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      "author": "simonsess",
      "body": "Hey I really like this text! Never heard of this before. And if you want more people to read and discover your posts it's better to choose a popular steemit tag as the first tag instead of hassanhajjaj. The first tag of your post will be the most descriptive tag about the content. There is no tag for hassanhajjaj on steemit. Maybe have the first tag be: Artist, art, culture, photography, analysis etc. This way you have a better chance that people discover your posts when they are scrolling through the popular tags. But I can't wait for more, Keep it up! :)",
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      "body": "@@ -620,16 +620,28 @@\n eenshots\n+ include: %0A%0A\n !%5BNew Sk\n@@ -748,25 +748,17 @@\n 04.png) \n-include: \n+%0A\n %0A!%5BNew S\n@@ -865,16 +865,18 @@\n _04.png)\n+%0A%0A\n !%5BNew Sk\n@@ -978,12 +978,108 @@\n etch_02.png)\n+%0A%0AI wish I was able to upload videos for everyone to see how child-like these moments can be. :)\n",
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      "body": "For all those who know me, they know how detached I am from technology and Elon-Musk-like advancements that will bring us to Mars in the near future. They will, I am sure of it. \nInspired by this show called \"Black Mirror\" that gave me such inception-like moments, couple of weeks back a good friend of mine showed me how to use the VR headset and create my own reality. The experience was fantastic. I enjoyed drawing shapes and playing around so much that I went to Hub Zero in Dubai a couple of days ago with another group of friends to go through a group VR experience inspired by the \"Ghostbusters\" film. \nSome screenshots![New Sketch_04.png](https://steemitimages.com/DQmXGmq8ditgT6pHGkiQTakMwEfHbEVXttdfLoPC8m4mTbn/New%20Sketch_04.png) include: \n![New Sketch_04.png](https://steemitimages.com/DQmXGmq8ditgT6pHGkiQTakMwEfHbEVXttdfLoPC8m4mTbn/New%20Sketch_04.png)![New Sketch_02.png](https://steemitimages.com/DQmcDi7wGnzznp7gA5TTzNweGeugtFXQfj9TpcKhZohgs9C/New%20Sketch_02.png)",
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      "body": "Not indicating that the content you copy/paste (including images) is not your original work could be seen as [plagiarism. ](http://www.plagiarism.org/plagiarism-101/what-is-plagiarism/)\n \nSome tips to share content and add value:\n- Using a few sentences from your source in “quotes.” Use HTML tags or Markdown. \n- Linking to your source\n- Include your own original thoughts and ideas on what you have shared.\n \nRepeated plagiarized posts are considered spam. Spam is discouraged by the community and may result in action from the [cheetah bot](https://steemit.com/steemitabuse/@cheetah/cheetah-bot-explained).\n \nThank You! ⚜\n\nIf you are the author, please reply and let us know!",
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      "body": "The discussion in one of my recent classes on cross-cultural dialogue and the politics of representation, both intimately interwoven into location-specific gender narratives, made me think of a binary approach to popular culture and art by some Muslim artists who are of the community they describe and have been educated in the West. Within anthropology, this approach would touch upon \"indigenous anthropological\" research category, as the academic would be of the community he/she describes with a Western-style education as the background to the research.\n\nIn this particular blogpost, I will focus on a Marrakesh-born and London-based artist, Hassan Hajjaj, who attempts to describe the story of ordinary women of Morocco and bridge the cultural gap between the West and the East through his “Kesh Angels” photography collection. What I see as peculiar in his approach to art is the way he attempts to break gender and class stereotypes and paint a picture of a particular location in the East by breaking the frame it has been gazed at by the West.\n\n\n\n***\n\n\n\nThe effectiveness of cross-cultural dialogue is quite important in impacting different audiences, especially the ones that are framed as being opposite to one another in structure. The authentic, indigenous experience that the artist depicts plays a key role in unravelling the stereotypes of the East in the West. This is where I want to highlight Hajjaj's work as attempting to change the stereotypical perception of the West toward particular locations of the East. This is important, as the society Hajjaj comes from, Morocco in this particular case, represents much more than it has been described as in the West. Hajjaj forces his audiences to observe the nuances in the Moroccan community that have not been present in artistic mainstream depictions of Morocco earlier on. He builds his artistic career on this concept.\n\nThe video below provides an explanation and a theoretical background to Hajjaj’s project with the women of Marrakesh and the reasons why he chose to depict them as colorful, radiant and strong as they sit and pose on motorbikes.\n\nFrom the video, one can infer that these are ordinary women Hajjaj uses in his work. They attempt to add color and vibrancy into the project in order to break the stereotypes they been put into. The vibrancy and color of their clothes, usually worn inside the home, contributes to a physical break from Western-imposed stereotypes of Eastern women.\n\nHassan Hajjaj, as someone who has the personal background of the East and the educational and artistic background of the West, tackles the stereotypes of women of Morocco through his most famous photography series “Kesh Angels” where he tells the story of ordinary henna artists. As a self-taught artist who drew elements of consumerism and the modern popular culture from the streets of London, Hajjaj shapes new bridges in rediscovering his own culture through a semi-lens of his new (Western) culture. What is important to note and what I found particularly striking is both the self-discovery he undergoes through this project and a new depiction and branding of Moroccan women in the West. The attempt to change the narrative is, therefore, two-fold.\n\nOne example of a daring narrative can be seen in one of his photographs titled “Munika on Coke”.\n\nhttp://wp.nyu.edu/muslimpop/wp-content/uploads/sites/6251/2017/02/WEB-Hajjaj-215x300.jpg\n\nMunika on Coke\n\"Munika on Coke\" by Hassan Hajjaj\n\n\nThe mere title of the photograph speaks volumes on what to expect when examining the nuances in it. Imagine a fully covered Moroccan woman on a bike posing with power and vibrancy in color! I had fun quietly examining such a photograph, as it represents an ordinary woman who actually uses a motorbike to ride around Marrakesh and draw henna in her daily life as a form of earning a living. Obviously, the photograph makes a grand exaggeration of such a life, but what makes it interesting is that one would not expect such a woman to even know how to ride a motorbike, let alone use it in daily life OR pose on it for a photographer.\n\nTo an extent, Hajjaj is a cultural ambassador who argues for a change of frames both literally and figuratively. His photographs exude color and energy, however the frames he circles them with are equally important as a critique to Western consumerism and consumerist prejudice the West has toward the East. This narrative transcends the one of stereotyping Eastern women, which is why I found his art quite fascinating.\n\nI listened to his speech during an art exhibition in Abu Dhabi a couple of years back and fell in love with the way he tries to bridge two forms of artistic expression by morphing gender stereotyping, and the politics of representation and location into his work.\n\nSome other photographs from his “Kesh Angels” collection include:\n\n\nhttp://wp.nyu.edu/muslimpop/wp-content/uploads/sites/6251/2017/02/Slika-zaslona-2017-02-22-u-10.32.49-205x300.png\nM\n\"M\" by Hassan Hajjaj\n\nhttp://wp.nyu.edu/muslimpop/wp-content/uploads/sites/6251/2017/02/Slika-zaslona-2017-02-22-u-10.34.08-205x300.png\nKhadija\n\"Khadija\" by Hassan Hajjaj\nThe mere fact that these women bring color into their ordinary lives, pose on motorbikes that they actually drive in real life and reveal their ankles breaks many stereotypes and speaks about the fluid nature of female identity that is yet to be fully discovered by the West. Perhaps it might be a coincidence, but the fact that one photograph is named \"Khadija\" might be religiously significant as well.",
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      "body": "This spring break I visited incredible Malaysia and this blogpost makes a small window into some of my experiences that I wanted to connect with our class material.\n\nOne particular excursion will be the focus of my blogpost – my short trip to the Batu cave, one of the most famous Hindu temples outside of India.\n\nAfter reading Haroon Khalid’s incredibly insightful book, “In Search Of Shiva”, I wanted to dedicate this post to peculiar links I have seen in the culture of Sufi shrines in Pakistan and the Batu cave temple in Malaysia, with a particular focus on syncretism used in both religious streams. I am also attaching my personal photographs and a short video to paint a better picture of what I have observed during my short (scratching-the-surface) visit.\n\n\n\n\n***\n\n\n\n\nGiven that the grandiose Batu cave, carved into the peaceful greenery of Malaysia’s famously lush nature, is one of the most popular tourist attractions in Malaysia next to exotic beach resorts and the urban heat of Kuala Lumpur, this inviting and widely publicized narrative of the temple deviates from the almost hidden nature that encapsulated Sufi shrines across Pakistan. This especially refers to deeply hidden shrines that Haroon Khalid goes after in his book “In Search Of Shiva” that require a very insightful, sophisticated and, to an extent, insider knowledge and connections to be located and then visited. In other words, I assume a lot of planning and phone calls go into each visit story in the book.\n\nOn the other side of the spectrum, not all Sufi shrines have the same exposure to the world and not all are secluded and hidden away from the eyes of ordinary tourists and outsiders to their local communities. Many have been written about in globally acclaimed newspapers and presented in documentaries. In this regard, many Sufi shrines do come from the same background of wider acclaim as the Batu cave temple in Malaysia.\n\nAn important note to mention here is that the Batu temple is partially funded by tourist donations and local vendors that have attached themselves to the popularity of the temple under the hot Malaysian sun.\n\n![unnamed-3-576x1024.jpg](https://steemitimages.com/DQme2pbPm4kxtyW2hr5vbR6ZJTvaGWyLJtLquT4D6CU3dwY/unnamed-3-576x1024.jpg)\n\nThe historical background of the Bate cave temple does not differ that much from the originating stories of numerous Sufi shrines, except that it is founded on an idea by an Indian trader who was inspired by the shapes of the cave arches to form a temple at the site. In other words, its origins and history are a bit more secular in nature than most Sufi shrines that I have read about, given that it has no holy figure attached to its origins. Given that this seat is empty, it was interesting to note a question to myself as I went through the temple: how much significance does a founding figure play in the self-sustainability of the place years and centuries after? I am yet to answer this question fully.\n\n\nThe first thing that reminded me of Haroon Khalid’s book adventures in his quest for the Sufi shrines across Pakistan are the monkeys that are roaming around free and intermingling with curious and somewhat appalled tourists who did not quite know what category to put them in. The temporary-looking shops that glued themselves to the base of the temple sold food for the monkeys and groups of tourists competed who would feed more. The play between the animals and the curious hordes of newcomers on the steep steps towards the biggest cave was almost distracting me from the holiness of the temple.What this reminded me of is the dog shrine in Khalid's book that made me, as a Muslim, think of how much it differs from what I understand Islam to be. Opposed to that are the freely roaming monkeys at Batu caves whose significance comes from Hinduism itself. The question I had for myself as I was looking at the monkeys half-scared to approach was: does the backing of religion give the animal more legitimacy to be at the temple / shrine? Perhaps this leads to syncretism in Sufi shrines that have borrowed from the folk culture of South-East Asia and its Hindu remnants. In a way, the people who believe in Sufi shrine culture were not afraid to incorporate their local beliefs, which have been influenced by Hinduism, into what they thought is their own version of Islam. How beautiful is it to make your religion closer to your specific context by incorporating a part of your societal heritage into it? Obviously, this leads to a perversion and desecration of religion, according to some. I find it fascinating.\n\nTo go back to my tour of the Batu temple, the inside of the biggest cave, starting from a moist platform that consumes you after the last of the 1000 steps, was covered by the rich stalactites of the cave. Raindrops would fall on you as you come closer to the colorful Hindu points and sense the incense and the see the lit candles. Many old Hindu ladies in colorful saris would blend in with the warm colors of the temple posts, differentiating themselves from the dreary color of the dark inside of the cave. The atmosphere in the air and the biosphere of the space change with the entrance to the cave. The path then leads you to the next cave and the next temple. One of the caves has a museum inside that organizes hourly tours to see the animals that reside in it – including many types of bats whose pictures and latin names are exhibited at the entrance of the make-shift museum.\n\nThis temple was an overly commercialized version of the Sufi shrines from Khalid’s book, such that they actively worked on acquainting curious tourists with the significance of the temple and the historical location of the cave – all in one, as opposed to the described Sufi shrines in Pakistan that cohabitate with their local communities, mostly not concerning themselves with tourists and outsiders.\n\nI also created a short video in the biggest cave.\n![unnamed-2-576x1024.jpg](https://steemitimages.com/DQmTaNah5cYH5JHngRX6KY7NPRLqTcvS8w6qaTKn54dkyW1/unnamed-2-576x1024.jpg)\n\nOverall, what I found interesting are the quiet and nonintrusive spaces for worship that the temple created among massive numbers of tourists who were clearly not there for religious purposes.\n\nWhat is further interesting is the implicit connection I saw with a Hindu temple in Malaysia and Sufi shrines in Pakistan. Orienting themselves to two different religions, the two families of temples and shrines do share plenty in common. Neither group finds itself currently belonging to the dominant culture of the place they are located in. And although they represent Islam and Hinduism, respectively, they share the same spiritual atmosphere and draw from similar traditions, starting from the presence of animals at the temple / shrine and their almost unquestionable legitimacy at the spaces of both religions. The similarities alude to what I was mentioning in one of my previous paragraphs - the flow of influence between the two religions is remarkable. And it speaks to how fluid one's interpretation and everyday application of religion can be. It also speaks to the significance and the role of historical influences of other (older) religions on the new ones, the young one in this particular example being Islam.\n\nAfter my visit to Batu caves, I definitely want to explore more on explicit connections and historical influences between specific Hindu temples and Sufi shrines in Pakistan and the fluid bond between their historical and current legacies.\n\n\n\nSources:\n\nKhalid, Haroon; \"In Search Of Shiva\"",
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      "title": "Malaysia: The Monkey Cave that echoes Sufism"
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