Author: Yuga Bayu Prabowo, Dilfam Adisya Ervani, Putri Dwi Archningtia

The rapid advancement of Artificial Intelligence (AI) has intensified ethical debates within contemporary technology studies. Nevertheless, current AI ethics discourse remains predominantly shaped by Western philosophical paradigms such as utilitarianism, deontology, and virtue ethics, which often overlook moral, social, and spiritual dimensions central to non-Western societies, including Islamic ethical traditions. This study aims to map contemporary AI ethics scholarship, critically examine Islamic ethical responses to AI, and develop an evaluative framework grounded in Maqasid al-Shariah. Using a qualitative approach with a Systematic Literature Review (SLR) design, this research analyzes peer- reviewed publications from the last decade drawn from major academic databases. Data analysis is conducted through thematic analysis, comparative analysis, and conceptual synthesis. The findings reveal that Islamic AI ethics studies are still dominated by normative and declarative approaches, with limited operationalization of Maqasid al-Shariah as an evaluative tool, and a notable absence of integrative models connecting Islamic ethics with global AI ethics frameworks. This study contributes theoretically by positioning Maqasid al- Shar??ah as a holistic, value-based, and applicable ethical framework for assessing AI in relation to justice, public welfare, and the protection of human dignity within a global technological context.

This study examines the phenomenon of dancing in majelis shalawat through a literature-based inquiry using a descriptive–analytical approach (library research). The data were obtained from primary sources, namely the works of Abdurrahman al-Baghdadi and Imam Ibn al-Jawzi, as well as secondary sources such as scholarly journals, academic articles, and social media documentation. The analysis focuses on a comparative examination of the two scholars’ perspectives on the role of art in worship. The findings reveal a divergence of views between the two scholars. Imam Ibn al-Jawzi rejects excessive bodily movements in acts of worship, arguing that they may undermine khushu‘ (devotional concentration) and constitute a form of satanic deception. According to him, worship should be performed with tranquility and humility of heart, in accordance with the guidance of the Prophet Muhammad (peace be upon him). In contrast, Abdurrahman al-Baghdadi maintains that art, including expressive movements in shalawat, may serve as a means of da‘wah provided that it does not violate the boundaries of Islamic law. He argues that as long as such movements are conducted with proper decorum, do not give rise to moral impropriety, and do not distract from remembrance (dhikr), they may be deemed acceptable within spiritual and da‘wah contexts. From the perspective of Islamic jurisprudence, dancing within acts of worship carries different legal rulings depending on its context. When performed with propriety and while maintaining devotional concentration, it may be considered mubah (permissible). However, if it becomes excessive and transforms worship into mere entertainment, its ruling shifts to makruh (reprehensible) or even haram (prohibited). In conclusion, while art may function as a medium of da‘wah, the sanctity of worship must be carefully preserved. The more compelling position is the cautious approach emphasized by Imam Ibn al-Jawzi, whereas Abdurrahman al-Baghdadi’s perspective may be applied within the realm of art, provided that clear limitations grounded in Islamic values are observed.