British Museum blog

Reflections on Hajj


In November 2011, Altaf and Rashida went on Hajj.
Here, Altaf reflects on the experience.

The end of Hajj
After our third night at Mina, we travelled by coach back to Mecca where the adventure continued. The coach driver took a wrong turning and headed in the wrong direction for 20 minutes. He then did a three point turn on the motorway and then a few miles later ran out of diesel! So a short journey of 40 minutes turned into a three hour saga! Even though everyone was extremely tired, the group stayed in good spirits as this was the first and only real hiccup in the whole trip.

Once we finally arrived in Mecca we checked into a 5 star hotel for a well-deserved rest. The hotel felt so luxurious and clean after having roughed it for a week. The hotel was less than a five minute walk to the Ka’ba so we made frequent trips for prayer and tawaf. Tawaf was very difficult as the Ka’ba was packed full of worshipers. We did the circumambulation on the top floor which increased the distance of each circuit to almost double.

One evening I went to do a tawaaf and half way through I felt peckish so I went and got a cheese burger from Burger King, sat over looking the holy mosque containing the Ka’ba. It was 2am, the temperature was 27 degrees centigrade…it was surreal experience, two different worlds with me in the middle.

After Hajj

After Hajj was over, we went to Jeddah to spend some time with my older brother who lives there with his wife and son. We were eager to see them as it had been a long while and we had never met the baby.

What a contrast! One day being in the holiest Islamic site in the world, the next in an ultra-modern busy city with the latest technology and all the designer shops you can imagine. However the remembrance of Allah is never far away – life revolves around the prayer times. When we were in one of the traditional open souks we heard the call to prayer – the shops shut their doors and the market stalls just covered their goods with a sheet and went off for prayer. Ten minutes later it’s all back to normal.

Back in London

Having completed one of the pillars of Islam, I feel the need to protect the remaining four even more than I had before I went on Hajj. The experience has changed lots of things. I feel a lot more connected to the creator and have a stronger visual connection between the text of the Quran and the knowledge that I have completed an ancient rite.

I was really missing Saudi so I logged on to the Ka’ba web site and the area around the Ka’ba was virtually empty, just a few hundred people doing tawaf. It looked very different to what I had experienced with millions of people.

Doing the Hajj has reinforced my strength in my faith and helps me remember Allah more regularly.

Altaf and Rashida Abbas went on Hajj this year and blogged about the experience for the British Museum. Find out more about the exhibition Hajj: journey to the heart of Islam

Filed under: Exhibitions, Hajj: journey to the heart of Islam

One Response - Comments are closed.

  1. jessie says:

    Beautiful…

    Like

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Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 58. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 57. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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