Ethnolinguistic composition of the population of South Asia
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72 episodes with south asians
19 episodes with south asians
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13 episodes with south asians
12 episodes with south asians
13 episodes with south asians
14 episodes with south asians
8 episodes with south asians
8 episodes with south asians
8 episodes with south asians
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12 episodes with south asians
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21 episodes with south asians
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4 episodes with south asians
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5 episodes with south asians
3 episodes with south asians
8 episodes with south asians
3 episodes with south asians
3 episodes with south asians
3 episodes with south asians
5 episodes with south asians
5 episodes with south asians
2 episodes with south asians
3 episodes with south asians
6 episodes with south asians
6 episodes with south asians
2 episodes with south asians
South Asians represent about a quarter of the world's population but account for over 60 percent of the world's heart disease. The highest rates of diabetes and metabolic syndrome. And yet most women in the community have no idea this could be coming for them.This week I spoke with Dr. Ambreen Mohamed, a cardiologist with a passion for improving cardiovascular health, particularly in South Asian communities. This is a conversation I have wanted to have for a long time, and it is personal. I lost my mother to a massive heart attack over a year ago, and like so many women in our community, her symptoms did not look like what we are taught to recognize.We talk about why women's heart attack symptoms are so often dismissed, why the research was built on men for decades, and why what we call atypical is actually just different. We get into the genetics that make South Asians uniquely vulnerable, including lipoprotein A, APOB, insulin resistance, visceral fat distribution, and why someone can look healthy on the outside and have significant cardiovascular risk on the inside. We talk about the cultural pressures that make South Asian women put everyone else first, and how chronic stress compounds an already elevated risk.We also cover what good prevention actually looks like. What to ask your doctor. What markers to check beyond a standard cholesterol panel. How pregnancy history, PMOS, preeclampsia, and early menopause all factor into cardiovascular risk assessment. And what is coming down the pipeline in cardiology that gives Dr. Mohamed genuine excitement.This is not a doom and gloom conversation. It is an empowering one. Because knowing your risk is the first step to doing something about it.South Asians make up about 25 percent of the world's population but account for over 60 percent of global heart disease, with the highest rates of diabetes and metabolic syndrome of any ethnicity.What you'll learn:Women's heart attack symptoms are often dismissed because they can present differently from the classic Hollywood version, including fatigue, jaw pain, back pain, nausea, and indigestion rather than crushing chest pain.Microvascular disease, disease of the smaller coronary arteries, is more common in women and diabetics and can be missed entirely on standard imaging.The skinny fat phenomenon is real: visceral fat, the fat that wraps around organs deep in the body, increases cardiovascular risk even in people who appear slim.Early menopause is an independent risk factor for high blood pressure, and the estrogen drop during perimenopause and menopause accelerates cardiovascular risk.Sleep apnea is one of the most underdiagnosed contributors to high blood pressure and should be screened for before jumping to medication.The foundation of prevention is not supplements or peptides: it is sleep, movement, diet, stress management, and knowing your numbers.Connect with Dr. Mohamed:WebsiteInstagramTikTok
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. -
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos.You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
How do you carry the monumental weight of one of Indian classical music's most revered lineages while fearlessly forging your own contemporary artistic voice? In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Grammy-nominated Sarod master, composer, and performer Alam Khan. As the son of legendary maestro Ustad Ali Akbar Khan, Alam inherited the keys to the iconic Maihar Gharana tradition. In this deep and intimate conversation, Alam reflects on performance rituals and perfectionism, taking the Sarod into modern landscapes, navigating the "Jedi-like" responsibility of preserving legacy, and why true music must always serve as the "sound of unconditional love."If you enjoy deep dives into culture, identity, and artistic excellence within the South Asian diaspora, please LIKE, SHARE, and SUBSCRIBE to join our growing community!--------------------------CHAPTERS:00:00 - Introduction03:02 - Overcoming Stage Fright & Performance Anxiety05:44 - Breaking Free from Perfectionism: "Perfectly Imperfect"08:48 - Maintaining a Growth Mindset in High-Stakes Artistry11:22 - Evolving Relationship with the Sarod: Classical vs. Contemporary15:01 - Meaningful Collaboration vs. "Confusion" Music16:07 - Classical Music as a Spiritual "Lighthouse"18:28 - Sponsor Break: Travelopod and Lotus Lane Coffee19:28 - Preserving Ali Akbar Khan's Legacy & Finding Space22:55 - The Anatomy of Musical Storytelling & Emotion25:15 - Listening to Ali Akbar Khan's Music Over Time28:44 - Teaching at the Ali Akbar College of Music32:17 - The "Jedi Order" Responsibility & Personal Legacy35:27 - Creating from a "World Between Worlds"38:35 - Connecting Audiences to Peace, Power, and Solace40:33 - Episode Outro & Community Shoutouts--------------------------EPISODE HIGHLIGHTS & KEY TAKEAWAYS:• Embracing the "Perfectly Imperfect": How to quiet physiological anxiety on stage and get out of your own way.• The Classical Lighthouse: Why classical foundation provides the creative anchor when exploring contemporary genres.• True Collaboration: Avoiding superficial fusion by ensuring projects resonate deeply and create timeless art.• Spreading the Sonic Gospel: Interpreting teachings for new generations at the Ali Akbar College of Music.--------------------------GUEST & HOST RESOURCES:
Blast from the past! In this episode we manifest tickets to the World Cup from FIFA (spoiler, didn't work out), dive deep into lack of South Asian representation in even the boring sports, and then somehow also get into the Devil Wears Prada 2, viral hit Off Campus, the new James Bond, misleading New York Times headlines, and something about how lack of sunlight is proportional to gore in media. Something for everyone in this one!! As always, email us at thebrownburndown@gmail.com. Go sports!!!!
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos.You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Indian-origin Australian cricketer Neel Patel has achieved a major milestone after being selected in Australia's Under-19 squad for the upcoming tour of India. Speaking to SBS Gujarati, Neel and his father Puneet Patel discuss his cricket journey, the hard work behind his selection, and what representing Australia in India means for their family. - ઓડિયો સાંભળવા ઉપર આપવામાં આવેલા પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. -
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
India-born cricketer Jerrssis Wadia speaks to SBS Gujarati about his remarkable journey from balancing studies and cricket to earning selection in the Cricket Australia XI squad. In this interview, he shares the sacrifices, challenges and defining moments that turned his Australian dream into reality. - ઓડિયો સાંભળવા ઉપર આપવામાં આવેલા પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
India-born cricketer Jerrssis Wadia speaks to SBS Gujarati about his remarkable journey from balancing studies and cricket to earning selection in the Cricket Australia XI squad. In this interview, he shares the sacrifices, challenges and defining moments that turned his Australian dream into reality. - ઓડિયો સાંભળવા ઉપર આપવામાં આવેલા પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Australians will receive a test alert at 2pm local time on Monday as authorities trial the new location-based emergency warning system. AusAlert uses cell broadcast technology to deliver warnings more reliably than the current SMS-based system, authorities say. - ઓડિયો સાંભળવા ઉપર આપવામાં આવેલા પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear ore podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 PM
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies
Fear of the False: Forensic Science and the Law of Crime in Colonial South Asia (Cornell University Press, 2026) uncovers colonial South Asia's critical role in the development of forensic science. Around 1900, the government of British India created a web of institutions for the scientific detection of crime. Driven by anxieties about "native mendacity," newly minted forensic analysts focused on uncovering faked evidence planted by South Asians. These experts, joining toxicologists known as "chemical examiners," were supposed to extract objective, scientific truth in the service of British justice. But in trying to counteract the presumed tendency of colonized peoples to lie, the system enabled widespread misconduct by state experts, increasing the risk of wrongful convictions of South Asian defendants. Through scrupulously documented legal cases, Mitra Sharafi reveals that colonial dynamics put special pressure on the relationship between truth and justice. Examining falsity on both sides of the law through the use of testing to (mis)identify poisons, blood, and spermatozoa, as well as debates over adversarialism and inquisitorialism in the colonial courtroom, Fear of the False explores advances in forensic science and shortcuts in criminal procedure against the backdrop of colonial mistrust. Thanks to generous funding from the University of Wisconsin Law School, the ebook editions of this book are available as open access volumes through the Cornell Open initiative. Mitra Sharafi is a legal historian whose research focuses on South Asia. She is the Evjue-Bascom Professor of Law at University of Wisconsin-Madison and currently serves as the president of the American Society for Legal History. She has been the host of the South Asian Legal History Resources website since 2010. Saumya Dadoo is a PhD candidate at Columbia University's Department of Middle East, South Asian, and African Studies (MESAAS). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear ore podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear ore podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
How do we move beyond shallow representation to capture the deep, fluid, and beautifully complex realities of the global South Asian diaspora? Snigdha Sur, Founder & CEO of The Juggernaut, joins us again to share how her media tech company operates as a "smart best friend" providing essential context, investigative reporting, and nuanced storytelling for a dynamic global community.If you want to catch more deep dives into the global Indian and South Asian diaspora experience, hit the Subscribe button to join our community!In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Snigdha to catch up on the cultural zeitgeist of 2026. From her personal obsession with the National Spelling Bee to her background and experiences as a founder , Snigdha challenges us to demand deeper specificity in journalism and the stories offered by The Juggernaut. She also opens up about the rigorous realities of investigative journalism and leading a media company, why she chose to learn video editing to out-innovate aggregators, navigating social media shadowbans, and her hard-earned Y Combinator lesson on filtering out internet noise to focus exclusively on serving paying subscribers.In this episode, we cover:• Nuanced Subcontinental Identity: Why geographical specificity matters over broad-brush labels.• Smart Context vs. Representation: Moving past surface-level media tropes to deliver real depth.• The Barbell Effect of AI in Media: Why deep-dive human creation will become increasingly priceless.• Founder Wisdom & Burnout: Learning whose feedback to value and when to mute the noise.Chapters:00:00 Introducing Snigdha Sur & The Fluidity of the Diaspora03:19 The National Spelling Bee: Passion, Tropes, and Community Anchors06:55 Identity, Borders, and Subcontinental History in 202610:47 The Juggernaut Strategy: Serving Smart Context Over Shallow Representation15:16 Sponsor Break - TRAVELOPOD and LOTUS LANE COFFEE16:16 Investigative Journalism: Pushing Boundaries, Data Truths, and Backlash23:37 The Barbell Effect of AI, Founder Burnout, and Protecting Your Creative Well33:04 Y Combinator Lessons: Filtering Negative Commentary to Focus on Subscribers35:28 Democratizing Media Spaces & Designing Radically Inclusive Communities36:56 Conclusions and Shout OutsConnect with Snigdha Sur & The Juggernaut:• Website: https://thejuggernaut.com/• Newsletter: https://thejuggernaut.com/newsletterShout outs this week:• Sheela Bhat, Preety Kalra, Aarti Kohli, Latika Malkani, and Dharini Rasiah (Editors of Our Feet Walk the Sky: Women of South Asian Diaspora )• World Cup ¡Shabbas! to España• Hydrogen Trains & the teams behind Vikram One• Astronaut Anil Menon • Desi Me Dating and the PopShift team#TheJuggernaut #SnigdhaSur #SouthAsianMedia #DiasporaStories #TrustMeIKnowWhatImDoing #StartupFounderTrust Me I Know What I'm Doing | Dr. Abhay DandekarA mirror and window for global Indians and South Asians through conversation.Every week, we share chats with artists, leaders, musicians, chefs, experts, change makers, and innovators from the home and diaspora — sharing their journeys and motivations.Support our sponsors: Personalized travel journey to destinations like Africa, India, Japan, Antarctica, or the Northern Lights regions with Travelopod at:https://vacation.travelopod.com/Lotus Lane Coffee — Rooted in India, Roasted in Columbus.https://lotuslanecoffee.com/For enquiries
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the full SBS Gujarati radio program aired on 17th july 2026, featuring Sushen Desai. - સાંભળો, 17 જુલાઈ 2026નો SBS Gujaratiનો સંપૂર્ણ રેડિયો કાર્યક્રમSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Indian news from SBS Gujarati. - ભારતના સમાચાર સાંભળવા ઉપર આપવામાં આવેલા ઓડિયો પ્લે બટન પર ક્લિક કરો.SBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear ore podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. This Thursday APEX Express proudly presents “South Asians and The Labor Justice Movement.” This episode highlights Sandhya Jha, a pastor, founder and former Executive Director of the Oakland Peace Center, and racial, housing, and labor justice activist. In the first half of the episode, we discuss Sandhya's life, their path into organizing, and what they're up to now. The second half is dedicated to their recent project with the South Asian American Digital Archive's Archival Creators Fellowship Program. This episode was interviewed, produced, and edited by Swati Rayasam Follow @Sandhya Jha on Facebook and check out Sandhya's website https://sandhyajha.com/ APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Listen to the episode live on KPFA 94.1 in San Francisco, 89.3 in Berkeley, and online at KPFA.org. References throughout the Show and Links: Without Fear Consulting Interfaith Alliance Oakland Peace Center Book – Blueprint for a Revolution Book – The Selected Writings of Eqbal Ahmad Podcast – Bending Toward Justice: Avatar the Last Airbender for the Global Majority The Alliance of South Asians Taking Action – ASATA Bay Area Solidarity Summer South Asian American Digital Archive Archival Creators Fellowship Program Sandhya Jha's project, you can listen to all of the oral histories here. Solidarity Forever Online Exhibit Arab Resource and Organizing Center Block the Boat No Tech for Apartheid University of California Labor Center Equality Labs California Trade Justice Coalition NAFCON – National Alliance for Filipino Concerns Filipino Community Center Madhvi Trivedi Patak Transcript [00:00:00] Miata Tan: Hello and welcome! You are tuning in to APEX Express—a weekly radio show featuring the voices and stories of Asian Americans and Pacific Islanders. I'm your host, Miata Tan. Tonight we're revisiting an episode from our archives, first aired January 5th, 2023. We're bringing it back this week in honor of South Asian American Heritage Month. This one centers Sandhya Jha — a pastor, organizer, and founder of the Oakland Peace Center — in conversation with APEX producer Swati Rayasam. The first half traces Sandhya's path into organizing, from a labor campaign at Johns Hopkins to two decades of interfaith and racial justice work. The second half digs into Sandhya's project with the South Asian American Digital Archive, where she spent a year interviewing South Asian workers inside the labor movement — collecting stories that don't usually make it into the archive. Here's Swati Rayasam in conversation with Sandhya Jha. [00:01:00] Swati Rayasam: I'm really excited actually today to talk to Sandhya Jha, who is a really close friend of mine. Hi Sandhya. Hi there. Sandhya is, a Pastor is a consultant and has been working on this really amazing project with the South Asian American Digital Archive that will get into later in the episode. But yeah, Sandhya I'm just really excited to learn more about you and to hear more of your story and, let's just dive in. [00:01:26] Swati Rayasam: Absolutely. [00:01:27] Swati Rayasam: We should first talk a little bit about how we know each other, you have this long organizing background. I've been in the Bay Area for the past seven years and I would be totally lying if I said I have not historically been, or I'm not even currently an active fangirl of yours. You are literally a pastor. You are a movement worker, how did you get involved in organizing? [00:01:53] Sandhya Jha: Yeah. So I am the product of my parents who were generous, compassionate [00:02:00] people who thought about the world beyond themselves, but were never involved in organizing or activism or anything like that. I think for anybody who comes from immigrant backgrounds, it's hard to tell our stories without naming who we come from. Right. And so my father was Sunil Kumar Jha from the village of Tildanga in West Bengal. My mother, who is still alive is Jeanette Campbell Jha. She is from Glasgow. So I come from a mixed religion and mixed race home. My parents chose not to name me Sandhya Campbell Jha not to give me that kind of grounding, but I was called Sandhya Rani Jha, which is a lot to live up to, well, yes, Rani does mean Queen. But it was actually handed down to me, part of the reason they wanted that middle name was it was my aunt's name, Durga Rani Upadhyay and she was the one who really [00:03:00] brokered my mother's acceptance into the Indian family and I think that there was something about being accepted on the Indian side of the family and not for many, many years on the Scottish side. That caused my parents and particularly my mother to double down on making sure I knew who I came from and who I came from was my people in the village of Tildanga. [00:03:23] Sandhya Jha: I grew up in Akron, Ohio, so we immigrated to this country when I was a toddler, in the late 1970s, which was a complicated time for Asian immigrants to be in the Midwest because it was a time that the rust belt was rusting and there was a growing sense that we were the reason. But also I grew up alongside folks who were trying to figure out how to put food on the table. So I think that landscape shaped me in a lot of ways. And I also come from people who grew up in poor working communities. And[00:04:00] when I went off to college, there was an organizing campaign. The board of directors of the university had created a for-profit corporation with the exact same board. [00:04:15] Swati Rayasam: Oh wow. [00:04:16] Sandhya Jha: So that the universities could subcontract all of their catering, all of their custodial work to this… basically Shell corporation. [00:04:28] Swati Rayasam: Are we telling on the university? [00:04:29] Sandhya Jha: Mm, Yeah. Why not? It was Johns Hopkins University in Baltimore, and I think that's relevant because the tension between Black communities next to Johns Hopkins Medical School and the school itself were very real because this was part of a very long history of exploiting community members. So the workers were organizing, and you know, I had read about activism, I cared about it. I paid as much attention as I could for a high school student. But when I got to college, this organizing [00:05:00] campaign was going, and the workers were really clear, Hey, college kids who are excited about this, we do have a role for you. It's to fill the crowd. It's to cheer us on. It's to when we ask you communicate to the university that our well-being matters to you because they will listen to you in different ways. But the campaign centered the workers and was really clear with us about what our role was because we were the folks with all the privilege by getting to be there, right? We had tons of privilege and it was a really good lesson for me. I am so grateful. The first organizing campaign I was a part of was a labor campaign that understood what it meant to center the people who were the most impacted by injustice and I think that shaped the rest of my career. [00:05:46] Swati Rayasam: And that's so special too because I think for many people who come into organizing, and I will definitely cop to this myself, like coming up and organizing through high school and college level organizing. When you are a student, nobody ever [00:06:00] tells you that actually you are the least useful kind of organizer that exists. Right. You are in this incredibly enclaved community. Your oppressor, the university, all they have to do is wait for you to graduate institutional memory will not keep you. Yeah. Right. And I think that it is, it's this perfect storm of, you have actually sometimes cool ideas, sometimes very rudimentary ideas, but you also have this turnover issue and you have this sense of self import, which often comes with your teens, early twenties. Yep. As you're just figuring all of that out. So Yeah, self differentiation, right? It's a narcissistic phase in our development. . [00:06:46] Swati Rayasam: It absolutely is and I think that's so important, and I can't imagine how my life would be shaped if I didn't have to spend a lot of time unlearning the self import and narcissism that I had gained through student [00:07:00] organizing. [00:07:00] Sandhya Jha: Yeah. No, I am really, really grateful for it. [00:07:02] Sandhya Jha: My first job outta college was working for a member of Congress, which sounds super fancy and pretentious, but, a member of congress from Akron, Ohio. So put that all in perspective. His name, believe it or not, was Tom Sawyer. Oh, wow. What I loved about Tom was back in those days, he believed very strongly that 80% of legislation was nonpartisan and that was the part that he spent most of his time on. He would weigh in with his party, when they were dealing with that 20% pretty consistently. But he was more interested in the stuff that everybody could agree on and I remember for about 15 years after I worked for him, I looked back and found myself thinking that was so naive. How did he not understand where we were about to head with the divisions between the political parties? But at this point in my life, I realize the people I respect most in organizing work keep pointing out that the binary of [00:08:00] left and right actually doesn't serve us very well. One of my biggest heroes in the movement right now is the Reverend Dr. William Barber, [00:08:07] Swati Rayasam: Hometown hero of mine. Yes. [00:08:09] Sandhya Jha: Poor People's campaign from North Carolina. And he always talks about how it's not about right and left. It's about right and wrong. And it turns out that when we engage in organizing with the awareness that there are huge swaths of things that most of us are well served by, we can do better organizing. And that was actually how Tom was legislating. And at a certain point I realized that my deep passion was around racial justice, but the distinct experience I had in a multi religious household was an awareness of how religion was being used as a weapon. I had an obsession. Every paper in college I wrote was about the Christian coalition, this right wing, organizing body in the nineties. So a friend of mine [00:09:00] said, You know, there's an interfaith organization working against the Christian Coalition. And it was called the Interfaith Alliance. Her mom had been a superintendent in Washington state in eastern Washington and was a pretty conservative person by my standards. [00:09:18] Sandhya Jha: But, Dr. Chow believed in multiculturalism and believed in teaching evolution. And the Christian coalition had organized to push her out of her position as superintendent and the Interfaith Alliance of Washington State had supported her in that time. [00:09:38] Sandhya Jha: And so Liz said, you know, they've got a national chapter, a national office. And that's where I ended up, cutting my adult organizing teeth which was great because talk about learning lessons for our current moment where religion is being weaponized in ways that are anti-trans, that are anti-queer, that are anti-women, that [00:10:00] are anti reproductive rights, that are anti-immigrant and refugee. I am really grateful to have experienced the power of multi-faith organizing, around a lot of those same issues. So that was what I did in the early two thousands and then I went to seminary and public policy school, and then I ended up out here pastoring a congregation of 10 people in a building of 40,000 square feet. [00:10:29] Sandhya Jha: And long story short, that's how the Oakland Peace Center was born, was out of this dream of cultivating deeper collaboration among nonprofits who were dedicated to a shared cause. The Oakland Peace Center, which is a collective of 40 different nonprofits committed to dismantling the root causes of violence in our community. I was the founder of that organization and it was when I was pastoring First Christian Church of Oakland that I asked the handful of folks who were members of that church, what they wanted to [00:11:00] contribute to the community, and they said they wanted to contribute peace in the midst of violence. And for a dozen folks to have given birth to a space that in non pandemic years, saw over a hundred thousand people do things like the Lawyers for Black Lives Conference and to do Kingian non-violence training and to be a part of food and clothing distribution, to participate in all the very diverse ways that we can create peace is pretty impressive. [00:11:30] Sandhya Jha: And a couple of years ago, I left the Oakland Peace Center because a colleague of mine said, Anybody can run a non-profit. We need you to do what you're actually good at, and what she meant by that was we need more people of color doing diversity, equity, and inclusion work that is actually grounded in power analysis. That isn't just how do we be nicer to each other in the workplace, but how do we recognize the ways that systems of white supremacy [00:12:00] unconsciously often shape the culture of our workplaces? And what do we do to dismantle that white supremacy culture so that we can be building nonprofits and institutions of higher education and faith organizations, and even corporations that are dedicated to our full liberation, our liberation, the lands liberation. [00:12:23] Swati Rayasam: I mean coming, especially from the place that you come in grassroots organizing and in faith based organizing, what is it actually to transition into this kind of consulting space around racial justice and really interface with a lot of people that I feel like as organizers, we don't really talk to? [00:12:42] Sandhya Jha: One of my favorite things about this shift in my work is I love getting to work with folks who don't think of themselves as organizers, who, it turns out are organizers, Right. I think we sometimes create a cult of here's what an organizer looks like, you [00:13:00] have to be a Martin Luther King or a Cesar Chavez and what I love is getting to work with moms and with teenagers and with folks who think of themselves as caring, compassionate, individuals, and when I go into an organization and work with their handful of folks who care about this issue, the DEI team, I get to teach them how to strategically organize. I get to teach them how do you create culture shift over time? I get to teach them how do you figure out who your allies are? How do you figure out how to move people who are neutral? It turns out that there are a lot more organizers out there than we realize if we don't create one definition of what an organizer needs to look like. [00:13:45] Swati Rayasam: I have been reading this political scholar Eqbal Ahmed, who really talks about the way the burden is on those of us who are deeply committed to movement work, narrow definition people, the burden is really on us to try and [00:14:00] create a liberatory future that feels both achievable. Mm-hmm. and safe for everybody. Because when people engage in mass struggle and in revolution, there are people who are a hundred percent willing to put their lives on the line. People who are willing to die for the cause. And we absolutely need those people. And there are many people along the spectrum who, if you can create a future that feels like it's within their grasp, they will come with you. [00:14:30] Sandhya Jha: Yep. I teach a lot of organizing classes and have gotten a chance to teach alongside my beloved colleague BK Woodson at Allen Temple Baptist Church, they have a leadership institute there. And one of the books we use is Blueprint for a Revolution by Srđa Popović. And I feel like I learned a lot as we read that book together and thought about how to apply it to the work we're doing in Oakland. They talked about how by engaging in nonviolent direct action, [00:15:00] they created space for elders to be a part of their work and youth to be a part of their work and families to be a part of their work. By making the movement playful. They gave people hope and gave people courage because dictators are terrified of being mocked. [00:15:17] Swati Rayasam: Yeah, exactly. And I think by being really restrictive or narrow about who we view as actually valuable organizers. And I think labor movements teach us this a lot, right? We really cut ourselves off at the knees on our ability to build a network or to be in touch with the general population, many of whom are more connected than we ever give them credit for. [00:15:41] Sandhya Jha: Yeah. Yep. it's part of why I love labor organizing. I talk with a lot of people who are disenchanted with organizing who ask me how I can have stayed involved for the past 25 years. And why I've been able to stay in it is cuz I'm organizing alongside workers and they have [00:16:00] full lives. And the work that they're doing in the movement is so that they can live their full lives. And there's something about having that perspective and recognizing the why all the time instead of getting lost in the weeds of the what. Is so important in this work. I think that has been a big theme of my organizing life is how do we build to the greatest common denominator? As my friend BK often says how do we build towards those shared values that often get erased when we are engaged in the right versus left debate. [00:16:39] Swati Rayasam: Yeah. I think that it is so important and I also think that it's really hard in this moment of what feels like constant trauma and re trauma. [00:16:51] Swati Rayasam: And to some extent especially when we're talking about the left right dichotomy there are real concerns [00:17:00] about safety. Yep. And there are real concerns about security and who you are in community with and who you can find even the smallest level of acceptance from to ensure that you won't have violence visited upon you. And I think that these conversations of united front organizing, Right. trying to bridge across difference mm-hmm. for a shared goal, for a shared liberatory future Yep. Are really important. And they feel kind of impossible to achieve right now. [00:17:31] Sandhya Jha: It's interesting cuz I think that in many ways that is true. There are a lot of conversations that I think people with privilege expect, people who are marginalized to engage in. And those expectations are unfair, what I found very frustrating was the number of people with a lot of privilege who would be like, Ugh, I just can't talk to those people. And I'm like, Then who's going to? Exactly. and so I do think that some of this is about being willing to have [00:18:00] hard conversations in the places where we have privilege and recognizing who's at actual risk and showing up in ways that are protective of who is at risk. But that doesn't mean walking away from people who aren't where we are. Right. Because the fact of the matter is everybody's on a journey. And I have watched at the same time some of the disposability culture in movements write off people without giving them any way to address harm, repair harm, and find a pathway back into community. [00:18:41] Swati Rayasam: Yeah. And I think that's why, at least I am feeling really hopeful about, what I've seen over the past couple of years, this really important track into transformative justice and restorative justice, to acknowledge that there is harm that has happened, there are harms that happen every day between people. [00:19:00] And also we are all on our own journey to unlearn the things that we have been taught either directly or indirectly by our upbringing, by our environment and that you cannot easily dispose of people and that people are able to come back into community. Now that comes with a very important caveat that like they recognize the harm. Mm-hmm. that. They have done or how they've been party to it, that they acknowledge that there is healing work that needs to be done both with the person that they harmed and also probably in internally. [00:19:35] Sandhya Jha: Well, and the community, folks who don't do RJ on a regular basis tend to skip the community aspect. Yeah. That there is actually repair that needs to be done with community and there's work community needs to do to figure out how to re-embrace reabsorb people who have done harm in ways that still protect the person who's been harmed. [00:19:55] Swati Rayasam: Exactly. In ways that do not erase the harm that has happened, but [00:20:00] acknowledge, contextualize it and say, Okay, we are patching this and we are working to move forward in step with each other. Absolutely. [00:20:09] Sandhya Jha: Can I just say that one of the other things that I think you and I have in common is a real passion for bringing joy back into the work of Justice I quote Fabiana Rodriguez a lot on this particular thing, because I was at an event she was doing eons ago, and she looked out at us and most of us were activists and she said, Listen, y ‘all you keep inviting people to a struggle. I'm on your side and I don't wanna join a struggle. I want to join a party. And that was like a call to arms for me when I heard her say that. I was like, Oh my gosh, you're right. We are so much more fun. Like, I've hung out with people who are anti-trans and anti queer and anti-immigrant and anti refugee. They are not fun people. No, no. We have all of the best parties. So I don't know why we don't [00:21:00] capitalize on that more. So I think the role of joy and justice is so important. And this is why I was so excited to have you on the podcast that I launched recently. [00:21:11] Sandhya Jha: Right. Bending Towards Justice Avatar the last Airbender for the Global Majority. [00:21:15] Swati Rayasam: So literally like bringing it together. Two of my favorite things right, is like TV shows, wholesome TV shows like Avatar, The Last Airbender that I deeply love and organizing. Yes. All the work that I love. And I think it's true You know, what is actually really the important work is to work to build toward a future that is desirable Yep. That people want to be a part of. Yeah. That people can see happen. Yeah. And I think that is a lot of the difficulty that I have seen in some organizing circles. We are so well versed in what we are against and all of the things that are bad that so many people have a really hard time seeing or visioning or communicating [00:22:00] what it is that we are fighting for. Yeah. Right. And it's not enough to say, I'm fighting for a world where we can all be safe. Right. Yeah. I'm not, I'm fighting for a world where we can all take long naps in the middle of the day if we'd like to do that. Right. Yeah. But like really building and visioning that future of like, in this world in which we are all safe, there will be harm that happens. How do we deal with that? Yeah. What do we do with that? How do we make sure that it is able to keep everybody safe and also able to account for the times in which it is not able to keep everybody safe. [00:22:38] Sandhya Jha: Visionary does not have to mean naive. And we need it to be visionary. And sometimes I forget to do the visionary stuff. I've got a colleague, Dave Bell, he's a farmer who is also an anti-racism trainer and we do a lot of work together. He's a white guy who lives in White Swan, Washington, on the reservation and I remember being at a training with him and I [00:23:00] was all fired up and I was so excited about the conversations we were having and the people were really ready to do the hard work and roll up their sleeves. And Dave says to them, I would like to not have to do this work. And I'm like, What is he talking about? This is amazing. We're doing such good work. And he says, I would like for us not to have to talk about racism all the time. I would rather be farming. I would rather be, taking care of the cows in my field. [00:23:26] Sandhya Jha: I would rather be talking about my pottery work that I'm doing badly but learning how to do, I would rather be doing anything than have this conversation. But I don't get to be on the farm with the wheat, with the cows, with my bad pottery until we figured out how to do this anti-racism work. And it was a really humbling moment for me because I also get into that like I'm an organizer, that's my identity space. And it was this reminder of Dave's doing this. So he gets to live in a world where he gets to hang out in the fields and he [00:24:00] gets to, love on the cows. There's something about being reminded that we're doing this so that eventually we don't have to do it. That I think is actually visionary in its own way and it's important. [00:24:12] Swati Rayasam: Moving into a little bit more of the grit of like why I asked you to be on the show today. I met you originally when I moved to the Bay Area when you were the executive director of the Oakland Peace Center because At that time I was doing organizing work with the Alliance of South Asians Taking Action, which is a 20 year old bay area based organization, that was really founded around the Laki Reddy Bali Reddy sex trafficking. Yep. Caste and labor exploitation case that happened in Berkeley in 1999. And I was just so thrilled to be around and have in community so many rad desis. And you also did work with ASATA, right. Historically and are actively doing work with us. [00:24:56] Sandhya Jha: Absolutely. One of the places I think I invested the most [00:25:00] energy in where we got to spend a lot of quality time in the kitchen was one of the projects, Bay Area Solidarity Summer, an organizing institute, camp, however you wanna refer to it. [00:25:10] Swati Rayasam: Political education, Summer camp. [00:25:12] Swati Rayasam: Yeah, exactly. For young South Asian Americans who are committed to activism. What I think was the most beautiful part of that program when I was involved in it, and it's still the case today, is for young South Asians who think that they're the only ones who care about justice issues, who haven't met other people, who are South Asian, and identify as justice seekers first to meet each other and realize that there are people just like them. Then to look around and realize that those of us who are usually 10, 15, 20 years older than them are also committed to the work and have been doing it for decades. And then for them to get exposed to the long history of radical visionary organizing and activism of South [00:26:00] Asians here in the US and also in the homelands of India, Pakistan, Sri Lanka, Bangladesh, Afghanistan, and diasporic countries all over the world. [00:26:13] Sandhya Jha: There's something about realizing, Oh, you have contemporaries, oh, you have elders, oh, you have ancestors. Mm-hmm. Especially in the face of the model minority lie that so many of us have had imposed on us, this lie that all we are all we're supposed to be is cogs in this larger capitalist machine that are non disruptive, which is why we're allowed to survive. And if we are non disruptive enough, we might even be able to be comfortable. And to discover that there's more to our story than that is so exciting and I love, love, love being a part of that. [00:26:52] Swati Rayasam: Yeah. I think that is like fundamentally one of the most important kind of activities that [00:27:00] happens in the ASATA universe, I was a kid who also grew up thinking that there were no other South Asians like me, or there were no other folks who were interested in justice. I spent a lot of time doing, reproductive and queer justice in the south; I always think about what would it have meant if I came in, BASS for 18 to 24 year olds. Yep. what would it have meant if I had come in at a fresh 18 and been able to basically be apprised of the fact that I have this history Yeah. That it's not just me. And that actually, immigration and white supremacy and neo-colonial culture has created this project of assimilation that all of our parents have been in on, in a way to survive Yeah. And to be safe. And I tell my, I tell my mom that a lot because she's always a little surprised about the organizing work that I do. And I was just like, Your job was to survive. My job is to liberate. Yeah. [00:28:00] You know? Yeah. And I could not do that if you were not so focused on creating that environment for me. [00:28:07] Swati Rayasam: I love that. [00:28:07] Swati Rayasam: we'll drop in the show notes, but, BASS – Bay Area Solidarity Summer is solidaritysummer.org. So we'll put that in the show notes as well as ASATA, the Alliance of South Asians Taking Action is ASATA.org. And yeah, I think that is a really good segue into how we got involved in this amazing project. [00:28:31] Swati Rayasam: You're tuned in to APEX express at 94.1 KPFA and 89.3, KPFB in Berkeley. And online@kpfa.org. [00:28:43] Swati Rayasam: I think it was Fall 2021 that you and I were talking. Yep. And you were telling me that you were involved in this amazing archival fellowship project. Is run by the South Asian American Digital Archive and [00:29:00] that you were going to do your project about labor. Mm-hmm. and South Asians. Yep. And my immediate, incredibly naive response was, how many South Asians are there in labor? [00:29:12] Sandhya Jha: Exactly. And it's not naive. It's interesting cuz I think that this project actually emerged out of my favorite part of BASS, which was when the young adults would ask what their opportunities were in the world of justice. And I would say, you know, there's a place for us in labor justice. It had never crossed most of their minds. Right. We don't think of ourselves as having a role especially in formalized unions. And so SAADA, the South Asian American Digital Archives has an archival fellows project. And the whole purpose of it is to diversify their archives and collect the stories that are usually overlooked in the telling of South Asian American stories. [00:29:56] Sandhya Jha: And they have done a great job over the years of collecting the [00:30:00] stories of informal organizing, like the Punjabi Taxi Drivers campaign, the Bangladeshi Nail Workers Campaign. Those were informal labor organizing campaigns. That have been really well archived and they're amazing stories. I wanted to make sure that the next generation of South Asian activists knew about the South Asians who were actually part of the formal organized labor movement. [00:30:30] Sandhya Jha: And so I spent this past year interviewing, maybe a half a dozen or so South Asian American workers. Generally, not always, but mostly what would be classified as low wage workers who found a pathway into formal organizing bodies, unite here or the building trades or any number of the formal unions that keep [00:31:00] the labor movement alive across the country today. And I'm really proud of the fact that we do have South Asian workers who have moved up the ranks to be official organizers or to be at negotiating tables. And so that's part of the story I thought it was worth us telling. [00:31:19] Swati Rayasam: And I am, I'm so excited that we get to dive deeper into this project and I really love your framing too, around the three large bins that you have, solidarity, spirit and struggle. [00:31:34] Swati Rayasam: Right? Yeah. Yeah. [00:31:35] Sandhya Jha: I started out with certain assumptions about what I was going to learn, partly because I've been doing labor solidarity work for 25 years at this point. I really thought I knew what I was gonna hear. And what I discovered was there were these consistent themes across, the interviews. that there were these notions of, Oh, what's meaningful to me is [00:32:00] getting to organize across cultures, getting to organize with people who, on the surface and even deep down are very different than me, but we share this vision of what our lives can be. And so that solidarity message I found really powerful. Also, and admittedly because I come out of a spiritual background, was probably looking for it. I was really struck by how many of the interviews ended up talking about the role of spirituality and shaping people's values. And in a couple of instances, organizers said, what my religion taught me was that religion needs to be challenged. And building up that muscle was what helped me challenge systems of injustice in other places. But others said that their journey with their faith tradition was what guided them into the work of labor organizing. [00:32:52] Sandhya Jha: And then that third bucket of struggle, I think is the lived experience of how [00:33:00] hard it is to take on oppressive systems of capitalism, how hard it is to take on decks that are stacked against us and what it means to have somewhere to turn in the midst of those struggles. I will say there were also a couple of lessons I was surprised by because my South Asian identity is so central to my organizing work, I was expecting to collect stories of people who were proud South Asians, who were also proud to be involved in the labor movement. And I assumed that they would see connections between those things because I certainly do. But what I discovered is for the most part, they were like, Yeah, I'm South Asian. I'm not saying that doesn't matter, but it's not super relevant to my organizing work. My organizing work is about [00:34:00] our cross-cultural solidarity. And that was something I hadn't been expecting that emerged as I did those interviews. Interesting. And I'm really grateful that the South Asian American Digital Archives likes telling all of the stories because I think I promised them that what they were going to get was, we're proud to be South Asian organizers. And what I got was, yeah, we're South Asian, we're proud to be organizers. And the that SAADA is like, yeah, that's part of our story too. [00:34:28] Swati Rayasam: Yeah. And I think that's, that I think is incredibly important. We have this really, amazing series of audio clips from your SAADA interviews that really represent a lot of the themes that you were highlighting about solidarity, spirit, and struggle. And I'm just really excited to play them as we talk through these larger themes in your larger project and the experience of South Asian labor organizers. [00:34:55] Swati Rayasam: This clip is from somebody that you and I both know, which [00:35:00] is Prem Pariyar. I was so thrilled that Prem was a part of your project. I think Prem is an incredible organizer, so yeah tell our listeners a little bit about Prem. Prem [00:35:09] Sandhya Jha: It was pretty exciting to get to work with him you know, he moved here from Nepal and in Nepal he had been a Dalit activist and he came to the United States and had this notion that in the United States there is no caste and he was disabused of that notion very quickly as a restaurant worker dealing with anti Nepali bias in Indian restaurants, dealing with caste bias in Nepali restaurants, well dealing with Caste bias in all the restaurants. [00:35:35] Swati Rayasam: Hey, everyone, Narrator Swati here, I just wanted to put in an explanatory comma, a la W Kamau Bell and Hari Kondabolu to talk about some terms you just heard. Sandhya referenced that Prem was a Dalit activist and also talked about Caste bias. For those of you who don't know, Caste is a violent system of oppression and exclusion, which governs social status in many south Asian countries, although it is [00:36:00] most commonly associated with India. It works on an axis of purity and pollution, and it's hereditary. At the top of the caste system are Brahmins, by the way Sandhya and I are both Brahmin, and not even at the bottom, but completely outside of the system are Dalits who were previously referred to by the slur untouchable and Adivasis who are indigenous to South Asia. [00:36:25] Swati Rayasam: Despite being “illegal” Caste bias, Caste Oppression, Caste apartheid, are still prevalent, both in South Asia and as Sandhya references, in the United States. It manifests in many ways that people experience racial injustice, via socioeconomic inequality, systemic and interpersonal violence, occupation, and through the determination of marriage and other relationships. You can learn more at EqualityLabs.org and APEX currently has a show in the works that delves into this more deeply. Now. Back to Sandhya [00:36:58] Sandhya Jha: What is [00:37:00] delightful to me is Prem went on to get an MSW and is building out amazing mental health resources for Dalit communities for the Nepali community. Seeking to build out a program where there are more and more people in Nepal who are trained with MSW skills. [00:37:21] Sandhya Jha: I met with one of his professors from CSU East Bay where he got his degree and she said, You know, that the entire Cal State system is adding caste to its anti-discrimination policies thanks to the work he started at CSU East Bay. And it was really beautiful to hear that because the focus of my conversations with him were more around how his experiences in the restaurants led him into the solidarity work with nail salon workers. [00:37:53] Swati Rayasam: To just, kick back to the caste abolition work that Prem has been doing, that caste abolition work [00:38:00] at CSU East Bay has been such critical work in these ongoing conversations around caste that have been in the South Asian community primarily, but have been percolating elsewhere. [00:38:13] Swati Rayasam: You know, the state of California filed a lawsuit against Cisco systems Yep. For caste discrimination in their workplace and there have been all these conversations around caste and tech work and interplay that with the no tech for apartheid work. Right. That has been happening in Palestinian liberation circles. Yeah. And really building that solidarity movement. So I think that Prem is an absolute powerhouse Yeah. In that regard. But yeah, let's listen to this clip. [00:38:42] Prem: During that time, I got connected with other community organizer, like workers group. I got connected and so I was connected with nail salon workers, who were exploited at their workplace and with them, [00:39:00] I got to go to the capital in Sacramento. And so I thought I need to advocate for the restaurant workers. that was my first experience, like working with other workers and with the assembly members and like other other policy makers I shared what is happening what kinds of discrimination happening at the workplace. So I advocated for the restaurant workers at that time. I shared my stories and I supported the rights of nail salon workers. I was there to support them and they supported me as well, and it was wonderful. And finally that advocacy worked. And the bill was drafted and it was passed finally. And so it was huge achievement at that time. [00:39:49] Swati Rayasam: I love that. I think that is such a perfect story of when you win, we all win. [00:39:56] Sandhya Jha: And what I also love about it is he goes on [00:40:00] to talk about how he has remained in relationship with those nail salon workers. That they show up for each other, that they take each other food, that they show up to each other's baby showers and birthday parties, and there's this sense of community that emerges out of this shared struggle. And so that's a cross-cultural campaign. They were mostly Vietnamese. There were some Bangladeshi nail salon workers, but it was mostly people from a different culture than his. [00:40:27] Sandhya Jha: But somebody at the Asian Health Services program that he was at, saw his gifts, saw his passion, and he really responded to that in exactly, the most powerful way. I can imagine. [00:40:38] Swati Rayasam: And I think one of the nice things as well about that is that person at Asian Health Services connected Prem in and the Nail Salon Worker group, California Healthy Nail Salon Collaborative, Prem came from Nepal, I'm not sure, but the extent to which his organizing background and how comfortable he was in the US organizing space around labor [00:41:00] issues was probably significantly less that worker group took it upon themselves when they saw Prem come in to say, Oh, you are advocating on behalf of restaurant workers. Great. Why don't you join us? Let's help support and so the nail salon workers saw Prem, saw solidarity with Prem and said, It is our responsibility mm-hmm to bring you into this space to connect you in and to move in, struggle together. Yeah. Toward our shared goals of safety, of health, of rights. Yep. [00:41:35] Sandhya Jha: Exactly. [00:41:36] Swati Rayasam: So, we have this clip from Daljit, tell me a little bit about Daljit. Daljit [00:41:42] Sandhya Jha: Yeah. Daljit was an attorney who now reads tarot for people because she needed a break from the toxicity of that career and how it was taking her away from her family. Daljit is a deeply spiritual person and, [00:42:00] as I mentioned before, this theme of spirit showed up in some really beautiful ways in some of the interviews. I loved the way she understood her Sikh tradition as foundationally being connected with the land and foundationally connected with the people who work the land. [00:42:15] Daljit: Agriculture is our culture and the religion that I was born into, Siki, the founder of that faith was a farmer. And so a lot of the scripture, the analogies, the metaphors, the poetry, the music, the songs, the boon, the traditional folk songs, that can be taunting and teasing banter, all that stuff the land is the framework for that. And my most favorite line from the Guru Granth Sahib, our holy book, is, [speaks Punjabi] and that basically means that, the waters our guru, the airs our father, but our mother is Earth. And that's the greatest of all , and that's adherence to ecosystem. That's the [00:43:00] indigenous Cosmo vision that should be paramount. And that's what I try to teach my children. And so I think that's what I was taught as a kid without necessarily being able to pinpoint it, but it was just infused throughout our songs, our music, our food, the Harvest, there's two times a year that our celebrations, whether it Baisakhi or Lohri. It's so connected to the harvest and what is coming out of the soil or not. And you're connected to the cycles of nature. [00:43:28] Swati Rayasam: The connection between nature land, spirituality the way that it shows up in so many faith backgrounds and so many faith organizers, I think is really, really beautiful. [00:43:41] Sandhya Jha: And I love that Daljit Kaursoni who was raised in this tradition, has found her way to Buddhism and is raising her kids with those connections, but without ever losing this grounding in the liberation of the land, the liberation of the [00:44:00] people. [00:44:00] Sandhya Jha: And for that to be a key element of her spirituality, even as her spirituality evolves, I think it's pretty powerful. Tafadar [00:44:08] Sandhya Jha: One of the other people I got to interview ,Tafadar, he's a Bangladeshi American in the building trades and is a deeply committed Marxist. For me, this was a particularly exciting interview because I'm Bengali, so from West Bengal, before partition, Bangladesh and what's now West Bengal, were one state. And so it was fun to get to talk with him and to say, Hey, this is our legacy as Bengalis is radical worker organizing. [00:44:40] Sandhya Jha: And I remember saying to him, Some people in the building trades are not super excited to be working with brown people. And some people in the building trades are a little biased against women. And as a very, very progressive South Asian? How do you navigate that [00:45:00] space? [00:45:00] Sandhya Jha: And he said, Here's the thing is, yeah, I organize alongside some moderate to conservative white folks from New Jersey and he said, but in the building trades, if that moderate to conservative white guy from New Jersey decides he doesn't like my feminist politics, or he doesn't like my brown skin, if he decides that's a reason not to train me, he might die. And it was really interesting because even though I've been doing labor justice work for a long time, it was one of those moments I was like, Oh, right. Your work is very dangerous and you all have to rely on each other whether you like each other or not. That is the magic of organizing that no one ever talks about. This is why we can do cross class, cross-cultural work because literally you have to trust each other with your lives. Right. That was a really clarifying moment for me. And it was one of those interesting moments where I was like, [00:46:00] Solidarity is not a romantic thing. Uh, it is very much a matter of life and death. [00:46:05] Sandhya Jha: And I think that is really important and that exact thing that you brought up, you don't even have to necessarily trust somebody. Right. But you do need them. Yep. Right. And like that really clear understanding that like your fates are intertwined and it is truly in everybody's best interest. If you are trained well, irrespective of whether or not at lunch, I'm interested in sitting anywhere near you. I think that's really great. [00:46:32] Sandhya Jha: One of the things that was really exciting about talking with Tafadar was the reminder that labor organizing and formal union organizing at its best can be in solidarity with other movements really worker justice and housing justice and racial justice are inseparable, on some level. And so, one of the most inspiring stories I got to hear across all of these interviews [00:47:00] was a campaign that brought together folks across the anti- gentrification, the immigrant rights, and the labor justice movement. [00:47:14] Tafadar: It's ironic, building affordable housing with deadly exploitation. And, um, to do this, the de blassio administration, they embark on massive major rezonings of poor areas to relax the local zoning laws to be able to bring in these developments. And a couple of years ago, my, my union in local 79's. Took a very sharp turn towards a community organizing approach because labor can't win on our own, and that's the perspective that all of labor should adopt. In order to fight against the sweatshops in our industry. We united with a lot of community organizations in the South Bronx. [00:47:53] Tafadar: We formed the South Bronx, Safe Southern Boulevard Coalition. And along with these groups, we [00:48:00] protested and did a whole lot of activism, lobbying, community organizing to stop the rezoning of Southern Boulevard, which is a massive stretch in the South Bronx, while the De Blassio administration had succeeded in another part of the Bronx where there's like massive displacement still underway right now. And we were determined to stop it there. And it was a beautiful thing that we can unite because on our end as labor, we had to prevent all these trash companies from coming in and exploiting workers. And we were working with these tenants who are afraid of being displaced. And people generally, we do need revitalization of our neighborhoods. We do need investment. We do need things to be changed and made better. For us. If it's not for us, if it's done without us, then eventually we're not even gonna be here anymore. So we had that alliance going on and not only did we manage to stop that rezoning, we also educated the local city councilman on why his position was wrong and supporting the rezoning. And he eventually completely flipped this [00:49:00] position. And now chairs the land use committee of the city council from the perspective that we educated him on, which it's just been a very interesting dynamic. But, there's a lot of rezoning battles all over the city that's like the main front of anti gentrification struggles. And I've been watching those kinds of campaigns go on since I began organizing about 15, 16. I've seen very different approaches to them, but I've never seen any model really work until that one kicked in where Labor and the community came together. So that was one of my favorite campaigns because of that lesson that we were able to concretely put into practice and set as an example for not only for community movements all over New York City, but also for Labor. [00:49:43] Sandhya Jha: I think this hit me in particular because I've done so much work around antis displacement in Oakland, and my experience has been. [00:49:53] Sandhya Jha: That while for most of us on the ground, the connection between housing justice and labor justice is really clear. When you [00:50:00] start getting into the technical policy issues and the funding issues, the folks who are running labor and housing justice or affordable housing, struggle to find ways to collaborate. And it's been one of my consistent heartbreaks for at least a decade at this point because I work at the intersection of those things and sometimes I despair of us being able to find ways to move forward together. And so to hear a story like this one and to be reminded at core, those justice issues can and must be we already knew, must be, but actually can function together to build a better community. That was actually really life giving for me to hear. [00:50:45] Swati Rayasam: Yeah. I a hundred percent agree. And I think the point that Tafadar as well brings in the clip of just saying we knew that we could do this, but we knew we couldn't do this without community organizing. Right? Yeah. That labor couldn't do this alone. Yeah. [00:51:00] And I think that is a lot of what, when we talk about solidarity politics, it's not just a backdoor way of inclusion for inclusion's sake, we have to all do this. Actually, it is integral that all of us are involved in any of these campaigns because it impacts all of us. And because we are not going to win with only a single constituency and in the very same way that, Tafadar was identifying that labor couldn't do that alone. in community organizing spaces that you and I have been in mm-hmm. , like we are constantly talking about how we cannot do any of this without labor. Yep. And I think a beautiful example of that is the Block the Boat campaign yeah that the Arab Resource Organizing Center, started back in 2014 and then again during 2021 to block the Zim ship from the port of Oakland. And like this community organization [00:52:00] AROC could not do that without working with the longshoreman to collaborate with the port workers. And I think that when we see the marriage of community organizing and labor organizing, that is when we get the power of grassroots organizing. [00:52:16] Sandhya Jha: Something I wanna mention about the SAADA Fellowship that I was really grateful for: two things. First off, they did a really good job of making sure we got trained in grassroots oral history. So they took really seriously what it meant for this to be justice work. And they made sure we had exposure to methodology that was gonna lift up and honor and foster the voices of people whose stories don't get heard often enough. And that was a really big deal to me. The other thing is they made sure that we had an advisory board, people who are in this [00:53:00] work who could help us, figure out who to talk with, who could help us build out an event strategy. And you helped me build out my advisory committee. Anibel Ferris-Comelo who is with the University of California Labor Center, [00:53:14] Swati Rayasam: Prem Pariyar, a Nepali Dalit restaurant worker, organizer pushing for Caste as a protected category with Equality Labs, a Dalit feminist organization, and a social worker supporting the mental health needs of his and many other South Asian communities in Alameda county. [00:53:31] Swati Rayasam: Will Jamil Wiltchko with the California Trade Justice Coalition, Terry Valen who I did a lot of organizing with at the beginning of the pandemic, around the struggles that seafarers were facing with the onset of COVID-19. And he's the organizational director of the Filipino Community Center in San Francisco. The president of NAFCON which is the National Alliance for Filipino Concerns and just an all in all amazing organizer [00:53:57] Sandhya Jha: the last thing I wanna mention [00:54:00] is SAADA also helped me set up a digital exhibit with Art by Madhvi Trivedi Patak and I wanted to give them a shoutout because they're an incredible artist, but also they grew up in a working class family and didn't get exposed to what it looks like to do labor justice. And so as they developed the artwork to go with the digital exhibit, they got to experience the possibilities of labor solidarity that they hadn't gotten to experience as a child. And so I really loved that Madhvi was a part of this project as well [00:54:38] Swati Rayasam: All of the clips that you shared really identifying, again, these like huge fundamental pillars of solidarity and spirit and struggle. these clips were amazing. They are so rich and so layered with all of these people's varying and different experiences. Really showing in [00:55:00] all of these different walks of life at all of these ages with all of these experiences, that all of these people have this unified and shared identity in struggle, in spirit, and in solidarity for liberation. [00:55:14] Sandhya Jha: And one of the things that I think is worth celebrating is whether they see it as part of their South Asian identity or not. People who do identify as South Asian now have this resource that says there's a home for you in the labor movement. Yes, there are. There is a value to your voice. There is a value to your wisdom, there's a value to your experience in the labor movement. [00:55:36] Swati Rayasam: I think it's a beautiful project. Sandhya, I think it has been an amazing amount of work I've watched you do over the past year. These stories are so wonderful. I really encourage people to check it out. Where can they find your project? [00:55:49] Sandhya Jha: The website's www.saada.org/acfp [00:56:00] /exhibit/solidarity-forever. We'll put that in the notes. We'll definitely put that in the show notes. [00:56:05] Swati Rayasam: I just wanna make sure that we replug your podcast Bending Toward Justice Avatar, The Last Air Bender for the Global Majority and you can find that at tinyurl.com slash ATLA podcast, Capital P (tinyurl.com/ATLAPodcast). And then the last thing that I also wanna make sure that we plug is Without Fear Consulting. [00:56:27] Sandhya Jha: I love working with folks who know that their organization could be a little more liberative, and are, just not quite sure where to start. I love working with a team of folks who want to be about the work of incorporating diversity, equity, and inclusion into the DNA of their organization and I love setting them up so that they can keep doing that long after I'm working with them. So please do find me withoutfearconsulting.com. If you're interested in that. [00:56:58] Swati Rayasam: Amazing. Sandhya [00:57:00] Jha, Pastor, Racial Justice consultant, podcast host, archivist, singer songwriter, amazing cook. You can do it all. I think you deserve a nap. it has been amazing talking to you. I am so glad to be able to hear about your project and also to hear a lot more about your life. [00:57:23] Sandhya Jha: Yay. Thank you so much. [00:57:25] Miata Tan: That was Swati Rayasam in conversation with Sandhya Jha. As Swati mentioned, you can learn more about her work in the show notes at kpfa.org/program/apex-express. Speaking of Swati — she's currently working on an episode marking the 25th anniversary of 9/11, out in early September. It'll cover the work of the South Asian Coalition, a national network of organizations working together on South Asian American movement building. Keep an eye out for that one. This episode originally aired January 5th, 2023 — we're re-airing it this week in honor of South Asian American Heritage Month. This is APEX Express on 94.1 KPFA, airing every Thursday evening at 7pm. Thank you for tuning in tonight. APEX Express is a proud member of Asian Americans for Civil Rights and Equality. A network focused on long-term movement building, capacity infrastructure, and leadership support for Asian Americans and Pacific Islanders committed to social justice. Learn more at AACRE.org This program produced by Ayame Keane-Lee, Anuj Vaidya, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam. Tonight's episode was produced by Swati Rayasam. Get some rest y'all. The post APEX Express – 7.16.26 – South Asians and The Labor Justice Movement appeared first on KPFA.
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
What happens to intimacy, nostalgia, and creative power when a world-class filmmaker decides to step away from the camera and help reimagine their masterpiece for the live stage? In this episode of TRUST ME I KNOW WHAT I'M DOING, I sit down with award-winning filmmaker, writer, and director Ritesh Batra. Celebrated globally for his masterpiece debut feature film, The Lunchbox, Ritesh has spent the last decade crafting incredibly delicate, human-centered stories. Now, he has brought that same quiet magic to the theater stage, serving as the book writer and co-lyricist for the highly successful musical adaptation of The Lunchbox.Ritesh shares unique process of rewriting a beloved indie film for a live theatrical medium. He shares why he deliberately avoided rewatching his own movie to allow a fresh, organic confluence of creative energy to take over with his collaborators. He also shares his personal philosophy on "artistic fingerprints"—explaining why true success in any creative field requires leaving your own distinct, irreplaceable mark rather than chasing past commercial formulas or letting executive gatekeepers dictate the narrative. Ritesh shares insights on:• Nostalgia & Friction: Why he prefers focusing his storytelling on the compelling friction of characters "left behind" by rapid societal changes rather than those keeping up with them. • Stage vs. Screen Intimacy: How the live stage provides a unique canvas to showcase unspoken connection and stillness in ways the cinema camera cannot. • The Fingerprint Philosophy: Why elite artists must own their distinct perspective, and how to protect your creative power in a system obsessed with past commercial formulas. • Songs Hidden in the Seams: The organic process of discovering musical numbers hidden in the quiet, empty spaces between film scenes. • Overcoming the Fear of Collapse: Navigating the intense vulnerability of a production's first week and learning to trust your internal compass. Whether you're a filmmaker, a theater lover, a creative professional navigating a highly public career, or someone looking to practice deeper mindfulness and trust in your everyday life, Ritesh's thoughts on artistic conviction provides an invaluable blueprint. If you enjoyed this, please hit that subscribe button, leave a comment, and share this video with someone looking to realize and transform their own vision! --------------------------Chapters-00:00 Introductions02:40 Nostalgia, Change, and Telling Stories of Those Left Behind05:41 Translating the Intimacy of The Lunchbox to the Stage08:04 An Organic Transformation: Working with the Lazours10:09 Finding Songs in Between the Seams of the Story11:43 The Writer's Medium: Curating the Confluence of Creative Energy14:35 Discovering New Skills and Instincts in Musical Theater16:32 Sponsor Breaks - TRAVELOPOD and LOTUS LANE COFFEE17:31 Managing a Public Career: Owning Successes and Failures21:14 Leaving Your Fingerprints Over Everything You Create25:10 Wielding Artistic Power and Collaborating with Actors27:56 Thriving on the Unknown: Ritesh's Operating Mantra29:55 Lessons from Parenting and the Cost of Creative Focus31:42 Quick Hitters: Greatest Fears, Mingling, and Hamnet33:07 Cultivating Trust in Yourself and the Unseen End Goal35:18 Conclusions & Shoutouts#RiteshBatra #TheLunchbox #IndieFilmmaking #SouthAsianRepresentation #Storytelling #TrustMeIKnowWhatImDoingShoutouts:✉️ Mitra Kalita for making this incredible connection happen!
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBS Gujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
What happens to elite sports analytics, player development, and leadership when the data-driven games of the NBA and NCAA are purposed for human relationship building? In this episode of TRUST ME I KNOW WHAT I'M DOING, I sit down with Queens University of Charlotte Assistant Men's Basketball Coach and Game Plan Strategy Coordinator, Amit Tailor. As a prominent South Asian coach pioneering the integration of data analytics, video film, and AI workflows in hoops, Amit has spent years developing world-class talent at every level, including milestone coaching stints with the Houston Rockets, Denver Nuggets, USA Basketball, and Clemson University. Amit opens up on high-stakes scouting, detailing how modern tools use AI to manage recruitment pipelines and why his guiding operational principle is "if everything is important, then nothing is important". Representing a new wave of Indian Americans in professional sports, Amit challenges traditional cultural archetypes within the South Asian diaspora and outlines a powerful blueprint for true resilience, sports leadership, and South Asian representation.Amit shares insights on:• The Schemes vs. People Paradigm: Why elite coaches compete with basketball schemes but ultimately win games with authentic human connections. • The Data & Video Marriage: How pairing performance metrics with positive visual reinforcement accelerates split-second adjustments behind the bench. • Overcoming 17 Rejections: Why long-term perseverance and optimism are vital• The South Asian Sports Box: Why families need to unlearn strict career boxes tied to traditional earning potential and empower their kids to dream bigger. • Be Seen, Not Heard: Crucial professional positioning advice received from Oklahoma City Thunder Head Coach Mark Daigneault while working under legend Billy Donovan. Whether you're a coach seeking to optimize your team's tactical strategy, a professional navigating a highly competitive industry, or someone looking for the mental armor to overcome career rejections, Amit's sports career journey is key listening.If you enjoyed this deep dive, please hit that subscribe button, leave a comment, and share this video with someone looking to scale their own vision!--------------------------Chapters00:00 Introduction & The Data-Driven Game01:35 Welcoming Queens University Coach Amit Tailor02:57 Game Planning the Unexpected Blowouts of New Parenting04:04 The Culture Shift: Tech, Data, and AI in Relationship Building06:36 Translating Game Plans & Identifying Player Superpowers08:58 Real-Time Video Analysis & Giving Feedback Behind the Bench12:29 What Casual Basketball Fans Miss: Spacing & Floor Balance15:24 Sponsor Break - Travelopod, Lotus Lane Coffee, Timberdog16:54 Leading India Rising: Managing Egos, Drama, and Adversity19:03 Core Philosophy: If Everything Is Important, Nothing Is Important21:16 Modern Athlete Reinforcement: Positive Clips vs. 1988 Michael Jordan23:50 Overcoming Stereotypes & Navigating 17 Job Rejections25:28 Unboxing Diaspora Families: Earning Potential vs. Dreaming Bigger31:46 Quick Hitters: Chicago Bulls Heyday, MJ, and Coaching Idols34:12 Final Advice for Future Coaches: Opportunity Is Not a Lengthy Visitor-------------------------#AmitTailor #BasketballAnalytics #CoachingStrategy #BrownBallers #NCAABasketball #TrustMeIKnowWhatImDoingShoutouts:
Growing up, we didn't see enough people who looked like us on screen and the representation we did get was often stereotypical and wasn't one we recognised ourselves in which is why this episode means a lot to me as I sit down with the cast and director of a new British South Asian film called Never Had a Chance. Never Had A Chance is an award-winning British Asian film set in the heart of the Punjabi community in Hounslow, West London. It is directed by Jazz Bhalla and stars Tina Sharma and Amar Chaggar. The film follows Ravi (Amar Chaggar), a young man navigating the weight of his past while trying to build a future. When a new connection offers a glimpse of something more stable and meaningful, he finds himself at a crossroads but those closest to him threaten to pull him back into the life he's trying to leave behind.In this episode we talk about:
Listen to the latest Australian news from SBS Gujarati. - SBS Gujarati પર ઓસ્ટ્રેલિયાના તાજા અને મહત્વના સમાચાર મેળવવા ઉપર ઓડિયો પ્લે બટન પર ક્લિક કરોSBS Gujarati is a part of SBS South Asian, the destination channel for all South Asians living in Australia.To hear more podcasts from SBS Gujarati, subscribe to our podcast collection.Tune in to SBS Gujarati live on Wednesdays and Fridays at 2pm on SBS South Asian on digital radio, on channel 305 on your television, via the SBS Audio app or stream from our website.On SBS South Asian YouTube channel, follow SBSGujarati podcasts and videos. You can also enjoy programs in 10 South Asian languages, plus SBS Spice content in English. It is also available on SBS On Demand. - SBS Gujarati ના વધુ પોડકાસ્ટ સાંભળવા માટે, અમારા Podcast પેજને સબસ્ક્રાઇબ કરો.SBS Gujarati નું જીવંત પ્રસારણ બુધવાર અને શુક્રવારે બપોરે 2 વાગ્યે SBS South Asian પર બપોરે 2 વાગ્યે ડિજિટલ રેડિયો પર, તમારા ટેલિવિઝન પર ચેનલ 305 પર, SBS Audio એપ્લિકેશન દ્વારા અથવા અમારી Website પરથી માણી શકો છો.SBS South Asian YouTube ચેનલ પર, SBS Gujarati podcasts ને ફોલો કરો.તમે SBS Spice પર અંગ્રેજી સહિત 10 ભાષાઓમાં કાર્યક્રમો માણી શકો છો.તે SBS On Demand પર પણ ઉપલબ્ધ છે.Listen to SBS Gujarati every Wednesday and Friday at 2 pm
APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. Over the past few years, a series of popular uprisings across the world have been described by mainstream media as “Gen-Z Uprisings” – movements led by young people and described in western media as generally being against government corruption. These movements have been most notably visible in our own media due to their use of technology, including platforms like Discord and TikTok, and internationally consistent adoption of pop culture symbolism, like the flag of the “straw hat pirates,” a black flag depicting a grinning jolly roger wearing a straw hat. The flag is the banner of the protagonists of the long-running hit anime series One Piece whose adventures often find them coming to the defense of marginalized communities around their world. But these movements didn't come out of nowhere (or the internet for that matter). Understanding their origins – and the elections that have resulted from their successes – can shed light both onto the international struggle against authoritarianism and the challenges we face building an alternative. In this episode we are looking at two countries, Nepal and Bangladesh, where popular uprisings in the summer of 2024 and fall of 2025 have led to elections this year. In this episode, we are joined by two US based organizers, Sharmin Hossain and Samir Shrestha, whose work as part of South Asian diasporas has rooted them in movement work here in the US while maintaining relationships and solidarity abroad. Sharmin Hossain is a Bangladeshi Muslim organizer from Queens, New York, who is currently the Organizing Director for 18 Million Rising. To learn more about 18 Million Rising, check out their site at www.18millionrising.org. Follow Sharmin on all platforms at @sharminultra Samir Shrestha belongs to the indigenous Newari tribe of Nepal, where he was born. He has spent the last 18 years involved in movement work here in the US. To learn more about The Ruckus Society and request a training, visit: www.ruckus.org/training-action-support/training-requests/ To learn more about Convergence Magazine and the Block and Build Podcast, follow them at @_convergencemag and @blockandbuildpod. Check out Covergence's work at www.convergencemag.com. Transcript Swati Rayasam: [00:00:00] welcome fellow travelers to Apex Express. It's been a minute, but in case you don't remember, my name is Swati Rayasam, and I'm gonna be your conductor tonight. I have been very excited about this week's episode for a few months because tonight Apex is featuring Convergence Magazine's Block and Build podcast. Block and Build is creating a roadmap for the movement that's working to block the impacts of [00:01:00] rising authoritarianism while building the strength and resilience of the broad front that we need to win. And both the team at Convergence and the guests for tonight's show are close comrades and friends of Apex. On this episode, Cayden Mak, podcast host and editor-in-chief of Convergence, is joined by Samir Shrestha and Sharmin Hossain, two US-based organizers from the South Asian diaspora, Nepal and Bangladesh respectively. Sharmin and Samir will talk about the history and continued struggles of the international Gen Z uprisings, which have only really made a blip in Western media coverage. They'll discuss the history of those movements and the political conditions which created them, as well as help us understand how Americans can be in meaningful solidarity with people's movements abroad. Without further ado, I'll hand it over to Cayden. Cayden: Over the past few years, a series of popular uprisings across the world have been described by mainstream media as the Gen Z uprisings, movements led by young people and described in Western media as [00:02:00] generally being against government corruption. These movements have been most notably visible in our own media due to their use of technology, including platforms like Discord and TikTok, and internationally consistent adoption of pop culture symbolism. but these movements didn't come out of nowhere, or out of just the internet, for that matter. Understanding their origins and the elections that have resulted from their successes can shed light both onto the international struggle against authoritarianism and the challenges that we face building an alternative. In this episode, we're looking at two countries in particular, Nepal and Bangladesh, where popular uprisings in the summer of 2024 and fall of 2025 have led to elections this year. I was recently joined by two US-based organizers, Sharmin Hossain and Samir Shrestha, whose work as part of the South Asian diaspora has rooted them in movement work here in the US while maintaining relationships and solidarity abroad. Sharmin Hossain is a Bangladeshi Muslim organizer from Queens, New York, who's currently the organizing director for 18 Million Rising. Sharmin, thanks so much for joining us today Sharmin: Thank you for having me. I love Convergence. Cayden: Thank you. [00:03:00] And, Samir Shrestha belongs to the indigenous Newari tribe of Nepal, where he was born. He spent the past 18 years involved in movement work here in the US, and Samir, it's really good to see you this morning. Samir: So good to see you too, Cayden. Cayden: Well, to start us off, let's try and set some context Sharmin. I'm wondering if you can give us kind of a quick gloss of the 2024 uprisings in Bangladesh, where Prime Minister Sheikh Hasina and her party were ousted from power. What are the sort of themes of the protests, and then the way that the state responded, and where are we kind of now? Sharmin: Wow, absolutely. Thank you so much for having me. It's an honor to talk about my country and all the amazing things that happened, because I think the Global South really forges, like, new possibilities as far as, like, what we can do and, and consolidate as far as power goes. So today is actually March 26th, and it's Bangladeshi Independence Day, coincidentally. Cayden: Happy independence Day. Sharmin: Happy Independence Day. I find it very serendipitous for us to delve into this layered and complex history, um, of the student movement. So [00:04:00] the Bangladesh student protests of July 2024, were deeply rooted in systemic inequalities that the young working class and the poor faced. Nearly 32 million young people were actually out of the workforce, or education in a population of a country of 170 million. So that's a pretty significant number. And so that issue was a focal point for widespread discontent in the country. In July of 2024, the High Court of Bangladesh actually reinstated a quota system for government jobs after an appeal was made when the then-ruling Hasina government abolished the quota system, um because in 2018 she faced a lot of pressure from student protesters. But this quota system is really interesting, and it represents a lot. It reserved 30% of government jobs for descendants of freedom fighters. And in Bangladeshi history, that's a very complex and layered identity. Millions of our [00:05:00] ancestors actually fought in the liberation war against the US-backed Pakistani military, and the Bangladeshi Liberation War, and genocide in Bangladesh actually resulted in the death of over three million people who sacrificed for the birth of our nation. And so for the Hasina government, the quota system was actually what she used to appoint a lot of her loyalists and her supporters to high levels of government, the military, and it basically created the political ecosystem for the Awami League, her party, to maintain dominance. And the Awami League actually was the party that once led the liberation struggle, and over the course of 15 years, we actually saw how much they consolidated power through political repression, the Digital Security Acts that was surveilling and targeting freedom of speech, as well as the corruption and fear that they [00:06:00] stoked against their opposition. And these government jobs, like most of us, it represents many things. It represents the government's responsibility to take care of poor people, um, economic and political opportunity, and it also represents, like, the corruption and the authoritarian rule of the Awami League, and how they were rigging elections, and how the court systems, and even entrance exams for the Bangladeshi civil service, were actually regularly leaked and compromised. And so -within that background, that's when you have the Students Against Discrimination movement take the streets in July demanding fair access to government jobs. And things actually got violent really fast. Within seven days, nearly 174 people were murdered, and thousands were injured. There was an indefinite curfew, social media blackouts, and then a military occupation with shoot on sight orders. And of course, the bullets that were raining upon, Bangladeshis were US, [00:07:00] arms. So students were terrorized by these vigilante groups that were collaborating with the Bangladeshi police. And these student groups were actually organized by the Bangladeshi Awami League. These student groups were notorious for repressing student elections, sexually assaulting students, um really threatening people that were running for student elections. And so there's already this, like, vigilante ecosystem that exists within the campuses that was weaponized during the student protests. And then you have a climax moment on July 14th. Sheikh Hasina went on television accusing the students of being Razakars, and Razakars are collaborators of the Pakistani army, and it's a very derogatory term in Bangladesh, and it refers to people who support the Pakistani military's operation to suppress the Bangladeshi Liberation War. They're also accused of heinous crimes. And so when students were accused of being Razakars, it, like, [00:08:00] lit a fire. Millions took the streets that day, and they were like, “Oh, hell no.” Like, “How dare she disrespect us?” While there's thousands of people who are on the streets, blood, everywhere. Rickshaw wallas are having to pull students into hospitals. There's just so much violence happening on the ground. And so on that National Day of Action, July 15th, clashes happen. Multiple deaths are live-streamed, and one of them, Abu Sayeed, he was a university student at Rangpur University in northwest Bangladesh, really galvanized the country because we watched this student, who is not armed, surrender and get sh- shot, by the Bangladeshi police. And we know what these spontaneous moments of violence do to the public, right? It usually always sets fire to another wave of social protests and action. And so then millions start marching to Sheikh Hasina's home, and [00:09:00] really, her brutal and arrogant response sealed her fate. And the protesters, and at this point, this is a populist movement, millions of people that are rickshaw wallas, working-class people, students, teachers, are taking the streets, marching towards her house. And they demand her resignation. And on August 5th, within 36 days of the movement, she resigns and flees to India, our neighboring country. Over 1,400 people have been killed, under her brutal repression. And so that's some of the background of the student movement, and we can talk more about some of the dynamics of it. Cayden: Yeah, that's super helpful, and I think reflecting on the ways in which also the sort of, like, escalation on the part of the government is, I think, a really important story here, for sure. Samir, I'll also now turn it to you. What should our listeners know about last fall's uprisings in Nepal, which also ousted the sitting government of, K.P. Oli and his, his party and how they led to [00:10:00] elections, earlier this month, in March of this year? Samir: Thanks, Cayden, and Happy Independence Day to you, Sharmin. I am somebody who was born and raised in Nepal, and am spending most of my life in the diaspora now, and I wanna name the limitations of, uh, my understanding of what's going on in Nepal because of me not being on the ground organizing with the masses. And, I wanna honor the work that's been happening in Nepal, on the ground one of the big things that, that's really n- is important to name is, like, it's only been 20 years since we abolished monarchy. Uh- Mm-hmm. … uh, 2006, right? That is a big thing for us to understand. And the party that was in power, and has been in power since, was the party that has been organizing our movements, and that is the organized left in Nepal, and, like, really betrayed our people once we, once they got into power, right? And, like, started kind of veering towards the right once they got in power. So 20 years later The economic conditions of our people on the ground are really dire. There's no jobs available. People are migrating. A lot of our folks, one of the biggest source of economy and source of money for our, [00:11:00] our people back home is, like, migrant work, uh, in Dubai and, traveling to Dubai, Qatar, and working under very bad conditions. So one- that's one of the big things that's also been informing,, lot of the consciousness of the- our young people in Nepal, right? And then one of the other things that's named really important is, so since the election, since 2006, the Communist Party, the Congress Party, and the Maoist Party have been, they're the only ones who have been in power for the last 20 years, and these are all old upper caste men, even though they were the ones who were leading the movement and were organizing at left. But these were s- the representation and the leaders in these parties were all upper caste, caste Arya people, which is the dominant caste in Nepal, right? And that's a very important layer to name. And that really informed, I think, a lot of the ways they showed up after we won. And, and that's one, one big question that we always have in the left, right? What do we do after we- Yeah … abolish monarchy? What do we do after we win? And we haven't figured that out too, as does any other movements, right? And 20 years later, the frustration is on the very high, against the status quo. And then we, and there [00:12:00] was a lot of, like, obviously there was a lot of inspiration from Bangladesh, like Indonesia, and, like, the uprisings there. And, like, this one, uh, thing started trending the young people started organizing around Nepo babies. There's like, you know, “Yeah, you don't have access to we do, you're gonna take our access away from social media while your kids, and people who have connections to you and have, access to you are just posting about the life, the lavish life they're living abroad and in my homelands,” right? So that's one of the places where it started. And once that started, there was online campaign. And there was already conversations around banning social media in Nepal, and they were- Hmm … finding, like, different ways around it, and that really escalated the way people really responded to the situation, is like once they started organizing around Nepo babies and how they were, like, getting momentum around that, that's when exactly the social media ban went into effect, right? And that's a really important name because, like, one of the biggest pet peeves for me as a diaspora person has been this idea of people only started the uprising and took the streets because of the social media ban. [00:13:00] But just- Hmm. Mm-hmm … all these other things really added up to it. That was just the, just the point of escalation, right? So fast-forward, people started organizing on Discord. Uh, also the irony of it is that was one of the apps that was banned, uh, in Nepal as, uh… And people started organizing in Discord. And also wanna name the reality of, like, the only people who had access to Discord are also, like, privileged folks like us- Sure like younger, upper middle class people. So we were not really getting folks from outside Kathmandu and from our villages and from rural areas, right? So they didn't really have any say in what the organizing would look like. So it happened very, organically, very decentralized. So there was a call for people to show up at Maitighar which has been a popular protest space in Nepal, for a very long time. And it was like at the, at the center of Kathmandu. So there was a call out september 8. A lot of folks came out, and then people from outside Kathmandu that couldn't make it to Kathmandu started coming in big numbers. And the goal of the protest was peaceful protest, right? [00:14:00] And one of the things that happened, don't quote me on this, but my understanding of it from, talking to people there is, like, a lot of political parties who had, who were the opposition from the Communist Party at that time started infiltrating the protest, and the protest started becoming, quote-unquote, “violent,”, which was not, uh, what the young people wanted. So fast-forward, that led to 19 deaths on the first day of the protest, which led to the home minister resigning, at the end of the day. But Oli, the prime minister, is so arrogant and really didn't figure out the power of young people and, like, how they could keep mobilizing and organizing. He decided to just downplay them and say, “I'm not resigning,” which led to more heightened escalated protests the second day, where people started marching to the parliament buildings and started burning down buildings. And people started, people got to a lot of, like, the political parties' political party leader home and started burning them, and, really started, holding them accountable. And also , there was videos of clips of, like, people torching into people's homes and, like, [00:15:00] Sher Bahadur Deuba, who has been in power for the last 20 years in different, ways, who's one of the, considered one of the most corrupt leader in Nepal, from Nepali Congress party, got attacked by the protesters. So fast-forward, more escalation led to, like, 52 more deaths, and the Oli party finally decided to resign at the end of that night, and that's, that's when curfew was impo- imposed by, the army. So that led to, like, a total of 72 deaths. I wanna name, like, in just the two days of mobilization, two days of organizing, because sometimes in the left we don't understand. We talk about the similarities of our struggles but we don't really talk about the conditions that led to it and, like, the level for the risk that our folks leveraged, to be able to topple the government, right? So I just wanna name that out loud and honor that part of, like, how the, how people, like, really leveraged risk. And then fast-forward, people started organizing. The conversation kept going on on Discord, and then there was, like, a town hall style meetings happening on Discord where, like, I think 7 to 8,000 people were on it. And also I still wanna name again, the people who didn't have access to the internet and [00:16:00] phones were not able to part- participate in that. And decided Susila Karki, who was a chief justice 10 years ago, a woman, who also joined protesters during the first day of them mobilizing in the street. They decided, they voted, to hold her as the interim prime minister for now. And There was also one other layer is like a lot of people wanted Balen Sah, who is our prime minister now, but constitutionally if he was part of the interim government, he wouldn't be able to run for prime minister. So that was like a strategic decision that, uh, like he made, and the movement made around not electing him as part of the interim government. So one of the big responsibilities of the interim government was to hold elections in six months, which honestly I was not very- Cayden: That's hugely ambitious. Samir: It is hugely ambitious, right? And also the reality is it happened, and also there are questions around, yeah, were we able to hold elections in a way where everybody had access to it, right? And that is a big question that I'm still asking, I'm still sitting with. But there were like record numbers that showed up to the polls, but [00:17:00] we haven't really, like we still really don't have answers around what accessibility looked like for people to show up at the polls. And fast-forward now, the Rastriya Swatantra Party which emerged at like a, at a very popular party in 2022, won with majority. And we just sworn in our new Prime Minister Balen Sah yesterday, we can talk about more later. Cayden: Well, thank you for summing up, both of you for summing up- Pretty long, complex histories fairly quickly for us. I've been thinking about the way that, like, Western media largely reports on these kinds of uprisings as if they come out of nowhere. And, like, we know as movement people that rarely, if ever, like, do they truly come out of nowhere. So, like, yeah, I wanna dig into what the longer arc of these stories really is. And I, I really wanna talk about, I guess, like, the specific texture in both Bangladesh and Nepal about how these protest movements position themselves against the government, against, like, other social forces, and, like, how kind of, like, other social phenomena acted on and shaped [00:18:00] these movements as well. Sharmin: I love that question 'cause it allows us to see, like, also the rich history of our, like, respective areas, and how much, like, young people have always been at the forefront of so many revolutionary struggles. And we often, um, you know, uh, post social media era like to make generalizations that this never existed before. But actually, you know, in Bangladesh, students are the most incredibly organized force that has shaped much of our history since 1947. The 1969 uprisings against Ayub Khan, the 1971 Liberation War, and then the , 1987 protests against the military dictator Ershad. And then later, our return to democratic governance in 1990 and the road safety protests of 2018, which actually laid the groundwork for so much of the student, frustration with the government not being able to keep students safe because of road safety issues and [00:19:00] just, the general mismanagement of transportation and, public resources. And so the campus has always been a key space for the pulse of the nation. But it's also a key space for goons and vigilante groups to organize their forces. So the Bangladesh Awami League has their faction, the Chhatra League, and then there's, you know, the Jamaat-e-Islami, which is the right-wing Islamist group of Bangladesh that has been growing, has their faction, the Chhatra Shibir. And then the Bangladesh Nationalist Party, which, you know, has been in opposition to the Awami League, also has their goons on campuses. And so one of the major, trends you'll see during these moments is how these factions are actually weaponized to make sure that the violent state apparatus is deployed within public spaces. And, you know, you asked about, like, missteps and some of the things that political formations, might forget to plan for or think [00:20:00] about. And, you know, one of the things that I, I'm sure Samir can relate a little bit is, like, a lot of these student organizations, you know, students against discrimination, there was a group of men who claimed leadership of the student movement and formed, a party, the National Citizens Party. And you notice quickly the contradictions of their formation. All the women leaders were either asked to leave or they left because of what an undemocratic, unfeminist space it was. And then you noticed quickly that the National Citizen Party started allying itself with the right-wing forces to gain a populist base. And that, to me, is the, one of the biggest contradictions of what do leftists do when we gain power? And also, like, the sober conversation is, are these leaders leftists? Or did- Cayden: Yeah, were they ever? Were they ever? Sharmin: Or did we project our leftist dreams onto them and I think one of the things that [00:21:00] we've been doing for many generations, and I think Vincent Bevins' work really synopsizes this well, in looking at the last decade of popular uprisings, is that we've been doing politics without ideology, right? Mm-hmm. That these political for- formations actually don't have a coherent theory of change when they're contesting for power. And so you notice quickly the National Citizens Party was very reactionary, and it was very anti-fascist by, their vernacular, but what anti-fascism meant was that we hate the Awami League, we're gonna ban the Awami League, and the Awami League is no longer going to exist. And then we're- Yes … gonna fight for Sheikh Hasina to be hanged, right? And so that became their populist slogan. Cayden: Hmm. Sharmin: And so, you know, there is no left force in Bangladesh, and that's something that we have to name, that for sure there are garment workers that are organizing a party. There's a communist league that does not actually grow in their base. Um- Hmm … and that is why coming out of [00:22:00] the July uprisings, you notice this leadership actually turned center right really fast because they didn't have a, a vision that was rooted in economic and political struggles of the working-class students who made up majority of the base of people that were on the streets. Um, and you know, it was surprising, Cayden, I'll just say, like, after the, the NCP was getting ready for elections that just happened this past February, they joined a coalition with the largest Islamist force of Bangladesh, and this is such a misstep, right? To join forces. W- your enemy of your enemy is not your friend, right? Like, wh- where, like, where, when has that gotten us anywhere? It falls into the traps of organizing without a clear, coherent ideology, and then the post-uprising impact is weakened. And so a lot of that groundwork of, like, theoretical work, we actually have to do that to be able to be ready for fights that take power in the way that [00:23:00] feel, restorative and generative, instead of what we're seeing now, which is a populist right-wing growth in Bangladesh. Cayden: That feels like such an important lesson that we need to learn, unfortunately, over and over again, and I feel like this theme of, the enemy of my enemy is sometimes still my enemy has been coming up on this show a lot lately. That like, it, I, uh, you know, we see it happening in our movement politics here too, especially in, in this sort of moment of authoritarian retrenchment in our own government, that like, there are, there are challenges around that, and there's like ways that I think, yeah, it makes sense that it feels good in the moment to be like, “Yeah, there's more of us than there are of them.” But it's like, well, who, who are us? Like, what is the us that we're talking about? Samir, I will pass it to you to talk about, I guess, some of the texture that we should know about the protest movement in Nepal, and like what are the ways that, other social forces also outside the state have shaped the way that the protests have played out there. Samir: I was listening to Sharmin, and I was like, “Oh, there's so many similarities,” [00:24:00] like in a lot of the political forces that led our movements and also like talking about K.P. Oli, there's so many similarities of like how they were the face of the movement. And as somebody who really admired K.P. Oli because, you know, he was part of the social movement left. He was part of , like the first people's movement struggles, uh, that happened in the '90s that got rid of absolute monarchy. He was the face of the Communist Party. He did take up arms, right? So all of the tools that our revolutionary histories have used to, find liberation, right? So he used a diversity of tactics. Like, he started as somebody who believed in picking up arms. And then he led a people's movement in the '90s of, like with other political parties to get rid of the Panchayat system, which was a system of absolute monarchy and where all the political parties were dissolved right by the king from the 1960 to 1990, right? But one of the big things that I think we didn't think about when our movements were being led, when our movement ancestors were organizing and like really thinking about is like what does identity mean for our movements. There's political forces, [00:25:00] the social movement parties that are leading our people and organizing our people, and they did the organizing that happened in Nepal, the door-to-door, the base building that happened, if that was done by political parties, right? Which is true, and we need to name that layer, too. And I think one of the things that we're missing in this moment right now is we have been so, so frustrated by the last 20 years of governance by these forces. We wanna forget the political history of how we got here, right? Mm-hmm. And that has been one of my big critique of the young people in Nepal, right? And for me, I also think about as somebody who's getting older and also had access to my dad who was part of this movement, right? He was a big force as part of the Communist Party, and now he's heavily traumatized because of the way he got betrayed by his comrades, right? And I think one of the forces I was talking about identity is, like, all of these political forces were led by upper caste Brahmin men, and there was no indigenous representation. So finally, the 1990, we were able to get rid of absolute [00:26:00] monarchy. By '96, we still don't have full democracy in Nepal, so, you know, the Maoists decided to wage a civil war where they really organized the masses, and really created conditions for the monarchy, to bow down, right? And the Maoist party came out of this forest and, like, built a coalition with the Communist Party and the Congress Party to take the streets again. In 2006, we finally were able to get rid of monarchy, but 2006 to 2014 was a struggle to, like, really, draft a new constitution for us, where we made some progress and where we also did some things where it took us back around, like, women's rights, right? And so there was a big feminist movement that really created, like, organizing conditions of 2026 in so many ways, right? And one of the things that we were seeing during the last 20 years is what's happening is all the communist parties, the people who led our movements and uprisings were veering towards the right, right? Hmm. Because they consolidated more power, like, you know, exactly what happened with, uh, Bangladesh. They consolidated more power where, you know, they could stay in power [00:27:00] for long. The indigenous folks were part of the struggles and the uprisings in the 100 years of our movement struggles. But once we won and they got, the Communist Party got into power, they started, like, pushing policies that would not benefit indigenous peoples, right? And then one of the big things that Nepal wanted is federalism in terms of, like, one of the big critiques of Nepal has been the government is so centralized in Kathmandu. Other people outside of Kathmandu really don't get to take part in politics. And, so federalism was one of the big things that we pushed for, right? At Indigenous Struggles, that is the one thing that we pushed for so that we can govern our homelands, and that was the one thing that Oli was, like, against too, and that was also one of the reasons why he started becoming less and less popular, right? But one of the things that's 2026 was, I think it's also really important to understand, is the 2026 uprisings were led by youth who I believe, I dare to say, didn't have, the full understanding, the political understanding of our political histories in that way. And there's this, like, disconnect in terms of, like… it's hard for me to bridge the 100 years of left in Nepal [00:28:00] and like, you know, this youth uprising that's happening in Nepal that has no connection because it's not an organized group, right? It's very decentralized. Right. It happened on Discord. And that is one of the big questions we have now is, like, how do we as young people, the young people who led this uprisings, how do they stay organized, right? And that is a big question we still don't, we don't have answers to, right? The movement histories and, you know, the last 20 years has been very traumatizing, but there's also so many lessons and so many beautiful things that happened during the organizing, right? So how do we make those connections? How do we ask those questions? How do we talk to this feminist group? How do we talk to, like, workers, right? We need to figure that out. And I think one of the big things, like Sharmin talked about too, is like the student protest student movements were a big part of how we got liberation in Nepal, and the student movements are like directly connected to political parties because they have the student wing. But that also doesn't mean they are not organized. Yes, they were organized, and they really figured it out, but they have gotten corrupt. There's goons there, there's only men there. [00:29:00] And, like, how do we really ask those questions as a movement now and start building on some of our social movement histories? And that is a big question. And I haven't heard anything, and I'm very curious what's gonna happen on that, and I've been sitting with that a lot, too. Cayden: Yeah. No, I, I mean, I feel like thinking about the challenges in remembering and then sometimes, like, having movement history misremembered to us by people with motivations. I can see how in that way for these young people who are getting organized, who are, like, trying to figure out what they want from the government in the future . there's some real, delicate territory for them to negotiate around, like, understanding themselves in a lot of ways as political and historic actors, which is really interesting. Swati Rayasam: You are tuned in to Apex Express on 94.1 KPFA, 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno and online@kpfa.org. Cayden: One of the other trends that [00:30:00] I would love to talk about is this, sort Western media trend where, an uprising happens somewhere, a protest movement happens somewhere, and they're like, “Oh, there's an interim government. Great.” And then, like, in the US, we don't hear anymore the establishment of interim government is, first of all, deeply informed by the social movements and social forces that are already moving on the ground and also glosses over the way politics is done in a particular place. I'm wondering if there's stuff that you've noticed that has really been lost from the international media discourse about the politics of both Bangladesh and Nepal since the sort of student uprising moment. And if there's stuff that you've been seeing in the like, interim government moments that you're like, “Oh, this is something to watch out for.” Like, “This is something that we can draw some lessons from.” Sharmin: Yeah. Well, in Bangladesh we had a United States favorite Nobel Laureate, you know, Muhammad Yunus- Mm-hmm as our interim government. And, and I think what's so fascinating is that, you know, he is the world's sweetheart because he created [00:31:00] this, like, you know, microfinancing program that is, a program that they say, you know, empowers the poor people. And, we know that in practice it actually did not reverse poverty, and it actually left millions of people in more debt, than, they or- originally were projected to gain. And so I think what's very fascinating about having such a pro-capitalist, figure that is, a sweetheart of empire, it spoke to his legacy in office, you know? During his time, he also signed one of the most devastating US-Bangladesh trade agreements with Trump- Hmm … which actually, further isolates China from the Bangladeshi trade market and, forces Bangladesh to do all of our trade deals with the US. And it's a non-binding agreement. And so it is, deeply unlawful and also devastating to the economy of this area of Southeast Asia that actually needs China as, an ally, as a country that has, contributed a lot to the development of [00:32:00] our, transportation systems and, so for us it- it's also about how much of this interim government was, you know, representing the interests of the global elite and what he was willing to do to be able to s- to, to squash, revolutionary energy within the country. The Women's Commission was one of the most powerful consolidation of feminist leaders under the interim government that were looking to reform land laws for women. And similar to what, Samir was saying, right? Women's rights just are the first thing that these governments throw under the bus and that- women's commission report that was looking to really examine land laws and inheritance laws and and the rights of women economically like actually triggered one of the largest anti-feminist rallies in the country's history- Wow … where millions, millions of Jamaat-e-Islami men and their supporters took the streets in [00:33:00] protest of women having rights. And that was something you did not see the Western media touch, even- Cayden: No … Sharmin: even though the Western media was, like, so excited for this revolution, right? You know, on the ground too, you have those people that are like, “This is a CIA-backed, like, uprising,” right? And then on the ground you see, like, oh yeah, people actually don't want to touch the complexities of this country because it is layered within, like, religious nationalisms- Mm-hmm ethnic nationalisms, and caste. And so in my experience, I would just say that people know very little of the political forces within this, greater West Asian political landscape and how it connects to US imperialism here and abroad, you know? Pakistan was once the CIA's closest ally in the Cold War, and they continue to be during the war on terror right now, right? Mm-hmm. The United States provided Pakistan with military, diplomatic, and economic support because a [00:34:00] pro-US military dictatorship in this region that was a staunch anti-communist ally created a buffer between the axis of the USSR, China. Cayden: Hmm. Sharmin: And then I'll say at the same time, on the ground, there were dozens of reports of mobs that were attacking temples and Hindu leaders. Hindus are a minority in Bangladesh that have been historically, marginalized, and these contradictions were, were getting highlighted, right? Because that violence was eerily similar, right? The partition of South Asia- Yeah … Cayden: excluded Sharmin: Hindu-Muslim communalism, and there were tensions and divides that fell across class lines. And for Western and, hegemonic media outlets, this looked like, oh, the Muslims are attacking the Hindus again. Samir: Right. Sharmin: And so for me, like, the being able to reckon Islamophobia, communal violence, identity and class politics, but also the way nationalism operates in South Asia, it, it's a tricky dance [00:35:00] And I've been learning how to really convey this complex history because the country's, uh like, beautiful history of, like, using guerrilla warfare to defeat US-backed forces in the region, it also represents something different from its neighbors, India and Pakistan. Mm-hmm. And within that, you know, we have Bangladesh joining the PLO in Lebanon to fight on behalf of Palestinian liberation. We have the fact that the country's actually i- inception was based on a socialist vision, right? And it's now one of the fastest-growing economies in the world with the fast fashion garment industry that's also ravaged by climate crisis and mass displacement. And so for me, it always just comes back to anti-war and anti-imperialism, like all the nodes of my brain, because I'm like, “Here's this US global death-making machine and this defense industry that sells tear gas shells to my country and [00:36:00] sells Israeli surveillance technology to my country.” And then there's this Bangladesh trade agreement that Trump was able to wager during this vulnerable moment for our country and it's at the core of all the political and economic violence within my country. And so the neoliberalization of our campuses and what these students are facing is because of the war economy. And so, so I just, like, zoom out in those moments, and I'm like, “Oh, this, this feels very much so like Cold War politics and the aftermath.” Cayden: Yeah, like the politics of the Cold War have just simply never left us. Like, they're still here, and it's like we've sort of swapped in China as the big bad in a lot of ways. Sharmin: Right. Cayden: Samir, I wonder if there's, stuff that you've been seeing about the interim government in Nepal that you think are worth our sort of examination as kind of like lessons that we can draw from what happens after the protest, and yeah, like how that has been part of the electoral moment also we're in in Nepal right now. Samir: Yeah, [00:37:00] well, the interim government was, what was it, about five months. I think we didn't really see a lot of work that happened from the interim government, but obviously one of the big wins of the interim government was they were successfully able to hold elections. And the Western media has only focused on Balen Saha, this, quote-unquote, “rapper,” this charismatic guy who is gonna, who's 35 years old and is gonna lead. And then like Sushila Karki, I mean, one of the big things that everybody is like, “Oh, she's the first woman prime minister of Nepal, and what does that mean for us?” And, you know, this identity politics of like, “Oh, we finally got a woman president.” And for us it's like when we talk about it, that's the only thing we see in the discourse. But the reality is she was also a woman prime minister in an interim government that she knew was gonna last for six months, right? And also one of the things that a lot of people don't think about and realize is like the youth really didn't know who she was. And I think that's one of the big things that Sarmin talked about too, is like how do our youth have the consciousness? And do we have a left, social movement left, that's actually supporting them to really understand, you know, the conditions [00:38:00] of our people and who we're electing and, like, how we're organizing and what that means for us, right? But one of the big popularities about her was, like, she was not a career, jurist as she was appointed, was a lawyer that was appointed to the Supreme Court in 2009 by the Judicial Council, and she had this reputation of pushing back against some of the political parties and some of the establishments in that time. So that was, like, one of the big things that really lured our folks, there was this one interview of her that went really viral about how she talks about, you know, establishment parties and how she challenged, some of the status quo while she was… Because a lot of times what happens with some of these appointments are people who are loyal to the to the parties, right? That was the one big thing that really attracted a lot of our young folks, to mobilize around her being the prime minister. And it's just, like, a lot of unknowns around, like, we still don't know because with the older parties, it was very clear to us that the Communist Party was, like, more loyal to China, right? And the Congress party was more loyal to India. And then one of the things a lot that we don't see in the discourse even in left spaces, right? Even [00:39:00] in, like, media spaces is, more than US imperialism, India and China is also waging some form of imperialism in our homelands, right? And that we don't wanna name that layer because in the US, as, us being in the belly of the beast, our only responsibility is to fight US imperialism. And then for me, as somebody from the Global South, I understand that how that impacts our movement and how that is dangerous and harmful to our people in our, back in our homeland. Because China and India are bullying Nepal in a lot of different ways politically, right? Because nothing happens in Nepal without the consent of India and China, right? And India obviously has more power, and they're, like, fighting over that power in Nepal right now. And the other thing that I wanted to name is, I was hoping K.P. Oli, during our interim prime ministership, during that interim government, would be held accountable, which didn't happen. And we're not talking about that, right? And also she [Karki] had a lot of limitations, and we still are figuring out what, like, what kind of power she held, right? But the hope was for me was, like, that she would hold the people who were responsible for our people's deaths accountable during the six months she was there, which [00:40:00] really didn't happen and really moved. And that's one of the things that hasn't been talked about, and I think that was a big political opportunity for her to do some of that work to push K.P. Oli out of power because he, after doing all of this, was still able to contest the elections and lost really badly. But one of the things for me, the inspiration was, like, how Sheikh Hasina was pushed out of the country, right? Like, that was one of the hopes and dreams, and that didn't really happen, during this interim government. Cayden: Hmm. That's interesting that there's, like, a possibility that he might be back. Well, I wanna turn a little bit to thinking about this history that's been unfolding and, like, what it is like to be observing, talking to comrades and loved ones as an organizer who's based here in the US as part of your diasporic community. One of the things I think a lot about is, like- When we talk about solidarity with people's movements internationally in the US, sometimes we forget that, like, people from those diasporas are our comrades. They are here. And that we have a lot to, [00:41:00] like, learn from them. What has it been like watching the sort of, like, social movements in Bangladesh and Nepal respectively, and what has it been like to have that consciousness as an organizer here in the US dealing with all of the political stuff that we've been dealing with here? Samir: I love that you asked that question, Cayden, and also, like, yes, I just wanna start with, like, this layer of like, oh, yes, we have comrades here who are from these diasporic communities who actually can inform us in this. And to add another layer to that, even with, with my, you know, my history of being born and raised in Nepal and, like, being connected to our movements there and, like, living here for the last 20 years now, right? That also creates another layer where I don't have access to everything, and that also creates a layer of, like, that I don't have to know everything, right? And I wish our left- Mm-hmm … Western left understood that layer sometimes because – In our movements, I'm gonna go be a little– I'm gonna little shit about our movements here, you know? Because one of the things that happens is, like, the romanticization of what's going on in our homelands without understanding, and this idea- Mm-hmm of, like-like, we have to know the answers to every… It's okay to not have answers. I think that's a big thing that I reflect on a lot as somebody here, [00:42:00] right? And also, the reality is I have access to my father, who is, for me, the only revolutionary that I know who was part of, like, social movements and who, like, really spent his whole life to the movement and is now still doing things after being betrayed by his party, right? So I think that's one of the big things. I think it's okay to know that. I think the second thing for me as somebody in the diaspora, it's my role in the diaspora. It's also what is my role in the diaspora to inform my comrades. If you're an upper-caste person, it is your responsibility to name that in the movement spaces that you hold and name that layer- Mm … and inform people about that layer. I think about that a lot. I sit up, I sit with that and reflect on that a lot, and that really informs the way I show up as somebody in the diaspora. And my responsibility, one of the things that we saw when all of this was happening you know, the movements, the social movement left was so fast, got into this train of, like, it's a Color Revolution [i.e., the revolution is backed by the US government/is a US-led intervention], as if our peoples don't have the capacity to organize. Yes, there was infiltrations. Yes, India was involved. But yes, there was also uprising where 70 people died, right? So just, bringing it down to, like, it's not really being complex and, like, [00:43:00] being nuance about that. And that really is harmful to our people back home, right? Because that, in that, when we're doing that, we're taking away, like, access from our people in terms of, like, how they are doing things. And also, like, really, I think invalidating the fact that our, the governments that was being oppressing against the uprisings are oppressive. So that just, like, invisibilizes, uh, what the state is doing, right? Because it is a Color Revolution, you know. The, it is not led by the people. We're, there was even sign, things like they said, like, “Oh, there were signs in English.” Like, can you just think about, you know, the, the orientalist, uh, you know- Cayden: Yeah … Samir: orientalist way that you are thinking even as somebody who considers yourself a social movement left. So that's, I think, one my, that, for me, that is a big responsibility. And- And that is where I can also make an impact as somebody in the diaspora. I am not on the ground, that is the reality of it, and knowing where I can make impact and how I can make impact, and knowing very clearly that I don't have all the answers, and I'm not– I'm an outsider in so many… I go back home every time I go home for a couple of months, the way I show up in these movement spaces [00:44:00] is I'm here to listen and I'm an outsider, and I'm trying to figure out how I can support you, right? And that is, for me, a role as a diasporic person, and I'm very clear on that. And I think it's also because I have access to my dad who grounds me in that, and it's like- Mm-hmm “Samir, you don't live here anymore.” He will remind me very clearly. He's like, “You don't live here anymore.” And you need to understand that, and that's okay.” And he will ground me in that, and that really helps me in terms of thinking of how I wanna show up as a diasporic person. Cayden: Yeah. No, that's, that's really helpful, and I think that, like, this thing that you're describing about the sort of like in some ways, like, healthy, but in other ways sort of, like, overblown skepticism that US observers can have about uprisings, revolutions in other countries just because, like… The, the word that came to mind as you were describing it was, like, infantilizing, right? That it's, like, as if people can't independently form their own political opinions without the intervention of the, like, global superpower is just sort of, like, baffling to me. You hit on something that, like, I think about a lot [00:45:00] also as somebody who is, like, a generation removed from the immigrant generation in my family. I don't have a ton of relationships with my family who are in Hong Kong and China, but, like, how do I, like how do I relate to that? It's very challenging, and it's- and I, I think that there's so much in, like, US like left social movement discourse that I'm just kind of like, “I actually don't know how to relate to this as a diasporic person sometimes.” Sharmin, I'm also interested to hear from you on this. Sharmin: Yeah. Yeah, similarly, I feel, I feel like there is this, like, uh, relationality that it's pushing people that are here to really think about more clearly. I feel like some of the early '70s through the '90s was a very, like, symbolic type of solidarity that we had- Mm-hmm where, where, you know, we would do the cultural attire, the cultural associations, you know, the melas, which are, like, big fairs that we have in these hubs of, like, immigrant communities. And now I think the politics are coming back. Like, I think after the July uprising, [00:46:00] you actually saw solidarity actions popping up across hubs in, you know, New York and California where people were like, “Actually, this impacts me and I wanna talk about what this means. I wanna talk about the cultural and political organizations that run this local community.” And one thing that I really took back from the last two visits to Bangladesh is really learning the skills of talking to somebody who disagrees with me because- Cayden: Hmm … Sharmin: I think in the United States the left does not practice, being able to engage, talk, even, like, be in relationship with people that might be politically opposed to you. And so when I go to Bangladesh, I'm actually surrounded by a lot of homophobes. I'm surrounded by a lot of men who, like, support the Awami League, and I've had to kind of, like, sit in this in between of being like, “Oh, yeah, like, I actually have to learn how to debate better. I have to learn how to, like, you know, be that person that's, like, holding humanity but also holding the, the critical left analysis that I, I believed in to be right because I [00:47:00] know I'm right.” Right? And I know that, like, this is a hill that's worth dying on. And I think with Mamdani's win in, in New York, like, there's so many examples of how that, like, South Asian left politic that's actually talking about class exists- Mm-hmm. Cayden: Yeah … Sharmin: within the geography of our communities. And, you know, especially for, you know, Samir and I are, like, the minority South Asians, so we're not the Indian upper caste. And so for us, we're like, “This has always been the reality of our people.” They are working-class organizers. They're people who know how to talk about the intricacies of domestic labor, about the unorganized labor forces, about the people that are left out of the political agenda of our government. And so for me, like, I really take some of the lessons that DRUM [ Desis Rising Up and Moving] is doing on the ground in New York around what it means to actually build a member base that's rooted in relationship, but also towards a North Star. And that North Star, it looks a little socialist. It looks a little working class. It looks [00:48:00] very deeply rooted in a feminist, anti-oppressive politic. And I think for someone in diaspora, that's been the biggest growth area for me, where I'm like, “How do I hold this vision and not lose hope that my people are not, like, all right-wing people that are out to, like, you know, destroy me and my people?” But we are in this center-right populous moment that will require us to do cultural shift. It will require us to do that, like, slow work of tilling the land, like Ella Baker spade work. And you know, a comrade of mine, Nafiz, who's a brilliant writer at Jamhor, when I was talking to him about processing the February elections, he was just like, “You know, I actually think, like, I'm seeing a lot of possibility right now because I saw what happened to Egypt after Tahrir Square, and I saw where Egypt went and what a military dictatorship did to that country.” And he was like, “And Bangladesh, that's not what happened to us.” And, and he was like, “And this is important for us to really reckon with how… Not to [00:49:00] say, like, ‘Oh, it could be so much more worse,' but it could be so much more worse.” And we have to work within these, like, terrains in a way that's, like, really reckoning with why are people wanting to find comfort in these right-wing religious social groups, because they are the only organized groups of people that are providing shelter and food. And so unless the left fills that gap, we are gonna see right-wing populism, and we've seen it within white supremacy here, but it translates to every Global South country, from Brazil to, you know, um, obviously South Asia. And so yeah, I just am trying to be more, like, relative in that way, where I'm like- Cayden: Hmm Sharmin: “Oh, we're a lot more relative than we think we are.” Cayden: Yeah. That is such a good insight about, like, having to context switch Across geography, across political context, like builds a, like a really important muscle for us as organizers. This has been an absolutely fantastic [00:50:00] conversation and I've learned so much from both of you. My one sort of like, well I have two outgoing questions and they're sort of related to one another. One is thinking about like as a monolingual English speaker, as somebody who's like in the US, I think one of the things that I've often felt a challenge around is like where do I look to for news, for updates, and for analysis about what's going on in the Global South, especially for places where I have no cultural or language connection. And like when you're assessing news and information that's coming out about movement politics. What do you consider, what do you think about, what are the questions you ask yourself when you're like seeing headlines, kinda day-to-day that you think would be useful for other folks to start thinking about? Sharmin: Yeah. I, I really think about, like, multiple nationalisms right now, that there's, like, these competing forces of, like, who gets to tell the story. And I always, like to think about, like, how, uh, US [00:51:00] interests, Chinese interests, or even, like, Indian interests are determining the news landscape right now. And I don't like to think about it, but I, I've been looking at so much coverage that feels very much like, yikes, like what is going on, with our, like, news ecosystem? And unfortunately, I think we need to get back on Facebook. Like, I think that the fact that- … progressives and the left have left Facebook, like, I get it. Fuck Meta, and Facebook is the main place for so much like organizing. And we- Cayden: Contest every space. Sharmin: Get back on Facebook. Who cares if there are right-wing trolls on it? You we have to create alternative like information systems that are, like, really amplifying to these networks and groups of people that are getting inundated with that information. And I think we're really lucky because there's a lot of leftist South Asian publications now, Himal South Asian, Jumphore, you could become Patreon supporter and really be a part of these legacy, South Asian [00:52:00] left, thinkers that are actually thinking about, like, the long-term arc, and they, they're contending with socialism. They're contending with the communist, like, legacies of our organizations. And so, I just really appreciate that they're doing political analysis with politics and not just focusing on, like, symbolic forms of, like, political analysis. So shout-out to them and, and their hard work because yeah, they, they're English media that is getting translated for this day and age, you know? Cayden: Yeah. I… It was really exciting to me to, like, do a lot of the sort of, like, background for this conversation and find, like, English language movement media coming out of South Asia. I was like, “This is so exciting.” Like, this is… I feel like in some ways the thing that they're trying to do is, like they're kind of our comrades- Mm-hmm in a sense, right? Like, they're trying to do a similar thing to the thing that we're trying to do at Convergence, and I was like, “Ooh, this is really cool. Like, I'm bookmarking this.” Yeah. So I don't know. Samir, do you have, do you have other thoughts about, like, what things [00:53:00] US people should be thinking about as they're kind of assessing news and developments? Samir: Yeah, big ups Himal Magazine. I think that is a big source of information for me too. And also as somebody who struggles with reading Nepali now, which I'm very embarrassed of it's really hard for me to get access. to. I have to sit with my dad to, like, really go through some of the news articles, which, you know, my dad gracefully agrees. Uh, I think one of the big things is, like, I do benefit a lot from his free labor. I'll just name that on this podcast. But I think, and one of the things I would say is like- Thanks, Cayden: dad … Samir: really, like, figuring out, like, I don't know, like, pushing through the binary of, like, what US imperialism means for Nepal and what also there's, there could be other forms of imperialism that I named earlier, that Sharmin named too. And also right now, I think there's a lot of unknowns for us too, right? We have this party that was not part of the political establishment that came into picture in 2024. So we are still grappling with the idea of, like, what does this mean for us? Who are they gonna be loyal to, and how does, what does this mean for geopolitics in Nepal, right? So we are still sitting with that question. And there is some clarity around, I think one of the things I would say is there's a [00:54:00] lot of excitement, even in diaspora community, and my role in the diaspora also has been talking to some of my friends who are stoked about this prime minister right now because we haven't built a left that is informing them of the nuances and, like, how we can actually figure out the critique of this person, right? Because for me, I think it's really important the social movement left to understand because even my friend, my comrades are sending me, “Oh, this rapper is a prime minister now.” It's somebody that I trust a lot, right? Yeah. And I have to do the work of like, “Hey, this person has this history of governing in this way when he became the mayor of Kathmandu, where he was against poor people,” right? He did some changes, structural changes that helped, upper middle class people. And using that as a way to, like, really assess what he's gonna do for Nepal, and I'm actually skeptical, right? He is somebody from the Madhesi movement, which is a indigenous group that is very marginalized in Nepal, but he also comes from a very upper class background, right? And that's also real. We have to name that. His party's ideology is to push us away from federalism in some sense, right? And also the reality is they had a majority, they won a majority because we didn't have a social movement left outside of political parties that would help us assess him, right? [00:55:00] So that's, I think that's the question. Those are some of the questions I would love people to ask, because I am asking those questions as somebody who is from Nepal and from the diaspora, and I check myself every time. And yeah, I will end it with, like, it's okay to not have all the answers, and just, yeah, do some of that work of, like, reflecting on, like, asking yourself how you are taking in some of the information that you're seeing. And obviously, Himal Magazine is a big source, and one of the Substacks that I would highly recommend too is, I think we could put it in the links later, it's called Kalam Weekly, which is on Substack. I have some critiques of their writing too, but that's really been helping me understand what's going on in Nepal right now. Cayden: You both have been so incredibly generous with your time, and this has been such a rich conversation. I don't know if there are places also where if our listeners want to follow your work, I don't know, if there's organizations or places where you are publishing thoughts, either your own or organizationally that you wanna share. Sharmin, is there any place people can find you online? Sharmin: Yeah, for sure. We're building the Asian American left at 18 Million Rising, so you could follow us there, and I'm @sharminultra [00:56:00] on all social media. Cayden: And Samir, is there a place people can find you? Samir: Uh, yeah, I am a very quiet person. Uh, but direct action has been a big part of our struggles in the last few years, and we are really thinking about, like, how we can escalate strategically, so I am part of a network of direct action trainers called the Ruckus Society. Hit us up. We do trainings, go to our website, request a training if you need any direct action support. We love nerding out on action design and thinking about action curriculum and how we train our people to do action safely. And follow Ruckus Society, and I don't really have a social that's public, so… Cayden: that's so fair. I respect your choice not to be perceived. Samir: I mean, also, I'm not Sharmin, I feel I learn from her so much, from Sharmin, so I just wanna name that, and also just from how I- And Sharmin: we're friends. Like, we, we've done direct actions together. Like, we've been arrested together. Like- Cayden: Yeah. … Sharmin: we're comrades, so it's just so fun to be able to talk about this- Well, I really- Cayden: Yeah … Yeah. Thanks again, Sharmin, Samir. Absolutely a pleasure to talk, and I'm, I'm sure we'll talk again soon. Sharmin: Talk soon. [00:57:00] Thank you, guys. Samir:
What happens to tradition, personal identity, and creative freedom when an artist decides to completely rewrite the rules of the musical game in real time? In this episode of TRUST ME I KNOW WHAT I'M DOING, I sit down with the phenomenal award-winning Indian singer and musician, Rashmeet Kaur. Known widely for her boundary-pushing fluid artistry, Rashmeet has carved out a completely unique sonic footprint by effortlessly bridging centuries-old traditional Punjabi root music with contemporary house, techno, hip-hop, and Afro beats. Rashmeet pulls back the curtain on her creative philosophy and what keeps her deeply in love with the limitless nature of music. She explains why she actively practices spiritual detachment from her studio work to protect her creative sanity, and why chasing safe commercial "hit records" is a dangerous trap that completely kills artistic experimentation. We also dive deep into what the modern music industry must urgently unlearn to create safe and empowering spaces for independent creators, the divine raga-driven origin story behind her debut hit "Kahaan," and how she is fiercely connecting with her live audiences to genuinely live in the moment. Rashmeet shares insights on:• The Power of Detachment: The harsh realities of Bollywood playback singing and why learning to let go of creative attachments anchors her independent career. • The "Hit Song" Trap: Why she refuses requests for sequels to hits like "Ishq Nachaawe" or "Bajre Da Sitta" in order to keep her artistic intimacy fresh. • The Divine Roots of "Kahaan": How she channelizes Sarang Raag to build an emotional environment that transforms a deeply personal journey into a live pop community. • Vocal Cord Preservation: Bouncing between high-energy stage extroversion and entering a strict, isolated "mute mode" to protect her instrument. • Unlearning the Hustle Trap: Why industry gatekeepers need to stop replicating past hardships and instead build safe, accessible community spaces for the next generation. Whether you're an aspiring artist trying to navigate the modern digital music landscape, a fan of cutting-edge global fusion, or someone looking to practice deep mindfulness in a hyper-connected world, Rashmeet's masterclass in creative conviction provides an invaluable blueprint. If you enjoyed this deep dive, please hit that subscribe button, leave a comment, and share this video with someone looking to scale their own vision! --------------------------Chapters00:00 Introduction and Welcome02:35 Backstage Rituals and Introversion/Extroversion05:29 The Early Training: Learning from the Gurus and Finding Endless Limits07:55 Unlearning Playback Attachments & Finding Independence in Songwriting10:17 What the Music Industry Must Unlearn to Provide Free, Safe Spaces12:11 Escaping the "Hit Song" Trap: Embracing Imperfection and Experimentation15:02 Sponsor Break: Lotus Lane Coffee and Travelopod16:01 Preserving Musical Intimacy 21:12 Storytelling, On-Stage Comedy, and the Heavy-Light Balance22:46 The "What's Next" Mindset & Reimagining the Kaura Live Sessions23:32 Singing for Her Pets: The Eager Listeners and Longest Companions24:52 Allowing Your Audience to Live in the Moment26:51 Conclusions and Shout Outs
What happens when a former high school principal and White House fellow steps into the political arena to challenge the status quo?In this episode of TRUST ME I KNOW WHAT I'M DOING, I sit down with educator, leader, and congressional candidate for Florida's 22nd district, Pia Dandiya. From founding a high school in Harlem with an 86% poverty rate and sending 100% of its students to college, to running a tight political operation in a competitive toss-up seat, Pia brings a refreshing, execution-focused perspective to modern governance.Pia breaks down her core framework for societal growth—detailing why we must legislate for stability first before we can unlock true opportunity for the next generation. She opens up about the realities of modern political fundraising, the necessity of building a high-functioning policy shop on day one, and how her background as a South Asian woman raised in Florida shapes her deep appreciation for American democracy.We also dive into the future of education in the age of AI, the power of real-time community listening, and the personal unlearning it takes to shift from a pure focus on execution to leading with authenticity and a strong heart.Pia shares insights on:• Stability First, Opportunity Second: Why tackling immediate cost-of-living and housing supply challenges is the essential first step before implementing long-term workforce development programs.• The 80% Rule of Bipartisanship: How focusing on the vast common ground shared across political party lines can cut through performative politics to deliver true progress.• AI and Personalized Education: Why AI will never replace classroom teachers, but how it can empower them to become individualized facilitators of critical thinking.• Competence vs. Authenticity: The powerful leadership lesson of shifting from standard execution metrics to embracing vulnerability and human connection.• The Spark of Public Service: A moving look back at a life-changing summer teaching in India that defined her calling to fight for human dignity.If you enjoyed this deep dive, please hit that subscribe button, leave a comment, and share this video with your friends and family!--------------------------Chapters:00:00 Introduction & Vision for the Future03:19 Navigating Florida's New 22nd District04:42 Problem Solving Lessons From a Harlem Principal07:44 Rebuilding Voter Trust & Overcoming Frustration11:19 Stability First: Tackling Housing & Cost of Living13:44 Job Skills & Workforce Training in the AI Era17:33 Bipartisan Leadership & The 80% Rule19:38 Sponsor Break: Travelopod20:13 Competence vs. Authenticity in Leadership22:05 What American Patriotism Means in 202624:29 A South Asian Perspective on US Democracy25:53 Finding My Purpose: A Summer Journey to India28:57 Balancing Short-Term Needs With Long-Term Policy32:20 The Reality of Political Fundraising & Authenticity34:55 Turning Individual Power Into Civic Action37:43 Episode Wrap-up & How to Get InvolvedGet to know Pia Dandiyahttps://piaforcongress.com/#PiaDandiya #BipartisanLeadership #EducationReform #FloridaPolitics #TrustMeIKnowWhatImDoing--------------------------Trust Me I Know What I'm Doing | Dr. Abhay DandekarA mirror and window for global Indians and South Asians through conversation.Every week, we share chats with artists, leaders, musicians, chefs, experts, change makers, and innovators from the home and diaspora - sharing their journeys and motivations.Support our sponsors: Start your journey with personalized travel support at https://vacation.travelopod.com/For enquiries
Every Saturday, we revisit a story from the archives. This originally aired on December 12, 2022. None of the dates, titles, or other references from that time have been changed. Lionel Messi - considered by many to be the greatest football player of all time - is two wins away from finally winning a World Cup. And though much of his native Argentina is behind him - they are not the only ones. Continents away, in parts of India and Bangladesh, Argentina and Messi superfans also hope to see him lift the cup. So what’s behind the Messi mania in South Asia, and what does it say about the soft power of ‘the beautiful game?’ In this episode: Somdutta Bhattacharyya, Argentina superfan in India Tamjidul Hoque (@TamjidulH24v2), Argentina superfan in Bangladesh Jasmine Garsd (@JasGarsd), Host, The Last Cup Episode credits: This episode was updated by Tamara Khandaker. The original production team was Ashish Malhotra, Chloe K. Li, Ruby Zaman, and Halla Mohieddeen. Our sound designer is Alex Roldan. Our engagement producers are Adam Abou-Gad and Vienna Maglio. Andrew Greiner is lead of audience engagement. Alexandra Locke is The Take’s executive producer. Connect with us: @AJEPodcasts on X, Instagram, Facebook, and YouTube
What happens to career strategy, leadership, and professional growth when the traditional rules of the corporate game are rewritten in real time? In this episode of TRUST ME I KNOW WHAT I'M DOING, I sit down with executive search expert, leadership advisor, and host of the Corporate Confessions podcast, Deepali Vyas. Known widely as the "Elite Recruiter," Deepali has spent 25 years advising Fortune 500 companies, hedge funds, and high-growth AI organizations on executive hiring and leadership strategy. Deepali pulls back the curtain on the "unwritten rules" of hierarchical organizations and explains why the traditional chronological resume is completely dead in today's attention-deficit economy. She introduces a modern framework for career positioning, detailing how professionals can build "The Signal"—a powerful one-page personal narrative—and why tying your outcomes directly to the dollar is essential for survival. We also dive deep into the rising era of the "Company of One," the crucial differences between mentorship and true sponsorship, and how human skills like storytelling and judgment become your ultimate agency in the age of Agentic AI. Deepali shares insights on:• The Death of the Traditional Resume: Why a chronological autobiography fails to get noticed, and how to capture an employer's attention in six seconds using "The Signal". • The "So What" Filter: A simple, high-impact framework to flip your resume bullet points from passive tasks into quantifiable business value. • Advisor vs. Mentor vs. Sponsor: Delineating these three fluid yet distinct roles, and why assuming your manager is your mentor by default is a common career trap. • The "Company of One" Era: How new graduates and professionals can use portfolio careers and skill-stacking to build independent influence and security. • Overcoming the Intelligence Paradox: Why highly accomplished individuals frequently fall into analysis paralysis, and how executive judgment thrives under ambiguity. Whether you're a recent graduate navigating an unstable market, an executive looking to pivot, or someone trying to protect your human agency in an automated world, Deepali's masterclass in career literacy provides an invaluable blueprint. If you enjoyed this deep dive, please hit that subscribe button, leave a comment, and share this video with someone looking to scale their own vision! --------------------------Chapters-00:00 Introduction01:32 Deciphering Success in a Disrupted World04:05 The Unwritten Rules of Corporate Culture07:35 Post-Pandemic Workforce and Changing Rules09:23 Why the Traditional Resume Is Dead12:11 Tying Your Value to the Dollar: Modern Resume Metrics14:14 Falling into Recruiting: Cowardly Resignations & Indian Parents15:49 Navigating Wall Street & Standing Out at Goldman Sachs17:30 Sponsor Break: Travelopod19:18 Advisor vs. Mentor vs. Sponsor: Delineating the Roles23:47 Learning from Mentorship Mistakes and taking action28:49 Sponsor Break: Timberdog29:19 Overcoming the "Intelligence Paradox" & The "So What" Filter32:53 Identity, Seasons of Career, and Merit36:55 Portfolio Careers & The Era of the "Company of One"40:50 Cultivating Trust & Why AI Will Never Replace Human Connection42:44 Wrap-up & Shoutouts
How do we move the needle from simple charity to true, lasting systems change? Megha Desai, President of the Desai Foundation, joins the podcast to share how they have impacted over 12 million lives by treating dignity as a measurable currency. If you want to catch more deep dives into the global desi and diaspora experience, hit the Subscribe button to join our community!In this episode of TRUST ME I KNOW WHAT I'M DOING, host Dr. Abhay Dandekar sits down with Megha to explore the powerful intersection of big data and human-centered storytelling. From scaling a modest family ethos of abundance into a globally recognized public non-profit, Megha reveals what it takes to operate an impact organization like an entrepreneurial startup. We also dive deep into the global movement for menstrual equity, shifting the narrative from control to care, and what it truly means to build a sustainable infrastructure of dignity across rural India.In this episode, we cover:• Generational Shepherding: Scaling a family ethos of abundance.• The Startup Mindset: Approaching global philanthropy like a venture pitch• The Currency of Dignity: Bridging corporate investors and rural villages• Data vs. Storytelling: Why the story is the arrow tip but data is what pierces through• Menstrual Equity: Confronting global stigmas to drive health, literacy, and GDP-------------------------Chapters:00:00 Introductions and Identities04:00 Generational Shepherding: Scaling a Family Ethos of Abundance05:55 Moving from a Family Foundation to an Entrepreneurial Startup Model09:45 The Currency of Dignity: Bridging Corporate Donors and Rural Villages13:03 Active Listening in Boardrooms and Villages 17:49 Staying Loyal to Beneficiaries 21:26 Sponsor Break: Travelopod23:55 Collaborative Ecosystems and Sharing Information for Greater Impact 25:58 Menstrual Equity: Confronting Global Stigmas 29:46 Unlearning Assumptions, Cultivating Growth, Sustaining Empowerment35:08 Creating True Systemic Change and Finding Personal ConnectionConnect with Megha Desai & The Desai Foundation:• Website: https://thedesaifoundation.org/• Personal: https://meghadesai.com/Shout outs this week:• Spelling Bee Champ Shrey Parikh• Air conditioners everywhere• Primary voters across the US and especially in California#TheDesaiFoundation #MeghaDesai #MenstrualEquity #SystemicChange #WomenEmpowerment #TrustMeIKnowWhatImDoing #SouthAsianVoices #DiasporaStories #SocialImpact --------------------------Trust Me I Know What I'm Doing | Dr. Abhay DandekarA mirror and window for global Indians and South Asians through conversation.Every week, we share chats with artists, leaders, musicians, chefs, experts, change makers, and innovators from the home and diaspora - sharing their journeys and motivations.Support our sponsors: Start your journey with personalized travel support at https://vacation.travelopod.com/For enquiries
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