Sekhon, Sant Singh (1908 -) was born at Lyallpur, Pakistan. He did his B.A. (Hons) in English from Mission College, Lahore, in 1928 and M.A. (Economics) from Khalsa College, Amritsar, in 1930, and later did M.A. in English privately. He started as a lecturer in English in 1931, and then taught economics and Punjabi at Khalsa College, Amritsar. He edited an English weekly, Northern Review, published from Lahore in 1938. His first play, Woman at Bay, was also in English.
In the beginning, in the company of Krishan Chander and Rajinder Singh Bedi, he started writing short stories in Urdu, but after some time decided to express himself in his mother tongue. In 1940, he accepted a job with Shalimar Paints on a fabulous salary, but as it proved unsuitable to his taste, he reverted to his earlier profession of teaching at Khalsa College, Amritsar. Later, he moved to the political arena and contested a seat in Parliament with the support of the Communist Party, but did not succeed. Khalsa College, Gurusar \’Sidhar (Ludhiana) appointed him as Head of the English Department the same year.
In 1957, he was again defeated in Parliamentary elections. The same year took him to Russia. He was appointed Principal, Mata Gujri College, Fatehgarh Sahib (Sirhind), but leaving the job in 1965, he went to Jandiala as Principal. He also worked as Principal, Khalsa College, Patiala, for a very short period. His main works include: Plays: Kalakar (The artist, 1946), Naarki (Of hell, 1952), Waris (The inheritor, 1955), Bhudan (The land gift), Beda bandh no. sakyo (Couldn\’t do anything), Moian sar na kai (The Dead know nothing, 1958), Damyanti (1960), Sialan di nadhi (The damsel of the Sials, 1968); One-act plays: Chhe ghar (Six houses, 1941), Mere das ekangi (My ten one-act plays, 1950), Tapia kyon khapya (Why angry, 0 sage, 1950), Nat sunehe (Dramatic messages, 1950), Sunder pad (The feet beautiful, 1956), Baba bohd (The banyan, 1964); Stories: Samachar (The tidings, 1943), Baran Sidhan (God-gifted, 1946), Teeja pahar (The dying day, 1953); Adhi vat (Half-way, 1954), Naun nidhan (The blessing, 1956), Barandari (Garden with twelve gates, 1956); Novels: Lahu mitti (Blood and earth, 1949), Baba asman (Father sky, 1973), Mittar piara (Dear Friend, 1974); Poetry: Kav dut (Poetic messages, 1955); Criticism: Parsidh Punjabi kavi (Famous Punjabi poets), Sahityarth (1957); Bhai Vir Singh te unhan da yug (Bhai Vir Singh and his times, 1962), Punjabi kav shiromani (Great Punjabi poets, 1964), Punjabi boli da itihas (History of Punjabi language); Essays: Pragati pandh (The path of progress, 1977); General knowledge: Manukhi samaj de baran pada (Twelve stages of human society, 1968).
References :
1. Dharm Paul Singal, Natakar Sant Singh Sekhon.
2. Pritam Saini, Sant Singh Sekhon di natak kola,Ludhiana, 1971.
3. Sekhon, S.S. and K..S. Duggal, A History of Punjabi Literature, Delhi, 1992.
4. Singh, N.K., Encyclopaedia of Indian Biography, Delhi, 2000.
Sant Singh Sekhon stands as a towering figure in Punjabi literature—a writer and educator whose work not only enriched the artistic landscape of his time but also helped shape modern Punjabi cultural identity.
Early Life and Background
Born in 1908 in Lyallpur, Punjab, British India (present-day Pakistan), Sekhon grew up in a setting that blended traditional Sikh values with a broader intellectual curiosity. Spending his formative years in his father’s village near Ludhiana, he was exposed to both classical Sikh teachings and the evolving currents of modern thought. This early grounding helped him develop a nuanced perspective that would later inform both his creative endeavors and teaching philosophy.
Literary Career and Contributions
Initially writing in English during the 1930s, Sant Singh Sekhon soon recognized the deeper resonance and wider reach of Punjabi as a medium. He made a significant mark with his foray into Punjabi drama, and his early one-act plays—most notably the critically acclaimed collection Chhe Ghar (Six Homes, 1941)—demonstrated his gift for blending social critique with a subtle exploration of human relationships. His works often reflected the tumultuous social and political transformations of pre- and post-independence India, including the painful aftermath of Partition. Influenced by the Progressive Writers’ Movement and his own Marxist leanings, Sekhon’s plays and stories interrogated traditional social structures while imbuing his characters with philosophical depth and emotional complexity. Over time, his literary repertoire expanded to include poetry, full-length plays, short stories, novels, and works of literary criticism—including seminal texts on the history of the Punjabi language—thereby securing his legacy as a multifaceted intellectual and creative force.
Educational Influence and Legacy
Apart from his creative output, Sant Singh Sekhon was a dedicated educator. As an English teacher who later dedicated much of his energy to enriching Punjabi literary studies, he played a pivotal role in nurturing young minds and bridging the gap between Western literary traditions and indigenous cultural narratives. His scholarly work, notably in tracing the evolution of Punjabi language and literature (as seen in projects like Punjabi Boli Da Itihas), provided a critical framework that elevated Punjabi to a language of rigorous academic inquiry and artistic expression. His dual roles as a writer and educator have left an indelible impact, inspiring successive generations to explore literature not only as an art form but also as a means of understanding and engaging with social change.
Broader Impact
Sant Singh Sekhon’s legacy is best understood in the context of a transformative era in Indian history. His writing captured both the pain of partition and the hope for a renewed cultural future, offering insights into the evolving identity of Punjabis in a modern nation. His work continues to be a touchstone for scholars and readers, serving as a reminder of how literature and education can work hand in hand to promote social progress and cultural self-awareness. By blending critical social commentary with a deep sense of humanism, Sekhon’s contributions remain relevant—even decades after his passing.
