Thareqat Musiqiyah Al-Hidayah Perspektif Mazhab Sufi Jalaluddin Ar-Rumi

Abstract

The term sufi is widely recognized in the Islamic tradition, especially among scholars of spiritual and mystical exploration, encompassing diverse schools such as sufi falsafi, sufi ʿamali, sufi zuhudi, the Jalaluddin Rumi school, and others which, in essence, share the same goals of knowing God, drawing near to Him, living “with” God, and experiencing the existential dynamics of union and separation between servant and Lord. A number of scholars formulate stages on the Sufi path in the form of tahalli, takhalli, and tajalli: tahalli is understood as the stage of self-purification through repentance from sin as preparation for encounter with the All-Pure God; takhalli as the emptying of the self from blameworthy traits accompanied by the cultivation of praiseworthy traits through love and frequent ṣalawāt upon the Prophet Muhammad (peace be upon him); and tajalli as the peak of the Sufi journey through remembrance and dhikr of the names and asmā’ of God, both verbally and qalbī (in the heart). In the contemporary context, the author views the Sufi school of Jalaluddin Rumi—externally manifested through Sufi dance and its integration with the arts—as one of the schools that is relatively easy to apply in the lives of young people through spiritually oriented musical entertainment, provided that it is framed with correct boundaries, proper intentions, and lyrics and music that guide the servant to awareness of his or her true self and of God. On this basis, the author proposes the concept of ṭarīqat musiqiyah al-Hidāyah, affiliated with the Jalaluddin Rumi school, by composing a qaṣīdah–nasyid album entitled Cahaya Petunjuk Nurhadi, whose contents are arranged in accordance with the standards of Sufi thought using the tahalli–takhalli–tajalli framework. The tahalli stage is realized through the qaṣīdah–nasyid “Siapa Diri Ini,” “Larutan Noda,” and “Tubuu”; the takhalli stage through “Sholawat Anwarul Huda,” “Kekasihku,” “Cahaya Cinta,” and “Rindu Menyiksa”; while the tajalli stage is articulated through “Lā Ilāha Illā Allah,” “Allah Hū,” “Aliran Darah,” and “Aku dan Dia.” This concept is expected to serve as an initial proposal for the development of daʿwah media and spiritual education rooted in the tradition of tasawuf, yet packaged in a musical form that is more communicative and accessible for the younger generation.