I don't want to see stores looted or buildings burned; but African- Americans have been living in burning buildings for years, choking on smoke as flames burn closer and closer.  Kareem Abdul-Jabbar

That’s not a chip on my shoulder. That’s your foot on my neck.  – Malcolm X

"We must never, ever give up. We must be brave. We must be courageous." John Lewis, activist, congressman. 1940-2020 

This is my simple religion. There is no need for temples; no need for complicated philosophy. Our own brain, our own heart is our temple; the philosophy is kindness. ~ Dalai Lama

"Never forget that justice is what love looks like in public."  Professor Cornel West.

"Only by learning to live in harmony with your contradictions can you keep it all afloat."  Audre Lorde

"The serious function of racism is distraction". 1995, Toni Morrison; Portland lecture, Playing in The Dark

“If I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me.” Nora Ephron

"Freeing yourself was one thing; claiming ownership of that freed self was another." author Toni Morrison (1931- 2019)

“If I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me”; Nora Ephron, author/comedian

"Make your story count". Michelle Obama

"Social pain is understood through the lens of racial animus". Researcher/author Sean McElwee writing in Salon, 2016

"We are citizens, not subjects. We have the right to criticize government without fear."  Chelsea Manning; activist/whisleblower

“My father was a slave and my people died to build this country, and I’m going to stay right here and have a part of it, just like you, And no fascist minded people, like you, will drive me from it. Is that clear?” Paul Robeson; activist/singer

“We have a system of justice in this country that treats you much better if you're rich and guilty than if you're poor and innocent”. from civil rights attorney Bryan Stevenson

“This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today?” Frederick Douglass, WHAT TO THE SLAVE IS 4TH JULY? 07.05.1852 (full text in blog)

Senator Elizabeth Warren "We're a country that is built on our differences; that is our strength, not our weakness"

"We are more alike than we are different" ~ Maya Angelou

As a Black writer, I was expected to accept the role of victim. That made it difficult in the beginning to be a writer.      James Baldwin

I often feel that there must have been something that I should’ve done that I didn’t do. But I can’t identify what it is that I didn’t do. That’s the first difficulty. And the second is, what makes you think you’re it?   

         Harry Belafonte, activist and singe


It ain't what you don't know that gets you into trouble; It's what you know for sure that just ainst so.

Mark Twain


You can't be brave if you've only had wonderful things happen to you.

Mary Tyler Moore


 You can’t defend Christianity by being against refugees and other religions

Pope Francis:


"I don't have to be what you want me to be". Muhammad Ali

"The Secret of Living Well and Longer: eat half, walk double, laugh triple, and love without measure"  attributed to Tibetan sources

Recent audio posts include interviews with Rumi interpreter Shahram Shiva, London-based author Aamer Hussein, South African Muslim scholar, professor Farid Esack, and Iraqi journalist Nermeen Al-Mufti's brief account of Kirkuk City history. Your comments on our blogs are always welcome.


Film review: Made in Bangladesh-A Union Story


by Barbara Nimri Aziz

If you’re gathering evidence of the victimization of Muslim women, this is not your film. Yes, Made in Bangladesh highlights exploitation in a country, most of whose citizens are Muslim. But this film’s focus is women workers: people working to support their families, as most women do, and fighting for parity, as most of us do.

            Some film reviews underscore the 2013 collapse of a garment factory in Dhaka where many women perished. Made in Bangladesh is not an account of that catastrophe.

            While the venue of this film is a clothing factory and the main characters are women laborers, its inspiration is union organizer Daliya Akter who, fleeing her village home, found work in a Dhaka garment factory, one probably not unlike the setting of this film. She eventually realized that the only way out of untenable working conditions she experienced was to build worker solidarity and gain legal protection, and so began organizing a union of fellow garment workers. Made in Bangladesh is based on her struggle and ultimate success, a story so compelling that film director Rabaiyat Hossain, herself Bangladeshi, reached out to Akter to collaborate in the writing and film production of her tough but heartwarming career.

            This is director Rubaiyat Hossain’s third feature film, and since its 2019 release through Indie film festivals, she has won recognition as an outstanding young filmmaker. She is unapologetically committed to women’s empowerment both in the themes of her films and also by employing professional women in her production teams, assembling a crew of talented Bangladeshi women to handle the cameras, the sound, editing, casting, and other production work that go into serious filmmaking. In a 2019 interview at the Toronto International Film Festival, Hossain explains her determination to bring women into all levels of production.

            Hossain is forthright about the political motive behind her themes too. She emphasizes that the women she portrays are not victims. Her aim is to direct attention to women’s search for political solutions to injustices they experience. She joins rejection of boycotts by sympathetic foreign consumers of those garment sweat shops after the 2013 tragedy, explaining: “These (factory) jobs have the potential to redefine life for young women in Bangladesh; the struggle of garment workers to be able to collectively work towards realizing their rights must be supported by everyone who wears the clothes they make. Only a tiny percentage of Bangladeshi factories are unionized; the answer (to exploitative factory management) is that these women are respected and that bad (working) conditions are not tolerated.”

            The film has deservedly won Hossain’s team international acclaim. Made in Bangladesh is laboriously and skillfully filmed in situ (in contrast with those lavishly staged Bollywood productions and made-for-America Indian features). Director Hossain swamps us in the deafening noise of a factory floor where rows of undistinguishable workers bend over machines. She maneuvers us along dusty, clamorous Dhaka streets. She leads us through unlit corridors of the labor ministry where our heroine repeatedly returns, petition in hand. She holds our gaze behind mosquito netting to overhear a forlorn couple review their bleak options. She draws us into a cluster of coworkers gathering to strategize their campaign. Anyone who has walked through urban neighborhoods in Nepal, Pakistan, India or Bangladesh will appreciate the authenticity that Hossain and her crew achieve in Made in Bangladesh. (It’s evident that her aim is not to exhibit Dhaka’s poverty. It is what it is—the daily routine of laborers, many of them rural migrants to the city.)

            And the actors: Made in Bangladesh’s main character is Shimu, beautifully rendered by Rikita Nandini Shimu. Our heroine emerges from silent humility to step on a risky path, facing one obstacle after another, yet refusing to retreat. Two other noteworthy figures are an NGO worker who recruits Shimu to gather signatures for her campaign but offers no real political support, and another unsympathetic character, a secretary to the ministry of labor official who reviewers union applications. Both these women could facilitate Shimu’s agenda, and their portrayal as passive characters emphasizes the courage and determination needed by our heroine.

            This Bangladeshi production also propels the country’s film talent onto the global stage, adding to the growing body of work that is countering established stereotypes and white-hero-focused films that have hitherto shaped and dominated our perceptions of the world’s people.

            See Hossain interview at NY Africa Diaspora Festival and for access to the film on its August 28th USA release.

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