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February 9, 2010

Memories of a New Associate Producer

Shubha Bala, associate producer

As the newest addition to Speaking of Faith, my first task has been to prepare the show “No More Taking Sides” for rebroadcast in a couple of weeks. Listening to Ali say “Nobody want to be honest. Everybody want to be right,” reminded me of working in Gujarat when “state-sanctioned” violence, torture, and rape broke out across the state, primarily with Hindus attacking Muslims.

Although Hindu by birth, I was working there for a non-denominational organization. I was 20. Under 24-hour curfew, the media were saturated with images of brutality happening just down the street. More importantly, the dialogue of friends and colleagues concentrated on “us” versus “them.”

Recently, a friend read my personal narrative and asked, “Didn’t the Hindus realize the irony that came with attaching terms of violence to the Muslims?” Well no. Not the Hindus that took a side. They felt they were right and all Muslims were wrong. As for me, in addition to coping with the sheer force of violence, I was equally faced with a personal crisis — the Hindus I met believed I was part of “them,” but I just wanted to be human and I wanted the brutality to stop.

Robi and Ali’s story makes me imagine that organizations like Parents Circle - Family Forum can break down the centuries of opposing sides that have persisted between Hindus and Muslims.

(February 9, 2010 - 5:00 am)
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February 8, 2010

“My Life, My Death, My Choice”
Andy Dayton, associate web producer

In December 2007, British fantasy writer Sir Terry Pratchett publicly announced that he had been diagnosed with Alzheimer’s disease. Primarily known for his best-selling Discworld series of fantasy novels, he has now become a vocal advocate for the right to “early death.”

The video above is from Pratchett’s speech, “Shaking Hands with Death,” for the BBC’s annual Richard Dimbleby Lecture. Early on in the speech — delivered by actor Tony Robinson due to Pratchett’s condition — he tells the story of his father’s death from pancreatic cancer:

“On the day he was diagnosed my ­father told me, ‘If you ever see me in a hospital bed, full of tubes and pipes and no good to anybody, tell them to switch me off.’ In fact, it took something under a fortnight in the hospice for him to die as a kind of collateral damage in the war between his cancer and the morphine. And in that time he stopped being him and started becoming a corpse, albeit one that moved ever so slightly from time to time.”

In the clip above, Pratchett addresses what he calls “the God argument” and identifies himself as a Humanist who “would rather believe that we were a rising ape, not a falling angel.” He finishes with this thought:

“It’s that much-heralded thing called the quality of life that’s important. How you live your life, what you get out of it, what you put into it, and what you leave behind after it. We should aim for a good and rich life well-lived. And at the end of it, in the comfort of our own home, in the company of those who love us, have a death worth dying for.”

(February 8, 2010 - 5:00 am)
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February 7, 2010

Vodou Brooklyn
Trent Gilliss, online editor

Finding a lead image to complement our show delving into Haitian Vodou was a moment of diligent serendipity. I struggled to present images that capture the spirit and tone of a tradition — one that has been caricatured in so many ways for such a long time — and still remain surprising, respectful, and true to its practitioners and its rituals.

Stephanie Keith’s photographs deliver and endure because they do just that — respect the tradition. They also take us into a neighborhood (in the United States), into a life that most of us probably would never encounter. We see how a tradition survives, evolves, and flourishes through immigrant life.

And, here was a photographer who was personally invested in her subjects — at least my intuition said so — and not just documenting them. When I contacted Stephanie Keith for permission to use a few photographs, I asked her why she got started on this project — a Vodou priest at a Buddhist peace rally invited her to learn more about his religion at a “party.”

That was enough for me. The result: “Vodou Brooklyn,” a narrated slideshow of her images and story fused with the vibrant, percussive rhythms from Angels in the Mirror: Vodou Music of Haiti.

Several years later, Keith’s words and images endure. And I’m glad to have played a part in spreading her work and sharing a bit of these Haitian-Americans’ lives with those of us who may have been clueless, but remain curious.

(February 7, 2010 - 8:51 am)
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February 5, 2010

A Triumphant Survival

Kate Moos, managing producer

Arresting. From the Mail & Guardian, this difficult and disturbing set of images accompanied by an interview with Leon Botha, an artist and Progeria survivor. He is 24 years old. A Friday afternoon video *pause* in a day that leaves me reflective.

(Thanks to Boing Boing for their post leading me to this slideshow.)

(February 5, 2010 - 4:00 pm)
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February 3, 2010
Les Femmes du Maroc Trent Gilliss, online editor
Fresh photography. Taking the old, the classic. Reinventing the established. Masters become mentors. Absorbing and recreating. A Western form made modern and reinterpreted for all to imagine. That’s what I absolutely have fallen for in this series of photographs by Lalla Essaydi:

“In photographing women inscribed with henna, I emphasize their decorative role, but subvert the silence of confinement. There is a very different space I inhabit in the West — a space of independence and mobility.”

That henna is composed of Arabic script. Use of calligraphy in this way keeps with traditional inscriptions one might see in the simplest of mosques or in the Alhambra; it also gives deeper meaning to these poses modeled after 19th-century European and American paintings. Even the title of the series, Les Femmes du Maroc, is a play on Delacroix’s Les Femmes d’Algiers.
I’m not versed well enough in art history to immediately understand the many subtexts going on in these photographs. But, I don’t have to; and you don’t have to either to enjoy the magnificence of these women and the tender beauty of those who inhabit the many worlds we all transect in one way or another as creative, working, sentient beings. Essaydi creates a dialogue about ourselves and eventually with the stranger seated at the table next to you:

“In my art, I wish to present myself through multiple lenses — as artist, as Moroccan, as Saudi, as traditionalist, as liberal, as Muslim. I invite viewers to resist stereotypes.”


(image, top: “Moorish Woman” + bottom: “Grand Odalisque” - courtesy of the Edwynn Houk Gallery, New York and Howard Yezerski Gallery, Boston)
[h/t Mona Eltahawy]

Les Femmes du Maroc
Trent Gilliss, online editor

Fresh photography. Taking the old, the classic. Reinventing the established. Masters become mentors. Absorbing and recreating. A Western form made modern and reinterpreted for all to imagine. That’s what I absolutely have fallen for in this series of photographs by Lalla Essaydi:

“In photographing women inscribed with henna, I emphasize their decorative role, but subvert the silence of confinement. There is a very different space I inhabit in the West — a space of independence and mobility.”

That henna is composed of Arabic script. Use of calligraphy in this way keeps with traditional inscriptions one might see in the simplest of mosques or in the Alhambra; it also gives deeper meaning to these poses modeled after 19th-century European and American paintings. Even the title of the series, Les Femmes du Maroc, is a play on Delacroix’s Les Femmes d’Algiers.

I’m not versed well enough in art history to immediately understand the many subtexts going on in these photographs. But, I don’t have to; and you don’t have to either to enjoy the magnificence of these women and the tender beauty of those who inhabit the many worlds we all transect in one way or another as creative, working, sentient beings. Essaydi creates a dialogue about ourselves and eventually with the stranger seated at the table next to you:

“In my art, I wish to present myself through multiple lenses — as artist, as Moroccan, as Saudi, as traditionalist, as liberal, as Muslim. I invite viewers to resist stereotypes.”

"Grand Odalisque" (2008)

(image, top: “Moorish Woman” + bottom: “Grand Odalisque” - courtesy of the Edwynn Houk Gallery, New York and Howard Yezerski Gallery, Boston)

[h/t Mona Eltahawy]

(February 3, 2010 - 3:17 pm)
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February 2, 2010
SOF Live! Krista in Conversation with Robert Wright February 2nd, 2010 ~ 7:00–8:30 pm CSTCowles Auditorium, University of Minnesota HHH Institute (get directions) » watch online | » RSVP by emailing hhhevent@gmail.com
We will be live-streaming video of Krista’s interview with New York Times best-selling author, Robert Wright. He’s the author of The Evolution of God, Nonzero: The Logic of Human Destiny, The Moral Animal, and Three Scientists and Their Gods. Professor Michael Barnett will moderate the question-and-answer session with our in-house and online audiences. The program will be followed by a reception in the Humphrey Center atrium.
We will start broadcasting video of the event at 6:45 pm CST, 15 minutes before the start of the interview. If you plan to attend in person, please RSVP by sending an email to hhhevent@gmail.com. There’s a hard start time of 7 pm for this event. And, please stop by and say hello!

SOF Live! Krista in Conversation with Robert Wright
February 2nd, 2010 ~ 7:00–8:30 pm CST
Cowles Auditorium, University of Minnesota HHH Institute (get directions)
» watch online | » RSVP by emailing hhhevent@gmail.com

We will be live-streaming video of Krista’s interview with New York Times best-selling author, Robert Wright. He’s the author of The Evolution of God, Nonzero: The Logic of Human Destiny, The Moral Animal, and Three Scientists and Their Gods. Professor Michael Barnett will moderate the question-and-answer session with our in-house and online audiences. The program will be followed by a reception in the Humphrey Center atrium.

We will start broadcasting video of the event at 6:45 pm CST, 15 minutes before the start of the interview. If you plan to attend in person, please RSVP by sending an email to hhhevent@gmail.com. There’s a hard start time of 7 pm for this event. And, please stop by and say hello!

(February 2, 2010 - 5:00 pm)
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I tend to think that fictional characters are in some ways more real than biological human beings. Think of Victorian England. How many people from that era can you remember?. I would say that Sherlock Holmes is more real than the anonymous people who came and went and lived and died in east London. To be a fictional character like that is not such a bad fate.

—Mary Doria Russell, in our “The Novelist as God”

Holden Caulfield illustrationLast week, we lost fiction writer J.D. Salinger and historian Howard Zinn. In the days after their deaths, I noticed Salinger quotes like this one from Catcher in the Rye peppering friends’ Facebook feeds:

“I don’t care if it’s a sad good-bye or a bad good-bye, but when I leave a place I like to know I’m leaving it. If you don’t, you feel even worse.”

I haven’t read The Catcher in the Rye since high school, but that voice of Holden Caulfield’s is so recognizable and distinct — like someone I know really well but haven’t talked to in awhile. People have been posting RIP Howard Zinn tributes, but many don’t feature memorable quotes, which reminded me of Mary Doria Russell’s commentary about the enduring imprint of fictional characters.

What about you? Are there characters from beloved books whose imprint has stuck with you over time? Do you have quotes from these fictional friends to share?

Nancy Rosenbaum, associate producer

(February 2, 2010 - 10:59 am)
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February 1, 2010
The problem was not a shortage of sincerity but an excess of zeal in which self-belief overrode objective judgment.

— —Jonathan Aitken, commenting in The Guardian on former UK Prime Minister Tony Blair and his role in the lead-up to, and the aftermath of, the Iraq war. Aitken says that “once the Chilcot inquiry establishes the truth about Iraq, we should be quick not to judge, but to forgive.”

Trent Gilliss, online editor

(February 1, 2010 - 7:40 am)
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January 31, 2010
The “People’s Historian”Andy Dayton, associate web producer
Last Wednesday was, of course, President Barack Obama’s first State of the Union address. And while coverage of the speech filled up the news cycle, there was another important story not to be forgotten: the passing of Howard Zinn.
Zinn was a renowned historian, activist, and author of A People’s History of the United States, which presented many of the unheard and undocumented stories of U.S. history. Zinn continued to pursue this course throughout the rest of his life, and in a 2008 interview said that he hoped to be remembered for “introducing a different way of thinking about the world.”
Last year a friend invited me to see Zinn’s Voices of a People’s History of the United States — one of a series of performances that brought the stories of A People’s History to life through public readings. Rather than bring a troupe of actors with him, Zinn collected an impressive array of local performers, with a variety of different skill levels and delivery styles. Included in the evening were reenactments of Sojourner Truth’s “Ain’t I a Woman?,” Maria Stewart’s “Address Delivered at the African Masonic Hall in Boston” and Martin Luther King’s “Beyond Vietnam: A Time to Break Silence.”
But the part I found most stirring was a breathtaking delivery of Frederick Douglass’ 1852 speech, “The Meaning of July Fourth for the Negro” (you can watch Brian Jones performing the same speech below). On a day that many Americans were celebrating, Douglass delivered a scathing indictment of slavery in America:

“The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.
What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim.”

For me, this memory takes the confluence of Zinn’s passing and Obama’s address from coincidence to something more meaningful. At first, there is an irony in the fact that a man whose life was devoted to telling the stories of the oppressed was, on his death, nearly eclipsed by the first black president of the United States. And, on the eve of Black History Month, Douglass’ words remind us how far we’ve progressed since his time. It also gives a biting reminder of the problems yet to be overcome and the inconsolable history we continue live with as a nation.







(photo: Andy Dayton/Flickr)

The “People’s Historian”
Andy Dayton, associate web producer

Last Wednesday was, of course, President Barack Obama’s first State of the Union address. And while coverage of the speech filled up the news cycle, there was another important story not to be forgotten: the passing of Howard Zinn.

Zinn was a renowned historian, activist, and author of A People’s History of the United States, which presented many of the unheard and undocumented stories of U.S. history. Zinn continued to pursue this course throughout the rest of his life, and in a 2008 interview said that he hoped to be remembered for “introducing a different way of thinking about the world.”

Last year a friend invited me to see Zinn’s Voices of a People’s History of the United States — one of a series of performances that brought the stories of A People’s History to life through public readings. Rather than bring a troupe of actors with him, Zinn collected an impressive array of local performers, with a variety of different skill levels and delivery styles. Included in the evening were reenactments of Sojourner Truth’s “Ain’t I a Woman?,” Maria Stewart’s “Address Delivered at the African Masonic Hall in Boston” and Martin Luther King’s “Beyond Vietnam: A Time to Break Silence.”

But the part I found most stirring was a breathtaking delivery of Frederick Douglass’ 1852 speech, “The Meaning of July Fourth for the Negro” (you can watch Brian Jones performing the same speech below). On a day that many Americans were celebrating, Douglass delivered a scathing indictment of slavery in America:

“The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim.”

For me, this memory takes the confluence of Zinn’s passing and Obama’s address from coincidence to something more meaningful. At first, there is an irony in the fact that a man whose life was devoted to telling the stories of the oppressed was, on his death, nearly eclipsed by the first black president of the United States. And, on the eve of Black History Month, Douglass’ words remind us how far we’ve progressed since his time. It also gives a biting reminder of the problems yet to be overcome and the inconsolable history we continue live with as a nation.

(photo: Andy Dayton/Flickr)

(January 31, 2010 - 3:40 pm)
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