंतक

कुछ व्यक्ति ऐसे होते है, जो आपको कभी धोखा नही देते है। उनमें से एक है आपके शिक्षक, इससे कोई फर्क नही पढ़ता है कि आप उनके विषय में क्या सोचते है वह हमेशा ही आपके शुभ चिंतक रहेंगे।

ऐसा ही एक वाकया मैं आप लोगो के सामने रखना चाहूँगा, जब मैं स्कूल में था। हमारे एक गणित के शिक्षक थे जो हमेशा हमारे साथ काफी कड़ाई के साथ पेश आते थे, वह अक्सर हमे डांटते थे और पिटाई भी किया करते थे। दूसरे शब्दो में कहे तो उन्होंने हमारा जीना मुश्किल कर दिया था। एक दिन इन सब बातो को लेकर हमारा धैर्य जवाब दे गया और हममे उनकी मोटरसाईकल में आग लगा दी, जिसके बाद इस मामले की एफ.आई.आर दर्ज हुई और जब हमारे एक सहपाठी को धमकाया तो उसने कुछ लोगो के नाम बता दिये और जब पुलिस उन लड़को को गिरफ्तार करने आयी तो हमारे गणित के शिक्षक ने अपनी शिकायत वापस ले ली।

हम में से किसी ने भी ऐसा सोचा भी ना था, हम उनके पास गये और उनसे क्षमा मांगी और उनसे पूछा कि उन्होंने अपनी शिकायत वापस क्यों ले ली उन्होंने जो कहा अब वह मैं आपको बताने जा रहा हूँ, उन्होंने कहा “एक विद्यार्थी के रुप में आपसे गलतियां होती है और मेरा काम है उन्हे ठीक करना, लेकिन मैं तुम लोगो को ऐसी सजा नही दे सकता जो तुम्हारा भविष्य खराब कर दे और तुम्हे एक अपराधी बना दे, इसलिए मैने अपनी शिकायत वापस ले ली।” उनकी इस बात पर हम काफी रोये और अपने इस किये के लिए उनसे माफी मांगी, वास्तव में यही शिक्षक का असली चरित्र होता है।

अंत में मैं यहि कहूंगा कि एक शिक्षक वह व्यक्ति होता है जो हमें सही मायनों में एक पूर्ण इंसान बनाता है।

निबंध – 4 (600 शब्द)

मनुष्य एक सामाजिक प्राणी है, हम एक समय में कई भूमिकाएं निभाते है। जैसे कि हम एक बेटे हो सकते है, या माता, पिता, भाई, पति, दोस्त, बास, कर्मचारी आदि जैसे रिश्तो में एक ही समय पर बंधे हो सकते है। हर एक रिश्ते का क्षेत्र और सही रुप से निर्धारित होता है पर कुछ ऐसे रिश्ते होते है जो काफी जटिल होते है और इन्हे शब्दो में बयान नही किया जा सकता है। देखा जाये तो यह कई रिश्तो का मिश्रण होते है, कुछ ऐसा ही रिश्ता एक छात्र और शिक्षक का भी होता है। इस रिश्ते को परिभाषित करना काफी कठिन है क्योंकि शिक्षक हमारे जीवन में कई महत्वपूर्ण किरदार निभाते है।

शिक्षक और विद्यार्थी का रिश्ता

एक विशेष रिश्ता (एक नर्सरी के छात्र और उसके शिक्षक के मध्य)

मुझे इस बात का पुरा भरोसा है कि आप सबको भी यही लगता होगा की एक नर्सरी के छात्र का उसके शिक्षक/शिक्षिका के साथ एक ऐसा विशेष संबंध होता है, जिसे परिभाषित नही किया जा सकता है। मेरे पास इसके लिए सिर्फ एक ही शब्द है वो है जादुई, अगर वह मुझसे कुछ करने के लिए कहा करती थी, तो मैं कभी मना नही कर पाता था। एक बार मैंने उनसे मासूमियत से पूछा “मैडम क्या आप मुझे पसंद करती हैं?” इस पर उन्होंने मुझे जवाब दिया कि “हाँ बिल्कुल” उस दिन मुझे काफी प्रसन्न्ता हुई।

एक दिन कुछ कारणों से मैं नाराज हो गया और घर पर खाना नही खा रहा था। मेरे माता-पिता ने हर कोशिश की पर उन्हें कोई कामयाबी नही मिली, अंत में मेरे पिता जी ने मेरे स्कूल टीचर को फोन किया और मुझे उनसे बात करने के लिए कहा। उन्होंने मुझसे कहा कि “धीरेन्द्र………” मैंने तुरंत जवाब दिया “हाँ मैम मैं बिल्कुल भी गुस्सा नही हूँ और अभी खाना खा लूंगा और अपना होमवर्क भी करुंगा………” उनका मुझ पर कुछ इस तरह का प्रभाव था।

अब एक शिक्षक के तौर मैं भी अपने छोटे-छोटे छात्रों के साथ कुछ वैसा ही रिश्ता बनाने का प्रयास करता हूँ। अब इसमें मुझे सफलता मिलेंगी या नही यह चर्चा का विषय हो सकता है, पर मैं अपने तरफ से हमेशा ही एक अच्छा शिक्षक बनने का प्रयास करुंगा।

एक आर्मी कैडेट और उसके प्रशिक्षक का रिश्ता

जब मैं छठवीं कक्षा में था तब मैंने एन.सी.सी में शामिल हुआ था। मुझे याद है कि हमारे प्रशिक्षक एक सख्त इंसान थे और हम उन्हे गब्बर पुकारा करते थे। आज मेरे अंदर जो भी अनुशासन और संघर्षशीलता है वह उन्ही के बदौलत है। उन्होंने हमे बचने के तरीके और कई चीजे सिखायी। हमारे बीच का यह रिश्ता डर पे टिका हुआ था। यह बिल्कुल शोले फिल्म के गब्बर सिंह के आतंक के तरह था।

वह जब भी चिल्लाया करते थे “लड़को क्या तुम भूखो हो?” हम जवाब दिया करते थे “नही सर”, इसके बाद वह फिर से पूछा करते थे “क्या तुम थके हो” और फिर से जवाब दिया करते थे “नही सर”। अब मैं जब भी थका महसूस करता हूँ मुझे उनकी वह चिल्लाहट याद आ जाती है और मेरा शरीर फिर से स्फूर्ति से भर जाता है।

किशोर छात्रों और उनके शिक्षकों के मध्य का रिश्ता

किशोरावस्था का समय जिदंगी का सबसे महत्वपूर्ण समय माना जाता है। सामान्यतः इस समय में शिक्षक और छात्र का रिश्ता समझ, प्रेम और आकर्षण पर टिका होता है। किशोरावस्था के बच्चो को संभालने के लिए एक शिक्षक के लिए यह सबसे जरुरी होता है कि वह काफी परिपक्व हो, नही तो इस बात की ज्यादे संभावना है कि हर चीज उलट-पुलट हो जायेगी।

यह उम्र ऐसी होती है जब मनुष्य के मन में विद्रोह भरा होता है। मेरा मतलब है कि एक किशोर को कोई काम करने से जितना भी रोका जाता है वह उसके प्रति उतना ही ज्यादे ही आकर्षित होता है। इसलिए एक अच्छे शिक्षक के लिए यह काफी आवश्यक है कि कड़ाई भी काफी सोच-समझ करे क्योंकि ज्यादे कड़ाई भी चीजो को बिगाड़ सकती है।

जब मैं आठवीं कक्षा में था, तो मेरी अंग्रेजी काफी खराब थी। इसलिए मैं सही उत्तर नही लिख पाता था। एक दिन मेरे अंग्रेजी के अध्यापक ने मुझे बुलाया और उनके हाथ में मेरी साहित्य की एक कापी थी मुझे लगा कि आज मुझे फिर से डांट पड़ने वाली है या फिर उससे भी बुरा मेरे माता-पिता को बुलाया जायेगा। लेकिन भगवान का शुक्र था कि ऐसा कुछ भी नही हुआ, उन्होंने मुझसे विनम्रता से मेरी समस्या के बारे में पूछा पर मैं डर के मारे इस विषय में उन्हे कुछ बता नही पाया। जब मुझे लगा कि वह मुझे नही डाटेंगी तब मैने उन्हे अपनी समस्या के बारे में बताया उसके बाद उन्होंने मुझ पर काफी मेहनत की और आज यह उन्हीं के मेहनत तथा मेरे दृढ़ इच्छाशक्ति का नतीजा है, जिससे मेरी अंग्रेजी काफी सुधर गयी। इस पुरे घटना को आपको का बताने का मतलब यह है कि अगर वह मुझे डांटती या सजा देती, तो मुझे इस बात का पूरा भरोसा है परिस्थितियां विपरीत हो जाती।

मैं भी अपने छात्रों के साथ ऐसा ही करने का प्रयास करता हूँ, पर कई बार परिस्थितियां काफी पेचीदा हो जाती है। उदाहरण के लिए, एक बार मेरी एक छात्रा ने मुझसे पुछा “सर मैं आपको कैसी लगती हूँ” इस पर मैने हसते हुए कहा “तुम एक अच्छी लड़की हो।”

अंत में मैं यही कहूँगा की एक शिक्षक और छात्र का रिश्ता दुनिया भर के सबसे अच्छे रिश्तो में से एक है, क्योंकि यह कई रिश्तो का मिश्रण होता है।

सम्बंधित जानकारी:

शिक्षक दिवस पर निबंध

शिक्षक पर निबंध

FAQs: Frequently Asked Questions

उत्तर – हमें शिक्षकों का आदर इसलिए करना चाहिए क्योंकि वो हमें ज्ञान देते हैं।

उत्तर – शिक्षक वह व्यक्ति होता है जो सीखने की प्रक्रिया में छात्रों की सहायता करता है।

उत्तर – हमारे पूर्व राष्ट्रपति डॉ. अब्दुल कलाम ने कहा था कि ‘शिक्षण एक महान पेशा है’।

उत्तर – जो शिक्षक अपने स्वार्थ के लिए काम नहीं करते और छात्रों की मदद के लिए तैयार रहते हैं वे अच्छे शिक्षक होते हैं।

मेरी रुचि पर निबंध (My Hobby Essay in Hindi)

धन पर निबंध (Money Essay in Hindi)

समाचार पत्र पर निबंध (Newspaper Essay in Hindi)

मेरा स्कूल पर निबंध (My School Essay in Hindi)

शिक्षा का महत्व पर निबंध (Importance of Education Essay in Hindi)

बाघ पर निबंध (Tiger Essay in Hindi)

Is my essay writer skilled enough for my draft?

Margurite J. Perez

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Jessica Grose

Get tech out of the classroom before it’s too late.

By Jessica Grose

Opinion Writer

Jaime Lewis noticed that her eighth-grade son’s grades were slipping several months ago. She suspected it was because he was watching YouTube during class on his school-issued laptop, and her suspicions were validated. “I heard this from two of his teachers and confirmed with my son: Yes, he watches YouTube during class, and no, he doesn’t think he can stop. In fact, he opted out of retaking a math test he’d failed, just so he could watch YouTube,” she said.

She decided to do something about it. Lewis told me that she got together with other parents who were concerned about the unfettered use of school-sanctioned technology in San Luis Coastal Unified School District, their district in San Luis Obispo, Calif. Because they knew that it wasn’t realistic to ask for the removal of the laptops entirely, they went for what they saw as an achievable win: blocking YouTube from students’ devices. A few weeks ago, they had a meeting with the district superintendent and several other administrators, including the tech director.

To bolster their case, Lewis and her allies put together a video compilation of clips that elementary and middle school children had gotten past the district’s content filters.

Their video opens on images of nooses being fitted around the necks of the terrified women in the TV adaptation of “The Handmaid’s Tale.” It ends with the notoriously violent “Singin’ in the Rain” sequence from “A Clockwork Orange.” (Several versions of this scene are available on YouTube. The one she pointed me to included “rape scene” in the title.) Their video was part of a PowerPoint presentation filled with statements from other parents and school staff members, including one from a middle school assistant principal, who said, “I don’t know how often teachers are using YouTube in their curriculum.”

That acknowledgment gets to the heart of the problem with screens in schools. I heard from many parents who said that even when they asked district leaders how much time kids were spending on their screens, they couldn’t get straight answers; no one seemed to know, and no one seemed to be keeping track.

Eric Prater, the superintendent of the San Luis Coastal Unified School District, told me that he didn’t realize how much was getting through the schools’ content filters until Lewis and her fellow parents raised concerns. “Our tech department, as I found out from the meeting, spends quite a lot of time blocking certain websites,” he said. “It’s a quite time-consuming situation that I personally was not aware of.” He added that he’s grateful this was brought to his attention.

I don’t think educators are the bad guys here. Neither does Lewis. In general, educators want the best for students. The bad guys, as I see it, are tech companies.

One way or another, we’ve allowed Big Tech’s tentacles into absolutely every aspect of our children’s education, with very little oversight and no real proof that their devices or programs improve educational outcomes. Last year Collin Binkley at The Associated Press analyzed public records and found that “many of the largest school systems spent tens of millions of dollars in pandemic money on software and services from tech companies, including licenses for apps, games and tutoring websites.” However, he continued, schools “have little or no evidence the programs helped students.”

It’s not just waste, very likely, of taxpayer money that’s at issue. After reading many of the over 900 responses from parents and educators to my questionnaire about tech in schools and from the many conversations I had over the past few weeks with readers, I’m convinced that the downsides of tech in schools far outweigh the benefits.

Though tech’s incursion into America’s public schools — particularly our overreliance on devices — hyperaccelerated in 2020, it started well before the Covid-19 pandemic. Google, which provides the operating system for lower-cost Chromebooks and is owned by the same parent company as YouTube, is a big player in the school laptop space, though I also heard from many parents and teachers whose schools supply students with other types and brands of devices.

As my newsroom colleague Natasha Singer reported in 2017 (by which point “half the nation’s primary- and secondary-school students” were, according to Google, using its education apps), “Google makes $30 per device by selling management services for the millions of Chromebooks that ship to schools. But by habituating students to its offerings at a young age, Google obtains something much more valuable”: potential lifetime customers.

The issue goes beyond access to age-inappropriate clips or general distraction during school hours. Several parents related stories of even kindergartners reading almost exclusively on iPads because their school districts had phased out hard-copy books and writing materials after shifting to digital-only curriculums. There’s evidence that this is harmful: A 2019 analysis of the literature concluded that “readers may be more efficient and aware of their performance when reading from paper compared to screens.”

“It seems to be a constant battle between fighting for the students’ active attention (because their brains are now hard-wired for the instant gratification of TikTok and YouTube videos) and making sure they aren’t going to sites outside of the dozens they should be,” Nicole Post, who teaches at a public elementary school in Missouri, wrote to me. “It took months for students to listen to me tell a story or engage in a read-aloud. I’m distressed at the level of technology we’ve socialized them to believe is normal. I would give anything for a math or social studies textbook.”

I’ve heard about kids disregarding teachers who tried to limit tech use, fine motor skills atrophying because students rarely used pencils and children whose learning was ultimately stymied by the tech that initially helped them — for example, students learning English as a second language becoming too reliant on translation apps rather than becoming fluent.

Some teachers said they have programs that block certain sites and games, but those programs can be cumbersome. Some said they have software, like GoGuardian, that allows them to see the screens of all the students in their classes at once. But classroom time is zero sum: Teachers are either teaching or acting like prison wardens; they can’t do both at the same time.

Resources are finite. Software costs money . Replacing defunct or outdated laptops costs money . When it comes to I.T., many schools are understaffed . More of the money being spent on tech and the maintenance and training around the use of that tech could be spent on other things, like actual books. And badly monitored and used tech has the most potential for harm.

I’ve considered the counterarguments: Kids who’d be distracted by tech would find something else to distract them; K-12 students need to gain familiarity with tech to instill some vague work force readiness.

But on the first point, I think other forms of distraction — like talking to friends, doodling and daydreaming — are better than playing video games or watching YouTube because they at least involve children engaging with other children or their own minds. And there’s research that suggests laptops are uniquely distracting . One 2013 study found that even being next to a student who is multitasking on a computer can hurt a student’s test scores.

On the second point, you can have designated classes to teach children how to keyboard, code or use software that don’t require them to have laptops in their hands throughout the school day. And considering that various tech companies are developing artificial intelligence that, we’re meant to understand, will upend work as we know it , whatever tech skills we’re currently teaching will probably be obsolete by the time students enter the work force anyway. By then, it’ll be too late to claw back the brain space of our nation’s children that we’ve already ceded. And for what? So today’s grade schoolers can be really, really good at making PowerPoint presentations like the ones they might one day make as white-collar adults?

That’s the part that I can’t shake: We’ve let tech companies and their products set the terms of the argument about what education should be, and too many people, myself included, didn’t initially realize it. Companies never had to prove that devices or software, broadly speaking, helped students learn before those devices had wormed their way into America’s public schools. And now the onus is on parents to marshal arguments about the detriments of tech in schools.

Holly Coleman, a parent of two who lives in Kansas and is a substitute teacher in her district, describes what students are losing:

They can type quickly but struggle to write legibly. They can find info about any topic on the internet but can’t discuss that topic using recall, creativity or critical thinking. They can make a beautiful PowerPoint or Keynote in 20 minutes but can’t write a three-page paper or hand-make a poster board. Their textbooks are all online, which is great for the seams on their backpack, but tangible pages under your fingers literally connect you to the material you’re reading and learning. These kids do not know how to move through their day without a device in their hand and under their fingertips. They never even get the chance to disconnect from their tech and reconnect with one another through eye contact and conversation.

Jonathan Haidt’s new book, “The Anxious Generation: How the Great Rewiring of Childhood is Causing an Epidemic of Mental Illness,” prescribes phone-free schools as a way to remedy some of the challenges facing America’s children. I agree that there’s no place for smartphones on a K-12 campus. But if you take away the phones and the kids still have near-constant internet connectivity on devices they have with them in every class, the problem won’t go away.

When Covid hit and screens became the only way for millions of kids to “attend” school, not having a personal device became an equity issue. But we’re getting to a point where the opposite may be true. According to the responses to my questionnaire, during the remote-school era, private schools seemed to rely far less on screens than public schools, and many educators said that they deliberately chose lower-tech school environments for their own children — much the same way that some tech workers intentionally send their kids to screen-free schools.

We need to reframe the entire conversation around tech in schools because it’s far from clear that we’re getting the results we want as a society and because parents are in a defensive crouch, afraid to appear anti-progress or unwilling to prepare the next generation for the future. “I feel like a baby boomer attacking like this,” said Lewis.

But the drawbacks of constant screen time in schools go beyond data privacy, job security and whether a specific app increases math performance by a standard deviation. As Lewis put it, using tech in the classroom makes students “so passive, and it requires so little agency and initiative.” She added, “I’m very concerned about the species’ ability to survive and the ability to think critically and the importance of critical thinking outside of getting a job.”

If we don’t hit pause now and try to roll back some of the excesses, we’ll be doing our children — and society — a profound disservice.

The good news is that sometimes when the stakes become clear, educators respond: In May, Dr. Prater said, “we’re going to remove access to YouTube from our district devices for students.” He added that teachers will still be able to get access to YouTube if they want to show instructional videos. The district is also rethinking its phone policy to cut down on personal device use in the classroom. “For me,” he said, “it’s all about how do you find the common-sense approach, going forward, and match that up with good old-fashioned hands-on learning?” He knows technology can cause “a great deal of harm if we’re not careful.”

Jessica Grose is an Opinion writer for The Times, covering family, religion, education, culture and the way we live now.

"Teacher Spice": What should an artist in academia look like? Not like me, I've learned

I've heard comments about my appearance from fellow writers throughout my career, and i know exactly what they mean, by jenny irish.

"You don’t look like an artist" is a dismissal I've heard since my 20s, when I first entered a Master of Fine Arts in creative writing program . It was actually the first thing anyone said to me, at the sign-in table for new students. When I gave my name to collect a lanyard and information folder, the person laughed. “You don’t look like an artist.”

I still remember what I was wearing that day because I had put such nervous and excited care into the decision: a navy-blue sheath dress from a consignment shop and gray suede wedge heels. For me, as I know is the case for many first-generation students from working-class backgrounds , school is serious business. The clothes that I’d carefully chosen reflected that attitude. Compared to the other new students, I realized, I was both overdressed and plain, but I’d wanted to look professional. Later in the day, another student would mistake me for an office worker and ask me where to collect their keys.

From my appearance — which is in many ways traditionally feminine — fellow writers have often come to a reductive conclusion: If I don’t look like an artist, then I must not be one. While this appearance-based assumption followed me throughout graduate school, nothing could have prepared me for how it would negatively impact my experiences as a new professor. Though many members of my graduate cohort would revise their assumptions after getting to know me, this has largely not been the case with faculty colleagues throughout my career.

For me, as I know is the case for many first-generation students from working-class backgrounds, school is serious business. The clothes that I’d carefully chosen reflected that attitude.

To me, it should be obvious that physical presentation is in no way a reliable indicator of artistic ability. The question of what an artist is supposed to look like, is, I think, a silly one, but because of the ways it has shaped my experience, it's one I’ve posed to myself as many times as I’ve told anxious students there is no “correct way” to be a writer — which is to say a lot . Like a lot .

Having considered this question across my years in the field, I believe the answer has to do with how one’s appearance can be used to code an individual, suggesting their memberships and alliances. Researchers in the social sciences have long recognized that people intuitively make assumptions about others based on their style of dress — often defaulting to unfair and unflattering stereotypes. In our current socio-political moment of exceptional division, distrust and anger, I now believe that my appearance allows miscoding. It can tell a story about me that I do not mean to tell, one that, in the fiercely liberal space of academia, inaccurately aligns me with conservative values. In my professional capacity, meeting a person for the first time, having not exchanged more than names, I am overlaid with a story that is dependent on assumptions about my identity, appearance and beliefs.

I am, of course, not alone in my traditionally feminine appearance activating a critique that spirals outward to encompass assumptions about political views and values. We see it in the controversy surrounding TIME’s decision to name Taylor Swift their 2023 Person of the Year . Though the magazine made a point to cite the unquestionable impact of Swift’s music globally, the millions of dollars she has donated to food banks and cancer research, and her rise from teen songwriter to international superstar, I have seen many responses that are mocking and dismissive. For some, Swift’s physical presentation and personality activate genuine vitriol. Opinion pieces describe her as “pleasant” and mean it as a dig. None of this is to say that Swift is undeserving of criticism, or has never been a bad actor, and it is unquestionable that she exists in a bubble of privilege. Rather, I am interested in how frequently critiques rely on elements of Swift’s appearance to insinuate that she is mediocre, unintelligent, and insincere. For two years, "Taylor Swift" was the nickname given to me by a small group of colleagues and graduate students, a shorthand evoking whiteness, blandness, a lack of intelligence, and the absence of any real artistic ability. I know that they believed I was too dumb to understand the insult. The truth is that I refused to escalate by responding.

"Taylor Swift" is not the only name-calling I’ve experienced as an artist in higher education. A senior professor — a person I barely knew — used to call me “Teacher Spice” (as in, the lost Spice Girl), and regularly commented on my clothes and shoes. For a semester, we taught back-to-back in the same classroom, and they would wait as their class filed out and mine filed in, cracking jokes about what I was wearing that day. If not enough to establish a pattern — Taylor Swift, Teacher Spice — there is certainly a relationship between these two nicknames: pop, unserious, frivolously feminine. Several years ago, a group of students I had not interacted with went to a colleague to express their distress at my “ tradwife style .” Thirdhand accounts are inevitably distorted, but I was told the students believed working with me would be unsafe. For all of our well-being, we decided this group should not be forced to interact with me, and they were not. The next cohort of students — who got to know me through the experience of taking a class with me — took no issue. We are, in fact, quite close. There is mutual respect and care.

Taylor Swift, Teacher Spice — there is certainly a relationship between these two nicknames: pop, unserious, frivolously feminine.

While I’m certain that people miscode me because of my appearance, I’m also sure that my somewhat traditional femininity would invite less negative attention if I were traditionally attractive. 2023 was the year of "Barbie ," and the film brought a renewed awareness that the hyper femme can still be feminist. While "Barbie" received fair criticism for her proximity to girlboss-style white feminism, we more generally watched as women around the world — even those who consider themselves quite progressive — enthusiastically donned heels and pink dresses to pose in the Barbie Box at theaters and celebrate the undeniable beauty of Margot Robbie. For a moment, the traditionally attractive woman could be admired for her smarts and savvy. But just as I don’t “look like an artist,” I don’t look like a Barbie. Though my presentation is traditionally feminine, I’m five foot one, wear a size twelve, have curly hair that tends to frizz, and sport a gap in my teeth. The sudden acceptance of Barbie was not an acceptance of me.

Part of the reason that I dress as I do is a matter of practicality. Yes, I’m short. Yes, I’m chubby. I’m also a 36 DD. I do not carry my weight “well.” My proportions make finding pants difficult. A blouse is nearly impossible. This is the reality of living in my body. Dresses spare me a daily struggle to clothe myself in a way that is both comfortable and professional. Besides that, my students regularly tower above me, and I can only reach halfway up the whiteboard. Truthfully, heels give me just a little bit of lift, and I feel more confident in them. It’s a boost I need.

The secondary reason I dress as I do is just as personal. I grew up working class, wearing my brother’s hand-me-downs. When I started school, I was teased mercilessly for being “poor” and looking like a “boy.” Neither of these things is shameful to me, but that said, even as a child, I was attracted to what I called “pretty dresses.” Having worked so hard for my career as an artist and educator, the clothes I wear are now a gift to myself.

I love teaching, but my job as a professor — surrounded by artists and intellectuals — has obliterated my self-confidence. For years, I avoided publicity for any of my books. I rarely did events. I turned opportunities down. I did this because any positive attention for my work has consistently translated into attacks on my person. Now, I am trying to reclaim myself. I know I am a good teacher; I put my heart into the work. I know I am a good writer; I put my heart into the work. Despite years of bullying and belittlement, I have stayed in this profession because I believe education can positively change lives. I also believe that, at their core, those who choose to work in education, including the majority of my students and colleagues, are fundamentally good. Among their number are people I am grateful to know and feel lucky to work with. I just wish that the few who judge me on my appearance would make the effort to learn who I am instead.

personal stories from women writers

The "groupie," the ghostwriter and me
"Too bad you were born a girl"
I'm an editor, not your mistress: When a client's professional demands cross the line

Jenny Irish is an associate professor of creative writing and author of "Lupine," "Tooth Box," "I Am Faithful," "Common Ancestor" and " Hatch ."