Between the anthem and the song .. Absence of standards

News from the island

• Yemeni House documents Yemen 's music memory
• Chants and caricatures
• Turks and Algerians celebrate a Sufi evening in Brussels
• Popular chants .. A technical breakthrough between singing and singing
• 22 countries in a religious festival in Egypt

The term "Islamic anthem" originated in the 1970s, with the spread of the Islamic awakening in our Arab world, and in order to provide an alternative to the singing of the decline. Where the owners of the Islamic project to distinguish from the secular society - or national - in the fields of work and visions, they formed their own space: Islamic art, Islamic literature, Islamic economy, Islamic education and Islamic media .. The contents of the "Islamic anthem" in that era of enthusiasm and pride in glories and advocacy Reform and rejection of the ruler's injustice. The "Islamic Anthem" was influenced by the plight of the Islamic Movement in Syria in the early 1980s. It was then founded "Literature of the Tribulation" and its most prominent voices were Abu Dujana, Abu Al-Joud, Abu Mazen, Abu Rateb,

With the outbreak of the Palestinian uprising in 1987, "jihadist art" emerged, which contributed to the revival of the culture of jihad among the Arab peoples and the urge to jihad, and in the promotion of the resistance fighters in the face of the Zionist occupier. The jihadist theme has been on Islamic Art for decades. Even the revolutionary songs were on the occasion of weddings. The Islamic arts were absent in the general humanitarian headlines due to the hardships of the Islamic movement and the Intifada in occupied Palestine. With the beginning of the present century, the Islamic call has seen more integration in its societies after its movements enjoyed a margin of freedom and after the decline of the military jihad in Palestine in the interest of participating in the political process.

With this new reality, the creators of the Arab world have turned to humanitarian issues and public issues. This shift in content was accompanied by an evolution in the legitimate view of the use of music in the hymns. The "Islamic Art" witnessed a shift from the solo to the troupe to the singing of the bands with a musical rhythm no different from the songs. In the face of the overlap of this scene, and with its many advantages, we have been in the problem of the lack of clarity in the standards of classification of the arts, we can not distinguish between the song and song, and therefore we suspected the determination of the legitimacy of the art. The problem is faced by the media institutions that abide by the Shari'a regulations in their work.

Absence of clear criterion

We grew up in our religious upbringing on the idea that hearing the anthem is permitted, but the song is haraam to hear. First, I say that the use of the term singing does not always fall into the negative category. The Prophet (peace and blessings of Allaah be upon him) used him to read the Holy Qur'aan. He said: "Whoever does not memorize Qur'aan is not among us." The two sheikhs came out of the hadeeth of 'Aa'ishah (may Allaah be pleased with her) who said: Abu Bakr entered and I had two neighbors from the neighborhood of Ansar singing. Abu Bakr said: Amazir al-Shaytaan in the house of the Messenger of Allaah? The Prophet (peace and blessings of Allaah be upon him) said: "O Abu Bakr, every nation has a holiday.

We find in the biography of the Prophet a number of positions in which the Messenger of Allah peace be upon him the term singing as an act allowed certain controls. However, as mentioned above, the term "anthem" was adopted to distinguish it from other content after it dominated the singing of uncontrolled features. The general religious anthem was then the Islamic anthem, which was taken in motion. However, the use of the term "song or song" is not far from Our legal dictionary. I would like to ask a detailed question: What is the criterion on which I can classify this work as a song or song, and thus allow me to hear it or broadcast it or not?

Let me raise these three determinants, and consider them:

1. Content

If the words are the standard in the Islamic judgment on the work of art, or the rudeness or Asfafa, we will find in the words of many songs of Lotfi Buchnak example or Wadih al-Safi or Marcel Khalife or Hamza Nimra .. Etc, human content does not scratch shyness and is not vile, in love with the homeland And in human relations that do not conflict with Sharia .. What is the ruling on these acts? Is it not possible here in this case to take these songs the rule of songs? And also in the subject of content, may say: The songs that talk about love and spinning is a moral oversimplification .. I quote from a valuable article of the writer Sheikh Ali Tantawi, may God have mercy on him entitled "from the yarns of jurists," which said: Oma I heard that the Prophet peace be upon him listened to the heel He is wasted in his poem, which spun with pleasure:

And the joy of the moment of understanding as it emerged .. but the richest side of the party Almkhul

Haifa Mqbalp parts of the management .. Does not complain about the waist and not long

Sheikh Tantawi continued: Ibn Abbas was listening to the imam of Ghazalain Omar ibn Abi Rabia and narrated his poetry, and Hassan al-Basri was quoted in the Council of the preaching of the poet:

Today you have a bucket and talk .. And tomorrow to others palm and wrist

The words of Shaykh al-Tantawi, may God have mercy on him, are not ended. It is necessary to mention the issue of artistic singing, which has many functions, including mobilization and sharpening of the mind, including recreation and recreation. Therefore, all singing is not required to be in jihad or heroism or praise. In the old days the Arab poets were opening their poems by spinning, and did not deny them the Messenger of Allah peace be upon him.

Hamza Namra is not "Islamic", and does not carry the obligation, what do we call his work? What do we call an artist or a singer? I would like to say that some of the groups, which classify themselves as Islamic, have produced actions that are not accepted by religious commitment

communication Web-sites

2 - the identity of the singer - vocalist

We have regrettably fallen into the trap of judging work - acceptance or rejection - according to his performer, in terms of his religious or kinetic commitment. I will ask a question that I do not know: When do we call this person "Islamic singer" and "singer"? If the answer is a religious obligation, it may be similar to us, since we are no longer able to distinguish between this and that, not in the azimuth or in the behavior. Religious commitment is a special affair between man and his Lord, and it is not my task to judge people in their personal behavioral commitment to accept their actions or not.

Let us read together these words: "I am longing for the bread of my mother, my mother's coffee, and my mother's touch. I love my age because I am ashamed of my mother's tears." These are words of the poet Mahmoud Darwish, sung by Marcel Khalife. Do I reject it simply because its singer is not a Muslim or perhaps a communist? Note that the words themselves may be sung by the "Islamic singer" and we will play it and tear our eyes to it. Let's take another model, with these words:

O Mazloum Raht, Omar the right what he ..

You, O unjust day, drink sorrow and wounds ..

O you who have grievous salvation, Mstni any of the people ..

And no complaint other than God, do not fear and you are with him

These are the lyrics of a song by the Egyptian artist Hamza Nemra, which was sung after the Sisi coup in Egypt. But Hamza Nemra is not "Islamic", and does not carry the name of commitment, what do we call his work? What do we call an artist or a singer? I would like to say that some of the groups that classify themselves as Islamic have produced works that are not accepted by religious commitment. On the other hand, we can find a musical work for a singer, who is more refined and more attentive than the work of that vocalist. It is unthinkable to reject a fine piece of work for a singer and accept a "vulgar" act simply because he is an "Islamic" band. We are not yes, but this contradiction happens, the criterion here is also overlapping and unclear to judge the work of art.

3-rhythm

Thirdly, what we consider to be a criterion in the judgment of works of art, and here I am speaking in the circle of the adoption of the rule of permitting the use and hearing of music, with certain controls. We do not need to prove that some of the chanting works in the use of music has become so confused. On the other hand, you find a lot of lyrical works. You use music with a great flow of words. Do not hurt your ears or provoke calm. Unfortunately, many "Islamic songs" these days are very similar to the rhythmic songs in rhythm and music. Regardless of the correctness of this use or not, but even this distinction has been missed, our songs are similar to their songs.

I conclude with the question that we started: What is the criterion from which to judge the work of art, song or song, and thus determine the rule of hearing and broadcast through our media? The works of art are similar to us, the descriptions are intertwined, and the judgments we make must be reconsidered. We are aware of the need of the Islamic project to integrate with its people more, to identify with it to influence it, and to get out of that "private space" which had its conditions at a historical stage with me.