Broadcast Premiere of 'An Act of Worship' (17 October 2022)

 Khadega Mohammed in AN ACT OF WORSHIP (Photo Credit: Capital K Pictures) Khadega Mohammed in AN ACT OF WORSHIP (Photo Credit: Capital K Pictures)

Broadcast Premiere of "An Act of Worship" (17 October 2022)

By : Jadaliyya Reports

30 Years of Muslim-American History Are Recounted Through the Collective Memory of a Community in "An Act of Worship"


National Broadcast Premiere October 17 on PBS’s POV 
Kicks Off Impact Campaign Aimed at Muslim Viewers to Create Counter-Narratives and to Heal From the Negative Impacts of Islamophobia
 
"It is at once an act of reclaiming and reinforcing, while being celebratory of the unrelenting resilience of Muslim American communities.”
—Bedatri D. Choudhary, Documentary.org
 
Official Selection: Tribeca Film Festival 2022
 
20 September 2022, New York, New York - POV, currently celebrating its 35th anniversary season as America’s longest-running non-fiction series, is proud to present the national broadcast premiere of Pakistani-American director Nausheen Dadabhoy’s feature documentary AN ACT OF WORSHIP, a co-presentation of the Center for Asian American Media, October 17 on PBS (check local listings); and will be available to stream free until 16 November 2022 at pbs.org, and the PBS Video app. An Act of Worship introduces viewers to a diverse range of Muslim Americans as they recount the past 30 years of pivotal moments in U.S. history and policy from their own perspectives. The film weaves together observational footage of activists who came of age after 9/11, community-sourced home videos, and evocative recollections from individuals impacted by incidents of Islamophobia. The filmmaking team’s first-hand knowledge and intimate access to the Muslim community allows the participants to present honest accounts of their experiences, told in their own words.
 
In An Act of Worship, we meet Aber, whose father was deported when she was 16. Now, she’s a community organizer leading a sanctuary city initiative in New York. Khadega is an 18-year-old Sudanese immigrant living in Michigan. While she feels compelled to advocate for her community, she struggles to overcome society's expectations of her and find her own way. Ameena is a civil rights lawyer in California, but as a mother, she’s conflicted between caring for her three young children or sacrificing her time with them to fight for change.
 
Weaving together observational footage of these three women with community home videos, and evocative recollections from individuals impacted by incidents of Islamophobia, An Act of Worship opens a window into the world of Muslim Americans through collective memory. 
 
“The film is framed through the point of view of people whose parents immigrated to the US in the 60s and 70s, people like me. Although the film initially looks like a sweeping look at Muslim life in America, it is a very personal story,” said director Nausheen Dadabhoy. “Bits and pieces of my family’s home videos are interwoven with clips that we sourced from other Muslim community members. My narration is one of the first community voices that you hear, so as much as this film is a story of my community it is also my story. I don’t think I could tell this story with this level of authenticity if I wasn’t also a part of it.”
 
The outcome of An Act of Worship is a counter-narrative told from the perspective of the Muslim American community. The film’s Impact Campaign aims to extend the idea of the film to allow Muslim viewers to create personal counter-narratives and begin healing from the negative impacts of Islamophobic culture, policy, and rhetoric. The campaign will consist of storytelling workshops to help viewers see their story through a lens of joy and resilience rather than trauma. Healing circles after film screenings will help viewers heal from their own incidents of Islamophobia. Workshops focused on building a community archive will allow community members to understand each other’s experiences, and empower them to be the creators of their own stories. 
 
Upcoming screenings and workshops: 
 
10/7 - New Hampshire Film Festival (screening)
10/8 - Brooklyn, NY (screening) 
10/ 9 - Brooklyn, NY (screening and workshop on building a community archive) 
10/13 - Portland Film Festival (screening and workshop)
10/15 - Los Angeles, CA (screening) 
10/16 - Orange County, CA (screening followed by a storytelling workshop)
10/23 - London, England - (screening) 
10/28 - Detroit, MI - (screening)
10/29 - Detroit, MI - (screening followed by a healing circle)
 
For information on the Impact Campaign and for updates on screenings and workshops, visit https://www.anactofworship.com/.
 
About the Filmmakers:
 
Nausheen Dadabhoy (DIRECTOR/PRODUCER), is a Pakistani-American director and cinematographer whose work spans fiction and documentary. As a cinematographer, she has lensed an Oscar-nominated live-action short film and an Emmy-winning feature documentary. Her films have screened at festivals worldwide including Sundance, TIFF, Tribeca, and Locarno, and have appeared on Netflix, Amazon, HBO, and PBS. THE GROUND BENEATH THEIR FEET (2014) — her directorial debut following two Pakistani women who were paralyzed after an earthquake — premiered at IDFA in the first appearance competition. Nausheen has been a Film Independent Project: Involve Fellow, Berlin Talents participant, Firelight Fellow, Chicken & Egg Eggcelerator Lab Fellow,  newportFILM Documentary Cinematography Fellow,  Soros Equality Fellow and she is currently a Pillars Artist Fellow. She was part of DOCNYC’s inaugural “40 Under 40.” Nausheen is based in NYC, LA, and Karachi, Pakistan. She received her MFA in Cinematography from the American Film Institute.
 
Heba Elorbany (PRODUCER) is an Egyptian-American journalist and filmmaker based in Los Angeles. Her first documentary film, LIFEHOUSE (2017), earned her a DuPont-Crichton Award. She was a researcher and assistant editor for the Oscar-nominated short documentary film ST. LOUIS SUPERMAN, and has collaborated with award-winning directors, including Lana Wilson (THE DEPARTURE, AFTER TILLER) and Smriti Mundhra (A SUITABLE GIRL). In addition to making documentary films, she produces audio stories and live shows. She’s worked on productions for the New York Times, Viacom, BBC, Gimlet Media, PRX, Radio Ambulante, and more. Heba earned her master’s degree in 2017 from Columbia University’s Graduate School of Journalism and is currently a senior producer at the Los Angeles Times.
 
Kristi Jacobson (PRODUCER) is an Emmy Award-winning filmmaker and storyteller. Some of her recent films include SOLITARY (HBO), Outstanding Investigative Documentary Emmy winner and Independent Spirit Truer Than Fiction Award nominee; Cartel Bank, a one-hour film that aired as part of the Netflix documentary series Dirty Money; Take Back the Harbor (Discovery), co-directed with Roger Ross Williams and produced by Motto Pictures; and A Place at the Table (Magnolia Pictures/Participant Media), winner of IDA’s Pare Lorentz Award, and PGA nominee for best feature.
 
Sofian Khan (PRODUCER) is the founder of Capital K Pictures, a New York-based production house. His work has appeared on Field of Vision, The Fader, Al Jazeera, PBS, Fusion, NBC, and The Atlantic. He is a 2016 MacArthur Documentary Grant recipient for his film THE INTERPRETERS, which was broadcast on PBS' Independent Lens in 2019. His previous film, GAUCHO DEL NORTE (2015), was a Jerome Foundation grant recipient. It aired on PBS’ America ReFramed series. He is a Sundance Creative Producing Fellow (2019) and a DOCNYC “40 Under 40” (2019). 
 
AN ACT OF WORSHIP Credits
 
Director/Producer: Nausheen Dadabhoy
Producers: Heba Elorbany, Kristi Jacobson, Sofian Khan
Executive Producers: Erika Dilday, Chris White, The Meadows Foundation
Editor: Ben Garchar
Composer: Mary Kouyoumdjian
 
A Capital K Pictures production in association with DadaGirl Films, JustFilms, Chicken & Egg Pictures, Firelight Media
 
POV Episode Running Time: 90 minutes
Broadcast Premiere Date: Oct. 17, 2022
Languages: English, Arabic
 
For more information on AN ACT OF WORSHIP, visit: 
Official Website:  https://www.anactofworship.com/ 
POV: http://www.pbs.org/pov/actofworship 
 
Follow AN ACT OF WORSHIP on Twitter, Instagram, Facebook.
 
About POV:
 
Produced by American Documentary, POV is the longest-running independent documentary showcase on American television. Since 1988, POV has presented films on PBS that capture the full spectrum of the human experience, with a long commitment to centering women and people of color in front of, and behind, the camera. The series is known for introducing generations of viewers to groundbreaking works like Tongues Untied, American Promise, and Minding The Gap and innovative filmmakers including Jonathan Demme, Laura Poitras, and Nanfu Wang. In 2018, POV Shorts launched as one of the first PBS series dedicated to bold and timely short-form documentaries. All POV programs are available for streaming concurrently with broadcast on all station-branded PBS platforms, including PBS.org and the PBS Video app, available on iOS, Android, Roku streaming devices, Apple TV, Android TV, Amazon Fire TV, Samsung Smart TV, Chromecast, and VIZIO. For more information about PBS Passport, visit the PBS Passport FAQ website.
 
POV goes “beyond the broadcast” to bring powerful nonfiction storytelling to viewers wherever they are. Free educational resources accompany every film and a community network of thousands of partners nationwide work with POV to spark dialogue around today’s most pressing issues. POV continues to explore the future of documentary through innovative productions with partners such as The New York Times and The National Film Board of Canada and on platforms including Snapchat and Instagram.
 
POV films and projects have won 45 Emmy Awards, 27 George Foster Peabody Awards, 15 Alfred I. duPont-Columbia University Awards, three Academy Awards, and the first-ever George Polk Documentary Film Award. Learn more at pbs.org/pov and follow @povdocs on social media.
 
About American Documentary, Inc.:
 
American Documentary, Inc. (AmDoc) is a multimedia company dedicated to creating, identifying, and presenting contemporary stories that express opinions and perspectives rarely featured in mainstream media outlets. AmDoc is a catalyst for public culture, developing collaborative strategic engagement activities around socially relevant content on television, online, and in community settings. These activities are designed to trigger action, from dialogue and feedback to educational opportunities and community participation.
 
Major funding for POV is provided by PBS, the Open Society Foundations, The John D. and Catherine T. MacArthur Foundation, the Wyncote Foundation, Reva & David Logan Foundation, Park Foundation, and Perspective Fund. Additional funding comes from the National Endowment for the Arts, New York State Council on the Arts, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Sage Foundation, Nancy Blachman, and David desJardins, Chris and Nancy Plaut, Abby Pucker, Ann Tenenbaum, and Thomas H. Lee and public television viewers. POV is presented by a consortium of public television stations, including KQED San Francisco, WGBH Boston, and THIRTEEN in association with WNET.ORG.

Past is Present: Settler Colonialism Matters!

On 5-6 March 2011, the Palestine Society at the School of Oriental and African Studies (SOAS) in London will hold its seventh annual conference, "Past is Present: Settler Colonialism in Palestine." This year`s conference aims to understand Zionism as a settler colonial project which has, for more than a century, subjected Palestine and Palestinians to a structural and violent form of destruction, dispossession, land appropriation and erasure in the pursuit of a new Jewish Israeli society. By organizing this conference, we hope to reclaim and revive the settler colonial paradigm and to outline its potential to inform and guide political strategy and mobilization.

The Israeli-Palestinian conflict is often described as unique and exceptional with little resemblance to other historical or ongoing colonial conflicts. Yet, for Zionism, like other settler colonial projects such as the British colonization of Ireland or European settlement of North America, South Africa or Australia, the imperative is to control the land and its resources -- and to displace the original inhabitants. Indeed, as conference keynote speaker Patrick Wolfe, one of the foremost scholars on settler colonialism and professor at La Trobe University in Victoria, Australia, argues, "the logic of this project, a sustained institutional tendency to eliminate the Indigenous population, informs a range of historical practices that might otherwise appear distinct--invasion is a structure not an event."[i]

Therefore, the classification of the Zionist movement as a settler colonial project, and the Israeli state as its manifestation, is not merely intended as a statement on the historical origins of Israel, nor as a rhetorical or polemical device. Rather, the aim is to highlight Zionism`s structural continuities and the ideology which informs Israeli policies and practices in Palestine and toward Palestinians everywhere. Thus, the Nakba -- whether viewed as a spontaneous, violent episode in war, or the implementation of a preconceived master plan -- should be understood as both the precondition for the creation of Israel and the logical outcome of Zionist settlement in Palestine.

Moreover, it is this same logic that sustains the continuation of the Nakba today. As remarked by Benny Morris, “had he [David Ben Gurion] carried out full expulsion--rather than partial--he would have stabilised the State of Israel for generations.”[ii] Yet, plagued by an “instability”--defined by the very existence of the Palestinian nation--Israel continues its daily state practices in its quest to fulfill Zionism’s logic to maximize the amount of land under its control with the minimum number of Palestinians on it. These practices take a painful array of manifestations: aerial and maritime bombardment, massacre and invasion, house demolitions, land theft, identity card confiscation, racist laws and loyalty tests, the wall, the siege on Gaza, cultural appropriation, and the dependence on willing (or unwilling) native collaboration and security arrangements, all with the continued support and backing of imperial power. 

Despite these enduring practices however, the settler colonial paradigm has largely fallen into disuse. As a paradigm, it once served as a primary ideological and political framework for all Palestinian political factions and trends, and informed the intellectual work of committed academics and revolutionary scholars, both Palestinians and Jews.

The conference thus asks where and why the settler colonial paradigm was lost, both in scholarship on Palestine and in politics; how do current analyses and theoretical trends that have arisen in its place address present and historical realities? While acknowledging the creativity of these new interpretations, we must nonetheless ask: when exactly did Palestinian natives find themselves in a "post-colonial" condition? When did the ongoing struggle over land become a "post-conflict" situation? When did Israel become a "post-Zionist" society? And when did the fortification of Palestinian ghettos and reservations become "state-building"?

In outlining settler colonialism as a central paradigm from which to understand Palestine, this conference re-invigorates it as a tool by which to analyze the present situation. In doing so, it contests solutions which accommodate Zionism, and more significantly, builds settler colonialism as a political analysis that can embolden and inform a strategy of active, mutual, and principled Palestinian alignment with the Arab struggle for self-determination, and indigenous struggles in the US, Latin America, Oceania, and elsewhere.

Such an alignment would expand the tools available to Palestinians and their solidarity movement, and reconnect the struggle to its own history of anti-colonial internationalism. At its core, this internationalism asserts that the Palestinian struggle against Zionist settler colonialism can only be won when it is embedded within, and empowered by, the broader Arab movement for emancipation and the indigenous, anti-racist and anti-colonial movement--from Arizona to Auckland.

SOAS Palestine Society invites everyone to join us at what promises to be a significant intervention in Palestine activism and scholarship.

For over 30 years, SOAS Palestine Society has heightened awareness and understanding of the Palestinian people, their rights, culture, and struggle for self-determination, amongst students, faculty, staff, and the broader public. SOAS Palestine society aims to continuously push the frontiers of discourse in an effort to make provocative arguments and to stimulate debate and organizing for justice in Palestine through relevant conferences, and events ranging from the intellectual and political impact of Edward Said`s life and work (2004), international law and the Palestine question (2005), the economy of Palestine and its occupation (2006), the one state (2007), 60 Years of Nakba, 60 Years of Resistance (2009), and most recently, the Left in Palestine (2010).

For more information on the SOAS Palestine Society 7th annual conference, Past is Present: Settler Colonialism in Palestine: www.soaspalsoc.org

SOAS Palestine Society Organizing Collective is a group of committed students that has undertaken to organize annual academic conferences on Palestine since 2003.

 


[i] Patrick Wolfe, Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event, Cassell, London, p. 163

[ii] Interview with Benny Morris, Survival of the Fittest, Haaretz, 9. January 2004, http://cosmos.ucc.ie/cs1064/jabowen/IPSC/php/art.php?aid=5412