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Though the sema is performed for an audience, the main goal is not to entertain, but instead for the individual dancer to recognize his or her submission to God, to ultimately enter into a state of nirvana and to join together with the forces of nature and connect with God, and then to finally descend back to earth to the humble task of being a servant. It isn't about letting go of any kind of control, but it is designed to allow the practitioner to escape the mundane for a few moments, and to provide them with something to reflect on in prayer after the dance is complete.
The Qu'ran states, "Say, 'Who prohibited the nice things God has created for His creatures, and the good provisions?' Say,' such provisions are to be enjoyed in THIS life by those who BELIEVE. Moreover, the good provisions will be exclusively theirs on the Day of resurrection.' We thus explain the revelations for people who know." (Qu'ran 7:32). Through this verse we see that those who use the gifts of voice and movement that was granted to us by God as a tool to worship are more demonstrative of their appreciation of God's work, and therefore closer to God than those who would ignore these blessings. The ability to make music is a divine gift, and the best way to thank such a loving and profound gift is to use it to worship the individual who gave it to us. Worship that does not include the use of such...
In the eyes of these worshippers it's possible that not including music and dance in a form of worship is not enough to truly demonstrate how great God is, and how thankful we need to be in the face of such greatness.
Through the examples of the Qari, we can see how fundamentally musical the work of the Qu'ran itself is. This idea demonstrates how music is an integral element in God's word. Since God created the world, man, and the Qu'ran, it seems a logical conclusion that God wished man to celebrate the musical elements of the world, within and without himself. This concept provides the inspiration for practitioners such as The Whirling Dervishes and the Quwallis to use their God-given gifts to show their appreciation for God's creation, and to worship Him by utilizing these blessings in the best way they can find.
Works Cited
The Holy Quran with English Translation and Commentary. Ed. Mahmud Ahmad
Bashiruddin. 5 vols. Tilford, Surrey: Islam International Publications, 1988.
Sadler, A. Mysticism and Devotion in the Music of the Qawwali. New York: Performing
Arts Program of the Asia Society, 1974.
Shiloah, Amnon. Music in Islam: A Socio-Cultural History. London: Ashgate Publishing,
Works Cited
The Holy Quran with English Translation and Commentary. Ed. Mahmud Ahmad
Bashiruddin. 5 vols. Tilford, Surrey: Islam International Publications, 1988.
Sadler, A. Mysticism and Devotion in the Music of the Qawwali. New York: Performing
Arts Program of the Asia Society, 1974.
Islamic Women -- Ottoman Empire Islamic women who lived in the Ottoman Empire in the 18th and 19th centuries are the focus of this inquiry. What was their social life like in terms fun, vice, pleasure, and other activities that involved sensuality or illegal interactions? What do various authors report regarding the activities women engaged in during this era the Ottoman Empire? This paper reviews and critiques the literature relating to
In fact there are signs of turmoil among religious as well as ethnic groups. An internal war between the Hausa and another tribe called the Yoruba resulted in 300 deaths. More recently tribes called the Tiv and the Jukun have executed tribal raids. In fact, between the successful election of a civilian President in May of 1999 and the end of 2001, over 10,000 Nigerians died in regional conflicts
Nature is spiritual. The two are inseparable. Second Step: Respond to at least 3 members of this discussion (response for Alyssa, Jessica, and Nicole) asking questions about their experiences with dance as religion or ritual. Alyssa mentions that she has danced the Hava Nagila, but then goes on to note her surprise at the Dance of the Nigerian Christian Church: This same dance shown in the Dance of Nigerian Christian Church and
Dance in Hinduism Dance, like all other art forms, is universally regarded as a channel for both cultural and self-expression. As a form of cultural expression, dance is often used to dramatize cultural myths, legends, and other narratives. In contrast, dance as a method of self-expression is used to spontaneously communicate human emotions such as joy, sorrow, anger, love, eroticism, and sexual desire. Dance, for the followers of Hinduism, is
Jim Cleveland introduced the nation to the 'Gospel Choir' and in 1968 organized the Gospel Music Workshop of American and due to his success has received three Grammy Awards and a star on the Hollywood Walk of Fame (Moore Pp). Leading a movement inside the Gospel music industry to go mainstream was Edwin Hawkins, who in 1969 recorded 'Oh Happy Day' which rose to number one on the Top Fifty
Indian Dance An Analysis of the History and Origins of "Belly Dancing" Indian Dance is described in the West as "belly dancing," but the name "belly dancing" does not do justice to the style of dance which the title conveys. Indian and Middle Eastern dance actually has more of a history to it than what the West views merely as a kind of erotic show. Described as "danse du ventre" by the