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liturgical music has been a site of audacious spiritual experimentation in prominent Persian and South Asian Sufi traditions since the medieval era

For al-Ghazali, music was a divine blessing because it could elicit preconscious and automatic emotional reactions. Sound was felt before it was thought. Thus, melody was a secret potion for mystics because it facilitated intense intimacy with God in a manner that minimized ritualistic mediation. Al-Ghazali was one among many crucial figures whose groundbreaking mystical theorization of sound reverberated and precipitated liturgical creativity in transcultural Sufi orders

a growing faction of scholars who insist on banning qawwali

Casual observers might assume that the polemic against qawwali is a symptom of rising “Talibanization,” when in fact, even pro-Sufi scholars participate in this discourse.

Zia believed that divesting Pakistan’s Islam from Persian, Indian and all non-Arab layers would usher a new golden era in Muslim history

determining a musical instrument’s moral status requires deciphering its cultural identity

Although these instruments have a complicated cross-cultural history, most ulema associate them with different musical streams: they consider the daff a part of an “Arabian musical system,” while the tabla, they explain, comes from the Hindustani (North Indian classical music) tradition

the Hindustani system is a product of Hindu-Muslim musical syncretism. It is a blend of Persian, Arab, and Indian musical elements, and has been prevalent in the northern parts of the subcontinent since the thirteenth century CE. So why does this legacy of religious and musical synthesis pose a pressing problem for ulema today?

During the 1980s, the state framed an ideological narrative by partly disassociating Pakistan from some of its inherited traditions, including Hindustani music

President Zia ul-Haq emphasized that Pakistan must emulate “authentic (Arab) Islamic culture” and cast “Hindu influences” aside

I listened to some of these mystically inclined scholars dwell on qawwali’s feminizing effects. Muscular manhood, they pointed out, consists of physical robustness, extraordinary bravery, and superior tactical acumen. Far from nurturing these traits, however, qawwali promotes soft emotions. The sound of the tabla, a pair of hand drums used in qawwali, was said to “breed soft men” who are “gentle, submissive, and vulnerable.” The pervasive use of the tabla, they concluded, poses a grave threat to Muslim masculinity

To paraphrase one Pakistani Television (PTV) executive, President Zia-ul-Haq did not wish to merely police Pakistan’s music; he wished to recreate it. To that end, his regime patronized Arab vocal and instrumental arts in the country

the authorities regulated the music market and selectively censored sonic material on state-owned radio and television

Zia’s regime incited widespread religious hatred against such “Hinduistic” sonic art.

popular preachers laud the “great deeds of the pious men of the 1980s” who raised their voice (and sometimes their hands) against “paganistic musical ceremonies” in the “land of the pure.”

This story of “Hinduistic” melodies reveals unexpected connections that challenge us to broaden our analysis of religion’s sonic dimensions. It exposes how complex debates about bodies, emotions, masculinity, and national religious identity have shaped notions of cultural purity in Pakistan.

the state has not banned music but done something more consequential: it has sought to transform Pakistan’s soundscape

In 2018 Egypt adopted a cyber crime law that grants the government full authority to censor the internet and exercise communication surveillance. A media regulation law also allows authorities to block individual social media accounts.

Several women in Egypt have previously been accused of “inciting debauchery” by challenging the country’s conservative social norms, including actress Rania Youssef after critics took against her choice of dress for the Cairo Film Festival in 2018.

Hossam denied any wrongdoing but Cairo University - where she is studying archaeology - said it would enforce maximum penalties against her which could include expulsion.

Egyptian women’s rights campaigner Ghadeer Ahmed blamed the arrests on rising social pressures on women and “corrupt laws”. “[These laws] condemn people for their behaviour that may not conform to imagined social standards for how to be a ‘good citizen’ and a respectful woman,” she wrote in a Tweet.

because of the rising influence of orthodox interpretations of the faith, stambeli artists are careful to stress the monotheistic, Islamic essence of their practice

The origins of stambeli music resemble those of American jazz (even though the two genres don’t sound alike). In both cases, the musical traditions of former slaves combined with the diverse cultural influences of their new environments to create something radically new. Whereas slaves arriving in Louisiana mixed their music and practices with European, Caribbean, and American ingredients, slaves arriving in Tunis during the same period fused their animist practices with North African versions of mystical Sufism and orthodox Islam. Mounir Argui, a theater director and music producer who works with Bidali, says that the metal castanets that play such a prominent role in stambeli performances evoke “the sounds of chains and shackles” that the slaves once wore, while the chanting recalls the “moaning.”

the Tunisian state never prioritized the preservation of stambeli, focusing instead on the art and culture it considered highbrow

Many Tunisians see stambeli as an alien phenomenon associated with blacks, who are already widely viewed as not quite Tunisian. In post-revolutionary Tunisia, where asserting the Islamic character of the country has become an important political symbol for some, the pagan origins of stambeli also cause suspicion

As long as some Tunisians continue to see freedom of religion and freedom of art as mutually exclusive, the rare traditions like stambeli that manage to straddle both will find little space

“Shiite channels have been operating for years and have not caused strife or crises that Salafist channels ignite. This is because Shiite channels do not incite to violence and bloodshed and do not declare others to be infidels.”

Human rights activist and lawyer at the Association for Freedom of Thought and Expression, Ahmed Ezzat, told Deutsche Welle in 2012 that the law does not criminalize embracing or promoting the Shiite faith. Shutting down any Shiite channel or prosecuting any promoter of the Shiite ideology would be based on a broad application of the law against blasphemy of religions, he said.

“The legal criteria in shutting down any station would be based on its content and on whether or not it is viewed as blasphemy or incitement against any religion or belief."

“some Salafist channels, such as al-Hafez and al-Nas, were shut down in 2013.”

“What is happening is a part of the chaotic media and religious discourse. There are 121 religious channels broadcasting via Nilesat, including more than 60 Shiite channels, some of which explain Shiite ideas in a moderate way," he said. "Others are extremist and incite against the Sunni sect. Sunni channels respond also to such incitement with counterincitement. Thus, all extremist channels — be they Shiite or Sunni — need to be taken down.”

many Shiite channels are not at loggerheads with the state institutions, but rather with some Salafist parties.

A group of Hindu academics filed the civil suit in a New Delhi court claiming the book, published in 2009, contained factual errors and parts of it also misrepresented Hindu mythology.

After a civil suit, he filed a criminal case, alleging that a representation of the map of India in the book did not include the northern state of Jammu and Kashmir. Misrepresenting the map of India is a criminal offence.

After news of the settlement broke on Tuesday, e-copies of the book were being widely circulated on social media in India along with links to websites where the book could be downloaded.

Noah, who in the Bible's Book of Genesis built the ark that saved his family and many pairs of animals from a great flood, is revered by Judaism, Christianity and Islam. An entire chapter in the Koran is devoted to him.

Cairo's Al-Azhar, the highest authority of Sunni Islam and a main centre of Islamic teaching for over a millennium, issued a fatwa, or religious injunction, against the film on Thursday. "Al-Azhar ... renews its objection to any act depicting the messengers and prophets of God and the companions of the Prophet (Mohammad), peace be upon him,"

Mel Gibson's 2004 film "The Passion of the Christ" on Jesus's crucifixion was widely screened in the Arab World, despite a flurry of objections by Muslim clerics. A 2012 Arab miniseries "Omar" on the exploits of a seventh century Muslim ruler and companion of the Prophet Mohammad also managed to defy clerics' objections and air on a Gulf-based satellite television channel.