This paper examines the role of music and dance as devotional practices within Islam, focusing on three traditions: Quranic recitation (Qari), the Sufi Qawwali singing tradition, and the ritual sema dance of the Whirling Dervishes. Drawing on Quranic verses and scholarly sources, the paper argues that voice and movement are God-given gifts best honored through worship. Each tradition is analyzed for its spiritual intent, communal function, and relationship to Islamic theology, ultimately suggesting that expressive, music-inclusive worship reflects a deeper gratitude for divine creation.
The Quranic recitation tradition of the Qari demonstrates how fundamentally musical Islamic scripture is at its core. As they recite sacred passages, the Qari use their voices as instruments of worship; when successful, their passion reaches out and affects all who listen. The recitation is not merely a reading but a devotional act in which the voice itself becomes a vessel for the divine word.
More intentionally musical is the Sufi tradition of the Qawwali. The word Qawwali means "word," and can be understood as the physical and auditory manifestation of the divine voice. Like the Qari, Qawwali singers use their voices as a tool of worship, but they move into the realm of interpretation and individual expression of the sacred words themselves. They can be likened to Gospel singers of the Western world in this respect, though this comparison may be somewhat misleading: the Sufi practice from which the Qawwali tradition draws its origins is far more steeped in history and tradition, and could be considered a more serious spiritual endeavor. Qawwali singers use the music of their voices foremost as an act of worship; communicating with and encouraging their listeners to worship alongside them is a secondary concern.
The Whirling Dervishes are an excellent example of how dance can be a central element in Islamic worship. Everything about the practice — including the costumes and the dancers' posture — reflects the goal of the performance, which is worship and an attempt to establish a spiritual connection with God. Though music plays an important role, the Whirling Dervishes use their bodies in a more physical manner to express their devotion to Allah.
Their ritual dance, called sema, is a highly spiritual act. Each element of the dance, including the costume, represents something divine or is specifically designed to show respect, love, and worship to the Prophet or Allah. Although the sema is performed before an audience, its primary goal is not entertainment. Rather, the individual dancer seeks to recognize his or her submission to God, to enter a state of transcendence and union with the forces of nature, to connect with God, and then to descend back to earth to the humble task of being a servant. It is not about surrendering control, but about allowing 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.
"Scriptural basis for expressive worship"
Through the examples of the Qari, we can see how fundamentally musical the Quran itself is. This demonstrates how music is an integral element of God's word. Since God created the world, humanity, and the Quran, it follows logically that God wished human beings to celebrate the musical elements of the world — within and without themselves. This understanding provides the inspiration for practitioners such as the Whirling Dervishes and the Qawwali singers to use their God-given gifts to show appreciation for God's creation and to worship Him by employing these blessings in the most meaningful way they can find.
You’re 65% through this paper. Sign up to read the remaining 1 section.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.