{"id":5,"date":"2022-03-26T18:01:32","date_gmt":"2022-03-26T18:01:32","guid":{"rendered":"https:\/\/blogs.harvard.edu\/naphtalhayagened1087\/?p=5"},"modified":"2022-05-02T20:05:14","modified_gmt":"2022-05-02T20:05:14","slug":"portfolio-of-creative-responses","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/2022\/03\/26\/portfolio-of-creative-responses\/","title":{"rendered":"Portfolio of Creative Responses"},"content":{"rendered":"

# 1 Skit: The death of the prophet Muhammad and post-prophetic authority<\/strong><\/p>\n

 <\/p>\n

It is June 8, 632, the prophet Muhammad has been ill for a long time and his situation does not seem to be improving. He is surrounded by his wives and close family members including his two fathers-in-law, Umar and Abu Bakr. A crowd has gathered outside the prophet\u2019s house awaiting news. Cries and screams break out from the house when the soul of the prophet leaves his body. Darkness, sorrow and grief descend upon Medina. Umar and Abu Bakr emerge from the house where the prophet is lying in state.<\/p>\n

 <\/p>\n

Umar:<\/strong> (In denial of the prophet\u2019s death) Do not fall into anguish nor fall short of hope! The messenger of God is not dead, he is alive. May harsh punishment befall those of little faith who claim that the prophet has died!<\/p>\n

 <\/p>\n

The crowd:<\/strong> (faces brightening, low murmurs) Praise be to Allah! The messenger lives!<\/p>\n

 <\/p>\n

Abu Bakr:<\/strong> (Pacifying Umar) Take heart Umar. Remember the battle of Uhud?<\/p>\n

 <\/p>\n

Umar, deep in reflection, steps aside and paves way for Abu Bakr to address the gathering.<\/p>\n

 <\/p>\n

Abu Bakr:<\/strong> The people of Medina, whoever worshipped Muhammad, he is dead. Whoever worships Allah, Allah is alive and will never die. Will you stop believing in Allah because Muhammad is dead?<\/p>\n

 <\/p>\n

The crowd is still shocked. Low murmurs can be heard.<\/p>\n

 <\/p>\n

Person 1:<\/strong> But Muhammad was everything to us. Our intercessor, religious and political leader. He was the walking Quran, the embodiment of the ways of Allah. How will we survive his demise? Who will guide the community of Allah?<\/p>\n

 <\/p>\n

Abu Bakr responds \u2026<\/p>\n

 <\/p>\n

Abu Bakr:<\/strong> (Quoting Quran 3:144) \u201cMuhammad is no more than a Messenger and, indeed, Messengers have passed away before him. If he dies or is killed will you turn your backs? The person who turns away shall not harm Allah but Allah will reward those who acknowledge him.\u201d<\/p>\n

 <\/p>\n

The crowd:<\/strong> (Chanting) Praise be to Allah. May Allah bless his messenger and greet him.<\/p>\n

 <\/p>\n

Abu Bakr:<\/strong> (To the crowd) Now go in peace and seek guidance from Allah through the Quran and the messenger\u2019s teachings.<\/p>\n

 <\/p>\n

 <\/p>\n

Later that day, as the close kin of the prophet conduct his burial, an urgent consultative meeting is convened at the Saqifa \u2013 the meeting house of Banu Saida. Only the tribes of Medina are invited to this meeting. Companions of the prophet from Mecca such as Abu Bakr and Umar protest this citing their closeness to the prophet as sufficient reason to be allowed to attend the meeting. Meanwhile, Ali, Fatima and the prophet Muhammad\u2019s immediate family are neither invited nor informed that a consultative meeting is being planned. Abu Bakr and Umar\u2019s request to join the meeting is granted.<\/p>\n

 <\/p>\n

Convener of the meeting:<\/strong> (addressing the leaders of the Medinan and Meccan tribes) Fellow leaders. We assemble in these difficult times following the demise of the messenger of God and our leader, the prophet Muhammad, to chart the way forward for the community. It is in the best interest of the community that we choose a successor to the prophet. Who offer themselves for consideration?<\/p>\n

 <\/p>\n

Abu Bakr:<\/strong> I stake my claim to the leadership of the community having been a close companion of the prophet and his father-in-law.<\/p>\n

 <\/p>\n

Umar:<\/strong> I stake my claim to the leadership of the community on similar grounds as Abu Bakr.<\/p>\n

 <\/p>\n

Tribal leader 1:<\/strong> (While pointing at Abu Bakr) Abu Bakr has been the acting leader during the prophet\u2019s illness. He demonstrated great courage and strength at the hour of the death of the prophet. His speech motivated those whose faith had begun to wane to continue believing in God. I support Abu Bakr to be Khalifa.<\/p>\n

 <\/p>\n

The leaders of the tribes talk amongst themselves for a few minutes. Sensing the lack of agreement in the room, Umar cries out:<\/p>\n

 <\/p>\n

Umar:<\/strong> (lifting Abu Bakr\u2019s hand) I drop my bid in favor of Abu Bakr.<\/p>\n

 <\/p>\n

Tribal leaders:<\/strong> Abu Bakr has received the favor of Allah. May Allah guide and protect him.<\/p>\n

 <\/p>\n

Later that evening, Ali, the rest of the family of the prophet and his followers receive the news of Abu Bakr\u2019s selection.<\/p>\n

 <\/p>\n

Ali:<\/strong> (Shaking his head angrily) How could they have been discussing succession politics while we were still mourning and burying the prophet? What a tragedy, even Abu Bakr and Umar!<\/p>\n

 <\/p>\n

Followers of Ali:<\/strong> (Unanimously) The prophet designated you, O Ali, as his rightful successor at Ghadeer Khumm.\u00a0 We shall honor the prophet\u2019s wish. Ali is our leader. Rightful leadership of the community falls on ahl al-bayt (the prophet Muhammad\u2019s family).<\/p>\n

 <\/p>\n

In the following 3 centuries, the proponents of the consensus method of choosing a leader become known as the ahl al-sunna wa\u2019l jama\u2019ah (Sunni) while the supporters of hereditary leadership by the descendants of the prophet become the Shi\u2019at \u2018Ali (Shi\u2019i).<\/p>\n

 <\/p>\n

Cited works: <\/strong><\/p>\n

    \n
  1. Ali Asani, \u201cHeirs of the Prophet: Authorities in the Post-Prophetic Muslim Communities\u201d (ch.4), Infidel of Love.<\/li>\n
  2. Questions on Islam: https:\/\/questionsonislam.com\/article\/after-death-prophet-pbuh<\/a><\/li>\n<\/ol>\n

     <\/p>\n

    This skit attempts to capture the evolution of events during the death of the prophet Muhammad as well as the impact of the prophet\u2019s death on the community. Prophet Muhammad\u2019s death, alongside the Karbala tragedy, is one of the key events that shaped the history of Islam as we know it. This play captures the emotions of the ordinary people as well as those of the elites. While most are in despair, total shock and denial, Abu Bakr steps up to encourage the gathering with Quranic verses. As we see later in the play, this act gives Abu Bakr leverage over Umar in the succession contest. The play also tries to portray the influence of the leaders on the people. The prophet\u2019s companions, Umar and Abu Bakr, shaped the understanding as well as the acceptance of the death of the prophet. I use the direct quote, from the Quran, that Abu Bakr employs when he addresses the crowd because his use of a quote from the Quran has two special effects on his audience: first, Umar convinces his audience of the inevitability of the prophet Muhammad\u2019s death and second, he assures them of the continuation of Islamic faith in the absence of the prophet. The scene on the consultative meeting displays the political negotiations at play in the succession process. I try to bridge the Shi\u2019i and the Sunni perspectives in this scene in a bid to create a more complete picture of the events that might have transpired. I think that Ali\u2019s claim to the leadership was not very controversial at the time since most members of the community knew of the incident at Ghadeer Khumm and had witnessed the close ties between the prophet Muhammad and Ali. I show how Ali\u2019s claim to the community\u2019s leadership was almost obvious by having the audience declare and confirm the legitimacy of this claim.<\/p>\n

     <\/p>\n

    Disclaimer:<\/strong> This skit is completely fictional with some guidance from the narratives in the cited works.<\/p>\n

     <\/p>\n

    #2: Nur Muhammad and Nur Imamat<\/strong><\/p>\n

    \"\"<\/p>\n

    This family tree captures two significant concepts in Islam theology: the light of Muhammad (Nur Muhammad) and the light of Imams (Nur Imamat). Nur Muhammad is the light of prophethood from which all the prophets from Adam to Muhammad descend. The light of the Imam is a big feature in the Shi\u2019i community of interpretation as it establishes the institution of the imamate. Each prophet is believed to have had a corresponding imam until the time of the prophet Muhammad. The Imam is not always known. In this family tree drawing, I examine both the genealogy of prophethood and that of the imamate with the aim of establishing pre-Islamic biblical characters who could have served as the imams of famous prophets. In the tree, the names of the prophets are the blue fruits while the names of the \u2018imams\u2019 are the red fruits. Each branch has two connected sub-branches to reinforce the idea of the interdependence of the roles of the prophets and the imams. All the sub-branches that bear the prophet and those that bear the imam are connected thereby reinforcing the idea of distinct prophetic and imamate genealogies. The trunk and the roots of the tree form the name Allah in Arabic script which signifies that Allah is the source of both lights. The letter \u2018Alif\u2019 in the name Allah is written in bold dark pen to signify the Jalal attributes of Allah while the rest of the letters are written in gold to represent the Jamal attributes of Allah. Despite being a prophet in the Christian tradition, Elisha is designated an imam in this work for having been prophet Elijah\u2019s helper until his ascension. The choice of Seth as prophet Adam\u2019s imam arises from the fact that Seth was the only surviving son of Adam according to the Christian tradition.<\/p>\n

     <\/p>\n

    Cited works:<\/strong><\/p>\n

      \n
    1. Ali Asani, \u201cFollowing God\u2019s beloved: Prophet Muhammad as the Ideal Muslim\u201d (ch.3), Infidel of Love.<\/li>\n
    2. Ali Asani, \u201cDevotional Practices,\u201d in\u00a0Shii World: Pathways in Tradition and Modernity<\/em>, ed. Farhad Daftary, Amyn B. Sajoo and Shainool Jiwa (London: I.B. Tauris, 2015)<\/li>\n<\/ol>\n

       <\/p>\n

      # 3 Attributes of God<\/strong><\/p>\n

       <\/p>\n

      God of the angels<\/p>\n

      God of the prophets<\/p>\n

      God of the apostles<\/p>\n

      God the king of kings<\/p>\n

      God the one without equals or companions<\/p>\n

      God the light of the angels and all holy beings<\/p>\n

      God the giver of laws<\/p>\n

      God the healer of the ailing<\/p>\n

      God the comforter of the grieving<\/p>\n

      God the asylum of the sinful<\/p>\n

      God the life of the living<\/p>\n

      God the wisdom of the wise<\/p>\n

      God the strength of the strong<\/p>\n

      God the fortune of the fortunate<\/p>\n

       <\/p>\n

       <\/p>\n

      Praise be to God for He is not born<\/p>\n

      Praise be to God for He is the one without a beginning nor an end<\/p>\n

      Praise be to God for He is sinless<\/p>\n

      Praise be to God for He does not change<\/p>\n

      Praise be to God for He is everlasting<\/p>\n

      Praise be to God for He is omnipotent<\/p>\n

      Praise be to God for He is the path to heaven<\/p>\n

      Praise be to God for He is merciful<\/p>\n

      Praise be to God for He is the provider<\/p>\n

      Praise be to God for He is the source of purity<\/p>\n

      Praise be to God for He is the source of help<\/p>\n

      Praise be to God for He has no likeness on earth<\/p>\n

      Praise be to God for He is the creator of everything on heaven and earth<\/p>\n

       <\/p>\n

      Cited works:<\/strong><\/p>\n

        \n
      1. Nomiya prayer book<\/li>\n
      2. Sami Yusuf, Asma Allah<\/em><\/li>\n<\/ol>\n

         <\/p>\n

        This short poem attempts to capture the attributes of God. This poem is inspired by Sami Yusuf\u2019s song \u2018Asma Allah<\/em>\u2019, which mentions the 99 beautiful names of God, as well as the attributes of God in the Nomiya faith*. I attempt to show the similarity between the attributes of God in the Islamic and Nomiya traditions. The poem is divided into two main stanzas that are different in both structure and content.<\/p>\n

         <\/p>\n

        The first stanza covers the transcendence of God as well as His relationship or interaction with humanity. The first stanza is further divided into two parts. The first part (lines 1-7) establishes God as the greatest of all beings in the whole universe. The angels, prophets and apostles are mentioned to show that God is at the pinnacle of the holiness structure. All the spiritual figures human beings are familiar with are nothing but servants of God. Kings are mentioned to show that God is simultaneously the highest political authority. The latter part (lines 7 – 14) focuses on the interaction between God and humanity. Lines 7 \u2013 10 emphasize the role of God as the support system of the weak\/underprivileged in the society. Lines 11 \u2013 14 convey the concept of God as the source of all goodness that the privileged in the society enjoy. The purpose of having two parts following each other is to show that God caters for both the lowly and the mighty in the society. He is the source of the prosperity of the privileged and He simultaneously uplifts the weak.<\/p>\n

         <\/p>\n

        The second stanza entails the praise of God for all His transcendental attributes. Even though God\u2019s attributes are beyond human comprehension, we attach human attributes to God as a way of worship. Stanza two covers some of the attributes of God that human beings should strive to emulate. Spiritual enlightenment is achieved through the pursuit of these attributes.<\/p>\n

        *Nomiya faith is an indigenous faith founded in Kenya in 1907. The Abrahamic religions, including Islam, have a huge influence on the faith.<\/p>\n

         <\/p>\n

        #4 Mathnawi in Swahili<\/strong><\/p>\n

        Karibu Ramadhani <\/strong>(Farwat Shariff, 2019)<\/strong><\/p>\n

         <\/p>\n

        Nawasalimu wendani, watoto watu wazima
        \nKhabari ninawapeni, khabari zilizo njema
        \nAtawasili mgeni, mgeni mwenye neema
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Ni mwezi wenye baraka, katuletea qahari
        \nNa tena wa kusifika, na wenye mengi mazuri
        \nDua zetu Kwa rabuka, tuufunge bila shari
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Sote tunatarajia, kwa qamari kuandama
        \nIli kumshuhudia, mgeni aliye mwema
        \nYa rabbi tupe afia, tuufunge kwa salama
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Unapoyafanya mema, kwenye mwezi hu sharifu
        \nAtakulipa karima, malipo ya maradufu
        \nBasi ndugu hima hima, tuyaacheni machafu
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Tuhimizane kuswali, za faradhi na za sunna
        \ntuinukeni laili, kumuomba subuhana
        \nTukithirishe amali, kuipigania jannah
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Nazo pia adhkari, tusizisahau nyuma
        \nTufanye ziwe kathiri, na tuzisome Kwa hima
        \nNyoyo zitajaa nuri, pia kujazwa ruhuma
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Mwezi mwema ramadhani, ndugu zangu mufahamu
        \nNi mwezi wa qurani, basi tushikeni hamu
        \nKwa pamoja tusomeni, maneno yake rahimu
        \nKaribu mwezi karibu mtukufu ramadhani<\/p>\n

        Tarawehe tuswalini, na tahajud kadhalika
        \nTujae misikitini, tuzitafute baraka
        \nZiwe nzito mizani, qiyama kitapofika
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Mayatima masikini, tusiwaacheni nyuma
        \nNa wote walio duni, tuwaonee huruma
        \nNa tuwafuturisheni, ndio mwendo ulo mwema
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Ni mwezi wa itifaki, huleta watu pamoja
        \nBasi tuacheni chuki, nawausieni waja
        \nZitatuondoka dhiki, na kuipata faraja
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Sio mwezi wa michezo, au mwezi wa kulala
        \nTuyaache makatazo, ndugu zangu hala hala
        \nIbada ndo ziwe nguzo, zisitupiteni swala
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Tusipotezeni muda, tukivipika vyakula
        \nRamadhani kina dada, sio mwezi wa chakula
        \nTutazikosa faida, faida zilizo aula
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Tuziacheni tabia, zile zilizo haramu
        \nUongo kuteta pia, nako pia kudhulumu
        \nTusije tukajutia, zisipopaa saumu
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n

        Kadi tama nimefika, japo sijesha kunena
        \nIla nyi kufaidika, ndiyo yangu madhumuna
        \nWa Halima Farshika, hilo ndilo langu jina
        \nKaribu mwezi karibu, mtukufu ramadhani<\/p>\n        http:\/\/blogs.harvard.edu\/naphtalhayagened1087\/files\/2022\/03\/Karibu-Ramadhani.m4a<\/a><\/audio>\n

        Mathnawi is a didactic poetic form that originated in Persia. The term mathnawi means couplets and the couplets usually rhyme. Mathnawi poems are used to tell epic, historical and religious narratives (Renard, 1996). \u2018Kings of Persia\u2019 is a famous example of epic and historical narratives. Mathnawi poems of religious thought are expressed through romance, ethics and mysticism(Renard, 1996). Mathnawi poems such as \u2018The Mathnawi\u2019 by Rumi and \u2018The Conference of the Birds\u2019 by Attar are foremost works in the religious narratives category. Mathnawi poems can either be a continuous narrative or a piecewise narrative in which couplets fit together to express the main theme.<\/p>\n

         <\/p>\n

        Islam began spreading in East African coast in the 8th<\/sup> century and with it came poetic forms from the Middle East. Mathnawi is one of the poetic forms that took root at the Kenyan coast among the Swahili people. The structure of Swahili mathnawi poems is slightly different due to the influence of the local Swahili culture. In Swahili, poems are primarily classified based on the number of parts of a verse line (bahari) and the number of verse lines in a stanza (aina). Mathnawi generally refers to poems in which each line is divided into two parts irrespective of the number of lines per stanza. Lines in a stanza have an inner and an end rhyme scheme and the two do not have to match. The rhyme schemes might vary between stanzas.<\/p>\n

         <\/p>\n

        The poem recited in this work is a 14-stanza religious mathnawi titled \u2018Karibu Ramadhani\u2019 which translates to \u2018Welcome Ramadhan\u2019. The poem is of the form \u2018tarbia\u2019 since each stanza has four lines. The poem conveys the message of striving for spiritual enlightenment\/ascension during Ramadhan. The poet expresses two main themes: the definition of Ramadhan and the required code of conduct during the holy month. The poet portrays Ramadhan as a highly esteemed guest and refers to it as the month of blessings (stanzas 1 and 2). Ramadhan should be a time of reduced reliance on physical sustenance (stanza 12). The poet encourages acts of charity (stanza 9) and peaceful co-existence between neighbors (stanza 10). He also condemns impious acts such as lying and oppression (stanza 13) that are an obstacle to obtaining rewards that are based on good acts (stanza 4). He emphasizes that Ramadhan is not a time of festivities but a month of prayer (stanzas 5 and 11), visiting the mosque regularly (stanza 8) and reciting the Quran (stanza 7).<\/p>\n

         <\/p>\n

        #5 Allah in Nature Collage<\/strong><\/p>\n

         <\/p>\n

        \"\"<\/p>\n

        The unity of God and His creation i.e tawhid, is the backbone of Sufi mysticism. Nature bears God\u2019s hidden message that can be deciphered by people who have attained spiritual enlightenment such as Pirs. God\u2019s creations witness the greatness of God in both explicit and implicit forms. Closely linked to the concept of revelation of God in nature is the concept of zahir and batin. The zahir is the outer dimension of Islam while the batin is inner dimension of Islam (Nasr, 1987). \u00a0Zahir can be considered an explicit manifestation of God in nature and is open to all believers regardless of spiritual standing. On the other hand, batin is the implicit version that is only open to the eyes of the soul thus a preserve of the spiritually superior. The unity of God and His creation is expressed in three main ways: the book of the souls (human beings), the book of the universe (nature) as well as the Quran (Viengkhou, 2021). Letters and numbers are central to the understanding of the manifestation of the unity of God in multiplicity. The 19 letters of the basmala (BSMALLHALRHMNALRHIM) embody all three books (Viengkhou, 2021).<\/p>\n

         <\/p>\n

        This work is a circular collage of pictures that demonstrates the two concepts mentioned above: the manifestation of Allah in nature coupled with the concept of batin and zahir. The collage shrinks inwards as we move from the outermost dimension towards tawhid. At the outer layer, the name Allah in Arabic script is manifested through physical phenomenon such as the arrangement of clouds and the shape formed by lightning, shapes of plants and patterns in animals\u2019 coats. The golden arrows represent the \u2018tariqahs\u2019 (paths) that connect zahir and batin. The batin is represented by the Arabic script and Arabic numerals. All the letters of the Arabic alphabet are derived from the first letter -Alif- and all numbers in Arabic numerals are obtained from number 1-wahid (Viengkhou, 2021). Moreover, Alif is assigned a numerical value of 1 thereby tying back both the Arabic alphabet and the numerals to the concept of unity. As opposed to the pictures on the outer layer, the pictures on the inner level merge with the background to further illustrate the idea of increasing unity with progression towards the center of the circle.<\/p>\n

         <\/p>\n

        #6 Whirling dervishes<\/strong><\/p>\n

        \"\"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Whirling dervishes<\/a><\/p>\n

        Music and dance have been a great source of debate on Islamic spirituality between Muslim legalists and mystics. Sufi mystics view music and dance as a means of achieving spiritual ascension while legalists consider music and dance illegal (Lewisohn, 1997). Sama is a form of active meditation (a dance) that originated among Sufi groups in Persia from as early as the 9th<\/sup> century. Sama is practiced by all Sufi orders of Islam except Naqhshbandiyya. The whirling dervishes are Sufis of the Mevlevi order who perform the spinning Sama dance.<\/p>\n

         <\/p>\n

        The dervishes (semazens) begin the performance by turning 3 times symbolizing the creation of sun, moon and stars, the creation of plants and the creation of animals (Selkani, 2018). The semazens raise their left hands towards the sky to receive blessings from heaven and point their right hands towards the earth to transmit the blessings to earth (Selkani, 2018). Physical stability is essential for the dervishes and they achieve this through correct shifting of the body and keeping eyes open without fixating them on anything in particular (Selkani, 2018). In Sufism, self-ego is believed to estrange human beings from God thus ripping oneself from ego evokes the remembrance of the connection between humans and God (dhikr) that was established on the day of Alastu. To represent the theme of ego, the whirling dervishes wear a brown hat that symbolizes the tombstone of the ego while the white skirt represents the shroud of ego (Selkani, 2018).<\/p>\n

         <\/p>\n

        In this piece of art, I represent the whirling dervishes with butterflies given the religious significance of butterflies. Butterflies are a symbol of transformation (resurrection in particular) in the Christian tradition. This symbolism goes well with the purpose of Sama \u2013 overcoming the self-ego in order to connect with God. A butterfly can be in either rest mode or flight mode. The modes can be applied to spirituality in which flying can be viewed as spiritual ascension. The butterflies have shiny white body and wings which represent the white skirt of the whirling dervishes. The butterfly antennae are wrapped with brown tape to represent the brown hats of the dervishes. The spiral arrangement of the butterflies symbolizes the whirling movement of the dervishes.<\/p>\n

         <\/p>\n

        References<\/strong><\/p>\n

        Farwat Shariff. (2019, April 23). KARIBU RAMADHANI. ASHIKI WA KISWAHILI<\/em>. http:\/\/farwat.co.ke\/2019\/04\/23\/mtukufu-ramadhani\/<\/p>\n

        Lewisohn, L. (1997). The Sacred Music of Islam: Sam\u0101\u2019 in the Persian Sufi Tradition. British Journal of Ethnomusicology<\/em>, 6<\/em>, 1\u201333.<\/p>\n

        Nasr, S. H. (1987). Islamic art and spirituality<\/em>. State University of New York Press.<\/p>\n

        Renard, J. (1996). Seven Doors to Islam: Spirituality and the Religious Life of Muslims<\/em>.<\/p>\n

        Selkani, I. (2018). The Whirling Dervishes: An Old Heritage Recognized at Last. Annals of Social Sciences & Management Studies<\/em>, 1<\/em>(4). https:\/\/doi.org\/10.19080\/ASM.2018.01.555567<\/p>\n

        Viengkhou, A. (2021, October 25). Aaron Viengkhou on Sayyid \u1e24aydar \u0100mul\u012b\u2019s Scripturalization of Reality<\/em>. IOSOTR. https:\/\/www.islamicoccult.org\/aaron_viengkhou#fnref:13<\/p>\n","protected":false},"excerpt":{"rendered":"

        # 1 Skit: The death of the prophet Muhammad and post-prophetic authority   It is June 8, 632, the prophet Muhammad has been ill for a long time and his situation does not seem to be improving. He is surrounded by his wives and close family members including his two fathers-in-law, Umar and Abu Bakr. […]<\/p>\n","protected":false},"author":10690,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/posts\/5","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/users\/10690"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/comments?post=5"}],"version-history":[{"count":6,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/posts\/5\/revisions"}],"predecessor-version":[{"id":17,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/posts\/5\/revisions\/17"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/media?parent=5"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/categories?post=5"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/naphtalhayagened1087\/wp-json\/wp\/v2\/tags?post=5"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}