“Sindhi Drama at a Standstill in a Changing World”

 “Sindhi Drama at a Standstill in a Changing World”

Sindhi drama is trapped in stagnation while the world moves on.

Today, the world stands at a point in the digital revolution where cinematography, creative storytelling, and modern technology have opened new horizons of quality for audiences. Sadly, our Sindhi drama still seems stuck where it was decades ago—confined within the same worn-out boundaries. The same old faces, the same outdated stories, and the same violence-filled narratives continue to dominate. Art has its own value, but for how long will we keep forcing aging actors into young roles and burdening audiences with this illusion? Until new talent and capable young artists are given real opportunities, the freshness and attraction that today’s screen desperately needs will never appear.

Alongside this, the quality of storytelling has declined to such an extent that it feels as if feudalism, bloodshed, and revenge are the only themes left. Is the great civilization of Sindh—the land of Shah Latif (RA)—and its modern social issues really limited to violent plots alone?

Technically, we are far behind as well. In an era where even an ordinary mobile phone can produce masterpiece videos, Sindhi dramas still suffer from third-rate cameras, poor lighting, and dull editing. I sincerely appeal to Sindhi drama makers, producers, and directors: for God’s sake, come out of this third-class mindset. Broaden your vision, bring your cinematography up to international standards, and welcome new blood. If you still refuse to change, future generations will completely disconnect from dramas in their own language. Remember, an artist stays alive only when they know how to keep their hand on the pulse of time.