Muslim women in Latin America becoming online influencers

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In a region where Christianity is still seen as the norm, Islamic influencers face great challenges to succeed in the digital sphere. (File/Twitter)
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Updated 13 April 2022
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Muslim women in Latin America becoming online influencers

  • ‘I am combating religious intolerance with my work,’ Mariam Chami tells Arab News
  • ‘Most viewers look for such videos with curiosity and the wish to learn,’ expert tells Arab News

SAO PAULO: With millions of views, videos in which Latin American Muslim women talk about their faith and show their personal lives have become more and more common on social media over the past few years.

In a region where Christianity is still seen as the norm, Islamic influencers face great challenges to succeed in the digital sphere. 

Some of them are managing to do it, with creativity, charisma and humor. One such influencer is Mariam Chami, a 31-year-old nutritionist from the Brazilian city of Sao Paulo. 

The daughter of a Lebanese father and a Brazilian mother who converted to Islam, Chami was educated in a Muslim school and only felt the weight of wearing a hijab in a Catholic-majority country in adulthood.

“In the beginning, I made videos for Muslim girls who didn’t have much knowledge about religion,” she told Arab News.

“But then I started to produce content with the goal of explaining Islam and reducing the prejudices that Brazilians have against Muslims.”

On TikTok, where she is followed by 1.1 million people, Chami discusses controversial topics for a very liberal country like Brazil such as burkinis — the clip where she wore one had more than 900,000 views — or why her sister-in-law, who is also Muslim, does not wear a hijab. Chami does all that with humor.

“I’ve been supported by my community and by religious leaders,” she said. “Given that I reach many people, I am — along with other Muslim influencers — combating religious intolerance with my work, and making more people admire our religion.”

One of Chami’s concerns is to show that Muslim women are not the oppressed victims of men, something that comes to mind among many Latin Americans when they see a woman wearing a hijab. Feminist movements in Brazil still cultivate that kind of prejudice, she said.

“I believe feminism is selective: It struggles for a woman’s right to be whatever she wants, but if she decides to be Muslim and wears her (Islamic) garments, she’s put aside and oppressed by those (feminist) women,” she added.

Colombian lawyer and digital influencer Amira Ubaida Sanchez also tries in her videos to deal with the most common misconceptions about Muslim women in her country.

“Me and my sister studied law together. Seeing us with a hijab, people in the university would frequently ask us, with an expression of surprise, if we as Muslim women are allowed to study,” she told Arab News.

In her work as an attorney, the 24-year-old usually represents Christian Colombian women who have been abandoned by their partners with their children and no money.

The daughter of a Colombian man who converted to Islam 40 years ago and became a Muslim leader in Bogota, she received a religious education that she now uses to convey complex messages in two-minute clips. 

On TikTok, her account @conelvelo — “with the headscarf” in Spanish — has 43,600 followers. 

Her father, Imam Carlos Sanchez, said: “I’ve never told any of my daughters to do this or that. Amira decided for herself to talk about Islam, which she does with great competence. I couldn’t be prouder.”

Making Islam known in Latin America is not an easy task, he added. Until the end of the 20th century, Catholicism was the official religion in countries such as Colombia. 

Cultural differences also complicate Latin Americans’ understanding of Islamic concepts.

That is why Amira always uses straightforward language and includes funny elements in her videos.

“Many people want to disseminate Islam in Latin America, but they talk about ‘sunnah’ and ‘hadith,’ and nobody knows what those words mean here,” she said.

Nallely Khan, a 30-year-old Mexican who lives with her Muslim husband in India, said it is not easy to deal with Islamic issues on the internet for a Latin American audience.

“My goal isn’t so much to discuss Islam, but to show the way of living that we have, our daily life. At times I have to explain religious matters, and Latin Americans may disagree,” she told Arab News. “Some people don’t like Islam.”

Khan was born in a Catholic family but converted to Islam as a teenager. She said it was difficult to find materials about it in Mexico, but “now we have many organizations working on the dissemination of Islam in the country.”

Her YouTube channel Nana India Vlogs has 147,000 subscribers. She mainly portrays her life in India with her family, with a focus on the cultural differences with Mexico. But the Islamic dimension can be seen in many of her videos. 

Her biggest hit until now has been the series “India and my love story,” in which she describes how she converted to Islam, how she met her husband, and how she discovered that he had a first wife only after their marriage (the woman ended up divorcing him). The three videos have had more than 2.5 million views. 

“I don’t consider myself to be an influencer because I know I’m not a perfect person. I always try to become a better Muslim,” she said.

“I just hope to keep showing my life, my family, and the fact that Muslims lead normal lives.”

According to Arely Medina, a professor of social sciences specializing in Islam in Latin America at the University of Guadalajara in Mexico, the emergence of Muslim women as digital influencers in the region is part of a “strategy of presence in the public space.”

She told Arab News: “Over time, women developed different ways of making themselves visible on the street. This way, people would know them and see that they aren’t repressed women only because of their religion.” The same dynamic is happening now online.

“Of course the audience can stigmatize them, but I think most viewers look for such videos with curiosity and the wish to learn,” she added.

Medina said the internet has been a fundamental tool for young people interested in Islam in Mexico and other Latin American countries that until recently did not have large Muslim communities. 

“Twenty years ago, many young people who wished to learn about Islam were only able to do so by chatting with Muslims from other countries and searching for online content about it,” she added.

Some would even convert to Islam this way, with the help of Muslims by phone or online chats — a process Medina calls “autonomous conversion.”

Now, she said, “women who discovered Islam with the help of the internet are using it to talk about Islam to large audiences.”


Egyptian TV presenter apologizes after claiming international artworks as her own

Updated 08 July 2025
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Egyptian TV presenter apologizes after claiming international artworks as her own

  • The backlash also prompted TV host El-Shazly to apologize for the incident

DUBAI: Egyptian TV presenter and designer Maha Al-Sagheer has issued an apology after falsely claiming ownership of artworks by four European artists during a recent talk show appearance, sparking backlash from the original painters and social media users.

Al-Sagheer appeared last month as a guest on a talk show on ON channel with prominent TV host Mona El-Shazly where she spoke of her passion for fine arts and showcased several paintings on a large screen, claiming they were her own.

However, Danish artist Lisa Lach-Nielsen took to Instagram on Sunday to accuse the TV presenter of stealing her artwork, titled “Made Myself Some Wings,” which she created in 2019, along with pieces by three other artists.

“Copying other people’s work is one thing, but taking a photo of the actual painting, that someone else made, and taking public ownership of it … that’s new to me,” said Lach-Nielsen wrote in the post, where she also tagged two other artists whose works she identified.

She noted that the act is “not only a violation of the law but also the person who put their soul and time into the work.

 

 

“Living as an artist is not always easy, and we need the internet to show our work … no one should take advantage of that,” said Lach-Nielsen.

In response to the online criticism sparked by Lach-Nielsen’s post, Al-Sagheer posted an apology on her Facebook account on Monday, admitting her “big mistake towards the danish artist Lisa, towards artists and more important towards myself.

“I have been passing through hardship during this period of my life. It has been a very tough time. However, it doesn’t give me the right to do what I have done. I’m deeply sorry and very upset due to what I have done.”

Earlier in the day, Finnish artist Caroline Wendelin also spoke out online, raising concerns over the unauthorized use of her painting “Becoming the Garden.”

Wendelin said: “I’m not rich. I’m not famous. I work until I’m exhausted, all while raising 3 small children and pouring my whole heart into my art. Hoping that one day it might give us a chance to buy our first home.

“So imagine what it feels like to see a wealthy influencer steal my art, claim it as her own, and present it on national TV as if it came from her hands.”

She added that her painting “symbolises how with time and patience, we become what we nurture. Seeing someone erase that meaning is deeply painful.”

 

 

On the same day, Dubai-based French artist Seaty took to Instagram to identify three of his artworks titled “Dwarka”, “Kigali” and “Bushido,” which he created in 2017, among the pieces displayed on the show.

“Worse still, in the broadcast segment, my former studio is clearly visible, along with the canvases bearing my signature, and even the original photo available on my Instagram page.”

He added: “After all these years of effort, failure, research, and creative energy … to have my art stolen like this, in broad daylight, so shamelessly and without remorse it’s simply unacceptable. Especially in 2025, in an age when everything can be verified in a matter of clicks.”

 

 

The backlash also prompted TV host El-Shazly to apologize for the incident, sharing an image of the Danish artist Lach-Nielsen’s painting and acknowledging that it is her work.

“We respect true artists and value their original creations in all fields.”


Music trade bodies concerned about BBC’s changes to airing live performances

Updated 08 July 2025
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Music trade bodies concerned about BBC’s changes to airing live performances

  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says
  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says

DUBAI: Music trade bodies have accused the BBC of making “arbitrary and disproportionate” changes to its broadcasting and streaming of live music events following the controversy around Bob Vylan’s Glastonbury performance.

During the punk rap duo’s set at the festival on June 28, they led the crowd in pro-Palestinian and anti-Israeli military chants like “free, free Palestine” and “death, death to the IDF.”

The BBC livestreamed the performance in full leading to a backlash from the government.

BBC Director-General Tim Davie ordered the content to not be featured in any other coverage. However, due to a technical issue the stream was available on the BBC iPlayer for about five hours.

Davie and BBC chair Samir Shah have both apologized. The BBC said in a statement: “Warnings appeared on the stream on two occasions and the editorial team took the decision not to cut the feed. This was an error.”

Music industry trade bodies and experts now say the BBC is overreacting.

“The BBC is absolutely fundamental to the continued success of British music and particularly vital to supporting our new and emerging artists’ development,” said David Martin, head of the Featured Artists Coalition, a UK trade body that supports music artists.

The FAC supported the network’s public service broadcasting remit, which understandably came with responsibilities and standards, he said.

“If those standards have been breached, then there should be appropriate guidelines to follow. But the idea of preemptively grading artists according to their risk factor feels arbitrary and disproportionate and a dangerous step toward censorship.”

Such an approach could “curtail artistic freedom” and “inadvertently punish those who are simply expressing their views,” he said.

Naomi Pohl, general secretary of The Musicians’ Union, stressed the importance of the BBC and its role in the music industry.

“It’s such a shame there has been this shadow cast over this year’s Glastonbury coverage, because it has had fantastic viewing figures. It’s been all over iPlayer and people have been tuning in live,” she said.

“We need to talk to the BBC about it directly. But I don’t want to see any broadcasters now broadcasting fewer live events because they don’t want to take the risk. The whole of the music industry will be feeling that, because it’s so crucial to us to have the BBC.”

A BBC spokesperson said the broadcaster stood by its decision to make changes to livestreaming music performances.

“We will continue to bring audiences a range of music performances, both live and on-demand and we respect artists’ freedom of expression,” the person said.

“However, Bob Vylan’s offensive and deplorable behavior on one of our Glastonbury livestreams was completely unacceptable and we are sorry it appeared on the BBC.

“This is why we have made immediate changes to livestreaming music events and these, alongside our editorial guidelines, will shape our plans going forward.”


The Destination: Saudi reforms through the lens of a documentary

New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
Updated 08 July 2025
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The Destination: Saudi reforms through the lens of a documentary

  • Arabic film produced by Konoz, an initiative by the kingdom’s media ministry

RIYADH: Saudi Arabia’s transformation toward its Vision 2030 goals has been documented in a new film by the Ministry of Media.

Launched by the ministry’s Konoz initiative, “The Destination” highlights the progress made in the political, economic, medical, sporting, cultural, media and artistic fields.

Mirroring the film's title, Saudi Arabia has become a global destination for investment, tourism, and much more. (Supplied)

Its title reflects the Kingdom’s path toward becoming a global destination for tourism and investment.

Konoz CEO Abdullah Al-Ahmari credited megaprojects and upcoming events such as the AFC Asian Cup 2027, Expo Riyadh 2030 and FIFA World Cup 2034.

HIGHLIGHT

‘The Destination’ includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

“The Konoz initiative aims to document the Kingdom’s achievements through creative productions,” he said, describing the country as a “model admired by the world.”

The film reflected the progress being made on the ground and highlighted the initiative’s focus on Saudi talent in shaping the Kingdom’s future, he said.

“The Destination” includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

The Konoz initiative is part of the Human Capacity Development Program under Vision 2030. Its goal is to promote Saudi Arabian culture around the world by highlighting the contributions and success stories of its citizens.

 


‘Bay of Bengal live’: Bangladeshi fishermen go viral showing life at sea

In this photo shared by Shahid Sardar on July 7, 2025, his colleague holds up a catch aboard a fishing vessel in Bay of Bengal
Updated 07 July 2025
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‘Bay of Bengal live’: Bangladeshi fishermen go viral showing life at sea

  • Fishermen-turned-influencers have hundreds of thousands of followers on social media
  • Content focuses on fishing techniques, daily life on the boats, and marine life

DHAKA: When Shahid Sardar started his Facebook page four years ago, he wanted to share his experience aboard a fishing boat. He did not expect the millions of views he would soon attract as he tapped into a content niche that is rapidly gaining popularity among Bangladeshis: life at sea.

Sardar, 35, lives with his wife and son in the coastal Chittagong district in south-eastern Bangladesh. He started to work as a fisherman in 2013, after leaving a job at a hospital canteen in the capital, Dhaka.

As the chief cook on a vessel with a 50-member crew, Sardar sails across the Bay of Bengal on month-long voyages in search of fish. When his videos documenting deep-sea fishing methods and daily life on the boat began gaining traction, he expanded his content to show various marine species found in Bangladeshi waters — many of which are not widely known.

“I think people generally enjoy fish, especially the kinds caught at sea, which are not usually found in local markets,” Sardar told Arab News.

“The beauty of the deep sea also draws people to my videos. For most viewers, these sights are rare and unfamiliar. They don’t have this experience themselves.”

Posting as BD Fisherman on Facebook, he has more than 360,000 followers. His other account, Fisherman Shahid, has another 240,000.

When two of his videos went viral in December 2023, Facebook approved monetization for his page.

“My first video that went viral showed a bulk of yellowfin tuna and some shrimp. The fish were just dropped on the deck ... it was the rainy season. People liked that video a lot. Within 24 hours, it got 3 million views,” he said.

“As I started receiving some money from the videos, I became more motivated to keep uploading and people started liking my videos more and more.”

He now earns an average of about $500 a month from his two pages. That is in addition to his salary of $120 per voyage, plus bonuses based on the catch — about 60 cents per tonne of fish sold in the market.

“In my locality, everyone knows me as Fisherman Shahid. Wherever I go, people come to me just to know how they can earn through making videos and posting them on social media platforms,” Sardar said. “Recently, the friends of my 7th-grader son also visited my home to learn about my video making.”

While for fellow fishers, Sardar’s content has been an inspiration to start their own pages, for some other followers, like Zaved Ahmed, a Bangladeshi migrant worker in Saudi Arabia, watching his videos is a reminder of his own roots.

“I was born in Cox’s Bazar, a coastal area of Bangladesh, and fishing was our family’s profession. Since 2023, I have been living in Jeddah, which is on the coast of the Red Sea. It seems that sea life is something in my blood. That’s why I love watching Sardar’s videos,” he said.

“Whenever I watch his videos, my mind travels to the sea with the fishing boat, as if I were experiencing it with my own eyes.”

But most of those who follow Sardar and other fishermen-influencers have never experienced life at sea.

Watching it on their mobile or laptop screens helps them connect with the sector that each year contributes about 3.5 percent to Bangladesh’s GDP and is the main source of animal protein in the Bangladeshi diet.

“I think most people generally love the sea, but they don’t have the opportunity to witness the mysteries of the deep sea,” said Karimul Maola, a follower of Sardar from Chittagong.

“Through Sardar’s videos, I’ve learned about many seafish that were previously unknown to me. Also, his videos have given me some idea about how a fishing vessel normally operates — something most people don’t know about.”

There is a similar sentiment among the followers of other Bangladeshi fishermen who have shot to social media fame.

On the page of Ehsanul Haque Shaon, a fisherman who has 172,000 followers on Facebook, one follower says watching his video was “like the Bay of Bengal live in front of my eyes!” while another says in amazement that watching the content made them realize that “life is very interesting.”

“How we survive on a boat in the Bay of Bengal,” a video on Fishiib, a YouTube channel focusing on showing the life of fishermen in the Bay of Bengal, has received more than 10 million views in six months.

“I am truly amazed by how these fishermen adapt to life at sea. They face constant challenges like harsh weather and limited resources, yet they find ways to survive and thrive,” one viewer said.

“Their resilience and ability to work together as a community is truly inspiring. It’s a glimpse into a way of life that most of us can only imagine.”


Condé Nast expands Middle East footprint with full acquisition of WIRED ME

Updated 07 July 2025
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Condé Nast expands Middle East footprint with full acquisition of WIRED ME

  • Transition marks the magazine’s move from a licensing agreement with Dubai-based publisher Nervora to direct ownership by Condé Nast

LONDON: Condé Nast has acquired full ownership of WIRED Middle East, strengthening its presence in the region and bringing the tech, science, and culture magazine into its portfolio of wholly owned titles in Dubai, Arab News has learned.

The transition, announced on Monday, marks the magazine’s move from a licensing agreement with Dubai-based publisher Nervora to direct ownership by Condé Nast.

“Bringing WIRED Middle East into the Condé Nast Middle East portfolio reflects both the region’s rapid evolution and our commitment to spotlighting the ideas and breakthroughs shaping its future,” said Thomas Khoury, Managing Director, Condé Nast Middle East.

“With its authority across technology, science, business and culture, WIRED is uniquely positioned to lead these conversations in the region.

Launched in 2019, WIRED ME has covered regional trends, breakthroughs, and major events such as Expo 2020 Dubai.

Condé Nast said the acquisition marks the next step in the brand’s growth as it looks to expand alongside the region’s fast-developing tech sector.

While the company suggested it will remain commitment to the print edition - currently published quarterly and claiming a readership of over 100,000, according to Advert On Click - it said WIRED Middle East would now serve as its flagship digital-first platform for tech, science, and culture in the region.

Katie Drummond, WIRED’s Global Editorial Director, said the brand is eager to expand its editorial coverage of the Middle East, growing hand-in-hand with the region.

“This is a region driving some of the most dynamic and consequential stories in science, technology, business, and culture,” she said. “We’re excited to build a team dedicated to telling those stories with the ambition and world-class journalism that defines WIRED.” 

The move follows a similar shift earlier this year, when Condé Nast took direct control of Vogue Arabia and GQ Middle East, also previously operated under license by Nervora.

The reshuffle has been widely viewed as a strategic realignment of the Arab fashion and media landscape.

With the addition of WIRED ME, Condé Nast’s full Middle East portfolio now includes Vogue Arabia, GQ Middle East, Architectural Digest Middle East, and Condé Nast Traveller Middle East.