Music and Rel Ammon Shiloah Acta Musicotogica. Vol, 69. Fase, 2 Gul, Dee., IST, 144-155. Suuble URE: Ilupeinks jssor nets skcr=t 0M -624 14 28 ERG IF 2G TL BAGG BAG ACHES BAM ARI EMCO BLY Acta Minteviexiea iseurnenthy published by Interuslional Musicelngwal Seciety Your mse of the [STOR archive indiciues your aceeplance uf JSTOR’ s Terns and Chndiiuns of Use. vailoh bulp:fuk jar orgtakeardlerms.hlnl, STOR Texvas anil Coneations of Lise prosadles. im pail on less yun has chloinca! prior permissiea. you may wel desnlbad an entire sie ola juurnal ve malik: cepiessarbcles, anal yon dhe ISTOR archive unly lor your persinal. nun-commnercial use Please vontucl the publisher regarding any Tuniher use nl Ihis rk, Poblisher conlie| ialprnabun nay be waned al hiyrfok ystor.oresjwammabéimnust hee Enoch copy of any putea ISTOR irnsmissiun musa contin the sure enpyril pin Wnuuive thew appears omuhe serccu or ASTOR ism independent neteforepaolt onzanicuion cedicaned w crosmimg ave prcsers ny unchise ai schol joomals, Fur more informmtion rearing JSTOR, pass chniel sapportdzjstor.cr bupsak gute Wo Get 27 Is aMusic and Religion in [slam |AMNCN SHILIAH (JERUSALEM) 1 An Dveewion Case year, following the victory of the Taibars in Afganistan. cost of the West~ fem press published epnms relesang to various manifestatines of the new te: igine’s undamentilism One euch reptoet that appeared an the prestigious Brench daily .Le Monde” {12 Qctober 1986}, told af a presumably authoritative edict caiuing upon the Afghans, wn aee vary fond of bieds, tn open their cages and froy their festsyred Seugnily, They would thus aunid enjoying the senging nf he binas, ae Cslamic laye prohibits she listening to music AAhuugh | seriously doubt the veliabulily of the nai item, and construe il ag either a misinteeprelation or PinouikderslaMditit. CaM nevertheless be regarded ad an andicaton oF the vigor Gus, eaUtaring ebay ewer the permtmibility of wnusig my Glanh, a ebae fu veh has essay 9 dethtated, Unbike this angedilal untesductiie bn the subjetl, Bae fever. my aberph hr describe and analyst the cum ficting views characterizing the intermieable, age-old argument, wil essentally refer tx appropriate sv arces Many of these sources are :n the fniea of real or hypothetical responses pravaled by reigned religous aurhormes to a vaerty ef questions arlderssed co them by their snneenppnraries, ‘The Sani® The predominant term or cecept under which the writings of thus category ap: pear is sami vihich literally means listening or audition and by eatensuin, 29° music listened to, iL alsa mzhudes dance as practised suainky by many mystic con Iraternitnes The ahuoilant heerature dealing with the seni concerns pricnarily the questing uf lawicinass or unlawfulness af music and dance fmm a legal, Iheolagical and nrystioal poe nf syeer. The concept OF soma" ry cukraviedl tind! any} whigh Bp extension designates music, music making and perto nt amy, Avoniad empinly with secular Art Musee; this AF ABTA) bashed hy most af the gurus yeni ep] with the sed" [ei iMbereating ty at in Hh RE har the qvclustey #esimilation of she concept ghird’wilh 8 kiid Of urbanized Ae music ond music making has secasivnally led eeligious authariuey tu eorbane Koran caniillalion. the singing af uaacconysa nit hyn, old beduuin sungs.and the simple fanrtinnal Ink tunes ntarking évents im che hfe uF individual and somoainiy in the ealegney of permissible forms of Sad In other words, they psnce | ero vr aie ate rbd in toy HLM tlre, Te Tey af Mai Aram rch PM FISH. see 1s ei hie pata ter wen Pe nce etapa tage The repent Hse team Nene cet a Fease ‘Amnon Shilogh: Mas anu Ral yan a Blau consider ail these forms ax anon-mmusic™, gontrayting yath gin” the sole gene Lo which theappellative music is applied" ‘The intesaainable debs le aboul Lhe saneTalready emerged during the fies cei turies of Islam and has been pérpetudted wilh varus degrees of antéreity wnt our pwn days. [a all the major centers nf Eslem extending fram India, Indanesia and Cealsal Asia lo Actica, legaliss, chenlogians, spiritual leaders, susban cuslor dians of conraley, the {identi and leaders of mystic con{ateentties, al. sok parr in tris debare which cheater! views that vary [rom complete negatum full al mutiance of all musica! forms and mens miclading the controversial dance Bee aren the Loin extremes, one can find all possible nuances Some authorities, for ingcancy, tolerated 1 rudimentary form of canuillation and fuactional song, Dut banned any instremental accomparament; uthers allowed Ce use of a fraam drum bul without discs, forbidding all other instraments, particularly those be: longing % the coniophone family. The mystic orders. for whos music and dance held a vital part in the perlorming oFsprritual gay eustate ntes, were soti- ously coagemnad with the debate and paricipated ardently in the polermuss. Ie this respect, uae shuld remennber that most of the Bagshast attacks auainst mit sic and dance lal by the jests weve obviously directed agsinst the niystics r sufist, and thear singing and dancary prdctaces, wha inl green cases embodied manifestations of protikgacy the Lega sources Fram the foregging, general rernacks ir follews thal iuurm the very beg:nning the relgious authosties in Islam, be they leyalists, readivionalists uv theulog-ens, adupted 9 reserved atinude toward “heovert ust ot mesic in warship fn a0 Joe ing, they became the majur cause nf the abvence of recognized. nfficial mosque Inudsic which cright have parallsled church er xynagngal music. Beloce proceed smyptw-an aealysis of this attitade, x would he cxafal 0 ker ie ind the Funda sseneal axon that #0 songle canonist or rclignmus actunty, whatever his rank, fan pear deeide on a profubition 2x authorizavan: such an authority. 6 ex ‘pevivdl a bavi hip arguments either on dieact references in the sacred writings, wt jen analogr exegesns One of the majse difficulties encountered in dealing with Je question ef Iavefalness is the fact thal Ow onost gareed tomt, the Knsan, con inf almost nothing expressly concerning susie Tn views of this lack, pernagn- anits all turned ti anpther authentative source: thy hadi (Trou eons of the Prophet whuch in the course of time acquired the fone wf Iw. By the Last yoar of Muhanad’ Ife st was alvendy’ 2 plows custom, when. two Muslims crit, for cone to ask for news itadvh) and the athee by respond with saving of the apr of Kk an lg wea eve Ge apts ne emphases sel ig miter Mel by ave seen“ w eral sy a oul wich ewe sc aps ete pen Non evry st) pulp cont aon Ue Ren le eng he mar vesauons ef maces mam erpevem! ee eee labsscea een! Tinancrrnaes autarrdcheettcinaereaescet soe) Ta amet Roan anh nes en tho Resa wasp and egy Zee = aig secaea hore pict rere tig a pneno eeaelen waneAvinon Shiaah: Atuoie and Region am elm 1s prophet or an anecdate about him. iach hadith is composed of a basic text the futhuntivily e€ which was guargntesd by 2 chain of wilnesseg After Mulan- rmal'y death thug custom was perpetuated and the term Medio continued tw Be applied tosayings and sturies that of course were no Longer new. There was alsa a growing number of tabricated hadi conceived to serve various political and ideniogical interedls unlil, finally, ber autharitaive edllechuns that became rmundels and rules fr bving were aeceptod: they were compiled by al-Bukha‘' fd FU) and Mushen (d. $P4]. bath wese called sl-Sabih (Gemaine). Por an wea of the huge amunl of Radi thal werr in cirrulaein, ars ‘elpful w realize thal ale Bukhais authocitatwecollection includes 70K, chosen frem araon g £68. Recourse to the faifith and the analogous exegesis by great authorities. fare the basis of mast nf the arguments put fonwaré by both the opponents af music and thse who itefended its cause, the same hedlth often being used to penve a given foint and its wpposire We have wr reached the principal questa. What Peovuked the hustle atrtude toward music adepted by’ its advorsariea, ant what fay behind the debate conducted by its defenders? What cucumsiences evike! these divergent appenaches? The first Hoatise om the ian bnesy af misty Before delving inte duteil, Cw ty draw attention bo a signilican chetriolagecal event which | believe can shed light on the above quesluiag. This ¢vent wis Ee appearance bf the first full-sesle trestae eivatituding env of the fiercest altacks pn muusie, which becaaie a model fer all subsequent texts on the subject. Kes authiit, Tit abi" Duda (823-894), wns a great student of tradition who lived a Heclusuee life dévurted te religion, He was also the tutor of the caligh al-Mutagid (92-902) and his son, a-Muktafi. who reigned between 2 and OR. Ie 15 worth mentioning the persinert fact thal the caliphs, kanwn ss the commanders of the faithful, embodied the unity nf the religious and secular an fslae, ara thy held absolute sway. th the main, however, they were enthusiastic supparcers of art teaustc, roaking tt an integral part of their regal lle and a muccel of inspiration for the upper steata of society. Yat, althnugh obliged ws ebey the rules af Celare andl the sacred Law thal tegulated socal as well as religious Wife, they were in pen coniict with the learned expounders af [slamie eeligign and jaw Ih the face al their passumaty love for music and eagemesa fre pense, which were aften combined with dnnking and Libertinage, is easy ty understand the venting af Musics rigurists who therefore adopted a purtynical attitude, stressing. arviz tral mvelation and religious observance mnrg than Eevlings. Ta Ray urideestand- ing, this conflicting attitude may yell have besn ome of the hiaje! fachers in the emerging debate aver the Iawfu iness sf music ‘This was against the background af [ba ath Dunya’ diatribe against music. Ho way indged an eyewitness Mi Ihe developement of the highest blassoming of ant masic af well ag of Ialiauc cvvtluation, a petiod that became kacawy as the ‘Goldea Age af Muslim sivilization16 Ausaan Shiteah. Music and Region i Elan The Matas In the ttle oF his evurk Bhatia aF-naiZeT (Condemnation of the mati, Ion AGP ‘Dunya used the concept mei im a sence that implied a puritarac approach ta all kinds af amusement ack cecrenlina, Indeed, the term mahi is a derwahve ot tates (pastime, diversion which was used digurah wely by cantem porary authors ti ies:gnate musical instruments in studiesdealing wk secular rausic Tbr abi' ‘Dunya seems lo have been the first im have systematized and conceptualized ics rejurative meaning in indsrate whal he called. . the instruments of diversion 3nd he extended its meming tu incluiteany forbuirlen music and other rears af Aesusement that dustract the faithful fram performing thew religious cuties: This specific imterpretatus of the conzept has guided all subsequent authors whe sdealt-with the gustan of the laveiless oF nic Yon abl LOunya’s treatise’ is cumposnd oF 9 sequence nf 6f Aadttes at varying: Tengih wah cecasional comments meant to clarify curtain abstruse staternents ‘Almost all his references to awical wisleumanls, Music, and malsle making are “interven with stakements conceming her fivbiddén pleihuces ad niutbe- haviour Ovet are inchrapabble with. the perkormance of religious duties, or moral conduct, and thal wall bring peed luna In their perpettotors. The last 31 Axis do faint touch upon music but are enbiely devoted br the inerdiction of divination. sgarmes and gambling toackyarrmon and chess}. as well as ale anc. Ferale and Teultows chat the autharappltes the concept mat which occurs in she tte ofthe wark. s0a whole gamut if forbiddes pleasures and anoral musbehaviowrs ssf which music and its practice are inseparable paris. fn se daing. the author sie verges in bis approach significantly frurn the way twa contemporaries nt hus, he _gigeaphee aad eustorian bs Khurradacthbik (425.911) aru tho grammanan ale Mufastla! abe, Salina (KW-U25) uted molt. They both wrote treatises entitled Bafa (Book of Musical Insteuments) dealing esaunly wath the character- iol, lesicageaphical and ‘ustarical aspects of rmusical Instruments ag well ag music in general wilhoul any peyarauve reference to maT Neverthelew, Tbr abi -Dunya's anleepietation and puritanir approach predominate in all suber quect literature on the SAR a contepl Une Author dows not Ue The first SaifQh reported by thn abl’ Ohana refs t0 the mavGEyC acct annie oF guyiin (ol. of gana Tr pees ser auin of ape a aU of AgNO empl Hy ne geno. a tale nb es eal 3 109 mars ht rpm! Parag ee The ik eo ete aw ETD, feed Ie ie werk orp ahi ARE fete af ans inpaeee Mast sain mT ie cieneyJaMe RM iat Re Tey 202-28) ngs Pasian ae po (AI The ws merka sve be pl woth Bogesnmon Slalsah: Masi aral Retygion vo dsm ood The many ‘The Radith wtsell expluns this term as eqinvalent tlie abtarm, thae is to say, insteumerts af music ‘The cencept lanl which attributes a niyeiad of erations resulting from the soleann recitation of a poem and the effec of hstening to mu sic, has been used by exterssun ta desperate music. The second fvalife adds In rection with the maf that some of those who seek ta atiute emotion by listening 40 Insirummants of malsie will apead the night ws foud,drink and diver: ain" aid AllAB will send aia therw the desalating wind” Sach conduct 1s Among the fifteen musdeeds that will bang afflsian upon dheir perpetrators. ‘Dither erisdeeds melude: princes who have gained spails and keep thers ty themselves, treacherous behalinur, one who sepelt hs father; ane who elects respect lor fear of his maliciousness: weaning silk; drinking: wine. having. re znurve to ainging-pirls anu! musical insteumcntst Music and snaral bebaviour are thus macrmingled Among che insieuments specifically mentioned as forbwvien sec: the mizniir treed pipe) about which a fad states that uzon hearing che Prophet plugged his ears and called ie mizniar af-staugin (he devil's miemabny the Taf Wate, the ta Bir fpandara} anc all the other stringed instruments, the different kind’ oF tlrums, wth emphasis on the tamboucine ta which four successive hedithe at ecicsted “The devil as anstigator of masse making, 2 {myuent thea in the lit erature, appears in a fou favfiths such aa When ran riley a beast witht mentionunig Allah, the devil rites felt bien snl sry 6 Rian “Sing thes, if ht does no as well, he ys ts my "Dd obeisance™” The Singony ieks Ih the aya of idvlatry thatanteceded the advent of Islore, a pernad called by the Muchas sFilyua bite of aQnorenut or backwardness), there was a claw F siiguig-girls kr uven as gill or gy (plur. of amma). .They were, according, HG. Farrer, invariably found i the household of every drab of social stand ing". & legend regarding two of them named Jandel twa grasshog pes). 1 counts that after a lengthy dsughl, the ancient pleasure loving people of Ad, sent sugpliants on pilgrimage tw the shrine of Mecca ta umlore the denies fer rain. There. they were 50 charmed by thesinging of the jareaztin. tat they forgot all aboul performing thew religious duty. AS a result, alestrustion was brought upon their peaple. Singing-girls often participated along with other women who, according 19 Farmer, «enjoyed almast as much liberty ax men” in the performance af musie with mmstzuments at facraly festivities. A sipnifscant aspect oF the agtvihes wf these grfied women in the early days of Tslam has been defined by the eminent schelae Charles Tellat in he srtich About some wonen haste la the vies p LAE Fann. a nso tmnemuer nace 1. 9°an Aim Shiloh: Music and afi in tian Teophet™, ay athe explvitition of the smgmg-ginl's talent in the cumpaign of hasfile propaganda against the Prophet and his followers”. Pellac provides evi- dence of these cole an disseminating such effective musical epyjsoms thet they elicited vandemoation of guilty parhes. He aln deals with the active participa tion of women ant! singing-girls in battles agninat the Muslims, exhorting the ‘earns with ar songs accompanied by tombourines and improvising dinges to mourn the dead, like the daughter of “Utba Rabifs who lacrenied on ber father’s death w the battle af Bacir. The dieges wer the exclusive pruvince oF women and professaunal mourners. Their performance was associated with pa- gan custome such as scratching the face, rending, of breasts, tearing a clatkes, mavsning, wailing, tearing anes have and even shaving the head. These wore Among a nymbur of other pagan custnmns agains! whigh The Prophet and his folk lowers fought as expressed in the hadita undur thy. general slogan ,custructwn of hie fake”, In his comascting, a etwnus dindith states in Uhe name ef the Prophek There are fur spun whom Alla well nol fatk Gr the day of tesures- bran, {he sosoe ess, the wailing woman, the singimg-woman and the woman wh 1 unlaith{ul wm her husband. Concerning the struggle against the singing-gils, Pellar conchad ed fus arhcle with the following eloquent slntement which f (rans late as follows Their actreny a cermarkable aspect of an unsertled stregzle between two discourses, that nf the pagans, whuse verses, alongside the dagger and lance, were a powerful weapon apart their adversaries, and that which onahtored the diviae word trassmateed by Muhammad" Returning to the Ibn abiekDunya treatise, we shall touch upon one more seme implying the harmful effecr music can proaluce in the heart af a listener -Aecordang to-one fadith repariec by the author: ,Singings makes hynccnsy grove in the hewrk ae urater makes the seed grmu”. A mare radical statement abut the affert of music was masks by YaoRd bn Walt, one af the tare Omayyad ealiphs who did not indulge in a life of plevsure’ 4, Omayyinds avoed singing, foe decreases shante, and destroy manlaness, and verily W takes the plots af wine and does Weal dfumkesness dees But iyo must engage int, KEEP the women and children away feds i, fie Sunguig is the instigala uf fornication’ * U The Qverehelming power of Music ‘The foregeung overview, aimed af intraducing the major argasnents adduced by the upponents of crus in the authoritative sacred texts of Islam, leads us te the principal questimns af vehy anid how this hostile attitude came into being. After Al, one can envisage another plausible develupment sccurding 20 which muse enables the faithful to experience teligious feelings to a higher and more effece tive degree, as did the many leliviwers ef the mystic confcavernities, It seems to ents ews dar achat 5 Rae an on Lato 9.27 Fest. trate eae an weer, Pave Lonneg po ae Peyer's Yet Pape done Calne Sem HTAven Sloan: Masi wd Religion in ela 13 roe that the term stmti® winch becomis predominant ia subsequent literature, is one af the keys (o an understanding of the controveniy over the lawfulness ar sunlavwfulness uf music and dance. This ix because sand designates first and. foremost passive listening to musie, and only by implication indicates artive ex- pression and the making of music. Hence, in its treatment, priesaty 1 given tt fhe nature of the affact produced by listeaing in nwasig. Referring to thy influence ‘of music in jstneal, or the effect sought by ats atenens who in those ays re tre- sented primarlly urban society, one finds an unequivocal belief in the over- Whalesing, psiteer OF dune, This tharvelous giiwer wis in the main cultivated, and spucsored by the osistuctubt elite wht wercenriched by boaty, and avid far earthiy pleasures Music was ideniitied with the sweel tendemess of lowe, leaving tee listener unable ta resist slrang emsations wath strony emotions. Thi kind of vintexication™ represented the actual metel eowisioned by the learned legals who expressed hextlity to music. Aywinst this background J shall naw snubmit thy basic arguments of the protagonists The Mystic Dimeauan, ‘The Raiyoalent fect of musi: ‘The founders and leaders cf the mystic orders in Islam wssed to propagate idee imgaring their doetrine in tha fossa af short savings, It vy beg With m fem such aphorisess about what they zalled ,the soreet meaning uf the «Lislesung [eam oa power that eventes living influence which stivs the hedtet to seek Allah” DIWLNun al-Misri (Ain ceniutyl a geedt raster vf the inner exi- ence Musi? dis fot prdduce im the heart what is nat in it, hence at should be lochidsea for thuse weho are subject ta mece intraitation’. Abu Suisiman al-Di (Bat 44. 08 2M he of Ihe earlier mystic leaders, a Maki [i century! wrave in his treatise Frid of Heads The [singing] waice an instrument ssid w carty and comnvani> sate meaningful ideas, when the bstener perceives the meaning of the massage ‘without being distracted by the melody, has sand'is lawful: atherwuse, and when the content expresses physical love. xieple desire and sienple furilnivs, the sam ia pure diversian and matst ke banished” Only the rightamus prvstic is capable of listening an this way and can be led by the semito genuine ecstasy and mysii- alunion Anothee early sufi scholar al-Sane3j (d. $88} who set forth the true principles oF aufléan in his Back of the Sparks, distinguished belwean the sind oF the Pulgar and tha ofthe elect, which includes various degrees Dealing with the dilferent categories af sand! ug, forbidden, perailted, est muble and laudable, the myshit authority a-Magdlst (13th eestury! sowk The reffect of melodies «8 vompartble fo a container, if the dritk is pure, i confers delicacy and transparency on the contained, if aiuddy, the container will Loukan Atma Stloah Musi acd Meighan in ftom Uprgim and ugly”. Thow eayegs cuflect a bosio sligtmction made by sul aanhurties Between sleigeent levels of wmpare, of the pulywalent influance 4% ertod ky music and the dance, Only shove who Ihave reached che degree of grunts O€ une deRrEE BYIOWT, those wellbvewed in. myshcal knowledee, art capal2 of saariag the secret mréarang, of the sen" this nol the ease wilh tke cetianan Kelk, the igmecant wr the survive for schon the stesitean be purstineus. Eventually they can attend ceremonial rites but they concwt take sn active pact in thers" One vf the greatest suis of Islam who mara nenty undertuo’ the subelest categonzation of the mystic adepts’ aon wens thy Spaniard Ton als rabl (1105 ww 140}. tn bus wetings he datinguishes benween ix fundamental caago-ies af sori*ehw uty (Free ur suund es) at the mga (linkec-up, assneated with anise); ¢he Later has thoes subdivisions: the Sal idivine}, he ruhin! cep:etualy the ji (eatural or sensunh. Fhowe who attain the degree of divine speak tw God and Laten thyough God. becasue He 1s active in all that they heas: spiritual listening sorsivty uf the gar hesaing haw all things sing the Cary of God, the falural refers to the Fowl semitss proctied by thy sus, thats, sete mua (Only few st ld age attain the degeee ofthe soun dlass 81m! they listen with tasir cninas, very likely Ihnagh cngeattation and contemplatinn” Peubably fullowing ie the fontiteps af Iba aL Arabi, the sulk wener and pet abUshudirl {d. 124! disinguished between twa kinds ul stv autificial and authentic. The sutbentic is sub.vided into natural and spintual uf yhich the Inter isi kor ul Free soural ssa achieved by sufi leadess and those whe hawe attained the highest mysnca! Jegeee™ Tre ick ‘The most remarkable citual of the mystics was the dhskr (htt rememberance) which referred w the Kuranic wejunceion. .Ta remerber Gri! as often as possi ble.” ‘The alike usually includes hstening to music ‘san and vccasion ally dance ig By the cime the first orgenzed ritual appeared, music and dance already Played 4 prominent role im ypantual exercises leading to ecstasy (eam; and mys- lical cin, The rich literature concerning the cousie anu dancy of the mystics, is mt part polemical arid in part devted 9 the rules, the fundamental und structural as- pectsaf the ntl x Well as la ils symbalie meaning. In this respect the aul authielly And master of many Famous mystics Boj din, Ahmad ibn Muhammed al-Tust al-Gha2alt id, 5201213 pnbvades us sith an imeresting presentataen of the syehbolie shearuntg nf the music and dance ele- id ma ne FUEMGIN, Th Mpc Fi chig. ur De ar of (38 Leotg Tse LEE (edn TES Tmt py OE HD, ELD von fda gcse TET Lee Duin Moe oy ISB A.C, idea eons oer Sadi? 12 p10 I, ‘evsan. toe ay, p IIavanon Solon: Music aad Religion va olan 151 rents nf the sufi ritual", le his bonk which bears the colevardul tthe: The figiten= ng fleshes comcenaing the refutation of tse who declare listening Ja music is forbitten, fan is lasgely dedicated to the legality of music, the author argwus tbat the sconi‘is a raatter neveyerry, in parlgulse, (far) the Svinte of Allah whe apply the forms Ww the hidden meanings on atcrant of their abandoning Ihe r3Aks of the fornisand their savang in Ene tanks af the beawehes of pasis* At this point he BINGE by froeidung hn OF the mot detailea analyses of the eitual foes by which the Rit ingpins the adepts tu cestagy. The following excerpis slkestrace the importance nf this The tambourine is a reference 10 the cycle uf existing ‘things: the skin which 1s filted on le ils a relecence tothe abyuluce existence. the striking on the ‘ambouriae is a reletence br the descent of divine inspizatua from: the innermest arcana upon general exotence to bring forth the things pec- leinng tn the vavence from the interior tn the extariar..And the woice of the singer is a reference to the divine life which. comes dewn... The Mute 1: # refer- fence to the human essence...and thebresth which penetrates the fluw is a refer. tence ra the hyht of Alla rRxaled ise") penatratieg the reed of man's essence. And the dancing 1s. reference 10 the cxechng of the spirit mund the xyele uf ex isting things on account of receiving the effectg nf the unwellingy of the zevelx- tions: and this isthe state nf ihe gauss: And his leaping Up is 8 FeRereAce Lr has Being drawn From the human statann tu the Uti station and la enlsLing things acquiting from. Asm spintual effects and illurinaive helps.. Then when he is soetachyd from what iy other than Allah. he lakes Off his clothing Then i he ‘ses (0 a bigheer station aad the singed vi sypenking ina lover station he takes somuone alse and circles wath vit thal their tates may be united and Es baru! anay be Inased, Then when he becomes thirsty and ask for a dink of water, indiratén hat he i uverpewered -and he has retuned tn the setwn of the body, sige the stativm of “he spirit is [thal of] getting nounshment from theunseen”® These brief excerpts describe the myshcal union experienced by the pnastic at she highest level through the mesluum of sausd” According to Kalim Allah, one of the Jeading Indian Tasbishtsssints (1450-17255, this occura when thesufi is 1 8ae Tver. that 5 la say: wlike heat, ike face” and [ullils aeves a priori conditions acing which. are cLeanhriess, abstention from talking and kughing and ensuring teal the sanger docs receive payment” Te Mendsuisas Whirling Dereiskes ‘The most spectacular and suphisticated music and dance assuciated with nays tical practicey are thove of the Mavlewi order, a movement pamed after ils [iui dar, the great poet Mevlana Jalal alin al-Rovn (a. 1273) In theit ceneininy valle iyo shaxy! or Nutabele jenystical union) music and dance form an ind ‘visible urana, in which all details are highly fonaalized. larue group of danc: rs, kemwn on the West a he whilling derashes, wearing white gowns, nlack Sesbaeg at 2 once Tr 7 LGae TRE Ne. p 22961 ot mung. g 3mm Ane Shiloale Mule amd Religion i ses mantles and peakect caps. perform a highly spiritual and sophisticated dance in the accumpanimect of a large professional orchestral and vocal ensemble hae perfoems from a gallery. Tae urches ral section comprises numeenas ney fahhque Hated, one ve two Files, hues anut zithers: the vocal greup, seared apart, in cludes professional singers wha alse hit a vareety of drums Most uf the music is composed by well-known musicians, acd ic therefore belongs essentially tothe category of art ut This confratemity was she abject uf several harsh attacks nn the part uf lead ing tradaionalisis who were particularly contempiunus nf thei dancing au) their use of forbidden instruments (sve below). Auttuars belvmsing He the Mew levis such ay abAnaarii (L264 lender vf » Mevlevi preup in Gulati Turkey), wrote seveca. werks in defence pf soeir conceptinn ef saniincluding the rhirhng dade, and emphaszanig the snfuence of the sarin Uke sou., OF particular interest are the writings of al-Nabulusr wn the defence uf mmvsnal = struments! ‘The defince of Musical Ins trunaents The Syrian mystic thoolugian &-Nabulusi SXVI-KVIN who was aililited with the Mavlewis, wrote several crettiscs, one of which is devoted enciny by the tle fence of musical instruments, as aesuciated with diversion Aéelghi. he argues, dows nor necessarily maicate thal eausical instruments ace always for purposes of diverswn If the true believer emplnys them with gant aalentior. ancl for Deneficial purposes, they canct by ‘uarmfsl in any way. they must be conside ated a5 a whole and cannes be separated itu ywful and unlawtol. a distinehoe propa! ay sume Ingaliss, because thera ws no difference for instance barwoen Ihe approved deum and the rested bute; buth are musical mstrucments: Hence, singang, playing iasltuments and dancing serve govd purpoues, they are Det- muopible. Caswervely, ehuoie, In all ls farms, mals! be banished if ausoclated with passaons ind inklantabdi. - A disciple of a-Nibulisi, al-Diedhbji (£7775, while eepeating the sade Af urnents as bis master adds that the vifficully lies wt the technacal teem wil, ‘Therefore, the Jegalsls are coxcest when the reference us to debauchery. buat the suli’s purpae is nut alerlaiement and dlistractivn: thelr recourse to instruments isa determinant frcmr we lhe allamment of ecstasy and consequently the mtr rents should be permulted. He also admits that the same holds true for actmusic and dance when they ire associnled with beneficial functnna such as healing Sisease, encouraging hard work. and consoling grief In light of the foregaing, it shauld be noted that the Mevlewi's refined music, and particularly ther dance, contrasia sharply with the loud anwceations and ‘eating of garmencs that rvazk the frenetic ance induced by certain pupular but Bien Dean. ps Finale sen 9 Seem Shale SI AAvnnam Shiu, Mss ard Region a slams 1a Feinge eonfraterabes, these practice usteally includes excrete manifestations uf ecstatic dancing anu! other eetracagent behavior” TTUThe Cantymnarion uf the Seep ay gomevived by the Mystics Te, nels of the extrema smipittance the subs atlached 4o use an their dectone, i ss only natura] Hhak Ihe bule af these nppiomerte’ attacks wrere ditecled at duflecent aspects of their i'practices an beliefs, The Following statercants are pleomed trot sources that refute some of these esseotial aspects Concerning the piaclice of sheruting dung the celebration of the wkdy and learing one's clothes ups entering a lranwe, the jurist fbn Bisfam fd 1685} says: iti Detter ws wuship in qaetness and tumitey”, and : You. are noe calling on A dea entity and not iewoking a remote God; He is all ears seal near no you" Ten al Saf (a. 1236) rejects dance. stamping of the feet, uncowering the head and tearing one's clothes, and predicts punisheaent foe those ww participate in or allend the dhiéy. With respect tu the sufi claim that they listen thraugh God and thar ihvine cnspiratios, ecstasy and mystic Union attsiaad theougls mis ant dance is comparable ta the singing and daeving a angels, fen al-His ako says: You elevate youtsell tn the ranle oF angels anal an si ding jou are liats"*, Av fother jun, thn Kusfimg (@ 1225) considers this claim as a tradagressiin the drvng_laws despite their sincure @evetion (& God” Flaally, Balt abies a sn (341-1404) rapects the iden that ihe salon earth xin be compared be that of Paradise ang \ts mhabiteats, In celestial music, the beauteous voice of the Anwel veraphizn and the spellbinding pawer uf hig hyrens inspire the birds and hhoutis to sing’. (Ths appeinch eatradts with Jewish kabbelistic ideas abou! the arslle: singing of the angels and Israel thus creating harwsany bebween micnr east and macroetom Moly scholars reler to the harmlul effect of music en man’s behaviour and aallgernent, as it drives Sura to act like ane whe has gone mad + ar eflect also as sociated with deinking wine, firmcation, and other vices. Abu Baks Bluharerad al-Turlishi [d. 1126) alsu equates the effect of wine with that of music, latmang iy stupefying and causes insipid reactions, depravity and disgrace”. Tbn aymiyya (d. 328) considers the effect uf thy send analrgsus lo the latent of one possessed by Swan He sees Ut as the soume of depiny causing the devotee tn deviate frum the an.y teue sum which 26 litem ing ty Kar cantilla sion fart dnvare Stoo, Ma seep cepa? sheap 2 fre Hun, dance!Pessensayun Ss incom Pt, ME psa, 1S StaalL Teeth 9 1 one pae we Waa, AIA18 Anion Shino Music ond Religion Ito ‘The mytic’s ecstatic dance is said to cemonstrate Mus infinite Love of Gods i serves as a means te altain sublime henghts (Naturally the rarst vioient attacks galas, it came from the canvass and theclogists who al bast considered Il a form of 8 - play und amuscmeat. Asa mutter of fact, in Yernen and other places dloncing is called lathe. The Ctlaman religious authority Kinabeade fi. L5#21 ex- plains than the whifling an dancing of the si have nuthing to do with wha 1s commonly called dance frags? which i oa play accompanied by a duutle headed drum and mrizaf teboelike instrument) aresenied sn sessinne oi ce hauches sttindedt by tunmen”®. The urfst iba Taymiyya dencrsewey the sLarcig ufthesufis end practises such ax selfrrvatelatune, anu concludes that anyone wa indulges in soc behavior is an infidel and pulytheist™. AbsTkizt id 12441 com. pares their dancing in the cuck-fights held by the Chastians and claims thal nay mad peuple evoke themselves ta ctanging whigh ut unly goyed for wrynnee™. Ale “Turfushl, tne Spanish authority on lw ant tradition says that the sus tance: 8 like that of the Golden Calf which is chacecterntic of atheists The rhythmical heuting wilh & wind is 4 Manuebean inbeatiin, vilendted to burn Muslin aay irom the buoe of Allah Anyone wha xccepts the wean a frecthinle The frspiration of Sota The jurssicnassilt, Iradilinnalisl and preaches Abi" -Easaj (bn al-fawet (1426-1200) presents one nf the hasshest dialabes againer music and dance wa his book Taldis lidis (The Bevit's Delusion} The buck stresses the predating. wea thal emasic ws basically temptation of the devil fivésdominates the soul making ic slawe to te prisons aloes nol esis”. According toa wadition repareed by both al-Kisi and alTha'lbbi wv their respectiee Gisge abaicbayi (Stenes of the penphete Inhabits waste curmpsand Unclsin places cuca euimaand combs. Hig recesainn 1s paetry. his.call to prayer fatdinj dwellsin the nutzinar dplur of ran) (be. likey insieymanty) Ins Heape are Gnmen and his donk 9 mnscating Rquor, Te bolster bis argumentation, shn al-fuwel refess as tradiion repetod bythe Nis turiaa al Tabar id 922) atcurd ing te whieh the ineentor vt musiest motu va descendant af Kabel (Cain) pamed Tubal, who construced pleasure gi anatruments such as flutes, drums and Lutes: tae descends of Crin sed then Ww divert Ihemnselvas, The news reached the destendants vd Seth who lived in the oanknins: sore of them chme doin la Ub plans, indulged wi debauchery and wrere adUacted fe intiaicating vines, Thit Slory, whath exis it avanyt Arable versions, 5 basicilly Funded on Jewssh exagesid parka tt the sth of creation, and particularly ta fubal tu wham the mention ef music and musical instruments 1s altabuled (Cenests: 4, 21}. It should be noted in this contend that all rhe maufa referring la the identilficatian of music with depervaty, wth the evil powerafsatan, and with Ihe desnendants of Cain, are combined very fanciully ce arAve Shilo Music ard liga Un lsfem 15 in the Ethiopian work The Bouk of Aduas and Boe that was written in Arabic dure ing the fifth or snsth rentucy by some pious Christian ia Egype. This story tells thar Satan entered the newly invents! instruments ar 3nduced sweet beauriful sounds feom then.” By-proviusts of ene hostile approach tn music arg legal yuvatiums such a the sellmg uf slaovgirl singer, the ling of # munca! instrument hiring MuUsLcaNs, teaching mic; the reliability of # musician's testimony’ in a cause oF ia And St forth ‘The hesta manuals which detail every Muslim's dity to pramiete good and banish evil, belong ts this category, The Meittasib is the individual who wes cf fesuvely anttusled with the anlorteneet aM this tule 8s he supervises moral be- erwin va the towns and dbove all, i the markets. [ts the Maltdsil’s duty. for ‘example tu destroy musical instruments that are openly displayed, and tn make their wood availabie lor other purposes Comrtuding Nake tm thas article 1 have endeavoured to present the wet impartant aspects of the intense debate about the lav fulness of snusi in Iskan. Sean after the advent uf Islan ure witnesses the emergence of the First s gms of oppostien ler mai «8 ceveluprnent led by certain rahgious aulhosites, par ticularly the jorats and rractiomalists In the absence of clearly articulated posse fies ar negative statements aot mesic un the most sated bnek - Une Koran ~ Protagonists on exch side sought eanirenaluon in the bge stu of tradmuen ~ Jade that in ese cusse of time acyuired Roe flew Many fafih wer art nvaleat, lmwever, anil cuuhl be interpreted beth ways, Margover, many went urged. oa it was mnpassiole te reach any’ unanimous conclusions, With the emergence of tae numerous mystic ceniralétoutes, the clebate be ‘same incrussin gly healed since Imusiv aad dare wee ductrinally essential be the Rerhisniance af he sul rituals, which enabled the iaithul to expenence -eli fetliggs (0 the most effective degree Thus, almost fam the begining, one 1s sunintitied with it paradoxical phenomenen characleriaing the place and role of music in worship Gnoone hand, there was the absence of an official religious wr Mosque malsic.on the other. musi acd stance fulfilled a prominent rola wt most mystic sncie les This os the more ur less external aspect of the subjec!. As food far thought £ have pruposed same possible hypotheses in anawer tu the intriguing question oF how to explain the inteansigent bostility to erasir wi tne paet of sn many selig- ious authoricies 2 al me sfoenen ood ature ann on nay cadet ea Te avant fe om eu ease Castor ccotne ao de Cn Sn Ls oe