#azeema

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HUDA LAAMARTI photographed by Alejandro Madrid for AZEEMA Magazine

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Babson Arabian Vlacq Amurrah and her filly Halypa Azeema

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Kakistocracy #CorpMedia #Idiocracy #Oligarchs #MegaBanks vs #Union #Occupy #NoDAPL #BLM #SDF #DACA #MeToo #Humanity #DemExit #FeelTheBern

JinJiyanAzadi #BijiRojava A spirit like Salahuddin's: How Kurdish Muslims downed ISIS [UPDATES]

From September 25 through October 19, 2014, a battle raged on ostensibly for a piece of land in the center of the planet, but it could well have been for the very soul of Islam…

RELATED UPDATE: A Kurdish Female Fighter's War Story: 'I Don't Know How Many I've Killed in Kobani - I Don't See Isis as Human'

RELATED UPDATE: The Rojava revolution

RELATED UPDATE: Blooming in the Desert documentary portrays the women rewriting history in Raqqa

RELATED UPDATE: The Women Who Fought to Defend Their Homes Against ISIS

RELATED UPDATE: How a small but powerful band of women led the fight against ISIS

RELATED UPDATE: WATCH 'Is This Really Me?': A Filmmaker On The Front Line In Syria With Female Kurdish Fighters

RELATED UPDATE: Narges Bajoghli ’04: Iran and the Era of Global Feminist Uprisings

RELATED UPDATE: WATCH Montreal filmmaker Canada’s choice for nomination at the Academy Awards for her documentary Rojek

FURTHER READING:

[ahb-writes]

Book Review: ‘The Daughters of Kobani: A Story of Rebellion, Courage, and Justice‘

The Daughters of Kobani: A Story of Rebellion, Courage, and Justice by Gayle Tzemach Lemmon My rating: 4 of 5 stars Repelling a multifront attack, abetted only by dwindling supplies, negligent regional allies, and limited external support (Kobani). Fording the turbulent Euphrates in the dead of night in anticipation of a mine-laden and sniper-beset shoreline (Manbij). Laying siege to a strategically valuable dam, the nation's largest, for two and a half months (Tabqa), situated fewer than thirty miles from ISIS's stronghold. And exhausting all manner of physical and mental strength to serve as the spearhead of regional militia seeking to pry open and overtake Raqqa. The fighters of the YPJ (women's protection units) exhibited remarkable fortitude and resilience, and their efforts proved pivotal in counterbalancing a world on fire. Lemmon's THE DAUGHTERS OF KOBANI is an informative and entertaining read that sits snugly in the middleground of illuminating nonfiction for policy novices or casual strategists. This isn't a book for grinding academics, and this isn't a book for skilled militarists. This book views a limited conflict, in a tucked away region of northern Syria, for the span of a few years, through the eyes and experiences of a handful of dedicated women, belonging to an ethnic minority (Kurds). Every injustice, travail, and disdain perpetuated by the thoughtlessness, violence, and corruption native to this conflict is etched into the hearts and minds of these individuals. Readers seeking more should hunt for supplemental analysis elsewhere. But for their efforts, the women who comprise the YPJ, the growing, specialized partition of the YPG (people's protection units), the battle is personal. These women defied and rebuked the threat of domestication to take up arms against terrorists both organized and not. Lemmon's journalism assiduously documents the YPJ's origin and the personalities that guide and ground its philosophy: Azeema, for example, is boisterous and confident, but also inscrutable and prudent ("We'll sleep when the fight is over," p. 73); Rojda's "quiet calmness" is purportedly mistaken as "passivity," but people "usually made that error only once" (p. 13); and Znarin is dutiful, but not to the patriarchic obligation through which she's lost everything, but to "the cause of women's rights and, as a consequence, Kurdish rights" (p. 23). THE DAUGHTERS OF KOBANI outlines the quest for self-governance (of the Kurdish people, before and during civil war), the quest for authenticity and viability (of extended militia, among enemies and allies old and new), and the quest for individual purpose (of the women whose lives and homes were ripped apart by varying components of black-flag terrorism). Remarkable, then, is Lemmon's interweaving of the fragmented capacity (or willingness) of U.S. policymakers with the difficult reality of on-the-ground, street-to-street combat. All the more so when the point of view for said exchanges pivots between sniper positions with broken radio signals or fiendish and frantic amphibious operations aboard borrowed watercraft. This book strikes a purposeful balance. For example, readers encounter the fantastic necessity of unearthing the historical truths, convenient or otherwise, about the philosophical influence of the PKK (Kurdistan Workers' Party) and its founder Abdullah Öcalan. The long-imprisoned Öcalan's progressive intellectualism seems radical and unlikely to western ears (e.g., gender equality, freedom of expression, full suffrage, economic fairness). But the dissident's tenets of human equality and of striking a balancing with the demands of ecological necessity are entirely rational and fundamental to others who's legislative and military options are all that remain when opposed and oppressed by autocrats and terrorists. Understandably, this approach may not suffice for readers hunting for more detail than personal stories can provide. Regional experts will demand more intricate maps of the infernally tense Manbij campaign, which saw waxing and waning success as Rojda and others crossed the Euphrates at night. Or perhaps demand a few more details on the Berthnahrin Women's Protection Forces, the all-female Assyrian militia. Other, book-savvy researchers will surely demand more context for the sprawling Syrian Civil War, proper, during which the book's events take place. Lemmon focuses on the military history and political corollaries associated with the YPG and YPJ, but spends little time on the influence and effectiveness of neighboring or oppositional parties. For example, the Democratic Union Party's Charter of the Social Contract, dated to January 2014, is a remarkable document. But the Charter has clearly been amended over the better part of a decade. Whether those changes are progressive or regressive, goes unstated. Altogether, THE DAUGHTERS OF KOBANI is accessible and edifying. The author's promise is to glimpse the peculiar and inspiring, and the book does well to deliver. The itinerant nature of international war reporting obliges a few gaps in the narrative, but for all intents and purposes, Lemmon composed a memorable story about principled people whose statelessness was only the beginning of their story.

Book Reviews || ahb writes on Good Reads

[tobyarcherlvl5]

Dakarai Akil’s Afrofuturist collages stem from always “having a thing” for monster and sci-fi films

Dakarai Akil’s Afrofuturist collages stem from always “having a thing” for monster and sci-fi films (Link)

Dalia is a freelance writer, producer and editor based in London. She’s currently the digital editor of Azeema, and the editor-in-chief of The Road to Nowhere Magazine. Previously, she was news writer at It’s Nice That, after graduating in English Literature from The University of Edinburgh.

[my-selfish-love]

Tsunaina for Azeema Magazine

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Not everyone is ready to hear about the news of their Heir of Lust Ring!

Especially when you work with them as your second most important stage hand at Ozzie's!

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Nme: Azeema

Meaning: One who has great determination and firmness of purpose

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Tsunaina by Jameela Elfaki for Azeema Magazine

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Tsunaina for Azeema Mag

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Humeira Rashid/Humi for Azeema Magazine May 2022 Photography Aparna Aji Fashion Editor/Stylist Leen Abu Aisheh Makeup Artist Chie Fujimoto IG

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Babson Arabian filly Halypa Azeema

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#azeema #realtor #katytx # realestate (at Katy, Texas) https://www.instagram.com/p/B3dAEsahvvp/?igshid=184lwi164gzjb

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This group shot might resemble one of the acts on X Factor. but these guys actually have talent! Working together as a collective, they are known across London as ‘Nine8′ and have skillz in Music, Arts and Garms- producing, designing and creating.

With a website promoting their talents, they are grass roots grafters with high expectations and lots of determination. 

They were shot at Loft Studios, for the Winter issue of Asos magazine by Jameela Elfaki who is also the founder of Azeema magazine. 

Credits

Asos magazine Winter 2018

Photographer: Jamella Elfaki

Hair and makeup: Gina Blondell

Jnr Fashion Editor: Joshua Gilmore

Talent: Lloyd, Libs, Lava, Nayana, Lorenzo, Nice and Jess from Nine8

Words: Sara Darling

18.12

[mehendi]

Tsunaina photographed by Jameela Elfaki for Azeema Magazine.

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Rimon By Jameela Elfaki For Azeema Mag