Theatre Review: Maya’s Honeymoons by Jesmin Chowdhury

The full version of this review can be seen as published in Bangladesh newspaper New Age (click here) or on my website with additional photos (click here)

Theatre Review: Maya’s Honeymoons – Sunday 20th November, Brady Arts Centre, London

By Ken Powell

Jesmin Chowdhury and Al-Khurshid Himu play central roles (Photo: Murad Chowdhury)

Jesmin Chowdhury and Al-Khurshid Himu play central roles (Photo: Murad Chowdhury)

It is no easy ask to present a play tackling a subject a whole community prefers to remain silent about. In the case of ADDA’s latest production, ‘Maya’s Honeymoons’, the subject is one most communities would rather not talk about; and of course it’s vital that they do.

The writer, Jesmin Chowdhury, has written this story based on years of experience having worked with many women who have suffered abuse of one form or another. She wanted to present not just the reality of domestic violence (DV) but also a message of hope to all women who are living the reality on a daily basis. Jesmin Chowdhury plays the title role allowing her to fully express the depth of emotion she wanted to communicate and the play follows the story of Maya, a Bangladeshi woman married to a British Bangladeshi. He turns from sweet and loving, to controlling, to eventually a violent man who drinks and gambles his way through the years as he beats his wife regularly. The ‘honeymoons’ refer to the cycles of violence and seeming repentance as Maya allows herself to believe her husband truly loves her and so becomes a ‘willing victim’ perpetuating the abuse.

‘Maya’s Honeymoons’ pulls no punches. From the beginning we are presented with a series of fast-moving tableaus representing Maya’s journey from blissful marriage to receiving beatings under the hands of her husband Arman (played by Al-Khurshid Himu). Once the play starts formally Maya accosts the audience verbally so violently – “why won’t you say anything?” she shouts before sneering with a “no, you never say anything, do you?” – that I almost felt I had to say something and apologise for my own guilt. It is a powerful way to begin and left me stunned almost as if I had been violated myself.

Equally as powerful…(continued here)

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When those goals are met, what then?


“There is one thing that we all must do. If we do everything else but that one thing, we will be lost. And if we do nothing else but that one thing, we will have lived a glorious life.”


In my life, having been an extrovert for most of it, I’ve been privileged to meet and befriend literally thousands of people. In some cases only passing – a few months or years at most. In others, friendships which span many years or even decades.

In that time I’ve listened to hundreds upon hundreds of life stories. The slightly distressing thing is that most of them have been, to some extent or another, sad. Some have been downright horrific.

This has been okay for me because my own life story – which still remains to be told in full – is also pretty horrific. Not just my childhood (which was bad enough) but what I’ve gone through over the last ten years. I made a conscious decision to do two things way back in Easter 1986 (yes, as specific as that – long story and not for these pages, or at least not yet). They were:

  • To regain my childhood which was torn from me and keep it for the rest of my life, encouraging others to find and keep their inner child too;


  • To be there for anyone who needed a friend, someone to listen to them when they just needed someone who would understand and not judge. 

In these two ways I hoped to make this world just a little bit better, nicer and more loving than it was before I came into it.

And that has been it. My sole ambitions in life. I have never sought money, fame, luxuries even though I would be perfectly fine with any. I haven’t longed for adulation, respect or to be desired. If anything, I just want people to leave me alone in the sense of not finding fault or issue with me. Alas, that remains a pipe dream; in my experience sometimes there’s just one thing that people can’t stand and that’s someone who is happy and content in life with no need to bring a person down or bitch about them – they just want to ‘wipe that smug little grin’ off your face…

But my focus on this essay is that which Rumi talks of in the quote above. Almost everyone I’ve talked to deeply about their lives have been seeking…something. Maybe just inner peace, or a love life, or a purpose for being. Some have wanted to be married and have kids, others that career and respect they always felt was missing. A few want fortune and fame (not many, I’m glad to say) and others live for their children or grandchildren and that is the focus of their world. Some want their marriages to be better, others want to feel worthwhile. Most of these longings I’ve felt myself at some stage in my life so I can sympathise.

Right now I can only think of one person I’ve met in my entire life who has been entirely content in their own life and not been reaching out and longing for more. People always want something else and this is not necessarily a bad thing. Indeed, many of the greatest and most important inventions and developments have come out of someone feeling there was more that could be done. I wish I’d known more genuinely happy people but on the other hand I’ve learned that the world is a pretty mean place and those that pretend it isn’t are guilty of allowing suffering to go on by their inaction. I’d rather do at least something to try and halt, reverse or undo the damage.

But here’s the question which is increasingly unsettling me: what happens when you’ve achieved Rumi’s vision but you’ve still got a long life ahead?

For me it’s quite serious. I’ve done what I’ve set out to do in life – all of it really, certain of the stuff which matters.

My two driving ambitions mentioned above I fulfilled in being a teacher for 24 years – most of it in the classroom though my first and latter years have been with private teaching. It was a real pleasure and joy to see so many go through my classes and come out as adults. Even the last and youngest I taught in the UK are now in their twenties. It is frightening to think that some of my very first students are well into their thirties now. They are married, have kids, some are teachers themselves now – what a wonderful legacy! Many have forgotten me – that’s as it should be – but I’ve been humbled by how many still refer to me as a great influence in their lives and countless ones keep me as their friend many, many years after I last saw them as teacher and student. I don’t think anyone would say “I would not be here if it wasn’t for you” and nor did I ever crave such dependence from another, but I know that I have made lives better and that was really all I ever wanted to do.

As for personal ambitions? Well I always knew I needed to be married – I like sex too much if I can be blunt! I also knew I needed to be a father – I like having people around to share my ‘inner child’ and most adults just don’t get it to be honest. I wanted to succeed as a musician – I’ve done that. I wanted to be a successful classroom teacher – done that too. I moved into a writing career, something I had always dreamed of, and have been making a success of that for many years now. Indeed, I don’t think it likely I’ll do any other job now as my main work, though what kind of writing I do will no doubt adapt and evolve over time.  I also had the dream of learning to play the sitar since studying Indian music at university long ago. I’m not especially good at it, but I ticked that one off while living in Bangladesh.

So what’s left?

I’m 45 and, God willing, I could have another 45 years to go. Bar accident or medical calamity I should at least see out another 30. What to do? It’s not that I’ve stopped – I’m still teaching, writing, playing, enjoying life, listening to others and trying to be as good a friend as I can – but I see nothing on the horizon which grabs me. I’ve served my purpose. My own two kids are all but grown up and it will be a while (I hope!) before grandchildren make an appearance, so what do I do other than what I’m already doing?

Don’t get me wrong – I’m not complaining. I love that I could die tomorrow (perhaps run over by that bus we Brits are always worried will get us the next day?) and be fulfilled. There’ll be no ‘Rosebud’ moment for me on my deathbed. I don’t crave fame or recognition with my books and writings (nice though that would be, of course). I’m content with all I’ve done and all I am doing. The unwritten books can remain unwritten if needs be. the written ones can remain unpublished. The published can remain unloved. They are just words.

But I can’t help but think I’m just marking time. Waiting for the last remaining hairs to turn white and then fall out; for more of the body to start complaining and slowly give up; for the eyesight to get worse and the teeth to crumble. I’ll do it happily I guess but I do wonder if half the fun in life was that longing to fulfil a purpose not yet achieved and that Rumi, in fact, was wrong.

A photo by Will van Wingerden.


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Theatre Review: Bangla Brummies by Murad Khan

Bangla Brummies (Photo: Dominic Waldron)

Bangla Brummies (Photo: Dominic Waldron)

‘Bangla Brummies’ is a comedy written by Bangladeshi theatre activist and writer, Murad Khan. The action is set in Birmingham but alternates between life in the 1970s and the present, following the stories of two Muslim Bangladeshi bachelor friends, Malik and Hisham, as they marry and become fathers.

Through the comic medium, Khan takes a look at – and gently prods – the subjects of race, religion and acceptance in Asian families. Hisham marries a white Irish girl and, years later, Malik’s daughter falls in love with a white non-Muslim boy. How both men behave is a fascinating look into very real issues facing many British Asian families today.

It was my pleasure to visit the mac arts centre right in the heart of Birmingham. I have to say it is a quiet jewel of the city – modern, clean, welcoming and pleasant in every way making it a far cry from much of the city which surrounds it. The mac facilities are excellent and deserve to be used extensively which, judging by all that seemed to be going on, is certain what’s happening.

‘Bangla Brummies’ was well produced it must be said.  A cast of seven players, several of whom took on extra smaller parts as well as their main characters, and a minimal stage setting gave a very sleek and modern feel to the production which helped keep up the pace. There was never a moment where the action seemed to dip or the plot lose its way. The 90 minutes or so that this one-act play took were almost breathless in the speed. The scene changes were so slick and entertaining in themselves that it felt as if they must have taken as much rehearsal as the main speaking parts! I particularly enjoyed the way characters carried on their roles and whispered conversations (sometimes arguments) as they moved furniture out of the way and put the next scene’s pieces in place. The ploy worked and ensured there was no dead space.

I found it ironic, given the theme of dealing with prejudice which runs throughout the play, that after the performance I went back to my hotel and stayed up to watch Donald Trump take over the world. We had already been living in a post-Brexit-anti-immigrant world but now we have seen just one man manage to make bigotry, sexism and xenophobia popular and acceptable again. While opinions differ and the world polarises into ‘for’ and ‘against’, ‘Bangla Brummies’ helps us to remember that prejudice isn’t an exclusively white idea but that all cultures and communities are guilty of it to some extent or other.

However, whereas many of us find the Trump situation serious and gravely disturbing, Murad Khan’s play manages the light touch. In a Q & A session afterwards but Khan and his fellow director Dominic Waldron answered most clearly that “it’s all about entertainment”. It takes a special skill to be able to deal with such issues bluntly yet keep an audience on-board through amusing them.

Amusement is an understatement. Though the script is excellent it could have fallen flat without acting that was as good. Thankfully, the cast were superb and this made the production not just a joy but, at some points, side-splittingly funny. Two actors stand out for special mention:

Sandie Soraiya as Tania (Photo: Dominic Waldron)

Sandie Soraiya as Tania (Photo: Dominic Waldron)

Sandie Soraiya, who played Malik’s grown up daughter Tania, was as fun as her character was feisty and completely believable as a beautiful young woman ready to marry – at least to the right man. She was a joy to watch and simply bounced around the stage as though it really was her own home.

Photo: Dominic Waldron

Kaz Sanga as Malik (Photo: Dominic Waldron)

Kaz Sanga (who played the lead role of Malik) stole the show. His performance as Malik –  the dodgy friend, husband and father who is as outrageous in his schemes as he is stupid at executing them – was hilarious. Without uttering a word this actor had the audience creasing up through his facial expressions and his prejudices (“I’m not being racist but – he’s black. Black is black!”) somehow were almost lovable and in keeping with his character. The fact that a trap is laid for Malik to fall foul of his own failings seems all the more fitting and the audience certainly appreciated watching Sanga’s sympathetic portrayal. I suspect most of them know a Malik or two themselves.

There are, of course, criticisms – some of which were voiced by the audience during the Q & A session. One issue is the way the narrative swaps between past and present which is sometimes hard to follow and I suspect the next performance will see more work on this to make the signals clearer. Another is the occasional use of Bangla which for non-Asian audience members might be hard to follow. Neither of these are large issues and indeed keeping in the odd Bangla joke was insisted upon by director Dominic Waldron who said “I rather liked that there were phrases and jokes I didn’t understand – it made me feel like was I really watching an Asian family with a culture different to my own.”As it happens, this is a play which is going to appeal most to British Asian audiences or the occasional oddball like me who is white but knows the culture well so little is likely to be lost.

I wondered, as I left the mac, how many conversations would be going on among the British Asians who watched about marriage and who is or is not acceptable to marry. The play asks difficult questions of the Muslim community. How should marriage be arranged? What makes a ‘good Muslim’? Must Bangladeshis only marry Bangladeshis (and the scene where Malik defines who might be an acceptable Bangladeshi is utterly brilliant)? These are questions I know are being asked among the younger generations of Asians today and I suspect will be asked for many years to come. Murad Khan’s play is genuinely a helpful step along the way.

The team are performing the show again on the 12th November in London and if you can I urge you to go see it. It’s a wonderful way to spend an evening and well worth the effort. The play is suitable for all ages though it is teenagers and older who I think will reap the most benefit. For my part, I’d love to see it again just to see Malik roll his eyes or mutter to his long-suffering wife “no you don’t hurry, take your time, it’s no bother…” You’ll have to go see it to know what I mean.

Bangla Brummies will be performed at 7pm on 12th November at The Brady Art Centre, 192-196 Hanbury St, London E1 5HU. Tickets: £8 (£6 concessions)

Photo: Dominic Waldron

Photo: Dominic Waldron

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The danger of tolerance in a prejudiced society

In my TEDx talk on the importance of the Global Village, I begin by discussing my own prejudices against the common Asian dress for men called a ‘lungi’ and questioning the audience about their own prejudice.

Who did THIS to me?! (photo: Andrew Bernie Bernard)

Who did THIS to me?! (photo: Andrew Bernie Bernard)

Of course, most of the people there would have been amused by my ‘skirt’ rather than outraged and indeed while living in Bangladesh I found the idea amusing myself. The only ‘darker’ emotion was the suggestion that I might wear one myself. When suggested it would invariably result in raised eyebrows and a definite “not if my life depended on it!” Looking back now, knowing as I do that I did relent in the end, I find it interesting to question why the thought was so borderline repulsive to me.

We’re all products of our own societies and cultures and that means we come with the baggage of prejudice. I’m looking forward to seeing a play soon called ‘Bangla Brummies’ soon which looks at prejudice from the point of view of Bangladeshis living in Birmingham, UK. The prejudice is both aimed at Bangladeshis and is also found within them. I like such honesty and it is something much needed in the world today. We’re all very good at being critical of others but not so good at being critical of ourselves.


Life has changed a great deal for me over the years. When I grew up in the 70s it was okay to be homophobic, racist and consider anyone who didn’t live according to what was considered decent British lifestyles to be deviant and potentially immoral. The opposite is true today. We all have the right to live whatever lifestyles we like as long as we don’t break any laws and don’t cause any direct harm to others. This is a good thing, right?

Yes, obviously, I think it is on the whole but there is one caveat: making prejudice socially unacceptable doesn’t mean prejudice isn’t growing. This is a very real danger I don’t think we’re taking seriously yet and we need to rather urgently.

While the Brexit debate was growing, before the referendum took place, British social media was awash with opinion. On the whole, the ‘remainers’ like me talked of the prejudice against foreigners and the fear that leaving would give the floor to racists. I personally was knocked back (entirely, I have to say, but white middle-class people) again and again by those who were insistent that Britain really isn’t racist but has a history of embracing people from other cultures and is one of the most tolerant nations in the world. It’s easy to say when you’re not the one being targeted time and again.

I remain convinced that the cheery ‘welcoming Britain’ myth isn’t true because it flies in the face of human nature. We all have a tendency to be scared of people who are different to us and Britain has fuelled such fear for centuries. But if you don’t allow voice to these feelings, the anger and fear builds up until you have a dangerous situation. When a crack in the dam appears, all hell is let loose.

We’ve had many cracks in recent months and years. Every time there is a terrorist attack (and only the ones by Islamic extremists are highlighted by the media) we see a violent reaction against innocent targets. When Britain voted to leave the EU there was an immediate reaction against foreigners or those perceived to live according to foreign customs. Today we’re living in a world where prejudice has suddenly gained acceptability again. In a few days time the American public will be voting to potentially promote a violent misogynistic racist to the Whitehouse. There shouldn’t be any competition at this point. Actually no, there should never have been any competition at all from the beginning as my article here pointed out. Yet, though Trump shouldn’t stand a chance, it is neck and neck. Even though he is still unlikely to win, the damage is done: enough Americans think he’s right and that is very, very scary.

I’d love, at this point, to tell you what the answer is but if I’m honest I feel very defeated by humanity at the moment. Like I say, we all have our own prejudices and I’m well aware of mine. We live in a grey world but one which likes to judge others according to the rules of ‘black and white’. My preference has always been to speak from weakness. It’s no coincidence nor attempt at insincerity on my part that my TEDx talk is honest about my own fears and prejudices. I’ve always tried to be honest about the things I know are less than good about me rather than attack another for the things which are less then good about them. I’m happy to criticise societies, cultures, governments and policies but it is rare you’ll see me rant against another human being – but believe me I could! I prefer to rant against myself instead.

Ironically, I’ve been criticised for such honesty and many a time I’ve been misunderstood for it but I can’t help but feel like I wished more people would be the same. Living in a blame culture is tiring – when you’re already very aware of your faults, having to justify them to others constantly is just draining. One great characteristic of the British is that we apologise even when it isn’t our fault. Someone bumps into us and the first thing we say is “Oops, so sorry!” I’d love to see more of that in a sincere form universally applied. What a world we could live in if everyone said “I’m so sorry” instead of “You say sorry right now!”


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Beating Back the Bulldog – The rise of British Asian movies tackling social issues


A new UK movie was released this year by a theatre company which hopes to be the first ‘Islamic film company’ in Britain. The film, Freesia, is thought to be the first to tackle the growing problem of Islamophobia in Britain and has already earned a string of awards. It is the latest in a growing trend of movies which hit hard at issues deeply ingrained in British culture.

Conor Ibrahiem, artistic director of Arakan Creative, spoke about how Freesia fits in the context of British Asian movies in general.

“It’s not the first film to tackle Islamophobia worldwide – American Sharia (2015) is the first I know of. But that’s a comedy set in the USA whereas Freesia tries to deal with real issues facing British Asians today in a serious, compassionate way.”

Comedy does seem to be the vehicle of choice for many British Asian directors. Bhaji on the Beach (1993), East is East (1999), Anita and Me (2002), Bend it Like Beckham (2002), Four Lions (2010) and The Best Marigold Hotel (2011) are all comedies which tackle various issues such as racism, unyielding cultural expectations, and terrorism but ultimately seek to entertain audiences rather than challenge.

Ibrahiem’s film, by contrast, is serious throughout. The plot follows three families brought together through the racist attack by a white youth on a Muslim man. The audience get to understand the youth’s background of poverty and frustration, the Muslim man’s struggles with his son and the difficulties of a Muslim woman – a witness to the crime – trying to find her place between British and, in her case, Middle-Eastern cultures. In the background of each household are some Freesia flowers which, it is explained, are given to people who are graceful under pressure. The flowers also represent friendship and innocence – subjects which take on increasing significance as the film progresses.

Ibraheim’s careful treatment though means the film never becomes too heavy or bleak for general viewing. For this director, entertainment and tackling issues seriously go hand in hand.

“The companies producing films like Four Lions are rather generic. Instead of setting out with the goal of raising issues, these films are one-offs – and of course that’s okay – but by contrast Arakan hopes to have an ongoing commitment to addressing the stories within the Islamic and South Asian world. Yet we still want to produce family entertainment – films you could watch with your grandma and your children.”

In some ways, Freesia has been made more in the style of a TV movie which, in the UK, is a style which allows for digging deep into difficult issues. Britz (2007) was one such TV production and looked at what would cause a second-generation Muslim to turn against their birth country and forced marriages. Honour (2014) is another which considers so-called ‘honour killings’ as did Film 4’s Catch Me Daddy the same year. However, important though these issues are, there have been criticisms of melodrama levelled at the directors and of entertainment rather than ‘enlightenment’ as the New York Times complained of Honour. By contrast, Ibrahiem intended to make something more true to experience and relevant to British Asians.

“I want to see more stories from the people who are living these lives for real. How many Asian people have really seen these films? Instead, I’m hearing feedback on Freesia from audiences which have seen the private screenings like ‘finally someone from our community who understands these issues’.”

This earthy reality has certainly impressed those who have seen Freesia calling it “thought-provoking” and “fair and balanced” during post-screening sessions or on feedback forms – five screen tests have given a consistent 80-90% positive rating from audiences. The film has garnered numerous nominations from festivals including ‘Best original Screenplay of a Feature Film’, ‘Best Director’ and ‘Best Original Score’ from the International Filmmaker Festival of World Cinema. Other achievements include, so far, ‘Award of Merit’ from the Accolade Global Film Competition in San Diego, ‘Best New Filmmaker’ from the Canadian Diversity Film Festival and ‘Best First Time Filmmaker’ from the Auckland International Film Festival.

Ibrahiem himself is not new to recognition. Among other successes, he won the Mosaic’s ‘Arts & Culture’ award in 2010 and Brit Writer’s Awards in the ‘Script & Screenplay’ category in 2012.

That Ibrahiem is ambitious is not in doubt: he dreamed big to make Freesia a reality despite a tiny budget and having to raise funds through a grant-making charitable trust, but the dreaming hasn’t stopped there.

Freesia isn’t a one-off. I want to see Islamic social realism as a new, recognised sub-genre in British Asian movies. We’re already making plans for a sequel to the film which would look at the issues surround Sharia Law. My hope is to make a number of films which can take a look at all sorts of prejudice and demonstrate that it is ‘Islamic’ to be caring about all social problems and not just our own ‘in-house’ issues.”

But is the reason Freesia stands out from other movies is that there isn’t a place for a British Asian movie that tries to tackle social problems so based on daily routine life in Britain?  Is it a prophet or a pariah? There’s good reason to think it does have a place. On Monday November 23, 2015 an 18-year-old hijab-wearing Muslim woman was attacked by a white youth who punched her in the middle of a busy main street in Birmingham – a city with a large Asian population. It’s just one of many islamophobic atttacks which have taken place since the Paris killings last year.  According to The Telegraph reports of such hate crimes have increased by 300 per cent since November 13, 2015 and most of the victims are Muslim women wearing hijabs and niqabs and often quite young. Most of the perpetrators were white men aged between 15 and 35. While the Paris attacks have seen a surge, the media interest in stories such as British Asian men grooming and sexually abusing young white girls has fanned the flames of extremist groups and the nation’s distrust of the Asian community in general. Membership of anti-immigration groups such as UKIP and anti-Muslim groups like the English Defence League have risen alarmingly. After the Brexit vote -where the fear surrounding immigration was a key argument for many who voted to leave the EU – the press noted a sharp rise in racist attacks, particularly on Muslims, and though that has abated to an extent there continues an air of concern among many in Asian communities.

While groups such as UKIP and EDL are relatively new – but highly popular – organisations, white racism seems to have been deeply embedded in the White British psyche a long time; probably since the days of the Empire. ‘The British Bulldog’, a small but tenacious animal, is a well-known symbol for the British, but that aggressive and persistent attitude which is felt to make the nation great has an ugly side too where rational thinking fades and mob mentality is difficult to eradicate. Ibrahiem thinks education is key and sees his film in this context.

Freesia is written in part for a Muslim audience. It respectfully challenges the community to address issues like grooming and deal with them. But it is also a movie for those who hate us. I would love people from these groups to come and see the film and see the other side. For that reason we deliberately portray the positive and negative sides to both communities.”

It’s a bold move and is, perhaps, something which takes Arakan’s future movies out of the current narrative of British Asian productions. Where previous films may have been guilty of melodrama and perhaps being a little trite in their handling of sensitive issues, Freesia is real enough to hold its own in the UK’s tough and intimidating schools. Again, this is all part of the plan by Ibrahiem and his team.

“We want this film to be used in schools and we’re hoping for the opportunity to work with education providers to see this happen. We’re ready to provide resource packs to use for lessons which would give the opportunity for teenagers to engage in the issues raised by the characters.”

Remarkably, the film succeeds educationally in ways its two closest companions do not. Brick Lane (2007) and Slumdog Millionaire (2008) both present the harsh realities of life in the UK and India respectively and deserve the immense success they’ve received, but both also add scenes of sex and violence which might make teachers and councils think twice about their use in the classroom. Freesia has nothing which will concern authorities yet manages to hit hard with the message that British society needs to change without preaching or talking down to the audience.


At the time of writing, Arakan’s production is still doing the rounds of the international festivals and it waits to be seen if it will be picked up for general release in cinemas, taken by British TV or made a part of the British national curriculum for schools (it is encouraging for the team that they have just received their 14th official festival selection, this time from the Yosemite International Film Festival). It’s hard to say which of these would have the greatest impact and it is certainly impact rather than commercial success which drives Ibrahiem. The goal of seeing Arakan Creative as the UK’s first ‘Islamic’ film company is a spiritual one rather than cultural. The crew who made the film came from both white and Asian communities, Muslim and non-Muslim.

“’Islamic’ is an holistic idea,” Ibrahiem explained. “It is about how you interact with other people and the world. It’s about encouraging good moral values and understanding others.”

This inclusive understanding of faith which is at the core of what Arakan stands for can be seen in the latest venture the company has undertaken; not a film but a comic book titled ‘The Abrahamix’ which features three superheroes – a Muslim, A Christian and a Jew – who team together to fight racial injustice. The type of media Arakan uses is clearly not a concern; the message however is unwavering.

For more information about Freesia go to

You can see the trailer for Freesia here:


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