Interesting day today -- slept in rather late for a host of reasons -- one, the Dunkin Donuts coffee late in the evening kept me awake; 2. some odd neighbors moved in next to me. They were completely quiet until 2 am then left...noisily....then they came back around the call to prayer at 6 am! Then they packed up their luggage (roller luggage) and left. It was then that I got most of my sleep. After breakfast I switched rooms to a better room upstairs -- it is a lot lighter and nicer and has a much better bathroom, not as musty/mildewy smelling as the other one. After the switch I walked over to the waterfront through a nice park (bought a delicious simit and ate it), then walked by the water for a while, walked over the bridge then took this funny little turn of the century underground tram up a steep hill to the "swanky" main pedestrian street. It is supposedly swanky but it is a bit divy I think, maybe in early stages of gentrifying, I don't know. It almost has a Disneyesque feel but like Disney after the apocolypse. Maybe it is also the Bayram issue because a lot on the street is closed. Anyway, I had seen advertised that the sufi whirling dervishes from a local Istanbul order do a public showing of their ceremony on the 2nd/4th Sundays of each month, so I went in to see about a ticket. It was a whopping 25 million (maybe 17 dollars or so) which is a lot for a Turkish concert. But I decided to go for it.
These guys (and women) are a particular Muslim sect, recently popularized by celebs such as Madonna. The founder, Rumi or Mevlana, came to Konya in the 1200s and was a mystic and devotional poet. He taught that earthly existence separates the soul from God, and the soul yearns to reunite either within earthly life through worship or after earthly death. Mevlana’s chief tenet was “love” and the search for truth and beauty; all beings are a manifestation of love, divine love, and unity. Their worship ceremony, the sema, involves whirling, spinning to reunite the soul with God.
I didn't know what to expect from this event, but all the guidebooks said that, although Mevlana the founder was from Konya, most of the dervish things there are performances with pro dancers rather than practitioners. The shows there are more staged rather than ceremonies. This one, though, is an actual ceremony. The people who perform the ceremony are actual practitioners and novitiates of Sufism who live by the teachings of Mevlana on a daily basis.
I got a good seat in the front row in the building where the sema occurs, a 17th century Mevlana sema house (so a place where this kind of thing has been happening for a long time -- there has been a sema monastery there since the 1400s) basically a large octagonal room with two stories but the center is open to the roof. There is a small fence around the center and then the people who are watching sit around the outside of the fence. The brochure for the ceremony – filled with info and photos and lofty platitudes about Mevlana – provided reading material for me while other guests filed in. I learned that there is an imaginary line that splits the octagon in half, called the equatorial line. This line represents the shortest path to unity with God and only the sheikh, the master who represents Mevlana, can tread on it. The band sits on one side, on the second floor in a gallery, and the sheikh on the other. I prepared for the event to begin.The first half was actually a concert of Sufi music, but with a bit of a twist -- this particular concert was in honor of Ataturk because of the anniversary of his death and they had rewritten some of these Sufi religious songs to include Ataturk in the lyrics! This struck me as unusual considering that Ataturk wasn't that excited about religion or the Sufis (he banned their orders in 1925 because their considerable power represented a potential threat to his secular reforms). As I told some people in Ankara about this later, some said that it wasn’t strange because Ataturk’s views on religion were more similar to the Sufis than to the fundamentalists. He agreed with the relative equality of women that Mevlana argued for. However, Ataturk did ban the orders; that’s a fact. So I was surprised to pick out the name Ataturk mingling with Mevlana in the lyrics, and picking out the phrase, “blue eyes” (for which Ataturk was famous)as a repeated refrain in one song. The music is pretty interesting – very upbeat and rather repetitive and meditative. I don’t know the names of the instruments in English, but they include little wood flutes, sazes, violas, drummers, chanters and a choir. They stood on the floor of the Sema, and performed.
Then there was a break; after about ten to fifteen minutes a lone man dressed in a long black robe and a tall cylindrical camel colored hat. He paused at the equatorial line, bowed his head, and then stepped over it. He carried a red blood colored swath of sheepskin – the post of the sheihk, which represents the highest spiritual level, and its color birth and existence. He laid it down gently on the equatorial line on my side of the octagon and then quietly walked out, pausing and bowing again as he crossed the imaginary line.
The brochure said that the semazen or whirling dervish attire signifies the “death of the ego” – the cap is called a sikke, earth colored, and represents the tombstone of the ego; the hirka is a long black cloak that represents the tomb; the tenure is a long gown with an incredibly full skirt with a slightly weighted hem that symbolizes the shroud. One by one the band began to file back in, this time to the upstairs gallery, and now dressed in the semazen (whirling dervish) costume.
Then the semazens themselves entered, one at a time behind the man who had brought in the sheepskin. Each paused at the equatorial line and stepped over it, and then lined up in place on another row of white sheepskin across on the other side of the octagon from where I sat. Then, with some grandeur, Hasan Dede, the sheikh, entered and took his place at the sheepskin. A chanter began to sing a thin but rich a cappella melody that praises the prophet Mohammed. Afterwards, the line of semazens suddenly threw their upperbodies to the wood floor, prostrated in prayer. It made a loud noise and startled me – it seemed so foreign and intense. A drum played, representing the divine command, “Be,” followed by a flute playing, representing, said the brochure, the soul being given to the universe. Then the full band began to play.
Next came the Cycle of the Veled. They all stood in line and approached the sheikh. He faced the man who seemed to be second in command, they bowed heads to each other, and the Sheikh turned on his heel and began to slowly circle the Sema hall. Next, the second man turned to the third, and repeated the same action, bowing to acknowledge the center of Divine Truth within each person, and turning on his heel afterwards and following the sheikh. All the women and men semazens performed this action, flowing into a circle when the last woman exchanged the action with the Sheikh. They did this three times. According to the brochure, which I voraciously read while trying to take in all the sensory detail, each rotation has a different meaning. The first describes God’s creation of the sun, moon, stars and inanimate creation; the second the vegetable world; and the third the animal world.
The sheikh returned to his place on the post and the semazens gathered on their sheepskins as well. With an understated flourish, they dropped their black cloaks in unison (except for the priest and the second in command) and I felt a whoosh of air current as the cloaks settled onto the floor. The men wore bright white gowns and the women were draped in incredibly bright colors of red, green, gold, purple, orange – it was stunning. The second in command, a man in his thirties I guessed, led the semazens forward and they, one by one, bowed again to the sheikh, crossed their arms across their chest (resembling a “one” which signifies the unity of God) and began to turn. This happened one by one in a delicate rhythm. Each semazen had a different trajectory as they shot off from the sheikh – some arched to the right, and others headed straight out on one side or the other of the equatorial line. Initially, for about six or seven turns, they would lower their arms from their crossed position high on their chest until their fingertips reached their waists; then, they’d slowly raise their arms back across their chest without pausing, and up, up, up, gracefully reaching above their heads and settling around head to shoulder height, slightly bent. The right hands opened upward and the left downturned; thus they receive from God and give to man but keep nothing for themselves. They rotate like the planets around their own axis and around the sun, circling the hall until they took positions, simultaneously also rotating as individuals.
As the dervishes began to spin more and more quickly, the gentle lapping waves sound of the fabric of their gowns intermingled with the music, and I could feel the breeze from the rippling fabric. Perhaps there were twelve of them: mostly younger people, all moving in their own pace, but quickly, turning and turning, heads all cocked slightly to one side, eyes closed. As the spinning raised their skirts higher and wider, I could see their feet underneath as they revolved. It looked like one leg remained flat on the ground as they turned, while they lifted the other and pushed off it rhythmically. It is hard to describe, primarily because it wasn’t clear to me how it was possible to spin so much and so quickly, yet so smoothly, for such a long stretch of time.
And a long stretch of time it was. There are four cycles of spinning in the Sema; each cycle is called a selam. The first one is about 8:00 minutes long and in it the semazens, says the brochure, “are viewing all the worlds. In this way they reach the grandeur and majesty of God. The lovers are freed from doubt and testify their faith in the Unity of God.” At the end of this selam, the music slowed and the dervishes ground to a halt. They rotated around, crossing the equatorial line, and reformed another line, standing again near their sheepskin with their arms crossed on their chests. They seemed no worse for wear from the Sema, a little more intense and focused perhaps, and some were flushed in the cheeks (a rapturous flush rather than an overexerted one.) Then they began the whole thing again. The second cycle was a bit shorter, and symbolized their existence “dissolving in the divine unity.” The third cycle was another marathon, nearly ten minutes: by the end, small beads of sweat were gathering on some of their foreheads, and now all were flushed. This cycle was about cleansing and reaching maturity. The fourth and final cycle was only two or three minutes long, and the brochure described it as the arrival “at the junction of non-existence within Divine Existence.” During this selam, the sheikh marched one step, then a pause, then another step, turning and progressing along the equatorial line, among the spinning dervishes. He opened one edge of his cloak, symbolizing that he had opened his heart to all people. As they slowed to a stop this final time, they slowly walked back into place one by one, in line and each pausing at the equatorial line. They lined back up and put their cloaks on. The sheikh did a recitation from the Koran, and they slowly filed out, stopping again at the equatorial line as they left.
Watching the ceremony was stunningly intense. I didn’t expect to react on an emotional level to it, but I did. It seemed inappropriate to take pictures – I only took two, even though everyone else was snapping away. And after taking those I felt a bit awkward. It seemed so much like a religious ceremony, and that’s because it was. Devotion was palpable in the room. A young girl was sitting next to me, and she was responding with intensity as well; during the Koranic prayers she followed along with the hand gestures, like one that mimics bathing the face in light.
As we filed out of the building, I felt myself full of questions about the group. I saw an American (I think) older woman who seemed to be a coordinator of sorts for the group; I’d spoken with her earlier because she was saving the seat next to mine for a guest of hers who never came. She said goodbye and thanked me for coming, and I asked how often they do a ceremony like this. “Not for us, not for tourists,” I tried to explain, somehow unable to phrase my question even though I was talking with another native speaker. “What you just saw isn’t for you. It’s not for other people. It is for us. To do it here in this place, we have to rent the facility from the Turkish Ministry, and your donation goes towards that fee so that we can worship here.” She was extremely intense about it. She explained that there’s another facility that they own where they have lectures and other devotional options. I bought a CD and some post-cards with nice photography (shockingly overpriced, but hey), and headed out onto the street.
The bustle of Istiklal Caddesi and Tunel on a Sunday afternoon was a shock to me after the intense meditative atmosphere in the Sema hall. I felt off kilter and a bit overwhelmed. I hurried to the tram and hopped on it; it was dusk, and when I got off and started to walk towards the bridge, I remembered that my plan had been to go see the Galata Tower up close, so I got back on the tram and headed back up the hill, retracing my steps.
I walked the several blocks down the hill to the tower and paid the outrageous admission fee to go to the top. The building is about 1500 years old and has nice views of the Bosphorus and the city lights from the walkway around its perimeter, so I guess it was worth it. Probably not something I’ll do again. I have been amazed by how dark the city seems over the last two days. I think it is because of the bayram and everything is closed up. I don't think it is usually so dark! Last night I thought there was a power outage there were so many dark blocks. After taking in my fill of the Galata Tower, I walked back down the hill to the bridge. This wasn’t a wise idea. For a few blocks it was more than a little scary -- lots of men around, dark small streets and no women at all. At the bottom of the road, I was strolling along not realizing that I was in the middle of a street because it was so dark and I was nearly hit by a car. Anyway, I walked back over the bridge and watched the vendors a while at the port -- there they sell fresh fish sandwiches off of boats mounted with grills. I wasn’t in the mood for fish, so I headed back to Sultanahmet and got some grilled kofte meatballs and pilaf, which tasted great.