The voice of women singing in our obedience!

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This article is not a legitimate discussion in the rule of female singing. This is a field where I do not have the qualifications to go into it, but it is a problematic presentation of a personal experience by virtue of my work in the management of a media institution that adheres to religious rules. About the voice of women singing.

We know that the majority of scholars have forbidden hearing men singing women, as it is "a door of sedition and stir instincts and ...". (11 years old) who stood singing for Palestine and the Intifada with her loud, sober voice. Her songs received great approval from the "Islamic public." Then the license was to hear the sound of her singing: "Miss is a girl and does not apply to her. Ruling on the prohibition on singing. " Mies then published several publications and won a number of awards. The license for the legal exception of the girl "Mays" continued, and we heard her songs (wonderful) and broadcast them through our media, without a reprimand of conscience to overcome a legitimate rule.

The interesting thing about the subject is two things:

1 - the bug of a license to hear it has disappeared, the girl Mays grown up and got married and probably gave birth to children - happy God - but we listen to her songs, as if time stopped at her young age.

2 - The exception license was limited to Mays Shalash only, for considerations that may be kinetic in terms of not feel, the special rule was not dropped on other artists. If this exception has convincing reasons, the Palestinian and Arab art scene has known many models similar to Mays in specifications, in terms of consistency of content and sound balance and performance.

You find the late Palestinian artist Rym El Banna, who was famous for her national songs and presented the Palestinian heritage to the world. She was known for her great contribution to preserving many traditional songs, especially children's songs:

To see the top of the mountain, and bring with me a key

And I opened the garden of my father, and lay in it, and rested

O Lord, the rain of rain troy the apple tree

To look at the top of the mountain and to oversee the valley

I say hi, my name is Hua

Another model, for female lyric art, may apply to some of his works. Lebanese singer Fayrouz. Let us read these words, and ask the reader to open "YouTube" and listen to this song, and let him judge, whether it is "stirred instincts and signed in sedition":

For you, O city of prayer, pray

For you, Bahia housing .. O flower of cities

O holy, O city of prayer, pray

Our eyes go to you every day

Embracing old churches

And wipe the sadness of the mosques

And one of us did not calm him as a child when he was a child of this popular song for Fayrouz, and when he hears it now, nostalgia shakes the days of his childhood:

Teck Teck, O Solomon .. Teck Teck, what did you do?

Tic Tac was in the field .. A peach and pomegranate extract

Oh my city, you are six

I also allow listeners and listeners to rule on this model.

folklore

Turning to a fundamental point, the need for liberal projects to revive the popular heritage (arts, clothes, literature, tone ...), to link the refugees with their roots and land that they were displaced, as a cultural and cultural bond that confirms their attachment to their homeland. The popular arts are one of the most connected to the conscience of the refugee or expatriate in the country away from him. We note the interest of the forces of liberation (even religiously committed) to organize traditional folklore activities for refugees or displaced persons in order to maintain this emotional bond with the earth. We note the extent to which those present were influenced by the arts.

We must be aware that the discourse of the Islamic project is no longer directed only to a group of committed supporters, but it has succeeded in reaching out to the general public and the issues that the Islamists carry on public issues. This requires more flexibility in dealing with the arts, which has a great impact on the general public. I repeat that I am speaking from the point of view of media and advocacy, not jurisprudence. I conclude with the fatwa of one of the leading contemporary scholars, Sheikh Dr. Yusuf Al-Qaradawi, who went on to allow foreign men to be heard to sing to women on the following conditions:

1 - integrity of the content of the song of the violation of legitimacy, to be subject to the teachings of Islam.

2 - the sound of the way of singing break and temptation, to be free from the intent to excite and awaken the instincts and seduction of the sick heart.

3 - Do not associate singing with Mahram as a drink of wine, and not be accompanied by the melodies of music exciting to forbidden instincts (rock and rock).

4 - Avoid excessive listening.

In our performance of the da'wa, we need to mix people and address them with a culture similar to them, of course, in a way that does not violate the Sharia. If there is a public interest in adopting the license in the rulings, is not that good?