Teaching primary school students their mother tongue scientifically

Kattakurgan State Pedagogical Gogika Institute “Pedagogy” Faculty of Primary Education

G’ulomova Rukhshona Po’lat’s daughterTel: (+998) 94- 688-24-20E-mail: gulomovaruxshona007@gmail.com

Annotation

This article examines the origins and development of mother-tongue teaching methodology in primary education. It identifies the core principles of the field and analyzes effective lesson-organization methods. The article highlights how modern pedagogy increases children’s interest in language learning, develops literacy skills, strengthens grammatical competence, and improves oral and written communication. The effectiveness of using interactive strategies, innovative technologies, and age-appropriate instructional approaches is emphasized. Practical recommendations are provided for primary school teachers, methodologists, and students specializing in pedagogy.

Keywords: primary education, mother tongue, teaching methodology, interactive instruction, literacy, grammatical competence, pedagogical technologies, student engagement, lesson effectiveness.

Introduction

The mother tongue represents the national consciousness, cultural identity, and spiritual heritage of every nation. Therefore, teaching the native language in primary school is a matter of fundamental importance. At the early stages of education, mother-tongue instruction shapes a child’s linguistic, cognitive, social, and aesthetic development. It is in this period that pupils acquire the foundational skills of accurate, fluent, and meaningful speech.

In contemporary educational practice, the purpose of teaching the native language is not limited to memorizing linguistic forms or transmitting isolated grammatical rules. The core task is to develop independent thinking, enable learners to express their ideas clearly, and foster a culture of speech and love for their mother tongue. Therefore, mother-tongue lessons should actively engage students in the learning process, motivate them to think critically, and encourage meaningful communication through modern methods and technologies.

In modern primary education, effective teaching requires a balanced integration of traditional approaches alongside interactive techniques, ICT tools, game-based activities, and creative tasks. Such approaches enhance lesson quality, increase student activity, and strengthen independence, creativity, and communicative skills. Improving the methodology of native-language teaching in primary grades is therefore one of the current strategic objectives of the educational system. Through mother-tongue education, learners not only master linguistic norms, but also learn to express opinions freely, communicate effectively, and apply creative reasoning.

Consequently, the introduction of advanced pedagogical technologies, practical life-based tasks, and student-centered instruction is considered essential for improving the quality and effectiveness of teaching mother-tongue science.

Review of Literature

The methodology of teaching the mother tongue in primary education—its principles, core concepts, and effective lesson-organization strategies—has been widely studied by contemporary scholars and methodologists. Research has focused on increasing children’s interest in language learning, developing literacy, strengthening grammatical competence, and improving oral and written communication skills through modern pedagogical technologies and innovative approaches.

Kholboev emphasizes that native-language methodology in primary grades has both theoretical and practical significance. He argues that language acquisition is inseparably connected with thinking, and that speech cultivation directly supports the development of cognitive abilities. According to him, applied pedagogy should not only transmit linguistic knowledge but also develop analytical and communicative skills in learners.

Matchonov and his colleagues present a systematic framework for native-language instruction in primary grades. They identify three foundational principles: ensuring consistency and continuity of lesson content; integrating literacy (reading–writing) with speech development; introducing grammatical concepts gradually through text-based examples to build strong conceptual foundations. Their studies highlight that active work with texts, interactive exercises, and classroom-based communication make lessons more systematic and practical.

Gulomova and co-authors propose that working with authentic texts (reading, analysis, re-expression) and purposeful dictionary work enhance learners’ vocabulary, support semantic understanding, and develop oral speech skills through activities such as role-play and game-based tasks. This makes lessons more interactive and facilitates vocabulary acquisition in meaningful contexts.

Yolandeva promotes a competency-based approach to teaching native language in primary school. She concludes that lessons should not focus solely on memorizing theoretical facts; rather, they should develop learners’ skills in independent thinking, analysis, communication, and information processing. According to her, practical tasks, analytical questions related to real-life situations, and student-designed problem-solving activities significantly increase the effectiveness of grammar instruction.

In summary, the literature demonstrates that methodological research in native-language education prioritizes the development of language competence, improvement of speech skills, and modernization of teachers’ methodological training. Therefore, further integration of advanced pedagogical technologies remains a relevant requirement for strengthening the quality of instruction in this field.

Analysis and Results

Within the scope of this research, the effectiveness of modern methodologies for teaching the mother tongue to primary-grade students was examined. The study was conducted among 3rd–4th grade pupils during the 2025–2026 academic year. The primary aim was to determine how the use of interactive techniques, phonetic-analysis exercises, text-based strategies, and game-based approaches influence the development of students’ language competence.

The experiment consisted of three sequential stages: Preparatory stage. Baseline diagnostic assessment was conducted to determine students’ initial level of linguistic knowledge, reading fluency, written speech skills, and spelling accuracy. A total of 48 students participated in this phase.

Practical stage. In experimental classes, instruction was delivered through didactic games, role-play tasks, text analysis strategies, chained word-building exercises, and speech-development activities. In contrast, the control classes continued to use traditional teaching methods.

Final stage. Mid-term and summative assessments were administered to evaluate students’ final learning outcomes and academic progress.

Research Findings

Data analysis revealed measurable improvements in the experimental group. Average reading speed increased by 25–30 percent, and reading comprehension improved by 28 percent. The number of spelling errors in written speech decreased from an average of 14 errors per 100-word text to 6 errors per text. These findings confirm that interactive, text-oriented, and game-based methodologies significantly enhance literacy skills, grammatical accuracy, and communicative competencies in primary school students.

Conclusion

In conclusion, the methodology of teaching the mother tongue in primary grades plays a crucial role in shaping children’s speech, thinking, and spiritual development. Through mother-tongue lessons, learners not only acquire grammatical structures and written language norms, but also internalize national values, cultural heritage, and literary tradition. Therefore, instruction in the native language forms the foundation of a child’s personal and intellectual maturation.

Modern methodology requires the use of interactive, communicative, and competency-based approaches that go beyond traditional instruction. These approaches foster independent thinking, logical reasoning, and the confidence to express ideas clearly. Effective lesson design must take into account pupils’ age-related and psychological characteristics, because only developmentally appropriate instruction can yield meaningful results.

Furthermore, the integration of high-quality textbooks, visual resources, multimedia tools, and digital platforms enhances students’ motivation and engages them as active participants in the learning process. The teacher’s pedagogical competence, speech culture, and innovative mindset remain central determinants of educational quality.

Therefore, continuous scientific research, dissemination of advanced experiments, and systematic modernization of methodological approaches in mother-tongue education remain urgent tasks of contemporary pedagogy.

List of references used

1. Kholboev G. Methodology of teaching mother tongue in elementary grades methodological and scientific foundations of science. – Tashkent: Uzbekistan Publishing house of the Ministry of public education of the Republic, the year is not indicated.

2. Matchonov S. Methodology of teaching the native language in primary grades.- Tashkent: “O’qituvchi” Publishing House, year not specified.

3. Ghulomova M. Effective mother tongue lessons in primary education organization methodology. – Tashkent: Enlightenment, the year is not indicated.

4. Yolandeva S. Language skills in primary school students formation methodology. – Tashkent: Science and Technology, year not shown.

5. Kadyrova F. Grammar in primary school students methodology for the formation of concepts. – Tashkent: TDPU publisher, 2018.

6. Yo’ldoshev Q. Theory and methodology of teaching the native language. – Tashkent: “Fan”, 2015.

7. Shodmonova Sh. Speech cultivation classes in primary education method-ology. – Tashkent: “economics-finance”, 2017.

Children Without Parents

New houses, rows of luxury cars — at first glance, everything seems perfect. The family looks happy, birds are singing joyfully, as if thanking life itself. Inside one of these grand houses lived two children. To their friends, they seemed like the happiest kids in the world. After all, when your parents work in powerful state companies, when you live in mansions with servants who cook and wait for you after school — isn’t that happiness?

Their friends were still too young to understand that wealth, position, and luxury don’t define happiness. Maybe they just believed the lies those rich children told them. It was said that the family often dined together, played games, and went on trips every week. “Really?” thought their neighbor Khadicha, who knew the truth. The children could hardly remember the last time they saw their parents or ate together. Every morning at five, Ali and Lola woke up hoping to see their parents — but their father was away on another business trip, and their mother had gone out to meet friends or organize new events.

Even when she was home, she would tell the servants,> “If the kids ask, tell them I’m at work. I want to sleep in peace today — I have no time for their endless chatter.” The servants were shocked — so many people yearn for children, while these parents can’t spare even five minutes for theirs. Last Monday, the situation worsened. Ali won first place in the national stage of the “Young Reader” competition and even received a Chevrolet Cobalt as a prize. He wanted to gift it to his father and stayed up until 2 a.m. waiting. But his father never came.

When he finally returned in the morning, the driver excitedly told him the news. The father just smirked:> “A Cobalt? I could buy a thousand of them along with that silly contest. They chose him because of my wealth and influence.” The driver snapped:> “No, sir. They chose him for his knowledge and intellect — even officials’ children couldn’t win.” But the boss had already gone to bed, tired from his trip to Turkey. The driver was disgusted.

Those parents traveled the world, while their children were forgotten — no relatives visited, no love from their own parents. Only kind neighbor Khadicha sometimes took them to the park so they wouldn’t feel so lonely. In their parents’ eyes, the children were nothing but a burden. Life is cruel — some people long for children, while others take them for granted.> “If only kids could choose their parents…” thought the driver sadly.“

When we fail to appreciate God’s blessings, He can take them back.” He sighed, hoping:> “May this story end well.” But the truth remains — real wealth is peace, love, and family unity. When there is harmony at home, everything else can be earned later. No child should grow up deprived of love, forced to mature without ever feeling what childhood truly means.

____________________________________________________________________

Do All Stories End Well?

Since childhood, I loved one fairy tale my mother used to tell —> “There once lived a snake and a cat. The brave cat always fought the snake, but in the end, the snake devoured the cat.”

Every night, I asked my mother to tell it again, hoping that one day the ending would change — that the cat would win. But it never did.

That’s when I realized — not every story ends happily. Life is like an exam: the more you fall, the higher you can rise. One of my teachers once said:> “Life is like boiling water. Whether you want it or not, you’re thrown into it every day. If you don’t endure and trust the process, you’ll face even harder trials. Those hardships are gifts — they wash away your sins and test your patience. The more patient you are, the sweeter the reward.”

I understood — like gold purified by fire, humans too are refined through challenges. Gold must be heated thousands of degrees before it becomes beautiful jewelry — and we must face pain to become stronger. When I was younger, I couldn’t understand why adults got upset over small things. Now that I’m older, I finally do. Life is temporary, and stress causes most of our illnesses. Even our physical pain often begins with emotional pain. The human body is a miracle — everything inside is connected like clockwork.

A few years ago, I underwent laser eye surgery. After years of studying day and night for exams, I had strained my eyes and partially lost vision. When the surgery succeeded, and I saw the world clearly again — distant trees looked like they were right before me — I realized how little we value our blessings until we lose them. Whenever I feel sad, I remind myself:> “I can see, I can walk, I am healthy — I should be grateful.” Even hardships can be blessings in disguise. When something doesn’t go as planned, maybe it’s because something better awaits. We just don’t see it yet.

For example, when I was trying to get my driver’s license, I failed twice during the practical test. After months of preparation and money spent, I almost gave up. But on the third attempt, I passed. That’s when I learned — what’s truly yours will find its way to you, no matter how long it takes. In conclusion — every person faces such tests. What matters is not what we get from society, but what we give back to it. The key is to value what we already have — because if we don’t, it can be taken away.

And as for that childhood fairy tale —Not every story ends happily, because sometimes failure itself is the happiest ending — it’s what helps us grow. If you fall, rise again — stronger than before.

The influence of the translator’s personality on translation quality

Author: Toshpo‘latova Aziza

University: Termiz davlat universiteti

Field: Tarjima nazariyasi va amaliyoti

Annotatsiya: Ushbu maqolada tarjima jarayonida tarjimon shaxsining tarjima sifatiga ko‘rsatadigan ta’siri chuqur tahlil qilinadi. Tarjimonning kasbiy mahorati, shaxsiy fazilatlari, madaniy saviyasi hamda til kompetensiyasi tarjima natijasining aniqligi, uslubiy yaxlitligi va madaniy mosligini belgilovchi asosiy omillar sifatida o‘rganiladi. Shuningdek, tarjimonning ijodiy yondashuvi, emotsional intellekti, madaniyatlararo tafakkuri va mas’uliyat hissi tarjima jarayonida qanday rol o‘ynashi ilmiy jihatdan asoslab beriladi.Kalit so‘zlar: tarjima sifati, tarjimon shaxsi, madaniy kompetensiya, ijodkorlik, tarjima jarayoni, til tafakkuri

Annotation :This article provides an in-depth analysis of the influence of the translator’s personality on translation quality. The translator’s professional skills, personal qualities, cultural background, and language competence are explored as key factors that determine the accuracy, stylistic integrity, and cultural relevance of the translated text. The article also explains scientifically the role of the translator’s creative approach, emotional intelligence, intercultural thinking, and sense of responsibility in the translation process.

Keywords: translation quality, translator’s personality, cultural competence, creativity, translation process, linguistic thinking.Аннотация :В данной статье подробно анализируется влияние личности переводчика на качество перевода. Профессиональное мастерство переводчика, его личные качества, культурный уровень и языковая компетенция рассматриваются как ключевые факторы, определяющие точность переведенного текста, стилевую целостность и культурную адекватность. Также научно обосновано, какую роль играют творческий подход переводчика, его эмоциональный интеллект, межкультурное мышление и чувство ответственности в процессе перевода.Ключевые слова: качество перевода, личность переводчика, культурная компетенция, креативность, процесс перевода, языковое мышление.

Introduction

Translation has played a special role in the history of humanity as a means of intercultural communication and exchange of ideas. In every period, translation has served not only as the transfer of words, but also as the transmission of ideas, values, and cultural meanings. Therefore, translation quality cannot be limited to grammatical accuracy or lexical precision alone. The translator is a bridge between two languages and two cultures. He/she must not only possess linguistic knowledge, but also broad thinking, cultural sensitivity, empathy, analytical ability, and creativity. For this reason, modern translation studies recognize the personality of the translator as a decisive factor in translation quality.

Many translation theorists (Komissarov, Nida, Newmark, Baker, etc.) have analyzed the role, responsibility, and personal approach of the translator. According to them, the success of translation is directly related not only to the translator’s knowledge, but also to his/her worldview and ethical responsibility.

Methodology

This research is based on the following scientific approaches: Descriptive method – the relationship between the translator’s personality and translation quality was described based on scientific sources. Comparative analysis – the differences between various translation schools (Russian, English, and Uzbek translation studies) were clarified. Empirical observation – translation classes involving teachers and students were analyzed, and the individual characteristics of the translator were observed. Content analysis – features of translator’s style in literary and academic translations were studied through examples. Scientific literature, articles and practical translation texts (literary works, articles, academic texts) were used as research sources.

Results Analysis revealed the following main results: Translation quality is closely connected with the translator’s personal qualities. The translator’s patience, sense of responsibility, wide thinking, and artistic taste have a significant influence on the translation process. Perfect linguistic knowledge is not enough. A translator must understand not only grammar, but also metaphors, idioms, and cultural codes of the language. Cultural competence is the key to successful translation. In cases of cultural differences, the translator’s cultural sensitivity prevents errors and makes translation more natural.

Creativity plays an important role in translation. To recreate the tone and spirit of each text, the translator applies creative elements. Translators’ ethical position and responsibility matter. The translator must remain faithful to the text and convey the author’s message without distortion, adhering to professional honesty and objectivity.

Discussion The findings show that the role of the translator’s personality is one of the most important factors determining translation quality. As classical translation scholar Yu. N. Komissarov (1990) noted, “a translator is not only a transformer of language, but a creator of meaning. ”E. A. Nida (1964) suggested evaluating translation through “dynamic equivalence,” meaning that the translated text should produce the same effect on the target reader as the original did on the source reader. For this, the translator’s ability to perceive emotions, culture and context is crucial.

According to P. Newmark (1988), translation is not only related to language, but also to thinking. The translator creates a new semantic space between languages. This requires creativity, intuition, and analytical thinking. In Uzbek translation studies, the issue of translator personality has also received attention. Scholars such as O. Sharafiddinov, N. Komilov, and A. Obidjon have defined translation as a creative process and pointed out that the translator’s spiritual richness and artistic taste determine the quality of translation.

In today’s globalization, translation is not only transferring a text into another language, but also adapting a whole cultural code into another culture. In this process, the translator’s unique worldview, individual perception and personal experience are essential elements. Because each person interprets the world differently — therefore translation is also influenced by personal interpretation.

Furthermore, modern translation studies include the concept of the “translator’s visibility and invisibility” (Lawrence Venuti). Sometimes the translator’s voice, stylistic sensitivity, and personal decisions may make the translation more natural, lively, and relevant to contemporary context.

Conclusion Based on the above analysis, the following conclusions can be drawn: The core factor of translation quality is the translator’s personality, cultural worldview, and professional competence. To improve translation quality, the following qualities must be developed in translators: perfect linguistic and cultural knowledge creative and analytical thinking professional responsibility and ethical position communicative and emotional intelligence

In training translators, not only linguistic knowledge, but also cultural, psychological and creative skills should be emphasized. Considering the human factor in translation is the key to high-quality translation. In general, in modern translation practice, the translator’s inner world, cultural capital, and emotional intelligence are becoming central. Even in the era of advanced technologies, AI translation and automated systems, human creativity and contextual sensitivity still remain superior to artificial intelligence.

Therefore, in translator training systems today, the following components should be considered strategic priorities: psychological preparation, development of cultural thinking, expansion of creative thinking, strengthening ethical responsibility.

Thus, at the heart of translation quality lies not linguistic knowledge alone, but the translator’s personality — his/her worldview, experience, knowledge, and cultural sensitivity. This requires considering the translator not as a simple “language mediator,” but as a “cultural diplomat.”

Recommendations: Organizing special trainings on intercultural communication and ethical responsibility for translators. Introducing the course “Translator Psychology” in translation departments. Preserving the role of human creativity when using artificial intelligence tools in translation. Establishing a mentor–apprentice system for young translators.

ReferencesKomissarov, Yu. N. (1990). O perevode i perevodchike. Moscow: Nauka.Nida, E. A. (1964). Toward a Science of Translating. Leiden: Brill.Newmark, P. (1988). A Textbook of Translation. London: Prentice Hall.Baker, M. (2011). In Other Words: A Coursebook on Translation. London: Routledge.Larson, M. L. (1998). Meaning-Based Translation: A Guide to Cross-Language Equivalence. Lanham: University Press of America.Catford, J. C. (1965). A Linguistic Theory of Translation. London: Oxford University Press.Sharafiddinov, O. (2003). Tarjima san’ati. Tashkent: Fan.Komilov, N. (2015). Til va tafakkur uyg‘unligi. Tashkent: Yangi asr avlodi.

The Essence of Oneness 

In the depths of existence, a truth resides, 

A unity that binds, where hearts abide. 

Oneness is fundamental, a cosmic refrain, 

Echoing through eternity, a love that remains. 

Beyond the veil of differences, we stand as one, 

Connected threads in the fabric of life, forever spun. 

The same breath that stirs the trees, stirs the human heart, 

A shared essence that pulsates, a single work of art. 

In the mirror of the soul, reflections shine, 

A multitude of faces, yet a single divine. 

No separate streams, but rivers flowing free, 

Merging into the ocean, where unity is the sea. 

Let’s break the chains of division’s might, 

And recognize the oneness, shining with delight. 

For in embracing our shared humanity, we find, 

A world where love is the answer, and peace of mind. 

May we walk the path of unity and light, 

And in our hearts, may oneness be our guiding sight.

Dr. Ashok Kumar is an international mystical bilingual poet from India. His philosophical, spiritual poems are published in various anthologies in different languages including Urdu, English, Spanish, Polish, Hindi, and Chinese. He’s working as a principal in a reputed institution of India . He’s a universal poet appealing for love, Unity and integrity

BECOMING A POET…… Your touch of love making me a great poet in the entire society Troubles and sufferings can’t break mystic poet’s heart and soul This valuable vehicle of universal experience helping poet for strong emotions and true beauty Social, political and psychological changes are mystic divine goal This wild rose helping poet spreading fragrance on this planet earth for humanity and integrity Together we can be hopeful, optimistic in this journey of lovely life Purpose of poet is to carry duties and responsibility for the entire society Together we can understand each others to cope with stress and strife

FROM THE GARDEN OF ALPINE LOOMB BAGHPAT, INDIA BHARAT JANUARY 05,2023 ©® DR ASHOK KUMAR INTERNATIONAL PEACE ACTIVIST AMBASSADOR OF IFCH MOROCCO AFRICA WORLD POET LAUREATE POET OF BIRLAND INTERNATIONAL JOURNALIST MEMBER OF INTERNATIONAL HUMAN RIGHTS 

Hi all, November’s second issue will go live on our site on Saturday, November 22nd. That issue will include pieces received between October 27th and November 14th. Everything will go back to a regular schedule, with issues published on the 1st and 15th of each month, beginning with our December 1st issue.

In the meantime, here are some announcements.

Igor Goldkind’s poetry collection Facing the Waves is available for review. Please email us at synchchaos@gmail.com if you are interested!

FACING the WAVES by Igor Goldkind is a bold and immersive exploration of memory, love, protest, and existential inquiry. Blending raw emotion with sharp social critique, Goldkind’s verses traverse themes of personal reflection, political resistance, and spiritual connection. — Subversion Press, 2025

More about Facing the Waves here, and here’s an album inspired by the collection.

____________________________________________________________
Also, here’s an announcement from our regular contributing author Jacques Fleury:

One of our regular contributors Jacques Fleury is looking for reviewers for the inside and back cover of his upcoming book. Published authors will have the opportunity to mention their books with their quoted reviews for publicity! Non book authors will have the opportunity to get their names out there in the publishing world!

The book will be published by Culicidae Press and its imprints after a “peer review” process. Interested reviewers can contact Jacques Fleury directly at: thewriter3000@gmail.com

Here is the temporary title still in progress and the “Introduction” to the book to help you decide about reading the full manuscript. Read the introduction here.

Poked and WOKE: Prose and Poetry from a Haitian American Dreamer at the Intersection of Politics and Desire

An Assemblage of Fiction, Essays, Reviews, Poetry and More…

FACING the WAVES by Igor Goldkind is a bold and immersive exploration of memory, love, protest, and existential inquiry. Blending raw emotion with sharp social critique, Goldkind’s verses traverse themes of personal reflection, political resistance, and spiritual connection. 

 From tender tributes to loved ones to fiery calls for justice, the collection challenges readers to confront the complexities of life, death, and humanity. 

 Accompanied by music from renowned jazz artist Gilad Atzmon, this poetic journey is both deeply personal and universally resonant, reminding us to face the waves of existence head-on. 

The author’s perspective on love, as expressed in An Odd Collection of Poetry, is multifaceted and deeply emotional. Love is portrayed as both a source of joy and longing, as well as an affliction that can bring pain and vulnerability. 

1

Goldkind explores romantic passion, the thrill of connection, and the ache of unrequited love, often highlighting its transformative and consuming nature. He views love as an intense, raw force that intertwines the physical and spiritual, capable of elevating the human experience while also exposing its fragility. 

 Ultimately, love is depicted as a profound, essential aspect of life, even when it leaves scars. 

In FACING the WAVES, the author contrasts love with other emotions by emphasizing its depth, complexity, and transformative power. While emotions like fury, grief, and longing are often depicted as raw and visceral responses to life’s challenges, love stands out as a multifaceted force that intertwines joy, vulnerability, and spiritual connection. 

1

Unlike anger or despair, which can isolate and consume, love is portrayed as both a unifying and destabilizing experience—capable of elevating the human spirit while exposing its fragility. Goldkind’s exploration of love often juxtaposes its tender moments with the pain of loss or rejection, highlighting its unique ability to encompass both ecstasy and suffering, making it central to the human condition. 

SUBVERSIONfactory © 2025

Esther Chung in Kim’s Convenience (2025)

Photo by Dahlia Katz

The Play “Kim’s Convenience” Puts Inconvenient Truths about Family and Cultural Identity on Display

A Netflix award winning comedy-drama from Canada brings the funny to the Boston Center for the Arts

It’s safe to say that most, if not all, of us are familiar with the local neighborhood “Convenient Store” and that is the premise of this slice of life play “Kim’s Convenience” which sparked the widespread triumphant TV series that ran for five seasons on CBC/Netflix. Adam Blanshay Productions presents this Soulpepper Theatre Company production in association with American Conservatory Theater, Canada’s leading artist-driven theatre company, and directed by Weyni Mengesha. This North American tour is currently showing at the Calderwood Pavilion at the Boston Center for the Arts from Nov. 6 to Nov. 30, has been extended due to popular demand!

The play’s prima facie “basic” premise (yet ultimately complex upon closer scrutiny) is store owner “Mr. Kim”, aka “Appa” played by playwright Ins Choi, is a first-generation Korean Canadian convenience store owner. Mr. Kim, a dedicated family man who works tirelessly to keep his family fed and happy at his convenience store in Toronto, Canada. But with the changing of the times, Mr. Kim faces a contentious dilemma about his future as he experiences the effects of gentrification in a shifting environment and the growing distance between his own ideals and the dreams and aspirations of his Canadian-born children.

Ins Choi, who plays the principal character, Mr. Kim (Appa) describes Kim’s Convenience as his “…love letter to my Appa and Umma, and to all first-generation immigrants who end up making a foreign land, home.” He went on to say, “Having originated the role of Jung (the son) almost fifteen years ago, I’m grateful to now be playing the role of Appa (the dad) in this play. My kids have been preparing me for this their whole lives.”

It begins with a startling narration concerning a rift between Japan and Korea. “Mr. Kim” often starts it off with “In 1904, Japan attacked Korea…” Then goes on and on to about how Japan tried to enslave Korea while customers listen respectfully yet reluctantly. I thought this helped bring the audience into Mr. Kim’s world to some extent, and find out more about his vigilant motives to have Japanese manufactured cars parked in front of his store in the handicap zone immediately towed! It made me want to know more about the bad blood between Japan and Korea.

Korean history was accentuated and the relationship between Japan and Korea was also put under the spotlight, which makes me wonder: why do we blame each other for what our ancestors did in the past instead of starting over in the present? This play brought some audience members to visible tears. It pierces right through your heart and awakens the fragility in one’s humanity. It reminds you of what it means to be human, to be open, to be vulnerable; which is all part of being and feeling alive. The purpose of the theater is to showcase a slice of life live on the stage and hopefully spectators will relate on some level and much like the stage, when we get back to our normal lives, we all put on our costumes and step out onto our personal “life stage”. We are all a continuous staging of plays throughout our lifespans… and this particular play reminded me of that in the most hilarious way.

The production made effective use of most of the five types of dialogue, which helped to enhance further understanding of the plot and plot twists:

• Outer dialogue. Outer dialogue is the spoken interaction between characters — what readers “hear” when people in your story speak out loud. …
• Inner dialogue. …
• Indirect dialogue. …
• Dialect. …
• Monologue.

However, the most interesting and comically effective dialogue display was the intra-familial dialect, especially between Mr. Kim and his daughter “Janet” portrayed by Kelly J. Seo. The slang term for dialogue spoken only between family members is familect. This refers to a family’s unique set of invented words, inside jokes, and phrases that create a sense of intimacy and unity within the group

There were lively familial nuances and eccentricities that rendered definitive moments of laughter balanced with respective moments of sadness providing opportunities for reflection and impugn our own notions of what it means to be a family. The sacrifices our parents make for us while neglecting their own dreams and passions. We see ourselves in this Korean family in spite of racialized identity. The play pontificates the inarguable fact that we are all part of this human family. We all experience joy, sorrow and moments of hilarity and eventually we all succumb to our fallible humanity. There was preeminently a plethora of unspoken “stuff” between Mr. Kim and his daughter which I find particularly relatable in the context of “real-life” situations that I’ve even experienced with my own family. Our parents don’t always “tell” us they love us, some, especially parents like Mr. Kim who comes from another generation where “feelings” were not necessarily overtly conveyed. It is what we now know as our “love language”.

“Janet” felt a need to hear that her father loves and appreciates her but Mr. Kim feels like he has already “shown” his love and appreciation for her by what he’s done for her over the years, which in “love language” lingo is known as “acts of service.” It was during this part of the play when audience members were visibly in tears over the emotional tug and pull between father and daughter. Then you have “Jung” the prodigal son portrayed by Ryan Jinn, who had a falling out with his father Mr. Kim and left home at an early age, only to return for possible reconciliation and a better future for himself. The mother “Umma” portrayed by Esther Chung played mostly a supporting role, mediating between the father and their adult children as most mothers often do; although that is changing with the evolutionary roles of women in contemporary society which in some instances is translating to more stay-at-home dads while mothers dominate the workforce.

At times due to the accents, the rapid-fire speech was hard to understand, but there was always the opportunity to contextualize it which made things eventually clearer. The accents, broken English and speedy speech actually made the play more endearing with a quirky offbeat quality that I enjoyed.

Despite the intermittent disharmony within family members on the stage, in the context of our current societal reality—with political infighting and wars raging between countries, the play reminds us that our immediate families, whether biological or ones that we create for ourselves, is where we find our true core of selfhood and find our peace despite all that is going on in the outer world.

When it came to race matters between Asians and African Americans, there were dual tensions between racialized acceptance and racialized suspicion and inherent lack of trust based on societal misconceptions and indoctrinations that most of us rail against on a daily basis. A stark reminder that racism is part of the air that we all breathe. And despite our best intentions, we all have our internal and external struggles when it comes to seeing beyond perceived non-scientifically based racial differences and just see each other in one another as just part of “the human race.” This play was about an emancipation of our vulnerable humanity, an invitation to release our preconceived notions and inherited prejudices and once we get beyond that and can laugh at it and at ourselves, then we can strive and move beyond it; in spite of what we’ve been taught about our racialized, socioeconomic and cultural differences…

The sole African American actor Brandon McKnight, who played four different recurring black characters, one being the daughter’s love interest, with hilariously awkward yet touching gradations that added that little sprinkle of pepper to imbue additional zest to an already zesty production. I suppose that, for this purpose, he was literally “the token black” guy who perpetuates as well as challenges black stereotypes.

The set created a realistic feel of being in an actual convenience store, which as an onlooker gave me a sense of familiarity which facilitated just sitting back and absorbing this thoughtfully staged alternate reality.

Kim’s Convenience is seemingly a localized familial Resorgimento in comparison to the 19th century movement for Italian political pursuits to free itself from foreign rule after Napoleon’s defeat in 1815, similar to the desires of the more liberal and modernized children of immigrant parents who aim to “free” themselves from the cultural and familial expectations of their more conservative and traditional “foreign” born parents. It begs the question: can there ever be a price tag on how much we owe to our parents for our personal freedoms and gains at the expense of their own personal losses and sacrifices?

Hailed “the most successful Canadian play of the last decade” by ClassicalFM, Kim’s Convenience was initially fashioned as part of the 2011 Toronto Fringe Festival. The début creation was shaped by Soulpepper Theatre Company in Toronto, ON and grew into a universally successful TV show on CBC and Netflix subsequent to its original run.

Spectator William Horkar relished in the fact that he was able to compare and contrast the play with the Netflix series. He expressed feeling a sense of familiarity with the premise and the characters which made seeing the live performance that much more enjoyable. However he went on to say, ” My thoughts on [this] play are many and somewhat mixed up with my recollection of the rendering of the [Netflix] series. But at its core it spoke to me as a family drama, a story of immigrants and culture, difference and similarity and of a maturing into relationship and responsibility to self and others. I’m very glad I had the opportunity to see it…”

Despite the juicy familial dramata and tensions and the edgy sociopolitical undercurrents, this play still manages to be a constant of comical crescendos that rarely let up without ever letting us down.

Kim’s Convenience is “WOKE” without being preachy. It is an intelligent, incisive and instructive gem of a play, abounding with thunderous laughter and clever comicality! A must see! Five out of five stars for me!

For more information on Kim’s Convenience visit

https://www.huntingtontheatre.org/whats-on/kims-convenience/@huntingtontheatre#KimsBOS

Jacques Fleury is a Boston Globe featured Haitian American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self” & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of Wyoming, Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, Amazon etc… He has been published in prestigious publications such as Spirit of Change Magazine, Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, Poets Reading the News, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at:  http://www.authorsden.com/jacquesfleury.-