| Summary: | One of the most popular cultures in Islam is the genre of “hymns” or “invocations” (pl. <i>ibtihalat</i>, sing. <i>ibtihal</i>), which has recently been amplified on social media platforms. The <i>ibtihalat</i> are Arabic short poems performed by a sheikh known as the “supplicator” (<i>mubtahil</i>). They air regularly on Arabic TV stations and more frequently on radio stations, especially those broadcasting about the Qur’an, its recitation, and its interpretation. In Egypt, the Qur’an’s radio station, which has millions of followers, launched a YouTube station that airs <i>ibtihalat</i> before and after dawn prayer daily. The viewership of one <i>ibtihal</i> like that of Sheikh Sayyid al-Naqshabandi’s “My Lord” (Mawlay) reached 11 million on YouTube. The <i>ibtihalat</i> are also integral parts of Islamic festivities during the two Eids and Ramadan. Focusing on al-Naqshabandi’s <i>ibtihal</i> “My Lord” (Mawlay), this paper discusses the genre of Islamic hymns as a popular culture approach to study Islam as a lived experience based on the inclusion, not the elimination, of difference. To that end, I explore how the <i>ibtihal</i> becomes a domain for contemplating the place of the self in the present moment without the gaze of authority and how this reconfiguration of authority within the self has deep roots in the Islamic notion of “unicity of God” (<i>tawhid</i>).
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