Writing for Children

Gijubhai’s name is best associated with his seminal work Divaswapna. This may be because it is his only book that has been published in English and many Indian languages. For people in Gujarati his name is synonymous with his stories for young children or Gijubhaini Balvartaao. In fact Gijubhai’s contribution to children’s literature in Gujarat goes much deeper, and spans a much wider spectrum of oeuvre.

Gijubhai’s search for a better alternative to the educational system of the day, which started in 1913, also included an exploration of suitable literature for children. Around 1920-21 there was little literature in Gujarati that was written especially for children. What was available at the time was either moralistic, or trite, and told in a superficial ‘childish’ language and style. This was the case in most Indian languages.

Gijubhai felt that language enrichment was an integral part of a child’s all-rounded development. He started writing for children with this in mind; and created a rich ouevre of children’s literature.

His first undertaking was with his companion Jugatrambhai with whom he used to have many discussions about children and writing. The first primer was called Chalangadi, and it was published by Navjivan Press. Every lesson and very word was carefully thought out and tested on the scale of its child-appropriateness. It was illustrated by the renowned artist Ravishankar Raval. Chalangadi was eagerly welcomed by the children of Gujarat. This was followed by Motiben, Sundar Paatho, and then Bheru and Ambavadiyu. And so began Gijubhai’s journey into the world of children’s literature.

Writing about the early dilemmas and decisions, Gijubhai wrote in the periodical Dakshinamurti:

We had made a start towards filling the void in reading material for children. It was just a start. But the printed books had small-sized letters. The children did not like this. They felt like reading but there eyes were not familiar with the print. They did not relate to the subject matter of the lessons because it was outside their personal area of experience. They were written for the ordinary average child so they did not find them animated enough, and they did not enjoy the style of writing. In short there was something missing in all three—the print, the content and the style.

I thought of giving handwritten lessons. I started writing about things in my surroundings. And I kept in mind their interest, and comprehension ability when writing the lessons. I wrote the lessons in the form of stories and called them Nani Nani Vaartoa (Little Stories). And took the work ahead.

Gijubhai was blessed with the gift of words. But he was more than a storyteller. He wrote with the eye of an educator; every book, every lesson, every paragraph and every word was closely weighed on the scale of pedagogy before it was published. The messages are not always evident, but are innately woven into the fabric of the words and sentences. This was beautifully expounded in Sampadako nu Kathan (Words from Editors)

Proponents of swadesh may not find ‘nationalism’ in these books. But our perception of nationalism is somewhat different. Love for the nation does not spring from slogans of “My Country” because desh (country/nation) is an abstract concept. Rather, by telling what makes a country, we can cultivate not only an understanding but also a love for the country.

My country is my fields, the cattle of my country, the farmers of my country, the potters and blacksmiths of my country, the rivers and mountains of my country, the animals and birds of my country. This is the emotion that should awaken. If I do not have an idea about what is meant by my country, if I am not be clear what I am supposed to love then the love for my country may not be heartfelt or deep. This is the perspective that guides these books. They may not deal with current issues, but these are not needed in the world of children. But these books certainly have elements that can spark love for our country and leave a deep and lasting impression.

Gijubhai’s writing for children encompasses an incredible diversity of subjects: mythology, science, nature, geography, history, people, and events. These are narrated as historical tales, folk tales, plays, travelogues and letters, humorous essays, and straight forward lessons. These include poems; sayings and proverbs; folk songs and rhymes.

Gijubhai believed that writing for children can, and should, include all the qualities of adult literature. While there is a difference in the level, content, and language, it is nevertheless, literature.

Gijubhai was thus not just a storyteller, he was the creator of a new genre of children’s literature and his contribution to the field has been immense and invaluable.

Written by Mamata Pandya

Based on the original Gujarati sources:

Gijubhai nu Kelavni ma Pradan - Bharatlal Pathak, RR Shethni Company 2003. First published 1978.

Bal Shikishan Praneta - Gijubhai, Ramnarayan Pathak, Sanskar Sahitya Mandir Bhavnagar 1984. First published 1957.

Gijubhai - the Storyteller

Gijubhai Badheka, is one of Gujarat’s foremost educationists and storytellers. Born in 1885,Gijubhai passed away in 1939 at the age of 54. Between 1920 and 1939 he wrote prolifically in the area of children’s literature and education. He is the author of over 200 books, of which 20 were addressed to teachers and parents. His best-known work is Diwaswapna (daydream) first published in Gujarati in 1939. This is counted among the world’s classics in pedagogy.

In Gujarat his name is synonymous with a rich treasure of stories for children. Gijubhai Badheka has been acknowledged as the Brahma of Gujarati children’s literature. Drawing upon the ageless folk traditions and the rhyme and rhythm of colloquial Saurashtra dialect, Gijubhai penned delightful tales of ordinary people, and familiar animals and birds. Generations of children have grown up with these tales, told and retold by grandparents and parents.

Surprisingly, this rich treasure of tales has not been widely translated into other Indian languages, except for Hindi. There is almost no translation of the stories in English that captures the flavour of times gone by, and yet are timeless in their spirit.

Books for Children