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there has been “a conscious regime support for Sufism" and "there is a lot more Sufi-leaning content now integrated into the educational curriculum at Al-Azhar. … The Egyptian government and the Sufi orders have a shared enemy” in the Muslim Brotherhood

"Sufism isn’t something new; it has always been a cornerstone of Islam. Our religion is not the didactic interpretation of haughtiness and politicized discourse. … Tasawwuf teaches modesty, brings us closer to God and pertains to the true spiritual and ethical essence of Islam. … The religion that the media perpetuates is a parallel religion, claiming it is Islam, but it’s not truly it.”

During a typical Thursday evening of chanting and "dhikr," or “remembrance,” at Radwan’s, fellow “fuqara’” (which literally means “poor,” taken to mean seekers in search of richer spiritual fulfillment) are mostly acquaintances of her's and her family’s. Many are young professionals in their 20s and 30s, younger students and teenagers accompanied by their parents or siblings — this younger group seems keener on the practice than its chaperones — as well as a handful of her mother’s older peers

millennials may have become more spiritual — in the sense of seeking Tasawwuf — as a reaction to the spread of Wahhabi and Salafi influences during the past few decades

Historically, Sufism was undeniable until Wahhabi teachings became more widespread and condemned [Sufi practices such as] visiting the burial places of Sayyidna al-Hussein and so forth as the practice of apostates

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

two powerful ayatollahs in Iran would like to see the project nipped in the bud, saying Sufism is a deviation from Shiite Islam and any attempt to promote or spread it with a movie would be "haram"

The country’s culture minister, Abbas Salehi, a cleric who doesn’t wear a turban, told reporters after the Sept. 25 Cabinet meeting that while the opinions of marjas — the highest Shiite authorities — should be respected, “the country has its own laws.” This was taken to mean that the making of the film would not be prohibited because of the objections. So far, there are no indications that the movie is being obstructed by Tehran.

Members of the hadith current have issued fatwas against mystics repeatedly. For example, a summit in Qom in 2007 declared Rumi a heretic.

Part of the opposition to the film is based on the fact that it is a co-production with Turkey. A group of experts and journalists stated their opposition to the Rumi and Shams movie owing to the presence of a Turkish producer behind the film, implying that the two countries — both of which claim the heritage of Rumi — have different interpretations on the life and works of the mystic poet.

“Drunk on Love” is not the only controversy in Iran over films that deal with religious figures. In September, member of parliament Ali Motahari called on authorities to permit the movie “Hussein Who Said No” to be screened in cinema and theaters across the country. The movie, which has been banned for seven years, narrates the story of battle of Karbala in the year 680, where the third imam of the Shiites, Hussein ibn Ali, and 72 male companions were killed by Caliph Yazid ibn Muawiya’s army. “The main obstacle [in the way] of receiving the screening permit has been the portrayal of the face of ‘Abbas’ that I believe has no religious problem,” Motahari wrote on his Instagram page Sept. 23. Motahari said Abbas ibn Ali — the half-brother of Hussein — is not one of the sacred Shiite imams, which means the portrayal of his face should not be prohibited.

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

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

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

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?

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

With Wahhabism, the only undeniably native Islamist ideology, he followed a different and incremental approach of pacifying and neutralizing the doctrine. His campaign started with hints and intensified over time until the unequivocal proclamation in 2021 that the kingdom should not be wedded to one person or ideology.

Juhayman al-Otaybi’s seizure of the mosque in 1979 was ended, but it was not without a lasting effect on politics. The new rebellion alarmed then-King Khalid bin Abdulaziz and led him to appease the clerical establishment and establish conservative practices, often at the expense of decades-old attempts at modernization with the advent of oil revenue. (Other geopolitical events, such as the Iranian revolution and the Soviet invasion of Afghanistan in 1979, equally contributed to the new policy.) It also meant that the kingdom had largely tolerated both Wahhabi and Islamist activists, especially throughout the 1980s.

Wahhabism started to face internal and external challenges with the increased involvement of jihadist ideologies in regional wars, the rise of satellite channels as well as technology and the youth bulge in the late 1990s and early 2000s. Before that, Wahhabis benefited from the simplicity, purity and unity of their message: return to the early generations of Islam and tawhid (monotheism). Wahhabism thrived when it was able to channel all its energy — with near-limitless resources — against the trinity of what it labeled polytheistic or heretical practices: the mystical current of Sufism, heretical ideas of progressive or moderate clerics, and “deviant” teachings of Shiite Islam and other non-Sunni sects. The puritanical and categorical nature of its message had an appeal in villages and cities across the Muslim world. Its preachers had immeasurable wherewithal to conduct lavish proselytization trips to Africa, the Middle East, South Asia, and even Europe and the United States. Muslim expatriates working in Arab states of the Persian Gulf found it easy to obtain funds to build mosques in their home countries. Saudi embassies monitored Shiite proselytization and countered it with all the financial might they had, supplied by the Saudi state or charities.

Alamer argues that the biggest effect of the post-9/11 campaigns was that they did away with what he dubs “the Faisal Formula,” by which he means the Saudi balancing act of allowing Islamists to dominate the public space — whether in the educational, religious or social domains — without interfering in political decisions such as the relationship with the U.S. This balancing act was established by King Faisal, who wanted to use Islamists to safeguard the home front, including against sweeping ideologies like communism, liberalism and pan-Arabism, and to rely on the U.S. for security externally. The formula, which became the basis for dealing with the post-1979 threats, was challenged after the 1991 Gulf War, and the state response primarily involved security and authoritarian measures without doing away with the formula.

The progressive movement, opposed to both Islamists and the state, has likely not died. Rather, it is both latent and cautious. Understandably, any such voices will tread carefully under the current political atmosphere of crackdowns and lack of clarity, but the roots of this movement already exist and don’t need to form from scratch. The anti-Islamist movement will likely shape the ideological landscape in the kingdom in the coming years, as the forces of Islamism continue to wane.

Salafi-jihadists benefited from the ideological infrastructure or groundwork laid out by Wahhabism and Islamism but carved out their own distinct space, particularly in the aftermath of 9/11 and the regional wars that followed. The appeal of Wahhabism shrank even further with the Arab uprisings, as their liberal and radical rivals joined the conflicts against their regimes, while an already fragmented and hollowed-out Wahhabi establishment stood firmly by the status quo.

Bin Salman said the emphasis on the teachings of Wahhabism’s founder amounts to idolizing a human, which would go against the very teachings of the founding sheikh. The full response to the interviewer’s question is stark and damning to the core tenets of the Wahhabi establishment:When we commit ourselves to following a certain school or scholar, this means we are deifying human beings.

There are no fixed schools of thought and there is no infallible person. We should engage in continuous interpretation of Quranic texts, and the same goes for the traditions of the prophet.

Our role is to make sure all the laws passed in Saudi Arabia reflect the following: … that they do not violate the Quran and the traditions of the prophet, the Quran being our constitution; that they do not contradict our interests; that they preserve the security and interests of citizens, and that they help in the development and prosperity of the country. So, laws are passed based on this procedure according to international conventions.

multiple reasons, from the effects of the Arab uprisings and the rise of the Islamic State to the growing influence of geopolitical rivals in Iran and Turkey, coalesced to make Saudi Arabia focus more on fortifying the home front and move away from its global backing of the Wahhabi movement. The country has moved to close mosques and charities across the world, including in Russia and Europe

In Saudi Arabia and beyond, Wahhabism has been losing ground for too many years. The factors that once helped it grow no longer exist. Politically, the state no longer needs the ideology, which would not have flourished without the state. Even if the Saudi state decided to change its view about the utility of Wahhabism, it would not be able to reverse the trend. Wahhabism ran out of gas ideologically before it did politically. The ideology, sometimes seen as a distinct sect even from the Sunni tradition it emerged from, had long projected power disproportionate to its actual appeal and strength because it had the backing of a powerful and wealthy kingdom and a vast network of rich and generous donors. That bubble has now burst, and Wahhabism is reduced to its right size of being a minor player in the Muslim landscape, progressively including in Saudi Arabia.