can be likened to the practices of meditation attested in many faith communities. While variation exists, one description of the practice within a Naqshbandi lineage reads as follows: Sufi whirling The traditional view of most orthodox Sunni Sufi orders, such as the Qadiriyya and the Chisti, as well as Sunni Muslim scholars in general, is that dancing with intent during dhikr or whilst listening to Sema is prohibited. Sufi whirling (or Sufi spinning) is a form of Sama or physically active meditation which originated among some Sufis, and practised by the Sufi Dervishes of the Mevlevi order. It is a customary dance performed within the sema, through which dervishes (also called semazens, from Persian ) aim to reach the source of all perfection, or kemal. This is sought through abandoning one's nafs, egos or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the sun. As explained by Mevlevi practitioners: In the symbolism of the Sema ritual, the semazen's camel's hair hat (sikke) represents the tombstone of the ego; his wide, white skirt (tennure) represents the ego's shroud. By removing his black cloak (hırka), he is spiritually reborn to the truth. At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth. The semazen conveys God's spiritual gift to those who are witnessing the Sema. Revolving from right to left around the heart, the semazen embraces all humanity with love. The human being has been created with love in order to love. Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!" Singing Musical instruments (except the Daf) have traditionally been considered as prohibited by the four orthodox Sunni schools, and the more orthodox Sufi tariqas also continued to prohibit their use. Throughout history most Sufi saints have stressed that musical instruments are forbidden. However some Sufi Saints permitted and encouraged it, whilst maintaining that musical instruments and female voices should not be introduced, although these