My name is Khan (or Hussain)… (pt. 2)
When I was blogging last night about the film “My Name is Khan”, and its intersection with President Obama, it did not yet occur to me that the greatest irony of the film is not the Muslim Indian actor named Khan playing a Muslim Indian hero named Khan, who must tell the president that he’s “not a terrorist”. Oh no, not by far. It took the photo above to remind me that the greatest irony here is that Khan, both the actor and the character, had to make this confession to a man who is also considered a terrorist because of his Muslim surname, which, in this case, happens to be Hussain.
And here’s the kicker: the photo was not taken in some distant, “anti-American” land. It wasn’t even taken in some racist, redneck boondock. It was taken on West 123rd Street, in the heart of Harlem, at the Atlah World Missionary Church. I felt compelled to find out what else the good Pastor James David Manning had to say, so I visited the church’s website and boy, did I find out. From what I can tell, Atlah is a predominately Black, evangelical church, school, and would-be media producer that counts among its ministries:
- Exploring the lies taught by our “leaders” who have used slavery as the means to incite hatred of white people to perpetuate the lies.
- Exposing the ill effects of the media moguls of Jay-z, 50 Cent, and others upon Black youth.
- Exposing the Magnificent Seven – Jesse Jackson, Al Sharpton, Bill Clinton, T.D. Jakes, Louis Farrakan, Don King, and Cornell West, as the American witch doctors.
And here’s a taste of the Pastor’s rhetoric, as it concerns President Obama’s decision to send Secretary of State Hilary Clinton to Haiti after the earthquake.
In the end, I’m still not quite sure what this says about America and Obama and Muslims but I do see just how closely our struggle with race (which, contrary to stupid opinion, did not “end” with the election of Mr. Obama) and our struggle with religion are linked in this country, making the identity (and authority) of Obama doubly controversial. What is also clear is the power of visual storytelling, specifically in the form of film and video, in manipulating that identity for the purposes of communicating either love or hate. We’re yet to see many Obama portrayals in film but I suspect we’ll yet see many more, and especially from the rest of the world, who is just as busy as we trying to figure out how the land of opportunity could become the land of paranoia.
