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Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

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  • Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing


    "TASAWWUF IS THE EMBODIMENT OF SIDQ (TRUTH/HONESTY) AND HAQEEQAT (SPIRITUAL REALITIES).
    NEVER CONTAMINATE WITH FUTILITY AND MOCKERY"
    [The Great Shafi'i Sufi Saint, Shihab-ud-Deen Suhrawardi on the prohibition of the sufi singing sessions]

    THE PROHIBITION OF SUFI SINGING SESSIONS

    INTRODUCTION

    The quotes of the authoritative Fuqaha of the Shafi’i madh-hab expose the deviance and deception of the pseudo-sufis and pseudo-shafi’i’s of today who scavenge desperately for every possible anomalous (shadh) ruling, far-fetched taw’eel (interpretation), and other loopholes in order to justify their indulgences in singing, dancing, and musical instruments, for the sake of their new innovated forms of worship.

    There is not much need to discuss the difference between singing that contains lewdness, imitation of kuffaar, etc. and singing that is devoid of such Haraam elements. Even the greatest ignoramus can appreciate the fact that anything that contains Haraam becomes impermissible. Thus even the permitted type of private singing, or impromptu singing, or singing on Eid and Weddings, will automatically become impermissible if it contains any Haraam elements.

    However, in light of the ingrained, devious habit of the Ahlul Bid'ah to hide under ambiguity and confusion in order to gain leverage to justify their deviances and dupe the masses, there is a need to demonstrate a clear distinction between:

    (1) Organised, pre-planned sessions of singing to which people are invited; singing as an occupation; professional singing; and the like.

    (2) Impromptu and extemporaneous singing, or singing or listening to songs in privacy e.g. singing by an individual to banish loneliness, or as admonition (naseehat), the occasional singing of Ulama during their lectures; and the like.

    The first is falls under the general prohibition on singing, whilst the second is permitted by the Shariah. The distinction is absolutely crucial as will become clear from the position of the Shafi'i fuqaha below.

    The tafseer of the relevant Qur’aanic aayaat, Ahaadith, Rulings of the Sahaabah and of the Fuqaha (Jurists) of all Four Math-habs, confirm the above distinction conspicuously.


    Evidences From the Qur'an and Hadith

    Innumerable verses of the Qur’an, Hadith, and rulings of the Fuqaha categorically affirm the prohibition of singing without any qualification. They include within their scope even singing devoid of Haraam elements. For example, Rasulullah (sallallahu alayhi wasallam) sharply rebuked a person as an ‘enemy of Allah’, after that person sought permission to “sing such songs which will be devoid of any immorality” as a profession.

    Safwaan Bin Umayyah (radhiyallahu anhu) narrated that Amr Bin Qurrah said (to Rasulullah – sallallahu alayhi wasallam): “I am very unfortunate. I do not see any way for acquiring my rizq except by means of my duff. Therefore, grant me permission to sing such songs which will be devoid of any immorality (evil).’ Rasulullah (sallallahu alayhi wasallam) replied: “I do not give you permission. There is no honour and no goodness (in what you are saying). O enemy of Allah! You are a liar. Most certainly, Allah has ordained for you halaal rizq, but you have chosen what Allah has made haraam for you in place of what He has made halaal for you of the sustenance He has decreed for you.” (Baihaqi, Tibraani, Dailami)

    For more Ahadith on the prohibition of singing see: Forty Hadith

    The few Ahadith in which singing did occur in the presence of Rasulullah (sallallahu alayhi wasallam) were clearly of the unplanned, extemporaneous type, without any formality or invitation. Furthermore, on the occasions in which Rasulullah (sallallahu alayhi wasallam) tolerated such singing, he was clearly not an active participant in the singing, nor the listening. Rather, he seemed to show reluctant tolerance for the singing which was permitted due to a particular exceptional reason such as the occasion of Eid.

    Imaam Shafi’i's Explicit Statement on Sessions of Innocent Singing

    Ibn al-Jawzi relates with a direct chain to Imam Shafi’i:

    “I left behind in Iraq something which heretics (al-zanaadiqah) introduced; they call it taghyeer; with it they distract the people from the Qur’an."

    What exactly is taghyeer? Was it singing that involved lewdness, illicit love, immorality, or was it singing that was devoid of such Haraam elements which the pseudo-sufis of today claim for their sessions?

    Ibn al-Jawzi quotes the great early Imam of language and literature, Abu Mansoor al-Azhari (370AH), who describes that the type of singing involved in taghyeer was purely in remembrance of Allah (azza wa jal):

    "Abu Mansoor al-Azhari mentioned: “Al-mughayyirah [it is the name of the people who make taghyeer ] refers to people who change by remembering Allah with prayer and showing humility, and they have called the poetry in the remembrance of Allah Ta’ala with which they get ecstatic taghyeer. It were as if when they sung it with a tune, they become inebriated and danced, so they called it al-mughayyirah for that reason."

    Inspite of the esotericism of the songs, Imaam Shafi’i brands those involved as zindeeqs. A zindeeq is a class of unbeliever.

    What shall we now conclude of the view of Imaam Shafi’i regarding the flagrant indulgences of the pseudo-sufis today, whose singing and break-dancing sessions are poles apart from the relative innocence of the singing sessions of the early Sufis?

    Ibn al-Jauzi reported directly from the student of the great early Shafi’i scholar, Abu al-Tayyib al-Tabari:

    “Al-Shafi‘ said: “Singing [ al-ghinaa’ ] is objectionable play [ lahw makrooh ]; it resembles untruth [ al-baatil ]; whoever indulges in it a lot, he is a fool and his testimony is to be rejected [in a court].”

    Ibn al-Jawzi also quotes directly from the student of another prominent Shafi’i authority, Abu Bakr Muhammad ibn Muzaffar al-Shaami [d. 488 / 1095] also know as Qadi al-Qudaat:

    “Singing is not permitted nor listening to it, nor drumming with sticks. He said: Whoever attributes to al-Shafi‘ [the permissibility of] that has lied about him. Indeed, al-Shafi‘ stated in his book Adab al-Qaadi that if a man persisted in listening to singing his testimony [in court] must be refused and his integrity [ ‘adaalat] would be vitiated.”

    Ibn Hajar al-Haythami

    The following statement from Shaykh Ibn Hajar Haytami is often quoted by the pseudo-sufis to justify their pre-planned, organised and even institutionalised singing and break-dancing sessions:

    “As for listening to singing that is not accompanied by instruments one should know that singing or listening to sing is offensive (disliked) except under the circumstances to be mentioned in what follows. Some scholars hold that singing is sunna at weddings and the like and of our Imams , Ghazali and Izz Ibn Abdus Salam say that it is sunna if It moves one to a noble state of mind that makes one remember the hereafter. It is clear from this that all poetry which encourages good deeds, wisdom, noble qualities, abstinence from this-worldly things, or similar pious traits such as urging one to obey Allah, follow the Sunna or shun disobedience, is sunna to write, sing, or listen to, as more than one of our Imams have stated is obvious, since using a means to do good is itself doing good." (Kaff al Raa an Muharamat al lahw wa al sama).

    The use of the quote above taken from a particular book of Ibn Hajar Haythami's amply exemplifies the ingrained, devious habit of the pseudo-sufis to misuse, twist, and contort the statements of the Fuqaha justify their numerous deviances.

    Firstly, the book from which the quote is taken from is dedicated specifically to condemning the Samaa’ sessions of the sufis! We shall soon see what Ibn Hajar Haythami has to say specifically regarding the Samaa' sessions of the Sufis, in the very same book.

    Secondly, nowhere in the statement above is there justification of the planned, orchestrated, and institutionalised singing sessions of the pseudo-sufis. Rather, the statement is applicable to the permissible type of singing, which is either singing in privacy, or impromptu singing, or on certain days given special exemption explicitly by Rasulullah (sallallahu alayhi wasallam).

    Before proceeding to quote statements from the very same book, confirming unambiguously the prohibition of the Samaa’ sessions of the Sufis, let us first quote a couple of statements that clarify explicitly the type of singing referred to by the statement above that is oft-quoted and misused by the pseudo-sufis. Ibn Hajar clarifies explicitly in the same book that unplanned, impromptu singing, or singing in privacy does not fall under the general prohibition:

    “If a person is alone in his house and sings, it is permissible otherwise haraam….”

    “Another view is: Engrossment in singing renders it haraam. However, if one sings in an impromptu manner for a short while, then it is permissible.”


    Let us now have a look at just a few of the other contents of this book, conveniently ignored by the pseudo-sufis, which prove categorically that there is a clear distinction between singing in private, or in an impromptu manner, and the organised, pre-planned Samaa’ sessions of the pseudo-sufis, and that the categorical prohibition on singing stated by the Shafi’i Fuqaha is directly applicable to such Samaa’ sessions.

    Ibn Hajar Al-Haythami confirms the prohibition on singing, even without instruments, as stated by the Imams of his madh-hab:

    “In two places of Imaam Raafi’i’s famous kitaab, Ash-Sharhul Kabeer, it is mentioned with much clarity: ‘Singing is haraam’. In Raudhah, Imaam Nawawi adopted this view.”

    He also confirms that this is also the ruling of the other madh-habs:

    “It [i.e. singing] is absolutely haraam. According to Imaam Qurtubi, this is also according to the Math-hab of Imaam Maalik (rahmatullah alayh). Abu Ishaaq said: ‘I asked Imaam Maalik about the leniency shown towards singing in Madinah, and he replied: ‘In Madinah too singing is the practice of the fussaaq (immoral violators of the Shariah). The masses (in Madinah) consider it forbidden. This is the way of the people of Madinah.’ Ibrahim Bin Sa’d is a solitary exception who does not see anything wrong in it.”

    “Imaam Abu Hanifah and all the Ulama of Kufa among whom are Hadhrat Ibraaheem Nakh’i, Imaam Sha’bi, Hammaad, Sufyaan Thauri and others, are unanimous in this ruling (of prohibition). Two views are attributed to Imaam Shaafi and Imaam Ahmad. The one view is absolutely haraam. Haarith Muhasabi says that singing is just as haraam as carrion (dead animals).”


    Now leaving absolutely no room for doubt that the general prohibition of singing is applicable to the Samaa sessions of the Sufis, Ibn Hajar al-Haytami states another important reason for prohibition of the Samaa’ sessions - a particular reason which tends to induce severe allergic reactions and convulsions amongst the pseudo-sufis today – perhaps one of the causes of their break-dance antics:

    "Among the things that indicates the reprehensibility of those who indulge in the practice of samaa‘ is a hadith on the authorities are agree is rigorously authentic, the statement of the Prophet (sallallahu alayhi wasallam) : “Whoever innovates in this matter of ours [that is, in the holy shariah] what does not belong to it, it stands rejected” and in another version of the hadith there is “anything that that is not under our order it stands rejected.”

    Finally, if there was a need to describe specifically the type of singing involved in the Samaa’ sessions to which the prohibition of singing directly applies to, according to the Shafi’i Fuqaha, the following fatwa quoted by Ibn Hajar al-Haythami for support, leaves even less room for ambiguity:

    “Qurtubi (rahmatullah alayh) narrated from Imaam Tartusi (rahmatullah alayh) that he was asked about those people who gather at a place and begin the proceedings with Tilaawat of the Qur’aan-e-Kareem. Thereafter one person stands up and sings some poetry. Then all present lapse into ecstasy and begin swaying (in a form of a dance) simultaneously beating the duff. Is it permissible to join this company of people?

    He (Imaam Tartusi) replied: ‘According to the Akaabir Sufiya’ this practice is highly erroneous and deviation. Islam means only Kitaabullah and the Sunnat of the Rasool (sallallahu alayhi wasallam). It is never permissible for any person who has Imaan in Allah and the Aakhirah to join such people nor aid them in this unlawful practice. This is the Math-hab of the Four Imaams and of other Mujtahideen. Some people cite the stories of the Mashaaikh in substantiation of dancing and singing………..

    The most important argument in this regard is that we do not believe that these stories (which are attributed to the Mashaaikh) are true. It is quite probable that just as the zindeeqs have attributed many fabrications to Rasulullah (sallallahu alayhi wasallam), so to have they done with regard to the Mashaaikh. On the assumption that the Mashaaikh did practise these deeds, which obviously they did not, then it should be understood that for us proof is firstly Rasulullah (sallallahu alayhi wasallam), then the Sahaabah, then the Aimmah-e-Mujtahideen…


    Imaam Nawawi and Imaam Raafi'

    Imaam Nawawi (rahmatullah alayh) states in Raudhatut Talibeen:

    “The singing of a person is either with or without instruments. If it is without instruments, it (singing) and listening to it are Makrooh.” (Raudhatut Taalibeen)

    He further states:

    “Abul Farj Az-zaaz narrated one view that much listening to singing is haraam, except of it is a little. Another view (narrated by Abul Farj) is that it is completely haraam (whether much or little).” (Raudhatut Taalibeen)

    Ibn Hajar Haythami confirms that the ruling of prohibition is the correct view by relating the view of Imaam Nawawi and Imaam Raafi':

    “In two places of Imaam Raafi’i’s famous kitaab, Ash-Sharhul Kabeer, it is mentioned with much clarity: ‘Singing is haraam’. In Raudhah, Imaam Nawawi adopted this view.” (Kaf-fur Ruaa’)

    While the ruling of singing in privacy, or in an impromptu manner, is that of permissibility, all other singing not accompanied by musical instruments are forbidden, as explicitly stated by Imam Nawawi in his Minhaaj-ut-Talibeen:

    “It is lawful to sing and listen to the song to which the camel-drivers make their animals walk; but the law blames all other singing not accompanied by instruments of music.”

    Elsewhere in the same book, Imam Nawawi clarifies that the permissible type of singing must not contain anything lewd:

    "And it is permissible to speak and to sing poetry, unless it satirizes someone, is obscene, or alludes to a particular woman."


    Taj-ud-Deen as-Subki and Khatib al-Shirbini


    In one of the authoritative texts of the Shafi’i madh-hab, al-Mughni al-Muhtaaj, Imam al-Shirbini quotes one of the major Imams of the Shafi’i madh-hab, Tajuddeen as-Subki, in condemnation of Samaa’ (sufi singing sessions):

    "As-Subki said – and he was amongst the major Imams of the Shafi’is – that: “ The Samaa’ in the form that is well known is rejected and is a misguidance, and it is from the actions of the ignoramuses and Shayateen (devils). Whoever claims that it is a means to closeness (to Allah) has lied and fabricated upon Allah. Whoever says it increases in Zawq (spiritual sensation) he is an ignoramus or a Shaytaan. Whoever links the Samaa’ to Rasulullah (sallallahu alayhi wasallam) is to be punished most severely and is to be entered under the heading of Liars upon him (sallallahu alayhi wasallam), and whoever lies upon him (sallallahu alayhi wasallam) intentionally then let him take his seat in the Hell-fire. This is not the way of the Auliya of Allah Ta’ala and His group and the followers of Rasulullah (sallallahu alayhi wasallam). Rather it is the way of the people of desires (Ahlul Hawaa), play, and falsehood, and upon this it should be refuted by the tongue, hand and heart.” [Al-Mughni al-Muhtaaj (4/426)]


    Imaam Adhra’i

    Another authority of the Shafi’i madh-hab, Imam Adhra’i states regarding his refutation of the anomalous view that singing is permissible:

    “I have explained in my book Ghunyah al-Muhtaaj fee Sharh al-Minhaaj the proofs for the opinion that singing is unlawful or [at least] very offensive and I answered those who argue that it is permissible and those who too lenient in the matter and I presented there what will persuade any enlightened heart to follow the sunnah without sullying it with any deviant innovation [bid‘ah ] or any animal cravings.”


    Ibn Hajar al-Asqalani

    Regarding the Hadith in which two girls were singing the songs of Buath, the great Shafi’i scholar, Ibn Hajar al-Asqalani states:

    "Some Sufis used this hadeeth to prove the permissibility of singing songs, and listening to them with instruments and without instruments. It suffices to refute this with what Aisha explicitly states in the hadeeth in the same chapter: "and they were not singers". So, she negated the meaning that may be misunderstood from the word. Because "ghinaa" (singing) can mean raising one's voice and it can mean chanting, which Arabs call "Nasb". And the one who does that (the latter) is not called a mughannee (singer), rather he is called one who chants with tamteet and takseer and arousal and thrill; either directly or indirectly mentioning indecency and immorality. Al-Qurtubi said: "Her saying 'they were not singers' means they were not ones who knew al-ghinaa (singing) the way female singers, who are well-known for it, know it. She said this so that one may not misunderstand it to mean the singing which was popularly performed by the famous singers. And this is the type which "moves the still", and makes the hidden apparent. And this type, if it is a poem that describes the beauty of women or wine or other prohibited matters, then there is no difference of opinion regarding its prohibition."

    Ibn Hajar al-Asqalani categorically confirms, by quoting al-Qurtubi, that there is no difference of opinion regarding the prohibition on what the deviant Sufis have innovated in this regard

    "As for what the Sufis have innovated in this regard, then there is no difference (of opinion) over its prohibition. However, the souls full of desire have overcome many people who have attributed themselves to righteousness; To the extent that many of them practiced the acts of lunatics and children. To the extent that they would dance in uniform motions and continuous abrupt stops. Their disrespect reached a level where some of them considered these actions from those that draw one closer (to Allah), a righteous action, and one that will earn them an exalted state. In reality, this is from the ways of the disbelievers, and the sayings of the insane, and Allah is the one we seek aid in." End of Qurtobi's quote. (Fath al-Bari, vol. 2, p. 570-571, no. 949)



    Other madh-habs confirm the distinction between permitted and prohibited forms of singing

    The fuqaha of other madh-habs also confirm the unanimous prohibition issued by all four madh-habs. To cite just one example, Imam Ramli, clarifies the official position of the Shariah on singing in his book, Fatwa Khairiyyah:

    “The most authentic version narrated from Imaam Abu Hanifah, Imaam Maalik and Imaam Shaafi (rahmatullah alayhim) is that such singing (i.e. singing without instruments) is Makrooh Tahrimi (which is a sinful and a forbidden act).”

    Elsewhere he states:

    “To sing for an audience even without musical instruments is a kabeerah (major) sin.” (Fataawa Khairiyyah)

    He specifies that the difference of opinion on this matter pertains to only singing in privacy:

    “Among the Fuqaha there is difference of opinion on the question of singing without music. According to some Fuqaha singing is totally haraam and it is sinful to intentionally listen to it. However, if the sound comes to the ears unintentionally, then it is not sinful. According to others, if the singing is in privacy by an individual for banishing loneliness, then it is permissible. But the condition for this permissibility is that it must not be for mere play and amusement. Shamsul Aimmah Sarakhsi also inclines to this view.” (Fataawa Khairiyyah)
    .
    .
    True Sufis

    The true Sufis have always affirmed their subservience to the rulings of the Fuqaha. The great Shafi’i, Shihab-ud-Deen Suhrawardi, amongst the chief of the Sufis, upholds the prohibition on singing in his renowned book, Awaarif-ul-Ma-aarif:

    “Listening to singing is among the sins. Only a handful of fuqahaa’ [jurists] permitted it and as for those that did they did not permit inviting the people to the masjids and holy places to hear it” (Awaarif-ul-Ma-aarif)

    He states that the ruling of the Salaf-us-Saliheen must always take precedence, not the ruling of a few late-comers which are misused by those who seek to override the official position of the Shariah:

    “Furthermore, if there were any merit in such gatherings, surely the Prophet (sallallahua alayhi wasallam) and his Companions would never have neglected them and whoever claims that there is any merit in such gatherings has no knowledge or any idea even of the way the Prophet (sallallahua alayhi wasallam) and his Companions and the Followers and rather takes refuge in the fact that some late-comers approved of that. [Although this reasoning and its conclusion is quite sound], people so often reason wrongly here, for when one argues against what they advocate by pointing out that the salaf of old never held such gatherings they reply to such objections by citing the practice of people of a very late period. However the salaf were closer to the time of the Messenger of Allah (sallallahua alayhi wasallam) and their example more like the example of the Messenger of Allah (sallallahua alayhi wasallam), [so it is incumbent on us to follow them not the late-comers] (Awaarif-ul-Ma-aarif)

    He states that the sessions of Samaa’ (sufi singing) that were permitted once were extemporaneous, without planning, and was never made into a regular habit:

    “So observe that they did not use to go in for samaa‘ except with conditions and restraints and protocol [rules, proprieties]... furthermore, they used to hold such sessions extemporaneously on occasion and they did not make it a regular habit.”

    He concludes that it is incumbent to avoid such assemblies of singing, even though they may have involved purely remembrance of Allah:

    “In conclusion: Now, for the Jamaa’at of Sufiya’ there remains only one way—they should totally abstain from these kinds of functions, and stay away from places of suspicion. Tasawwuf is the embodiment of sidq (truth/honesty) and haqeeqat (spiritual reality). Never contaminate it with futility and mockery.” (Awaariful Ma-aarif)



    Last edited by Searcheroftruth; 31-12-14, 07:05 PM.
    RELIABLE FATWAS

  • #2
    Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

    Mujaddid Alf-e-Thaani states that the object of Tasawwuf (the Sufi path) is nothing but to produce conviction in the beliefs of the Shari’ah and to facilitate the observance of its rules, and that the unlawful means such as Samaa’ (organised singing sessions) and Raqs ('sufi' dancing), are a kind of temptation with which Allah tests men. As is true for all true Sufis, the Mujaddid’s strictness on the Shariah and his intolerance of opinions that he deems to be contrary to the Shariah, is quite evident here:

    “After one has acquired right beliefs and subjected oneself to the rules of the Shari’ah, one should, if Allah so wills, enter the path of the Sufis. But one should not pursue it in order to get something over and above the beliefs and the practices of the Shar’, or acquire something new. The purpose of following the Sufi way is to gain a conviction in the objects of faith that cannot be weakened by the doubts of a sceptic or shaken by the remarks of an objector. The conviction which is founded on arguments is not firm, and one who pursues reasoning does not attain certitude.

    ‘Know that it is through the remembrance of Allah that one acquires the peace and satisfaction of the heart.’ This is the object of the Sufi tariqah regarding belief. Regarding the practices of the Shar’, the object is to make their performance easy and spontaneous, to remove sluggishness, and to subdue the carnal self. Likewise, the purpose of the Sufi Suluk is not to see the forms and images of transcendental realities, or behold colours and lights; they are nothing more than play or fun. Material forms and physical lights are not less interesting if one wants to have fun; why should one leave them and run after spiritual forms and lights, and take up austere and difficult practices for that purpose? Forms, these or others, and lights, physical or spiritual, are all created by Allah. He transcends them altogether; they are nothing but His signs and proofs.

    What should I say about Samaa (organised singing sessions), or performing Raqs (full bodily rhythmical movements), or entering into a trance, or inducing Wajd (ecstasy)! All the states and experiences which are produced by unlawful means are, in my view, a kind of temptation with which Allah tests men. People whom Allah gives latitude in this way, undergo these states, experience union, and have revelations and visions in terms of the forms of this world. The mystics of Greece and the Brahmin saints of India had all these experiences. The sign of the validity of an experience is, first, that it agrees with the doctrines of the Shari’ah and second, that in order to have it one does not commit anything which is forbidden or which is doubtful. Know that Samaa’ and Raqs are but frivolous games…
    One day I was in the presence of my Shaykh in a meal gathering. Shaykh Kamal, who was one of the sincere ones of my Shaykh, uttered “Allah” loudly at the beginning of the meal in His Eminence’s presence. This severely displeased His Eminence to the degree that he reproached him harshly and said that he should be asked not to come to the meal gathering. And I have heard our Shaykh saying that Hazrat Khwajah Naqshband went to the Khanqah of Hazrat Amir Kulal with a group of the ulama of Bukhara in order to prevent him from doing the loud zikr. The ulama told him that loud zikr is a bid’ah and that he should shun it. He answered that he would not do it any more.

    When the great ones of this path make so much exagerration in preventing the loud zikr, then what can be said regarding the Samaa (hearing religious singing), Raqs (full bodily rhythmic movements), wajd (ecstasy) and tawajud (raptures). The states and ecstasies that stem from means contrary to the Shariah, to the Faqir, fall under the category of Istidraj (divine deception) that lead step-by-step to ruin. States and longings (ahwal va adhwaq) come in the hands even for the people of istidraj or people who practice occult that lead them step-by-step to ruin. They see the unveilings of tawhid (kashf-i tawhid). And they see [God] unveiled in the mirror that is the forms of the world and they also identify Him with those forms.

    The philosophers of Greece and the Yogis and Brahmans of India share these experiences. The criterion of the authenticity of the states is conformity with the knowledge of the Shariah along with abstaining from the perpetration of unlawful and doubtful matters. Know that Samaa and Raqs fall in reality under amusements and fun. The verse: “And among men is such a one who buys frivolous tales.” [31:6] has been revealed in order to forbid singing (Ghinaa). Hence, Mujahid, the student of Ibn Abbas, and one of the great Tabi’ees said that what is intended by ‘frivolous tales’ is singing. And it comes in Madarik that ‘frivolous tales’ means nightly talks and singing. Ibn Abbas and Ibn Mas’ud would swear that these mean singing, and Mujahid said that the words “And those who bear not false testimony,” [Qur’an 25:72] of Him Azza Wa Jal, refers to those who do not attend singing sessions.

    And it has been related by the Imam of guidance Abu Mansur al-Maturudi that whoever says “well recited” to a Muqri (professional reciter of the Qur’an) of our age, has committed Kufr, his wife becomes separated from him, and Allah nullifies all his good deeds. It is related by Abu Nasir al-Dabusi on the authority of Qadhi Zahiruddin al-Kharzami that whoever hears a song from a professional singer, or someone other than him, or watches an unlawful act, while considering it good, with or without conviction, becomes apostate immediately due to invalidating a dictate of the Shari’ah – and he who nullifies a dictate of the Shari’ah does not remain a believer according to all the Mujtahids, and Allah does not accept his good deeds and renders naught all his good deeds. We seek refuge in Allah from that.

    The verses of the Qur’an, Ahadeeth, and rulings of the jurists regarding the unlawfulness of singing and hearing songs are too many, to such an extent that counting them is burdensome. If a person brings forth an abrogated tradition or an anomalous narration regarding the permissibility of singing, then he should not be relied upon – since no jurist has in any time and age given the ruling of permissibility of singing, or has regarded Raqs (full bodily movements) and foot-pounding as lawful, as has been mentioned in the treatise Multaqat by al-Imam al-Hammam Dhiya Uddin Shaami.

    No practice of any Sufi is an argument to decide that which is lawful or unlawful. Will it not be sufficient that instead of reproaching them we pass over their actions and leave them to the judgement of Allah Ta’ala? This is a matter in which the opinion of Imam Abu Hanifa, Imam Abu Yousuf or Imam Muhammed should be considered authoritative rather than the practice of Abu Bakr Shibli or Abul Hasan Nuri. The half-baked Sufis of our day have taken Samaa and Raqs as an accepted religious rite and raised it to the level of divine service. These are persons who have taken their religion for sport and pastime”

    From the foregoing reports it becomes apparent that he who considers an unlawful deed commendable, exits the Muslim community and becomes apostate. Then it should be realised what an enormity it is to show respect towards a gathering of Samaa or Raqs, rather even considering them acts of virtue and worship. Praise and thanks be to Allah, that our seniors were not afflicted by such things and kept us followers free from the following of such matters.”

    [
    Vol 1, Letter 266]


    There is a nice risalah by Ibrahim al-Halabi (d. 960) [author of Ghunyat al Mutamalli and Mulataqa Abhur] on dancing. He basically shows there is ijma from fuqaha of all madh-habs, that the dance the Sufis are accustomed to is completely haram. Even the few fuqaha who appear to have sanctioned it condemn dancing if it is intentionally induced, as opposed to outside one's volition (i.e. unintentional wajd), and if is made a habit (adah) out of, as the pseudo-sufis of his time had done. Further factors of prohibition include bending the body like women do. If there is an isolated and anomalous ruling that explicitly and unambiguously permits organised and intentionally induced dancing sessions, then it would not affect this ijma.
    Last edited by Searcheroftruth; 14-12-14, 10:52 AM.
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    • #3
      Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

      All spheres of life are governed by the ruling of the fuqaha of the 4 madh-habs. Thus the methods, means, and tactics in Jihaad, Tasawwuf, Tableegh and Dawa, and every other field, is completely subservient to the official rulings of the 4 madh-habs. There are no exceptions.

      Quotes from countless fuqaha of all 4 madh-habs explicitly demonstrate the prohibition of the organised dancing and singing sessions indulged in by deviant pseudo-sufi groups of today. These quotes will be produced later insha-Allah.

      The few ambiguous, contradictory, or anomalous, quotes of a handful of Fuqaha misused by the pseudo-sufis today will also be addressed later insha-Allah.

      For now, the following summary by the great Maliki jurist, Ibn al-Haaj, from al-Madkhal, is an adequate summary of the official position of each madh-hab:
      “What is the opinion of the masters of Fiqh, the Imams of this Religion, and the Scholars of the Muslims – May Allah grant them success to His obedience, and assist them in what Pleases Him – in a group from among the Muslims, who arrived to a city and headed to the Masjid, and started clapping, singing, and dancing, once with their hands and in another time using Doufs and Shababah. Is such an act Islamically permissible in a Masjid, answer us – May Allah the Exalted reward you and have mercy on you?

      The Shafi’is said: Samaa’ (Listening [to the above mentioned]) is a Detested form of play which is similar to Batil (Falsehood), and whoever says by it (i.e. agrees on it and accepts it), his testimony would be rejected (Turad Shahadatuh), and Allah knows best.

      The Malikis said: The rulers and the ones responsible should restrain and prevent them [from this], and eject them (expel them) from the Masjids until they Repent and Return [to Allah], and Allah knows best.

      The Hanbalis said: Whoever does this, one should not pray behind him, and his testimony should not be accepted, and his ruling should not be accepted even if he was a judge/ruler, and if he performs a marriage ‘Aqd (contract) then it is Fasid (Void), and Allah knows best.

      The Hanafis said: The rug that they dance on is not to be prayed on until it is washed, and the earth that they dance on is not to be prayed on until its sand is dug and thrown away, and Allah knows best.”
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      • #4
        Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

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        • #5
          Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

          Prophetic Sayings on Music
          Social Issues
          Manzoor ul Hassan
          (Tr. by:Tariq Haashmi)



          Music was one of the favourite cultural traditions of the Arabs in the days of the Prophet Muhammad (sws). Music and musical instruments were frequently used in worship rituals. It was also employed in the expression of delight and sorrow. Music accompanied wars and festivals too. A study of the traditions ascribed to the Holy Prophet (sws) reveals that not only did he express his likeness for Music but he also encouraged others to play it on festive occasions. Some reliable narratives in this regard make it clear that the mother of the believers, ‘A%’ishah (rta) listened to songs in the very presence of the Holy Prophet (sws). The Holy Prophet (sws) himself is reported to have encouraged people to use music on wedding ceremonies. On his migration from Makkah to Madinah, the women sang welcome songs on the Daff and the Holy Prophet (sws) expressed his approbation of this. At another occasion, a professional female singer and musician approached him and requested him to listen to her song. The Holy Prophet (sws) not only himself listened to her song but also took ‘A%’ishah (rta) to listen to her. The mother of the believers leaned on the Holy Prophet’s (sws) shoulders and enjoyed the performance for a considerable time. During journeys, the Messenger of God showed his likeness for the Hida, a kind of desert song. He is also reported to have appointed a Hadi for his camels who was endowed with a very sweet sound. He also emphasized beating the Daff in order to announce Nikah. Various traditions have been recorded in the books of Hadith on these issues. A study of some of these traditions follows.

          i. Music on the ‘Id Festivals

          عن عائشة قالت: دخل علي رسول الله وعندي جاريتان تغنيان بغناء بعاث فاضطجع على الفراش وحول وجهه ودخل أبو بكر فانتهرني وقال مزمارة الشيطان عند النبي فأقبل عليه رسول الله عليه السلام فقال دعهما فلما غفل غمزتهما فخرجتا

          Narrates ‘A’ishah (rta): The Messenger (sws) of God came to my residence while two female singers were singing the songs of Bu‘ath.1 The Holy Prophet (sws) lay down and turned his face to the other side. Meanwhile Abu Bakr (rta) entered and [seeing the singers] rebuked me thus: ‘Satanic musical instruments in the presence of the Holy Prophet (sws)?’ On hearing this God’s Messenger (sws) turned towards him and said: ‘Let them [sing and rejoice]’. When Abu Bakr was engaged in some other business, I signaled to the girls [to go out] and they left. It was on the ‘Id day.2 (Bukhari, No: 907)

          We can conclude from this narrative the following points:

          The Mother of the believers, ‘A’ishah (rta), was listening to songs on ‘I%d day.

          The songs were being sung in the residence of the Holy Prophet (sws).

          A professional singer was performing.3

          The song was not a hymn to God; rather a relic of a war fought before the advent of Islam.

          The mother of the believers did not stop listening to the song even after the Holy Prophet had arrived.

          The Holy Prophet (sws) did not forbid her from listening to the song.

          He did not stop the female singers either.

          He himself was not attracted to the performance but he must have heard the song as he could hear Abu Bakr’s comments.

          Abu Bakr (rta) condemned the practice at first sight and declared that these were satanic instruments.

          When he tried to stop the singers and censure the listeners, the Holy Prophet (sws) stopped him from doing so.

          The report evidently proves that the Holy Prophet (sws) allowed singing music during religious festivals. This is evidenced by the fact that Holy Prophet’s (sws) wife enjoyed singing and music. Although Abu Bakr (rta) tried to stop the function, the Holy Prophet (sws) did not interfere with it, and let the performers and the audience enjoy themselves. Therefore, in light of this evidence we can conclude that music can justifiably be considered allowable in Islam.

          The following narrative also deals with the issue:

          عن أم سلمة قالت دخلت علينا جارية لحسان بن ثابت يوم فطر ناشرة شعرها معها دف تغني فزجرتها أم سلمة فقال النبي دعيها يا أم سلمة فإن لكل قوم عيدا وهذا يوم عيدنا

          Umm-i-Salamah narrates: A slave girl belonging to Hassan Ibn Thabit (rta) came to us on ‘I%d al Fitr. Her hair was unkempt and she carried a tambourine and was singing [some song]. Umm-i-Salamah rebuked her. But the Holy Prophet (sws) said to her: ‘Ummi-i-Salamah, let her [sing and rejoice]. Certainly every nation has an ‘I%d and this day is our ‘Id’. (Mu‘jam Al-Kabir, No: 558)

          ii. Music on Wedding Ceremonies

          عن بن عباس قال أنكحت عائشة ذات قرابة لها من الأنصار فجاء رسول الله فقال أهديتم الفتاة قالوا نعم قال أرسلتم معها من يغني قالت لا فقال رسول الله إن الأنصار قوم فيهم غزل فلو بعثتم معها من يقول أتيناكم أتيناكم فحيانا وحياكم

          Narrates Ibn ‘Abbas: ‘A’ishah (rta) arranged the marriage of a close Ansari girl. The Holy Prophet (sws) also came to attend the ceremony. He inquired from the people: ‘Have you sent forth the bride?’ ‘Yes’, they replied. ‘Did you send any singer with her?’ He asked. ‘A’ishah (rta) replied in the negative. The Holy Prophet (sws) then remarked: ‘The Ansar cherish singing. It would be better that you sent along with her a singer who would sing’4

          ‘We have come to you; we have joined you. Peace be upon us. Peace be upon you.’5 (Ibn Majah, No: 1900)

          The narrative delineates the following points:

          The way the Holy Prophet (sws) inquired about singing and playing music on this occasion reveals that it was customary for the Arabs to send a singer with the bride when sent to join the bridegroom.

          The Holy Prophet (sws) was not pleased to hear that the custom was abandoned on that occasion.

          He encouraged people to adhere to the custom.

          He suggested some couplets to be recited on such occasions though he did not sing them.

          He referred to the characteristics of the Ansar and did not express his disapproval of the same.

          The narrative proves that the Holy Prophet (sws) approved of singing and playing music on marriage ceremonies. Some other versions of the narrative reveal that the Prophet (sws) noticed that there was no singing or music being played in the house where the marriage ceremony was being conducted. He felt strange and inquired about the reason. Consider the following text of the narrative:

          عن عائشة قالت كان في حجري جارية من الأنصار فزوجتها قالت فدخل علي رسول الله يوم عرسها فلم يسمع غناء ولا لعبا فقال يا عائشة هل غنيتم عليها أو لا تغنون عليها ثم قال ان هذا الحي من الأنصار يحبون الغناء

          ‘A’ishah (rta) reports: An Ansari girl lived under my guardianship and I arranged her marriage. The Holy Prophet (sws) came to my house on the day she was married and did not hear any songs or any other joyful activities. [Observing this] he asked of me: ‘Did you people sing to her or not?’ ‘This is the tribe of the Ansar who like singing,’ he added. (Ibn Hibban, No: 5875)

          iii. Use of Music on Joyous Occasions

          عن ابن عائشة لما قدم رسول الله صلى الله عليه و سلم المدينة جعل النساء وصبيان يقلن:

          طلع البدر علينا

          من ثنيات الوداع

          وجب الشكر علينا

          ما دعا لله داع

          أيها المبعوث فينا

          جئت با لأمر المطاع

          Ibn ‘A’ishah narrates: When the Holy Prophet (sws) came to Madinah, the women and the children started singing: ‘The Moon has risen upon us from the hillocks of Wida‘. We eowe gratitude [to God] as long as those who call God continue doing so. O Prophet (sws) you have brought a religion that is worthy to be followed’.6



          2. عن أنس بن مالك أن النبي مر ببعض المدينة فإذا هو بجوار يضربن بدفهن ويتغنين ويقلن:

          نحن جوار من بني النجار

          يا حبذا محمد من جار

          فقال النبي الله يعلم إني لأحبكن

          Narrates Anas Ibn Malik: [Having entered the city], the Holy Prophet (sws) passed through a certain part of the town. Suddenly some slave girls appeared singing on the Daff the following ditty: ‘We are the slave girls of Bani Najjar.7 How lucky! This day the Holy Prophet (sws) has come to be our neighbor’. At this the Holy Prophet (sws) remarked: ‘God knows that I love you people’8 (Ibn Majah, No: 1899)

          These narratives deal with the Holy Prophet’s arrival in Madinah after his migration from Makkah. Their content can be summarized in the following points:

          The Holy Prophet’s arrival in Madinah was an extremely joyous occasion.

          People expressed their joy by singing joyous songs.

          Slave girls were also from among the singers.

          They had musical instruments to play with their songs.

          The Holy Prophet (sws) and the Companions (rta) heard these songs but they did not express their disapproval.

          The Holy Prophet (sws) expressed his love and kindness for singing women.

          These and other similar narratives sufficiently prove that when the Holy Prophet (sws) reached Madinah after his migration from Makkah, he received a warm welcome. The city had a festive appearance. Every one was filled with joy on the Holy Prophet’s arrival. Women, slave girls, singing women and children expressed their joy by singing welcome songs and playing the Daff. The Holy Prophet (sws) appreciated this. Therefore, one cannot deny the fact that the Holy Prophet (sws) sanctioned celebrating joyous occasion by singing melodies using musical instruments.

          iv. Use of Music during Travels:

          عن سلمة بن الأكوع رضي الله عنه قال خرجنا مع النبي إلى خيبر فسرنا ليلا فقال رجل من القوم لعامر يا عامر ألا تسمعنا من هنيهاتك وكان عامر رجلا شاعرا حداء فنزل يحدو بالقوم يقول:

          اللهم لولا أنت ما اهتدينا

          ولا تصدقنا ولا صلينا

          فاغفر فداء لك ما اتقينا

          وثبت الأقدام إن لاقينا

          وألقين سكينة علينا

          إنا إذا صيح بنا أبينا

          وبالصياح عولوا علينا

          فقال رسول الله من هذا السائق قالوا عامر بن الأكوع قال يرحمه الله

          Narrates Salama Ibn Al-Akwa‘: ‘We set off for Khaybar in the company of the Holy Prophet (sws) at night. A man from the group said to ‘Amir: ‘O ‘Amir, would not you let us hear your poetry?’ ‘Amir who was a Hida poet got down and started reciting for the people [the following verses]: ‘O God, were not it for your guidance, we could not have been able to offer the Salah and pay the Zakah. So please forgive our sins that [we have committed] and the ones we may commit in future. We are ready to offer our lives for your cause. Grant us perseverance when faced [with the enemy] and pour down your mercy upon us. [We are the people] who refuse to surrender when the enemy challenges us to fight. And [we leave them] to cry for help against us’.

          The Holy Prophet asked: ‘Who is that signer?’ They replied: ‘‘A^mir bin Al-Akwa‘’. ‘God bless him’, prayed the Holy Prophet (sws)9. (Bukhari, No: 3960)

          We learn from the narrative that:

          The Companions were along with the Holy Prophet (sws) on his way to Khaybar.

          Some of the Companions requested ‘A%mir (rta) to sing from his Hida (i.e. song sung primarily to drive camels, which correspond to their walk). He complied with the request and began his recitation with such a loud voice that the Holy Prophet (sws) could hear him.

          The Holy Prophet (sws) inquired about the singer approvingly.

          Since he had recited good verses the Holy Prophet (sws) prayed for him.

          Hida is a form of the desert poetry. The verses in this kind of poetry are rhymed corresponding to the pace of the footsteps of the camels. Ancient Arab camel drivers would sing this kind of poetry while travelling through the desert. Though the primary purpose of this singing was to encourage the camels to walk speedily yet the camel drivers themselves enjoyed it a lot. Many Hadith narratives refer to this practice of the time and evidently prove that the Holy Prophet (sws) and his Companions would enjoy this kind of poetry.

          According to other narratives on the same subject, the Holy Prophet (sws) had appointed Anjashah, who had a very pleasing voice, to serve as a Hadi (i.e. camel driver) during his travels in the desert. During one of the travels, the camels started to pace very quickly affected by the sweetness of his sound. The Holy Prophet (sws) stopped him lovingly from singing Hida. He asked the singer not to force the beasts to walk at a faster pace so that female riders do not fall down. ‘Anas Ibn Malik reports:

          كان للنبي حاد يقال له أنجشة وكان حسن الصوت فقال له النبي رويدك يا أنجشة لا تكسر القوارير قال قتادة يعني ضعفة النساء

          The Holy Prophet had a Had, Anjashah. He had a very sweet sound. [During one of his journeys] the Holy Prophet (sws) said to him: ‘Slow down, Anjashah, lest you should break the delicate goblets. Qatadah explained that the Prophet (sws) was referring to delicate women. (Bukhari, No: 5857)

          According to the scholars Hida’ definitely is a type of singing. Dr. Jawwad Ali writes:

          ولحداء هو من اقدم انواع الغناء عند العرب و يغنى به في الاسفار خاصة ولا زال على مكانته و مقامه في البادية حتى اليوم. و يتغنى به في المناسبات المحزمة أيضا لملائمة نغمته مع الحزن. و قد كان للرسول حادى هو البراء بن مالك بن النضر الأنصاري و كان حداء للرجال. و كان له حداء آخر, يقال له انجشة الحادي و كان جميل الصوت أسود, و كان يحدو للنساء النبي, و كان غلاما للرسول.

          Hida is of the oldest type of singing in Arabia that was specifically used during travels and is still used in contemporary Bedouin society. Besides, since the Hida songs suit sorrowful situation, this type of singing was used in mourning etc. as well. The Holy Prophet (sws) got a Hida singer appointed for him called Al-Barra’ Ibn Malik Ibn Nadar Al-Ansari who would drive camels for male riders. Another Had of his was Anjashah who had a very melodious tone. He was a black slave of the Holy Prophet (sws) who was employed to serve as a Had for the camels of the wives of the Holy Prophet (sws).10

          He further writes:

          والحداء هو في الواقع غناء أهل البادية, … هذا النوع من الغناء مما يتناسب مع لحن البوادي و نغمها الحزينة البسيطة التي تطرب بها طبيعة البداوة نفس الأعراب

          Al-Hida’ actually is the singing used among the desert dwellers … this kind of singing corresponds with the tones cherished by the desert dwellers and also with their simple and natural mourning songs that please the nomadic tastes of these Bedouins.11

          Ibn Khaldun writes in his book, Muqaddamah, that the basic purpose of Hida was not only to please the caravan members but also to urge the camels to proceed faster.

          This feeling of joy is even found in speechless animals not to mention humans. Therefore we see that the camels respond to the Hida of the riders, and the horses are affected by the whistles and shrill sounds. We already know that animals receive effects of the songs if they are rhythmical, and correspond to the rules governing the art of music.12

          v. Musical Instruments

          عن الربيع بنت معوذ قالت دخل علي النبي غداة بني علي فجلس على فراشي كمجلسك مني وجويريات يضربن بالدف يندبن من قتل من آبائهن يوم بدر حتى قالت جارية وفينا نبي يعلم ما في غد فقال النبي لا تقولي هكذا وقولي ما كنت تقولين

          Narrates Rabi‘, daughter of Mu‘wwadh: On the occasion of my transfer to my husband’s home after marriage, the Holy Prophet (sws) came to visit us and sat down on my bed just as you [the next narrator] are sitting before me now. Some slave girls were beating the Daff and singing in lamentation of their forefathers who had been killed during the battle of Badr. Then one of the girls sang: ‘Among us is the Prophet (sws) who knows even what will happen in coming days’. At this, the Holy Prophet (sws) said: ‘Do not say this, but go on singing.13 (Bukhari, No: 3779)

          We learn from the narrative that:

          The Holy Prophet (sws) attended a marriage ceremony where some slave girls were singing.

          Singing was not stopped on his arrival.

          The singers used the Daff with their singing.

          The Holy Prophet (sws) heard them [this is evident from the fact that he stopped them from uttering certain words.]

          He however ordered them to continue with what they were singing before.

          This effectively proves that the Holy Prophet (sws) did not impose any restriction on using the Daff, a common musical instrument used in that society. Keeping in view the information we received through the above mentioned narratives we can conclude that Arabs of the times of the Holy Prophet (sws) would use musical instrument to accompany their singing on joyous occasions. This has been done in the presence of the Holy Prophet (sws) to which he did not object. Some other narratives even tell us that the Holy Prophet (sws) even ordered the people to use musical instruments at the occasion of marriage.

          قال رسول الله فصل بين الحلال والحرام الدف والصوت في النكاح

          The Holy Prophet (sws) said: ‘the only thing that distinguishes the allowable act (i.e. Nikah) from the forbidden one (fornication) is the beat of the tambourine and open declaration of the Nikah.14 (Ibn Majah, No: 1896)

          The Daff no doubt is an old musical instrument to be played by hand, which remained in use from ancient times. In this regard, Dr. Jawwad ‘Ali writes:

          The Daff is one of the most well known primitive musical instruments. It is used to express joy and high spirit. Women also play it. The Arabs would commonly use it on their most joyous occasions. When the Holy Prophet (sws) reached Madinah he was welcomed with the singing of songs and playing of the Daff. Usually, the Arabs would use it on joyful ceremonies like weddings, and would sing songs along with it.15

          The Bible also contains references to the Daff as a musical instrument at various occasions. One of the Urdu Bible dictionaries, Qamus Al-Kitab, defines the instrument thus:

          It was a kind of narrow hoop musical instrument which was held in [one] hand and played [by striking it with the other.] It was used to create rhythm while singing and dancing. It would offer much cheerfulness in celebrations and processions.16

          vi. Art of Music

          عن السائب بن يزيد أن امرأة جاءت إلى رسول الله فقال يا عائشة تعرفين هذه قالت لا يا نبي الله قال هذه قينة بني فلان تحبين أن تغنيك فغنتها

          Narrates Sa’ib Ibn Yazid: A woman came to the Holy Prophet (sws). He asked ‘A’ishah (rta): ‘Do you know her?’ ‘No, O Prophet (sws) of God’ she replied. ‘This is the female professional singer of such and such tribe. Do you want her to sing to you?’ So the woman sang for her.17 (Bayhaqi, No: 8940)

          We learn from the narrative:

          A woman connected with the art of music18 came to the Holy Prophet (sws).

          She expressed her desire to sing to ‘A’ishah (rta)

          The Holy Prophet (sws) did not express dislike for this nor did he rebuke her.

          He introduced her to ‘A’ishah (rta).

          With the permission from the Holy Prophet (sws), the singer sang to ‘A’ishah (rta).

          The narrative evidences that the Holy Prophet (sws) did not consider singing evil in its nature. Had it been the case he would have hindered the woman from doing so or at least he would not have allow ‘A’ishah (rta) to listen to her song. Some other narratives tell us that such professional singers and dancers, both men and women, were common among the Arabs of that time, and the Holy Prophet (sws) did not deem it undesirable to enjoy their performance.

          Consider the following narratives:

          عن عائشة قالت كان رسول الله جالسا فسمعنا لغطا وصوت صبيان فقام رسول الله فإذا حبشية تزفن والصبيان حولها فقال يا عائشة تعالي فانظري فجئت فوضعت لحيي على منكب رسول الله فجعلت أنظر إليها ما بين المنكب إلى رأسه فقال لي أما شبعت أما شبعت قالت فجعلت أقول لا لأنظر منزلتي عنده إذ طلع عمر قال فارفض الناس عنها قالت فقال رسول الله إني لأنظر إلى شياطين الإنس والجن قد فروا من عمر

          Narrates ‘A’ishah (rta): The Holy Prophet (sws) was present among us when suddenly we heard children creating noise. The Holy Prophet (sws) stood up. [We found out] that a black slave woman was dancing encircled by children. The Holy Prophet (sws) [called me] saying: ‘‘A’ishah (rta), come and watch’. I came [to him] placed my chin over the Prophet’s shoulders and watched through the space between his shoulders and head. The Holy Prophet (sws) asked many times: ‘Have you not got enough of it?’ In order to know how he cares for me I continued replying in the negative. Meanwhile ‘Umar (rta) came and the gathering disbursed [seeing him]. At this the Holy Prophet commented: ‘I see that the devils from among the Jinn and the humans have fled at ‘Umar arrival.’ 19 (Tirmidhi, No: 3691)

          حدثنا عبد الله بن بريدة عن أبيه أن النبي قدم من بعض مغازيه فأتته جارية سوداء فقالت يا رسول الله إني كنت نذرت إن ردك الله سالما أن أضرب بين يديك بالدف فقال إن كنت نذرت فاضربي قال فجعلت تضرب فدخل أبو بكر رضي الله عنه وهي تضرب ثم دخل عمر رضي الله عنه فألقت الدف تحتها وقعدت عليه فقال رسول الله إن الشيطان يخاف منك يا عمر

          Abdullah Ibn Buridah narrates on the authority of his father: The Holy Prophet (sws) returned from some of his military expeditions. A black slave girl approached him and said: ‘I had vowed to beat the Daff before you if God brought you back unhurt’. The Holy Prophet replied: ‘If you have, then proceed’. She started beating the Daff. Meanwhile Abu Bakr (rta) came and she continued beating it. Later when ‘Umar (rta) came she covered her instrument under herself as soon as she saw him. At this the Holy Prophet (sws) commented: ‘‘Umar, even Satan fears you’. (Bayhaqi, No: 19888)

          The overall situation depicted in the above narratives makes it clear that the word ‘Habshiyyah’ and ‘Jariyyah Sawda’u’ connote professional singer slave-girl. For it would not be possible for a common lady to perform before the general public.

          The word ‘Qaynah’ in the above mentioned narrative from Sunan Al-Bayhaqi connotes a professional female singer. The context does not permit any other explanation. Besides, it is a known fact that in the Arabic language the word has been used as a term for a professional female singer. The author of Lisan Al-‘Arab writes, ‘and the word ‘Qaynah’ means female slave singer.’20

          Black male and female slaves excelled in the art of dancing and music. Many narratives provide sufficient evidence that they exhibited their skill in the presence of the Holy Prophet (sws) at numerous occasions and he did not condemn it.

          vii. Dance

          عن أنس قال كانت الحبشة يزفنون بين يدي رسول الله ويرقصون ويقولون محمد عبد صالح فقال رسول الله ما يقولون قالوا يقولون محمد عبد صالح

          Anas (rta) narrates: Black slaves were dancing in front of the Messenger (sws) of God and sang the following words: ‘Muhammad (sws) is a pious person’. The Holy Prophet (sws) [did not understand their utterances] and asked what they were saying. The people replied: ‘they say that Muhammad (sws) is a pious person’. (Ahmad, No: 12562)

          We learn from the narrative that:

          Some black slaves were dancing in the presence of the Holy Prophet (sws).

          They were singing the praise of the Holy Prophet (sws).

          The Holy Prophet (sws) did not stop them from doing so.

          He was interested in their performance. This is revealed by his question about their utterances.

          The Hadith literature contains enough evidence to the fact that professional dancers from among the Abyssinian slaves used to perform before the Arabs. The nobles of Arabia would not consider enjoying such performances as undesirable. Therefore they would invite such artists to perform on their festive occasions. Dr Jawwad ‘Ali writes:

          و قد عرف الحبش بحبهم للرقص. و كان أهل مكة و غيرهم من أهل الحجاز إذا أرادوا الإحتفال بعرس أو ختان أو أية مناسبة مفرحة أخرى احضروا الحبش للرقص والغناء على طريقتهم الخاصة

          The Abyssinians were famous for their love of dancing. The people of Makkah and of other territories of Hijaz would call upon them to perform their special dances and sing songs whenever they would hold joyous ceremonies like marriage, circumcision and other similar festive occasions.21

          Many Hadith narratives show that ‘A’ishah (rta) enjoyed the dancing feast of the Abyssinian slaves along with the Holy Prophet (sws).

          عن عائشة قالت جاء حبش يزفنون في يوم عيد في المسجد فدعاني النبي فوضعت رأسي على منكبه فجعلت أنظر إلى لعبهم حتى كنت أنا التي أنصرف عن النظر إليهم

          Narrates ‘A’ishah (rta): Once on an ‘Id day the Abyssinian slaves came and started dancing in the mosque. The Holy Prophet (sws) called me. I placed my head on the Holy Prophet’s shoulder and started watching their performance. [The Holy Prophet did not stop me] until I myself got tired of watching them and turned away. (Muslim, No: 892)

          viii. The Prophet’s Praise for a Melodious Voice

          عن أبي موسى رضي الله عنه عن النبي قال له يا أبا موسى لقد أوتيت مزمارا من مزامير آل داود

          Narrates Abu Musa: The Holy Prophet (sws) [heard him recite the Holy Qur’an] and commented: ‘O Abu Musa, you have been given one of the musical wind-instruments of the nation of David’.

          The narrative tells us:

          The Holy Prophet (sws) liked reciting the Qur’an in sweet sound.

          He rendered it analogous to using musical instruments.

          He appreciated the musical instruments used by people of David (sws).

          This markedly shows that the Holy Prophet (sws) liked melodious utterances. The words of the narrative shows that the reason the Holy Prophet (sws) praised Abu Musa’s recitation was the sweetness of his voice. Obviously, this sweetness of sound should always be considered a desirable thing; not only this sweetness will be enjoyed while reciting the Holy Qur’an but also other poetry, for example, poetical compositions in praise of God and exalting Him and in expressing other good subjects or poetry. In all these things, a beautiful voice should be equally considered a virtue. The art of music and singing is nothing but rhythmical melodious themes. There is no doubt that the principles of reciting the Qur’an beautifully are different from the ones used in common musical notes. However, this is equally true that the treble and bass and beauty and delicacy of utterance are elements common in the Qur’anic recitation and other types of singing. Seen in this perspective, both arts have a common trait of some sort.

          Furthermore, the narrative approves of the musical instruments of David (sws). Thus the Holy Prophet (sws) recognized Biblical accounts regarding David (sws) and his followers about their use of music and musical instruments in singing the praises of God. That is the reason the great exegetes of the Qur’an have recorded this Hadith narrative in connection with the Qur’anic verses dealing with David’s praises of God. While commenting on verse 79 of Surah Anbiya, the celebrated commentator of the Qur’an, Ibn Kathir writes:

          And this was because of his reciting the Psalms in a melodious voice. When he would sing it the birds would stop in the air and sang in response to David; so did the mountains. It is for this reason that when the Holy Prophet (sws) passed Abu Musa Ash‘ari (rta), when he was offering his night prayer, he stopped and listened to his recitation for he had a very beautiful voice. The Holy Prophet (sws) said: ‘Indeed he (Abu Musa) has been bestowed one of the musical instruments of the people of David (sws)’. Hearing this, Abu Musa said: ‘Had I known that he [the Holy Prophet] was listening, I would have pleased him more’. Abu ‘Uthman Nahdi says that he did not find any drum, flute or a reed sound more pleasing than the voice of Abu Musa.22

          Therefore it may safely be concluded that the Holy Prophet (sws) believed in the fact that David (sws) had a melodious voice.

          Comment


          • #6
            Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

            The Messenger of Allaah (peace and blessings of Allaah be upon him) said: “Among my ummah there will certainly be people who permit zinaa, silk, alcohol and musical instruments…” (Narrated by al-Bukhaari ta’leeqan, no. 5590; narrated as mawsool by al-Tabaraani and al-Bayhaqi. The love of the Quran and the love of music cannot combine in the heart of a believer."
            Only daff is allowed...rest sharia of prophet :saw: is fine law of Allah brought later...so today we follow whats in sharia e Mohammadi ....Old laws have been abrogated.

            Originally posted by noorlight View Post
            Prophetic Sayings on Music
            Social Issues
            Manzoor ul Hassan
            (Tr. by:Tariq Haashmi)



            Music was one of the favourite cultural traditions of the Arabs in the days of the Prophet Muhammad (sws). Music and musical instruments were frequently used in worship rituals. It was also employed in the expression of delight and sorrow. Music accompanied wars and festivals too. A study of the traditions ascribed to the Holy Prophet (sws) reveals that not only did he express his likeness for Music but he also encouraged others to play it on festive occasions. Some reliable narratives in this regard make it clear that the mother of the believers, ‘A%’ishah (rta) listened to songs in the very presence of the Holy Prophet (sws). The Holy Prophet (sws) himself is reported to have encouraged people to use music on wedding ceremonies. On his migration from Makkah to Madinah, the women sang welcome songs on the Daff and the Holy Prophet (sws) expressed his approbation of this. At another occasion, a professional female singer and musician approached him and requested him to listen to her song. The Holy Prophet (sws) not only himself listened to her song but also took ‘A%’ishah (rta) to listen to her. The mother of the believers leaned on the Holy Prophet’s (sws) shoulders and enjoyed the performance for a considerable time. During journeys, the Messenger of God showed his likeness for the Hida, a kind of desert song. He is also reported to have appointed a Hadi for his camels who was endowed with a very sweet sound. He also emphasized beating the Daff in order to announce Nikah. Various traditions have been recorded in the books of Hadith on these issues. A study of some of these traditions follows.

            i. Music on the ‘Id Festivals

            عن عائشة قالت: دخل علي رسول الله وعندي جاريتان تغنيان بغناء بعاث فاضطجع على الفراش وحول وجهه ودخل أبو بكر فانتهرني وقال مزمارة الشيطان عند النبي فأقبل عليه رسول الله عليه السلام فقال دعهما فلما غفل غمزتهما فخرجتا

            Narrates ‘A’ishah (rta): The Messenger (sws) of God came to my residence while two female singers were singing the songs of Bu‘ath.1 The Holy Prophet (sws) lay down and turned his face to the other side. Meanwhile Abu Bakr (rta) entered and [seeing the singers] rebuked me thus: ‘Satanic musical instruments in the presence of the Holy Prophet (sws)?’ On hearing this God’s Messenger (sws) turned towards him and said: ‘Let them [sing and rejoice]’. When Abu Bakr was engaged in some other business, I signaled to the girls [to go out] and they left. It was on the ‘Id day.2 (Bukhari, No: 907)

            We can conclude from this narrative the following points:

            The Mother of the believers, ‘A’ishah (rta), was listening to songs on ‘I%d day.

            The songs were being sung in the residence of the Holy Prophet (sws).

            A professional singer was performing.3

            The song was not a hymn to God; rather a relic of a war fought before the advent of Islam.

            The mother of the believers did not stop listening to the song even after the Holy Prophet had arrived.

            The Holy Prophet (sws) did not forbid her from listening to the song.

            He did not stop the female singers either.

            He himself was not attracted to the performance but he must have heard the song as he could hear Abu Bakr’s comments.

            Abu Bakr (rta) condemned the practice at first sight and declared that these were satanic instruments.

            When he tried to stop the singers and censure the listeners, the Holy Prophet (sws) stopped him from doing so.

            The report evidently proves that the Holy Prophet (sws) allowed singing music during religious festivals. This is evidenced by the fact that Holy Prophet’s (sws) wife enjoyed singing and music. Although Abu Bakr (rta) tried to stop the function, the Holy Prophet (sws) did not interfere with it, and let the performers and the audience enjoy themselves. Therefore, in light of this evidence we can conclude that music can justifiably be considered allowable in Islam.

            The following narrative also deals with the issue:

            عن أم سلمة قالت دخلت علينا جارية لحسان بن ثابت يوم فطر ناشرة شعرها معها دف تغني فزجرتها أم سلمة فقال النبي دعيها يا أم سلمة فإن لكل قوم عيدا وهذا يوم عيدنا

            Umm-i-Salamah narrates: A slave girl belonging to Hassan Ibn Thabit (rta) came to us on ‘I%d al Fitr. Her hair was unkempt and she carried a tambourine and was singing [some song]. Umm-i-Salamah rebuked her. But the Holy Prophet (sws) said to her: ‘Ummi-i-Salamah, let her [sing and rejoice]. Certainly every nation has an ‘I%d and this day is our ‘Id’. (Mu‘jam Al-Kabir, No: 558)

            ii. Music on Wedding Ceremonies

            عن بن عباس قال أنكحت عائشة ذات قرابة لها من الأنصار فجاء رسول الله فقال أهديتم الفتاة قالوا نعم قال أرسلتم معها من يغني قالت لا فقال رسول الله إن الأنصار قوم فيهم غزل فلو بعثتم معها من يقول أتيناكم أتيناكم فحيانا وحياكم

            Narrates Ibn ‘Abbas: ‘A’ishah (rta) arranged the marriage of a close Ansari girl. The Holy Prophet (sws) also came to attend the ceremony. He inquired from the people: ‘Have you sent forth the bride?’ ‘Yes’, they replied. ‘Did you send any singer with her?’ He asked. ‘A’ishah (rta) replied in the negative. The Holy Prophet (sws) then remarked: ‘The Ansar cherish singing. It would be better that you sent along with her a singer who would sing’4

            ‘We have come to you; we have joined you. Peace be upon us. Peace be upon you.’5 (Ibn Majah, No: 1900)

            The narrative delineates the following points:

            The way the Holy Prophet (sws) inquired about singing and playing music on this occasion reveals that it was customary for the Arabs to send a singer with the bride when sent to join the bridegroom.

            The Holy Prophet (sws) was not pleased to hear that the custom was abandoned on that occasion.

            He encouraged people to adhere to the custom.

            He suggested some couplets to be recited on such occasions though he did not sing them.

            He referred to the characteristics of the Ansar and did not express his disapproval of the same.

            The narrative proves that the Holy Prophet (sws) approved of singing and playing music on marriage ceremonies. Some other versions of the narrative reveal that the Prophet (sws) noticed that there was no singing or music being played in the house where the marriage ceremony was being conducted. He felt strange and inquired about the reason. Consider the following text of the narrative:

            عن عائشة قالت كان في حجري جارية من الأنصار فزوجتها قالت فدخل علي رسول الله يوم عرسها فلم يسمع غناء ولا لعبا فقال يا عائشة هل غنيتم عليها أو لا تغنون عليها ثم قال ان هذا الحي من الأنصار يحبون الغناء

            ‘A’ishah (rta) reports: An Ansari girl lived under my guardianship and I arranged her marriage. The Holy Prophet (sws) came to my house on the day she was married and did not hear any songs or any other joyful activities. [Observing this] he asked of me: ‘Did you people sing to her or not?’ ‘This is the tribe of the Ansar who like singing,’ he added. (Ibn Hibban, No: 5875)

            iii. Use of Music on Joyous Occasions

            عن ابن عائشة لما قدم رسول الله صلى الله عليه و سلم المدينة جعل النساء وصبيان يقلن:

            طلع البدر علينا

            من ثنيات الوداع

            وجب الشكر علينا

            ما دعا لله داع

            أيها المبعوث فينا

            جئت با لأمر المطاع

            Ibn ‘A’ishah narrates: When the Holy Prophet (sws) came to Madinah, the women and the children started singing: ‘The Moon has risen upon us from the hillocks of Wida‘. We eowe gratitude [to God] as long as those who call God continue doing so. O Prophet (sws) you have brought a religion that is worthy to be followed’.6



            2. عن أنس بن مالك أن النبي مر ببعض المدينة فإذا هو بجوار يضربن بدفهن ويتغنين ويقلن:

            نحن جوار من بني النجار

            يا حبذا محمد من جار

            فقال النبي الله يعلم إني لأحبكن

            Narrates Anas Ibn Malik: [Having entered the city], the Holy Prophet (sws) passed through a certain part of the town. Suddenly some slave girls appeared singing on the Daff the following ditty: ‘We are the slave girls of Bani Najjar.7 How lucky! This day the Holy Prophet (sws) has come to be our neighbor’. At this the Holy Prophet (sws) remarked: ‘God knows that I love you people’8 (Ibn Majah, No: 1899)

            These narratives deal with the Holy Prophet’s arrival in Madinah after his migration from Makkah. Their content can be summarized in the following points:

            The Holy Prophet’s arrival in Madinah was an extremely joyous occasion.

            People expressed their joy by singing joyous songs.

            Slave girls were also from among the singers.

            They had musical instruments to play with their songs.

            The Holy Prophet (sws) and the Companions (rta) heard these songs but they did not express their disapproval.

            The Holy Prophet (sws) expressed his love and kindness for singing women.

            These and other similar narratives sufficiently prove that when the Holy Prophet (sws) reached Madinah after his migration from Makkah, he received a warm welcome. The city had a festive appearance. Every one was filled with joy on the Holy Prophet’s arrival. Women, slave girls, singing women and children expressed their joy by singing welcome songs and playing the Daff. The Holy Prophet (sws) appreciated this. Therefore, one cannot deny the fact that the Holy Prophet (sws) sanctioned celebrating joyous occasion by singing melodies using musical instruments.

            iv. Use of Music during Travels:

            عن سلمة بن الأكوع رضي الله عنه قال خرجنا مع النبي إلى خيبر فسرنا ليلا فقال رجل من القوم لعامر يا عامر ألا تسمعنا من هنيهاتك وكان عامر رجلا شاعرا حداء فنزل يحدو بالقوم يقول:

            اللهم لولا أنت ما اهتدينا

            ولا تصدقنا ولا صلينا

            فاغفر فداء لك ما اتقينا

            وثبت الأقدام إن لاقينا

            وألقين سكينة علينا

            إنا إذا صيح بنا أبينا

            وبالصياح عولوا علينا

            فقال رسول الله من هذا السائق قالوا عامر بن الأكوع قال يرحمه الله

            Narrates Salama Ibn Al-Akwa‘: ‘We set off for Khaybar in the company of the Holy Prophet (sws) at night. A man from the group said to ‘Amir: ‘O ‘Amir, would not you let us hear your poetry?’ ‘Amir who was a Hida poet got down and started reciting for the people [the following verses]: ‘O God, were not it for your guidance, we could not have been able to offer the Salah and pay the Zakah. So please forgive our sins that [we have committed] and the ones we may commit in future. We are ready to offer our lives for your cause. Grant us perseverance when faced [with the enemy] and pour down your mercy upon us. [We are the people] who refuse to surrender when the enemy challenges us to fight. And [we leave them] to cry for help against us’.

            The Holy Prophet asked: ‘Who is that signer?’ They replied: ‘‘A^mir bin Al-Akwa‘’. ‘God bless him’, prayed the Holy Prophet (sws)9. (Bukhari, No: 3960)

            We learn from the narrative that:

            The Companions were along with the Holy Prophet (sws) on his way to Khaybar.

            Some of the Companions requested ‘A%mir (rta) to sing from his Hida (i.e. song sung primarily to drive camels, which correspond to their walk). He complied with the request and began his recitation with such a loud voice that the Holy Prophet (sws) could hear him.

            The Holy Prophet (sws) inquired about the singer approvingly.

            Since he had recited good verses the Holy Prophet (sws) prayed for him.

            Hida is a form of the desert poetry. The verses in this kind of poetry are rhymed corresponding to the pace of the footsteps of the camels. Ancient Arab camel drivers would sing this kind of poetry while travelling through the desert. Though the primary purpose of this singing was to encourage the camels to walk speedily yet the camel drivers themselves enjoyed it a lot. Many Hadith narratives refer to this practice of the time and evidently prove that the Holy Prophet (sws) and his Companions would enjoy this kind of poetry.

            According to other narratives on the same subject, the Holy Prophet (sws) had appointed Anjashah, who had a very pleasing voice, to serve as a Hadi (i.e. camel driver) during his travels in the desert. During one of the travels, the camels started to pace very quickly affected by the sweetness of his sound. The Holy Prophet (sws) stopped him lovingly from singing Hida. He asked the singer not to force the beasts to walk at a faster pace so that female riders do not fall down. ‘Anas Ibn Malik reports:

            كان للنبي حاد يقال له أنجشة وكان حسن الصوت فقال له النبي رويدك يا أنجشة لا تكسر القوارير قال قتادة يعني ضعفة النساء

            The Holy Prophet had a Had, Anjashah. He had a very sweet sound. [During one of his journeys] the Holy Prophet (sws) said to him: ‘Slow down, Anjashah, lest you should break the delicate goblets. Qatadah explained that the Prophet (sws) was referring to delicate women. (Bukhari, No: 5857)

            According to the scholars Hida’ definitely is a type of singing. Dr. Jawwad Ali writes:

            ولحداء هو من اقدم انواع الغناء عند العرب و يغنى به في الاسفار خاصة ولا زال على مكانته و مقامه في البادية حتى اليوم. و يتغنى به في المناسبات المحزمة أيضا لملائمة نغمته مع الحزن. و قد كان للرسول حادى هو البراء بن مالك بن النضر الأنصاري و كان حداء للرجال. و كان له حداء آخر, يقال له انجشة الحادي و كان جميل الصوت أسود, و كان يحدو للنساء النبي, و كان غلاما للرسول.

            Hida is of the oldest type of singing in Arabia that was specifically used during travels and is still used in contemporary Bedouin society. Besides, since the Hida songs suit sorrowful situation, this type of singing was used in mourning etc. as well. The Holy Prophet (sws) got a Hida singer appointed for him called Al-Barra’ Ibn Malik Ibn Nadar Al-Ansari who would drive camels for male riders. Another Had of his was Anjashah who had a very melodious tone. He was a black slave of the Holy Prophet (sws) who was employed to serve as a Had for the camels of the wives of the Holy Prophet (sws).10

            He further writes:

            والحداء هو في الواقع غناء أهل البادية, … هذا النوع من الغناء مما يتناسب مع لحن البوادي و نغمها الحزينة البسيطة التي تطرب بها طبيعة البداوة نفس الأعراب

            Al-Hida’ actually is the singing used among the desert dwellers … this kind of singing corresponds with the tones cherished by the desert dwellers and also with their simple and natural mourning songs that please the nomadic tastes of these Bedouins.11

            Ibn Khaldun writes in his book, Muqaddamah, that the basic purpose of Hida was not only to please the caravan members but also to urge the camels to proceed faster.

            This feeling of joy is even found in speechless animals not to mention humans. Therefore we see that the camels respond to the Hida of the riders, and the horses are affected by the whistles and shrill sounds. We already know that animals receive effects of the songs if they are rhythmical, and correspond to the rules governing the art of music.12

            v. Musical Instruments

            عن الربيع بنت معوذ قالت دخل علي النبي غداة بني علي فجلس على فراشي كمجلسك مني وجويريات يضربن بالدف يندبن من قتل من آبائهن يوم بدر حتى قالت جارية وفينا نبي يعلم ما في غد فقال النبي لا تقولي هكذا وقولي ما كنت تقولين

            Narrates Rabi‘, daughter of Mu‘wwadh: On the occasion of my transfer to my husband’s home after marriage, the Holy Prophet (sws) came to visit us and sat down on my bed just as you [the next narrator] are sitting before me now. Some slave girls were beating the Daff and singing in lamentation of their forefathers who had been killed during the battle of Badr. Then one of the girls sang: ‘Among us is the Prophet (sws) who knows even what will happen in coming days’. At this, the Holy Prophet (sws) said: ‘Do not say this, but go on singing.13 (Bukhari, No: 3779)

            We learn from the narrative that:

            The Holy Prophet (sws) attended a marriage ceremony where some slave girls were singing.

            Singing was not stopped on his arrival.

            The singers used the Daff with their singing.

            The Holy Prophet (sws) heard them [this is evident from the fact that he stopped them from uttering certain words.]

            He however ordered them to continue with what they were singing before.

            This effectively proves that the Holy Prophet (sws) did not impose any restriction on using the Daff, a common musical instrument used in that society. Keeping in view the information we received through the above mentioned narratives we can conclude that Arabs of the times of the Holy Prophet (sws) would use musical instrument to accompany their singing on joyous occasions. This has been done in the presence of the Holy Prophet (sws) to which he did not object. Some other narratives even tell us that the Holy Prophet (sws) even ordered the people to use musical instruments at the occasion of marriage.

            قال رسول الله فصل بين الحلال والحرام الدف والصوت في النكاح

            The Holy Prophet (sws) said: ‘the only thing that distinguishes the allowable act (i.e. Nikah) from the forbidden one (fornication) is the beat of the tambourine and open declaration of the Nikah.14 (Ibn Majah, No: 1896)

            The Daff no doubt is an old musical instrument to be played by hand, which remained in use from ancient times. In this regard, Dr. Jawwad ‘Ali writes:

            The Daff is one of the most well known primitive musical instruments. It is used to express joy and high spirit. Women also play it. The Arabs would commonly use it on their most joyous occasions. When the Holy Prophet (sws) reached Madinah he was welcomed with the singing of songs and playing of the Daff. Usually, the Arabs would use it on joyful ceremonies like weddings, and would sing songs along with it.15

            The Bible also contains references to the Daff as a musical instrument at various occasions. One of the Urdu Bible dictionaries, Qamus Al-Kitab, defines the instrument thus:

            It was a kind of narrow hoop musical instrument which was held in [one] hand and played [by striking it with the other.] It was used to create rhythm while singing and dancing. It would offer much cheerfulness in celebrations and processions.16

            vi. Art of Music

            عن السائب بن يزيد أن امرأة جاءت إلى رسول الله فقال يا عائشة تعرفين هذه قالت لا يا نبي الله قال هذه قينة بني فلان تحبين أن تغنيك فغنتها

            Narrates Sa’ib Ibn Yazid: A woman came to the Holy Prophet (sws). He asked ‘A’ishah (rta): ‘Do you know her?’ ‘No, O Prophet (sws) of God’ she replied. ‘This is the female professional singer of such and such tribe. Do you want her to sing to you?’ So the woman sang for her.17 (Bayhaqi, No: 8940)

            We learn from the narrative:

            A woman connected with the art of music18 came to the Holy Prophet (sws).

            She expressed her desire to sing to ‘A’ishah (rta)

            The Holy Prophet (sws) did not express dislike for this nor did he rebuke her.

            He introduced her to ‘A’ishah (rta).

            With the permission from the Holy Prophet (sws), the singer sang to ‘A’ishah (rta).

            The narrative evidences that the Holy Prophet (sws) did not consider singing evil in its nature. Had it been the case he would have hindered the woman from doing so or at least he would not have allow ‘A’ishah (rta) to listen to her song. Some other narratives tell us that such professional singers and dancers, both men and women, were common among the Arabs of that time, and the Holy Prophet (sws) did not deem it undesirable to enjoy their performance.

            Consider the following narratives:

            عن عائشة قالت كان رسول الله جالسا فسمعنا لغطا وصوت صبيان فقام رسول الله فإذا حبشية تزفن والصبيان حولها فقال يا عائشة تعالي فانظري فجئت فوضعت لحيي على منكب رسول الله فجعلت أنظر إليها ما بين المنكب إلى رأسه فقال لي أما شبعت أما شبعت قالت فجعلت أقول لا لأنظر منزلتي عنده إذ طلع عمر قال فارفض الناس عنها قالت فقال رسول الله إني لأنظر إلى شياطين الإنس والجن قد فروا من عمر

            Narrates ‘A’ishah (rta): The Holy Prophet (sws) was present among us when suddenly we heard children creating noise. The Holy Prophet (sws) stood up. [We found out] that a black slave woman was dancing encircled by children. The Holy Prophet (sws) [called me] saying: ‘‘A’ishah (rta), come and watch’. I came [to him] placed my chin over the Prophet’s shoulders and watched through the space between his shoulders and head. The Holy Prophet (sws) asked many times: ‘Have you not got enough of it?’ In order to know how he cares for me I continued replying in the negative. Meanwhile ‘Umar (rta) came and the gathering disbursed [seeing him]. At this the Holy Prophet commented: ‘I see that the devils from among the Jinn and the humans have fled at ‘Umar arrival.’ 19 (Tirmidhi, No: 3691)

            حدثنا عبد الله بن بريدة عن أبيه أن النبي قدم من بعض مغازيه فأتته جارية سوداء فقالت يا رسول الله إني كنت نذرت إن ردك الله سالما أن أضرب بين يديك بالدف فقال إن كنت نذرت فاضربي قال فجعلت تضرب فدخل أبو بكر رضي الله عنه وهي تضرب ثم دخل عمر رضي الله عنه فألقت الدف تحتها وقعدت عليه فقال رسول الله إن الشيطان يخاف منك يا عمر

            Abdullah Ibn Buridah narrates on the authority of his father: The Holy Prophet (sws) returned from some of his military expeditions. A black slave girl approached him and said: ‘I had vowed to beat the Daff before you if God brought you back unhurt’. The Holy Prophet replied: ‘If you have, then proceed’. She started beating the Daff. Meanwhile Abu Bakr (rta) came and she continued beating it. Later when ‘Umar (rta) came she covered her instrument under herself as soon as she saw him. At this the Holy Prophet (sws) commented: ‘‘Umar, even Satan fears you’. (Bayhaqi, No: 19888)

            The overall situation depicted in the above narratives makes it clear that the word ‘Habshiyyah’ and ‘Jariyyah Sawda’u’ connote professional singer slave-girl. For it would not be possible for a common lady to perform before the general public.

            The word ‘Qaynah’ in the above mentioned narrative from Sunan Al-Bayhaqi connotes a professional female singer. The context does not permit any other explanation. Besides, it is a known fact that in the Arabic language the word has been used as a term for a professional female singer. The author of Lisan Al-‘Arab writes, ‘and the word ‘Qaynah’ means female slave singer.’20

            Black male and female slaves excelled in the art of dancing and music. Many narratives provide sufficient evidence that they exhibited their skill in the presence of the Holy Prophet (sws) at numerous occasions and he did not condemn it.

            vii. Dance

            عن أنس قال كانت الحبشة يزفنون بين يدي رسول الله ويرقصون ويقولون محمد عبد صالح فقال رسول الله ما يقولون قالوا يقولون محمد عبد صالح

            Anas (rta) narrates: Black slaves were dancing in front of the Messenger (sws) of God and sang the following words: ‘Muhammad (sws) is a pious person’. The Holy Prophet (sws) [did not understand their utterances] and asked what they were saying. The people replied: ‘they say that Muhammad (sws) is a pious person’. (Ahmad, No: 12562)

            We learn from the narrative that:

            Some black slaves were dancing in the presence of the Holy Prophet (sws).

            They were singing the praise of the Holy Prophet (sws).

            The Holy Prophet (sws) did not stop them from doing so.

            He was interested in their performance. This is revealed by his question about their utterances.

            The Hadith literature contains enough evidence to the fact that professional dancers from among the Abyssinian slaves used to perform before the Arabs. The nobles of Arabia would not consider enjoying such performances as undesirable. Therefore they would invite such artists to perform on their festive occasions. Dr Jawwad ‘Ali writes:

            و قد عرف الحبش بحبهم للرقص. و كان أهل مكة و غيرهم من أهل الحجاز إذا أرادوا الإحتفال بعرس أو ختان أو أية مناسبة مفرحة أخرى احضروا الحبش للرقص والغناء على طريقتهم الخاصة

            The Abyssinians were famous for their love of dancing. The people of Makkah and of other territories of Hijaz would call upon them to perform their special dances and sing songs whenever they would hold joyous ceremonies like marriage, circumcision and other similar festive occasions.21

            Many Hadith narratives show that ‘A’ishah (rta) enjoyed the dancing feast of the Abyssinian slaves along with the Holy Prophet (sws).

            عن عائشة قالت جاء حبش يزفنون في يوم عيد في المسجد فدعاني النبي فوضعت رأسي على منكبه فجعلت أنظر إلى لعبهم حتى كنت أنا التي أنصرف عن النظر إليهم

            Narrates ‘A’ishah (rta): Once on an ‘Id day the Abyssinian slaves came and started dancing in the mosque. The Holy Prophet (sws) called me. I placed my head on the Holy Prophet’s shoulder and started watching their performance. [The Holy Prophet did not stop me] until I myself got tired of watching them and turned away. (Muslim, No: 892)

            viii. The Prophet’s Praise for a Melodious Voice

            عن أبي موسى رضي الله عنه عن النبي قال له يا أبا موسى لقد أوتيت مزمارا من مزامير آل داود

            Narrates Abu Musa: The Holy Prophet (sws) [heard him recite the Holy Qur’an] and commented: ‘O Abu Musa, you have been given one of the musical wind-instruments of the nation of David’.

            The narrative tells us:

            The Holy Prophet (sws) liked reciting the Qur’an in sweet sound.

            He rendered it analogous to using musical instruments.

            He appreciated the musical instruments used by people of David (sws).

            This markedly shows that the Holy Prophet (sws) liked melodious utterances. The words of the narrative shows that the reason the Holy Prophet (sws) praised Abu Musa’s recitation was the sweetness of his voice. Obviously, this sweetness of sound should always be considered a desirable thing; not only this sweetness will be enjoyed while reciting the Holy Qur’an but also other poetry, for example, poetical compositions in praise of God and exalting Him and in expressing other good subjects or poetry. In all these things, a beautiful voice should be equally considered a virtue. The art of music and singing is nothing but rhythmical melodious themes. There is no doubt that the principles of reciting the Qur’an beautifully are different from the ones used in common musical notes. However, this is equally true that the treble and bass and beauty and delicacy of utterance are elements common in the Qur’anic recitation and other types of singing. Seen in this perspective, both arts have a common trait of some sort.

            Furthermore, the narrative approves of the musical instruments of David (sws). Thus the Holy Prophet (sws) recognized Biblical accounts regarding David (sws) and his followers about their use of music and musical instruments in singing the praises of God. That is the reason the great exegetes of the Qur’an have recorded this Hadith narrative in connection with the Qur’anic verses dealing with David’s praises of God. While commenting on verse 79 of Surah Anbiya, the celebrated commentator of the Qur’an, Ibn Kathir writes:

            And this was because of his reciting the Psalms in a melodious voice. When he would sing it the birds would stop in the air and sang in response to David; so did the mountains. It is for this reason that when the Holy Prophet (sws) passed Abu Musa Ash‘ari (rta), when he was offering his night prayer, he stopped and listened to his recitation for he had a very beautiful voice. The Holy Prophet (sws) said: ‘Indeed he (Abu Musa) has been bestowed one of the musical instruments of the people of David (sws)’. Hearing this, Abu Musa said: ‘Had I known that he [the Holy Prophet] was listening, I would have pleased him more’. Abu ‘Uthman Nahdi says that he did not find any drum, flute or a reed sound more pleasing than the voice of Abu Musa.22

            Therefore it may safely be concluded that the Holy Prophet (sws) believed in the fact that David (sws) had a melodious voice.
            ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

            Comment


            • #7
              Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

              Singing without musical instruments is allowed or with daff...but not with today s lot of instruments we see...And i wont go in detail about the shirki material added in songs..comparing lover to God..astaghfirullah.Instruments are tool of satan.
              ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

              Comment


              • #8
                Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                The shaykh is wrong about the Shafi Madhab.....

                Dancing and Sufi Dancing (Hadra) According to the Shafi Madhab

                Dancing is Permissible in the Shafi School

                Imam Nawawi said about dancing, ““Dancing is not unlawful, unless it is languid, like the movements of the effeminate. And it is permissible to speak and to sing poetry, unless it satirizes someone, is obscene, or alludes to a particular woman” (Minhaj al-talibin wa ‘umdat al-muttaqin. Cairo 1338/1920. Reprint. Cairo: Mustafa al-Babi al-Halabi, n.d., 152).’

                Imam Muhammad Shirbini in his commentary of Al Minhaj Talibeen comments, “It is not unlawful because it is only motions made while standing or bowing. Furani and others have expressly stated that neither is offensive, but rather is permissible, as is attested to by the hadith related in Sahihs Bukhari and Muslim that the Prophet (Sallahu alayhi wa salam) stood before Aisha (Allah be pleased with her) to screen her from view so that she could observe the Abysinians sporting and dancing) (Mughni al muhtaj ila marifa ma ani alfaz al Minhaj 4/430)

                Authentic Hadith for Permissiblity of Dancing

                Imam Ahmad relates from Anas (Allah be well pleased with him), with a chain of transmission all of whose narrators are those of Bukhari except Hammad ibn Salama, who is one of the narrators of Muslim, that

                The Ethiopians danced in front of the Messenger of Allah (Allah bless him and give him peace); dancing and saying [in their language], “Muhammad is a righteous servant.” The Prophet (Allah bless him and give him peace) said, “What are they saying?” And they said, “‘Muhammad is a righteous servant’” (Musnad al-Imam Ahmad. 6 vols. Cairo 1313/1895. Reprint. Beirut: Dar Sadir, n.d., 3.152).

                Shaykh Nuh Keller comments, “Other versions of the hadith clarify that this took place in the mosque in Medina, though in any case, the fact that dancing was done before the Prophet (Allah bless him and give him peace) establishes that it is mubah or “permissible” in the shari‘a, for if it had been otherwise, he would have been obliged to condemn it.”

                Shaykh Abdul Qadir Isa comments, “This hadith contains evidence that it is permissible to gather between permissible movements and exaltation of the Messenger of Allah (sallahu alayhi wa salam) it also proves that movement during remembrance is not describe as forbidden dance, rather, it is permissible because it energizes the body for remembrance and assists one in having presence of heart with Allah – if one’s intention is sound – for actions are according to their ends and actions are based on their intentions and every person shall have what he intends. (Haqaiq Tasawwuf)

                The Sufi Hadra

                It is appropriate to address the issue of the Sufi Hadra , which is dancing, with remembrance (dhikr), and the singing of poetry, since this hadith as Shaykh Abdur Qadir explains, indicates it permissible. We have established that dancing is permissible. Now in regards to the hadra, which Imam Shafi has not spoken about, other Imams such as Imam Ibn Hajar Al Haytami and Imam Suyuti have said it was permissible. Imam Ibn Hajar Al Haytami said, “It is permissible to stand and dance during gatherings of remembrance [of Allah] and audition (sama’) according to a great group of scholars, among them Shaykh al Islam Ibn Abd Salam. [” (Fatawa Hadithiyya pg 298)

                Quranic basis for the Sufi Hadra

                Imam Jalal al-Din Suyuti has provided more proof for dancing as well as the proof for mixing dhikr with any permissible act, Imam Suyuti was asked for a fatwa or formal legal opinion concerning “a group of Sufis who had gathered for a session of dhikr,” and he replied:

                “How can one condemn making dhikr while standing, or standing while making dhikr, when Allah Most High says,“. . . those who invoke Allah standing, sitting, and upon their sides” (Quran 3:191). And ‘A'isha (Allah be well pleased with her) said, “The Prophet (Allah bless him and give him peace) used to invoke Allah at all of his times” [Sahih Muslim, 1.282: 373]. And if dancing is added to this standing, it may not be condemned, as it is of the joy of spiritual vision and ecstasy, and the hadith exists [in many sources, such as Musnad al-Imam Ahmad, 1.108, with a sound (hasan) chain of transmission] that Ja‘far ibn Abi Talib danced in front of the Prophet (Allah bless him and give him peace) when the Prophet told him, “You resemble me in looks and in character,” dancing from the happiness he felt from being thus addressed, and the Prophet did not condemn him for doing so, this being a basis for the legal acceptability of the Sufis dancing from the joys of the ecstasies they experience.” (1)

                (al-Hawi li al-fatawi. 2 vols. Cairo 1352/1933–34. Reprint. Beirut: Dar al-Kutub al-‘Ilmiyya, 1403/1983, 2.234)

                The Conclusion with regards to Dancing

                We have Quran, authentic hadith and sound Islamic scholarship, which support dancing and sufi dancing. So we have four Shafi Imams, who have stated that dancing is permissible, Imam Nawawi, Imam Suyuti, Imam Shirbini, and Imam Ibn Hajar Al Haytami, and two authentic hadiths have been used to validate the position and a Quran basis for the Sufi Hadra provided by Imam Suyuti.

                Singing is permissible in the Shafi and Maliki madhab

                Shafi-----> Imam Nawawi said, "There is nothing wrong with singing poetry in the Masjid as long as it is in praise of Prophethood, or Islam, or its wisdom, encouragement to good character, asceticism and other types of goodness." (sharh Sahih Muslim)

                Al Ghazali said, "Melodious singing on the backs of camels was a custom of the Arabs in the time of the Messenger of Allah, saw, and the Companions. It is nothing more than poetry delivered with nice voices and measured in rhythms. It is not recorded from any of the Companions that they rebuked it." (Ihya Ulum ad din)

                Maliki ------> Abu Bakr Ibn al Arabi al Maliki said, "There is nothing wrong with singing poetry in the Masjid as long as it is in praise of the religion or the establishment of the Sacred Law." (Tuhfa al Ahwadhi Sharh Sunan al Tirmidhi)

                The Proof for Singing

                Hadith 1-----> Anas narrated, "During the construction of the Masjid (in Medinah), the Messenger of Allah, saw, used to carry bricks with the people while they were singing, "O Allah! There is no true life other than the life of the hereafter
                So give victory to the Ansar and the Muhajirun! ((Bukhari and Muslim)


                Hadith 2------> Said b al Musayyid, "Once, Umar passed by the Masjid while HasanBin Thabit was singing. Umar gave him a stern look of rebuke, to which Hassan replie, "I used to sing songs while one better than you was present (meaning the Messenger of Allah).' Then Hassan turned to Abu Hurayra and said, "I adjure you by Allah! Did you not hear the Messenger of Allah say, "Respond to me! O Allah! Aid him with the Holy Spirit?" Abu Hurayra said, Yes. (Bukhari and Muslim)

                Hadith 3 -------> with commentary from Ibn Hajar Asqalani Anas narrated, "Once the Prophet,saw, was on a journey and there was a young servant named Anjasha who would sing to the camels (to make them ride faster). The Prophet,saw, said to him, "Take it easy Anjasha! You are carrying delicate vessels." Abu Qilaba said, 'He meant the weak ones among women fold." (Al Bukhari and Muslim)

                Anas Ibn Malik narrated, The Prophet, saw, had a singer who was called Anjasha, and he had a very beautiful voice. The Prophet, saw, said to him, "Take it easy Anjasha! Do not break the delicate vessels" Qatada said, "He meant weak ones among the women folk."

                Ibn Hajar al Asqalani comments from his commentary on Bukhari,

                "Ibn Battal said, The word vessel here is an allusion to the women who were riding the camels on that day. He, saw, ordered the singer to tone his singing down, because it was prodding the camels to move faster, and it was not safe because the women folk might have fallen down... Ibn Abd al Barr cited an agreement that singing is permissible. In the words of some of the Hanbalis there appears to be a difference about it. He who forbids it is faced with the evidence of numerous authentic hadith. In addition to this type of singing (for prodding camels) there is the singing performed for pilgrims on their journey (to Hajj) that causes them to long for the Hajj by mentioning the kaa'ba and other shrines. Similar to this is the singing done to encourage the people of jihad to fight. Al Tabari narrated from the route of Ibn Jurayj who said, 'I asked Ata about singing poetry and songs. He replied: There is nothing wrong with it as long as it does not contain vile lyrics. Ibn Battal said, Whenever a poem or metered song contains mention of Allah, exaltation of Him and His Divine oneness, giving preference to His obedience and submission to Him, then it is good and encourage. That is what is meant in the Hadith, "Indeed some poetry contains wisdoms.: Whatever songs contain lies and vile lyrics, then they are blameworthy.. o the upshot of this is, singing in rajz rhyming pattern and singing poetry was always done in the presence of the Prophet and perhaps tolerated. It is nothing more than poetry delivered with nice voices and measured rhythm."

                Conclusion:

                Singing is permissible, according to Imam Nawawi, Imam Ibn Hajar Asqalani, Imam Ghazali, Imam Ibn Arabi a Maliki. And there is numerous proof.

                And Allah knows best.

                aMuslimForLife

                (1) Ali Ibn Abi Talib narrated, “I once visited the Prophet (sallahu alayhi wa salam) with Jafar (Ibn Abi Talib) and Zayd (ibn Haritha). The Prophet (sallahu alayhi wa salam) said to Zayd, “You are my freedman, where upon Zayd began to hop one one leg around the Prophet. The Prophet (sallahu alayhi wa salam) then said to Jafar, “You resemble me in my form and manners”, where upon Jafar began to hop behind Zayd. The Prophet (sallahu alayhi wa salam) then said to me, “You are part of me and I am part of you” where upon I began to hop around Jafar. (Narrated fron Ali by Ahmad in his Musnad with a sound chain as stated by Shakir (1:537 #857) and by Al Bazzar in his Musnad with a sound chain according Al Haytami in Majma al Zawaid (5:176). Ahmad chain is graded as “Strong” by Al Arna’ut in Sahih Ibn Hibban(15:520 #7046)
                My Blog ---> Reflections of the Traveler http://baraka.wordpress.com

                Comment


                • #9
                  Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                  lol are these all aMuslimForLife's desperate trolls? They have a common trend of defending biddah and bashing 'wahabbis' while copy pasting ten thousand pages and rejecting hadith which counter argue their out of context quotations, rationalizations and interpolations

                  Comment


                  • #10
                    Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                    The Narration of Ibn Maajah :
                    The Messenger of Allaah peace and blessings of Allaah be upon him said : "A people of my Ummah will drink wine, calling it by other than its real name. Merriment will be made for them through the playing of musical instruments and the singing of female singers. Allaah will cleave the earth under them and turn others into apes and swine." This hadeeth has also been narrated by al-Bayhaaqi and ibn Asaakir, and has been authenticated by the renowned scholar of hadeeth Ibn al-Qayyim.


                    Narrations of Ahmed bin Hanbal :
                    The Messenger of Allaah peace and blessings of Allaah be upon him said : "Verily Allaah prohibited wine, gambling and al-koobah; and every intoxicant is prohibited." Sufyan said : " I asked the narrator, Ali bin Badheemah, ' What is al-Koobah?' He answered, 'It is the drum'."

                    The Messenger of Allaah peace and blessings of Allaah be upon him said : "Verily Allaah has prohibited for my Ummah wine, gambling, a drink distilled from corn, the drum and the lute; while He supplemented me with another Prayer, the witr"

                    The Narration of Haakim and Others :
                    That the Messenger of Allaah peace and blessings of Allaah be upon him said : "Verily I did not prohibit weeping [per se], but rather I forbade two voices [sowtayn] which are imbecilic [ahmaq] and sinfully shameless [faajir]: one a voice [singing] to the accompaniment of musical amusement [lahw] and Satan's [wind] instruments; the other, a voice [wailing] due to some calamity, accompanied by striking of the face and tearing of garments. But this [weeping off mine] stems from compassion, and whosoever does not show compassion will not receive it." This hadeeth is graded Hasan, and has been strengthened by other narrations.

                    The Narration of Abu Bakr ash-Shaafi'ee : Anas bin Maalik ra (may Allaah be pleased with him) related from the Prophet peace and blessings of Allaah be upon him that "two cursed sounds are that of the [wind] instrument [mizmaar] played on the occasion of joy and grace, and woeful wailing upon the occurrence of adversity."
                    ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

                    Comment


                    • #11
                      Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                      Music according to scholars is allowed with daff but when it compels for making one away from deen its haram.So basically music with other instruments comes mostly in makrooh to haram category the ones we see today depending on its effects.Daff is allowed.

                      Tell me how much musical instruments or music keep people away from islam? Alot.Some are even addicted to it.Since prophet :saw: knew it that his ummah fall to this trap ..so he made warning beforehand...so did sahaba ra.
                      Last edited by snow_flakes; 08-12-14, 02:56 AM.
                      ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

                      Comment


                      • #12
                        Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                        Abu bakr sadique ra called music a tool of satan.
                        ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

                        Comment


                        • #13
                          Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                          Originally posted by snow_flakes View Post
                          Abu bakr sadique ra called music a tool of satan.
                          Yeah and Prophet (pbuh) is greater and he stopped Abu Bakr (ra) from preventing singers and music doing their songs.

                          Comment


                          • #14
                            Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                            Originally posted by noorlight View Post
                            Yeah and Prophet (pbuh) is greater and he stopped Abu Bakr (ra) from preventing singers and music doing their songs.
                            I noticed you said similar on another thread too. You do know that wind and string instruments are haram?

                            Rasul Allah (sal Allahu alaihi wa sallam) said: “Allah Mighty and Majestic sent me as a guidance and mercy to believers and commanded me to do away with musical instruments, flutes, strings, crucifixes, and the affair of the pre-Islamic period of Ignorance.” [Abu Dawud]

                            Comment


                            • #15
                              Re: Mujaddid Alf-e-Thani on the Kufr of Singing and Dancing

                              Originally posted by noorlight View Post
                              Yeah and Prophet (pbuh) is greater and he stopped Abu Bakr (ra) from preventing singers and music doing their songs.
                              Stop lying...he :saw: didnt stop Abu bakr ra but told the lady to sing coz she has sworn to sing to prophet :saw:
                              Note that she wanted to sing without instrument.Here again comes refutation of instruments.
                              ".......He giveth and spendeth (of His bounty) as He pleaseth. But the revelation that cometh to thee from Allah increaseth in most of them (kuffar) their obstinate rebellion and blasphemy.Amongst them we have placed enmity and hatred till the Day of Judgment. Every time they kindle the fire of war, Allah doth extinguish it;but they (ever) strive to do mischief on earth. And Allah loveth not those who do mischief."(5:64)

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