Home  ›  Nigeria Pre and Post Colonialism Art Music and Dance

Nigeria Pre and Post Colonialism Art Music and Dance

Written By sexta-feira, 29 de abril de 2022 Add Comment Edit

Islamic civilisation

Islamic civilization and Muslim culture refer to cultural practices which are common to historically Islamic people. The early forms of Muslim civilization, from the Rashidun Caliphate to the early Umayyad period and the early Abbasid menses, were predominantly Arab, Byzantine, Persian and Levantine. With the rapid expansion of the Islamic empires, Muslim culture has influenced and alloyed much from the Western farsi, Egyptian, North Caucasian, Turkic, Mongol, Indian, Bangladeshi, Pakistani, Malay, Somali, Berber, Indonesian, and Moro cultures.

Islamic culture generally includes all of the practices which have developed around the religion of Islam. There are variations in the application of Islamic beliefs in different cultures and traditions.[1]

Language and literature [edit]

Standard arabic [edit]

Standard arabic literature (Arabic: الأدب العربي / ALA-LC: al-Adab al-'Arabī) is the writing, both prose and verse, produced by writers in the Arabic language. The Arabic discussion used for literature is "Adab", which is derived from a significant of etiquette, and which implies politeness, culture and enrichment.

Arabic literature emerged in the 5th century with simply fragments of the written language appearing before then. The Qur'an,(the holy book of Islam) widely regarded by people as the finest piece of literature in the Arabic language,[two] would have the greatest lasting effect on Arabic culture and its literature. Arabic literature flourished during the Islamic Golden Age, simply has remained vibrant to the present day, with poets and prose-writers beyond the Arab earth, every bit well as rest of the world, achieving increasing success.

Farsi [edit]

Persian literature comprises oral compositions and written texts in the Persian linguistic communication and it is one of the world'southward oldest literatures.[iii] [4] [5] It spans over two-and-a-half millennia. Its sources have been within Greater Islamic republic of iran including nowadays-day Iran, Iraq, Syria, Afghanistan, the Caucasus, and Turkey, regions of Central Asia (such as Tajikistan) and South Asia where the Persian language has historically been either the native or official language. For instance, Rumi, i of best-loved Farsi poets built-in in Balkh (in what is now the modernistic-day Transitional islamic state of afghanistan) or Vakhsh (in what is now the modern-day Tajikistan), wrote in Persian and lived in Konya, then the uppercase of the Seljuks in Anatolia. The Ghaznavids conquered large territories in Central and Due south Asia and adopted Persian equally their court language. There is thus Persian literature from Islamic republic of iran, Mesopotamia, Azerbaijan, the wider Caucasus, Turkey, western parts of Pakistan, Bangladesh, India, Tajikistan and other parts of Central Asia. Non all Persian literature is written in Persian, as some consider works written by ethnic Persians in other languages, such as Greek and Standard arabic, to be included. At the same time, not all literature written in Persian is written past indigenous Persians or Iranians, as Turkic, Caucasian, and Indic poets and writers have besides used the Persian language in the environs of Persianate cultures.

Described as one of the great literatures of humanity,[six] including Goethe's assessment of it as ane of the four master bodies of world literature,[7] Persian literature has its roots in surviving works of Centre Persian and Old Persian, the latter of which appointment back as far equally 522 BCE, the engagement of the primeval surviving Achaemenid inscription, the Behistun Inscription. The bulk of surviving Persian literature, however, comes from the times following the Arab conquest of Persia c. 650 CE. Afterward the Abbasids came to power (750 CE), the Iranians became the scribes and bureaucrats of the Arab empire and, increasingly, as well its writers and poets. The New Persian language literature arose and flourished in Khorasan and Transoxiana because of political reasons, early Iranian dynasties such as the Tahirids and Samanids beingness based in Khorasan.[eight]

Farsi poets such as Ferdowsi, Sa'di, Hafiz, Attar, Nezami,[9] Rumi[10] and Omar Khayyam are besides known in the W and take influenced the literature of many countries.

Indic [edit]

For a yard years, since the invasion of India by the Ghaznavids, the Persian-Islamic culture of the eastern half of the Islamic earth started to influence the Indian civilisation. Persian was the official language of virtually Indian empires such as the Ghaznavids, the Delhi Sultanate, the Bengal Sultanate, the Deccan Sultanates (such as the Qutb Shahi dynasty) and the Mughal Empire. Persian artistic forms in literature and poetry such as ghazals take come to significantly touch Urdu and other Indian literature. More Persian literature was produced in India than in the Iranian world. As late as the 20th century, Allama Iqbal chose Persian for some of his major poetic works. The outset Persian language newspaper was also published in India, given that printing machines were first implemented in India.

In Bengal, Muslim writers were exploring unlike themes through Islamic narratives and epics such as culture, cosmology, dear and history. Starting from Shah Muhammad Saghir in the 14th century, Muslim writers began to enrich the Bengali language for over 600 years, often existence actively supported and promoted by the rulers themselves.[11] The early 20th century brought a new era for Bengali Islamic literature, with its most notable poet Kazi Nazrul Islam espousing intense rebellion confronting colonialism and oppression, in addition to writing a highly acclaimed drove of Bengali ghazals. Sultana's Dream by Begum Rokeya, an Islamic feminist, is i earliest works of feminist scientific discipline fiction.

Turkish [edit]

From the 11th century, at that place was a growing body of Islamic literature in the Turkic languages. However, for centuries to come the official linguistic communication in Turkish-speaking areas would remain Persian. In Anatolia, with the appearance of the Seljuks, the practise and usage of Farsi in the region would be strongly revived. A branch of the Seljuks, the Sultanate of Rum, took Western farsi linguistic communication, art and letters to Anatolia.[12] They adopted Persian language equally the official language of the empire.[xiii] The Ottomans, which tin can "roughly" be seen as their eventual successors, took this tradition over. Western farsi was the official courtroom linguistic communication of the empire, and for some time, the official language of the empire,[14] though the lingua franca among common people from the 15th/16th century would get Turkish as well as having laid an active "foundation" for the Turkic language as early as the 4th century (see Turkification). After a menses of several centuries, Ottoman Turkish (which was highly Arabo-Persianised itself) had developed towards a fully accepted linguistic communication of literature, which was even able to satisfy the demands of a scientific presentation.[15] However, the number of Persian and Arabic loanwords contained in those works increased at times up to 88%.[15] Even so, Turkish was proclaimed the official language of the Karamanids in the 17th century, though it didn't manage to get the official language in a wider area or larger empire until the advent of the Ottomans. With the establishment of the Ottoman Empire, Ottoman Turkish (a highly Arabo-Persianised version of Oghuz Turkic) grew in importance in both poetry and prose becoming, by the get-go of the 18th century, the official language of the Empire. Unlike Republic of india, where Persian remained the official and principal literary language of both Muslim and Hindu states until the 19th century.

Art [edit]

Public Islamic art is traditionally non-representational, except for the widespread employ of constitute forms, unremarkably in varieties of the spiralling arabesque. These are oft combined with Islamic calligraphy, geometric patterns in styles that are typically establish in a wide variety of media, from small-scale objects in ceramic or metalwork to large decorative schemes in tiling on the outside and inside of large buildings, including mosques. However, there is a long tradition in Islamic fine art of the depiction of human being and animal figures, peculiarly in painting and small anonymous relief figures as part of a decorative scheme. Almost all Persian miniatures (as opposed to decorative illuminations) include figures, often in big numbers, as do their equivalents in Arab, Mughal and Ottoman miniatures. Just miniatures in books or muraqqa albums were private works owned by the elite. Larger figures in monumental sculpture are exceptionally rare until recent times, and portraiture showing realistic representations of individuals (and animals) did non develop until the late 16th century in miniature painting, especially Mughal miniatures. Manuscripts of the Qur'an and other sacred texts take always been strictly kept gratis of such figures, just there is a long tradition of the depiction of Muhammad and other religious figures in books of history and poetry; since the 20th century Muhammad has generally been shown as though wearing a veil hiding his face, and many earlier miniatures were overpainted to utilize this convention.[16]

Depiction of animate beings [edit]

Some interpretations of Islam include a ban of depiction of animate beings, also known equally aniconism. Islamic aniconism stems in function from the prohibition of idolatry and in role from the belief that creation of living forms is God's prerogative. Although the Quran does not explicitly prohibit visual representation of any living being, information technology uses the word musawwir (maker of forms, artist) as an epithet of God. The corpus of hadith (sayings attributed to the Islamic prophet Muhammad) contains more explicit prohibitions of images of living beings, challenging painters to "exhale life" into their images and threatening them with punishment on the Day of Judgment.[17] [18] Muslims take interpreted these prohibitions in unlike ways in unlike times and places. Religious Islamic art has been typically characterized past the absenteeism of figures and extensive use of calligraphic, geometric and abstract floral patterns. However, representations of Muhammad (in some cases, with his face concealed) and other religious figures are plant in some manuscripts from lands to the east of Anatolia, such as Persia and India. These pictures were meant to illustrate the story and not to infringe on the Islamic prohibition of idolatry, just many Muslims regard such images equally forbidden.[17] In secular art of the Muslim world, representations of human and animal forms historically flourished in near all Islamic cultures, although, partly because of opposing religious sentiments, figures in paintings were often stylized, giving rise to a diverseness of decorative figural designs.[18]

Calligraphy [edit]

Islamic calligraphy is the artistic practice of handwriting and calligraphy, based upon the alphabet in the lands sharing a common Islamic cultural heritage. It includes Arabic Calligraphy, Ottoman, and Persian calligraphy.[nineteen] [xx] Information technology is known in Standard arabic as khatt Islami ( خط اسلامي ), meaning Islamic line, pattern, or construction.[21]

The evolution of Islamic calligraphy is strongly tied to the Qur'an; capacity and excerpts from the Qur'an are a mutual and almost universal text upon which Islamic calligraphy is based. Yet, Islamic calligraphy is not limited to strictly religious subjects, objects, or spaces. Like all Islamic art, it encompasses a various array of works created in a wide diverseness of contexts.[22] The prevalence of calligraphy in Islamic art is non directly related to its non-figural tradition; rather, it reflects the centrality of the notion of writing and written text in Islam.[23] It is noteworthy, for instance, that the Prophet Muhammad is related to have said: "The outset thing God created was the pen."[24]

Islamic calligraphy developed from two major styles: Kufic and Naskh. At that place are several variations of each, as well as regionally specific styles. Islamic calligraphy has also been incorporated into mod art beginning with the post-colonial flow in the Middle East, as well every bit the more recent fashion of calligraffiti.

Compages [edit]

Islamic architecture is the range of architectural styles of buildings associated with Islam. It encompasses both secular and religious styles from the early history of Islam to the nowadays mean solar day. Early Islamic architecture was influenced by Roman, Byzantine, Persian and all other lands which the Muslims conquered in the 7th and eighth centuries.[25] [26] Further due east, it was besides influenced by Chinese and Indian architecture as Islam spread to the Southeast Asia. Subsequently it developed distinct characteristics in the form of buildings, and the ornament of surfaces with Islamic calligraphy and geometric and interlace patterned ornamentation. The principal Islamic architectural types for large or public buildings are: the Mosque, the Tomb, the Palace and the Fort. From these four types, the vocabulary of Islamic architecture is derived and used for other buildings such as public baths, fountains and domestic architecture.[27] [28]

  • The Great Mosque of Kairouan also called the Mosque of Uqba is at the same time the oldest mosque in North Africa (founded in 670 and all the same used equally a place of worship) and 1 of the most of import monuments of Islamic civilisation,[29] [30] situated in Kairouan, Tunisia.

  • The fortress-palace of Alhambra, built in the 11th century, is a large monument and a pop tourist attraction.

Elements of Islamic style [edit]

Islamic compages may be identified with the post-obit pattern elements, which were inherited from the commencement mosque built by Muhammad in Medina, every bit well as from other pre-Islamic features adapted from churches and synagogues.

  • Big courtyards often merged with a cardinal prayer hall (originally a feature of the Masjid al-Nabawi).
  • Minarets or towers (which were originally used every bit torch-lit watchtowers for example in the Neat Mosque of Damascus; hence the derivation of the word from the Standard arabic nur, meaning "light"). The oldest standing minaret in the world is the minaret of the Great Mosque of Kairouan (in Tunisia);[31] [32] erected betwixt the 2nd and the 3rd century, it is a imperial foursquare tower consisting of 3 superimposed tiers of gradual size and decor.
  • A mihrab or niche on an inside wall indicating the direction to Mecca. This may have been derived from previous uses of niches for the setting of the torah scrolls in Jewish synagogues or Mehrab (Persian: مِهراب) of Persian Mitraism civilisation or the wikt:haikal of Coptic churches.
  • Domes (the earliest Islamic use of which was in the 8th-century mosque of Medina).
  • Use of iwans to intermediate between different sections.
  • Utilize of geometric shapes and repetitive fine art (arabesque).
  • Use of decorative Arabic calligraphy.
  • Use of symmetry.
  • Ablution fountains.
  • Use of brilliant colour.
  • Focus on the interior infinite of a edifice rather than the exterior.

Theatre [edit]

Whilst theatre is permitted past Islam,[33] Islam does not allow for any performances to depict God, Muhammad, his companions, the angels or matters detailed in the faith that are unseen.

The most popular forms of theatre in the medieval Islamic world were puppet theatre (which included hand puppets, shadow plays and marionette productions) and live passion plays known equally ta'ziya, where actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Alive secular plays were known as akhraja, recorded in medieval adab literature, though they were less mutual than puppetry and ta'zieh theatre.[34]

One of the oldest, and most enduring, forms of puppet theatre is the Wayang of Indonesia. Although it narrates primarily pre-Islamic legends, it is likewise an important stage for Islamic epics such as the adventures of Amir Hamzah (pictured). Islamic Wayang is known equally Wayang Sadat or Wayang Menak.

Karagoz, the Turkish Shadow Theatre has influenced puppetry widely in the region. It is thought to have passed from China by style of India. Later it was taken past the Mongols from the Chinese and transmitted to the Turkish peoples of Central Russian federation. Thus the art of Shadow Theatre was brought to Anatolia by the Turkish people emigrating from Central Asia. Other scholars merits that shadow theatre came to Anatolia in the 16th century from Egypt. The advocates of this view merits that when Yavuz Sultan Selim conquered Egypt in 1517, he saw shadow theatre performed during an extacy political party put on in his honour. Yavuz Sultan Selim was and so impressed with it that he took the puppeteer back to his palace in Istanbul. There his 47-year-old son, afterward Sultan Suleyman the Magnificent, developed an interest in the plays and watched them a great deal. Thus shadow theatre constitute its way into the Ottoman palaces.[35]

In other areas the style of shadow puppetry known as khayal al-zill – an intentionally metaphorical term whose meaning is best translated every bit 'shadows of the imagination' or 'shadow of fancy' survives. This is a shadow play with live music .."the accessory of drums, tambourines and flutes...also..."special furnishings" – smoke, fire, thunder, rattles, squeaks, thumps, and whatever else might elicit a express mirth or a shudder from his audience"[36]

In Islamic republic of iran puppets are known to have existed much earlier than 1000, just initially only glove and string puppets were popular in Iran.[37] Other genres of puppetry emerged during the Qajar era (18th–19th century) as influences from Turkey spread to the region. Kheimeh Shab-Bazi is a Western farsi traditional puppet show which is performed in a small sleeping room past a musical performer and a storyteller called a morshed or naghal. These shows often take place alongside storytelling in traditional tea and coffee-houses (Ghahve-Khave). The dialogue takes place between the morshed and the puppets. Puppetry remains very pop in Iran, the touring opera Rostam and Sohrab puppet opera being a contempo example.

The Regal Opera Firm in Muscat, Oman. It is considered to be the starting time opera house linking Islamic civilisation with classical music.

Following the independence of Pakistan in 1947, religion-based nationalism was strong and afflicted the theatre in both wings of the state. In Eastward Pakistan (modernistic-day Bangladesh), playwrights emerged such as Ibrahim Khan (1894-1978), Ibrahim Khalil (b. 1916), Akbar ad-Din (1895-1978) and others. These playwrights would create plays related to the Islamic history of the subcontinent and Centre East, glorifying past Muslim rulers likewise as the history of the Pakistan Motility.[38]

Dance [edit]

Many forms of dancing arts are practised in Muslim cultures, both in religious[39] and secular contexts (such every bit folk and tribal dances, courtroom dances, dances of celebration during weddings and festivals, belly dancing, etc.).

Some scholars of Islamic fiqh pronounced gender based rulings on dance, making it permissible for women within a female person only environment, equally is often performed at celebrations,[twoscore] only discouraging men to appoint in information technology.[41] Other classical authorities including Al-Ghazzali and Al-Nawawi allow it without this distinction, merely criticised dancing which is "languid" or excites carnal lusts.[42] [43]

Most of the religious orders (tariqa) which dominate traditional Muslim religious life practice ritualised forms of trip the light fantastic toe in the context of dhikr ceremonies. Dhikr, "recollection" (of God) is a meditative form of worship different from ritual prayer where the seeker focuses all of his senses and thoughts on God in the promise of attaining maarifat (experiential noesis of God) and triggering mystic states within him- or herself. Dhikr can be performed individually or with similar-minded followers under the direction of a sheikh, and can involve silent meditation or repetition and visualisation of sacred words such as the 99 names of God or Quranic phrases, and may exist washed at residuum or with rhythmic movements and controlling one's breath. Traditional Islamic orders have adult varied dhikr exercises including sometimes highly elaborate ritual dances accompanied by Sufi poesy and classical music.

Al-Ghazzali discussed the use of music and dancing in dhikr and the mystical states information technology induces in worshippers, as well as regulating the etiquette fastened to these ceremonies, in his short treatise on Islamic spirituality The Alchemy of Happiness and in his highly influential work The Revival of the Religious Sciences. Al-Ghazzali emphasized how the practices of music and trip the light fantastic toe are beneficial to religious seekers, equally long as their hearts are pure before engaging in these practices.[44]

Notable examples include the Mevlevi Society founded by Jalaluddin Rumi, which was the main Sunni order of the Ottoman empire, and its sama ritual (known in the West as "the whirling dervishes").[45] The Mevlevi lodge, its rituals and Ottoman classical music has been banned in Turkey through much of the 20th century every bit part of the country'due south drive towards secular "modernisation", and the order'southward properties have been expropriated and the country's mosques put out of its command, which has radically diminished its influence in modernistic Turkey. In 2008, UNESCO confirmed the "Mevlevi Sama Anniversary" of Turkey equally one of the Masterpieces of the Oral and Intangible Heritage of Humanity,[46] and the practice is now regaining interest.

In Egypt and the Levant, the Mevlevi course of sama is known as tannoura and has been adopted (with some modifications) by other Sufi orders as well.

The Chishti order, traditionally the dominant Islamic establishment in Transitional islamic state of afghanistan and the Indian subcontinent and the nigh aboriginal of the major Sufi orders, besides practices forms of sama like to the Mevlevis, likewise as other forms of devotional dance such as dhamaal. The order is strongly associated with the evolution of Hindustani classical music and semi-classical devotional genres such every bit qawwali through famed pioneer figures such as Amir Khusrow. The Chishti order remains ane of the largest and strongest Muslim religious orders in the world by far, retaining a vast influence on the spirituality and civilisation of around 500 one thousand thousand Muslims living in the Indian subcontinent.

Other examples of devotional trip the light fantastic are plant in the Maghreb where it is associated with gnawa music, also as Sub-Saharan Africa and South-East Asia. The Naqshbandi club, predominant amid Iran'south Sunni minority, is a notable exception in that they do non utilize music and dancing in the context of dhikr.

In improver to these strictly religious forms of dance, colourful dancing processions traditionally take place in Muslim communities during weddings and public celebrations such as Mawlid, Eid el-Adha, and so on. Many Islamic cultures accept as well developed classical forms of dance in the context for instance of Mughal, Ottoman, Western farsi and Javanese court cultures, too every bit innumerable local folk and tribal dances (for instance amid Bedouin, Tuareg and Pashto peoples), and other forms of trip the light fantastic toe used for amusement or sometimes healing such as belly dancing (principally associated with Egyptian civilization).

Although tariqas and their rituals have been an omnipresent role of Muslim life for most of Islam'southward history and were largely responsible for the spread of Islam throughout the world, their following and influence has sharply declined since the tardily 19th century, having been vigorously opposed and combated in turns by the French and British colonial administrations and by Muslim modernists and secularists similar Kemal Atatürk, and in contempo decades have been the target of vocal opposition by the fundamentalist Wahhabi sect promoted past Saudi Arabia (where almost of the heritage associated with Sufism and tariqa was physically destroyed past the state in the 1930s). Wahhabi militant groups such every bit ISIS and the Taliban are repeatedly targeting dhikr ceremonies in terrorist attacks, notably in Arab republic of egypt and Pakistan.[47] [48]

Music [edit]

Many Muslims are very familiar to listening to music. The archetype heartland of Islam is Arabia also as other parts of the Middle East, North Africa and Primal Asia. Because Islam is a multicultural organized religion, the musical expression of its adherents is diverse.

  • Arab classical music
  • Religious music in Islamic republic of iran
  • Hindustani classical music
  • Qawwali music

The Seljuk Turks, a nomadic tribe that converted to Islam, conquered Anatolia (now Turkey), and held the Caliphate as the Ottoman Empire, also had a strong influence on Islamic music. See Turkish classical music.

Sub-Saharan Africa, India, and the Malay Archipelago as well take big Muslim populations, but these areas have had less influence than the heartland on the diverse traditions of Islamic music. For South Bharat, see: Mappila Songs, Duff Muttu.

All these regions were connected by merchandise long before the Islamic conquests of the 7th century and later, and it is likely that musical styles travelled the same routes as merchandise appurtenances. However, lacking recordings, nosotros tin simply speculate as to the pre-Islamic music of these areas. Islam must take had a great influence on music, every bit it united vast areas under the first caliphs, and facilitated trade between distant lands. Certainly the Sufis, brotherhoods of Muslim mystics, spread their music far and wide.

Meet articles on Eid ul-Fitr, Eid ul-Adha, Ashurah (see also Hosay and Tabuik), Mawlid, Lailat al Miraj and Shab-e-baraat.

Family life [edit]

In a Muslim family, the nascency of a child is attended with some religious ceremonies. Immediately after the birth, the words of Adhan is pronounced in the right ear of the child.[49] In the seventh day, the aquiqa ceremony is performed, in which an creature is sacrificed and its meat is distributed amid the poor.[50] The head of the child is besides shaved, and an amount of coin equaling the weight of the child'southward hair is donated to the poor.[50] Apart from fulfilling the basic needs of nutrient, shelter, and education, the parents or the elderly members of family also undertake the task of teaching moral qualities, religious knowledge, and religious practices to the children.[51] Marriage, which serves as the foundation of a Muslim family, is a civil contract which consists of an offer and acceptance betwixt two qualified parties in the presence of two witnesses. The groom is required to pay a bridal gift (mahr) to the bride, as stipulated in the contract.[52] With Muslims coming from diverse backgrounds including 49 Muslim-majority countries, plus a strong presence as large minorities throughout the earth at that place are many variations on Muslim weddings. Generally in a Muslim family, a woman's sphere of functioning is the home and a man's corresponding sphere is the exterior earth. Still, in practice, this separation is not every bit rigid as information technology appears.[53]

Certain religious rites are performed during and after the death of a Muslim. Those near a dying man encourage him to pronounce the Shahada as Muslims want their last give-and-take to be their profession of faith. After the expiry, the body is appropriately bathed past the members of the same gender and so enshrouded in a threefold white garment called kafan.[54] Placing the body on a bier, it is first taken to a mosque where funeral prayer is offered for the expressionless person, and then to the graveyard for burial.

Etiquette and diet [edit]

Many practices fall in the category of adab, or Islamic etiquette. This includes greeting others with "equally-salamu 'alaykum" ("peace be unto you"), maxim bismillah ("in the name of God") before meals, and using only the right hand for eating and drinking. Islamic hygienic practices mainly autumn into the category of personal cleanliness and wellness. Circumcision of male offspring is likewise skilful in Islam. Islamic burial rituals include saying the Salat al-Janazah ("funeral prayer") over the bathed and enshrouded dead body, and burial information technology in a grave. Muslims are restricted in their diet. Prohibited foods include pork products, claret, carrion, and alcohol. All meat must come from a herbivorous brute slaughtered in the proper noun of God by a Muslim, Jew, or Christian, with the exception of game that 1 has hunted or fished for oneself. Nutrient permissible for Muslims is known as halal nutrient. In verses of Quran, in that location goes these lines about meat that a muslim tin eat: " O ye who believe! Avoid suspicion as much (as possible): for suspicion in some cases is a sin: And spy not on each other behind their backs. Would whatever of yous like to eat the flesh of his expressionless brother? Nay, ye would abominate information technology...But fear Allah. For Allah is Often-Returning, Most Merciful." (Sura al-Hucurat, 12) "He has only forbidden y'all ˹to eat˺ carrion, claret, swine, and what is slaughtered in the name of any other than Allah. Merely if someone is compelled by necessity—neither driven by want nor exceeding immediate need—then surely Allah is All-Forgiving, Well-nigh Merciful." (Sura al-Nahl, 115) "Tell them (O Muhammad!): 'I do not find in what has been revealed to me anything forbidden for anyone who wants to eat unless information technology is carrion, outpoured blood and the flesh of swine, all of which is unclean; or that which is profane having been slaughtered in a name other than that of Allah.121 Simply whosoever is constrained to information technology past necessity - neither desiring to disobey nor exceeding the limit of necessity - your Lord is surely AllForgiving, All-Compassionate." (Sura al-An'am, 145) "Forbidden to you is that which dies of itself, and blood, and flesh of swine, and that on which whatsoever other name than that of Allah has been invoked, and the strangled (beast) and that beaten to death, and that killed by a fall and that killed by existence smitten with the horn, and that which wild beasts take eaten, except what you lot slaughter, and what is sacrificed on stones gear up (for idols) and that you divide by the arrows; that is a transgression. This day have those who disbelieve despaired of your religion, so fearfulness them not, and fright Me. This day have I perfected for you your religion and completed My favor on you and called for you Islam as a organized religion; but whoever is compelled by hunger, not inclining willfully to sin, and then surely Allah is Forgiving, Merciful." (Sura al-Maidah, iii) These verses clearly show that Islam forbids to eat flesh, drink blood and certain meats.[55]

Martial arts in Muslim countries/cultures [edit]

  • Pahlavani – Iran
  • Yağlı güreş – Turkey
  • Kurash – Central Asia
  • Istunka – Somalia
  • Nuba fighting – Sudan
  • Tahtib – Egypt
  • Laamb Wrestling – Senegal
  • Dambe – Nigeria
  • Boli Khela – People's republic of bangladesh
  • Lathi Khela – Bangladesh
  • Sqay – India
  • Pencak silat – Indonesia
  • Bakti Negara – Republic of indonesia
  • Perisai Diri – Indonesia
  • Kuntao – Indonesia
  • Tarung Derajat – Republic of indonesia
  • Silat – Indonesia
  • Silat Melayu – Malaysia
  • Seni Gayung Fatani – Malaysia
  • Seni Gayong – Malaysia
  • Tomoi – Malaysia
  • Lian padukan – Malaysia
  • Furusiyya – West Asian

See too [edit]

  • Cultural Muslim
  • Islamicate
  • Islam in South Asia
  • Islamic advice literature
  • Islamic literature

References [edit]

  1. ^ "Minds unmade". The Economist. 4 May 2013.
  2. ^ Jones, p. 9.
  3. ^ Spooner, Brian (1994). "Dari, Farsi, and Tojiki". In Marashi, Mehdi (ed.). Persian Studies in Northward America: Studies in Award of Mohammad Ali Jazayery. Leiden: Brill. pp. 177–178. ISBN9780936347356.
  4. ^ Spooner, Brian (2012). "Dari, Western farsi, and Tojiki". In Schiffman, Harold (ed.). Language policy and language conflict in Afghanistan and its neighbors: the irresolute politics of language selection. Leiden: Brill. p. 94. ISBN978-9004201453.
  5. ^ Campbell, George L.; King, Gareth, eds. (2013). "Farsi". Compendium of the World's Languages (tertiary ed.). Routledge. p. 1339. ISBN9781136258466.
  6. ^ Arthur John Arberry, The Legacy of Persia, Oxford: Clarendon Press, 1953, ISBN 0-19-821905-9, p. 200.
  7. ^ Von David Levinson; Karen Christensen, Encyclopedia of Modern Asia, Charles Scribner's Sons. 2002, vol. 4, p. 480
  8. ^ Frye, R. Due north., "Darī", The Encyclopaedia of Islam, Brill Publications, CD version.
  9. ^ C. A. (Charles Ambrose) Storey and Franço de Blois (2004), "Persian Literature - A Biobibliographical Survey: Book 5 Poetry of the Pre-Mongol Menses", RoutledgeCurzon; 2nd revised edition (June 21, 2004). p. 363: "Nizami Ganja'i, whose personal name was Ilyas, is the most historic native poet of the Persians later on Firdausi. His nisbah designates him every bit a native of Ganja (Elizavetpol, Kirovabad) in Republic of azerbaijan, so withal a state with an Iranian population, and he spent the whole of his life in Transcaucasia; the verse in some of his poetic works which makes him a native of the hinterland of Qom is a spurious interpolation."
  10. ^ Franklin Lewis, Rumi Past and Nowadays, East and West, Oneworld Publications, 2000. How is it that a Persian boy born almost 8 hundred years ago in Khorasan, the northeastern province of greater Iran, in a region that nosotros identify today as Central Asia, but was considered in those days every bit role of the Greater Persian cultural sphere, wound up in Central Anatolia on the receding edge of the Byzantine cultural sphere, in which is now Turkey, some 1500 miles to the westward? (p. 9)
  11. ^ Rabbani, AKM Golam (7 November 2017). "Politics and Literary Activities in the Bengali Linguistic communication during the Independent Sultanate of Bengal". Dhaka Academy Journal of Linguistics. ane (1): 151–166. Archived from the original on 11 Oct 2017. Retrieved seven November 2017 – via www.banglajol.info.
  12. ^ Sigfried J. de Laet. History of Humanity: From the 7th to the sixteenth century UNESCO, 1994. ISBN 9231028138 p 734
  13. ^ Ga ́bor A ́goston, Bruce Alan Masters. Encyclopedia of the Ottoman Empire Infobase Publishing, 1 jan. 2009 ISBN 1438110251 p 322
  14. ^ Doris Wastl-Walter. The Ashgate Research Companion to Border Studies Ashgate Publishing, Ltd., 2011 ISBN 0754674061 p 409
  15. ^ a b Bertold Spuler. Persian Historiography & Geography Pustaka Nasional Pte Ltd ISBN 9971774887 p 69
  16. ^ Sheila R. Canby (2005). Islamic Fine art in Detail . Harvard Academy Press. pp. 26–. ISBN978-0-674-02390-1.
  17. ^ a b Esposito, John L. (2011). What Everyone Needs to Know about Islam (2nd ed.). Oxford Academy Press. p. 14-xv.
  18. ^ a b "Figural Representation in Islamic Art". The Metropolitan Museum of Art.
  19. ^ Blair, Sheila South.; Bloom, Jonathan Thou. (1995). The art and compages of Islam : 1250–1800 (Reprinted with corrections ed.). New Oasis: Yale Academy Press. ISBN0-300-06465-9.
  20. ^ Chapman, Caroline (2012). Encyclopedia of Islamic Art and Architecture, ISBN 978-979-099-631-1
  21. ^ Julia Kaestle (10 July 2010). "Arabic calligraphy as a typographic practise".
  22. ^ Blair, Sheila S. (Bound 2003). "The Mirage of Islamic Art: Reflections on the Written report of an Unwieldy Field". The Fine art Message. 85: 152–184 – via JSTOR.
  23. ^ Allen, Terry (1988). Five Essays on Islamic Art. Sebastopol, CA: Solipsist Printing. pp. 17–37. ISBN 0944940005.
  24. ^ Roxburgh, David J. (2008). ""The Eye is Favored for Seeing the Writing's Form": On the Sensual and the Sensuous in Islamic Calligraphy". Muqarnas. 25: 275–298 – via JSTOR.
  25. ^ Krautheimer, Richard. Early Christian and Byzantine Compages Yale University Press Pelican History of Art, Penguin Books Ltd., 1965, p. 285.
  26. ^ Fletcher, Banister A History of Architecture on the Comparative Method 4th Edition, London, p. 476.
  27. ^ Copplestone, p.149
  28. ^ "A Bout of Architecture in Islamic Cities". Archived from the original on 2007-03-17. Retrieved 2018-12-10 .
  29. ^ Hans Kng (2006). Tracing The Style: Spiritual Dimensions of the World Religions. A&C Black. p. 248. ISBN978-0-8264-9423-viii.
  30. ^ "Kairouan Capital of Political Ability and Learning in the Ifriqiya". Muslim Heritage. Retrieved 2014-03-16 .
  31. ^ Burckhardt, Titus (2009). Titus Burckhardt, Art of Islam, Language and Meaning : Commemorative Edition. Earth Wisdom. 2009. p. 128. ISBN9781933316659 . Retrieved 2014-03-16 .
  32. ^ Davidson, Linda Kay; Gitlitz, David Martin (2002). Linda Kay Davidson and David Martin Gitlitz, Pilgrimage: from the Ganges to Graceland : an encyclopedia, Volume ane. ABC-CLIO. 2002. p. 302. ISBN9781576070048 . Retrieved 2014-03-sixteen .
  33. ^ Meri, Josef West.; Bacharach, Jere L. (2006). Medieval Islamic Civilisation: An Encyclopedia. Taylor & Francis. p. 807. ISBN0-415-96691-4.
  34. ^ Moreh, Shmuel (1986), "Alive Theatre in Medieval Islam", in David Ayalon; Moshe Sharon (eds.), Studies in Islamic History and Civilization, Brill Publishers, pp. 565–601, ISBN965-264-014-Ten
  35. ^ Tradition Folk The Site by Hayali Mustafa Mutlu
  36. ^ Article Saudi Aramco Globe 1999/John Feeney
  37. ^ The History of Theatre in Iran: Willem Floor:ISBN 0-934211-29-9: Mage 2005
  38. ^ Zillur Rahman John (2012). "Theatre". In Islam, Sirajul; Miah, Sajahan; Khanam, Mahfuza; Ahmed, Sabbir (eds.). Banglapedia: the National Encyclopedia of People's republic of bangladesh (Online ed.). Dhaka, Bangladesh: Banglapedia Trust, Asiatic Lodge of Bangladesh. ISBN984-32-0576-six. OCLC 52727562. Retrieved 21 April 2022.
  39. ^ Glassé, Cyril (2001). The New Encyclopedia of Islam. Rowman Altamira. p. 403. ISBN0-7591-0190-6.
  40. ^ Mack, Beverly B. (2004). Muslim Women Sing: Hausa Pop Vocal. Indiana Academy Press. p. 4. ISBN0-253-21729-6.
  41. ^ Cahill, Lisa Sowle; Farley, Margaret A. (1995). Apotheosis, Morality, and Medicine. Springer. p. 43. ISBN0-7923-3342-Ten.
  42. ^ Al-Ghazzali. The Alchemy of Happiness (Affiliate 5: Concerning Music and Dancing as Aids to the Religious Life) .
  43. ^ "Reliance of the Traveller (Umdat ul-Salik); Department r40.4 on "Dancing", p. 794" (PDF).
  44. ^ Ghazzālī, and Claud Field. The Abracadabra of Happiness. Armonk, N.Y.: M.E. Sharpe, 1991.
  45. ^ Friedlander, Shems; Uzel, Nezih (1992). The Whirling Dervishes. SUNY Press. ISBN0-7914-1155-9.
  46. ^ The Mevlevi Sama Ceremony UNESCO.
  47. ^ "Steeped in ancient mysticism, passion of Pakistani Sufis infuriates Taliban". DAWN.COM. September 27, 2013.
  48. ^ Akhtar, Suleman (February xx, 2017). "Damadam mast Qalandar is a cry of rebellion against established orders". DAWN.COM.
  49. ^ Juan Due east. Campo, ed. (2009). Encyclopedia of Islam. Facts on File. p. 106. ISBN978-0-8160-5454-ane.
  50. ^ a b Nigosian, Southward.A. (2004). Islam: Its History, Teaching, and Practices. Indiana: Indiana University Press. p. 120. ISBN978-0-253-21627-4.
  51. ^ Juan E. Campo, ed. (2009). Encyclopedia of Islam. Facts on File. p. 136. ISBN978-0-8160-5454-1.
  52. ^
    • Waines (2003, pp. 93–96) harvtxt error: no target: CITEREFWaines2003 (help)
    • The Oxford Dictionary of Islam (2003), p. 339
    • Esposito (1998, p. 79) harvtxt error: no target: CITEREFEsposito1998 (assistance)
  53. ^ Eaton, Gai (2000). Remembering God: Reflections on Islam. Cambridge: The Islamic Texts Society. pp. 92–93. ISBN978-0946621842.
  54. ^ Matt Stefon, ed. (2010). Islamic Behavior and Practices . New York City: Britannica Educational Publishing. p. 83. ISBN978-1-61530-060-0.
  55. ^
    • Quran five:5
    • Curtis (2005, p. 164) harvtxt mistake: no target: CITEREFCurtis2005 (assist)
    • Esposito (2002b, p. 111) harvtxt mistake: no target: CITEREFEsposito2002b (help)
    • Ghamidi (2001): Customs and Behavioral Laws Archived 2013-09-23 at the Wayback Machine
    • Ghamidi (2001): The Dietary Laws Archived 2007-05-02 at the Wayback Automobile
    • Ghamidi (2001): Various types of the prayer Archived 2013-09-23 at the Wayback Machine
    • Ersilia Francesca. "Slaughter". Encyclopaedia of the Qur'an Online.
    • https://quran.com/xvi/115
    • https://quran.com/49
    • https://www.islamicstudies.info/tafheem.php?sura=6&poetry=145&to=150
    • http://islamicstudies.info/reference.php?sura=5&verse=3

Further reading [edit]

  • Rosenthal, Franz (1977). The Classical Heritage in Islam, in series, Arabic Idea and Culture. Trans. from the German by Emilie and Jenny Marmorstein. [Pbk. ed.]. London: Routledge, 1992. xx, 298 p., sparsely ill. N.B.: "First published in English in 1975 by Routledge & Kegan, Paul" in the hardcover ed. ISBN 0-415-07693-5

External links [edit]

  • Media related to Muslim culture at Wikimedia Commons

wellslefully.blogspot.com

Source: https://en.wikipedia.org/wiki/Islamic_culture

0 Response to "Nigeria Pre and Post Colonialism Art Music and Dance"

Postar um comentário

Assinar: Postar comentários (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel