Symbolisms of basic islamic imagery in jihadi propaganda

Dr. Maria Alvanou

Ph.D ITSTIME
Terrorism Expert

The proverb “one picture is worth a thousand words” summarizes the importance of image
in the field of communication. The tragic events of September 11, the attacks on Madrid
and London highlighted the importance of understanding the ideology and methods of
jihadi groups. There is a lack of information on modern imagery associated with political
Islam, especially imagery produced by radical and violent extreme Muslim groups. These
organizations have had a brief but prolific history in the production and distribution of visual
propaganda, and have arguably created their own distinct genre of Internet-based Islamic
imagery. Visual propaganda is more than a host for textual messages; it is an expressive
medium which communicates ideas just even more effectively than writing. Jihadi imagery
is a primary vehicle for the communication and diffusion of jihadi ideas, an essential tool
utilized by radical terrorist organizations. Therefore, understanding how these images
work, what ideas they convey, why they are employed and what responses they may elicit,
is vital to the struggle against the influence of jihadi organizations and their violence.
Below are examples of basic Islamic imagery and its symbolisms:

CRESCENT MOON
The crescent moon serves primarily as a symbol of Islamic identity, while evoking notions
of the divine and afterlife. A more realistic image of the moon carries the same meaning,
but it also evokes strong notions of purity and religious piety. The white crescent in the sky
can allude to the goal of martyrdom and the promise of heavenly paradise. The green
crescent makes a more politicized reference to Islam, with strong notions of the Prophet
Muhammad and because of this, it is viewed as a more overt, militantly Islamic and
fundamentalist version of the crescent motif. It is a more aggressively Islamic symbol,
unlike the more passive white crescent.

FLOWERS and GARDEN:

Generally, flowers symbolize both martyrdom and paradise. Jihadi imagery makes ample
use of flowers. Yellow flowers often suggest a sense of living, or inevitable martyrdom and
the reward of everlasting paradise. A white rose appears as a symbol of purity and
martyrdom, of the straight path and the paradise that awaits those martyred in cause of
God in Islamic culture; in jihadi propaganda it may be used with the image of an individual
martyr. The red rose- another symbol of martyrdom- signifies violent (jihadi) struggle more
broadly. Other kinds of red flowers may be used in this way, symbolically synonymous with
red roses. In the Shiite tradition - especially the Iranian variety - red tulips are used as
symbols of martyrdom, which stems from a tradition regarding the martyrdom of the Imam
Husayn. Generally, there is perhaps no greater inspiration for jihadi activists than the belief
they will be rewarded for their sacrifice by being granted entrance into the garden (janna)
of heavenly paradise. Symbols and images may allude to paradise indirectly or directly.
The word used to indicate heaven “janna” also means “garden” and indicates the garden
of paradise that awaits those Muslims who have lived particularly just, obedient, and
righteous lives. It is associated with attaining this reward, including the accompanying
huris (pure, virgin angels).

1
FLAGS:
In jihadi propaganda, political symbols are often combined to create literal and symbolic
connections between them. In the case of flags, this is often done in reference to jihadi
campaigns taking place in different locations. The black flag (al-raya) traces its roots to the
very beginning of Islam. It was the battle flag of the Prophet Muhammad, carried into
battle by many of his companions including his nephew ‘Ali ibn Abi Talib. The flag
regained prominence in the 8th century with its use by the leader of the Abbasid
revolution, Abu Muslim, who led a revolt against the Umayyad clan and its’ Caliphate.
Since then, the image of the black flag has been used as a symbol of religious revolt and
battle (i.e. jihad) and in Shiite belief, the black flag is connected with expectations about
the afterlife. In the contemporary Islamist movement, the black flag is used to symbolize
both offensive jihad and the proponents of re-establishing the Islamic Caliphate. In the
Islamic tradition the white flag (al-liwaa) was used by Prophet Muhammad to represent
both the leader of the Muslim army and the first Muslim state. It is most often used in
reference with the Prophet and the idea of establishing an Islamic state. With regards to
the latter, the Taliban used the white flag as the official flag for their briefly recognized
state. The green flag generally represents the Muslim proclamation of faith (shahada). The
colour green is considered to be the colour of the Prophet and this is why green flags
(regardless of the text) conjure up historical, genealogical and religious notions of the
Prophet and Islam. The green flag is often used synonymously with the black and white
flags in jihadi imagery, although it has a less overt militant (or jihadist) message than the
black flag and is slightly less state-oriented than the white flag. The general green flag
should not be confused with the Saudi flag, which is very similar, but also features a
curved sword below the Arabic calligraphy. Green flags may also include text other than
the shahada, like the word “Gaza” written upon it, referring to the struggle against Israeli
occupation and oppression within the Gaza Strip with explicit notions of Islam.

MONUMENTS:
There are many buildings, shrines, monuments, tombs and mosques associated with
important holy figures in the Islamic tradition. Reverence for many of them is shared by all
Muslims, while others hold special significance only for certain groups. Regardless of the
nature of these monuments, almost all of them have religious as well as national and
regional significance to Muslim peoples, thus, they are invoked to draw upon both
loyalties. For instance, while the Dome of the Rock is recognized and revered by all
Muslims, it is also a powerful symbol of Palestinian national identity. Likewise, the tomb of
the Imam Husayn in Karbala is an important monument for most Muslims, but it is of
particular value to Shiites worldwide and its image can be employed as a Shiite-centric
symbol of Iraqi nationality. The Dome of the Rock was built on the site where Muslims
believe Prophet Muhammad ascended to heaven in his miraj or Night Journey and it is
considered the third holiest site in Islam. It is perhaps the most recognizable and
important nationalist motif used by militant Palestinian groups and this is why the Al-Aqsa
Martyrs Brigade employs the Dome to evoke both a sense of national duty and religious
sacrifice. The Dome, paired with the photos of martyrs legitimizes the actions of the
militants linking them with Islam and the memory of the Prophet Muhammad. The Al-Aqsa
Mosque, which is adjacent to the Dome of the Rock and conjures up many of the same
associations, is also used extensively in jihadi imagery produced by Palestinian groups.
Unlike the Dome of the Rock, however, the Al-Aqsa Mosque is generally not used as a
pan-Islamic symbol, but rather is employed as an Islamic symbol of Palestinian national
identity. The Kaaba in Mecca is the symbolic and literal center of the Islamic faith for all
Muslims and it is a common motif in jihadi imagery. It is the single most important and
holiest, site in Islam and evokes the strongest sense of Islamic identity and tradition across

2
all Muslim sects and groups. Although it is inherently pan-Islamic, the Kaaba can also be
employed to draw attention to issues concerning more specifically Saudi Arabia, or
internationalize, or pan-Islamize, specific Saudi-centered jihadi concerns, such as the
“occupation” of the Saudi holy sites by American forces during the first Gulf War.

MARTYRDOM:
In Islamic tradition, there is no greater sacrifice than martyrdom. To die for one’s faith is
the most spiritual act and is seen as a reward in itself. It is also believed that Muslim
martyrs will be highly rewarded in the afterlife and will hold a special station in heavenly
paradise. This is why martyrdom is one of the central themes in jihadi visual propaganda
and it is used by nearly every group. Martyrs are a source of inspiration in Islamic culture
and their images are used in visual propaganda to inspire support for jihad. Furthermore,
there is a sub-genre of jihadi imagery concerned solely with martyrdom, advertising,
praising, encouraging and celebrating it. Martyrs depicted generally fall into two
categories: innocents who are killed by enemies and jihadi activists, who are either killed in
battle or on suicide missions. There are many ways to depict martyrs and one common
technique is inside an oval or round “frame.” By framing the photograph of a specific
martyr, jihadi propaganda is able to evoke notions of familial sentimentality. They use this
method for both innocent martyrs and those killed in action. These “portraits” are meant to
remind the audience of their own family portraits, conveying a sense that these are typical
people, engaged in an activity that is a reasonable option for other members of the
community too. Framed martyr photos are most commonly used by Palestinian
organizations. Another common technique for depicting martyrs in jihadi visual
propaganda is to combine a photograph of a martyr with a representation of the country in
which he was killed or from which he originated. This way attention is drawn to the jihadi
activities taking place within that country, while emphasizing the oppression of the ruling
and occupying powers. The “before shot” or “last will and testament” image is another
pattern in jihadi propaganda. These photographs, generally taken before a suicide
mission to mark that event, include weapons, the Koran and other religious symbols. They
combine these disparate items into a single overall message: the religious importance of
martyrdom and its violent nature. These images also serve to inflate the actual power of
jihadi groups and their activists.

WOMEN:
Women hold a very unique and powerful symbolic value in Islamic culture. They symbolize
masculine honour and purity, central to nearly every Muslim man’s sense of pride. This is
why images of female martyrs and maternal female images are common in jihadi visual
propaganda calling for duty and justice. When a Muslim woman is killed by enemies or is
driven to sacrifice herself through militant activism, Muslim men feel an intense sense of
shame and oppression. Muslim women, thus, are used to both stir sympathy for the
innocent victims of violent oppression and to cause male Muslims into responding against
the perceived injustice with jihadi activism.

CHILDREN:
Children are employed in jihadi imagery to wake up feelings of pride, honour and most
importantly injustice. Images of living children usually include boys as symbols of
innocence and purity. The paternal pride and honour evoked are symbolic of the need to
protect Islam from outside harm. Images of young boys also suggest that there is a new
generation of jihadi fighters on the rise, implying that the cause will live on through these
children for years to come. Dead children (i.e. children killed by outside forces) have a
special use: they are typically utilized to inspire feelings of injustice, anger and ultimately

3
the desire to retaliate against the stated enemy. To this effect, the dead children can be
either little boys or girls, usually brutally murdered, giving a powerful blow to the strong
Muslim sense of pride, honour and paternal responsibility.

The understanding of how propaganda can move people to action is of a very high order,
especially when we are dealing with religious violence and more specifically Islamic
terrorism. Organizations aim to move believers and target inner, deep and even
subconscious notions, inherent to people through tradition and religious up bringing. Visual
motifs accomplish several objectives: First, they create a mental conception of reality for
their audiences. The use of carefully edited images evokes existing emotional or historical
memories, provoking an emotional response. Often, these motifs tap into intersubjective
understandings. Text, language and pictures, provide interactive ways for jihadis to
engage the ideology itself, as the notion of resonance- the ways in which a message
harmonizes with existing understandings of an audience- is the outcome of this dialectical
process. This way they can recruit followers or even gain sympathisers of their cause and
actions. In addition they are able to paint a picture of their objectives, their enemies and
their strategy using image. The jihadi propaganda and the spread of violent messages has
become even more dangerous as Internet plays a key role in the use of Islamic imagery
today; it is the main media vehicle providing today a most convenient way for jihadist to
pass ideological, tactical and operational level instruction of the kind that they had been
delivering in the Afghan training camps. Visual jihad education through image and sound
are only a mouse click away…