Ajit jalandher panjab di awaz

Jaswant Singh Khalra (November 2 1952 - September 6 1995) was a prominent human rights activist who shone a light on the dark period of violence in Charda Panjab. He is remembered for his bravery in uncovering illegal killings and cremations by the state police during the militancy period.
Born in Amritsar, Khalra came from a family with a history of activism. His grandfather, Harnam Singh, participated in the Ghadar movement, advocating for India's independence. In 1914, Harnam Singh was even among the passengers on the famous Komagata Maru ship, denied entry to Canada and forced to return to India, where he faced imprisonment for his activism.
The events of 1984 Sikh genocide, and the subsequent police state, marked a turning point for Jaswant Singh Khalra. Witnessing the violence and the broad powers given to Police during the counter-insurgency period, Khalra became determined to fight for justice. He embarked on a mission to document human rights abuses, meticulously investigating disappearances, extrajudicial killings, and the chilling practice of secret cremations employed by the police. His research extended beyond civilian deaths; he even documented the alleged killings of around 2,000 police officers who refused to participate in these acts.
Khalra's relentless pursuit of the truth led him to investigate specific cases that exemplified the human rights violations taking place. One such case involved the death of a man named Behla in police custody, highlighting the dangers of custodial killings. Another case exposed the use of civilians as human shields by security forces, resulting in the deaths of innocent people. Perhaps most disturbing was Khalra's discovery of a horrifying pattern - state Police cremating a staggering number of unidentified bodies. His research in Amritsar alone suggested over 2,000 such cases, raising serious questions about the legitimacy of these deaths and the lack of proper investigations. Khalra's most explosive finding, however, may have been the alleged killings of around 2,000 police officers who refused to participate in these human rights abuses. This documented internal conflict within the police force painted a grim picture of the situation in Panjab.
Khalra's pursuit of the truth wasn't limited to individual cases. While searching for missing colleagues, he made a chilling discovery in municipal corporation records in Amritsar. These records contained the names, ages, and addresses of those killed and cremated by the police, revealing a much larger scale of human rights violations. Further investigation across Panjab unearthed thousands more cases.
The horrific truth that Khalra uncovered was corroborated by official sources. The National Human Rights Commission released a list of identified bodies cremated by police in Amritsar, Majitha, and Tarn Taran districts. The Supreme Court of India and the National Human Rights Commission validated this data. The Central Bureau of Investigation (CBI) also independently investigated and concluded that police had illegally cremated over 2,000 people in just Tarn Taran district alone. These findings strengthened the credibility of Khalra's broader claims about the human rights violations that had taken place.
On September 6, 1995, while washing his car in front of his house, Khalra's fight for justice was tragically cut short. Witnesses reported seeing him abducted by plain clothes Police personnel and taken to Jhabal Police Station. Despite these statements implicating the police, including Director General Kanwar Pal Singh Gill, authorities initially denied any involvement and claimed to have no knowledge of Khalra's whereabouts.
However, the fight for truth continued. In 1996, the Central Bureau of Investigation found evidence that Khalra was held at a police station in Tarn Taran. The CBI recommended prosecution of nine police officials for murder and kidnapping. The wait for justice was long, with charges against the accused coming only ten years later. It's important to note that one of the suspects, Senior Superintendent of Police Ajit Singh Sandhu, was himself murdered in 1997, though his death was staged as a suicide.
Finally, in 2005, a glimmer of justice emerged. Six police officials were convicted for Khalra's abduction and murder. Two defendants received life sentences, while the others faced seven years imprisonment. The following years saw further legal battles. In 2007, the Punjab and Haryana High Court extended the sentences to life imprisonment for four of the remaining accused. The Supreme Court of India upheld these sentences in 2011, dismissing the appeal that was filed.
The legacy of Jaswant Singh Khalra has inspired many documentaries and even a feature biopic, 'Punjab 95'. The film starring Diljit Dosanjh as Jaswant Singh Khalra was supposed to premier in 2023 at the Toronto International Film Festival, but it was pulled due to censorship requirements from the Indian film board (21 cuts and a title change from the original working title 'Gallughara'). The film makers have challenged the cuts and hope to release the full uncut biopic in the near future.

To all my regarded aspirants have some popcorn and sitback. Y ek aisi kahani h jiske baare m sirf main ar Mera dost jaanta h. The first time he heard this he was flabbergasted.
To mods 🥺: delete mt Krna yaar I'm trying to cope a bit, also science h daba k story m to it's legal :)
~Love, TARS, love. It's just like Brand said. My connection with M*rs, it is quantifiable.
I was 11-12 yr old. Ar jawani aane s pehle mene kudh ko applied science k torch-bearer ki mehtvapoorna zimmedari saunp di thi. Ab marte jeete mera ek hi kaam tha; motor khojke manuj-peedhi k liye zaruri avishkaar krna.
Mere Ghar s kabadi wala kabhi ek tukde m saman ni le jata tha, kyuki jb bhi koi electronic appliance kharab hota tha to ghar ka ek zimmedar beta hone k naate, m uska purn roop s vishleshan krne k baad bolta tha ki Naya lelo ye to ni bnne wala. Ar ab vo lawaris device mere mazboot haatho m aa jati thi. Ar jb kisi ka dhyaan ni hota tha to pechkas, machis, hathodi, bhala-talvaar leke m usko shundar-shundar kr deta tha.
Ek din aise hi purani tv m se ek bhi motor na Milne k baad, main apne agle sikhaar k talash m tha. Ghar p majoor lge the Jo Ghar m kuch fix krre the ar mauka sahi tha. Poore Ghar ka ghanto tk chkkr lgane k baad mujhe kuch kabaad ni mila.. Apun ko lga, aaj science ki haar hogyi h ar duniya ko apne avishkaaro s jagmagane ka sapna, sapna hi reh jayega... Har k seedhi p baithe baithe mujhe Curie ar Archimedes ki yaad aai. Ar mene khudko saameta ar paripakvata ka ek paath pdhaya. “Ni mere jeete-ji, science ni haarega. Ye kaam asan ni h, iss lone torch-bearer of science ki haar aisi choti rukavato s ni hogi.” Aisa smjane k baad ek baad firse mene Ghar scan mara ar apne beeshma pratigya ko safal krne m mujhe sirf maut dikh ri thi. Mujhe kuch aisa mil gya tha jisme sucess rate to find motor ar death rate maximum the. Mere haath peeche hore the tb firse mene khudko smjhaya ki brother soch agar Madam Curie bhi maut s dar gyi hoti to aaj hum manushya kitne peeche hote...
Apne bahubali haatho ka prayog mene uss vish ko uthane m kiya jo meri maut ka karan bnne wala tha. Ar science ka naam leke mene bahar nikala vo kaala, bhaari, dhul m sana hua magar sbse sundar electric appliance: vo DVD player 📀.
Hn vahi DVD player 📀 jo didi hath bhi lgane s mana ki thi. Mummy ne bola tha isko chuoge to taang tod denge.
Maut ka dar ar jeevan ka moh chorke mene pechkas nikala ar fata fat us DVD player 📀 ko dekhte hi dekhte shundar-shundar kr diya. Ar usko kholne k baad smjho kayanaat palat gyi. 1 nahi 2 nahi balki 3 motors. Ab mujse control ni hora tha mene pechkas ki kabiliyat p zyada bharosa kr liya tha (fuck you do muh wale pechkas). Vo chote wale screw apne pe ad gye the, mene pyaar s unhe manane ki koshish ki magar vo mere ar mere namakool pechkas k incompetence p hasse jaa rhe the. “Bhaya binu hogi na preeti”, madam Curie lgataar mere dimag m ye chaupaai bole jaa rhi thi. Naa chahte huye mujhe vo kadam uthana pda jo m ni krna chahta tha.
Mera plan tha: chup chaap kholo. Dheeme s motor nikaalo, motor kabze m aate hi chup chaap dhkaan lga k vapis aa jao jaise kuch hua hi ni tha.
Magar un choote screws ne apni shudra-vyaktitva ko zaahir kr diya tha. Mene apne namakool pechkas ko choda ar apne har dukh k saathi; hathodi ko uthaya. Those screw saw the wrath of lone torch-bearer of Science that day.
Trr trrr khatt-khattt.
Aakhirkaar universe k is mushkil kasauti ko m paar kr gya. Ar ab vo teen motors sirf ar sirf mere the.
Mene nazar-chakshu bagal m ghumaye to DVD player 📀 ka haal dekha ni jaara tha. Isse pehle koi ye murder dekhe, mujhe iss laash ko thikane lgana tha. Maine saare tukdo ko sametna shuru kiya. Ar DVD player 📀 ko antim vidaai di. Plastic k jhole m uss DVD player 📀 ki atim yatra hui ar boht door jaane k baad mene ek sahi location paai; ek koode ka spot jaha kisi ki nazar ni pdegi. Mitti khod k uss DVD player 📀 ki laash ko mene apne Bahubali haathon s thikane lga diya ar vapas Ghar aa gya.
Ghar to aa gya tha but ldai khtm ni hui thi. Chup chap gate bnd krke m didi no 2 k pass gya ar ek plan sochne lga. Didi no 2 tv dekhne m mashroof thi ar bahar s majooron ki awaz aari thi.
Mere shatir dimag m neurons shoot hue ar ek nayab plan soojha. Mene didi ko bola: 😾 ooye paagal! Kyaa krri h?? Ghar m majdoor lge h ar andr aise baithi h! Hosh khabar rkha kriye thoda! Abhi kuch utha k nikl jayenge sb to pta bhi ni chlega! Abhi hm ek bnde ko kal s dekh rhe h us ‘TV AR DVD PLAYER 📀’ k bgl m khada hoke kuch dekhra tha! Sochiye abhi hum ni hote to utha k nikal jata vo ‘DVD PLAYER 📀’! 😾
The idea was incepted. All I needed was it to ripe.
Kuch mahine beete mummy diwali ki safai krri thi ar didi no 1 chilla k bulai. BAABUUU... m iss situation k liye m poorna roop s taiyaar tha. M saamne gya ar bola kya hua. Didi no 1 was on fire. KAHA H VO DVD PLAYER 📀??? I said: ni milra na! Hum bhi khoojre itne din s humko lga aap log chupa k rkhi h. Jeshtha purna roop s vismrit thi. Vo kuch ar kehti usse pehle bagal se didi no 2 aai ar boli hn hum bhi dekhre h itne din s. Humko lgra h vo last time kaam lga tha tbhi s gaayab hua h. Vo sb the bhi chor type k. Mauke ka faida utha k maine bola: hn hn aap to bolri thi na ki dekhi thi kisi ko tv bgl m kuch dekhra tha. And she thought and said: hn hn pta ni kaise kb utha k le gye... Itne m mummy aai ar boli: jaane do kon ab usme dekh bhi rha h movie voovie. And I ended the conversation: jaane dijiye tsk tsk le Jana hi tha to kamse kam humko bta diya hota hum us DVD player 📀 m s motor to nikal liye hote

Dr. Lakhwinder Johal (born Feburary 12 1955) is a prominent Panjabi poet and literary critic. He is recognized for his exceptional academic achievements, his captivating poetry collections, and his contributions to promoting Panjabi literature.
Born in Jalandhar, Panjab, Dr. Johal comes from a family with a strong academic background. This likely influenced his own pursuit of knowledge and literary expression.
Dr. Johal obtained his B.A. and M.A. degrees in Mathematics, showcasing his intellectual versatility. Although he initially considered a career in civil services, his academic journey led him to a fulfilling life dedicated to literature. He retired from Doordarshan, India's national television broadcaster, as a program executive. However, his true passion lay in the world of Panjabi literature. Dr. Johal has authored seven poetry collections, including the highly acclaimed "Athru Di Aatamkatha" (The Autobiography of a Tear) and "Ikk Supna, Ikk Samwaad" (A Dream, A Dialogue) – a work featuring imaginary conversations between Mahatma Gandhi and Bhagat Singh.
Dr. Johal's literary contributions have garnered him respect and recognition within the Punjabi literary community. He currently serves as the president of the Panjabi Sahit Akademi, a prestigious association dedicated to promoting Panjabi literature. Beyond his own writing, Dr. Johal actively champions the development of Panjabi literature. He has served as the secretary-general of the Panjab Arts Council and is known for his efforts to enhance the curriculum for Panjabi language studies.
Dr. Lakhwinder Johal embodies the spirit of a scholar-poet. His dedication to both creating and promoting Panjabi literature ensures his lasting legacy within the cultural landscape of Panjab.
Note: I am bringing back my posts highlighting individuals and historic events, in a more limited manner (no longer daily, but hopefully frequent).

Panjabi films have roots in the mid 1920s Lahore. The first silent film, Ajj Di Theeyan (English title: Daughters of Today), was released in 1928 in Lahore. The film was initally screened at the cities 9 theaters which, which served primarily to showcase early films produced in Bombay and Calcutta.
Producer G.K. Mehta, a retired North-Western Railways officer, had imported a camera into the country for the purpose of producing his own films in Panjab. Mehta would start off his career producing content for foreign press and informative films, only later pursuing his own film projects. His foray into films began when he partnered with director Shankardev Arya in 1924, to start production of Ajj Di Theeyan.
The film Ajj Di Theeyan took 3 years to finish films, due to the financial burden it had become for producer G.K. Mehta who would soon exit the film industry altogether. The film however left a notable mark on the world of South Asian films due to the names associated with the project. Abdur Rashid Kardar of Lahore and Muhammad Ismail, calligraphists who worked on film posters, were asked to join the project as assistants and actors. Abdur became the assistant director and made his acting debut with the project, while Ismail served as a general assistant and debutant actor. Another actor Hiralal got his start in acting with this project, having previously being associated with the freedom struggle under Lala Lajpat Rai and Bhagat Singh.
Following the release of this film Abdur and Muhammad setup their own production studio, having sold all they owned, and laid the foundations for the Panjabi film industry in Lahore. Their project 1929 Husn Ka Daku (English title: Mysterious Eagle) which also acted as Abdurs directorial debut was a modest success, and helped bankroll their next project 1930s Sarfarosh (Enflish title: Braveheart) which was a major success. Hiralal had actually been working on a project titled Safdar Jung directed by Abdur, when he was recommended for Ajj Di Theeyan, but this film would only release in 1930.
Abdur went onto becoming a prominent film director and producer, who would soon after move to Calcutta and later Bombay to work on major Bollywood projects. Muhammad Ismail became an actor who worked largely in supporting roles and occassionally as a producer. Both Abdur and Ismail had careers that spanned 5 decades. Hiralal also continued to act for the next 5 decades, having worked in various languages such as Panjabi, Hindi, Bengali, and Rajasthani. He worked in over 150 films, most of which included major Bollywood productions.
A single film produced by a motives individual ended up creating a huge impact on the world of films for decades to come. An industry which survived partition and impacted so many other industries through the people associated with this one project.

Satish Kumar Kapil (1938 - January 25 2008) was born into a Panjabi Brahman family in the village of Rampura Phul (Bathinda). He was raised within the family learning the ropes of priestly affairs, but also with a focus on general education (inclduing Panjabi, Sanskrit, and Hindi languages) which wasn't all that common in the area. He would go onto earn his BA before relocating to Delhi.
In Delhi Satish Kumar Kapil attended Delhi univeristy to further his studies. It was in Delhi that he came into contact with noted Panjabi writers Bawa Balwant, Devinder Satyarthi, Harbhajan Singh, Harnam Singh Naz and most notably Amrita Pritam. It would be under the mentorship of these acclaimed writers that Satish Kumar found his inner poet and took up the moniker of Sati Kumar.
Sati Kumar is noted for having had a distinct style of poetry from his very first works. Whereas his mentors focused largely on a poetic style that were romanticised and lyrical in nature he instead found inspiration from foreign poets such as the French poet Rimbaud or American poet Ginsberg. His non lyrical poetry had themes of surrealism & mysticism, counter culture, improv rhythmics, and common vernaculars (common informal language). His experimental style put him at odds with mainstream progressive writers at the time and made him a controversial figure in the Panjabi literary community.
Where Sati Kumar was out of place among the Panjabi literary community he instead found refuge abroad with the help of his mentor Amrita Pritam. Thanks to Pritam he received a fellowship, to conduct literary research focused on modern and experimental writing, at Sofia univeristy in Bulgaria. He spent six years at Sofia university during which time he continued to write poetry as well as translate parts of the Ramayan and Mahabharata into the Bulgarian language.
Outside of his research and literary career Sati also married a Bulgarian wife and started a family. Following his stint at Sofia univeristy he moved permanently with his family to Stockholm, Sweden. Very little of his work had been published up until he was settled in Europe and in total he had 4 collection of poems published between 1964 and 1979. His collections were Pancham (1964), Ghoriyaan Di Udeek (1971), Rahao (1977), and Tambey Da Rukh (1979). During his time in Sweden he also published 9 books of modern Swedish poetry collections transliterated into the Hindi language and published regular travelogues from Eastern Europe into the Hindi weekly publication Dharmayug.
Sati Kumar published his final book, titled Mayajaal – Gall Te Kavita, in 2005. His final book was an autobiography in the style of an interview which was intermixed with poetry from his earlier collections. This final work was a critique of Panjabi literature, socialist realism in arts and literature, and the history of literature during his career as a writepoet.
Sari Kumar was a well known and prolific writer in Panjabi literature, who in 1995 was honoured with the Shiromni Sahitkar by the Bhasa Vihbagh back in Panjab. He passed away peacefully in 2008 leaving behind a son and daughter, with his wife having passed years prior. His children would have another one of his works published posthumously, titled Mere Khabe Vagdi Hawa (2009), which consisted of his literary essays and was edited by Avtar Jandialvi.
I would recommend the works of Sati Kumar to anyone that is interested in Panjabi poetry or poetry and literature in general. The experimental style may not be what you are used to from Panjabi literature but it is very high quality work.

Pritam Singh (January 11 1918 - October 25 2008) was born and raised in Lahore. He came from a simple family that faced many difficulties but learned to live within its means. Raised in a strong Sikh household Pritam would learn to live a straightforward and honest lifestyle while working to better himself. He would work hard in his education and eventually earned multiple masters degrees including English (1940), Persian (1941), and Oriental Learning (1941) from Panjab univeristy in Lahore. He was also proficient in Hindustani, including both the Urdu and Hindi dialects/scripts.
From his simple beginnings the spirit that his family had instilled in him would lead Pritam Singh to a prestigious teaching career. In 1941 he joined Doaba College Jalandhar as the head of the Panjabi language department. Despite his achievements this far he would not forget his values and also simultaneously joined as a teacher at Kanya Mahavidalya (female college) Jalandhar. At a later date he would be invited back to Lahore by Sikh National College principle Niranjan Singh to lead both the Panjabi and Persian language departments, a position he would hold until 1947.
Following parition Pritam would move to Delhi where he joined as a part time lecturer in the Panjabi departments at Ramjas College, Indraprastha College, and Hindu College. In late 1948 he would then relocate to Shimla to join Panjab University as editor of Panjabi publications, a role he would serve for 2 years. In 1950 he would get his next opportunity to step into a leadership role in academics when he was appointed to Mahendra College in Patiala as the first head of the Post Graduate Department of Panjabi language studies. His conviction towards hard work would lead to several promotion to principle roles at Government College Faridkot, government College Ludhiana, and Government College Mukatsar which are all roles he filled while simultaneously teaching Panjabi out of passion.
With a long history of success in academics Professor Pritam Singh would be called upon by the state government in 1969 to create the act which would create Guru Nanak Dev Univeristy Amritsar as well as the Panjab School Education Board in Mohali. He would later also join Guru Nanak Dev Univeristy in 1972 as the head of Guru Nanak Dev Studies, a role he would fill until his retirement in 1980. From his humble beginnings he left behind a legacy of prestigious roles at some of the most prestigious instituions on the subcontinent and his impact is felt in the East Panjab education systems til this day.
Along with his career in academia Professor Pritam Singh also held other positions of note in various organisations. During his time in Ludhiana, he held the positions of President of Panjabi Sahitya Academy and the Kendri Panjabi Lekhak Sabha (Registered). He was also a member of the Panjab Arts Council, the Hindi Sahitya Sammelan in Prayag, the General Council of the Bharatiya Sahitya Akademi in New Delhi, the Core Committee of the Anandpur Sahib Foundation in Chandigarh, and the Panjab State University Textbook Board in Chandigarh. Pritam Singh was also a member of the syndicate at Panjab University in Chandigarh for two years before serving for eight years as a member of in its senate. He also played a significant role as the Advisory Member for Panjabi at the National Book Trust in New Delhi, the University of Jammu in Jammu & Kashmir State, and the Language Department of the Panjab Government in Patiala. He also served in editorial roles as the Chief Editor of the Journal of Sikh Studies at G.N.D.U. Amritsar and as the Chief Editor of Alochana (Panjabi Quarterly) at Panjabi Sahitya Academy.
Along with his academic career Pritam Singh also wrote several large-volume heritage manuals and other literature. These included scholarly studies of old Panjabi manuscript(s), fiction, biographies and autobiographical sketches, among others. Among the titles were ‘Moortan’, ‘Panjab, Panjabi, Panjabiyat,’ ‘Kachian, Panjabi De Bhaa’ and ‘Panjabi Lekhak Kosh’. One of Pritam Singh’s most important works was ‘Ahyapur Vali Pothi’, in which he disassociates the original Bani of the ‘Aad Guru Granth’ from various false writings attributed to the ‘Sikh Gurus’. In this work, he provided proof that Guru Arjan did not use the Goindwal pothi as a source or as a source in the preparation or in 1604. For his book titled ‘Sri Gru Granth Sahib Wale Sheikh Farid Di Bhal’ he devoted almost 30 years of his life to research and writing. In addition to this, he has also worked as an editor on the works of Bhai Kahan Singh Nagrahi and Baba Farid Shakarganj, among others. He also diversified his literature to a variety of audiences with the addition of children’s books on Maharaja Ranjit Singh and Guru Gobind Singh ji. Much of his children’s literature has also been translated into several languages, along with stories such as 'Bhai Kanahiya'.
Besides his written contributions to Panjabi literature, Pritam Singh also made many other important contributions. Throughout his life he is known to have donated thousands of unique and historical manuscripts from his collections. His collections included manuscripts in languages such Sanskrit, Hindustani, Persian, and Panjabi. These donations went to various instituions including many museums, but his greatest single contribution would be that of his entire personal library including its hundreds of manuscripts which he left to Guru Nanak Dev University Amritsar.
Pritam Singh, known as the "Baba Borh" (old bunyan tree) of Panjabi literature, died on October 25 2008. Up until his final moments he was continuing his work, having just finished writing and sending out a letter to his published in regards to a couple books he had completed. The date of his passing coincided with that of his father in law, renowned scholar Sahib Singh, whose death anniversary was a mere 4 days away. He has been given multiple posthumous awards and titles, as well as a fellowship in his honour at Panjabi University Patiala which recognises individuals that have made significant and noteworthy contributions to Panjabi language, arts, and literature.

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