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#Nasheed kitabu allah wasunah trial
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Islam, Preaching and Politics, Cambridge University (.) 8 Alexander Thurston (2016), Salafism in Nigeria.

#Nasheed kitabu allah wasunah professional

It also highlights the distinction between religious identity and religiosity among musicians, 3 for whom artistic performance and spiritual quest are sometimes linked, sometimes in total opposition.Ĥ Based on the individual career paths of several Nigérien musicians, the objective here is to understand, in the light of professional and artistic choices made in a disputed religious space, how these re-orientations reflect broader transformations within the Nigérien society and what they reveal, in particular, about transnational Islamic dynamics fostered by reformists. 2 Studying the effects of the transmission of Izala standards on musical creation and production reveals the negotiation processes and compromises adopted by artists in the face of renewed religious directives.

3 Distinction established by Adeline Masquelier in her work on the relationship between youth and Isl (.)ģ The Nigérien musical sphere is therefore a place where popular expectations in terms of entertainment, professionalization requirements, and religious constraints converge, as well as a place that has been considerably transformed by the rise of the reformist movements.

2 The fashion world has also been confronted with the coexistence of these contradictory dynamics.

In addition, the hip-hop movement in Niger – which flourished in the early 2000s and was also highly criticized by religious leaders – has been a laboratory of experiences in which young artists, who wanted to pursue their careers while remaining ‘good’ Muslims, have put in place various coping strategies. Over the past two decades, the Nigérien music scene has indeed been the theatre of opposition between artists and preachers, who have said they were acting, some for the promotion of Nigérien culture, others for the defence of the moral order.

Among the creative spaces in which the impact of the Izala discourse is felt, ‘modern’ music is undoubtedly a domain that clearly reveals the dichotomy between what the Izala ideology defines as ‘hallal ’ and ‘ haram’, between what is considered acceptable and unacceptable. But they can also be measured through the analysis of cultural developments, and in particular at the level of artistic production. 1Ģ The effects of the renewal of religious norms can be observed in everyday life – for example, through the transformation of liturgical practices. Today, after thirty years of ideological opposition – sometimes violent – the Izala discourse has fully integrated into the Nigérien Islamic landscape, significantly changing the way people think and live Islam, thus normalizing the process of ‘re-Islamization’ in Niger. Contribution à l’analyse de la ré-islamisation a (.)ġ In Niger, since the democratic opening of the 1990s and the subsequent religious liberalism, the set of codes and rules defined by the Izala movement has competed with existing normative systems, which had until then been largely dominated by Sufi doctrines.

1 See Abdoulaye Sounaye (2016), Islam and Modernity.

#Nasheed kitabu allah wasunah trial

“O Allāh, we ask You for the delight of seeing Your Noble Face, and a yearning to meet You in a manner that does not entail a calamity that will bring about harm or a trial that will cause deviation.

Read the Transcription of the Video at the below link: (EMOTIONAL) The Connection Between the Prayer & Seeing Allāh ﷻ – by Shaykh ‘Abdurrazzāq al-Badr