Spirit of Ramadan Magazine - 2013

THE SPIRIT of RAMADAN MAGAZINE ISSUE 01/ RAMADAN 1433-2013

BRIDGING CULTURES INSPIRING CREATIVITY www.spiritoframadan.org

A unique & unprecedented

30-day visual celebration

BRIDGING CULTURES & INSPIRING CREATIVITY

/RamadanPhotography

/irpc2013

/spiritoframadan

INSIDE 3

Message from the Founder

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Imane Tirich

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Spirit of Ramadan

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Ramadan Recipes

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Ramadan in Jerusalem

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Focus

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Ramadan with the IRPC

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New IRPC Children’s Stories

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Becoming the Spirit of Ramadan

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Meet an IRPC Ambassador

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A Letter from Peter Sanders

Eid 64 Celebrating Photos from Around the World

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Ibn Al Haytham

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The Reverend Christopher Idris Evans

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Interview with Steve McCurry

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Being Unique in Your Photography

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Meet the Muslims of China

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IRPC Success Story

Basel Almisshal

Dr Tariq Ramadan

Vol. 2 of the IRPC Photography Book

Lotifa Begum

The Islamic Arts Museum Malaysia Dr Heba Barakat

Dr Laura Zahra McDonald

Interview

Food, Food & More Food!

Ahmed Krausen

IRPC Honorary Mention Etha Ngabito

Khaled Ghrissi

Lucie Kruickshank

on “Capture the Spirit of Ramadan”

Lina Ali

Mustafa Davis

Haji Noor Deen Mi Guangjiang

Hisham Sarsour

Arslan Bukhari, Pakistan

This magazine is about the traditions and the spirit of Ramadan seen through the art of photography.

Ramadan is the Muslim month of fasting; it is the month of the Quran. It is a month of prayer and supplication, of charity and service to fellow beings and consciousness of every moment of the day for 30 days. Ramadan is a time to learn about and connect with others; developing empathy with fellow beings and above all becoming closer to the Creator and emulating his qualities of love, mercy and selflessness.

Cover Photo by, Ihdar Nur, Indonesia

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THE SPIRIT of RAMADAN MAGAZINE

Iryn Zahiryn, Malaysia

Message from

the Founder Dear Readers, Assalamu Alaikum and Ramadan Mubarak!

Welcome to the 2013 Spirit of Ramadan Magazine.

As we publish this first issue of the Spirit of Ramadan Magazine, the International Ramadan Photography Competition’s own publication, and the first and only publication of its kind, we proudly celebrate many new happenings of the IRPC such as the distinguished Jury Panel Committee which includes two new outstanding jury members this year- Steve McCurry and Shahidul Alam- as well as the launching of the IRPC Children’s Stories Series and an international touring exhibition of the IRPC Photography Collection.

These special milestones were achieved as a result of your trust and belief in the quality and integrity of the International Ramadan Photography initiative and our stand on “Bridging Cultures and Inspiring Creativity”. I therefore would like to personally thank you all, our dear photographers and fans, for your continued support and valued appreciation of the “Capture the Spirit of Ramadan” International Photography Competition™.

I do hope you enjoy the debut Spirit of Ramadan Magazine, which will take you on a journey from the UK to the US, to Morocco and all the way to China and beyond to explore some of the varied and exciting features on photography and Ramadan that we bring forth.

I would also like to take this opportunity to promise you that we, as the IRPC, will continue to strive and explore every opportunity to develop our initiatives to exceed your expectations. We are committed to delivering a unique and refreshing photography journal that highlights and celebrates the beauty of Ramadan around the world.

On behalf of the Spirit of Ramadan Magazine and the entire IRPC team I wish you Ramadan Kareem and Eid Mubarak.

Basel Almisshal

THE SPIRIT of RAMADAN MAGAZINE

Spirit of Ramadan The True Meaning and Essence of the Holy Month

By Dr Tariq Ramadan The month of Ramadan is at hand, and with it, the world’s Muslims will be entering into one of the finest and most beautiful schools of life. It is essential to try to capture the spirit of this special month. The International Ramadan Photography Competition is an innovative way to help us not to forget the essential. We must be creative, intellectually active and spiritually profound in our way of dealing with our religious practices.

Fasting is a universal practice that carries multiple meanings at different levels. To ponder over the latter opens horizons one has to explore and to translate into intimate, psychological and physical images. This is the essence of this timely competition.

The month of fasting is a school of faith, of spirituality, of awareness, of giving, of solidarity, justice, dignity and unity. Nothing less. It is the month when introspection among Muslims should be deepest; the month of their greatest contribution to humanity.

The month of Ramadan is the world’s most widespread fast, and yet its teachings are minimized, neglected and even betrayed (through literal application of rules that overlook their ultimate objective). Small wonder, then, that we should return to the subject. As the fasting month returns each year, we too must repeat, rehearse and deepen further our understanding of what Ramadan teaches us; of this school of divine nearness, of humanity and dignity. The fast is each individual’s quest for the divine; it asks of each of us to look beyond the self. Ramadan is, in its essence, a month of humanist spirituality.

During the fasting days we are called upon to abstain from eating, drinking and responding to our instincts, the better to turn inward; to our heart and the meaning of our lives. To fast means to experience sincerity, to observe our shortcomings, contradictions and failings; no longer to attempt to hide or to lie. It means instead to focus our efforts on the search for ourselves, and for the meaning and priorities of our lives. Beyond food, fasting requires us to examine ourselves, to recognize our limits humbly, and to reform ourselves ambitiously. It is a month of renewal, of critically summing up our lives, our needs, our forgetfulness and our hopes. We must take time for ourselves, to look after ourselves, to meditate, to contemplate, simply to reflect and to love. Seen in this light, the month of Ramadan is the best possible expression of anticonsumerism: to be and not to have, to free ourselves of the dependencies that our consumption-based societies, North and South, not only stimulate but magnify. In calling upon us to master our instincts, the fast calls into question the modern notion of freedom. What does it mean to be free? How are we to find our way to a deeper freedom, and to move beyond what we crave? An entire month, year in year out, to remain human, to become a human being before God and among humankind. The true fast is at odds with appearances.

The month of fasting is a school of faith, of spirituality, of awareness, of giving, of solidarity, justice, dignity and unity.

Shady Ramzy, Egypt

The tradition of fasting was prescribed, the Qur’an tells us, for all religious traditions before Islam. It is a practice we share with all spiritualities and religions, and as such it bears the mark of the human family, the human fraternity. To fast is to participate in the history of these religions, in a history that possesses a meaning, that has its own demands upon us and that is shaped by destinies and by ultimate goals.

A unity of spiritual descent, of transcending the strictly human, unites all belief systems, all faiths. Islam situates this unity in the meaning of tawhid; the recognized and acknowledged Oneness of God that opens onto human diversity by virtue of how it is experienced and lived. The same holds true among Muslims; even though the time

frame and the rhythm of fasters are similar, the cultures of fast breaking, of meals, and of the night are diverse. Unity in meaning; diversity in practice. The month of Ramadan carries with it this fundamental teaching, and reminds Muslims themselves, whether Sunni or Shia, irrespective of which school they follow, that they share the same religion and that they must learn to know—and to respect—one another. Just as they must with other traditions, for the Qur’an enjoins us to “know one another”.

The coming month is one of dignity, for Revelation reminds us that the human being is a creature of nobility and dignity.

“We have bestowed dignity of the children on Adam [all

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THE SPIRIT of RAMADAN MAGAZINE humankind].� Only for them, in full conscience, is fasting prescribed; only they are called upon to rise to its lofty goal. The human being is the only creature that fasts; human beings must undertake the fast in a spirit of seeking nearness to the Unique, of equality and nobility among their fellows, women and men alike, and in solidarity with the downtrodden. The core of life thus rediscovered is this: to return to our hearts, to reform ourselves in the light of what is essential, and celebrate life in solidarity; to experience deprivation as desired and enhancing; to reject poverty as imposed and degrading. Our task is one of self-mastery. We must lift ourselves up, sever our ties, become free and independent, above superficial needs, the better to concern ourselves with the true, down-to-earth needs of the poor and the needy. The month of Ramadan is thus a place of exile from illusion and fashion, and a pilgrimage deep into self, into meaning, into others. To be free of ourselves, and at the same time to serve all those imprisoned by poverty, injustice, or ignorance.

Muslims spend thirty days in the company of this month of light. If only they could open even wider their eyes, their hearts, and their being to receive the light and offer it in the form of the greatest gift of their spiritual tradition to their sisters and brothers in humanity! To the music of the Qur’an, they are called to exercise self-control and to give, to meditate and to weep, to pray and to love. Truly to fast is to pray; to pray is to love.

Nabilah Khonsyah, Indonesia

The tradition of fasting was prescribed, the Qur’an tells us, for all religious traditions before Islam.

It is a practice we share with all spiritualities and religions, and as such it bears the mark of the human family, the human fraternity.

Ahsan Burhany, Indonesia

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Ibrahm Yousuf, India

Mahmoud Illean, Palestine

Yousef Shaheen, Palestine

Ramadan in Jerusalem A special photograph of the festive aura that surrounds the Muslim Quarters of the Old City of Jerusalem during the nights of Ramadan by Mahmoud Illean has been chosen as the cover of the 2nd Volume of the Capture the Spirit of Ramadan Photography Book. Illean’s photo highlights the people and traditions of Jerusalem, the Holy Land and home of Masjed Al Aqsa and the Dome of the Rock, Islam’s third holiest site. The photograph depicts evening shoppers and the ancient tradition of the “musaharati” or the young men that walk around the neighborhood with a drum calling out for people to wake up and prepare for “suhoor”, the pre dawn meal and the “fajr” early morning prayers.

The chosen image depicts the joyous ambience of Ramadan in the holy city despite the exploitations that face the place and its people. The photo portrays the architectural beauty of the buildings and alleys in the old town and the centuries-old cultural and religious traditions of the holy month. The scene in the photograph is one that soon could be lost in our memories with the decreasing numbers of Muslim Palestinians in Jerusalem.

Sadly, in today’s world, the city of Jerusalem and its people are continuously subjected to the worst kinds of abuses, ethnic cleansing, systematic restrictions on their freedom of worship and the ongoing destruction of sacred landmarks by the Israeli occupation.

The IRPC has received many amazing photos from Jerusalem since the launch of the competition including the communal processions to prayer, the massive iftars in the courts of Masjed Al Aqsa, the famous kunafe, ka’ek and zaatar vendors, the old water fountains, and even ones portraying the armed blockade of the entrance to the holy mosques by Israeli military.

We hope that our decision to feature this special photo on the book cover will shed light on the harsh reality of the situation in Jerusalem.

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BRIDGING CULTURES INSPIRING CREATIVITY

Ramadan with the IRPC

By Lotifa Begum

T

here’s a special month in the calendar for every Muslim who seeks spiritual enlightenment, physical detoxification and strengthened social cohesion.

This month is known as Ramadan. It is difficult to truly convey and capture the spirit of this blessed month in which the Book of Guidance was revealed to the Prophet Muhammad (peace and blessings be upon him) and the month wherein lies the Night of Power, better than a thousand nights. Where words do not suffice, a photo will speak a thousand words. That’s where the “Capture the Spirit of Ramadan” international photography initiative comes in.

The true spirit of Ramadan when it arrives is a unique feeling, marked by the sighting of the glowingsilver moon. Muslims eagerly anticipate welcoming Ramadan into their homes and this can be seen beautifully through Capture the Spirit of Ramadan, how millions of Muslims all over the world invite Ramadan into their homes in various ways.

Some families mark the arrival by burning frankincense, others illuminate their homes with colorful lanterns, whilst many of the community can be seen rushing to pray together in the mosques - this is the month where we simply devote ourselves to rewarding acts of worship.

For anyone who witnesses the congregations filling every mosque

until the rows stretch out onto the streets during Ramadan, you will have to admit it is quite a sight.

There is no better way to understand and truly embrace the spirit of Ramadan than through the Capture the Spirit of Ramadan initiative.

Behind the lens, as we zoom in, there is a wonderful display of artistic skill which paints the striking picture of this blessed month in the lives of millions of Muslims.

What is also distinguishing about Capture the Spirit of Ramadan is that it celebrates a wondrous diversity and it displays some of the best features of the Islamic faith: compassion, humility, diversity, generosity, community and a sense of revival in our faith. For Muslims, every Ramadan is like a gift to renew their faith and to share this with millions of Muslims around the world is a pretty special thing.

The innovative and unique International Ramadan Photography Competition started in 2011 and now in its third year, celebrates the diversity, beauty, community and true essence of Ramadan through the lenses of aspiring professional Muslim and non-Muslim photographers from every corner of the world. The submissions are nothing short of inspiring and compelling, each telling their own story of how this special month in the calendar of a Muslim ebbs a mark in his or her life. You can only be astounded by the profound stories of the Mus-

lim world during this month, across borders and across cultures of every kind.

Photographers are given the platform through which to showcase their world in Ramadan and display their creative work by submitting photos that reach the depth of why this act of fasting is so important to our community. It is a wonderful opportunity for our international community to be educated on the spirit of Ramadan and the Muslim world at large. We are blessed with a feeling of true magnificence and glory when seeing the variety of colours that complete the bigger picture of Islam in this blessed month.

Behind the lens, as we zoom in, there is a wonderful display of artistic skill which paints the striking picture of this blessed month in the lives of millions of Muslims.

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The IslamicArts Museum Malaysia Dr Heba Barakat

For the past 15 years, the Islamic Arts Museum Malaysia (IAMM) in Kuala Lumpur, has actively promoted appreciation and raised awareness of Islamic art, both locally and internationally. Since opening its doors in December 1998, the IAMM has organised more than 80 special exhibitions that encompass a wide range of topics and interests. The IAMM collection, which is currently comprised of over 9,000 artefacts, is constantly growing, and represents the full breadth of Islamic civilisation, from the Malay Peninsula to Spain and sub-Saharan Africa. The artefacts on display in the IAMM’s 12 permanent galleries highlight the creativity of Muslim artisans from around the globe and their talent to transmit the aesthetic potential of everything from the mundane to the Word of God. Each year during Ramadhan, emphasis is placed on the Quran and its recitation, on Arabic calligraphy, and on Mekkah and Madinah.

IAMM holds specific workshops and lectures such as Tadarus AlQuran, as well as story telling for the childrens activities corner to emphasize the significance of the month of Ramadhan. To further

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broaden knowledge on Islamic art, history and culture to our visitors, the IAMM also publishes a variety of books to spark interest in people of all ages and walks of life.

In line with its role as an educator and preserver of Islamic heritage, the IAMM houses an exceptional Scholar’s Library, as well as a Conservation Centre.

As Southeast Asia’s largest museum of Islamic art, the IAMM plays a central role in highlighting as well as preserving the artistic contributions of Muslim communities from throughout the region. In addition, the museum organizes educational exhibitions and academic programmes in establishing itself as a centre of learning, research and development of the history, arts and culture of Islam espcially to the multi-ethnic community and people of Malaysia. When works of so many different origins are placed alongside eachother, the universatility of certain Islamic principles becomes evident. Each of the galleries highlight the apex of Islamic civilisations and exemplifies how the exceptional crafts and craftsmen of diverse ethnicities have enriched the culture of Malaysia and contributed to its development.

Meet IRPC judge Steve McCurry at the IRPC Exhibition in Kuala Lumpur.

See page 24 for an exclusive interview with Steve.

IRPC 2014

Exhibition & Workshop The International Ramadan Photography Competition is proud to announce the launch of a world touring exhibition of the best of the Capture the Spirit of Ramadan Photography Collection. The exhibition will be held at the distinguished Islamic Arts Museum of Malaysia under the auspices of Syed Mohamad Albukhary, Director of the Museum and Dr Heba Barakat Head of Curatorial Affairs.

The exhibition will showcase the best of the 2013 IRPC and several outstanding photographs from the first and second editions of the competition as well. The exhibition will be open for a three month residency during June, July and August 2014. Also during the exhibition will be a photography workshop conducted by Steve McCurry and Basel Almisshal.

In effect from 2014-2015, the IRPC world tour will begin in Asia with exhibitions in Malaysia and Indonesia, then will head to Australia, the West Coast of the United States, Europe, Istanbul, the Middle East and Washington D.C.

THE SPIRIT of RAMADAN MAGAZINE

Becoming the Spirit of Ramadan Dr Laura Zahra McDonald Those fleeting moments – quite literally snapshots of time – of the shimmering emotions of the Muslim supplicating, beseeching and thanking Allah; a child joyful in the mosque; people content in their fast as they carry out their daily tasks, working, learning, contemplating. These beautiful images gathered through the IRPC not only capture the spirit of Ramadan but share it. We are transported, suddenly part of the lives of others, connecting with their experiences as they reflect our own. And for many of us, as Muslims living as religious minorities, such imagery also brings with it a poignancy and yearning – to be amongst others who are fasting, to share the excitement, the spiritual cleansing and the physical challenges – to be part of a large community who know that it is the blessed month of Ramadan.

highs and corporal lows we may be experiencing. For new Muslims, those away from home or without established communities, the solitude of suhoor and iftar can be intense, and even with family and friends, our experience can often feel detached from the celebrations of our ummah. For us, fasting is not marked by the sounds of the muezzin but by clocks and alarms, our abstinence from the lunch table at work marking us not as a part, but apart. I remember an incident from my own past that encapsulates this state well when on a trip with my mum, shortly after embracing Islam: in my own self-inflicted worry about what she might think and say about my fasting, I attempted to conceal it, my cover blown at 4am one morning as she found me tucking into my suhoor stash in the hotel bathroom…

“Being Muslim minorities can be a great opportunity and the increased personal efforts required in the Holy Month act as an excellent source of motivation : rather than feeling separate, this is a moment to take the initiative and connect with others.”

For us, perhaps idealizing and elevating the idea of Ramadan in predominantly Muslim lands, it is easy for the sense of minority to quickly shift into a sense of loneliness and isolation, of being misunderstood or simply unseen, as the world carries on, apparently unaware of the spiritual

Waseem Andrabi, India

Her bewilderment as to why I would be hiding such a thing far surpassed any questions or concerns she had about fasting itself, and it serves as a small but enduring reminder for me, that Ramadan is, as our brother Dr Basel Almisshal has so beautifully described it, ‘a month of high spirit, inspiration

& sharing’ – not hiding away with shame or shyness.

On one level, the sense of difference and even solitude can act as a reminder to focus on the spiritual, on our relationship with and reliance upon Allah Ta’ala. The extra effort, of feeling our ‘Muslimness’ even more acutely can be a great boost to our iman and our ihsan. But there are other aspects to this minority situation that can be transformative – not by changing it, but by shifting our own perceptions, and recalibrating the ways in which we approach things.

Being Muslim minorities can be a great opportunity and the increased personal efforts required in the Holy Month act as an excellent source of motivation: rather than feeling separate, this is a moment to take the initiative and connect with others. It is the embodiment of this year’s IRPC theme: Bridging Cultures and Inspiring Creativity. This may be with other Muslims with whom we do not normally associate– that colleague or neighbour we keep meaning to invite over, the new Muslim who may be struggling with fasting, or feeling alone – or conversely that big, bustling family over the road we would like to befriend. And on a larger scale, how about that congregation across town who follow a different madhab, or with whom there have been community tensions? Or sharing the beautiful cultural differences between the diverse Muslim communities we have in our areas? There’s nothing like a shared iftar to soften hearts and

foster love for the sake of Allah, despite and even because we cannot agree on the number of rakahs for tarawih!

Inclusiveness can go much further, and this beautiful spirit of Ramadan is an ideal moment to open our lives and our deen to non-Muslims. While we tend to think about dawah as something that organisations or public figures debating each other do, it is often the little gestures in our everyday lives that are the most powerful, and can completely turn around a person’s view of Muslims and Islam. With good intention, determination and creativity we are seeing amazing initiatives at local, national and international levels. Communicating beauty to a diverse audience through the Capturing the Spirit of Ramadan competition, exhibitions, television programmes, public iftars, mosque open days, and school visits abound, giving non-Muslims opportunities to ask questions, and actually feel Ramadan by witnessing and joining in. There are suhoor gatherings on university campuses, Eid street parties for neighbours, fun sponsorship campaigns that encourage non-Muslims to try fasting for a day, and charity iftars aimed at raising funds for local needs that contribute not just to Muslims but the wider community. We have seen Ramadan used as a launch for ongoing activities, such as the opening of food banks where hungry families of any background can go for help, or iftars for homeless people on the streets, which are by the dedication of volunteers continued as informal soup kitchens. Similarly, organisations have benefitted from capturing this spirit of Ramadan and to create voluntary initiatives to visit elderly people in care homes out of simple kindness and companionship, and others committing to young people – who may be experiencing all kinds of troubles – to support and mentor. These actions extend beyond the weeks of fasting and celebrations of Eid, and allow us to benefit others and ourselves throughout the year.

At a time when levels of misunderstanding, division, animosity and intolerance appear to be increasing, Ramadan provides the ideal conditions for reaching out to those with whom we have not in the past. With increased iman we can be more confident and take those leaps into the unknown and out of our comfort zones. By casting out our fears and insecurity we become content in reliance upon Allah, and not only capture but in our own ways become the spirit of Ramadan.

Dr Laura Zahra McDonald is a founder and co-director at ConnectJustice, an organisation which harnesses indepth research to inform practical approaches to conflict transformation. She continues to teach and speak about issues of faith, diversity and justice in public forums and institutions including Cambridge Muslim College, and The Deen Institute.

Aryadi Indramayu, Indonesia

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Mohamed Kamal, Egypt

A Letter from Peter Sanders In describing the “decisive moment”, French photographer and father of modern photojournalism Henry Cartier-Bresson said, “It is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms, which gives that event its proper expression.”

From our own scholars, Imam Shafi (may Allah bless him) advises us, “The world is but a moment, therefore make it a moment of obedience.”

Capture the Spirit of Ramadan is a perfect platform to present the decisive moments of a multifaceted community linked together by the month of fasting. By limiting the body we enable the spirit to grow, to be creative and to taste its true vast nature. To show the spirituality is one of our greatest challenges.

Al Mussawir, is one of the many Arabic names of God. Some of its meanings are, ‘The Fashioner’, ‘The Shaper of Unique Beauty’ and ‘The Most Perfect Artist who gives everything the Most Unique and Beautiful Form’. “Mussawir” is also the Arabic word for a photographer.

I once had a conversation with a scholar and mentor along the lines that I felt that all photographers should be called Abd al Musswair, the servant of this particular attribute of God. His reply, quick as a flash and with a true leap of spirit, was “and also the people who view the images”.

All credit to Dr. Basel Almisshal for this brave project. For those of us who struggle with words, these images speak volumes.

Peter Sanders www.artofseeing.org

Abdullah Mokhtar, Egypt

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THE SPIRIT of RAMADAN MAGAZINE

Al Hassan IbnAl Haytham Father of Photography

By Lucie Kruickshank Al Hassan Ibn Al Haytham, also known as Al Basri (after his birthplace of Basra, present day Iraq) or Abu Ali was considered the first Muslim scientist. He is thought to have died in Cairo at the age of seventy-four.

A medieval Muslim scholar (although which branch of Islam he followed is uncertain), he was born in 965 AD and made his name as a scientist, mathematician, philosopher and astronomer. He is said to have completed his most significant works during the holy month of Ramadan.

Celebrated for his contributions in the study of optics, Ibn Al Haytham is additionally well known for his commentaries on the works of Aristotle, Euclid and Ptolemy, earning him the nickname of ‘Ptolemy the Second’, Ptolemaeus Secundus in Medieval Europe. In the field of mathematics, Ibn Al Haytham is recognised for being the first person to apply algebra to geometry, thus founding the branch of maths that today we call analytic geometry.

According to one biographer, Ibn Al Haytham was so confident about the application of his mathematics, he thought he could control the flooding of the river Nile by building a dam. Al Hakim Bi Amr Allah, ruler of the Fatimid Caliphate, consequently summoned him to Egypt to carry out this task at the present site of the Aswan dam. After realising the magnitude of the mission, Ibn Al Haytham declared it an impossible undertaking and fearing for his life at the hands of the Caliph, he feigned madness. He was then kept under house arrest until the Caliph’s death, around 1021 AD. However, this time spent under arrest was not wasted.

In fact it was during this time that he wrote his most influential work Kitab al-Manazir, The Book of Optics.

‘Optics’ is a treatise consisting of seven volumes, on optics and other scientific fields and is credited with contributing a vital new emphasis on scientific experiment.

Importantly, ‘Optics’ puts forward experimentally proven arguments that transformed the way in which light and vision was understood. By means of mirrors and lenses he demonstrated that light travels in straight lines. With

these findings and his studies of the structure of the eye, Ibn Al Haytham demonstrated the visual system that allows image formation, in the process of sight. Such was the significance of ‘Optics’; it was in later years translated into Latin making it accessible to subsequent Western scholars.

Using his understanding of pinhole projection and image inversion, Ibn Al Haytham contemplated how this biological system would work as an optical system. Now, the principles behind the camera obscura (Camera, Latin for vaulted chamber, Obscura, Latin for dark), or pinhole camera have been around since the 4th Century. The Chinese philosopher Mozi referred to this apparatus as the ‘locked treasure room’. The Greek philosopher Aristotle understood the principle behind the pinhole camera later in the 4th Century, by observing patterns made on the ground by sunlight passing through leaves of a tree. Later scholars such as Theon of Alexandria, Anthemius and Al Kindi (Al Kindus) continued to observe the phenomenon and employ variations of the camera obscura in their experiments throughout the centuries. But it was Ibn Al Haytham who

gave the first clear description of the pinhole camera and camera obscura. He was first to prove his findings with an experiment, successfully projecting an image from outdoors onto a screen inside a small dark room which he called a “qumrah” which is known to be the etymological origin of the word “camera”.

The camera obscura is an optical device used to project an image of its surroundings on to a screen and is the early invention that led to photography and the camera. Light passes through a hole in the side of a box, striking a surface inside. It is reproduced on this surface in exact colour and perspective but appears as an inverted image. Varying the size of the pinhole changes the size, brightness and sharpness of the image.

As a viewing device, the camera obscura was of great interest to artists as it meant images could be projected onto paper in fine detail. Leonardo Da Vinci and Johannes Vermeer are thought to have favoured the device. English scientist and Franciscan Friar Roger Bacon sited the application of the camera obscura for the safe observation of solar eclipses, in the 13th Century.

Subsequent developments to the device contained additional mirrors and lenses to amplify the brightness whilst maintaining the sharp focus. Mirrors were also employed to turn the image the correct way round for viewing. The Italian scholar Giambattista Della Porta is said to have perfected the camera obscura in the 16th Century.

The term ‘camera obscura’ itself is said to have originated from the German astronomer Johannes Kepler as late as the early 17th Century. Early models of the camera obscura were huge, some even room-sized. By the 18th Century

however, smaller portable models had been developed and were later adapted to create the first photographs.

When his arrest period in Cairo was over, Ibn Al Haytham went on to write many other treatises on mathematics, science and astronomy, perhaps two hundred of them in all, but only fifty five have survived to this day and many of these remain un-translated, in the Arabic language they were first written. Ibn Al Haytham proceeded to gain experience and authority in practical experiments and techniques with controlled testing - the modern scientific method.

Such is the significance of Ibn Al Haytham’s work today; a crater on the moon has been named after him. And there is an asteroid named in his honour, 59239 Alhazen. And to remind us daily of his fundamental contributions to the fields of science and mathematics – his portrait is featured on one side of the Iraqi 10 and 10,000 Dinar bank notes.

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Zaki Imtiaz, Pakistan

Mahmoud Abu Hamda, Palestine

Hussain Al-Bahrani, Oman

R A M A DA N

The Month of Quran

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Ramadan should not only be understood by Muslims alone, it is an observance that all can relate to and all should understand so that together we can create societies where we know each other, and with that fewer conflicts and greater goodwill can be achieved.

The Reverend Christopher Idris Evans

shares his take on “Capture the Spirit of Ramadan” let of colour with photographs coming from so many different countries where customs, culture and costume show a rainbow of regional variety.

photographs of both individuals and large groups praying, studying, worshipping both privately and publically in places both humble and grand I catch behind them all a glimpse of the This truly inspirational project The beauty of the photographs divine creator who blesses each has significance beyond the captures the true spirit of Ra- and every one of us when we Islamic world and is particu- madan where participants and turn to him. larly relevant in Western Europe pilgrims seek to deepen their where negative stereotypes relationship with God; to seek “Capture the Spirit of Raof Muslims are portrayed in so guidance through studying the much of the media and by un- Quran on how best to live their madan” is an innovative lives; and to show compassion and inspiring project thinking politicians. and generosity to those in need. that has the potential to So often we are given a monochrome “black and white” picture I don’t pretend to be an expert witness within Islam to of Muslims as unsophisticated, on Islam and indeed my own the collective spiritual fanatical, misogynist, support- path to God has been found beauty of the Ramadan ers of terrorism. Those of us who through Jesus and Christianity enjoy wonderful friendships but I do believe that the Rama- observance and outside with Muslims know that these dan observance by millions and of Islam to break down stereotypes are a travesty of the millions of Muslims witnesses the barriers of ignorance powerfully to belief in the existruth. tence of God in a world where and prejudice.

In complete contrast “Capture secularism and atheism have be- Reverend Christopher Idris Evans is the the Spirit of Ramadan” presents come increasingly normative.

Rector of Icknield in Oxfordshire, UK. the Islamic world in a rich pal- As I look at so many beautiful

Samer Hilmi, Egypt

IRPC 2012 2nd Place Winner

Samer Hilmi

“As an Egyptian Muslim, I grew up experiencing the holy month of Ramadan in the usual way most Muslims would. I took its spirit for granted, feeling it the same magical way every year through the usual practices. When I heard about the IRPC I was totally intrigued by the idea of “Capturing the Spirit of Ramadan”. It had me deeply contemplating, even long well before the holy month started, on how that indescribable mix of feelings could be captured in a photo. I now owe it to the IRPC for making me see Ramadan in a whole new way, not only through my eyes, but through the eyes and hearts of other artists transforming it into a universal experience rather than individual one.”

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interview with

STEVE McCURRY

By Lina Ali, StudioBasel

Steve McCurry has been one of the most iconic voices in contemporary photography for more than 30 years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name.

Born in a suburb of Philadelphia, Pennsylvania; McCurry studied film at Pennsylvania State University, before going on to work for a local newspaper. After several years of freelance work, McCurry made his first of what would become many trips to India.

Traveling with little more than a bag of clothes and another of film, he made his way across the subcontinent, exploring the country with his camera.

Since then, McCurry has gone on to create stunning images over six continents and countless countries.

His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image.

McCurry has been recognized with some of the most prestigious awards in the industry, including the 26

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Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest, to name a few.

It was after several months of travel that he found himself crossing the border into Pakistan. There, he met a group of refugees from Afghanistan, who smuggled him across the border into their country, just as the Russian Invasion was closing the country to all Western journalists. Emerging in traditional dress, with full beard and weather-worn features after weeks embedded with the Mujahideen, McCurry brought the world the first images of the conflict in Afghanistan, putting a human face to the issue on every masthead.

2012 Pictures of the Year International Book Award for Iconic Photographs 2011 Leica Hall of Fame Award, St. Moritz, Switzerland

(Q1) Can you tell us about the circumstances surrounding your signature image of the “Afghan Girl”, also known as the world’s most recognized photograph? What was it like to search for and revisit the young lady several years later?

2011 Prix LiberPress, Girona, Spain 2009 Abrogino D’Oro, Milan, Italy 2006 Lowell Thomas GOLD 2006 National Press Photographers Association 1st Place, Buddha Rising, National Geographic

(A1a) In 1984 I was in Pakistan, outside of Peshawar, in an Afghan refugee camp. There were tens of thousands of tents. I walked past one particular tent that was being used as a girls’ school. I looked into the tent and asked the teacher if I could take some pictures and she agreed. It’s very difficult to photograph females in Afghan culture, and I thought maybe one way to deal with the problem would be to photograph young girls, which is usually all right. You can photograph girls, but not grown women, with the exception of women in professional capacities like teachers and nurses. I picked out three young girls in the class, but I could see that one girl, whose name I learned years later was Sharbat Gula, had a really intense, haunted look, a penetrating gaze. She was about 12 years old. She was very shy, and I thought if I photographed the others first she would be more likely to agree because at some point she would not want to be left out. There must have been about 15 girls in that school. They were all very young and they were doing what school children do all over the world. They were running around making noise and stirring up a lot of dust, but in that photograph for one brief moment you don’t hear the noise or all the kids running around and you don’t see all the dust. I guess she was as curious about me as I was about her because she had never met a foreigner and had never been photographed and had probably never seen a camera. So this was a new experience for her. Then, after a few moments, she just got up and walked away. She had run out of patience and her curiosity was satisfied. However, for a magical moment, all the elements had come into alignment. The background was right. The light was right. The emotion was right.

There’s a balance in the photograph. Even if you don’t know she’s an Afghan refugee, it’s clear that she’s a poor girl: she’s a little dirty, she has a hole in her shawl, but she is striking. There’s a mix of emotions and there’s a genuine quality about her. There is an ambiguity to her expression, a certain something or quality to that picture that people respond to.

2006 Honorary Fellowship, New Zealand Institute of Professional Photography (NZIPP)-May 4th 2005 Honorary Fellowship, The Royal Photographic Society of Great Britain, London 2005 Photographic Society of America, Photojournalism Division-International Understanding through Photography Award 2003 International Photography Awards, CA, the Lucie Award for Photojournalism 2003 Distinguished Alumni Award, Pennsylvania State University, PA 2003 Co-recipient of the NY Film Festival Gold for documentary, “Afghan Girl: Found” 2002 Distinguished Visiting Fellow, College of Creative Studies, University of California 2002 Doctor of Humane Letters, Honoris Causa, Fairleigh Dickinson University, NJ 2002 Photographer of the Year, PMDA Professional Photographer Award 2002 Photographer of the Year, American Photo Magazine 2002 United Nations International Photographic Council: Special Recognition Award 2002 French Art Directors Association, Award of Excellence for “Women of Afghanistan” 2001 Photography Annual, Communication Arts: Award of Excellence, Book Series, South SouthEast 2000 Picture of the Year Competition: Book of the Year, South SouthEast 2000 Magazine Feature Picture Award of Excellence: ‘Women in Field, Yemen’

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(Q2) When photographing people in a foreign land and dealing with a completely different culture how do you connect with your subject?

(A2) You need to create a rapport with the subject.

Make them comfortable around you. Whether it’s with a smile or a joke, or just body language - I try to go beyond that initial, awkward, self-conscious state. Give it a couple of minutes, and you’ll have a more natural, relaxed subject.

(Q3) How do you see the art of photography today in comparison to what it was when you started your journey in photography?

(A1b) I had looked for her for many years to no avail. After the 9/11 terrorist attacks on the United States in 2001, we invaded Afghanistan and shortly afterwards I was scheduled to go over with a film crew to do a documentary. One aspect of the plan was to look for this Afghan girl, but originally that was not the only objective. We got to Pakistan to begin the documentary and we started looking for her in the same refugee camp where I had photographed her in 1984. It was scheduled to be demolished so we got there just in time. We started to come close to finding her, and suddenly the film took an entirely different turn and it became just about looking for her. We never did make it to Afghanistan. In the refugee camp we had a lot of cooperation from the tribal elders. I think there was a certain buzz about our project, in a positive sense. We had a really wonderful fixer-translator who was very respected. He was from the same tribe. The tribal elders knew him, knew his credentials. We talked to hundreds of people in the camp where she had lived. There were rumors that she had died or been killed. Finally one man remembered her as a girl and said, “I know where her brother lives.” That man was actually able to bring her and her husband to us from across the border in Afghanistan where she was living. Fortunately, Sharbat Gula’s husband was completely helpful and cooperative, so we could meet her, interview her, and photograph her 17 years later, and actually help her — compensate her financially for the picture we had used for all those years.

(A3) Documentary photography is becoming more and more accepted in the fine art market.

There are certain documentary photographs in the world that just hit on something that we all respond to; there is a universal chord that speaks to us. They become important. Documents are important, and they rise to the surface in that world of collecting and exhibitions and people want them. Some of the photographers in the past — W. Eugene Smith, Dorothea Lange, Henri CartierBresson — have facilitated the acceptance of the documentary photographer in the art world today.

(Q4) How would you describe your photography to someone who has never seen it?

(A4) I think at the core, my work is centered around people, and the commonalities of the human experience.

(Q5) Do you have a particular creative process for your assignments and leisure shooting?

(A5) I don’t really employ any special techniques.

I rarely use any artificial light. I carry only one or two lenses. I work in a fairly classical way, trying to avoid drawing too much attention to my technique while allowing the story in the picture to speak for itself. I always try to be as unobtrusive as possible and carry a minimum of equipment. Often you have to work fast before you become the

center of attention and as soon as you start thinking about the particular lens, particular filter, some clever lighting technique; it takes the attention away from the picture. Photographers like Henri Cartier-Bresson and Andre Kertesz would only use one or two lenses and work mostly in available light. I think the simplicity creates this timeless quality.

Q8) Is there a particular destination that you still wish to visit and photograph?

(A8) I’m very interested in Madagascar and Iran.

I’ve wanted to travel there for some time.

(Q9) What advice would you give to a photographer wanting to take an amazing photograph?

(Q6) What is it about the art of photography that (A9) There are a lot of things I would tell the perallows one to transcend their own thoughts and son, but most importantly I would advise him to open doors to new worlds? be curious about life and the things around him, it is an essential part of being a good photographer, (A6) For me, photography is a way to wander and like any endeavor - doctor, architect - it takes time, explore this amazing world that we live in. It’s what effort and discipline. It’s also important to know originally drew me to the medium, and continues and to study the greats of photography, to underto be the driving force behind my work to this day. stand why the work of photographers like CartierBresson, Dorothea Lange and W. Eugene Smith is (Q7) What values have you gained and what les- important and celebrated. sons have you learned from travelling the world and photographing people from all walks of life?

(A7) I’ve learned that there’s a commonality among people, whatever their country or nationality-- and people wherever they are in the world want to be respected.

And if you can respect people, it’s a wonderful world, and doors open up and everything’s fine.

When people are disrespected, then things get ugly. I look around at some of the conflicts in the world, and I think-that the root of the problem is that people are disrespectful to one another.

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Mohammed-Alsultan, Kuwait

THE SPIRIT of RAMADAN MAGAZINE

Being Unique inYour Photography Mustafa Davis Says itAll

Today there are more photographers in the world than ever before in history. As technology gets less and less expensive, the gear that was once reserved for the elite professionals is now in the hands of the layman. We are living in amazing times where possibilities exist that were nonexistent just a few short years ago. However, the new high powered 20 megapixel cameras, less expensive professional lenses, and plethora of editing software programs available today do not change the art of photography.

of capturing a compelling image. Very few ask questions like “what do I need learn to become a better artist?” There are hundreds of workshops about the technical aspects of photography, yet very few about the heart of the artist.

If the camera or lens was the most significant factor in determining the quality of the artist, then we would all be Ansel Adams. The truth is, it has always been about the heart and mind of the person behind the lens, much more than it has ever been about the equipment he/she uses.

I am often astounded by the number of questions that are asked about camera gear... which is the best camera, which brand is best, which lens is best, which genre is better, etc.

Rarely do I see photographers asking about the actual craft

I’d contend that Vivian Maier could use a cheap disposable camera and create meaningful and impactful images. This should be an indication that it is the artists themselves that matter most in the formula of creating a great image.

It was Ansel Adams who once said:

“You don’t make a photograph just with a camera.

You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”

As you set out to create an award winning image, my advice is to focus more on the heart and the intention behind shooting, to engage with your subject intimately, and to pour your entire being into the craft. The gear you use will not matter to the judges, they will only see the finished product. They will not be impressed with a really expensive camera body or lens. They will not know how difficult it was to capture the image or what you felt when creating it. They will not know you were in tears when shooting and how the scene affected your heart. It is our job, as photographers, to bring the viewer into the photograph, to make them feel as though they were there as an intimate part of the scene.

Ansel Adams also said, “A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.” He also said “There are always two people in every picture: the photographer and the viewer.”

If you are participating in a professional photography competition then we can assume you’ve had the necessary technical training to become a professional. But what will set you apart from others is how much of yourself you put into your images. You are unique, there is only one you. There are millions of photographers who own the same gear that you do. Your heart is what drives the images you create so pour all of yourself into your craft and show the world who you are through the images you create.

Ansel Adams, Wikimedia

Mustafa Davis is an award winning photographer and filmmaker. His photography is showcased in galleries and international exhibitions. He graduated from the prestigious New York Film Academy and studied the art of cinematography with renowned German cinematographer Sorin Dragoi.

Mustafa has taught film and photography workshops for Tisch School of Arts, UCLA, USC, University of Michigan, US Embassy (Malaysia-Indonesia-Singapore-London), Singapore Press Holdings, Al Hijra TV, UiTM, and many others. He currently runs the Mustafa Davis Inc production studios out of San Francisco and Dubai.

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Meet the Muslims of China IRPC team member Lina Ali is proud to have spoken to one of China’s most prominent Muslims today, Haji Noor Deen Mi Guangjiang on the traditions of Muslims in China during Ramadan.

On a conference call that lasted about an hour, Haji Noor Deen and his wife spoke about the annual pre-Ramadan rituals that take place at the mosques and homes of Chinese Muslims throughout the country.

He explained that there are said to be over 100 million Muslim Chinese living throughout China who have been there for the last 1,400 years from the time of maritime and inland silk trade routes that brought Arabs from the Hijaz with their “attar” or frankincense into India and then into China. The Muslims are proud of their religion and heritage and every year invite people from the neighboring communities into their mosques after performing the annual mosque clean-ups and utility checks in preparation for Ramadan. Haji Noor Deen spoke about coming together with his mosque fellows and Imams to visit the poor and the sick and taking part in Ramadan trivia competitions and Quran “tajweed” contests. He explained that the mosques in China do not look like those in the Arab world (he lived in Kuwait and Cairo for over a decade with his family at one point and speaks great Arabic!) but rather follow traditional Chinese architecture style, namely the pagoda style. In Chinese, a mosque is called qīngzhēn sì ( ) or “pure truth temple.”

When asked about the typical foods eaten to break the fast during Ramadan, Haji Noor Deen mentioned “la mian” or long pulled noodle soup which is often flavored with pickled cabbage and eaten with “nang” or a sort of naan bread all of which he ensured was halal, qīngzhēn cài ( ) in Chinese, meaning “pure truth food”. All in all, a few new things were learned but in essence our Muslim brothers around the world seem to celebrate Ramadan in a fairly similar way with of course their own touch of personal identity and culture.

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Fusion of Fonts

Principles of Chinese-Arabic Calligraphy

By Haji Noor Deen Mi Guangjiang

THE SPIRIT of RAMADAN MAGAZINE

“Islam” in Chinese translates to “Qingzhen” or the religion of the pure and true.

Traditional Chinese-Arab of the artistic work of ge cultural fusion of Chines

With the spread of Islam into China, the new Chinese Muslims inherently incorporated traditional Chinese calligraphy characteristics into the Arabic calligraphy techniques they were being taught which bred the most representative form of Islamic art in China.

Traditional Chinese-Arabic calligraphy can be classified into two major font styles based on the tools used; hard and soft. The hard tool style makes use of bamboo, wooden sticks, or carved animal bones while the soft brush style makes use of wool, hair, or plant fibers. According to geographic locale, ChineseArabic calligraphy can be further divided into three branches or schools: Northern, Southern, and Western.

Each of these styles can be classified according to the script in which they appear: the scripts include the imitation Han Imperial, the Honor script (Bang Shu script), the Tu Ma Ri script, Quranic script, and the carved Arabic script (used for carved surfaces). More recently, with increased cultural exchange between the Chinese and Arabs, the Diwani and Thuluth fonts have made their way into the Chinese calligraphic milieu and are quite popular.

Historically, Chinese-Arabic calligraphy borrowed from the precepts of Chinese poetry and the techniques of Chinese artistic production. From Chinese art came the style of artistic exaggeration (visual hyperbole), division (of work surface or calligraphy), and the technique of carving. Juxtaposing positive and negative space, referred to as the technique of true and false, as well as the modes of thin and thick, creative borrowing, dimensional hatching and partial overlays are also borrowed from Chinese art techniques.

bic calligraphy represents the essence enerations of calligraphers, a unique se heritage and Islamic art.

By way of shape, Chinese-Arabic calligraphy incorporates the rectangle, square, circle, rhombus, fan, triangle, polygon, flower, fruit and medallion into its visual vocabulary. By way of form, all works must be balanced, although individual characters may be of different sizes. The artwork must be completed in one goal in order for it to have clarity, rhythm and a three-dimensional feel.

There is a certain unique spirituality to this form of art. It is vivid and varied, recalling visions of galloping horses, majestic mountain ranges, and rolling streams with untold aesthetic value and artistic appeal. It is reminiscent of music without a tune, of pictures with feeling.

Like a dancing maiden, it is full of delicate lines, natural and subtle, fulfilled by a rich imagination. It is the legacy of the Islamic heritage in China, and a cultural and artistic treasure of the world.

Haji Noor Deen Mi Guangjiang is a Chinese calligraphy artist renowned for his extraordinary mastery of both Arabic and Chinese calligraphy. Born in 1963 in the Shandong Province of China, Haji Noor Deen was awarded the prestigious Certificate of Arabic Calligrapher in Egypt, becoming the first Chinese person to be honored with this prestigious award in 1997.

He has taught Arabic calligraphy at the Zhengzhou Islamic College in China, Zaytuna College in California, UCLA, Harvard, Cambridge and Boston Universities. One of Haji Noor Deens’ significant pieces entitled “The Ninety Nine Names of Allah” is on permanent display at The British Museum gallery of Islamic Art.

www.hajinoordeen.com

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THE SPIRIT of RAMADAN MAGAZINE

IRPC Success Story

Hisham Sarsour

It is not easy being a photojournalist in areas of conflict, particularly the Occupied Territories of Palestine. Every moment out in the street to capture a shot of evidence or a shot of documentary or even a photograph captured for its artistic value puts the life of the photographer in danger. This is however the only way that a story can be told, evidence shown and voices heard, or in the case of photojournalism- emotions visually portrayed.

I was blessed to be a winner in the first IRPC with my photo of “The Shoemaker” from Hebron.

For award-winning photojournalist Hisham Sarsour, entering the International Ramadan Photography Competition was a testament to his perseverance and commitment to documenting the everyday life of his native city of Hebron where many of the locals are poor and affected by constant hardship. Mr. Sarsour wanted to show that regardless of economic and political strife the people of his community are positive and are able to live fulfilling lives.

Mr. Sarsour’s photo of “The Shoemaker”, a humble Palestinian man showing true piety while reading his Quran in his shop, is a beautifully composed photograph that immediately caught the attention of the IRPC jury and gained admiration from people all over the world. Mr. Sarsour won the 2nd Place Prize in the 1st Edition of the International Ramadan Photography Competition.

His success in the IRPC inspired him to return to the shoemaker to create a complete photo-story of twelve photographs and to learn more about his subject who was very kind and accepting of the fact that his photo was now being seen around the world.

He told Sarsour about his work and his steadfastness in making sure that his children received a good education and went to college. Sarsour’s photos of the shoemaker have been exhibited in the GRID bi-annual international photography festival in Amsterdam and have earned him an award from his local government.

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Participating in the competition allowed me to be productive and practice my art during the holy month.

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interview with

Imane Tirich

Upon contacting Imane Tirich about her win, the IRPC Team was surprised to learn of her impressive experience and photography CV despite her young age.

What does photography mean to you? What does it allow you to achieve in terms of artistic freedom?

Photography is my way to connect with people. It allows me to show how I feel about different subjects and adversities around me. I consider photography to be a special universal language that can express how and what I think, without any borders or limitations.

Why was it important for you to participate in the IRPC? I found out about the “Capture the Spirit of Ramadan” Photography Competition just a week before the deadline and I was immediately interested in participating but was worried I would not have enough time. I thought of a concept and decided to make it happen as soon as possible. I travelled from my city to a remote area to take my photograph... I wanted to separate my subject from worldly distractions. I did not think that I would be able to win the competition, especially after seeing the many great submissions from around the world. However, I was sure about wanting to contribute to the collection of beautiful Ramadan photos and Alhamdulilah, Allah helped me.

What did you learn throughout the month long experience with IRPC in terms of photography, Ramadan spirituality, world cultures, etc?

Ramadan is a big part of my life, as it is for all Muslims. It is a great time of spirituality, reflection and thanksgiving. Participating in the competition allowed me to be productive and practice my art during the holy month. I enjoyed and really appreciated seeing how other participants in the competition showed their versions of Ramadan and their own spiritual moments. I discovered many new things that I was unaware of in the past which renewed my vision of Ramadan in other cultures and countries.

EXHIBITIONS 2013: National Congress of Child RightsRabat, Morocco 2013: Art in the Daily ReflectionTétouan, Morocco 2011: World Photography OrganizationBeijing, China 2011: World Photography Organization at Chelsea Art Museum - New York, USA 2010: Awassa Exhibition- Ethiopia 2010: Berber Museum ExhibitionAgadir, Morocco 2010: Outdoors ExhibitionCannes, France

Imane Tirich, winner of the 3rd Place Prize in the 2012 International Ramadan Photography Competition™ is a young Moroccan photographer, born in Agadir, 1991. She is currently completing her studies at the National Institute of Fine Arts in Tetouan and has recently taken part in the World Press Photo conference in Algeria and the EYE SEE project in Ethiopia under the auspices of UNICEF and Sony. Imane was given this wonderful opportunity under the guidance of Reza Deghati, Iranian-French National Geographic photojournalist to teach twenty Ethiopian youth how to use a camera to tell stories and document life, nature and current events in Ethiopia along with four other young photographers, each representing a different continent.

Imane has a great love for documentary and humanitarian photography through which she is able to produce images that can serve and defend humans in difficult situations. She aims to shed light on moments of happiness and suffering as expressed in the faces of her subjects, thus producing images of life.

AWARDS 2012: Third Place Prize Winner, “Capture the Spirit of Ramadan” International Photography Competition™ 2010: Regional Award , UNICEF Media “Young Reporter” for the MENA Region 2010: First Place, “The UNICEF Award: A Photo Pledge for Children’s Rights” Youth Award-Sony World Photography Awards 2010: First Place, Maroc Web Awards, Category: Photo of the Year

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Mohd Azri Suratmin, Malaysia

THE SPIRIT of RAMADAN MAGAZINE

Suhoor: It’s Sunnah

The Prophet Muhammad, peace be upon him, urged Muslims to have suhoor, the pre-dawn meal. According to Al Bukhari, he said “Have suhoor, as indeed there is a blessing in it for you (baraka).”

Madeeha Al Hussayni, UK

FOOD, FOOD & More FOOD! Ramadan, among other things, is associated with foodlots of yummy food, some foods that only appear during the special month and foods that are slow cooked in huge, tub-like metal pots to serve large mosque communities and needy people. Savory fried finger food markets come alive in Delhi, Dhaka and Darussalam while hypermarkets in the Middle East seem to stock endless bottles of Vimto and instant custard and cream packets.

Ramadan is a time for socializing with family and friends around the dinner table, or floor mat in some places, and a great time for potlucks and sharing with neighbors- for feeding a fasting person comes with immense reward. It is heartwarming to see the rows and rows of food and drink laid out in mosque squares for community worshippers and the less fortunate. On the other hand it is quite displeasing to see how some take it a bit overboard and indulge in copious amounts of food all throughout the night.

While there certainly are many disciplined people following the Sunnah of breaking their fast with dates and laban and following that with a humble meal after prayers, many must be reminded not to lose sight of the purpose of abstaining from food from sunrise to sunset. Besides spiritual cleansing and focusing on “ibadah�, limiting our food intake helps to remind us of all the people who cannot eat and drink on a daily basis, or do not have enough, safe and sanitary sustenance.

We fast to feel their suffering, to remind ourselves of how blessed we are. We fast to feel the same hunger pangs of poor people and children around the world.

We fast to become more humble, modest and generous; to discipline ourselves from gluttony and waste.

Through this self-control and moderation, we become better Muslims and better people.

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THE SPIRIT of RAMADAN MAGAZINE

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Above: Preparing jalebi, a popular Ramadan sweet. of India.

Photo by Kailash Mittal, Indore Left: Preparing qatayef, a popular Ramadan sweet of the Middle East..

Photo by Ratib Al Safadi, Beirut

THE SPIRIT of RAMADAN MAGAZINE

Yvonne Maffei

Italian-American “My Halal Kitchen” Chef

Fauzia and Fozia from Fauzia’s Kitchen Fun

the Chef in Disguise

Sawsan Abu Farha

&

Dubai’s Celebrity Chef

Suzanne Husseini

all share some of their great Ramadan recipes with the IRPC. Suzanne Husseini has previously hosted her own television show on the Arabic version of the Food Network, Fatafeat Channel. She has recently published her first cookbook in English and Arabic, “When Suzanne Cooks” which features beautifully photographed Eastern Mediterranean dishes including citrus tahini topped cauliflower fritters; roasted eggplant mezze; a wonderful array of green salads; and specialties such as a poultry brine scented with orange rind and cinnamon sticks and her own home made Arabian ice cream flavored with rose and blossom water and mastic gum. Husseini shares her family-favorites with her own modern and delightful twists. Her book is elegant and offers light and full-course meals as well as rich desserts that would be great to experiment with during Ramadan and Eid. Chicago based “My Halal Kitchen” chef Yvonne Maffei shared with us her bright “Summer Ramadan Cooking” book full of surprising flavors including her native Sicilian dishes and a tasteful range of American, Latin, Asian and Middle Eastern specialties. The pleasingly colorful photographs taken by Yvonne herself, and enticing recipes encourage the reader to bring the world together through food. The book features protein-rich suhoor dishes such as roasted red pepper frittata, halal chorizo and eggs, and cherry tomato and cheddar quiche. There are several thirst-quenching fresh juice drinks perfect for the summer heat and Ramadan appetizers such as empanadas and crispy rolls. Mouth-watering main dishes include Gulf style kebsa, fish tacos and Italian lamb and pepper stew. The book also offers helpful references for halal food supplies and Ramadan/Eid gift items.

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Aubergine & Arugula Salad with Sweet Pomegranate Dressing

By Suzanne Husseini Serves 4 2 medium aubergines ¼ cup peanut and olive oil sea salt 4 large handfuls arugula (rocket) 1 small red onion, thinly sliced 2 cups cherry tomatoes, sliced freshly ground black pepper ½ cup toasted pine nuts ½ cup fresh pomegranate seeds Dressing 2 tsp fennel seeds 1 garlic clove ¼ cup balsamic vinegar ¼ cup honey juice of 1 lemon 1 tbs Dijon mustard ¼ cup pomegranate syrup 4 tbs extra virgin olive oil Preheat the oven to 200°C. Peel and cut the aubergines into thick rounds of about 2 cm, brush both sides with oil sprinkle with salt.

Roast until golden and cooked through.

Cool and slice each round in half. Using a pestle and mortar, crush the fennel seeds and garlic to make a paste. Add dressing ingredients and whisk together. In a serving platter lay the arugula leaves. Sprinkle the onions and tomatoes on top. Toss around to combine. Scatter the aubergine slices on the salad. Drizzle with dressing and garnish with pine nuts and pomegranate seeds.

Photo by Petrina Tinslay

Photo by Petrina Tinslay

THE SPIRIT of RAMADAN MAGAZINE

Meat Flatbreads

By Suzanne Husseini Makes 24 Dough 6 cups flour 2 tbs instant yeast 1 tsp salt 1 tbs sugar 4 tbs olive oil ½ cup plain yoghurt 2 ½ cups warm water

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Meat Filling 500 g lean minced lamb 2 onions, finely chopped 2 tomatoes, deseeded and diced ½ cup parsley, finely chopped ½ cup mint, finely chopped 3 garlic cloves, crushed 1 tsp allspice 1 tsp cinnamon 3 tbs tahini 2 tbs pomegranate syrup salt and pepper

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Mix dry ingredients and stir to combine. Add yoghurt, olive oil, and water in the middle. Gradually work in the flour mixture to make a dough. Remove from the bowl and knead on a working surface until soft and elastic for about 5 minutes.

Place in a lightly greased bowl, cover and leave to rise for 1 ½ hours until doubled in size.

For the filling, thoroughly mix all the ingredients together.

Preheat the oven to 200°C. Roll out the dough, cut into equal sized rounds of approximately 10 cm diameter and place on a greased baking sheet. Place a generous amount of the meat filling on each dough circle and press gently to spread evenly. Pinch the edges to make a border. Bake in the hot oven until the meat is cooked and the dough is lightly golden.

Moroccan Briouat

with Lamb, Raisins & Almonds

By Yvonne Maffei Makes 12-14 4 tablespoons olive oil plus more for frying ½ cup yellow onion, diced 1 pound ground lamb 1 cup slivered, toasted almonds 1 teaspoon ground cinnamon 3 cloves garlic, minced 1 teaspoon smoked paprika 1 teaspoon ground cumin sea salt and pepper to taste ¾ cup raisins 2 tablespoons fresh mint leaves, chopped ¼ cup finely chopped parsley ¼ cup finely chopped cilantro One pound egg roll wrappers 1 egg, beaten Sauté onion, lamb and garlic over medium heat until slightly browned. Add almonds, raisins and spices. Continue to cook for another ten minutes. Add chopped herbs and cover the pan, continuing to cook on low heat for an additional 10 minutes, adding a bit of water if necessary. Drizzle meat with olive oil. Set aside to cool.

Summer Tomato

& Roasted Red Pepper Soup

By Yvonne Maffei

Place one heaping tablespoon of meat mixture in the center of eggroll wrapper (phyllo dough can also be used). Bring each side to the center then roll from the bottom upwards.

Close by brushing the end with egg wash. Repeat with all of the wrappers. Fry the briouat until golden and serve warm with home made marinara dipping sauce.

Serves 4 The summer season leaves us with plenty of sun-kissed tomatoes and red peppers, which are often incorporated into salads and sauces, but why not combine them to make a refreshing soup that’s perfect as a light summer Iftar dish?

4 tablespoons olive oil ½ cup yellow onion, diced 4 Roma tomatoes, chopped 2 cloves garlic, minced 2 roasted red peppers, sliced Sea salt, black pepper 3 cups water or vegetable broth Fresh parsley and basil Sauté the onions in oil until translucent. Add garlic and tomato and cook for 4 minutes. Add red peppers, water or vegetable broth, salt & pepper and bring to a boil. Blend the soup in a blender and return to the pan. Simmer on low heat, covered, for 20 minutes. Serve garnished with chopped herbs.

THE SPIRIT of RAMADAN MAGAZINE

SAMOSAS

Fauzia Afif of Fauzia’s Kitchen Fun shares 3 great samosa filling recipes, each enough to fill about 25 samosas or sambousek. These fillings would also work very well with bourek and spring rolls.

Potato Vegetarian

Chicken

Lamb or Beef

1 medium onion, finely diced 2 medium carrots, cubed small 1 cup peas 2 medium potatoes, cubed small 2 tbsp. chopped limro/curry leaves 2 tbsp. chopped fresh coriander leaves 1 tsp. rai/mustard seeds 1 tbsp. oil + 1 tbsp. butter 2 green chillies, chopped 1 tsp. tomato paste/puree ¼ tsp. garlic paste ½ tsp. turmeric powder ½ tsp. cumin powder Juice of ½ lemon salt to taste

250 gm boneless chicken, cubed 2 medium onions, finely chopped 1 tbsp. oil + 1 tbsp. butter 2 tsp. ginger garlic paste ½ tsp. red chilli powder ½ tsp. turmeric powder ½ tsp. black pepper powder ½ tsp. garam masala 1 tsp. freshly roasted and powdered cumin 1 tsp. coriander powder Juice of 1 lemon 4 tbsp. chopped fresh coriander 1 tbsp. chopped fresh mint (optional) Salt & pepper to taste 2 green chillies, chopped

½ kg minced beef or lamb (or a mix) 250gm onions, finely diced 1 tbsp. cumin and coriander powder ½ tsp. garam masala ½ tsp. turmeric powder ½ bunch of fresh coriander, chopped Juice of ½ lemon ½ tsp. garlic paste ½ tsp. ginger paste Salt to taste 1-1 green chilies, chopped 1 tsp. butter

Boil the potato cubes until tender, drain and set aside. Heat the oil and butter in a pan and add the mustard seeds. When they pop, add the curry leaves and chopped onions. Stir-fry until translucent, and then add garlic paste and green chilies. Add peas and fry for a minute on low heat, stirring regularly, then add carrots and sprinkle some salt. Cook for a few minutes on low heat, giving an occasional stir. You can add a little water as needed whenever the mixture begins to stick to the bottom of the pan. When the veggies begin to soften, add the tomato paste/puree and powdered spices. Stir and keep cooking until everything softens. Lastly, add the cubed boiled potatoes and the chopped fresh coriander.

Boil the chicken with half a tsp. each of ginger, garlic and salt. Lower the heat and simmer for 12 minutes, covered. Turn the heat off, allow to cool, drain and shred.

Fry the onions in the butter and oil until translucent. Add remaining garlic and ginger paste and the chopped green chilies. Stir on low heat until fragrant.

Add chicken, cumin, turmeric, coriander and black pepper. Stir well and when the mixture looks dry and begins to stick to the bottom of the pan, turn off the heat.

Sprinkle the garam masala and squeeze in the lemon juice. Add the chopped coriander and mint, adjust flavours and allow to cool before using.

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Sautee the meat, spices, half of the chopped coriander and half of the lemon juice on medium heat for 3 minutes. Add the chopped onions and cook for an additional 3 minutes while stirring. Do not over-cook, or else the onions they will release moisture and the mixture will become soggy. Turn off the heat and add butter, remaining coriander and the rest of the lemon juice. Sprinkle a pinch of garam masala for added aroma and adjust salt, lemon and chili to taste. Allow to cool completely before filling the samosas.

SWEETS Talented home chef, Sawsan Abu Farha shares her favorite Qatayef recipe which can be filled with shredded Akkawi or Nabulsi cheese or a cinnamon and sugar spiced finely chopped walnut mixture.

2 cups all purpose flour 1/2 cup fine semolina 1/2 teaspoon yeast 1 teaspoon baking powder 2 tablespoons vegetable oil 1 tablespoon sugar 2 2/3 to 3 cups warm water Mix dry ingredients together then add water and oil and whisk until the batter is thin and pourable.

Heat a non-stick pan and pour in ¼ cup of batter in the middle of the pan. Lower the heat to medium low and wait for the surface to cook thoroughly.

There will be little bubbles all over the surface of the qatayef and once it’s done it will become opaque.

Remove the qatayef and place on a kitchen towel and cover with another towel to prevent them from drying, or else they won’t seal properly. Place 2 teaspoons of filling in the center of each qatayef and fold one half over to the other side and seal by pinching the edges with your fingertips. Now fry the qatayef or brush them with melted butter and bake until crisp and golden. Immediately immerse the cooked qatayef in a simple syrup made by boiling together for 5 minutes: 2 cups of sugar, 1 cup water, 1 tbs lemon juice, 1 tsp rose water.

Above, medjool dates stuffed with roasted almonds and a cardamom and nutmeg spiced blend of ricotta, mascarpone and whipped cream (1:1/2:1/4 cups), by Suzanne Husseini, photo by Petrina Tinslay.

Below, frozen citrus cups filled with your favorite fruit sorbet and garnished with mint and citrus peels, by Yvonne Maffei.

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ON

AHMED KRAUSEN A member of Harvard University’s “The Pluralism Project” Ahmed Krausen, former IRPC Jury Panel Member, is a German-born Muslim freelance photographer based in Copenhagen, Denmark. As an advocate of highlighting Muslims and Islamic influence in the West, Krausen focuses on establishing understanding and dialogue between the Western and Muslim worlds through his study and photographic documentation of Islamic architecture in Europe. Mosques have been very visible in the European landscape for centuries, from the times of the Moors in Spain, the Ottomans in the Balkans, the Tatars in the Baltic States, and more recently due to the arrival of migrants and refugees from Muslim countries.

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Krausen’s interest in Islam began decades ago while travelling through North Africa and photographing the people he met and the mosques and mausoleums of the Arab countries he visited. Krausen was so inspired by his experience that he converted to Islam upon his return to Denmark in 1992.

There are now approximately 45 million Muslims from Asia and Africa living in Europe, and therefore the diversity of Islam in Europe with regard to ethnicity, race, cultural background, and practice is extraordinary. This population also includes native Europeans who have converted to Islam like himself, so for Krausen, dialogue between these communities and non-Muslim communities is vital and his work seeks to contribute to that discourse.

Krausen’s work has been published in several books and magazines and he has exhibited internationally in Europe and the Middle East. His notable exhibitions include “Being Muslim in Europe” that took place at the El-Sawy Culture Wheel in Cairo; “Dunya - Glimpses of Muslim Life in Europe” displayed at the Sharjah Museum of Islamic Civilization in the United Arab Emirates; and “Islam’s Trip to Denmark” in the Stock Exchange (Børsen) in downtown Copenhagen.

Saer Said, France

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Maqsood Bhat, Kashmir, India

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NEW

IRPC Children’s Stories The IRPC Collection of Photos has inspired many people around the world including talented and professional writers and illustrators who have come together to create beautiful Ramadan Children’s Stories, available for FREE for families to enjoy.

Love in Ramadan

Written in English and Arabic and illustrated by best selling Emirati author, Maitha Al Khayat

Colour My World Written by Sobia Hussain, illustrated by Sara Al Mukhaini

Alhamdulilah for My Grandmother Written by Hiba Masood, illustrated by Fatma Al Mehairi

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THE SPIRIT of RAMADAN MAGAZINE

IRPC Honorary Mention Photographer Etha Ngabito

Etha Ngabito was honored in the 2012 International Ramadan Photography Competition for her meticulously thought out macro shot of several red ants carrying a Ramadan greeting banner which she made by writing her message on a green leaf that was used as bait for the ants to bite on.

“Red ants love rambutan, and they can be found all around my home” says Etha, referring to the exotic Southeastern Asian rambutan fruit trees. “I patiently waited for the ants to be in the right position then I slowly gave them the leaf and as soon as they bit, they wouldn’t let go!” she said. “I then rotated the photo in postprocessing so it looked as if the ants were holding the banner up and not biting down on it.”

Etha’s passion for macro photography has led her into the outdoors in her native Banten, Indonesia on many occasions to get “up close and personal” with Allah’s tiny creations.

“Macro photography is the best way of telling people that sometimes we ignore the creations of Allah, and he has created them with an aim and for a reason” she states.

Etha is a mother of three and graduate of the English Language and Literature faculty at the State Islamic University in Jakarta. She has no formal training in photography but has an interesting philosophy about it. “Photography means a lot to me. It is a window to my soul. Through my photography I hope people will get to know who I am. My photos are based on Islamic values.

I refuse to take a photo if it is against my religion such as a woman without hijab. I am doing ‘dawa’ through my photography. I love to take photos related to Islam. I capture anything and everything that I think is worth a second look but my passion is macro photography” she explains.

Etha’s photos have been published in the National Geographic Magazine,

Illume Magazine, the Islamic Arts Magazine, and the Italian Frontiere Magazine. She has recently had her photos exhibited and sold in the Kashmir Photo Exhibition in Srinagar.

About the IRPC “The IRPC is a place for me to endorse my passion. I want to represent Muslim female photographers of the Muslim world and to show that Islam gives us equal opportunities and to represent my country and show the beauty of it. Being an IRPC contributor really makes me happy and I hope that all contributors feel the same. Winning should not be the aim of this competition, but rather glorifying the spirit of Ramadan in the world and showing that Muslims are blessed with differences yet unified in one deen. The IRPC is really an amazing event that shares how Ramadan takes place in other countries; the people, the culture, the spirits…they are really fantastic.”

Photos by Etha Ngabito

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Sohail Nakhooda, UAE

Shawana Al Hinai, Oman

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THE SPIRIT of RAMADAN MAGAZINE

Meet an IRPC The IRPC functions as a non-profit volunteer based CSR initiative run by a few dedicated volunteers in several different countries. Those volunteers that have gone out of their way, time and time again, to share information about the IRPC and assist in behind the scenes organization and administration.

The IRPC team sincerely thanks each and every person that has contributed in any way and has named a few exceptional volunteers as IRPC Ambassadors.

Serag Zwait, Libya

Ambassador

“I am honored to be involved as an Ambassador for the IRPC. I have been so inspired by what has been achieved in the past three years.

I’ve watched the initiative closely from when it was a handful of people to the publication of the world’s first photography book dedicated to Ramadan and now into the third year with Steve McCurry and Shahidul Alam on the jury board along the respected Dr Basel Almisshal and his team.

Despite the fact that the general opinion about Muslims has been worsening in France, I have discovered through the pictures of the IRPC that the beauty of Islam and Ramadan still exist and traverses borders of countries and cultures.

Every day through the IRPC photographs, I enjoy a new story about a place or a human face; a story from the Mausoleum of Mohamed V Mosque in Morocco to the Istaqlal Mosque in Indonesia; a story about a little boy that holds the Quran between his hands in Libya, a young man that hands out food packages to the homeless in Paris and an old Turkish lady that visits Makkah for the first time.

These photos are different and unique in their diversity but also share a spiritual connection…a placating reflection of inner peace shared between the orient and the occident; a message of love and sobriety. A message that we are in need of in these difficult days of tension: discover the other that is inside us and admire the beauty that might save our world.”

Khaled Ghrissi France

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IslamicArtsMagazine.com

Eid Mubarak!

Dheeraj Paul, India

CELEBRATING

EID 66

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is the prescribed way of culminating the month of Ramadan, in prayer with fellow community members in an open ground followed by family visits, gift giving and festivity.

Raiyani Muharramah, Indonesia

Nourddine Chihk Baelhdj, Algeria

Chetan Soni, India

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Tan Nono Rahardian, Indonesia

Fersous Youcef, Algeria

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Waseem Andrabi, India

Aditya Pradana Putra, Indonesia

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Ezzat Farooq Ezzat, Saudi Arabia

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Arnold Panjaitan, Indonesia

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