Milad-Un-Nabi صىل هللا عليه و آله ) (وسلم

Total Page:16

File Type:pdf, Size:1020Kb

Milad-Un-Nabi صىل هللا عليه و آله ) (وسلم MILAD-UN-NABI صىل هللا عليه و آله ) (وسلم Written By SHAIKH MIR ASEDULLAH QUADRI Sahih Iman Publication i Copyright © SAHIH IMAN 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. ii PREFACE بِسم هللا الرحم ِنِ الرحيمِ الحمدِ هلل ربِ العالمين، والصﻻة والسﻻم على سيدنا محمدِ وعلى آله وصحبه أجمعينِ Every nation remembers birth and death of their guide/leader and arranges public meetings / gatherings so that successive generations among their people become aware of their leader and benefit from his life and achievements. On these occasions large gatherings celebrate this event. This kind of gatherings and festivities help people in many ways, particularly in doing good deeds and remain united. People also celebrate and remember important events of their history and show happiness and pride for their past achievements. The following Quranic verse عليه ) establishes the fact that the day when food was sent from skies to the people of Isa .it became the day of celebration (Eid) for them (السﻻم َقا َلِ ِعي َسى ا ْب نِ َم ْريَ َمِ ال َّل ه َّمِ َربَّنَا أَن ِز ْلِ َع َل ْينَا َمآئِدَةِ ِِّم َنِ ال َّس َما ِءِ تَ كو نِ َلنَا ِعيداِ ﻷَ َّو ِلنَا - It is in Quran said, O'Our (عليه السﻻم - Isa Ibn Maryam) َوآ ِخ ِرنَا َوآيَةِ ِِّمن َكِ َوا ْر ز ْقنَا َوأَن َتِ َخ ْي رِ ال َّرا ِزقِي َِن Lord! Send down to us a table spread from heaven, so that it may become a day of celebration for us for our former and latter people and a sign from You; and give us sustenance and You are the Best Provider Of Sustenance.] (Al-Ma’idah - 114) The annual pilgrimage of Hajj is also a celebration and remembrance for all Muslims of the world who gather at Makka al-Mukarrama, Muna, Arafat and Madina al- Munawwara and show their unity and solidarity towards Islam. is an ,(صلى هللا عليه و آله وسلم) Thus, celebration of the birth of Prophet Mohammad for His favor on ,( َع َّزِ َو َج َّلِ) expression of gratitude and happiness towards Allah .as mercy for all the worlds (صلى هللا عليهِ و آله وسلم) humanity by sending His Apostle This book is an important read for all Muslims of the world. It will help them know the .(صلى هللا عليه و آله وسلم) significance of the celebrations of Milad-un-Nabi iii CONTENTS CELEBRATIONS OF PROPHETS' BIRTH DAYS IN QURAN 1 BIRTHDAY 2 (صلى هللا عليه و آله وسلم) CELEBRATION OF PROPHET MOHAMMAD'S IN AHADITH BIRTH MARKED THE CELEBRATIONS IN THE 3 (صلى هللا عليه و آله وسلم) PROPHET'S ENTIRE COSMOS 4 (صلى هللا عليه و آله وسلم) SAHABA CELEBRATED MILAD-UN-NABI CELEBRATION, PROCESSION AND CHANTING OF SLOGANS BY SAHABAH 6 (صلى هللا عليه و آله وسلم) IN FRONT OF PROPHET 9 صلى هللا ) OPINIONS OF FUQAHA ABOUT CELEBRATION OF MILAD UN NABI (عليه و آله وسلم 11 (البدعة) WHAT IS INNOVATION CELEBRATIONS 24 (صلى هللا عليه وِ آله وسلم) HISTORY OF MILAD-UN-NABI CELEBRATIONS IN THE WORLD 27 (صلى هللا عليه و آله وسلم) MILAD-UN-NABI v CELEBRATIONS OF PROPHETS' BIRTH DAYS IN THE QURAN The Quran and Ahadith books are full of the remembrance of the births of Prophets like .etc ,(عليه السﻻم) Yahiya ,(عليه السﻻمِ) Isa ,(عليه السﻻم) Musa ,(عليه السﻻم) Adam Remember and express with] ا ْذ ك روا نِ ْع َم َةِ َّّللاِ َع َل ْي ك ْمِ إِ ْذِ َجعَ َلِ فِي ك ْمِ أَنبِيَا َءِ - It is in Quran gratitude the gracefulness of Allah that He sent Prophets among you.] (Al- Ma'ida - 20). has commanded people to celebrate the births ( َع َّزِ َو َج َّلِ) In the above Quranic verse Allah of Prophets who were sent for the guidance. has mentioned the complete Milad of Prophet ( َع َّزِ َو َج َّلِ) In the following verse, Allah .(عليه السﻻم) Yahya And Salaam (peace) is on] َو َس َﻻ مِ َع َل ْي ِه يَ ْو َمِ و ِلدَِ َويَ ْو َمِ َي مو تِ َويَ ْو َمِ ي ْب َع ثِ َحيًّا - It is in Quran him the day when he was born and the day when he will die and the day when he will be raised alive.] (Al-Maryam - 15). used to celebrate the birth days of Prophets by (صلى هللا عليه و آله وسلم) Prophet Mohammad keeping fast on that day. narrated that when Prophet (رضئ هللا تعالی عنہ) It is in Hadith - Ibn Abbas heard from Jews that the day of A’shoora (صلى هللا عليه و آله وسلم) Mohammad '(عليه السﻻم) the tenth day of Moharram) is the day of 'deliverance of Musa) In] فأنا أحق بموسى منكم - from Fir'awn), he said عليه السﻻم - Najat-e-Moosa) [.more (عليه السﻻم) comparison with Jews, we the Muslims deserve Musa kept fast on that day and asked (صلى هللا عليهِ و آله وسلم) Then the Prophet others to follow'. (Bukhari, Muslim) 1 CELEBRATION OF PROPHET MOHAMMAD'S BIRTHDAY IN AHADITH ( صلى للا عليه و آله وسلم) celebrated his own Birth Day by keeping fast (صلى هللا عليه و آلهِ وسلم) Prophet Mohammad on (every) Monday - the day of his birth. reported that Allah's (رضئ هللا تعالی عنہ) It is in Hadith - Abi Qatada Ansari ,was asked about fasting on Monday (صلىِ هللا عليه و آلهِ وسلم) Apostle whereupon he said : It is (the day) when I was born and the revelation was sent down to me. (Muslim, Abu Dawood, Ahmad, Bayhaqi, Mishkat, Abdur Razzaq, etc.) Following Hadith proves that when Abu Lahab showed happiness on the birth of the he was rewarded (after his death) by reducing ,(صلى هللا عليه و آله وسلم) Prophet Mohammad will ( َع َّزِ َو َج َّلِ) his punishment on that day every week. This establishes the fact that Allah surely bless Muslims who show happiness and celebrate the birth of Prophet .(صلى هللا عليه و آله وسلم) Mohammad It is in Hadith - When Abu Lahab died, someone from his household saw him in a dream, they asked him what happened in the grave? He said : I am being punished severely, but on Mondays, I get water from my finger with which I freed Thuwayba. (Bukhari, Abdur Razzaq, Fathhul Bari, Umdatul Qari) the uncle of the ,(رضئ هللا تعالی عنہ) Ibn Hajr Asqalani wrote : Sohaily said that Abbas had seen the above dream. Many other Hadith Scholars (صلى هللا عليه و آله وسلم) Prophet .(Fath-ul-baari) .(رضئ هللا تعالی عنہ) have also attributed this dream to Abbas Ibn Jawzi stated : Abu Lahab was a kafir who has been specially referred in Qur’an for his evil behavior. If such a person can be rewarded for showing happiness on Milad of then imagine how great the reward would be for a a ,(صلى هللا عليه و آله وسلم) the Prophet Muslim when he celebrates it! 2 Ibn Abdul Wahhab, the Imam of Salafis wrote in his book 'Mukhtasar Seera-tur- Abu Lahab freed (his female slave) Thuwayba when she : (صلىِ هللا عليهِ و آلهِ وسلم) Rasool informed him that a son has been born at his brother’s house. After the death of Abu Lahab he was seen in a dream, in which he said ‘I am in severe punishment but this is lessened on Mondays. He showed his forefinger and said that he would suck (water) from it. "This is so because it was with this finger that I freed Thuwayba when she ."(صلى هللا عليه و آله وسلم) informed the birth of Prophet BIRTH MARKED THE ( صلى للا عليه و آله وسلم) PROPHET'S CELEBRATIONS IN THE ENTIRE COSMOS The place of birth of Prophet Mohammad shown in circle (صلى هللا عليه و آله وسلم) The following Ahadith confirm that it was festive celebration in the entire Cosmos .was born (صلى هللا عليه و آله وسلم) when Prophet Mohammad said : "When my (صلى هللا عليه و آلهِ وسلم) It is in Hadith - Prophet Mohammad mother gave birth to me she saw a light proceeding from her that showed her the castles of Syria. 3 References - Musnad Ahmad Vol. 4, Page 127; Ibn Hisham; Tafsir Ibn Kathir, Vol. 4, Page 360; Bayhaqi, Dala’il an-Nubuwwah, Vol. 1, Page 110; Haythami, Zawa’id, Vol. 8, Page 221; Ibn al-Jawzi ‘al-Wafa’; Qadi Iyad, ‘al-Shifa’, etc. (صلى هللا عليه و آله وسلم) The place of birth of Prophet Mohammad رضئ هللا ) It is in Hadith - Abu Nu’aym reports from Abdullah bin Abbas صلى هللا عليه و آله ) who narrated that the mother of the Apostle (تعالی عنہ used to state : (When the Apostle of (رضئ هللا تعالى عنها) Sayyida Amina ,(وسلم was born, he fell straight into prostration. Then I saw a white (ﷺ Allah صلى هللا ) cloud from the sky appearing and covering the Apostle of Allah ,such that he disappeared from me. When the cloud appeared (عليه و آله وسلم was covered in a white woolly (صلى هللا عليه و آله وسلم) I saw that the Prophet shawl and there was a green mat spread on the floor. Within the hands of there were three keys made of diamonds (صلى هللا عليهِ و آله وسلم) the Apostle صلى هللا ) and there was an unseen voice heard saying, ‘The Apostle of Allah has grasped the key of giving victory, the key of giving (عليه و آله وسلم benefit and the key of Prophet-hood.’ Then I saw another cloud which such that he (صلى هللا عليه و آله وسلم) enclosed the Apostle of Allah disappeared from my view and it became illuminated.
Recommended publications
  • Cholland Masters Thesis Final Draft
    Copyright By Christopher Paul Holland 2010 The Thesis committee for Christopher Paul Holland Certifies that this is the approved version of the following thesis: Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India APPROVED BY SUPERVISING COMMITTEE: Supervisor: __________________________________ Syed Akbar Hyder ___________________________________ Gail Minault Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2010 Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland, M.A. The University of Texas at Austin, 2010 SUPERVISOR: Syed Akbar Hyder Scholarship has tended to focus exclusively on connections of Qawwali, a north Indian devotional practice and musical genre, to religious practice. A focus on the religious degree of the occasion inadequately represents the participant’s active experience and has hindered the discussion of Qawwali in modern practice. Through the examples of Nusrat Fateh Ali Khan’s music and an insightful BBC radio article on gender inequality this thesis explores the fluid musical exchanges of information with other styles of Qawwali performances, and the unchanging nature of an oral tradition that maintains sociopolitical hierarchies and gender relations in Sufi shrine culture. Perceptions of history within shrine culture blend together with social and theological developments, long-standing interactions with society outside of the shrine environment, and an exclusion of the female body in rituals.
    [Show full text]
  • New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab
    Asia Society and CaravanSerai Present New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab Saturday, April 28, 2012, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is 2 hours with no intermission New Sufi Sounds of Pakistan Performers Arooj Afab lead vocals Bhrigu Sahni acoustic guitar Jorn Bielfeldt percussion Arif Lohar lead vocals/chimta Qamar Abbas dholak Waqas Ali guitar Allah Ditta alghoza Shehzad Azim Ul Hassan dhol Shahid Kamal keyboard Nadeem Ul Hassan percussion/vocals Fozia vocals AROOJ AFTAB Arooj Aftab is a rising Pakistani-American vocalist who interprets mystcal Sufi poems and contemporizes the semi-classical musical traditions of Pakistan and India. Her music is reflective of thumri, a secular South Asian musical style colored by intricate ornamentation and romantic lyrics of love, loss, and longing. Arooj Aftab restyles the traditional music of her heritage for a sound that is minimalistic, contemplative, and delicate—a sound that she calls ―indigenous soul.‖ Accompanying her on guitar is Boston-based Bhrigu Sahni, a frequent collaborator, originally from India, and Jorn Bielfeldt on percussion. Arooj Aftab: vocals Bhrigu Sahni: guitar Jorn Bielfeldt: percussion Semi Classical Music This genre, classified in Pakistan and North India as light classical vocal music. Thumri and ghazal forms are at the core of the genre. Its primary theme is romantic — persuasive wooing, painful jealousy aroused by a philandering lover, pangs of separation, the ache of remembered pleasures, sweet anticipation of reunion, joyful union. Rooted in a sophisticated civilization that drew no line between eroticism and spirituality, this genre asserts a strong feminine identity in folk poetry laden with unabashed sensuality.
    [Show full text]
  • Copyright by Mohammad Raisur Rahman 2008
    Copyright by Mohammad Raisur Rahman 2008 The Dissertation Committee for Mohammad Raisur Rahman certifies that this is the approved version of the following dissertation: Islam, Modernity, and Educated Muslims: A History of Qasbahs in Colonial India Committee: _____________________________________ Gail Minault, Supervisor _____________________________________ Cynthia M. Talbot _____________________________________ Denise A. Spellberg _____________________________________ Michael H. Fisher _____________________________________ Syed Akbar Hyder Islam, Modernity, and Educated Muslims: A History of Qasbahs in Colonial India by Mohammad Raisur Rahman, B.A. Honors; M.A.; M.Phil. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 Dedication This dissertation is dedicated to the fond memories of my parents, Najma Bano and Azizur Rahman, and to Kulsum Acknowledgements Many people have assisted me in the completion of this project. This work could not have taken its current shape in the absence of their contributions. I thank them all. First and foremost, I owe my greatest debt of gratitude to my advisor Gail Minault for her guidance and assistance. I am grateful for her useful comments, sharp criticisms, and invaluable suggestions on the earlier drafts, and for her constant encouragement, support, and generous time throughout my doctoral work. I must add that it was her path breaking scholarship in South Asian Islam that inspired me to come to Austin, Texas all the way from New Delhi, India. While it brought me an opportunity to work under her supervision, I benefited myself further at the prospect of working with some of the finest scholars and excellent human beings I have ever known.
    [Show full text]
  • Sama: a Mystical Evening of Sufi Music 17Th December, 2011 7:00 Pm Onwards at Y.B
    Sama: A Mystical Evening of Sufi Music 17th December, 2011 7:00 pm onwards At Y.B. Chavan Auditorium, Nariman Point Mumbai Project Report Prepared by Sufi Kathak Foundation J-237, Basement, Saket, New Delhi- 110017 Phone: 011-41764860, +91 9871310119 [email protected] Sama: A Mystical Evening of Sufi Music About the Festival: Conceptualized by Manjari Chaturvedi, Sufi Kathak Foundation presents “Sama: A Mystical Evening of Sufi Music”, an evening of Qawwali featuring Qawwal Group from Awadh, Uttar Pradesh led by Janaab Nurul Hassan, representing the unique syncretic traditions of the Ganga-Jamuni tehzeeb of Awadh, singing in praise of Hazrat Ali as well as Lord Krishna with their voices reaching out to the Almighty. Sufi Kathak Foundation presents this annual concert for the first time in Mumbai. Introduction to Manjari Chaturvedi: MANJARI CHATURVEDI is a leading exponent of the Indian classical dance and is acclaimed for being the creator and ONLY performing artist of Sufi Kathak. She has combined the mysticism of Sufi traditions with classical Indian dance to create a stunning new school of performance called Sufi Kathak, thus, setting a historical step in the field of performing arts through the creation of a completely new art form which remains original and yet follows the precedents of mystical traditions. In the last decade, Manjari has performed in more than 250 concerts all over the world in more than 20 countries including Europe (France, Germany, Portugal, Italy, Austria, Switzerland, U.K. & Ireland), the Middle East (Dubai, Bahrain, Abu Dhabi, Qatar, Kuwait), South East Asia (Singapore, Malaysia, Sri Lanka) and Central Asia (Turkmenistan, Kyrgyzstan, Uzbekistan, Tajikistan) along with Australia and America.
    [Show full text]
  • Sufi Raqs and Music Grant Ecstatic to Socially Glum People
    International Journal of Humanities and Social Sciences (IJHSS) ISSN (P): 2319–393X; ISSN (E): 2319–3948 Vol. 10, Issue 1, Jan-Jun 2021; 41–46 © IASET SUFI RAQS AND MUSIC GRANT ECSTATIC TO SOCIALLY GLUM PEOPLE Ali Abbas & Maryam Manzoor Research Scholar, School of Social Sciences University of management and technology Lahore, Pakistan ABSTRACT In Sufism Sama is related to sufi music and raqs is related to ecstatic movement of body and head as well this state also known as dancing. in Sufism listening sufi music and dancing is relate to sufi practices. When people socially depressed from society they feel isolation after that they search the enlightened path which connect their soul with God which gives them satisfaction and courage to face the society and remove their harsh feelings about life. The tie of these both terms invite them to protect himself from isolation, social pressure and evil spirits which disturb their social life. in this research interviews are conducted from 6 respondent which were the part of sufi practices. These interviews show that Sufi music and Sufiraqs were the major source of peace and courage towards people to maintain their social life and to connect them with divine love. KEYWORDS: Sufi Music, Dance, Practices, Sufism, Spiritual Peace Article History Received: 21 May 2021 | Revised: 25 May 2021 | Accepted: 27 May 2021 INTRODUCTION Pakistan is a country where the Sufi music and sufi dance exist side by side(schimmel 1975).The second movement of Muslims in India brought the Muslim poet, scholars, and theologians to subcontinent they educate their followers, local population with folk themes and local stories and songs which express their feelings and knowledge to the peoples.
    [Show full text]
  • Songs from the Other Side: Listening to Pakistani Voices in India
    SONGS FROM THE OTHER SIDE: LISTENING TO PAKISTANI VOICES IN INDIA John Shields Caldwell A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology). Chapel Hill 2021 Approved by: Michael Figueroa Jayson Beaster-Jones David Garcia Mark Katz Pavitra Sundar © 2021 John Shields Caldwell ALL RIGHTS RESERVED ii ABSTRACT John Shields Caldwell: Songs from the Other Side: Listening to Pakistani Voices in India (Under the direction of Michael Figueroa) In this dissertation I investigate how Indian listeners have listened to Pakistani songs and singing voices in the period between the 1970s and the present. Since Indian film music dominates the South Asian cultural landscape, I argue that the movement of Pakistani songs into India is both a form of resistance and a mode of cultural diplomacy. Although the two nations share a common history and an official language, cultural flows between India and Pakistan have been impeded by decades of political enmity and restrictions on trade and travel, such that Pakistani music has generally not been able to find a foothold in the Indian songscape. I chart the few historical moments of exception when Pakistani songs and voices have found particular vectors of transmission by which they have reached Indian listeners. These moments include: the vinyl invasion of the 1970s, when the Indian market for recorded ghazal was dominated by Pakistani artists; two separate periods in the 1980s and 2000s when Pakistani female and male vocalists respectively sang playback in Indian films; the first decade of the new millennium when international Sufi music festivals brought Pakistani singers to India; and the 2010s, when Pakistani artists participated extensively in television music competition shows.
    [Show full text]
  • Thumri, Ghazal, and Modernity in Hindustani Music Culture
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2010 Thumri, Ghazal, and Modernity in Hindustani Music Culture Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/309 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 9 Thumri, Ghazal, and Modernity in HindustaniMusic Culture PETER MANUEL If historians of Indian classical music have been obliged to rely primarily upon a finite and often enigmatic set of treatises and iconographic sources, historical studies of semi-classical genres like thumri and ghazal confront even more formidable challenges. Such styles and their predecessors were largely ignored by Sanskrit theoreticians, who tended to be more interested in hoary modal and metrical systems than in contemporary vernacular or regional-language genres sung by courtesans. It is thus inevitable that attempts to reconstruct the development of such genres involve considerable amounts of conjecture, and in some senses raise more questions than they answer. Nevertheless, thumri, ghazal, and earlier counterparts, which we may retrospectively call "light-classical", have played too important a role in South Asian music to be ignored by historians. Further, as I shall suggest, the study of their evolution may yield pa1ticular insights into the nature of Hindustani music history, especially of the modem period. Central to this study is a fundamental paradox characterizing thumri and ghazal history: specifically, that while both genres may be seen as mere variants or particular efflorescences in a long series of similar counterparts dating back to the early common era, there are other senses in which they are unique products of a particular historical moment marked by unprecedented socio-historical features.
    [Show full text]
  • Her Vil Eg I Fyrste Omgong Skrive Om Mine Eigne Erfaringar Og
    Den notidige feiringa av mawlid an-nabi i Manchester og London Vegard Kvernenes Masteroppgåve i religionsvitskap, AHKR, våren 2012 i Summary This thesis focuses on the Islamic celebration of the Prophet’s birthday, mawlid an-nabi, often overlooked in literature. The first part draws an outline of the history and contents of the celebration, before turning to the contemporary practice of mawlid an-nabi. This is done in the second part, which is based on data gathered during fieldwork in Manchester and London in February 2012. This part offers a unique insight into the contemporary celebration as well as into thoughts and opinions of some of the participants. © Vegard Kvernenes, AHKR, Universitetet i Bergen ii Eg vil takke mine informantar som tok meg i mot i både London og Manchester, for deira tålmod, forståing og gjestfriheit. Eg vil også takke min vegledar Håkan Rydving for sine hjelpsame innspel, rettingar og forslag. Takk til alle mine med-studentar for deira støtte. iii iv Innhaldsliste Innleiing 1 DEL 1 Mawlid an-nabi – historie og innhald Kapittel 1.1. Introduksjon 5 Kapittel 1.2. Mawlid og Mawlid an-nabi – opphav og spreiing 7 Kapittel 1.3. Feiringas innhald 16 Kapittel 1.4. Oppsummering 22 DEL 2 Feltarbeidet Kapittel 2.1. Introduksjon 24 Kapittel 2.2. Feltarbeid – refleksjonar kring utfordringar, framgangsmåtar og makt 27 Framgangsmåtar 29 Representasjonsmakt 30 Kven var mine informantar? 32 Kapittel 2.2.1. Ahl us-Sunnah wal-Jamaa'ah – nokre grunnleggjande karakteristikkar 33 Kapittel 2.3. Mawlid i Manchester og London 36 Milad i Manchester 36 Prosesjonen i Manchester 45 Seremonien i Victoria Park Mosque 52 London 55 Fredagsbønn i nord-London 66 Hos sjeiken 70 Milad i London 77 Prosesjonen i London 85 Avsluttande oppsummering 95 Vedlegg 99 Litteraturliste 107 v Innleiing Feiringa av profeten Muhammads fødselsdag, mawlid an-nabi, er for mange muslimar ei av dei viktigaste feiringane i løpet av året.
    [Show full text]
  • Sufi Rituals in Multan from the 19Th Century to Present: a Study of Mawlānā
    Sufi Rituals in Multan from the 19th century to Present : a Study of Mawlānā ‘Ubaydullāh Multānī’s (d. 1305/1888) Sharh Mufaṣṣal Qawl-i Faṣl fī al-Bay‘a wa al-Samā‘ and its Legacy Today Muhammad Touseef To cite this version: Muhammad Touseef. Sufi Rituals in Multan from the 19th century to Present : a Study ofMawlānā ‘Ubaydullāh Multānī’s (d. 1305/1888) Sharh Mufaṣṣal Qawl-i Faṣl fī al-Bay‘a wa al-Samā‘ and its Legacy Today. History. Université Paris sciences et lettres, 2020. English. NNT : 2020UPSLP006. tel-02930176 HAL Id: tel-02930176 https://tel.archives-ouvertes.fr/tel-02930176 Submitted on 4 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Préparée à l’École Pratique des Hautes Études Les Rituels soufis à Multan du XIXe siècle à nos jours : une étude du Sharh Mufaṣṣal Qawl-i Faṣl fī al-Bay‘a wa al-Samāʿ de Maulānā ʿUbaydullāh Multānī (m.1305/1888) et son héritage aujourd'hui Sufi Rituals in Multan from the 19th century to Present: A Study of Mawlānā ‘Ubaydullāh Multānī’s (d. 1305/1888) Sharh Mufaṣṣal Qawl-i Faṣl fī al-Bay‘a wa al-Samā‘ and its Legacy Today Soutenue par Composition du jury : Muhammad TOUSEEF M.
    [Show full text]
  • Vilayat Khan and the Emerging Sitar
    Networks of Music and History: Vilayat Khan and the Emerging Sitar Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hans Utter, MA Graduate Program in Music The Ohio State University 2011 Dissertation Committee Margarita Mazo, Advisor Ron Emoff Danielle Fosler-Lussier Jack Richardson Copyright by Hans Frederick Utter 2011 Abstract My dissertation explores the sitar’s rise and significance in post- independence India (1947-2009), primarily through the Imdad Khan Gharana and Vilayat Khan. Pioneering sitarists such as Ravi Shankar and Ustad Vilayat Khan were vitally important in forging India’s cultural modern identity. By studying critically the role of individual creativity in the re-imagining of tradition, my dissertation investigates how contesting cultural heritages found expression in new artistic mediums that challenged and reached new audiences. In order to create a “non- linear” history of the sitar it is conceptualized as a “quasi-object” using the semiotic- material schema found in Latour’s Actor Network Theory (Latour 2008). Musical analysis is informed by a Deleuuzian approach for the perception of multiple “truths,” exploring performance as the interpenetration of the virtual and actual in assemblages. ii Dedication Dedicated to my family and Vivek iii ACKNOWLEDGEMENTS Writing a dissertation is ultimately a collective endeavor. The efforts of many people, generously offering their personal time, to provide information, comments, and suggestions made this work possible. In addition, several organizations including The Ohio State University with its many departments and scholarly facilities provided the necessary infrastructure and logistical support for this endeavor.
    [Show full text]
  • Qawwali Routes: Notes on a Sufi Music's Transformation in Diaspora
    religions Article Qawwali Routes: Notes on a Sufi Music’s Transformation in Diaspora Sonia Gaind-Krishnan Department of Music, New York University, New York, NY 10003, USA; [email protected] Received: 10 October 2020; Accepted: 5 December 2020; Published: 21 December 2020 Abstract: In recent years, alongside the concurrent rise of political Islam and reactionary state policies in India, Sufism has been championed as an “acceptable” form of Islam from neoliberal perspectives within India and the Western world. Sufism is noted as an arena of spiritual/religious practice that highlights musical routes to the Divine. Among Chishti Sufis of South Asia, that musical pathway is qawwali, a song form that been in circulation for over seven centuries, and which continues to maintain a vibrant sonic presence on the subcontinent, both in its ritual usage among Sufis and more broadly in related folk and popular iterations. This paper asks, what happens to qawwali as a song form when it circulates in diaspora? While prominent musicians such as the Sabri Brothers and Nusrat Fateh Ali Khan exposed audiences in the West to the sounds of qawwali, in recent years, non-hereditary groups of musicians based in the US and UK have begun to perform songs from the qawwali repertoire. In the traditional setting, textual meaning is paramount; this paper asks, how can performers transmute the affective capacity of qawwali in settings where semantic forms of communication may be lost? How do sonic and metaphorical voices lend themselves to the circulation of sound-centered meaning? Through a discussion of the Sufi sublime, this paper considers ways sonic materials stitch together the diverse cloth of the South Asian community in diaspora.
    [Show full text]
  • Hamd and Naat: Muslim Women Singers in Pakistan Amna Ilyas Bates College, [email protected]
    Bates College SCARAB Honors Theses Capstone Projects Winter 3-2013 Hamd and Naat: Muslim Women Singers in Pakistan Amna Ilyas Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Ilyas, Amna, "Hamd and Naat: Muslim Women Singers in Pakistan" (2013). Honors Theses. 80. http://scarab.bates.edu/honorstheses/80 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Hamd and Naat: Muslim Women Singers in Pakistan An Honors Thesis Presented to The Faculty of the Department of Music Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Amna Ilyas Lewiston, Maine 3/22/2013 1 Az siday-i sukhan-i ishq nadidam khushtar Yadigari keh dar in gunbad-i davvar bemaand (Of all souvenirs beneath this revolving dome none gives me more pleasure than the music in the discourse of love) - Hafiz Dedicated to my loving parents, Muhammad Ilyas and Tahseen Ilyas 2 Acknowledgements With Allah’s blessings, the challenging journey of research and writing that I embarked upon in the summer of 2011 has finally culminated into this thesis. Shukar Alhamdulillah (Thanks to Almighty Allah)! I would like to thank the people who have made this possible. I am deeply indebted to my advisors Professor Peter Steele and Professor Gina Fatone. I was only able to begin this project through the immense encouragement and guidance of Professor Fatone.
    [Show full text]