Song, Dance and Music As Part of Islamic Sufism - Part 3
By S.
Arshad, New Age Islam
30 November
2022
Dance Has
Been An Integral Part Of Muslim Societies
Main
Points:
1. Dance is not
a part of non- Muslim culture.
2. In Islamic
countries traditional dance forms have existed.
3. In
Tajikistan, men and women perform traditional dance forms like rapo and kulob.
4. Rapo is
performed with poetry of Shams Tabrez, Khusrau and Hafiz.
5. In Morocco
and Egypt, folk dance is still popular.
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The general
notion among the Muslims is that dance as a form of performing art is only a
part of non-Muslim culture and society. In reality, dance has existed as a part
of celebrations and festivities on the part of men and an expression of
feminity and seduction on the part of women in many Islamic countries as well.
In Morocco,
dozens of genres of folk dance and mixed dance exist till today. These dance
forms have existed since pre-Islamic era and are still in vogue in rural areas.
Houara is performed by Berber tribes while Guedra is performed by
women. Shikar is an Arab belly dance style while Awash is a tribal dance. Quais
is a dance form performed by women accompanied by simple music.
In Egypt,
dance has been a popular means of celebration. Raqs Assaya (
dance with sticks ( like Dandiya in India), Tahteeb, Al Haqala and
Tashkil are traditional dance forms of Egypt. Men and women dance in
weddings and other social gatherings. Belly dancing is a typical dance style of
Arab women that demonstrates Arab feminity.
In Tajikistan,
dance finds its roots in the pre- Islamic era. Here both men and women perform
dance in social gatherings and state sponsored events like Independence Day and
Nowroz.
In other
Islamic countries too, dance finds a special place in the folk culture.
In this
background, the place of dance in Islamic Sufism can be understood in a better
way.
In Iran,
the tradition of Bazm can be said to be at the root of Islamic Sufi
dance. In a Bazm, Sufi poetry was sung as a means of spiritual
elevation. In Tajikistan, a special style of dance called rapo is performed
with poetry written by Sufi poets like Shams Tabrezi, Rumi and Hafiz. Classical
music of Tajikistan, called Shash maqam is accompanied by Sufi poetry
and dance. Therefore, it seems that gradually dance became a part of Islamic Sufism
under the influence of Iranian and Tajik culture of spiritual poetry and dance.
However, by
dance, Sufis mean balanced and restrained movement of the body. This movement
is evoked by ecstasy on listening to Samaa. Imam Ghazali justifies Raqs
( dance) by saying that Islamic Sufi dance is the result of the ecstatic state
of the heart produced by Samaa and is not a conscious act like traditional
dancing. The spiritual ecstasy and trance produces dance like movements in the
body. If these movements are incoherent, it is called Izterab and if the
movements are coherent, it is called Raqs which consists of Pakobi (
footwork) and Dast Afshani (movement of hands). Therefore, many Sufis
approve of Raqs when it is spontaneous due to ecstasy and disapprove of
it if it is a conscious effort.
Sufi Ali
Hujweri has even discussed Raqs in a separate chapter in his spiritual
treatise Kashful Mahjoob. He says that Shariat and Tareeqat do
not have any place for Raqs. He calls it Lahw and Laib. He
says that a dance cannot be an unconscious effort. If the Wajd (
ecstasy) produces movements in the body, its neither pakobi nor Dast Afshani.
Whoever calls it Raqs is an ignoramus. The ecstasy and trance of Sufis
is a divine state and therefore it is wrong to call this state Raqs.
But Imam
Ghazali has his own arguments in favour of Raqs as a spiritual practice.
He cites the example of the dance of the negroes on the day of Eid which the
prophet pbuh watched along with Hadhrat Ayesha r.a. Therefore, those who say
that Raqs is haram are wrong. He considers Raqs a sport and a
sport is not haram.
Imam
Ghazali also argues that Raqs is the result of joy and so it is
acceptable. In his book Ahyaul Uloom, he discusses the topic under Samaa. He
says that if an act is based on a bad intent, it is permissible, and if it is
based on a bad intent, it is bad. So the acceptability or unacceptability of Raqs
will depend on the intent of the dancer.
Sufi
Suharwardy also supports Imam Ghazali on Raqs. He says that if dance is
performed to attract others or due to physical and sexual instinct or to show
one's dancing skills, it is haram and if Raqs comes spontaneously due to
spiritual ecstasy and spiritual joy, it is acceptable.
However,
Suharwardy is of the opinion that dance or Raqs is after all a kind of
sport and is similar to Lahwa and la' ib and so is not befitting Sufis.
Famous Sufi
Shams Tabrezi supports Raqs as a Sufi practice. He says that when a Sufi
dances, the entire universe dances with him. Raqs to him is a means to
reach God. But he says that the Raqs of the Sufi is subtle, light and
dignified. It is like a leaf swimming on the surface of water. Shaikh Sa 'di
also favours Raqs as a means of spiritual elevation.
But the Raqs
as observed in some assemblies of so called Sufis today have only maligned the
image of Sufi Raqs. The Raqs in some videos on social media look
like a bedlam where people shiver in a violent way and shriek and groan as if
in great pain. They move their body and head in such a violent way it in no way
can be Raqs nor can it be called Izterab. It is not like a leaf
swimming on the surface of water but a big boulder rolling down a hill. Perhaps
this was the reason, some far sighted Sufis had disapproved dance as a an expression
of mystic experience.
Previous
Parts of the Article:
Song, Dance and Music As
Parts of Islamic Sufism - Part 1
Song, Dance and Music as Part of Islamic Sufism -
Part 2
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S. Arshad is a columnist with
NewAgeIslam.com.
URL: https://newageislam.com/islamic-ideology/song-dance-music-islamic-sufism-part-3/d/128530