🇩🇿 Skorp - AntidoteX | Foreigner Reaction | with lyrics 

Singing and music in Islam are a contentious issue and not definitive. The view I lean towards is permissibility, and Allah knows best.

@@loewenherz9607 It was never a controversial issue. Search and you will find evidence and evidence from the sayings of the prophete mohamed and interpretations of the Qur’an. Don't take sides of Something forbidden to please yourself. This is correct that I do it and hear it, but I know that it is forbidden. I ask God to guide us all.

@@Hamdoud_HTH The Imam, the Hafiz, Ibn Hajar al-Asqalani (died 852 AH / 1448 CE) said in "Al-Durar al-Kaminah fi A'yan al-Mia'th al-Thamaniyah": "Ibn Kurr (the Hanbali who died 763 AH / 1362 CE) passed by a group singing, so he moved his mule until it walked to their rhythm, and this is one of the most amazing things that is told!" And indeed, this is among the wonders! This Hanbali jurist and renowned scholar - in his time - known for his knowledge and uprightness, not only appreciates and enjoys musical performance, but he conveys this delicate feeling to his mount, causing it to dance to the rhythm. This behavior is extremely professional and sophisticated! It is clear that Ibn Kurr was not just a keen listener to musical tunes, as this story and its counterparts reveal, but he was also deeply immersed in the secrets and intricacies of music-making. He was a composer of high caliber and a critic of the works of previous musical prodigies. Furthermore, he disseminated his musical culture among his students after receiving it from another Hanbali jurist! Perhaps in this elaboration lies the purpose of this article; it does not delve into the familiar debates about the permissibility or prohibition of music. Instead, it takes an unorthodox approach by revealing semi-unknown or overlooked aspects of the cultural and social history of a group of elite religious/scientific figures (jurists, scholars, readers, and Sufis), numbering around 40 Imams in their field, specifically from the perspective of the presence of music in their daily lives as a means of education and entertainment. So, the article does not focus on the lives of musicians dedicated to the profession of playing instruments and singing, or their followers among "the enthusiasts". Nor does it expand to other groups of famous scholars in the nation in literary, philosophical, natural sciences, or among its successors, rulers, and statesmen, regardless of their esteemed status or the strength of their faith; for all of them, there is no surprise or contradiction in mentioning their positions regarding music, whether permissive or practiced. While the aim of this presentation is not to construct a scientific or religious stance on either side of the fiqh dispute concerning music, as it is needless to mention that human actions - regardless of their rank - are not considered as legal evidence for prohibition or permissibility; nonetheless, it cannot be overlooked that examining these practices among dozens of great scholars gives an indication of the broad horizons of our ancient scholars in understanding the evidence regarding singing, both in listening and practice. And that is the remarkable paradox in this subject; the abundant texts in our cultural history reveal to us that Islamic societies recognized music as a profession that is practiced and passed down through generations, and as a widespread culture among various social strata, albeit with significant variations. It was also recognized as a mood-enhancer for a class of trustworthy individuals disconnected from the high Islamic knowledge that requires time and prolonged disconnection. What remains most astonishing is that those mentioned here, connected to music - from the jurists, scholars, and Sufis - were not among the reckless or neglectful in their lives, nor were they disregarded in their knowledge and narrations, but they were heads in their doctrines and strata, firm in their sciences, leadership, and justice, as documented and confirmed by the trustworthy historians who shared their specializations and qualities. And they found no hesitation in documenting the presence of musical culture - alongside religious sciences - in the biographies of those prominent Imams!

@@Hamdoud_HTH Civilizational Norms The issue of singing/music is considered one of the controversial jurisprudential matters in Islamic heritage. Many books have been written and discussions have taken place regarding the religious ruling on it. However, in this article, we will approach it from another angle, which is the engagement with music in terms of listening, studying, and practicing among a considerable number of selected scholars of Sharia law and similar figures. These include jurists, scholars, reciters, muezzins, preachers, and Sufis, and how music was practically part of their cultural formation and recreational behavior. Islamic historians have regarded music as a standalone science within the arts and cultural industries in Islamic civilization, akin to all human civilizations. Therefore, the Maliki jurist and historian Ibn Khaldun (died 808/1404 CE) dedicated a chapter in his "Muqaddimah" titled "A Chapter on the Craft of Singing", within the context of his historical account of various sciences and industries that emerged due to "urban natures". He discussed the origin and development of singing and its instruments in various regions and cities of Islamic civilization across the centuries, from the East to the West. This reality was practically reflected in the preoccupation of Islamic scholars - since the early days - with elucidating the ruling on singing, both in terms of listening and practicing. This was later crystallized in numerous works dedicated to this issue, like other social phenomena related to customs and practices. For example, Imam Abu Hamid al-Ghazali (died 505 AH / 1111 CE) addressed this issue through research and discussion in a section of his book "Revival of Religious Sciences", summarizing four centuries of jurisprudential and Sufi debate on the matter. Similarly, his contemporary, the hadith scholar and jurist al-Zahiri al-Madhhab Abu al-Fadl Muhammad ibn Tahir al-Qaysarani (died 507 AH / 1113 CE), devoted a small treatise titled "Book of Listening" to it. Majd al-Din al-Firuzabadi (died 817 AH / 1414 CE) informs us in his book "Al-Bulagha" that Ahmad ibn Muhammad al-Azdi al-Ishbili (died 647 AH / 1249 CE) authored a book on the ruling of listening. Moreover, Ibn Hazm al-Andalusi (died 456 AH / 1065 CE) wrote a treatise titled "A Treatise on Frivolous Singing: Is it Permissible or Forbidden?" Ibn Taymiyyah (died 728 AH / 1328 CE) also authored "A Treatise on Listening and Dancing". Imam al-Dhahabi (died 748 AH / 1347 CE) is mentioned to have written a treatise titled "A Treatise on the Permission of Singing and Enjoyment with Its Conditions". The books and treatises on this topic continued until the era of the Salafi Imam Muhammad ibn Ali al-Shawkani (died 1250 AH / 1834 CE), who issued a fatwa in the form of a treatise entitled "Invalidating the Claim of Consensus on the Absolute Prohibition of Listening". An interesting note in this regard is the reference to a book by Abu al-Futuh al-Ghazali (died 520 AH / 1126 CE) titled "The Beacons of Elucidation in Declaring as Infidel Whoever Prohibits Listening"!! This Abu al-Futuh was a jurist and the brother of Imam Abu Hamid al-Ghazali. However, what concerns us here - as mentioned earlier - is not delving into the jurisprudential debate regarding the ruling on music but rather discussing a cultural aspect of the issue that is somewhat overlooked in this context. It is the presence of music in the lives of a group of Islamic scholars who went beyond the theoretical stance of permitting music to engaging with it socially, whether through listening or studying and practicing it, without extending our discussion to other groups of famous scholars in the nation in literary, philosophical, or natural sciences.

@@Hamdoud_HTH Urban Emergence The arts of singing were present in Islamic society during the early period, in the days of the companions, and even during the prophetic era, as seen in the names of female singers of that time in Medina, as listed by the Hafiz Ibn Hajar in his book "Al-Isabah fi Tamyiz al-Sahabah". Among them were, according to his definitions: "Arnb al-Madaniyah al-Mughanniya" (the singer of Medina), "Asma' Mughanniya A'ishah" (the singer Asma' of Aisha), "Jameelah al-Mughanniya" (the singer Jameelah), and "Hamaamah al-Mughanniya min Jawari al-Ansar" (Hamaamah the singer from the female servants of the Ansar). Imam al-Shawkani, the Salafi, presents to us - in his aforementioned treatise - a summary of the names of the companions whose stories of listening to music are confirmed through "the transmission of evidence from historians". He mentioned that "Abdullah ibn al-Zubayr (died 73 AH / 693 CE) had female singers (jawar) who sang with the oud", and that Abdullah ibn Ja'far ibn Abi Talib (died 80 AH / 700 CE)... did not see any harm in singing and composed melodies for his female servants, listening to them play on his strings, and this was during the time of Amir al-Mu'minin Ali (died 40 AH / 661 CE)". He added that "al-Mawardi (died 450 AH / 1059 CE) narrated that Muawiyah ibn Abi Sufyan (died 60 AH / 681 CE) and Amr ibn al-As (died 43 AH / 664 CE) heard the oud at Ibn Ja'far's house". Then al-Shawkani - the Imam with the Salafi historical background - narrated this significant story, saying: "Abu Muhammad Ibn Hazm (died 456 AH / 1065 CE) - in his treatise on listening with a chain of transmission to Ibn Sirin (the Tabi'i Imam died 110 AH / 729 CE) - said: A man came to Medina with female singers, and stayed with Abdullah ibn Umar (died 73 AH / 693 CE). There was a girl playing the oud among them, so a man came and offered to buy her, but he refused to sell them anything! Ibn Umar said: Go to a man who is better for you in business than this one! The man asked: Who is he? Ibn Umar said: Abdullah ibn Ja'far. So, he presented them to him, and he commanded one of the girls, saying to her: Take the oud, so she took it and sang, and he bought it"! Ibn Hazm commented on the story saying: "So, Ibn Umar and Ibn Ja'far heard singing with the oud, and Ibn Umar helped the merchant in selling his singing female servants"! We also find in the books of Prophetic Hadith other stories about male companions listening to singing. Among them is this narration found in the book "Al-Mustadrak ala al-Sahihain" by the Imam and Hadith scholar Abu Abdullah al-Hakim al-Naysaburi (died 405 AH / 1015 CE): "Ammar ibn Saad (son of Abi Waqqas died 106 AH / 725 CE) said: I entered upon Qarazah ibn Ka'ab (al-Ansari died after 37 AH / 658 CE) and Abu Mas'ud al-Ansari (Aqabah ibn Amr died 42 AH / 663 CE) - may Allah be pleased with them - at a wedding, and there were female singers! So, I said: You are the companions of the Messenger of Allah - peace be upon him - and the people of Badr, and you allow this to happen among you?! They said: If you wish, stay with us, and if you wish, leave, for "we are permitted [by Sharia] to enjoy ourselves at weddings"! And the narrator of this story, Ammar ibn Saad, was described by al-Dhahabi - in "Al-Siyar" - as "a trustworthy Imam".

Agree

Ich stimme Ihnen zu

Yess

Tomorrow on my Pakistani channel: ru-vid.com/show-UCq2NKFTOGY51YLbZre9z_jg

@@cojakrap Thank youu 😍

Why !?

@@messaoudmebarki6587 because

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😂😂😂😂 راو قالو بلي مايديرش على رايوا ومايخليهش يأثر عليه فالبداية تاع الفيديو ولوكان تفهم راهو شرح بلي الرقصة في اول الطراك تعني بداية الحرب للدفاع عن الارض يعني هذا ديس وفيه ديبيك وروح عاود اسمع جاكارتا تعرف علاش بيكا بوز وديدين بيكاه كي ڨال مهجن مع الجن شكون لي يغني بالحنون والسحر والماسونية ؟!! ماشي ديدين !