Ibn Baz about Anasheed

Scholar: Imâm ´Abdul-´Azîz bin ´Abdillâh bin Bâz
Source: binbaz.org.sa/mat/17946
Reference: Darulhadith, Sweden
Uploader: afatwa.com (site is down)

Question: Is it allowed to listen to Islâmic Anâshîd?

Shaykh Ibn Bâz: No. If these Anâshîd are sound and are in accordance with the Sharî’ah and are free from sins, then they are considered as allowed.

Ibn Uthaymeen about Anasheed

Scholar: Imâm Muhammad bin Sâlih bin ´Uthaymîn
Source: al-Liqâ’ ash-Shahrî (11)
Reference: Darulhadith, Sweden
Audio and translation courtesy of afatwa.com (site is down)

Question: There are some Islâmic Anâshîd that are sung together with tambourines (daff). They lead to enthusiasm and consist of good meanings. What is your opinion on it?

Shaykh Ibn ‘Uthaymîn: A lot is said about Islâmic Anâshîd. It was a long time ago I listened to them. They were okay when they first emerged. They were free from tambourines. They did not cause any tribulations and they were not sung in accordance with forbidden melodic tones. They have evolved through time. They began to be combined with percussion instruments, it may have been tambourines or something else. Subsequently, they further evolved and started to be sung with beautified, trying voices. Later on, they evolved even more and started to be sung as the forbidden songs. That is why I am not comfortable with them. It cannot be said that all of them are allowed just as it cannot be said that all of them are forbidden. They are allowed if they are free from the things I have mentioned. Nevertheless, if they are combined with tambourines, beautiful, trying voices or forbidden melodic tones, then they are not permissible to listen to.

A Look at Anasheeds – Dr. Saleh as Saleh

[Download PDF Here]

In the Name of Allah, the Most Beneficent, the Most Merciful, I begin to write:

In pre-Islamic and early Islamic history, anasheeds involved wholesome poems (about battle victories, wisdoms, courage, etc) chanted in an un-orchestrated fashion without the accompaniment of musical instruments, except for the duff (similar to tambourine but without bells or cymbals) which was legally permitted for women on special occasions.

During the 2nd century after Hijrah, chanting of du’aa, remembrances, crept into the ummah by the innovations of the mystic Sufis who, in turn, took it from the Christians. It was then called at-Taghbeer. All of these forms were denounced by the early scholars of Islam, including Imaam ash-Shaafi’ee, Ibn Taymmeyah, Ibnul Qayyim, Ibn Katheer, Ibn Rajab, and many others.[1]

The Sufis centered most of their methodology of worship on congregational Taraaneem (singing by way of trilling, or quavering and prolonging the voice with a musical sound), resembling the Christians in their churches. Then the Sufis began to introduce physical movements during remembrances and du’aa close to those practiced by the Jews. Rarely do you witness a Sufi “Hadrah [2]” without these innovated practices.

Nowadays, the matter is not limited to the Sufi adepts. Many Muslim parties (groups) have innovated special bands for the emotional arousing of their followers and for the “ummah” at large! Much of what is being practiced with these anasheed does not escape, at least, one of the following observations:

1. Involving more and more people, especially children, keeping them busy with what could be, least to say, of a lesser benefit.

2. Anasheed are accompanied with musical toning and chanting (Eastern and Western beats) in the name of “culture” and “tradition.” This is becoming more and more apparent, with bands competing in their selection of words and beats.

3. Remembrances of Allah are introduced in these anasheed in ways clearly resembling the intoning and chanting of the Christians in their churches.

4. The congregational chanting and singing that takes place resembles to a great extent that which goes on in the circles of the mystic Sufis in their singing circles. Former “stars” are being more involved with the mystic Sufi ways through so-called “Islamic anasheed.” Some bands sing the infamous Shirk poem known as “Burdah,” which involves shirk levels of exaggeration in the status of the Prophet Muhammad (sall Allaahu alayhi wa sallam).

5. Luring the children to sing, especially the young girls, imitating the base of the infamous Muslim and Non-Muslim singers.

6. Replacing the Qur‘aan with the so-called anasheed in the Da’wah to the young, claiming that they don’t respond to the Qur‘anic texts, therefore, legitimizing their use. The same is done with the Sunnah, eventually turning people away from what constitutes the true life for the believers.

7. In many of these singing circles, musical instruments and intoning are gradually taking hold, something known to be forbidden in Islam, except for the duff for women.

8. The emergence of so-called professional singing groups performing at weddings, parties, schools and the like.

9. Development of so called more advanced ways of video singing as a modern way of contemplating and reflecting on the creation of Allah.

10. Allowing taking pictures of young girls during different presentations of songs in itself is a fitnah (affliction and trial) and an opposition to the Sahree’ah. Some make movies and records of these young girls singing on special occasions.

11. Many things that are untrue are presented in these songs through acting, or through exaggeration in praise.

12. If you examine many of these songs, you will find a lot of them focusing on the Tawheed of Lordship only, something even the Mushriks confess to (i.e. matters pertaining to the signs of Allah in the creation, His running of the affairs, Him being in full authority and the like).

13. Transgression against the Sharee’ah in the form of acting roles. You see a child taking the role of Salah, saying, “I am the Salah, and these are my merits!” Another takes the role of Fasting and so on. Worst of all those who claim to represent the Qur’aan. Yet we know that the Qur‘aan is the uncreated Speech of Allah.

14. Assuming in some cases the movements and walks of some of the losers from the known male and female singers. Imagine when this is done while chanting the remembrances of Allah!

15. Calling these anasheed Islamic itself is a transgression, especially when they call it an “art” and a means of education and nourishment for the Da’wah! “This is an innovation in Deen, and this from the deen of the innovators of the Sufis.” [3] The companions chanted poetry of wisdom, courage, generosity and of maroo’ah (describing good character), and not in congregations. They chanted poetry sometimes while working or during night travel. None of them claimed this “Islamic.” Rather, everything takes its own particular ruling, whether it is innovated, allowable, recommended, obligated, disliked or forbidden. Therefore, that which may be allowable of it we don’t call “Islamic” because if it is called so, people would think it to be from the Deen. And to label any matter as Islamic, requires textual proofs.4 In fact, Sh. Al-Albani (rahimahullaah) referred to them as “Sufi singing“, and a similar conclusion was reached by Sh. ‘Abdul ‘Aziz Aal Ash-Shaikh, the Grand Mufti of Saudi Arabia, as well as by Sh. Bakr Abu Zayeed and Sh. ‘Abdul ‘Aziz Ar-Raajhi and other scholars (may Allah preserve them all). [5]

The following question was raised to our Skaykh Muhammed Ibn Saaleh al-‘Uthaimeen (Rahimuhullaah):

“What is the ruling concerning the anasheeds? Is it permissible for the Caller to Allah to listen to “Islamic anasheed”?”

The Shaykh responded,

“In the past, I listened in the past to these Islamic anasheed and there was nothing therein which shuns away. After listening to them recently, I found them to be rhythmic with delectation and entertaining, like the songs accompanied with musical instruments. Accordingly, I don’t see that it is permissible for people to listen to them. However, if they come natural without musical accompaniment and without delectation or entertainment, then there is no harm in listening to them. Still, however, it is conditional that:

(i) the person does not make this a habit listening to them all the time, and
(ii) make not that which benefits and admonishes the heart restricted to them.

Because if he makes of this a habit, he will abandon that which is more important. Moreover, in doing so he will relinquish the greatest admonition and it is that which came in the Book of Allah and in the Sunnah of Allah’s Messenger. But if he listens to them sometimes, or if takes them as a means of help on his journey while driving his care in the wilderness, then there is no harm in that.” [6]

Then he was asked, “Is it permissible for the man to chant the Islamic anasheed and is it permissible that the duff, which is the tambourine without any of these bells attached to it, is it permissible to use the duff with the chanting and is the chanting or the anasheed permissible in other than the Eed and other than the festivals?”

The answer:

“Bismillaahir Rahmaanir Raheem, In the Name of Allah The Most Beneficent, The Most Merciful”, then he returned the greeting to the person who asked the Question, and said:

“The Islamic anasheed is an innovated chanting innovated by the Sufis. Therefore, one should turn away from it and resort to the admonitions from the Qur‘aan and Sunnah, unless it is used in the battlefields to help as a motivation for Jihaad in the cause of Allah, the Most High, then this is good, however, if it accompanied with the duff, then it would be far away from the truth.” [7]

Moreover, on several occasions, he (rahimahullaah) directed the people to give the best of attention to the Qur’aan and Sunnah, since they are the greatest admonitions.

A special warning concerning the infamous Burdah poem of Al-Busiri:

It is plain shirk because it exaggerates the Prophet (sall Allaahu alayhi wa sallam) giving him attributes of divinity, as if he knows the unseen and what is written in the preserved tablet. So much of this, unfortunately, is spread throughout the Muslim world and particularly in Southeast Asia, particularly in Indonesia. Think about it. Moreover, they have musical groups in these countries only specialized to sing these poems, especially the “Burdah”. In some recent forms, it is “recited by Khalid Belrhouzi featuring Yusuf Islam (yes!) This is an ad on the net carrying the title: Burdah (audio tape) Khalid Belrhouzi and Yusuf Islam (Arabic + English) [8]

It is stated in this poem, among other things, that ‘And of your knowledge is the knowledge of the pen and the preserved tablet’! The “pen” refers to the pen which Allah ? commanded it saying: “Write! It said, ‘What should I write, my Rabb (Lord)? Allah said: Write the record of all preordained matter until the commencement of the Hour.” [9] According to this poet, the Prophet (sall Allaahu alayhi wa sallam) knows what the pen already wrote and what is written in the preserved tablet. We seek refuge in Allah from these fabrications.

I ask Allah (Subhanahu wa ta’aala) to guide us all to the truth and to make us accept and yield to it.

The slave of Allah,
Saleh As-Saleh.
Concluded on the 14th of Thul Hijjah 1425,
Corresponding to January 24, 2005.

Acknowledgment: May Allah reward sis Umm Maahir al-Amreekiyyah for voluntarily transcribing this material which was originally a response to a question about anasheed in the room “Understanding Islam.”


[1] See Al-Qawlul Mufeed fee Hukmil-anasheed (including the fatwa of the reliable contemporary scholars of Islam). Authored by ‘Isaam Ibn ‘Abdul Mun’im al-Mir-ree (1423/2002), Maktabatu al-Furqaan, Ujmaan, UAE.
[2] Hadrah: Presence. Used by the Sufis in its general meaning, “Being in the presence of Allah.” In the school of mystic Ibn ‘Arabi, however, there are “Five Divine Presences,” a metaphysical doctrine of the degrees of reality of which there are different versions. This concept is influenced by the Neo-Platonist chain of “Stages or Orders of Being.” [See Mu’jam Al-Mustalahaat As-Sufiyyah by Al-Hafnee, p. 237 and Shorter Encyclopedia of Islam, p. 125, edited by H.A.R. Gibb and J.H. Kramers, 4th impression, 1995. Published by E.J. Brill, Leiden, The Netherlands.] The Mureed is informed that the Hadrah is the start, then the Mukaashafah (Mystic spiritual revelation regarding the Truth [Allah] and the Ghayb (unseen). Through this stage, things will be manifested as if he sees them by his eyes). The next state is the Mushaahadah (Witnessing of the Truth). Sufi singing, clapping, and swaying accompanied by drum beats is part of the “ritual”! Some of the mystics also claim the actual attendance of the Prophet (?) in their circles!
[3] See Fatwa of Sh. Saalih Al-Fawzaan, may Allah Preserve him, in al-Khutab al-Manbariyyah 3: 184-185.
[4] See Sh. Al-Fawzaan, Ibid, p. 56.
[5] Ibid. pages, 32, 49, 62-68.
[6] See As-Sahwah Al-Islamiyyah Dhawaabit wa Tawjeehaat, a collection of fatwa and statements by our Sh. Ibn ‘Uthaimeen compiled by Abu Anas, ‘Ali Ibn Hasan Abu Lawz (1414/1993), p. 123, no. 40.
[7] Fatwa al-‘Aqeedah, no. 369m p. 651, Maktabatu As-Sunnah,
[8] Source: onlineislamicstore.com/a3683.html. This is for verification only, and not an endorsement of the site. Rather, I caution not to posses this poem, due to the warnings cited above. May Allah guide them both to the truth and save all Muslims from all forms of mysticism and innovations. Aameen.
[9] Saheeh Al-Bukhari, V.4, P.9, Hadeeth 13.

The Salaf did not used to sing Anasheed and call them as “religious” – Shaykh al Albaani

Scholar: Imâm Muhammad Nâsir-ud-Dîn al-Albânî
Source: As’ilah wa Fatâwâ al-Imârât (2)
Reference: Darulhadith.com
Translation & video: aFatwa.com (site is down)

Shaykh al-Albânî: There are no doubts that poetry exists in Islâm. The messenger (sallâ Allâhu ‘alayhi wa sallam) said:

“There is poetry that most certainly is wisdom.”

However, that one sings the poetry and calls it as “Anâshîd” and “Religious Anâshîd”, then it is something our righteous Salaf (predecessors) did not know of at all. This, in fact, has a connection to the principle we mentioned earlier and which is a summary of that which the scholars always speak of in similar contexts, namely:

All good lies in following the earlier ones and all evil lies in that which the later ones have innovated

The Salaf did not used to sing Anâshîd and call them as “religious”.


As a side note, the Shaykh (al-Albânî) deemed singing to be allowed on some occasions, when he said:

“In these Hadiths and narrations exists an apparent evidence for it being allowed to sing without music on some occasions such as when one is thinking about death, longs for the family or home country, relaxes a little, gets away from the difficulties of the trip and the like.” (Tahrim-ul-Alat, p. 129, afatwa.com)

Related Linkhttp://salaf-us-saalih.com/category/islam/nasheed/

There is nothing in Islam called as “Religious Songs” (Qasâ’id Dîniyyah) – Shaykh al-Albaani

Scholar: Imâm Muhammad Nâsir-ud-Dîn al-Albânî
Source: Silsilat-ul-Hudâ wan-Nûr (15)
Reference: Darulhadith, Sweden
aFatwa.com (site is down)

Questioner: What is the ruling on singing religious songs (Qasâ’id Dîniyyah) aloud in the mosques during religious holidays?

Shaykh al-Albânî: First and foremost, there is nothing in Islâm called as “religious songs”.

Secondly, it is not allowed to disturb the worshipers in the mosque even if it be with Qur’ân-verses. What should then be said about songs that are allegedly religious? They have even more right to be disallowed. The prophet (sallâ Allâhu ‘alayhi wa sallam) said:

“O people! Each one of you is having a conversation in seclusion with their Lord. No one from among you should trouble the other and no one from among you should raise his voice when he reads over the voice of the other.” (Ahmad 3/94)

It is said in another narration:

“…when he reads the Qur’ân.”

Questioner: They compare this with the poetry of Hassân bin Thâbit.

Shaykh al-Albânî: The poetry of Hassân bin Thâbit? Is that a religious song? I say to you that there is nothing that is called as ‘religious songs’. As for the poetry in which the messenger (sallâ Allâhu ‘alayhi wa sallam) is defended, then say as you wish, but you should not sing and let it constitute a religious aspect. It should be read in the same way as you mention Allâh and ask for blessings and peace over the messenger (sallâ Allâhu ‘alayhi wa sallam).

Questioner: How can there not exist Islâmic and religious songs when one sings about Islâm and Islâmic characters?

Shaykh al-Albânî: Did this, what you are speaking of, exist with our righteous Salaf? We will treat you with leniency – may Allâh forgive you and me. Did this type exist with the Salaf?

Questioner: What type?

Shaykh al-Albânî: The type you are referring to… Why are you not speaking? [Everybody laughs]

Questioner: The purpose of poetry and Arabic songs…

Shaykh al-Albânî: Excuse me. I do not want you to repeat your earlier speech. I understand what you are saying. I want you to concisely answer my question: Was this known with the righteous Salaf?

Questioner: In the past? No.

Shaykh al-Albânî: There it is! You are now beginning to talk, after having been silent.

Questioner: No, I wasn’t silent.

Shaykh al-Albânî: No worries, no worries [Shaykh laughs]. That which was enough for them is thusly also enough for us.

Related Linkhttps://abdurrahman.org/category/islam/nasheed/

Ruling on the Nasheeds (Songs) – Shaykh al-Albaani

[53] Question: What is the ruling on the nasheeds (songs) that are circulating amongst many of the youth and which they call “Islaamic nasheeds?”


If these nasheeds possess Islaamic meanings, and there aren’t any stringed or musical instruments accompanying them, such as the Duff, the drum and its types, then there is no problem with it.

However, an important condition to its permissibility must be clarified. And it is that they must be free of anything that opposes the Religion, such as going to extremes and its sorts. Also, there is another condition.

And it is that it must not be taken as a (habitual) practice. This is since it turns those who (constantly) listen to it away from reciting the Qur’aan, which the authentic Sunnah of the Prophet encourages.

Likewise, it turns them away from seeking beneficial knowledge and calling towards Allaah (i.e. da’wah), the One free of all defects.

As for using the duff with the nasheed, then it is permissible for the women when it occurs (solely) amongst them, apart from the men. And it is permissible during the time of ‘Eed and marriage only.

[Al-Asaalah, Issue #2]

[62] Question: Many of the Muslim youth exchange and pass around tapes that have songs (nasheeds) on them, which they call Islaamic. What is the correct opinion on this matter?

Answer: If these songs (nasheeds) are void of stringed and musical instruments, then generally I say that there is no harm in them on the condition that they are free from things that are in opposition to the Religion, such as asking for help from other than Allaah (Istighaathah) and seeking a way of getting close to Allaah (tawassul) through the creation.

Also it is not permissible to take them as part of the Religion for this would turn the Muslim youth away from reciting the Book of their Lord and reflecting on it. And that is what Allaah’s Messenger, sallAllaahu ‘alayhi wa sallam, urged us with in many authentic ahaadeeth, such as his saying: “Recite the Qur’aan and chant it (i.e. recite it in a nice melodious manner), before there comes a people that will rush through it and not take their time with it. So chant it (nicely).

And whoever reflects on the condition of the Companions, will find that they did not have the likes of these songs (nasheeds) in their lives, for they were men of realities and not men of entertainment.

[Al-Asaalah, Issue #17]

Fataawaa of Shaikh Al-Albaanee (rahimahullaah)
From Al-Asaalah Magazine Issues 1-21
Translated and Arranged by: Isma’eel Alarcon

Related Linkhttp://salaf-us-saalih.com/category/islam/nasheed/

%d bloggers like this: