Gary closed his eyes and meditated. He prayed for help, his prayer began with something like “Please help this woman get me to New York”. But then his mind wandered a little bit and he started thinking about her, wondering: Did she have kids? She was about his age. How does she get to the airport? Drive like everyone else and park in the same garage? Maybe she takes the bus – it must be a long bus ride; this airport is kinda far outside the city. Does she wear her uniform on the bus? Do they have to check in through TSA? Maybe… she was called in. Maybe she was called away from her family on short notice, to deal with all these cancellations… I wonder if this is a holiday in Abu Dhabi…
Suddenly he had a new way of looking at the situation and he decided – when I get up to the counter – I’m going to have an attitude of “How can I help you?” He threw out the old speech. He didn’t make a new speech, but he just cultivated a new attitude of ‘how can I help you?’
He decided that he was going to try to see the problem as “their” problem. Not her problem to solve for him. They were both just trying to do their jobs, both in a difficult situation that neither one of them asked for. He decided he was going to be polite, to be patient. He was going to offer her compassion and respect, he was going to provide a respite for her in between dozens of angry customers. And when he got to the counter, he did those things. He acted out the attitude and when they were done, and he was about to walk away, he thanked her for being so helpful.
Gary walked away from that customer service counter feeling better than when he had arrived at that customer service line, not because of what he got from the transaction, but because of what he gave. I never heard if Gary made it back for Thanksgiving. But I’m thinking that maybe it doesn’t matter so much. I suspect that Gary walked away from that counter proud of himself for flipping his attitude and brightening that gal’s day, and he was probably okay with the outcome, whatever it was. I’m guessing.
You know what else? The material outcome probably wouldn’t have changed one bit if he had used speech number one. To me, the story illustrates the power of prayer. To me, I haven’t really seen direct evidence that prayer changes outcomes. Not in a way that is scientifically, or evidence based defensible. I have seen that prayer changes attitudes. That’s what happened in this case. What matters is not the accounting ledger of how people have done me wrong versus how people have done me right. Stuff happens. Bad things happen to good people. I can get myself in such a knot, such a bad mood trying to keep track of that ledger and trying to manage that ledger. What matters is a feeling of peace and happiness. We are seduced into thinking that by managing the ledger, by trying to get more than I paid for, that’s going to bring me peace and happiness. But, there is a short cut. The short cut is a change in attitude. In Gary’s case, his attitude changed through prayer and meditation. Attitudes are contagious. I like to think that while Gary was at the customer service counter, having his conversation, a person 3 places back overheard a snippet of that conversation and a way opened for that person to see things in a new light.Free download and read online Raqs e Darwaish written by Aslam Rahi.BooksPk.Site uploaded this book under the category of History Books.Format of Raqs e Darwaish is PDF and file size of this file is 9.53 MB and Raqs e Darwaish has 354 pages, Raqs e Darwaish has been downloaded 5,914 times.
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#Colonial Educational Film

The “colonial educational film” goes by many names. Recent scholarship in this emergent field has identified these films as “official film,” “official documentary,” “colonial documentary,” “empire film,” “colonial film,” and “imperial propaganda film,” among others. Crossing a variety of genres including dramatic, documentary, instructional, amateur, newsreels, travel, and ethnographic films, these films shared a common objective—they were films made by the state (or individuals and institutions associated with the state) that sought to teach audiences the fundamentals of good colonial citizenship. The sheer number of terms that have been used to reference this mode of cinema indicate the diversity of genre, address, and audience concerning cinemas of colonial education. For example, colonial educational films ranged from being fictional to nonfictional in format. The Griersonian mode of documentary filmmaking influenced a nonfictional style of colonial filmmaking that was later inherited by the film units of Britain’s colonies. Humanist in outlook and poetic in aesthetics with a strong ideological leaning toward narratives of progress and modernity, these films educated audiences both within and beyond the empire about the industries, natural resources, and cultural practices of colonial territories on the path to modernity. Other films, including many that were produced by the Malayan Film Unit in the 1950s, were scripted as dramatic and fictional narratives that featured both professional and nonprofessional local actors. Intended specifically for local nonwhite audiences, these latter films sought to educate people to adopt specific practices and beliefs on topics such as thrift, personal hygiene, and anticommunism. Indeed, many filmmakers adopted specific formal modes of address that accounted for perceived racial differences in visual literacy between European and non-European audiences. Colonial educational films in the colonies circulated to audiences via traveling mobile film units and were shown in nontheatrical settings—schools, community centers, cultural centers, churches, plantations, mines, and trade exhibitions. They would also often be screened in movie theatres along with dramatic feature films. Hence, while the emergent field of nontheatrical film is aligned with the work that is being done in colonial educational film, the former certainly cannot encompass the range of ways in which cinematic education would have been encountered in colonial contexts. It is moreover, a field that moves beyond colonial/postcolonial binarisms. For example, the Films Division of India emerged from colonial educational filmmaking practices that would later become part of the production of postcolonial and national visual culture. Whatever their form, these films invariably seek to present a vision of empire that speaks to its project of modernity and capitalist governmentality. In that sense, colonial filmmaking was more of a practice, or an agenda, than a genre. This entry is limited to sources in English and citations have as a result been limited to those pertinent geographical