hijaabs

I feel like all of us have become really judgemental! Why is it that when we walk past sisters with Hijaab or brothers with beards, that we won’t hesitate a second to give them the Salaam, but as soon as someone who isn’t covered or doesn’t have a beard walk past us they are not worthy of a salaam?

Is it because we think we’re better than them? What if the sister that’s not covered up spends her entire night in Tahhajud while you spend yours judging ppl like her?

Or what if the brother without a beard is hoping and praying for someone to give him a smile or Salam so that he finally can take that step towards the path of Islam that he’s so scared of taking?

What if your Salam or your smile was that Da'wah that they needed? Don’t judge them, rather you should help them

Don’t forget - You were just like them, until someone helped you get where you are now.

We’re all sinners, and we all need second chances. Smile at your sister. Smile at your brother. Spread the Salaam and humble yourself

Some of the signs that a person has been put to trials are:

1) When he shaves or trims his beard after having it grow longer.
2) When he does what he used to warn against.
3) When he aligns, upon misguidance, with the same people he used to warn against.
4) When he abandons his night prayers.
5) When he completely abandons the Salaah.
6) When he abandons his religion.
7) When a sister abandons her Hijaab.
8) When he allows mix gathering.
9) When he lies about Allaah and His religion.
10) When he attributes a lie to the Messenger of Allaah صلى الله عليه وسلم.
11) When he speaks without knowledge.
12) When he interferes in the matters which do not concern him.
13) When he does not accept the truth out of pride.
14) When he sees the truth, but still clings to the falsehood.
And the list goes on…

The Prophet صلى الله عليه وسلم said: “Whoever comes across a person suffering a calamity and says (silently):

الحمد لله الذي عافاني مما ابتلاك به ، وفضلني على كثير ممن خلق تفضيلا

(Alhamdulillaahi-ladhee `aafaanee mimmaa ibtalaaka bih, wa fadh-dhalanee `alaa katheerim mimman khalaqa tafdheelaa)

‘All praise is for Allah Who saved me from that which He tested you with and Who most certainly favored me over much of His creation.’

He will be kept safe from that calamity”

[Sunan al-Tirmidhee (3431, 3432) on the authority of Abu Hurairah and `Umar رضي الله عنهما, and graded as “Hasan li ghairihee” by Shaikh al-Albaanee in al-Saheehah (602)]

Weekly Whoomp There It Is: Some fifty seven years after the impossibly busty, narrow-waisted, blue-eyed Barbie doll was first introduced, California-based toy maker Mattel released new models which they say better reflect a changing world. Although it might be fair to say that the human population has always consistently been diverse, it is another step forward for the iconic doll. Barbie’s new look is not the first time the toy has changed to better reflect the world’s ‘evolving views’. During the 70’s and 80’s, Barbie entered the workforce to become a doctor, astronaut, and even President, no longer forced to graduate from babysitter to bride.
Consumers have taken the newly represented diversity into their own hands and do what they do best, make it even better. Nigerian student Haneefah Adam, created a custom-made hijab for her doll along with the insta-profile @hijarbie has already gained 11k followers in less than 2 months. There are of course other users that have felt the need to pen articles and blog posts about the incorrect labelling of body shapes and whether religious customs should be introduced to a child’s toy. The good news is that some little boy or girl who cares about none of that will be able to pick one up one of these new dolls at their local store that looks like their mother, sister, auntie or family friend and appreciate the beauty in it just as much as the blue-eyed blondes that will more than likely still dominate the shelves.

On modesty

Also, women may dress immodestly while outside of the home…(i.e. makeup, perfume, jewelry, high heels, fancy abaya, translucent or transparent clothing, tight clothing, incorrect hijaab etc) and all of these things can make a man feel shy to walk behind you, and him wanting to protect himself from fitnah and protect his modesty… so better for him and you to leave him to walk in front ahead of you.

Caption by @yasminmogahed
Cocoon time is over.
Rise up. The bowing phase has passed. Prayer has all phases. Now is the standing time. Stand up. Strong. You’re a bloody warrior. Now fight back. Take it back. Your heart. Your peace. Your life. Don’t ever think spirituality makes you weak. Oh no. True spirituality creates soldiers. It is the flame that burns the weakness of attachment from the face of the heart. And then it fashions the heart into a bulletproof shelter. The real kind. The deep kind. The kind that can’t be broken by life, because it has already broken to God. That’s what a real bulletproof heart looks like.
Not because it’s hard. Oh no.
Because it’s alive.
Cocoon time is over.

[The Sacred House of Fatima az-Zahra (sa) is the Hijaab of Allah]

Isa bin al-Mustafaad al-Zareer narrated from Imam Kazim (as)that:

“When Prophet Muhammad was about to die, He called the Ansaars and said, "Indeed the door of Fatima is My door, and Her house is My house. So whoever disgraces it has disgraced the Hijaab (veil/covering) of Allah .”

The narrator Isa then says,
“Abu al-Hasan Imam Kazim (as) then cried for long and cut of rest of his speech and said,
"By Allah the Hijaab of Allah was disgraced, By Allah the Hijaab of Allah was disgraced, By Allah the Hijaab of Allah was disgraced, O My Mother (sa)…”

[Bihar al-Anwar, Vol. 22, Pg. 476-477]

Open the gates to the world of Pretty Little Scarves.


Mash'Allah .. Just a sneak peak from the PLS #photoshoot 😍 what do you think?


Next 24 hours - the website will be updated, a #special discount available for our new #Spring #Scarf #Collection #Beautiful #Gorgeous #Hijaabs #Summer #instafashion #instagram #hijabfashion ♦️

Model wearing - Pretty Little Scarves #Hijab & #Statement #Collar #Necklace

Do I really have to cover my head? It’s my choice, or is it?
How can I look smart and still be me if I wear hijaab? How many new styles can I learn in tying my scarf? Will I have to change my style of clothing? Will my friends think I’m being extreme? I want to look Muslim but not too Muslim. Am I really ready to do this? What if I wait till I get married, or old? I don’t want to loose who I am.

Are these thoughts running through your mind when you think of hijab? If yes than we invite you to join our hijab workshop! It’s this Sunday 31st January 2016 from 2pm till 6pm at @lightupacademy at SS15, Subang. To register head on to iamthebeliever.com and for inquiries contact +60126201467

Come on a journey with us to become faithful, fashionable and fabulous!

Hijabs shouldn't be celebrated they should be condemed.

Women who wear them, only do it because they have been brain washed by Islamic teachings that if they don’t wear them they will go to hell and excommunicated by the men in their families if they resist. I have Somali neighbors and have seen countless young girls miserable in them. Fussing with them when they try to exercise, sweating to death in the summer while their brothers get to enjoy the complex’s pool and I even had a lil girl hide behind a sheet when she saw me while she was on her balcony, hanging clothes because she didn’t have her hijab on. Why are people glorifying hijabs like this? They aren’t a beauty statement for Muslim women, they are a curse!

Spread the Salaam and humble yourself

Spread the Salaam and humble yourself

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I feel like all of us have become really judgemental! Why is it that when we walk past sisters with Hijaab or brothers with beards, that we won’t hesitate a second to give them the Salaam, but as soon as someone who isn’t covered or doesn’t have a beard walk past us they are not worthy of a salaam? Is it because we think we’re better than them? What if the sister that’s not covered up spends her…

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Roommates sayang 💞

Tak pernah ada gambar complete. Selalu mesti lebih orang, tak pun, tak cukup orang.

Harini semua ada partner. Hijaab; In black, green, grey & peach.

DBKL, kepoci, nenek, shin, nina, adik, jiran sebelah katil kesayangan & mummy!

See ya next semester ladies 💃

#womans #‪islamic #drawings #islam #ink #illustrations #hijaab #womens #islamicfashionistas #doodleart #mavado #eminemquotes #photojournalism #journalism #king_abdulaziz_son #muhammad #nancycharette #chrisbrownofficial #papafrancisco #socialmediamarketing #hellsangels #iraqi #socialmedia #lilwaynequotes #medias #celinedion #trudeau #beenieman #souldia by hvmida_ at PapaFrancis.net

PERSONAL STUDY - HIJAB PORTRAYAL IN PHOTOGRAPHY

The Hijaab describes the veil that Muslim women must wear over their head to retain their modesty. The Hijaab has been in Islam for centuries. However, with the changing of the modern world and the growth of Islamic revolution, it is difficult to determine whether a woman is liberated due to the headscarf she is forced to wear. The Hijaab brings around many questions in terms of feminism. Can a Muslim woman be a feminist if she wears a Hijaab? Does wearing a Hijaab make you a feminist or are you simply doing what Muslim men tell you what to do? It had first been introduced to the Prophet Muhammad (pbuh) in the Qur’an with Allaah saying “And tell the believing women to lower their gaze, and protect their private and not to show off their adornment except only that which is apparent and to draw their veils all over Juyoobihinna (i.e. their bodies, faces, necks and bosoms).” “And let them not stamp their feet so as to reveal what they hide of their adornment. And all of you beg Allaah to forgive you all, O believers, that you may be successful” - al-Noor 24:31[1]. With the revelation of the Hijaab, Muslim women over the world have been wearing it whether it be a full veil that covers their entire body (e.g: jilbaab, niqaab, burqa) or a simple cloth wrapped around their head. Through photography, photographers and artists have managed to form a new medium as to where Muslim women have the space to break out against the conventional view of the Hijaab. As well as this, they provide a realistic, non-conformist perspective of the veil which rids it of its negative connotations.

[1] All references to the Surat Al-Noor [ 24:31 ] and hadiths about the Hijaab come from this website: https://islamqa.info/en/13998

1979, the day after the rule that the Hijaab was mandatory for women to wear, over 10,000 Iranian women took the streets of Tehran in protest. Hengameh Golestan had taken extrodianary documentarial photographs capturing this legendary day which showed in her exhibition in a show rightfully named ‘Witness 1979’. This exhibition was shown at The Showroom, September 2015. Instead of naming herself as a protestor, Golestan takes the bystander point of view thus placing herself in the position of the audience, looking at the images as if she were indeed a witness rather than being involved. In Witness 1979: Women of Tehran, Golestan captures women marching side by side, waving their hands in protest. What is noticeable from the beginning is that there is a woman in an actual Hijaab protesting alongside the women. From this, Golestan is highlighting the fact that despite this being a protest, all women of all types have gathered to march together. This relates back to the idea of Golestan placing herself in the position of the audience. Golestan is showing that we are watching a celebration of women. The women are donning smiles and holding onto each other as they walk, suggesting the great bond between all women regardless of what they cover themselves with. It is important to relay Golestan’s message within her work. Fatehrad, a co-curator of the exhibition comments ““to protect the achievements of women’s right in the [preceding] 70 years of Iranian history,”[1] Thus suggesting that the march  acts as a final battle for the women’s right movement that has been around since 1909. Is it a good strategy as a Muslim feminist to strike against the Hijaab? Well, despite the Surat Al-Noor which does state that a woman must cover herself, in the circumstances that the women of Iran were under it is wholly understandable as to why the women would protest against the Hijaab. The Western, Islamaphobic media continue to represent oppressed women from Islamic ruled countries in a poor submisssive light. Yet, they fail to realise that they are not oppressed purely because they are Muslim, they are oppressed solely because they are women. That is what is  so powerful about Golestan’s work, she is representing the women of Iran as actual women protesting for their own rights rather than as oppressed Muslim women.

[2] http://nytlive.nytimes.com/womenintheworld/2015/09/15/the-day-100000-iranian-women-protested-the-head-scarf/

Witness 1979: Women of Tehran [taken 1979 and exhibited 2015 - The Showroom]

Another photographer who addresses the issues concerning feminism and the Hijaab is Shirin Neshat. Neshat is an Iranian photographer who returned back to Iran in the 1990 from the United States. By now, Iran had gone under an enormous change politically and socially due to the Islamic Revolution and the war between Iraq and Iran. Neshat constantly spent her time in new Iran creating pieces that would help her reconnect with her roots despite the drastic change in government with the introduction of the Islamic Revolution and all these reforms concerning women’s rights. Neshat’s series of works labelled ‘Women of Allah’ ‘examines the complexities of women’s identities in the midst of a changing cultural landscape in the Middle East—both through the lens of Western representations of Muslim women, and through the more intimate subject of personal and religious conviction.’[1] What is instantly striking is that Neshat uses her work to purposely gain different responses from the audience as certain audiences relate differently to her work. In my opinion, it relates back to the saying, “Beauty is in the eye of the beholder” because every individual can view Neshat’s work and gain a different interpretation. However in this case, it is understandable that a non-Muslim. /Westerner may interpret the pieces in a negative light. For example, the Women of Allah series contains a woman donning a full jilbaab while holding a gun, considering the current political opinion of Islam, one may assume that Neshat could be promoting terrorism or suggesting that she agrees with terrorism through her model taking aggressive stances such as having the gun pointing the camera lens. The red covering her hands could also be taken as blood, again being interpreted as terrorist propaganda. However, in many other Muslim women, they see Neshat attempting to send a powerful message through her work. She is trying to tell Muslim women that despite the oppression they face from men, especially in Islamic State countries, they are not weak. For example, the first of the Women of Allah series where the model has the gun held directly in the middle of her face while Neshat adds feminist poetry written in Farsi, the national language of Iran written on her face, Neshat is using the areas that Muslim women are allowed to show when wearing the Hijaab to spread her message. Neshat describes it as “The literal and symbolic voice of women whose sexuality and individualism have been obliterated by the chador or the veil”[2] Neshat is encouraging the idea that even though she lives in a country where women have had their rights taken away, their voices have become personified in a sense. They cannot speak however their body language and their bodies speak for them. Neshat is suggesting that because the women have no voice to speak out, they have to become their voice. Although their voices have been taken away, they themselves have not and by Neshat placing the Farsi onto the model’s face. Neshat is suggesting that Muslim women themselves have become the feminist poetry. The oppressed women represent everything that feminism wants. They need equality and mutual respect from the patriarch. Not only this, but Neshat is addressing the shift in the women’s place in Islam. In the times of the Prophet (pbuh) which is as early as the sixth-seventh century, women were not oppressed to this state. They were teachers and had influence over the followers over Islam. However, in the modern day Islamic state countries, it is a struggle to even get girls to school. The image on the far right with the model’s hands red suggest that they are dipped in blood, deriving from the Shi’a (the main Islamic sect in Iran) belief that Zaynab could not find any clean water to purify herself for prayer so she washed herself in the blood of her martyred brother. The image itself has the gun placed in front of the model’s face so that it is symmetrical. The dark edge of the chador against the white background is harsh and the model’s face is sombre and calculated. Neshat clearly shows deep thought and attention to the composition of this photograph because it definitely shows the model in an aggressive, yet cold light. In my opinion, the brightness of her red hands suggests the anger that the woman is holding within, judging by the stone cold expression on her face, is being shown in the huge contrast of the black and white image and the colour of her hands. That entire juxtaposition suggests that Neshat is attempting to show that even though the women who are from such countries may suffer from the oppression of living in a patriarchal society, they still embody the power that comes with being a liberated woman whether it be represented in the poetry that is written onto their skin or the facial expressions that they show on their faces.

 Women of Allah series [taken 1993-97], Seeking Martyrdom [taken 1993-97]

[1] https://www.khanacademy.org/humanities/global-culture/identity-body/identity-body-europe/a/neshat-rebellious

[2] Women of Allah: Veils, Words and Guns: Gender and the Media Coverage of Islam: http://www.matthewmachowski.com/2009/10/women-of-allah.html

First of all, in terms of photography in Islam, we cannot ignore the hadiths (word of the prophet Muhammad, pbuh) that discuss the limitations of photography in Islam. Al-Bukhaari reports that it was once said that “Those who will be most severely punished by Allaah on the Day of Resurrection will be the image-makers.”[1], Suggesting that photography is strongly prohibited in the eyes of Allaah. It is also said that angels shall not enter the homes of those who have pictures or dogs, therefore showing the importance of Allaah being the ultimate creator in Islam. With this in mind, it allows extra contextual knowledge when trying to understand Nicoló Degiorgis’ motives in his work, ‘Hidden Islam’. Despite his work not containing any physical evidence of images, it is a ‘conceptual photograph’. It doesn’t need any pictures for his work to send a message across to the audience. With bare, plain white pages with small spaced out text reading comments that Italians have mentioned about Islam and migration, Degiorgis manages to carefully deliver his message only using the bare necessities to direct all the focus on what the words are actually saying. Degiorgis comments “People not only tend to discuss very openly on the web, they also read in a different way, often giving less weight to the use of the language. I wanted to hold that language still for a moment, in order to have a physical document of the discussion in the far future.”[2] What compels me the most about this is that with the rise of Islamaphobia in today’s society, it is almost as if the people have become desensitised to the words that Islamaphobic people say. However, by turning it into a book, or a conceptual photograph, it creates a much raw and chilling response because it suddenly becomes very vivid. These words are from real people who lead real lives. Though, by Degiorgis compiling all these quotes into one book, it has an almost surreal effect: The idea in general of placing the comments into one book creates a fiction like effect. It’s as if we are truly reading a fictional story due to the vividness and the harsh reality that the comments include. Degiorgis’ composition technique of placing the comments in very basic text onto plain, white paper acts as a reminder to the audience that this isn’t fiction in fact it is very real. The sheer nakedness of his work reminds me virtually of a prison, you have no choice but to face the harsh reality. When discussing his work, Degiorgis sates “an evocative, multi-layered book that contrasts the reverent peacefulness of these makeshift places with the often tense politics that surround them.” I found this opinion to be insightful because it relates back to many aspects of Islam itself. More importantly, it relates back to my questioning of the Hijaab. Is it truly a peaceful and liberating element of Muslim women’s lives that has been bastardised and demonised simply by society and the media or is it a weapon of oppression used against Muslim women? 

[1] All references to the hadiths concerning photography are from this site: https://islamqa.info/en/365

[2] All references concerning Degiorgis’ work comes from this article: http://www.theguardian.com/artanddesign/2015/jan/09/hidden-islam-479-comments-nicolo-degiorgis-sean-o-hagan