About Sufi Muraqbah & Meditation

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بسم اللہ الرحمن الرحیم
نحمدہ ونصلی علی  رسولہ الکریم

افضل الذکرلا اله الا الله محمد رسول الله

السلام علیکم و رحمۃ اللہ و برکاتہُ

 

Muraqaba (Arabic: مراقبة) is the Sufi word for meditation. Literally it is an Arabic term which means "to watch over", "to take care of", or "to keep an eye". It implies that with meditation, a person watches over or takes care of his spiritual heart (or soul), and acquires knowledge about it, its surroundings, and its creator

Stages of Muraqaba

Following are the maqamat (Arabic: مقامات stages) in which sufis have broadly categorised their journey of ascension. This categorization is an arbitrary one, and each level is generally further divided into several sub-levels. During the process of enlightenment, some stages can merge or overlap each other.

Ghanood (Somnolence)

This is the starting level of meditation. When a person starts meditation, he enters into a somnolent or sleep state often. With the passage of time, the person goes into a state between sleep and wakefulness. So the person can remember that he saw something, but not specifically what it is.

Idraak

(Arabic: إدراك - cognition) With continuous practice of meditation, the sleepiness from meditation decreases. When the conscious mind is not suppressed by sleep and is able to focus, the person can receive the spiritual knowledge from his subconscious mind. At this stage, the person is unable to see or hear anything, but he is able to experience or perceive it.

Warood

(Arabic: ورود coming, beginning) When adraak (experience) becomes deep, it is exhibited as sight. The stage of warood starts when mental concentration is sustained and somnolence is at its minimum. As soon as the mind is focused, the spiritual eye is activated. The conscious mind is not used to see through the spiritual eye, so concentration comes and goes. Gradually, the mind gets used to this kind of visions and the mental focus is sustained. With practice, the visions/experience becomes so deep that the person starts considering himself a part of the experience rather than considering himself an observer.

Gnosis of the universe

 Kashaf' / Ilhaam

Kashaf, or Ilhaam (Arabic: كشف/الهام unveiling of arcane knowledge) is the stage where man starts getting information that most people are unable to observe. In the beginning, this condition occurs suddenly without personal control. With practice, the mind gets so energized that it can get this knowledge by will.

Shahood

(Arabic: شهود evidence) When a person can get any information about any event/person with his will, this condition is called Shahood. This stage is broadly categorized according to activation of the senses:

1.  The person can see things anywhere in the universe

2.  The person can hear things anywhere in the universe

3.  The person can smell things anywhere in the universe

4.  The person can touch things anywhere in the universe (hadith)

Fatah

(Arabic: فتح opening, victory) The peak of Shahood is called Fatah. At this stage, the person doesn't need to close his eyes for meditation. Here the person is freed from both space and time. He can see/hear/taste/touch anything that are present anywhere in time and space.

Gnosis of Allah

Fanaa

Main article: Fanaa (Sufism)

(Arabic: فناء extinction, annihilation) Through a series of stages (maqamat) and subjective experiences (ahwal), this process of absorbation develops until complete annihilation of the self (fana) takes place and the person becomes al-insanul-kamil, the "perfect man". It is the disintegration of a person's narrow self-concept, social self- and limited intellect (feeling like a drop of water aware of being part of the ocean). The stage is also called Fana fit tawheed ("extinction with the unity"), and Fana fil Haq (Extinction in the reality).

Sair illallah

(Arabic: سيرٌ الى الله journey towards the God) Here the person starts his spiritual journey towards the ultimate reality of the universe, i.e. God. Also called Safr-e-Urooji

Fana Fillah

(Arabic: فناء في الله Extinction of the self in God) One of the important phases of mystical experience which is attained by the grace of God by a traveller on the mystical path is the state of fana fi Allah, "extinction of the self in God". This is the state where the person becomes extinct in the will of God. It is important to mention that this is not incarnation or union. Most Sufis, while passing through this experience, have preferred to live in the greatest depth of silence which transcends all forms and sounds, and enjoy their union with the beloved.

The highest stage of fana is reached when even the consciousness of having attained fana disappears. This is what the Sufis call "the passing-away of passing-away" (fana al-fana). The mystic is now wrapped in contemplation of the divine essence. (Nicholson, The Mystics of Islam, p. 60).

Since it is a state of complete annihilation of carnal self, absorbation or intoxication in God, the pilgrim is unable to participate in worldly affairs, he is made to pass into another state known as Fana-al-Fana (forgetfulness of annihilation). It is a sort of oblivion of unconsciousness. Since two negatives make one positive, the pilgrim at this stage regains his individuality as he was when he started the journey. The only difference is that in the beginning he was self-conscious, but after having reposed in the Divine Being, he regains that sort of individuality which is God-consciousness or absorbation in God. This state is known as Baqa-bi-Allah — living or subsisting with God. (Alhaj W.B.S. Rabbani, Gems of Sufi Gnosticism)

Sair min Allah

(Arabic: سير من الله journey from the God) Here the person comes back to his existence. Also called Safr-e-Nuzooli.

No one can subsist with The Supreme Creator and to believe as such is shirk. What really happens is the person's awareness of Allah increases so much so that he forgets his own self and is totally lost in Allah's magnificence.

Baqaa billah

(Arabic: بقاء بالله eternal life in union with Allah The Creator) This is the state where man comes back to his existence and God appoints him to guide the humans. This is a state in which the individual is part of the world, but unconcerned about his or her rewards or position in it. This doctrine is further explained in an authentic tradition of the prophet which states that God said:

And the most beloved things with which My slave comes nearer to Me, is what I have enjoined upon him; and My slave keeps on coming closer to Me through performing Nawafil (praying or doing extra deeds besides what is obligatory) till I love him, so I become his sense of hearing with which he hears, and his sense of sight with which he sees, and his hand with which he grips, and his leg with which he walks

There is another verse from Qur'an , that is used to explain this concept.

We are nearer to him than his jugular vein.(50:16)

When Sufis have come out of the Fana fillah state and enter Baqa billah, many of them have produced works of unsurpassed glory, especially in the fields of philosophy, literature, and music. These works have crowned the culture of the entire Islamic world and inspired Sufis and non-Sufis for generations. As the great Persian Sufi poet, Hafez of Shiraz, who is fondly remembered as the "tongue of the unseen", said centuries ago: "He whose heart is alive with love, never dies.". Allah says about these people in the Qur'an:

"Lo, indeed, the friends of God have no fear, nor are they grieved."

Types of Muraqaba

There are many different kinds of muraqaba that are practiced in various Sufi schools in different parts of the world. Following is a list of the ones commonly practiced.

Beginner level muraqabas

1.  Muraqaba of light

These are usually used for beginners, or for cure of various diseases.

o    Violet

o    Indigo

o    Blue

o    Turquoise

o    Green

o    Yellow

o    Orange

o    Pink

o    Red

2.  Ehsan

3.  Noor (Invisible Light)

4.  Haatif-e-Ghabi (Unhearable sound of Cosmos)

5.  Names of God -- For getting acquaintance with attributes of God

6.  Allah (Proper name of God) -- Final level of Muraqaba of names of God. In Universal Sufism this concentration is on their own pantheist concept of God.

Middle level Muraqabas

1.  Maot (Arabic: موت Death) -- For getting acquaintance with life after Death

2.  Qalb (Arabic: قلب Heart) -- For getting acquaintance with Spiritual Heart

3.  Wahdat (Arabic: وحده Unity) -- For getting acquaintance with the reason behind cosmic unity i.e. God's will

4.  La (Arabic: لا Nothingness) -- For getting acquaintance with material lessness, or non-material universe

Adam (Pre-existence) -- Next level of Muraqaba of Nothingness.

5.  Fana (Arabic: فناء Annihilation) -- Annihilation of Self, getting acquaintance with the alpha and omega of universe.

High level Muraqabas

1.  Tasawwur-e-Sheikh (Arabic: تصور الشيخ Focusing mind on master) -- To facilitate the transfer of spiritual knowledge from master to student.

2.  Tasawwur-e-Rasool (Arabic: تصور الرسول Focusing mind on prophet) -- To facilitate the transfer of Faiz (arcane spiritual knowledge) from prophet to student. This focussing of mind is done on Muhammad (Salla Allahu 'alayh wasalam)..

3.  Tasawwur-e-zat-e-Ilaahi (Arabic: تصور الذات الإلاهي Focusing Mind on God) -- With the help of this Muraqaba, the student experiences the Tajalli-e-Zaat of God.

Sufi whirling

Sufi whirling (or Sufi spinning), ( Arabic: الرقص الصوفي‎) is a form of Sama or physically active meditation which orginated among Sufis, and which is still practiced by the Sufi Dervishes of the Mevlevi order. It is a customary dance performed within the Sema, or worship ceremony, through which dervishes (also called semazens) aim to reach the source of all perfection, or kemal. This is sought through abandoning one's nafs, egos or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the sun. As explained by Sufis: In the symbolism of the Sema ritual, the semazen's camel's hair hat (sikke) represents the tombstone of the ego; his wide, white skirt represents the ego's shroud. By removing his black cloak, he is spiritually reborn to the truth. At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth. The semazen conveys God's spiritual gift to those who are witnessing the Sema. Revolving from right to left around the heart, the semazen embraces all humanity with love. The human being has been created with love in order to love. Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!"

The African SAHABA (r.a) used to DANCE in the love of Prophet MOHAMMED (s.a.w) Wajd in Islam

WAJD is {lawful} in islam in the love of prophet MOHAMMED S.A.W

{DANCING for WORLDLY things is HARAAM [FORBIDDEN] in ISLAM }

WAJD is {lawful} in islam in the love of prophet MOHAMMED S.A.W

PROOFS From QURAN & HADEES "CLICK ON THIS LINK"

http://sunniforum.net/showthread.php?t=30

PROOF:-

hadith:-
The Imams of Hadith have written commentaries on this Hadith. There were African companions of the Holy Prophet Muhammad e from Ethiopia and/or Abyssinia, the Bani Arfida (sons of Arfida) residents of Madinah that used to come to visit the Holy Prophet Muhammad e annually on the occasion of Id.

In Bukhari it is stated that they were playing (yalhabu), dancing and playing in Masjid an-Nabawi, in front of the door of the Holy Prophet e house. Bukhari has recorded this in the Chapter, Playing in the Masjid, since the word playing appears in the text. So, readers of this Hadith concentrate more on playing than other aspects.

Other Imams have also commented on this hadith. This being in the Chapter, Playing in the Masjid, in Bukhari, a question arises as to whether anyone has permission to play in the mosque? This is a place of prayer, reflection, bowing and prostration, so the answer is a definite, No! Yet, Bukhari has recorded this in the Sub Chapter, Spearplay in the Masjid.

The following is recorded in

► Bukhari Book 4 Hadith 150 ,Book 1 Hadith 445 ,

► Muslim Book 4 Hadith 1941

► Tirmidhi and

► Abu Daud

Several other imams Report the word
RAQs in this hadith


The Muslims of African descent used to come to the Holy Prophet Muhammad e on the Day of Id and it is stated they were playing with spears in the Mosque and in front of the house door of the Holy Prophet Muhammad e. If one analyses this hadith and reflect as to where the door of the house of the Holy Prophet Muhammad e opened, it opened leading to The Piece of Paradise on Earth (Riazul Jannah).
Imam Tirmidhi did not use the word playing (yalhaboon) but utilized yaznifoon. Some have commentated on the activity saying that they were doing the war dance since they had spears etc. Could they have not performed a war dance outside in the open fields? They could never have played or performed a war dance at such a Place of Sacredness , the Masjid of the Holy Prophet Muhammad e, in front of the door of his blessed residence, standing on a piece of paradise.

This hadith is in the

► Musnad of Imam Hamnbal,

► Tabarani,

► Nasai and as-Sunan al-Kubra etc.
 

Hazrath Aisha t, reported that the Abysinians were standing in front of the door of the Holy Prophet es house and were ecstatically dancing or performing raqs on anticipation of seeing the Holy Prophet Muhammad e. Hazrath Anas bin Maalik t, reports in the Musnad of Imam Hamnbal

قَنَ في الحَبَشَتُ يَزفِلُنَ بينَ يَدَ رَسُلُلَّهِ ا، وَيَربَسُ

Here yazfiloo or raqs is mentioned. The Holy Prophet e called Hazrath Aisha t, to witness this ecstatic state of love, thus giving it his approval. Also, he asked the Sahaba as to what they were saying in this ecstatic state? The Sahaba told the Holy Prophet e that they were saying:

مُهَمَّدٌ أَبدٌ سَلَة

Muhammad e is the most righteous slave of Allah Y


In Tabarani it is recorded that Hazrath Aisha y, said:

I had my hand on the Holy Prophet Muhammad e s shoulder whilst they, the Africans, performed raqs

In another version of this hadith it is stated:

The Holy Prophet e invited his wife Aisha to watch the dance, took her into the crowd, and lifted her over his back, so that she could watch them clearly as she eagerly leaned forward, her cheek pressing against his.

In Sahih, ibn Hibban recording this incident the word yazfiloona meaning raks is also used.

Only a dance to please the beloved S.a.w, extreme love of the Holy Prophet Muhammad S.a.w is permitted in the Masjid and no frivolous playing is allowed. 

Sufism and Dervishes

    The origin and roots of Sufism lie in the life and practices of the Prophet of Islam and the Qur’an. Sufism espouses a well-founded and thoroughgoing interpretation of Islam, which focuses on love, tolerance, worship of God, community development, and personal development through self-discipline and responsibility. A Sufi’s way of life is to love and be of service to people, deserting the ego or false self and all illusion so that one can reach maturity and perfection, and finally reach Allah, the True, the Real.

  Through the Whirling Dervishes program we hope to bring to you a hint of one of the remarkable ways of achieving this: the way of Rumi, the great Muslim mystic and poet.

   The Order of the Whirling Dervishes is one branch of the vast Sufi tradition of Islam. The universal values of love and service shared by all Sufis are very much relevant to the social and political realities of today, and this ritual, which is only performed by the Order of the Whirling Dervishes, has come to symbolize these values in the hearts and minds of millions throughout the world.

   The Fundamental Meaning of Sema

THE SEMA RITUAL began with the inspiration of Mevlâna Jalâluddîn Rumi (1207-1273) and was influenced by Turkish customs and culture.
    It is scientifically recognized that the fundamental condition of our existence is to revolve. There is no being or object which does not revolve, because all beings are comprised of revolving electrons, protons, and neutrons in atoms. Everything revolves, and the human being lives by means of the revolution of these particles, by the revolution of the blood in his body, and by the revolution of the stages of his life, by his coming from the earth and his returning to it.

    However, all of these revolutions are natural and unconscious. But the human being possesses a mind and an intelligence which distinguishes him from other beings. Thus the whirling dervish or semazen, intentionally and consciously participates in the shared revolution of other beings.

  Contrary to popular belief, the semazen's goal is not to lose consciousness or to fall into a state of ecstasy. Instead, by revolving in harmony with all things in nature -- with the smallest cells and with the stars in the firmament -- the semazen testifies to the existence and the majesty of the Creator, thinks of Him, gives thanks to Him, and prays to Him. In so doing, the semazen confirms the words of the Qur'an (64:1): Whatever is in the skies or on earth invokes God.

   An important characteristic of this seven-centuries-old ritual is that it unites the three fundamental components of human nature: the mind (as knowledge and thought), the heart (through the expression of feelings, poetry and music) and the body (by activating life, by the turning). These three elements are thoroughly joined both in theory and in practice as perhaps in no other ritual or system of thought.

  The Sema ceremony represents the human being's spiritual journey, an ascent by means of intelligence and love to Perfection (Kemal). Turning toward the truth, he grows through love, transcends the ego, meets the truth, and arrives at Perfection. Then he returns from this spiritual journey as one who has reached maturity and completion, able to love and serve the whole of creation and all creatures without discriminating in regard to belief, class, or race.

   In the symbolism of the Sema ritual, the semazen's camel's hair hat (sikke) represents the tombstone of the ego; his wide, white skirt represents the ego's shroud. By removing his black cloak, he is spiritually reborn to the truth. At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth. The semazen conveys God's spiritual gift to those who are witnessing the Sema. Revolving from right to left around the heart, the semazen embraces all humanity with love. The human being has been created with love in order to love. Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!"

      The Ritual Dance or Sema

    The Mevlevi (also spelled as mawlawi) Ritual dance or sema consists of several stages with different meanings:

   The first stage, Naat-i Sherif, is a eulogy to the Messenger of Islam and the all Prophets before him, who represent love. To praise them is to acknowledge and praise God Almighty Who created and sent them to humanity as a mercy. This eulogy is followed by a drumbeat (on the kudum) symbolizing the divine command ‘Be’ for the creation of the entire universe.  

 
    The Naat-i Sherif is followed by a Taksim, an improvisation on the reed flute or ney. This expresses the divine breath, which gives life to everything.
 

  Then follows the Sultan Veled procession or Devr-i Veled, accompanied by peshrev music; this is a circular, anticlockwise, procession three times around the turning space. The greetings of the semazen, or whirling dervishes, during the procession represent the three stages of knowledge: ilm-al yaqin (received knowledge, gained from others or through study), ayn-al yaqin (knowing by seeing or observing for oneself) and haqq-al yakin (knowledge gained through direct experience, gnosis).

  During the Sema itself there are four selams, or musical movements, each with a distinct rhythm. At the beginning, during and close of each selam, the semazen testify to God's existence, unity, majesty and power:

 

The First Selam represents the human being's birth to truth through feeling and mind. It represents his complete acceptance of his condition as a creature created by God.

 

The Second Selam expresses the rapture of the human being witnessing the splendor of creation in the face of God's greatness and omnipotence.

 

The Third Selam is the rapture of dissolving into love and the sacrifice of the mind to love. It is complete submission, unity, and the annihilation of self in the Beloved. This is the state that is known as nirvana in Buddhism and fana fillah in Islam. The next stage in Islamic belief is the state of servanthood represented by the Prophet, who is called God's servant foremost and subsequently His ‘Messenger.’ The aim of Sema is not uncontrolled ecstasy and loss of consciousness, but the realization of submission to God.

 

    In the Fourth Selam, just as the Prophet ascends to the spiritual Throne of Allah and then returns to his task on earth, the whirling dervish, after the ascent of his spiritual journey, returns to his task, to his servanthood. He is a servant of God, of His Books, of His Prophets, of His whole Creation. 

    

  This is followed by a recitation from the Qur’an, the Sura  (Chapter) Mary on the miracle birth of Jesus and his mission.

 

    

 

At the end, by the salute, the dervish demonstrates again the number ‘1’ in his appearance, arms consciously and humbly crossed, and, by this, the unity of God.

 

The ceremony ends with a prayer for the peace of the souls of all the Prophets and believers.

  After the completion of the Sema, all the dervishes retire silently to their rooms for meditation and further remembrance of God.

 

IMPORTANT NOTE: Sema is a spiritual act, so please DO NOT applaud while watching. You may kindly do so, if you wish, after the dervishes have left the stage

HADRA

Haḍra (Arabic: حضرة‎) is a collective supererogatory ritual performed by Sufi orders. It is often held on Thursday evenings after the night prayer, on Fridays after Jum`a prayer or on Sunday evenings, and can also celebrated on special Islamic festivals and at rites of passage. It may be held at home, in a mosque, in a Sufi hospice or elsewhere. The term in Arabic literally means "presence".
The hadra features various forms of dhikr (remembrance), including sermons, collective study, recitation of Qur'an and other texts (especially devotional texts particular to the Sufi order (tariqa) in question, called hizb and wird), religious poetic chanting, centering on praise and supplication to God, religious exhortations, praise of the Prophet and requests for intercession (inshad dini or madih - the latter term referring literally to "praise") and rhythmic invocations of God using one or more divine names, especially Allah, Hayy, Qayyum or simply Hu ("He"), as well as the testimony of faith and tawhid, la ilaha illa Allah (there is no god but God).
Rhythmic recitation of names and chanting of religious poetry are frequently performed together. In conservative Sufi orders no instruments are used, or the daf (frame drum) only; other orders employ a range of instrumentation. The collective Sufi ritual is practiced under this name primarily in the Arab world but also in some non-Arab Muslim countries such as Indonesia and Malaysia. Maroof peer has introduced hadra to the youth of INDIA. In Turkish Sufism the Hadra is often referred to as the Devran and is a feature of the Khalwati, Shadhili, Qadiri and Rifa'i orders throughout Turkey and the Balkans.

                  Sama (Sufism)

Sama (Arabic: سَمَاع‎ - samā‘^un) is a Sufi ceremony performed as dhikr. Sama means "listening", while dhikr means "remembrance". These rituals often includes singing, playing instruments, dancing, recitation of poetry and prayers, wearing symbolic attire, and other rituals. It is a particularly popular form of worship in the Chisti order of the Indian subcontinent.

The origination of Sama is credited to Rumi, Sufi master and creator of the Mevlevis. The story of the creation of this unique form of dhikr is that Rumi was walking through the town marketplace one day when he heard the rhythmic hammering of the goldbeaters. It is believed that Rumi heard the dhikr, "la ilaha ilallah" or in English, "no god but Allah" in the apprentices beating of the gold and so entranced in happiness he stretched out both of his arms and started spinning in a circle (sufi whirling). With that the practice of Sema and the dervishes of the Mevlevi order were born. The sama' has roots in Persian and Turkish culture, and is associated with oriental traditions.
Abu Sa`id, (357 A.H.) (967 c.e.) was born in Mayhana, a town near Sarakhs, which today is in the former Soviet Republic of Turkmenistan, bordering Iran. He is noted for establishing a rule for conduct in the khanaqah and also for the introduction of music (sama'), poetry and dance, as part of the Sufi collective devotional ritual of dhikr.

Symbolism

The Sama represents a mystical journey of man's spiritual ascent through mind and love to perfection. Turning towards the truth, the follower grows through love, deserts his ego, finds the truth and arrives at perfection. He then returns from this spiritual journey as a man who has reached maturity and a greater perfection, so as to love and to be of service to the whole of creation. Rumi has said in reference to Sama', "For them it is the Sama' of this world and the other. Even more for the circle of dancers within the Sama' who turn and have in their midst, their own Ka'aba." This relates Sama' to the pilgrimage to Mecca, in that both are intended to bring all who are involved closer to God.

Components

Sama emphasizes singing, but also includes the playing of instruments, particularly for introductions and accompaniments. However, only instruments which are symbolic and not considered profane are used. The most common of these are the tambourine, bells, and flute. It often includes the singing of hymns, called qawl and bayt. Poetry is often included in the ceremony as well, because while it is inadequate by itself, it works together with aid in spiritual contemplation. Any poetry, even the erotic, can be applied to God, and thus used for this ceremony. However, the listener's heart must first be pure, or the dancing components of sama' will make these people full of lust instead of love for God. Additionally, being in love with a person rather than with God clouds a person's mind when they are listening to erotic poetry. Verses from the Qur'an are never used for this purpose, and not only because their meanings are said to be somewhat dulled through repetition. Qur'anic verses are never to be set to meditation, nor ornamented or improvised in any way, so that they remain sacred texts.

Purpose

Sama is a means of meditating on God through focusing on melodies and dancing. It brings out a person's love of God, purifies the soul, and is a way of finding God. This practice is said to reveal what is already in one's heart, rather than creating emotions. All of a person's doubt disappears, and the heart and soul can communicate directly with God. The immediate goal of sama' is to reach wajd, which is a trance-like state of ecstasy. Physically, this state may include various and unexpected movements, agitation, and all types of dancing. Another state that people hope to reach through sama' is khamra, which means "spiritual drunkenness". Ultimately, people hope to achieve the unveiling of mysteries and gain spiritual knowledge through wajd. Sometimes, the experience of wajd becomes so strong that fainting or even, in extreme circumstances, death, occurs.

Etiquette

Participants in sama are expected to remain silent and still, and controlled throughout the ceremony, unless wajd occurs. This way, a higher degree of spiritual contemplation can be reached. Participants must restrain themselves from movement and crying until they reach a point in which they can no longer hold back. At this point, wajd can be reached. It is essential that the trance-like experience of wajd be genuine and not faked for any reason. Also, people must maintain proper intent and actions must be present throughout the sama'; otherwise, they cannot experience the ceremony's intended positive effects.

Controversy

Muslims are divided into two groups regarding the issue of sama and the use of music in general: 1) Advocates, which are most Sufis and other mystics, and 2) Opponents. Advocates view chants as a required practice for spiritual growth. Abu Hamid al-Ghazzali was a firm advocate for music, and believed that wajd aroused passionate love for God  Al-Ghazzali wrote a chapter entitled "Concerning Music and Dancing as Aids to the Religious Life", where he emphasized how the practices of music and dance are beneficial to Muslims, as long as their hearts are pure before engaging in these practices.
Opponents find music as an Innovation bidah and associated with infidelity. They compare the physical sensations experienced by a person in the state of wajd to a state of physical drunkenness, and therefore do not condone it.

In Practice

Due to differences in culture between Muslim groups, participation in musical performance is condoned in some and considered questionable in others. Meditation and Sufi practices are allowed in Islam as long as they are within the limits of the Shari'ah (Islamic law). All castes can participate, although there is debate between Sufis and legalists about whether novice Sufis and ones more advanced in their faith are capable of achieving the same positive results from sama'. The same debate exists for the young, and whether they are capable of overcoming their lust and clearing their hearts to worship God.

See also

•     Qawwali - A form of sama in South Asia