experiencing the Rumi revival show was something that I very much valued in the development of the portfolio, having the chance to see Rumi’s poetry and Sufi music in a “modern” (yet traditionally accurate) context from the perspective of a live audience was really interesting. I had previously experienced the Hadra and the same form of dhikr with the whirling dervishes of Bosnia in person as a form of dhikr personally – but seeing the whole thing with singers, microphones, effects and mixing desks on a stage showed me a different perspective and although it wasn’t an installation – it was the performance of the traditional and original in a context that is possibly a very contemporary development of its practice.
the practice of placing something that is traditionally inclusive becoming something that is slightly voyeuristic in nature. not being a participant despite being within the vicinity felt unusual. seeing the microphones and keyboards and the “performance” on stage felt unusual but despite all this, it felt welcoming at the same time. an unusually oxymoronic juxtaposition. had traditional Sufis become a commercially voyeuristic consumption-based performance and would this be the audience’s view of my own?
“Narin dede with his semazens have come to use performance as a medium for the mobilization of Sufi cultural beliefs and values. Performing their ritual movements as theatrical events outside of Sufi lodges, semazens seek to recognize and embrace world as a sacred stage in which every act is devotional and is embodied and practiced to move closer to God. The analysis of the connection between Sufism and performance shows how Sufism is more than a set of religious doctrines designed solely for Sufi devotion. The connection between Sufism and performance opens a lens through which devotees and non-devotees perceive Sufism’s relationship to different cultures, religions and art forms…Narin dede commodifies sema ceremony and journeys between various sites, including Dede Efendi House (a historical house of a Sufi dede that the government converted into a museum) and Narin dede’s home office, to create homelike, creative and educational spaces for individuals seeking to experience Sufi rituals, specifically the theory and practice of whirling…..
The practice of whirling in a variety of performance spaces inspired devotees to be more open to discovering and creating new forms of practice to make their beliefs and values accessible to a secular public. According to Saayan Chattopadhyay, ‘for religious traditions to continue through history, they must be translated or better transmediated–put in a new form’ (2013: 194). Writing about the public performances of Purja in India, Chattopadhyay states that ‘the emergence of theme-based public worship […] offers a new space in the making of modern social imaginaries, a space in which spectatorial, performative, and ambivalent spatial aspects erect a translucent facade over religion, devotion, faith, and spirituality’ (2013: 206). Although not specifically about Sufi culture, Chattopadhyay’s idea of public space and worship informs my examination of how Sufi devotees through the organization of Sufi ritual performances offer a new space for non-devotees to experience Sufism as a synthesis of the secular and religious values of Turkey.”
Esra Cizmeci (2016). World as sacred stage for Sufi ritual: Performance, mobilization and making space with the act of whirling. Dance, movement & spiritualities, [online] 3(3), pp.199–215.
Sufi rites, notably whirling, are used in Western dance and theatrical productions, encouraging innovation and the development of new forms of the ritual. This adaptation not only promotes a more nuanced understanding of Sufi rituals, but it also stimulates devotees to investigate and produce fresh representations of their beliefs, making them more accessible to a secular audience. The notion of translation and transmediation, developed by Saayan Chattopadhyay, emphasises the need for religious traditions to change and find significance in different situations in order to survive throughout history.
Chattopadhyay’s concept of theme-based public worship emphasises the trend towards more inclusive and immersive religious experiences, creating a new place for spiritual discovery and community development. Finally, the passage implies that by organising Sufi ritual performances, devotees in Turkey are actively bridging the gap between secular and religious values, embodying a broad approach to spirituality that reflects the complexities of contemporary society and offers a synthesis of tradition and modernity.
doi:https://doi.org/10.1386/dmas.3.3.199_1.