Prominent Islamic scholar and SeekersGuidance Executive Director Shaykh Faraz Rabbani has addressed pressing questions concerning the permissibility of inshad—the chanting of spiritual poetry and wisdom—within the Hanafi school of jurisprudence. In a detailed response to inquiries from an aspiring practitioner, the scholar outlined the historical precedent of spiritual songs in early Islamic society, the specific criteria governing their practice, and the proper use of melodic modes.
The inquiry arose amid conflicting contemporary views on the subject. While classical Hanafi jurists such as Ibn Abidin and al-Nabulsi have historically validated the practice, other contemporary voices argue against it, citing interpretations that suggest early companions of the Prophet Muhammad, including Sayyiduna Umar, disapproved of singing entirely.
Addressing these concerns, Shaykh Faraz affirmed that chanting poetry focused on praise and wisdom remains permissible under the Hanafi legal framework. Furthermore, he noted that the Prophet Muhammad himself recited verses, while his Companions actively chanted such poetry in his presence and within his mosque.
Chanting in the Prophetic Presence and Early Traditions
To establish the historical validity of the practice, the scholar pointed to numerous accounts from early Islamic history demonstrating that spiritual poetry and rhythmic chanting were regular features of daily life during the time of the Prophet and subsequent generations.
Citing textual evidence, Shaykh Faraz referenced the Battle of the Trench, where the Prophet Muhammad carried earth alongside his Companions while reciting lines of poetry emphasizing divine guidance. He also addressed reports regarding Sayyiduna Umar, clarifying that while objections raised by the prominent Companion are recorded, each instance was met with a direct Prophetic resolution or context that affirmed the permissibility of appropriate poetry.
Among these instances, the scholar highlighted an account where Hassan ibn Thabit recited poetry inside the mosque, and when questioned, noted that he had done so in the presence of someone far greater than his questioner—the Prophet Muhammad himself. Similarly, when Abd Allah ibn Rawaha chanted verses upon entering Makkah, Sayyiduna Umar expressed surprise at the venue, prompting the Prophet to instruct him to let Ibn Rawaha continue. Additional accounts detailed the camel-driver’s chant, known as huda, which was gently regulated rather than prohibited by the Prophet.
Subsequent generations maintained these traditions. The prominent early Islamic scholar al-Hasan al-Basri, when asked about the camel-driver’s chant, remarked simply that the early Muslims engaged in the practice.
The Hanafi Framework: Words, Instruments, and Intent
To provide clear legal boundaries, Shaykh Faraz detailed the criteria established by classical Hanafi verifiers, including al-Kamal Ibn al-Humam and late-era jurists. According to these legal sources, the prohibition on singing strictly applies to compositions featuring unlawful wording or those intertwined with prohibited musical instruments.
The scholar outlined two primary provisos that govern the practice. First, even poetry bearing profound wisdom becomes impermissible if it is accompanied by instruments of play, due to the prohibition associated with the instruments themselves. Second, chanting transitions from a permitted activity to a disliked one when it becomes a consuming occupation that distracts an individual from the remembrance of God and the pursuit of sacred knowledge.
Even among jurists who generally adopted a stricter stance on vocal music, classical legal interpretations consistently accommodated the composition and recitation of permissible poetry containing wisdom and exhortations as practiced by the Companions.
The Role of Maqamat and Melodic Modes
Turning to the technical aspects of performance, the scholar addressed the use of maqamat—traditional melodic modes—in inshad. Citing the positions of classical authorities such as Imam al-Ghazali, Shaykh Faraz explained that reciting poetry with melodies remains permissible as long as the underlying recitation without a melody is also permitted.
While classical Hanafi jurists historically expressed caution regarding the formal science of music as a craft or profession—primarily due to the reality that such knowledge was frequently applied to unlawful ends—the application of natural vocal scales to spiritual texts is viewed differently. The scholar advised practitioners to learn these melodic modes organically by ear from qualified teachers, mirroring the traditional method employed by proficient Quranic reciters and mindful nashid artists.
Spiritual Counsel for Practitioners
Concluding his guidance with spiritual counsel directed at aspiring performers, Shaykh Faraz emphasized the importance of intention and continuous self-reflection. He advised practitioners to understand the literal meaning of every line they chant, keep the Quran and foundational sacred knowledge at the forefront of their endeavors, and avoid turning performance into a commercial livelihood or a stage for personal display.
When public applause begins to overshadow the primary objective of remembrance, the scholar recommended stepping back to renew one’s intentions.