Minister of Foreign Affairs of Maldives, Abdulla Shahid … More.. about Brunei To Help Maldives Establish Halal Science Lab
Hagerstown, MD – Nike recently released a line of work out hijabs at a time where many fashion designers have been including hijabs in their runway shows.
Yasmine has been wearing a hijab since she was in her 20’s. She says its now like her second skin and is simply a personal choice that takes a lot of strength
I think it’s the ultimate fashion statement. It says this body is mine and I choose who looks at it.” Sayed said.
Although she believes a hijab shouldn’t stop anyone from doing whatever they want to do, it’s not always that easy when it comes to working out but Nike has come up with a solution by introducing a performance hijab.
“I try to be active and for a while I was struggling to cover my hair running outside or whatever so this actually caters to the needs of those Muslim women that want to be active and still wants to cover,” Sayed said.
Some say it is a sign of solidarity, while others find it debatable.
“The debate was just is it just for fashion, and I totally disagree with that. I think because of the intention they wanted to do something and now they have a better choice to use it,” Dr. Sahab Siddiqui, a member of the Islamic Society of Western Maryland said.
Hijabs have also been hitting the runways in fashion shows, something locals say sheds positive light on the religion and lifestyle.
“It also improves the awareness, and cultural understanding as well as understanding of the faith,” Dr. Siddiqui said
Yasmine says the key is to keep it modest and beautiful and not mix in sexy. The religion advises keeping the clothes lose fitting, and head covered
“Beauty can also be when you’re dressed modestly. It’s very beautiful to see that’s not the only way to girls and women can be seen in the world. They can also be covered and still be beautiful,” Yusra Ahmed, a Muslim who does not usually where a hijab said.
Originally published on www.your4state.com
Fifty four objects are strung together to tell the story of Islamic and Middle Eastern culture in the Cummer Museum of Art and Garden’s new exhibit, “Ink, Silk, and Gold: Islamic Treasures from the Museum of Fine Arts, Boston.”
The exhibit runs from May 19 to Sept. 3. And the Cummer is the final tour stop before returning home. Boston’s Museum of Fine Arts started collecting pieces for “Ink, Silk, and Gold” more than 130 years ago. Since then, the exhibit has been shared in museums all around the country.
“We actually started talking with (the Museum of Fine Arts in Boston) in 2011 about bringing this exhibition here,” said Holly Keris, the Cummer Museum’s chief curator. “So, we are absolutely thrilled that the time has come when our community is going to be able to experience it.”
The exhibit begins in the eighth century and ends in modern times. The collection features objects from a handful of different countries, including Iran, Syria, Morocco and Spain.
“The exhibition is really arranged chronologically, and within that chronological period you have regions,” Cummer associate curator Nelda Damino said.
Viewers can choose to follow along the timeline at the exhibit or jump around from region to region. Either way, Keris said the objects will all appear somewhat unconnected because of the variety of media on display. Some of the featured pieces are withering, ancient manuscripts, some are elaborately designed ceramic plates and some are colorfully hand-woven rugs.
The 54 objects do have one thing common: their connection to the religion of Islam. According to Damiano, the different textures, colors and shapes of the pieces all provide a window into the Middle Eastern world and it’s customs, religion, and societal contributions.
Keris said “Ink, Silk, and Gold” is the first time the Cummer Museum has presented Islamic art on such a large scale, and she hopes it inspires people to engage more in different cultures and art forms.
“Seeing people get so engaged with these objects and having conversations with the people standing next to them — folks they didn’t know before — and just talking about the art and what they were seeing is so exciting and inspiring to us,” Keris said. “We really hope that trend translates into the summer.”
Originally published on www.news.wjct.org
When Fareed Farukhi toured the Fish Interfaith Center at Chapman University about a year ago, he noticed that something was missing from its display of holy scriptures.
“They showed me the Book of Mormon, a Bible from the Chapman family, and a Torah from Lithuania,” he said. “I said, ‘We have all these beautiful scriptures, but I don’t see the Koran, which completes the Abrahamic faiths. You’ve got two out of the three.’ ”
So Farukhi, who founded Universal Heritage and Research Center — an Orange County group promoting cross-cultural understanding — decided to do something about it.
He assisted the university in developing a new exhibit for the Fish Interfaith Center that features a 15th-century illuminated Koran from Syria inside a custom designed seven-foot tall display cabinet with intricate wooden inlays of Arabic calligraphy and Islamic geometry.
The exhibit was officially unveiled May 16.
“This display of the Koran and the cabinet shows how beauty can be expressed through religion, using arts, culture and language,” said Farukhi.
The Koran exhibit, which will include a rotation of several copies of the Koran, is now the fourth scripture on display at the Fish Interfaith Center. It joins the Bible of C.C. Chapman, the university’s founder who died in 1944, the Book of Mormon donated by the Church of Jesus Christ of Latter-day Saints and a Lithuanian Torah that survived the Holocaust.
Each of the scriptures is housed in an elaborate wooden cabinet designed by Los Angeles artist William Tunberg, who specializes in marquetry, a form of woodwork in which smaller, colored pieces of wood are inlaid to create a design.
“Ninety-nine percent of Islamic design is geometric, and that goes right down my alley because I also use geometry in my sculptures,” he said, noting that Islamic architecture also relies on many of the same styles the ancient Greeks and Romans used.
To ensure the cabinet had a distinctive Islamic character, Tunberg said that he immersed himself in Islamic art, architecture and calligraphy, just as he studied Judaism and Mormonism to make cases for the Torah and Book of Mormon.
“I try to make it comfortable for people in that religion to look at and appreciate the objects inside,” he said. “Each one of these things is like getting a new education.”
In the center of the cabinet, an eight-pointed star is formed out of Islamic calligraphy spelling “Allah,” the Arabic word for God. On the cabinet’s outside panels are other geometric designs that also contain the word “Allah” in the curved Thuluth script.
On top of the Koran cabinet is a sculpture of the Dome of the Rock, the mosque in Jerusalem where the prophet Muhammad is said to have ascended into heaven with the angel Gabriel.
Beneath the dome is a third form of Islamic calligraphy, the angular Kufic script, which reads, bismillah ir-rahman ir-rahim, “in the name of God the most gracious, the most merciful,” a phrase that is recited before each chapter of the Koran.
Gail Stearns, dean of the Wallace All Faiths Chapel at Chapman, said that it’s Tunberg’s commitment to understanding each religion that sets his work apart.
“The thing that I love about Bill’s work is that he spends an enormous amount of time to educate himself about what he’s building,” she said. “He spent a lot of time learning about Islam and building this to make it authentic, but also unique and creative.”
Together, the four scriptures and cabinets send an important message, Stearns said.
“When you see these displays side by side, you see what we have in common, the scripture and how important it is — and some of the marquetry work moves from one cabinet to the next,” said Stearns. “And it also shows the distinctiveness.”
“And that’s the beauty — to have both our uniqueness and also our commonality.”
Originally published on www.latimes.com
There are dozens and dozens of halal carts in this city at any given moment. It would be impossible to visit them all, let alone try every dish from each: Many of them move around, and many offer an almost dinerlike array of options — from lamb kebabs and chicken biryani to Philly cheesesteaks and Jamaican beef patties. But here, we present a ranked list of those carts that have risen to name-recognition status and park at the same location all the time, by way of one representative dish: chicken over rice. These are the absolute best iterations in New York, giving “street meat” a good name.
The Absolute Best
A frequently used selling point for this especially sleek, trim midtown cart, with its cheerful green signs and laminated press clippings, is that the chef and owner, the Bangladesh-born Muhammed Rahman, used to cook at the Russian Tea Room — which is funny, considering that the Russian Tea Room is a restaurant not particularly known for its food, which is, of course, Russian. But perhaps his time there is what inspired his formal-yet-friendly vibe, and the culinary standards he abides by, which you’d sooner expect at a sit-down establishment where the chefs wear toques and whites, as he does in the cart, than at a fast-food cart. The chicken in his chicken-and-rice platter is leg meat, unless you request breast — rubbed in a spice mixture and freshly grilled; then chopped into perfectly bite-size, slightly crispy, succulent chunks; and served with fragrant basmati rice and a salad that is dressed, unlike the usual cart offering of just plain shredded lettuce. The white sauce, which at so many other places tastes flatly like mayonnaise, is exceptional — a tangy blend of cucumber, Greek yogurt, sour cream, and cottage cheese (plus sugar, lemon juice, and vinegar) — and the hot sauce is unusual, too: bright green and flecked with pepper seeds, pleasingly piquant, but round and smooth. It makes a pretty picture, and comes in a clear-plastic clamshell, instead of the standard Styrofoam, so you can gaze at it lovingly while you take it back to your office or the nearest bench. The price, which tends to fluctuate slightly, is a bit higher than most, at around $7.50, but it’s worth it. You can call in advance to order, and they even take credit cards.
Midtown is lucky: Around the corner from our top pick is another gem, this one run by a kindly husband and wife, who make a killer chicken and rice. The dark-meat chicken is finely chopped and juicy, and golden brown from its aggressive, deeply flavorful Indian-spice marinade, and flecked with sautéed onions and pepper. The fluffy basmati rice is stained with turmeric to a satisfying shade of yellow, and the tangy white sauce is just the right consistency, on the thinner side, to double as a dressing for both the chicken and the salad, which is made with shreds of romaine lettuce, sliced cucumber, and fat wedges of tomato. The whole thing gets a last-second sprinkling of ground cumin, and there’s hot sauce available, too. As with Kwik Meal, you can call ahead to place an order, or order online. They don’t take credit cards, but the meal is a steal at $5.50.
Halal for All
On the one hand, there’s something super shady about the way this outfit is a full-on Halal Guys impostor — down to the yellow T-shirts and plastic bags, and the plastering of the words “Original” and “We Are the Original” all over the cart and its umbrellas, trapping unsuspecting customers who don’t realize they haven’t yet made it to 53rd Street. On the other hand, you kind of have to admire the bravado and the hustle; this is New York. All that aside, it’s said to be run by a Halal Guys defector, and the food is extremely similar and almost as good: The chicken is just a tad too peppery; and the hot sauce is harsh enough that you might want to skip it; but the white sauce, which comes fresh from a squeeze bottle, is much more flavorful; and the rice and pita are pretty indistinguishable. You could do worse than to end up here, if the line is too long up on 53rd, or if you just can’t bear to walk another block.
Originally published on www.grubstreet.com
Nike, the well-known U.S. sportswear company, recently introduced a sports hijab. The reaction to this has been mixed: There are those who are applauding Nike for its inclusiveness of Muslim women who want to cover their hair, and there are those who accuse it of abetting women’s subjugation.
Nike, in fact, is not the first corporate brand to champion the hijab. I am the author of “Brand Islam,” and I have seen how it is commonly assumed, particularly in the West, that Muslim women are indifferent to fashion.
Nothing could be further from the truth: My research shows that Islamic fashion is a rapidly growing industry.
History of sports hijab
The use of an official sports hijab in competition dates back to July 2012 when the International Football Association Board (IFAB), custodians of the rules of soccer, overturned a 2007 ban which had argued that the hijab was “unsafe” for sports persons as it could “increase” the risk of neck injuries.
While overturning the ban, the IFAB noted that there was nothing in “the medical literature concerning injuries as a result of wearing a headscarf.” The sports hijab is secured in place with magnets. If it does get pulled off, another cap remains underneath, to cover the sports person’s hair without causing any injuries.
In 2012, Muslim athletes wearing the hijab received considerable media attention. Wearing the hijab set them apart from other Olympic athletes. Since then, several lesser-known, sports hijab companies – much before Nike’s pro hijab – have come to be in this business.
History of Islamic fashion
The marketing of Islamic fashionable clothing, however, is older than the sports hijab.
In my research, I found that it started in the 1980s when ethnic grocery dealers in Western Europe and the United States began importing modest fashion clothing along with other items for the Muslim population. That proved to be a successful business.
These small endeavors ultimately morphed into a competitive and lucrative Muslim fashion industry. Islamic fashion in general is understood as women wearing modest clothing with long sleeves, descending to the ankle and having a high neckline. The outfits are nonhugging, with some form of head covering that could be draped in a variety of styles. Women who prefer to wear pants combine them with a long sleeved top that covers the buttocks and has a high neckline, along with a head covering.
Over time, national and international designers came to be involved in the sale of chic Islamic fashions. Today, Muslim fashion is a lucrative global industry with countries such as Indonesia, Malaysia and Turkey leading the way outside the Western countries. In 2010 the Turkish newspaper Milliyet estimated the global Islamic clothing market to be worth around US$2.9 billion.
The Global Islamic Economy report for 2014-2015 indicated Muslim consumer spending on clothing and footwear had increased to $266 billion in 2013. This represents a growth of 11.9 percent of the global spending in a period of three years. The report predicted this market to reach $488 billion by 2019.
The Islamic brand
This growth has had its share of controversies: Many designers use the term “Islamic” for their clothing. Religious conservatives and Muslim scholars have raised questions about what types of apparel would fit that category and whether defining clothing as “Islamic” was even permitted or lawful by Islamic principles – a concept known as “halal.”
In particular, critics have objected to the fashion catwalk presentations, which actually draw the gaze and attention of spectators to the bodies of models, while the purpose of a hijab is to distract and move the gaze away from the body. In Iran, for example, Islamic fashion is viewed by the ulama (religious scholars) as another Western influence and referred to as “Western Hijab.”
Nonetheless, the Islamic fashion industry has managed to initiate marketing campaigns that capitalize on the very core of Islamic precepts: Sharia, or the Islamic religious law. A Malaysian apparel company, Kivitz, for example, uses the phrase “Syar’i and Stylish.” In Malay, Syar’i is the same as Sharia.
In establishing a nominally Islamic brand, marketers make every effort to align their products with the core value of Islam. So, even when following the trendy fashionable seasonal colors and materials, clothing styles would include some sort of head covering.
Who are the consumers?
The question still remains: What led to such a rapid growth over a span of just three years?
My research has demonstrated that Muslims are more brand aware than the general population. However, in the past they were largely ignored by the fashion industry, perhaps, due to misconceptions that being a Muslim restricted people’s lifestyle.
And now, with a growing Muslim population, there is an increased demand for modest but also fashionable clothing for the youth, who have significant spending power. At the same time, traditional elite and wealthy Middle Eastern consumers who used to shop for fashionable clothing from European nations now prefer to shop from homegrown Muslim fashion designers.
Indeed, the halal logo on food and other products in addition to modesty in clothing has proved to be an effective strategy in creating a global Islamic identity.
“The great battle for the soul of the Muslim world will be fought not over religion but over market capitalism.”
Originally published on www.theconversation.com