Trends Of Sindhi Dramas

By: Mahira Majid Ali

Trends of Sindhi Dramas


There was a time, when Sindhi dramas were jam-packed with number of talented producers, directors, writersas well as actors. Many talented entities opened their eyes here. Sindhi dramas proved to have an intense effect on the viewers from the very beginning. But now gradually this impact is drifting off.
Before partitiona huge number of Sindhi stage dramas took place. Mirza Qaleech Baig’s dramas like, Enquiry Officer, Zeenat, Khurshed and Gulan Wari Chokri, Khanchand Daryani’s drama, Zamindari Zulm andMohammad Usman Diplai’s drama,Shadi, are some of the prominent stage dramas.


After partition Sindhi people continued stage dramas in which they showed the nuisance. They sustained the trend of open-air theatres. The stage dramas were presented in Besant hall and Zubaida Girls College hall Hyderabad. Open-air theatres were commonly in practice, in the rural areas of Sindh. People say, "The beauty of open-air theatre is that, it attracts a large audience for entertainment and helps convey a critical message in the local language of the people”. In a region, where the majority of the rural population is illiterate, theatre is an effective way to communicate new ideas. The dramas of that time were not so stretched but their sole aim was to give information on subjects including message of peace, humanity, love and were frequently on the reality of society.
There is not a precise history of Sindhi stage dramas. They were typically based on Sindhi traditions and literature. The era of revolution of media aroused when Pakistan Television (PTV) started to catch the eye of viewers and introduced a strategy to show programs in every province in their mother tongue. It was an effective way to keep endurance of provinces and their languages.Many dramas like, Marvi (a modern version of Sindhi folk tale), Amar Jaleel’s, Mitti Ja Marhun ,Hafiz Kumbhar’s, Hathen Gul Mehandi, are good pieces of Sindhi culture beside these, Aaino, Natak Rang, Abdul Qadir Junejo’sRani Ji Kahani and Khan Sahib, Hayat Ali Shah’s Khuwab Aeen Khwahishun and Razaq Mehar’s Jyapo especially "Dangea Manjh Darya" scripted by Ali Baba, produced by Haroon Rind, from PTV also achieved an award in German festival.
Other than these dramas of Rashid Sabir, Shamsher Hydri, Shaukat Shoro and Agha Rafique produced by Abdul Kareem Baloch, Sultana Siddiqui, Haroon Rind, Nawab Mehdi, Hamid Halepoto, Faiz Bughio and many otherswere launchedthrough which viewers learned a lot. PTV used to present quality programs with vital importance of moral lessons. PTV dramas were very much bountiful that in Poona institute. Indians used to get trained in acting by watching them.


After 2004, private channels like KTN, Kashish TV, Sindh TV emerged and Sindhi media became one of the largest media society. There are more than 20 private Sindhi media channels which are on-air in Pakistan. Presently, these channels are presenting dramas like, Mama Laalu, Pathar Dunya and Dunya Dardan Ji. The usual and all-inclusive theme of these dramas is tight-fisted andbased on feudalism, sub-standard comedy, vulgarity, terrorism, and immoral dialogues.
According to some writerssuch spectacular exhibition of feudalist lifestyle is actually creating antagonism and severe fissures between social classes. Whereby, entirely obliterating chances of inspiring positive changes. The prime focus should be on themes that the general viewership can relate to.Nowadays, merely 10% dramas of these private channels are promoting Sindhi culture, while others are representing Sindhi people as orthodox. Reality is that, interest and investment are two main pillars through which any business can make progresswhile it comes to Sindhi private media channels.No one invests, even actors are not given proper wages.Consideration of new script in Sindhi media, seems like a castle in Spain.Because, skilled writers like, Abdul Qadir Junejo, Shaukat Shoro and Ali Baba are not given chance to write. The producers and directors of the private channels are not well-trained and qualified.
The core reality is that, the emergence of these private channels has got no interest in Sindhis towards their culture.Legends like Shafi Muhammad Shah, Qurban Jeelani and Mansoor Baloch are hard to find. There is no comparison between the golden age of Pakistani entertainment and today’s dramas (especially Sindhi). What is being consumed by the people today? Sindhi dramas should educate the masses, yet the only awareness most of them providing is how the illiterate people of interior live, dress and eat.Well-trained and educatedartists should be given a chance to work for the revival and triumph of our Sindhi dramas.