New Delhi

IT DEPENDS WERE U LIVE......

i am based in Delhi i.e northern part of India

Janitor pay can vary quite a bit. Some janitors are on staff at places that need regular janitorial service, and they generally make less. But janitors that come around at night and provide cleaning on a contract basis would generally make more.

See the list of what all the custodian's make in Utah's public schools (after answer). Their top custodian makes $69,010 annually, while at the bottom of the scale is a helper custodian making $6.72 an hour (most likely part time and maybe even a student). Keep in might that Utah is the 51st for teacher's salaries (last I checked at least). So I would expect they would be pretty low on the custodian's pay as well.

I suspect other school and government agencies have similar data online.

I worked as a graveyard shift contract janitor for a while, and the pay was pretty good (compared to some of the other work I had at the time). Surprisingly janitors have a lot of job satisfaction, which is something else to consider in benefits of a job. School custodians generally have really good benefits, with pensions, and also get summers off.

most get paid 300$ an hour
Any where from $18,000 to $65,000 depending if they work for some one or are privately doing it, Also it depends on what jobs they are doing.

Many of the bhakti poet-saints rejected asceticism as the crucial means toward liberation; some bhaktas were instead householders. As well, themes of universalism, a general rejection of institutionalized religion, and a central focus on inner devotion laid the groundwork for more egalitarian attitudes toward women and lower-caste devotees. Women and shudras, both at the bottom of the traditional hierarchy ordering society, became the examples of true humility and devotion.

Female poet-saints also played a significant role in the bhakti movement at large. Nonetheless, many of these women had to struggle for acceptance within the largely male dominated movement. Only through demonstrations of their utter devotion to the Divine, their outstanding poetry, and stubborn insistence of their spiritual equality with their contemporaries were these women reluctantly acknowledged and accepted within their ranks. Their struggle attests to the strength of patriarchal values within both society and within religious and social movements attempting to pave the way for more egalitarian access to the Divine.

The imagery of bhakti poetry is grounded in the everyday, familiar language of ordinary people. Women bhaktas wrote of the obstacles of home, family tensions, the absent husband, meaningless household chores, and restrictions of married life, including their status as married women. In many cases, they rejected traditional women's roles and societal norms by leaving husbands and homes altogether, choosing to become wandering bhaktas; in some instances they formed communities with other poet-saints. Their newfocus was utter devotion and worship of their Divine Husbands.

Caste status and even masculinity were understood as barriers to liberation, in essence a rejection of the hierarchy laid out by the Law Books of the Classical Period. Male bhaktas often took on the female voice calling to her Beloved, utterly submissive to His desires. However, while male bhaktas could engage in this role-playing on a temporary basis, returning at will to their privileged social status as males, women bhaktas faced overwhelming challenges through their rejection of societal norms and values, without having the ability to revert back to their normative roles as wives, mothers and in some cases, the privileges of their original high-caste status.

While it is tempting to see women's participation within the bhakti movement as a revolt against the patriarchal norms of the time, there is little evidence to support this perspective. Injustices and the patriarchal order itself were not a major focus of these poet-saints. Women bhaktas were simply individuals attempting to lead lives of devotion. Staying largely within the patriarchal ideology that upheld the chaste and dutiful wife as ideal, these women transferred the object of their devotion and their duties as the "lovers" or "wives" to their Divine Lover or Husband. Nonetheless, that their poetry became an integral aspect of the bhakti movement at large is highly significant and inspirational for many who look to these extraordinary women as ideal examples of lives intoxicated by love for the Divine.

Further, it would appear that with the movement's northward advancement (15th through 17th centuries), its radical edge as it pertained to women's inclusion was tempered. Greater numbers of women took part in the movement's earlier development (6th to 13th centuries); it is largely male bhaktas and saints that are today perceived as the spokespersons for the movement in its later manifestations. The poetry of women bhaktas from this latter time period is generally not indicative of a rejection of societal norms in terms of leaving family and homes in pursuit of divine love. Instead, some of the later poet-saints stayed within the confines of the household while expounding on their souls' journeys, their eternal love for the Divine, as well as their never-ending search for truth.

Female Bhaktas

The poets outlined below represent a panorama of female poet-saints within the Bhakti movement. Some were extraordinarily radical in their rejection of social norms and values, leaving husbands, families, and society behind in order to extol their love for God. Others attempted to fit into more traditional roles in society by maintaining their responsibilities as wives and mothers. All wrote exquisite poetry that has been passed on through bards and singers throughout India.

Akkamahadevi, also known as Akka or Mahadevi was a bhakta from the southern region of Karnataka and a devotee of Shiva in the 12th century CE. Legends tell of her wandering naked in search of her Divine Lover; her poetry, or vacanas tell of her frustration with societal norms and roles that restricted her. They also bear witness to her intense, all-encompassing love for Shiva, whom she addresses as Chennamallikarjuna. Through Shiva and Shiva alone is her love fulfilled; through separation from her "lord white as jasmine" is her heart broken.

Janabai was born around the 13th century in Maharashtra in a low-caste sudrafamily. As a young girl she was sent to work in the upper-caste family of Namdev, one of the most revered of the bhakti poet saints. While within this household, she continued to serve Namdev, both as a servant and as his devotee. Janabai wrote over three hundred poems focusing on domestic chores and the restrictions facing her as a low-caste woman.

Mirabai, or Mira is said to have been born into a ruling Rajput family. Mirabai's poetry tells of her vision of Lord Krishna when she was a child; from that point on Mira vowed that she would forever be his bride. Despite her wishes, she was married into another princely family at a young age. Yet the numerous legends surrounding Mira tell of an undying devotion toward Krishna, her true husband. Central to these accounts are Mirabai's struggles within the family she had been married into, including unsuccessful attempts made by her jealous husband to kill her. Others focus on her sisters-in-law's efforts to obstruct Mirabai in her desires to join the company of wandering saints, actions deemed utterly improper for a woman of her high-caste status. Eventually, Mirabai left her husband and family in pilgrimage to various places associated with "her Dark Lord," including Brindavan, Krishna's holy city. There she was initially rejected because she was a woman. Yet Mirabai's reputation of devotion, piety, and intellectual astuteness eventually led to her inclusion within the community of the saints of Brindavan.

Mirabai's poetry portrays a unique relationship with Krishna; in it, she is not only the devoted bride of Krishna, but Krishna is ardent in his pursuit of Mira. Because of Mirabai's singular focus and intense devotion of her Husband, the "lifter of the mountain," she can be perceived as simply upholding the "wifely" duties of women and patriarchal norms in general. On the other hand, she remains for many a symbol of resistance of social order of the day.

Bahinabai or Bahina was a poet-saint from 17th century Maharashtra, writing in the form of abangas, women's songs that accompanied their labors, especially in the fields. Her writings are particularly autobiographical, recounting her childhood, puberty and married life. Despite having obvious conflicts with her husband due to her overarching and ecstatic love for her Divine Lover in the form of Lord Vithoba, another name for Krishna, she took her role as wife and responsibilities to her earthly husband seriously. Her husband was also critical of her allegiance to the bhakti poet-saint Tukaram. Nonetheless, her poetry reflects an attitude of duty and respectful empathy toward both her marriage and her spouse. This becomes clear through her writings on the responsibilities of women toward their husbands.

Though highly unusual, it is believed that Bahinabai received some classical training from her father, a Brahmin scribe. Her poetry recounts visions she experiences of the low-caste poet-saint Tukaram; despite her high-caste status, she became his devotee, thus choosing the path of devotion over brahmanical norms of ritual purity.

Baolis or stepwells were built to collect rainwater during the monsoons and allow people to access the receding water through the year. They are examples of the many types of storage and irrigation tanks that were developed, mainly to cope with seasonal fluctuations in water availability. The majority of surviving stepwells originally also served a leisure purpose because the base of the well provided relief from daytime heat. Stepwells also served as a place for social gatherings and religious ceremonies. Usually, women were more associated with these wells because they were the ones who collected the water and it was they who prayed and offered gifts to the goddess of the well for her blessings. This led to the building of some significant ornamental and architectural features often associated with dwellings, it also ensured their survival as monuments. Stepwells usually consist of two parts: a vertical shaft from which water is drawn and the surrounding inclined subterranean passageways, chambers and steps which provide access to the well. The galleries and chambers surrounding these wells were often carved profusely with elaborate detail and became cool, quiet retreats during the hot summers. Historians say that while there were over a hundred baolis in Delhi towards the start of the 20th century, today only about 10-15 have survived urbanization. Many baolis were lost or filled in completely due to large scale construction. Apart from the bigger baolis like Ugrasen ki baoli or Rajon ki baoli, etc., there were many small baolis from the Lodi and Mughal times. These were used extensively as a source of water for the locals.

Agrasen ki Baoli - It is not certain who built this step-well, Agrasen ki Baoli, though some credit a king called Agrasen. The Agrasen ki Baoli, named after Raja Agrasen of the Mahabharata, is believed to have been built during the 10th century BC. But historians feel the Baoli was built in the 14th century AD by the Agarwal community. Close to the heart of Connaught place in Central Delhi the 104-step Baoli used to be the epicentre of cultural life in Delhi in 14th century. Spanning 60 metres in length and 15 metres in width and flanked on both sides by niches, chambers and passageways, the baoli has three landings. Centuries ago this was a reservoir as well as a summer refuge for heart stricken citizens, living in pre lodhi times. The well was surrounded by cool corridors where the locals lounged on hot summer afternoons. As the water level plunged the people would seek a cooler retreat in the baoli's lower reaches. Till 2002 there was water but now all the water has evaporated.

Hazrat Nizamuddin ki Baoli- The baoli in Nizamussin Basti was built by the sufi saint Hazrat Nizamuddin more than 700 years ago (14th century). This is the only Baoli in Delhi that still has water as it has an active underground spring. It measures 123 ft by 53 ft internally and is enclosed by a wall on the South-East and West. The construction of this step-well began at the same time as Ghiyas-ud-din Tughlaq began building his massive Tughlaqabad fort. The emperor wanted all the masons in the land to work on his fort alone. They could not undertake any other project. However, Nizamuddin was keen on having the Baoli built at the same time. So the masons worked on the fort during the day and on the Baoli by night. In a fit of pique, the emperor cut off the supply of oil to Ghiyaspur (present day Nizamuddin) so that there would be no light to work on the Baoli at night. The story goes that Nizamuddin lit the lamps with water and cursed the emperor, saying that his fort would remain deserted on completion. Its walls are made of huge blocks of Delhi quartzite, the city's only local stone, which is also seen in the Tughlaqabad fort. Over the decades, the water of Hazrat Nizamuddin's baoli became toxic with decomposed muck. In 2009, a renovation project undertaken by the Aga Khan Trust for Culture and ASI managed to reach the well's foundation. Today, the water looks clean.

Gandak ki Baoli- The Gandhak ki Baoli, near Qutab Minar, was built by Iltutmish for Bakhtiar Kaki (a Sufi mystic responsible for establishing the Sufi order in Delhi) in 13th century. The baoli is in five tiers, each tier narrowing as it descends towards the bottom. The Gandhak ki Baoli got its name from the smelly sulphur springs that fed the well. Because of its sulphur-rich water, said to have healing properties for skin ailments, this baoli was used as a spa. The baoli is called the diving well since men dive in it for the amusement of visitors

Rajon ki Baoli -Of all the Baolis, it was the most ornamental. Located in Mehrauli, it was Built by Sikander Lodhi in the 16th century. 'Rajon' refers not to the kings but to the masons. With 66 steps, the baoli's top floor has a row of arched niches, which are cool inside.

Bahadur Shah Zafar mahal baoli- The baoli near the mahal of Bahadur Shah Zafar is built in imitation of the wells at Gandak-ki-Baoli and Rajon-ki-Bain. It contains about 74 steps and was built in three stages during the reign of Aurangzeb.

Lal Qila Baoli- The Red Fort's baoli is 14th century, significantly pre-dating the fort itself which is 17th century. The baoli is built of Delhi Quartzite stone. It has an unusual design that features an octagonal well-shaft, two-stories and two sets of steps leading down, one from the north and one from the west. The staircases are lined with chambers on both sides. A passageway leads to the deep, dark reservoir adjacent to the tank. It is belived that the baoli dates back to Tughlaq-era. Some historians concede that it might have also been used by the inhabitants of Salimgarh Fort that pre-dates the Red Fort and was integrated with the Red Fort itself as a garrison by Shahjahan. Shahjahan extensively renovated the baoli to suit his fine tastes. The British when they occupied the fort converted the chambers into jail rooms for members of Netaji Subhas Chandra Bose's Indian National Army. Even Dara Shikoh was imprisoned in the remote part of the Red Fort before his assassination on the order of his brother, Aurangzeb. After the British left, the baoli came under the control of Indian Army, then the CRPF and now ASI. It was allowed to be reclaimed by vegetation and weeds and put to use as a dump yard.

Hauz Khas Baoli- The Hauz-i-Alai Tank,originally built by Sultan Alaudin Khilji in the 13th - 14th centuries B.C., went dry soon after his death in 1316. It was rebuilt by Feroz Shah Tughlaq 50 years later. It was used to supply water to Siri which has the tomb of Firoz Shah Tughlaq, a mosque and a madrasa (college for Islamic studies) on its eastern and southern sides.

Firoz Shah Kotla baoli - Firoz Shah Kotla baoli was built as a part of the fortress by Feroz Shah Tughlaq. This Baoli served as a summer retreat for the Royalties where they spent time cooling off and bathing in the water of this well. The circular baoli with a triangular base lies towards the north western side of the Ashokan Pillar and in the heart of a large garden constructed in the form of subterranean apartments and a large underground canal built on its eastern side through which the water runs into the well. Nowadays it teams with large fish and is used water the gardens of the complex.

Khari baoli- Khari baoli gets its name Khari or Khara, meaning salty. It was a saline water stepwell used for animals and for bathing. It was constructed along with a fortified gateway on its western end popularly known as Lahori Gate, during the Mughal era. However, today there is no trace of either the well or the gateway, which now lie buried under the main road of Asia's largest spice market. The market came up around the Fatehpuri Masjid, which was built in 1650 by Fatehpuri Begum, one of Mughal Emperor Shah Jahan's wives.

Arab-ki-Sarai's baoli - Arab-ki-sarai is among the several smaller monuments surrounding Humayun's Tomb. This L-shaped baoli was built to quench the thirst of the over 300 Persian artisans who stayed in while constructing Arab-ki-sarai.

Dwarka Baoli- The baoli dates back to the Lodi era, with typical Lodi architecture and prominent arches near the steps. The baoli does not figure in INTACH's 2001 listing of heritage buildings in the city, but is included prominently in Zafar Hasan's list which was brought out in the 1910s. The Zafar Hasan listing mentions the existence of the baoli in village Loharehri and highlights that the monument is a one-of-its-kind structure as there is no evidence of any other structure in the area. The 1910 listing states that it is not very deep and should have about 22 steps.

Shamilat Deb Baoli - is also mentioned by Maulvi Zafar Hasan in the old Sultanpur area of Mehrauli. Even during the early years of the 20th Century it was not in use, being filled up with mud and only eight steps visible.

Puran Qila baoli- The construction work of Purana Qila started in 1533 , under the reign of Humayun but it was completed after 5 years. But his reign here was short lived. In 1540 Sher Shah the Afghan-origin chieftain from eastern India ended Humayun's reign and ousted him. Sher Shah reigned here for 5 years until his death in 1545. But during his reign he also built many important monuments here. Humayun regained the fort in 1555 after 15 year of being ousted but he died a tragic death shortly in 1556. The baoli was a part of the fort. Ascending down to 22 metres this well was an important source of water. It could have been the only source. Since the fort stood on an elevation, the well had to be dug deeper. The way in which they managed to create the 89 steps well with proper covering is a great achievement even by today's standard.

Manwari Begum-ka-Burj, a baoli was built during the reign of Feroz Tughlak. The tablet attached to it was so badly obliterated that Maulvi Zafar Hasan could not make any sense out of it but even so recommended the preservation of the baoli.

Sources:

www.delhiheritagewalks.com

www.travel-and-tourism.ws

www.thedelhiwalla.com

www.indiaheritagehub.org