Last night, I watched Saleque Khan's "A Man Died" at the Theater for the New City (a block from Sahara East). As "special guests" of the Lighting guy, my friends and I enjoyed a 45 minute play about the existential angst of a Bangladeshi immigrant named Sadek who gradually dies. The play begins with Sadek learning about the death of another Bangladeshi man, a peaceful man according to the Times, a man that sold incense on Atlantic Avenue in Brooklyn. The unfortunate death of this other man fills Sadek with more than sympathy. He becomes angry that a life could be taken so quickly, so effortlessly. We are then introduced to Sadek's wife and children, who played their roles well. The son is a good-for-nothing hoodlum who calls his sister a "bitch" for wanting to take the remote control. He goes to community college, shows no ambition, no drive, watches tv as soon as he wakes up. His sister gets into Princeton, comes home late, rides with boys in their cars, and asserts her independence by telling her parents she's moving out. The wife supports her children and husband as she must. She cooks for them, lies for them, cares and loves. There is also a taxi-cab driving uncle named Zaman who watches porn and sends money to his wife and kids in Bangladesh.
The characters are prototypes of what happens to Bangladeshi families. The story is real, and credible because these characters already exist in my life. I've seen them, spoken to them, lived with them. The father Sadek is the most significant character because he is ultimately let down by his children. He has nothing to show for his life. His son is arrested and his daughter moves out to be with her black boyfriend (also a Princetonian). Under the influence of the uncle, Sadek begins to drink in his home. And he dies.
Although the narrative voice is that of a middle-aged man, the play raises questions about Bangladeshi-American youth. To what extent do we allow our culture to influence or create our identities? Why are the young people in the play turned off to Islam and their religious background? What could Sadek have done differently to keep his children on the straight path? The play does not fully explore the extent to which religion can influence familial living.
I think Islam makes things easier and more difficult at the same time. Islam requires work, but it answers questions of identity, makes the assimilation process easier. Your identity is first a Muslim, one who submits to God. Then comes the other identity markers of nationality, race, sex, ability, politics, etc. As a Bangaldeshi immigrant, I was attracted to Islam because it solves issues of identity for me. My world was centered around Islam as the dominant ideology of my life. It kept me from hitting the clubs, hanging out late with boys, engaging in risky but typical teenage behavior. It kept me from drugs, and alcohol, from the extreme behaviors that was rampant among my peers. Islam also defined and provided community. Other than learning more and practicing my faith, the behavioral facets of my faith became easy.
In high school, I thought I had my identity figured out. However, college has pushed me to be more open-minded, more fluid in my construction of self. I do not want to see myself as a negation of Others, but as something produced through reason, self agency, and faith. I don't want to be predefined. I don't want my roles assigned. I want to add my own notes to the blueprint that has been handed to me. I never want this challenge of RETHINKING THE WORLD to end.
The characters are prototypes of what happens to Bangladeshi families. The story is real, and credible because these characters already exist in my life. I've seen them, spoken to them, lived with them. The father Sadek is the most significant character because he is ultimately let down by his children. He has nothing to show for his life. His son is arrested and his daughter moves out to be with her black boyfriend (also a Princetonian). Under the influence of the uncle, Sadek begins to drink in his home. And he dies.
Although the narrative voice is that of a middle-aged man, the play raises questions about Bangladeshi-American youth. To what extent do we allow our culture to influence or create our identities? Why are the young people in the play turned off to Islam and their religious background? What could Sadek have done differently to keep his children on the straight path? The play does not fully explore the extent to which religion can influence familial living.
I think Islam makes things easier and more difficult at the same time. Islam requires work, but it answers questions of identity, makes the assimilation process easier. Your identity is first a Muslim, one who submits to God. Then comes the other identity markers of nationality, race, sex, ability, politics, etc. As a Bangaldeshi immigrant, I was attracted to Islam because it solves issues of identity for me. My world was centered around Islam as the dominant ideology of my life. It kept me from hitting the clubs, hanging out late with boys, engaging in risky but typical teenage behavior. It kept me from drugs, and alcohol, from the extreme behaviors that was rampant among my peers. Islam also defined and provided community. Other than learning more and practicing my faith, the behavioral facets of my faith became easy.
In high school, I thought I had my identity figured out. However, college has pushed me to be more open-minded, more fluid in my construction of self. I do not want to see myself as a negation of Others, but as something produced through reason, self agency, and faith. I don't want to be predefined. I don't want my roles assigned. I want to add my own notes to the blueprint that has been handed to me. I never want this challenge of RETHINKING THE WORLD to end.
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