After Rumi’s death, his followers founded a religious order of Sufis referred to as the Whirling Dervishes. While entertaining, their form of dance is not intended for performance but rather for spiritual enlightenment, a physical means to try to attain religious ecstasy. They are true practitioners of Sufism, a mystical Islamic tradition, Sedigh said.
The popularity in the US of Rumi, a 13th-century Turkish poet, is a tragic irony, as the order of Sufi dervishes he founded is banned at home, writes William Dalrymple
Saturday November 5, 2005
Guardian
Maulana Jalaluddin Rumi lived in Central Anatolia in the early 13th century, and he died around the time of Dante's eighth birthday. How Rumi came to outsell any other poet in America in the late 1990s, at least according to the LA Times, is an unlikely story - but not quite as unlikely as the way Rumi has been mysteriously morphed from a medieval scholar of Islamic law, or fiqh, into an American New Age guru.
A selection from the "arousing" Rumi translations by the poet Coleman Barks has been set to music with his verses mouthed by such spiritual luminaries as Madonna, Goldie Hawn and Demi Moore (the cover blurb of this CD describes it as all about "Passion. Music. Romance. Transcending the boundaries of ecstasy it creates a musical tribute to the Act of Love.") Sarah Jessica Parker is reported to do her aerobics to rock'n'roll settings of Rumi, and he is also available in a self-help audiobook version aimed at stressed New York commuters. Rumi has even been hailed as one of the torchbearers (according to one book on the subject) "of homoeroticism and spirituality".
Very little of this, of course, seems to have much connection to the original, historical Rumi, or the voluminous pages of profoundly mystical Persian religious verse he wrote. According to his most authoritative modern biographer, the Persian scholar Franklin D Lewis, "while Rumi seems slightly out of place in the company of Ginsberg, and seriously misunderstood as a poet of sexual love, it simply defies credulity to find Rumi in the realm of haute couture. But models draped in Donna Karan's new black, charcoal and platinum fall fashions actually flounced down the runway to health guru Deepak Chopra's recent musical versions of Rumi."
There is an additional layer of paradox and absurdity here: although Rumi lived and wrote in central Turkey, he is almost unread in his homeland and there is no accessible modern edition of his work in contemporary Turkish. According to Talat Halman, the leading Turkish Rumi scholar, whom I went to see in Istanbul, "Rumi is certainly not the bestselling poet in Turkey - far from it. For one thing, his poems have not been translated as extensively as they should have been, and the translations that exist are not poetic enough. People here simply don't have the patience to read a huge book like [Rumi's masterpiece] The Masnavi."
But it is not just that Rumi's poetry is unread. The order of Sufi dervishes that Rumi was father to, the Mevlevis, have been officially banned since the time of Mustafa Kemal Ataturk, and their beautiful lodges or tekkes lie locked and left to decay or seized by the state, in order - a tragic irony - to westernise Turkey, and bring it closer to Europe and the US. Although discreet expressions of Sufism are now openly tolerated, and pictures of Whirling Dervishes are prominently used in Turkish government tourist brochures, the open practice of the Sufi mysticism that Rumi represented can still technically result in a seven-month prison sentence. While in Turkey making a Channel 4 documentary on Sufi music this summer we found it almost impossible to get any genuine Turkish Sufi group to allow us to film them, so nervous were they of the reaction of the authorities.
It all adds up to an archetypal - if unusually poignant - case of east-west misunderstanding: a west earnestly looking eastwards for an ancient spiritual wisdom, which it receives through the filter of sexed-up translations that most Persian scholars regard as seriously flawed, and which recreate a Rumi wholly divorced from his Islamic context; while in the east, a Republican Turkish government anxious to integrate Turkey with Europe bans Rumi's Sufi brotherhood as part of its attempt to embrace a west it perceives as rational, industrial, intolerant of superstition and somehow post-mystical.
In the middle of this confusion of civilisations, Sufism or Islamic mysticism, the most accessible, tolerant and pluralistic incarnation of Islam, and a uniquely valuable bridge between east and west at this moment of crisis, finds itself suppressed by the Islamic world's two most pro-western governments: the fundamentalist Saudi Wahhabis, who see it as a heretical threat to their own harsh, literal and intolerant interpretation of the Qur'an; and secular Turkey, which regards it as a token of their embarrassing, corrupt and superstitious Ottoman past.
It is, as Halman says, a major missed opportunity. He believes that Rumi's brand of Sufism represents "the free spirit of Islam ... the liberal spirit that I think needs to be recognised at a time when Islam has come to be considered almost synonymous with terrorism. The Sufi spirit softens the message of the Qur'an by emphasising the sense of love, and the passionate relationship between the believer and the beloved, God of course being the ultimate beloved. So in the eyes of Rumi and the Sufis, God becomes not the angry god of punishment, nor the god of revenge, but the god of love."
At this moment, more than ever, that message desperately needs to be heard.
Like most medieval saints in both the east and west, the life of the historical Rumi lies clouded in a fog of later hagiography. Some facts do however stand out. He was born in Balkh, capital of Khorasan, in what is now Afghanistan, on September 30 1207, and migrated with his family to Anatolia shortly before his home city was destroyed by the Mongols in 1221. After training as a Muslim preacher and jurist, he taught sharia law, of the Hanafi school, in a madrasa in Konya where he died on December 17 1273, and where his shrine, the Yesil Turbe, or Green Tomb, still stands.
At 37, Rumi's life was transformed when he met an enigmatic wandering dervish called Shams Tabrizi, who brought about a major spiritual epiphany in the respectable and bookish jurist. The two quickly became inseparable (though judging by Rumi's writings, it is most unlikely there was any sexual relationship as some have claimed). When Tabrizi mysteriously disappeared, Rumi's grief was expressed in one of the greatest outpourings of longing and separation ever produced in any language: a great waterfall of Persian verse - some 3,500 odes, 2,000 quatrains, and a massive mystical epic, The Masnavi, 26,000 couplets long, a rambling collection of tales, teaching stories and spiritual anecdotes built around the theme of "the Nightingale who was separated from the Rose". It is, in the eyes of many, the deepest, most complex and most mellifluous collection of mystical poetry ever written in any language, and from any religious tradition. It certainly stands as the supreme expression of mystical Islam.
Rumi advocated an individual and interior spirituality, and it is the love, rather than the fear, of God that lies at the heart of his message. He attempts to merge the spirit of the human with the ideal of a god of love, whom Rumi locates within the human heart. Rumi's first biographer, Aflaki, tells of a man who came to Rumi asking how he could reach the other world, as only there would he be at peace. "What do you know about where He is?" asked Rumi. "Everything in this or that world is within you."
Because God can best be reached through the gateway of the heart, Rumi believed you did not necessarily need ritual to get to him, and that the Divine is as accessible to Christians and Jews as to Muslims: "Love's creed is separate from all religions," he wrote. "The creed and denomination of lovers is God." All traditions are tolerated, because in the opinion of Rumi anyone is capable of expressing their love for God, and that transcends both religious associations and your place in the social order: "My religion," he wrote, "is to live through love."
Yet for all this, Rumi himself always remained an orthodox and practising Sunni Muslim. As Lewis rightly notes, "Rumi did not come to his theology of tolerance and inclusive spirituality by turning away from traditional Islam, but through immersion in it." He was not a "guru calmly dispensing words of wisdom capable of resolving, panacea-like, all our ontological ailments", as he is presented in the translations of Coleman Barks, so much as "a poet of overpowering longing, trying to grope through his shattering sense of loss". Likewise the poet and fellow of All Souls Andrew Harvey, who has produced some fine recreations of Rumi's verse, emphasises Rumi's "rigorous, even ferocious austerity". It is a far cry, he believes, from the New Age construct, "Rosebud Rumi, a Californian hippy-like figure of vague ecstatic sweetness and diffused warm-hearted brotherhood, a kind of medieval Jerry Garcia of the Sacred Heart".
One way Rumi did, however, most certainly diverge from some of the more austere ulema of his time was in that he believed passionately in the use of music, poetry and dancing as a path for reaching God, as a way of, as he put it, opening the gates of paradise. For Rumi, music helped devotees to focus their whole being on the divine, and to do this so intensely that the soul was both destroyed and resurrected. It was from these ideas that the whirling of Rumi's Mevlevi Sufi brotherhood - known in the west as the Whirling Dervishes - developed into a ritual form. The intention was to help devotees focus on the God within: as one Mevlevi Whirler we interviewed put it, there is a "palpable stillness you discover at the centre of the whirling ... everyone disappears and you feel as if you're in the eye of a hurricane".
Beautiful as it is, this use of poetry and music in ritual is one of the many aspects of Sufi practice that has attracted the wrath of modern Islamists. For although there is nothing in the Qur'an that specifically bans music, Islamic tradition has always associated music with courts, dancing girls and immorality, and there is a long tradition of clerical opposition to music. Today, Islamic puritans, like those of 17th-century England, firmly regard all music as unacceptable, and work to ban it wherever they come to power.
While filming in Pakistan we interviewed Maulana Mohammad Abdul Malik, a senior cleric with the Islamist political party, Jamaat-i-Islami, which has just banned the public playing of music within the Frontier province. For him the matter was quite simple. "Music is against Islam," he said. "These musical instruments - the tabla, sarangi, dhol - lead men astray and are sinful. They are forbidden, and these musicians are wrongdoers." This attitude is on the ascendant across the Islamic world and the pacifist Sufis have frequently faced violence from their Islamist opponents: several Sufi shrines and brotherhoods, for example, have recently been bombed in Iraq.
In Turkey, however, the Sufis have suffered far more from the secular Republicans than from the country's relatively quiescent Islamists. Before the first world war there were almost 100,000 disciples of the Mevlevi order throughout the Ottoman empire. But in 1925, as part of his desire to create a modern, western-orientated, secular state, Atatürk banned all the different Sufi orders and closed their tekkes. Pious foundations were suspended and their endowments expropriated; Sufi hospices were closed and their contents seized; all religious titles were abolished and dervish clothes outlawed. Turkish intellectuals were encouraged to study the western classics, while Rumi's writings, along with those of all his Sufi peers, were treated as an intellectual irrelevance. In 1937, Atatürk went even further, prohibiting by law any form of traditional music, especially the playing of the ney, the Sufis' reed flute.
While filming in Istanbul, we visited one beautiful old Ottoman tekke, by the Mevlana gate of the old walls: since 1925 it had been used as an orphanage and warehouse, before its priceless library was finally destroyed in a fire in the 1980s. It has now fallen into ruins and lies locked and abandoned. All one can do is peer through the barbed wire at the domes and semi-domes and the overgrown panels of Ottoman calligraphy half covered with vines and creepers. Other Mevlevi centres, like the magnificent Galata tekke in the centre of Istanbul, have become museums.
As far as the Turkish state is con-cerned, the Mevlevis are little more than a museum culture to be exploited as a tourist attraction. This process began in the mid-60s when the wife of a senior US army officer came to Konya and asked her government escorts about the dervishes. The officials were thrown into a panic. The local mayor eventually found an old dervish and forced him to teach the local basketball team how to turn; soon a "folkloric" festival began to be mounted in the Konya sports hall every year to attract foreign tourists. For a while there was even a brief attempt made to replace the Sufi musicians who accompanied the dancers with the town's brass band, which was judged to be more modern and republican.
One man whose life has been shaped by this official Turkish hostility to Sufism is the great Turkish ney player, Kudsi Erguner. Erguner, who has for years lived in Paris working with Peter Brook, Didier Lockwood and Peter Gabriel, was born into a family of hereditary ney players of the Istanbul Mevlevi brotherhood. His recent autobiography, Journeys of a Sufi Musician, gives a wonderful picture of the trials of being a Sufi devotee in the early years of the Turkish Republic after the Sufi orders were banned. He describes the strict secrecy in which his father and the other Mevlevis were forced to organise their spiritual life: "Though I must have been hardly five years old, I remember those old men with luminous faces whose eyes always appeared moist as if they had just wiped away a tear at the sound of the ney, or the recitation of a Rumi poem."
Every time the brotherhood had a musical gathering (sama), members of the brotherhood would be posted at each end of the street as lookouts to give warnings of a police raid. It was not dissimilar to the US during Prohibition - except that in the case of the Sufis, bottles of raki were kept in a fridge as a cover: "This alcohol was practically considered a symbol of the republic, so it was unthinkable for the authorities to believe that it could be drunk by 'religious fanatics'. If the police came in, the sheikh could always bring out the bottle and say they were only having a little party among friends."
All his professional life, Erguner found both his music and its Sufi inspiration blocked by Turkish officialdom, so that even his sell-out tours in Paris and London were disapproved of by the respective Turkish embassies, which accused him of "projecting a retrogressive image of Turkey abroad". More shocking still is the description Erguner gives of the government's refusal to conserve Turkey's Sufi heritage. On one occasion he found a priceless stash of Ottoman Sufi music and instruments in the cellar of the Istanbul mosque of Yeni Cami, where they had been dumped in the 1920s after being confiscated from various tekkes. Despite all his efforts, Erguner could not get permission to conserve any of the material: "In this damp underground vault these venerable relics, including flags, books, clothes and musical instruments were left to rot. My begging was of no avail, and none of it could be saved."
We filmed Erguner playing his ney after hours in one of Sinan's great mosques in Istanbul. It is one of the most elegiac sounds in all world music, and for Rumi the supreme symbol for man's separation from God. As the opening lines of The Masnavi puts it: "Listen to the song of the ney, how it laments its separation from the reed bed." Afterwards I accompanied Erguner to the south-east of the country to visit the marshy reed beds where he, and his father before him, have always found the reeds which they turn into neys. As we walked through the reeds, looking down at the Mediterranean sparkling far below us, he talked sadly of all that had been lost.
"In Turkish culture," he said, "Sufism has always provided the religious justification for the fine arts. It is like the sea and a boat: one cannot exist without the other. All our fine arts found themselves in Sufism. In Istanbul alone there were 700 tekkes. This is where the arts of poetry, music and calligraphy were all developed and passed down."
Erguner selected a fine reed of the right length and width and got out his knife: "When you look at the history of classical music in the Ottoman empire," he said, "there is not a single composer who was not a follower of Rumi. That is why in Turkey you cannot distinguish classical music from religious music. So what happened [under Atatürk] in the 1920s was like a cultural revolution: it turned everything upside down."
We walked on through the reeds, Erguner expertly fingering them in search of the perfect ney: "The buildings and the foundations disappeared," he said, "and the poets and musicians found themselves out on the streets. Successive generations of children were taught to look west, were told that civilisation lay elsewhere. So the deep continuity, the exchange between human beings, the continuity of teaching, all that was utterly lost."
He shook his head: "Once such a tradition is broken," he said, "it can never really be recovered. Today people in Turkey are beginning to understand that western civilisation is not the only answer, that our own civilisation had great worth. But in so many ways it is too late now: too much has already been lost, and can never be recovered."
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