Sufism, Politics, and the Arab Spring
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A Sufi Reading of Jesus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Representations of Jesus in Islamic Mysticism: Defining the „Sufi Jesus‟ Milad Milani Created from the wine of love, Only love remains when I die. (Rumi)1 I‟ve seen a world without a trace of death, All atoms here have Jesus‟ pure breath. (Rumi)2 Introduction This article examines the limits touched by one religious tradition (Islam) in its particular approach to an important symbolic structure within another religious tradition (Christianity), examining how such a relationship on the peripheries of both these faiths can be better apprehended. At the heart of this discourse is the thematic of love. Indeed, the Qur’an and other Islamic materials do not readily yield an explicit reference to love in the way that such a notion is found within Christianity and the figure of Jesus. This is not to say that „love‟ is altogether absent from Islamic religion, since every Qur‟anic chapter, except for the ninth (surat at-tawbah), is prefaced In the Name of God; the Merciful, the Most Kind (bismillahi r-rahmani r-rahim). Love (Arabic habb; Persian Ishq), however, becomes a foremost concern of Muslim mystics, who from the ninth century onward adopted the theme to convey their experience of longing for God. Sufi references to the theme of love starts with Rabia al-Adawiyya (717-801) and expand outward from there in a powerful tradition. Although not always synonymous with the figure of Jesus, this tradition does, in due course, find a distinct compatibility with him. -
Understanding the Concept of Islamic Sufism
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Understanding the Concept of Islamic Sufism Shahida Bilqies Research Scholar, Shah-i-Hamadan Institute of Islamic Studies University of Kashmir, Srinagar-190006 Jammu and Kashmir, India. Sufism, being the marrow of the bone or the inner dimension of the Islamic revelation, is the means par excellence whereby Tawhid is achieved. All Muslims believe in Unity as expressed in the most Universal sense possible by the Shahadah, la ilaha ill’Allah. The Sufi has realized the mysteries of Tawhid, who knows what this assertion means. It is only he who sees God everywhere.1 Sufism can also be explained from the perspective of the three basic religious attitudes mentioned in the Qur’an. These are the attitudes of Islam, Iman and Ihsan.There is a Hadith of the Prophet (saw) which describes the three attitudes separately as components of Din (religion), while several other traditions in the Kitab-ul-Iman of Sahih Bukhari discuss Islam and Iman as distinct attitudes varying in religious significance. These are also mentioned as having various degrees of intensity and varieties in themselves. The attitude of Islam, which has given its name to the Islamic religion, means Submission to the Will of Allah. This is the minimum qualification for being a Muslim. Technically, it implies an acceptance, even if only formal, of the teachings contained in the Qur’an and the Traditions of the Prophet (saw). Iman is a more advanced stage in the field of religion than Islam. It designates a further penetration into the heart of religion and a firm faith in its teachings. -
Islamic Esotericism in the Bengali Bāul Songs of Lālan Fakir Keith Cantú [email protected]
Research Article Correspondences 7, no. 1 (2019): 109–165 Special Issue: Islamic Esotericism Islamic Esotericism in the Bengali Bāul Songs of Lālan Fakir Keith Cantú [email protected] Abstract This article makes use of the author’s field research as well as primary and secondary textual sour- ces to examine Islamic esoteric content, as mediated by local forms of Bengali Sufism, in Bāul Fa- kiri songs. I provide a general summary of Bāul Fakiri poets, including their relationship to Islam as well as their departure from Islamic orthodoxy, and present critical annotated translations of five songs attributed to the nineteenth-century Bengali poet Lālan Fakir (popularly known as “Lalon”). I also examine the relationship of Bāul Fakiri sexual rites (sādhanā) and principles of embodiment (dehatattva), framed in Islamic terminology, to extant scholarship on Haṭhayoga and Tantra. In the final part of the article I emphasize how the content of these songs demonstrates the importance of esotericism as a salient category in a Bāul Fakiri context and offer an argument for its explanatory power outside of domains that are perceived to be exclusively Western. Keywords: Sufism; Islam; Esotericism; Metaphysics; Traditionalism The history of the Bāul Fakirs includes centuries of religious innovation in which various poets have gradually created a folk tradition highly unique to Bengal, that is, Bangladesh and West Bengal, India. While there have been several important works published on Bāul Fakirs in recent years,1 in this ar- ticle I aim to contribute specifically to scholarship on Islamic esoteric con- tent in Bāul Fakiri songs, as mediated by local forms of Sufism.2 Analyses in 1. -
Sufis in a 'Foreign' Zawiya: Moroccan Perceptions of the Tijani Pilgrimage to Fes Joel Green SIT Study Abroad
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2018 Sufis in a 'Foreign' Zawiya: Moroccan Perceptions of the Tijani Pilgrimage to Fes Joel Green SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the African Languages and Societies Commons, African Studies Commons, Inequality and Stratification Commons, Islamic Studies Commons, Politics and Social Change Commons, Race and Ethnicity Commons, Race, Ethnicity and Post-Colonial Studies Commons, Social and Cultural Anthropology Commons, and the Sociology of Religion Commons Recommended Citation Green, Joel, "Sufis in a 'Foreign' Zawiya: Moroccan Perceptions of the Tijani Pilgrimage to Fes" (2018). Independent Study Project (ISP) Collection. 3002. https://digitalcollections.sit.edu/isp_collection/3002 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Sufis in a ‘Foreign’ Zawiya: Moroccan Perceptions of the Tijani Pilgrimage to Fes Joel Green Elon University Religious Studies Location of Primary Study: Fes, Morocco Academic Director: Taieb Belghazi Research Mentor: Khalid Saqi Submitted in partial fulfillment of the requirement for MOR, SIT Abroad, Fall 2018 Sufis in a ‘Foreign’Zawiya1 -
Sufism: in the Spirit of Eastern Spiritual Traditions
92 Sufism: In the Spirit of Eastern Spiritual Traditions Irfan Engineer Volume 2 : Issue 1 & Volume Center for the Study of Society & Secularism, Mumbai [email protected] Sambhāṣaṇ 93 Introduction Sufi Islam is a mystical form of Islamic spirituality. The emphasis of Sufism is less on external rituals and more on the inward journey. The seeker searches within to make oneself Insaan-e-Kamil, or a perfect human being on God’s path. The origin of the word Sufism is in tasawwuf, the path followed by Sufis to reach God. Some believe it comes from the word suf (wool), referring to the coarse woollen fabric worn by early Sufis. Sufiya also means purified or chosen as a friend of God. Most Sufis favour the origin of the word from safa or purity; therefore, a Sufi is one who is purified from worldly defilements. The essence of Sufism, as of most religions, is to reach God, or truth or absolute reality. Characteristics of Sufism The path of Sufism is a path of self-annihilation in God, also called afanaa , which means to seek permanence in God. A Sufi strives to relinquish worldly and even other worldly aims. The objective of Sufism is to acquire knowledge of God and achieve wisdom. Sufis avail every act of God as an opportunity to “see” God. The Volume 2 : Issue 1 & Volume Sufi “lives his life as a continuous effort to view or “see” Him with a profound, spiritual “seeing” . and with a profound awareness of being continuously overseen by Him” (Gulen, 2006, p. xi-xii). -
Dervish on the Eurovision Stage Popular Music and the Heterogeneity of Power Interests in Contemporary Turkey
Dervish on the Eurovision Stage Popular Music and the Heterogeneity of Power Interests in Contemporary Turkey Nevin Şahin Turkey’s journey of the Eurovision Song Contest (ESC), dominated by national- istic identity claims, started in 1975, culminated in the country’s victory in 2003, and abruptly came to an end in 2012 in Baku. Turkey’s four decades of ESC participation illuminated conflicting power interests from the selection process of the songs to the decision process of the stage performances. The debates peaked in the 2004 final ESC night in İstanbul regarding the representation of whirling dervishes. Different stakeholders, including the tourist industry, the national broadcast channel Türkiye Radyo ve Televizyon Kurumu (TRT), the Ministry of Culture and Tourism, Sufi circles, and the singer and winner of the 2003 ESC Sertab Erener, influenced the participation of whirling dervishes in the 2004 round of the ESC. In doing so, they created a web of contesting power dynamics, which can be theorized in the context of public diplomacy. Historian Jessica Gienow-Hecht emphasizes the heterogeneity in the struc- ture of agency in cultural diplomacy (10). In a parallel manner, this chapter argues that there are heterogeneous power interests of different agents in the context of popular music and diplomacy in Turkey. How does the performance of “Turkishness,” emblematized by whirling dervishes on the ESC stage, reflect the competition and collaboration of actors in the cultural domain? In an effort to highlight power dynamics behind Turkey’s ESC performance, this chapter first focuses on Turkey’s ESC history. It then moves towards the competitive staging of whirling dervishes in other public events, followed by a Bourdieusian analysis of power and music diplomacy. -
HC Dissertation Final
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ________________ Date A Muslim Humanist of the Ottoman Empire: Ismail Hakki Bursevi and His Doctrine of the Perfect Man By Hamilton Cook Doctor of Philosophy Islamic Civilizations Studies _________________________________________ Professor Vincent J. Cornell Advisor _________________________________________ Professor Ruby Lal Committee Member _________________________________________ Professor Devin J. Stewart Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date A Muslim Humanist of the Ottoman Empire: Ismail Hakki Bursevi and His Doctrine of the Perfect Man By Hamilton Cook M.A. Brandeis University, 2013 B.A., Brandeis University, 2012 Advisor: Vincent J. Cornell, Ph.D. -
Hassett, D. (2018)
Hassett, D. (2018). Proud colons, proud Frenchmen: settler colonialism and the extreme right in interwar Algeria. Settler Colonial Studies, 8(2), 195-212. https://doi.org/10.1080/2201473X.2016.1273870 Peer reviewed version Link to published version (if available): 10.1080/2201473X.2016.1273870 Link to publication record in Explore Bristol Research PDF-document This is the accepted author manuscript (AAM). The final published version (version of record) is available online via Taylor & Francis at http://www.tandfonline.com/doi/full/10.1080/2201473X.2016.1273870 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Proud Colons, Proud Frenchmen: Settler Colonialism and the Extreme Right in Interwar Algeria Dónal Hassett University of Bristol, UK [email protected] 1 Proud Colons, Proud Frenchmen: Settler Colonialism and the Extreme Right in Interwar Algeria Abstract: If any element of colonial Algerian society can be seen to embody a commitment to the logic of elimination at the heart of settler colonialism, it is, perhaps, the extreme- right. With its unabashed defence of European supremacy and its enthusiastic celebration of the military and agricultural conquest of the land, the interwar extreme- right was steeped in the tropes of settler colonial politics. Nevertheless, its embrace of both the discourse and the practices typical of political movements in settler colonial polities was hampered by the demographic and political realities of colonial rule in French Algeria. -
Lit. 'Tradition'. Akida: Brothers in Faith. Akika
GLOSSARY OF TERMS Adat: Lit. ‘tradition’. Akida: Brothers in faith. Akika: Naming festival, celebrated on the eighth day after a child’s birth. Aksakal: Elders of the mahalla. Al’-furq: Separation. The term is used instead of al’-kufur (disbelief). Al’-vehra: Unity.The term is used instead of al’-imam (belief). Amma:The common people. Asabiya: A pre-Islamic notion of adhering to one’s own tribe, as demanded by spiritual links and blood ties. Modernizing theologians use this term to imply nationalism. In the opinion of orthodox theologians, this term refers to ‘accomplished facts’, hence also implying nationalism. Barakat:The spiritual power of a sheikh, passed down by right of succession. Beshik-toi: ‘Cradling ceremony’, connected with the birth of a child. Bid’a: Innovation, or deviation. The same action may be certified as bid’a either as a condemnation or with approbation. Caliphate: A political realization of the concept of Islamic unity. Historically, this was the form in which the Prophet Muhammad and his heirs ruled until the eleventh century. The principles of Muslim theologians played a large part in the development of ideas about Islamic unity and of the political organization of Islamic society: the secular and religious powers of the state were united in the figure of the caliph. In the views of many Islamic theologians, the period of the caliphates was a time of ‘ideal’ statehood. Dar-al’-harb: In the Koran, the part of the world in which non- Muslims live. Dar-al’-Islam: In the Koran, the part of the world in which complete domination by Islam has been realized. -
SUFIS and THEIR CONTRIBUTION to the CULTURAL LIFF of MEDIEVAL ASSAM in 16-17"' CENTURY Fttasfter of ^Hilojiopl)?
SUFIS AND THEIR CONTRIBUTION TO THE CULTURAL LIFF OF MEDIEVAL ASSAM IN 16-17"' CENTURY '•"^•,. DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF fttasfter of ^hilojiopl)? ' \ , ^ IN . ,< HISTORY V \ . I V 5: - • BY NAHIDA MUMTAZ ' Under the Supervision of DR. MOHD. PARVEZ CENTRE OF ADVANCED STUDY DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2010 DS4202 JUL 2015 22 CENTRE OF ADVANCED STUDY Department of History Aligarh Muslim University Aligarh-202 002 Dr. Mohd. Parwez Dated: June 9, 2010 Reader To Whom It May Concern This is to certify that the dissertation entitled "Sufis and their Contribution to the Cultural Life of Medieval Assam in 16-17^^ Century" is the original work of Ms. Nahida Muxntaz completed under my supervision. The dissertation is suitable for submission and award of degree of Master of Philosophy in History. (Dr. MoMy Parwez) Supervisor Telephones: (0571) 2703146; Fax No.: (0571) 2703146; Internal: 1480 and 1482 Dedicated To My Parents Acknowledgements I-11 Abbreviations iii Introduction 1-09 CHAPTER-I: Origin and Development of Sufism in India 10 - 31 CHAPTER-II: Sufism in Eastern India 32-45 CHAPTER-in: Assam: Evolution of Polity 46-70 CHAPTER-IV: Sufis in Assam 71-94 CHAPTER-V: Sufis Influence in Assam: 95 -109 Evolution of Composite Culture Conclusion 110-111 Bibliography IV - VlU ACKNOWLEDGEMENTS It is pleasant duty for me to acknowledge the kindness of my teachers and friends from whose help and advice I have benefited. It is a rare obligation to express my gratitude to my supervisor Dr. Mohd. -
Transnational Threats to Peace and Security in the Sahel Consequences in Mali
The Sahel region is suffering from multiple forms of recurring violence, Sahel inthe Security and toPeace Threats Transnational weak governance and political instability, which had led to numerous coups and rebellions. In 2012 the Malian government lost control over its northern regions due to the interplay of three security threats with transnational connotations: violent separatism, armed Islamism, and organised crime. This report reviews the causes, manifestations and consequences of the challenges to the state posed by these groups and their current status. It also highlights the origins of these challenges in poverty and social exposure and provides recommendations for addressing the current situation in Mali and the Sahel, noting that transnational threats must be countered by transnational measures. Transnational Threats to Peace and Security in the Sahel Consequences in Mali Magdalena Tham Lindell and Kim Mattsson FOI-R--3881--SE ISSN1650-1942 www.foi.se June 2014 Magdalena Tham Lindell and Kim Mattsson Transnational Threats to Peace and Security in the Sahel Consequences in Mali Cover: (TT/Anders Tvevad) FOI-R--3881--SE Titel Transnationella hot mot fred och säkerhet i Sahelregionen Title Transnational Threats to Peace and Security in the Sahel Rapportnr/Report no FOI-R--3881--SE Månad/Month June Utgivningsår/Year 2014 Antal sidor/Pages 52 ISSN 1650-1942 Kund/Customer Försvarsdepartementet/Ministry of Defence Forskningsområde 8. Säkerhetspolitik Projektnr/Project no A14105 Godkänd av/Approved by Maria Lignell Jakobsson Ansvarig avdelning Försvarsanalys Detta verk är skyddat enligt lagen (1960:729) om upphovsrätt till litterära och konstnärliga verk. All form av kopiering, översättning eller bearbetning utan medgivande är förbjuden This work is protected under the Act on Copyright in Literary and Artistic Works (SFS 1960:729). -
A Comparative Study on the Relationship Between Spiral Forms in Sufi Spiral Dance (Sama) and Persian Islamic Paintings
Journal of Islamic Studies and Culture June 2015, Vol. 3, No. 1, pp. 113-118 ISSN: 2333-5904 (Print), 2333-5912 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/jisc.v3n1a14 URL: http://dx.doi.org/10.15640/jisc.v3n1a14 A Comparative Study on the Relationship between Spiral forms in Sufi Spiral Dance (Sama) and Persian Islamic Paintings Tala Azizi Koutanaei1 Abstract Iranian painting enjoys an external beauty to which is added the internal spiritual purity and exquisiteness. This painting which is saturated with mystery and secrecy is in close relation with Iranian mysticism. The present article was an attempt to investigate the comparative relationship between spiral forms in Sufi spiral dance (Sama: the Arabic word Raqs) which takes its name from the order of the whirling dervishes in Konya where Mawlawī (Rumi) used to practice it with his disciples and Persian Islamic paintings. To do so, the quality and quantity of spiral and whirling movements was scrutinized in both of these art forms. The present research employed both the library research and content analysis to collect the data and analyze them, respectively. The paintings of famous Iranians in the Islamic era, especially those of Kamala Din Behzad (a famous painter of Heart school) were meticulously surveyed and compared with the principles of Sufi dance and the results revealed that Iranian artists and mystics have taken inspiration from each other and one of the common points between their art forms is “the movement”. The results also showed that the spiral Iranian miniature art form named Arabesque (Islamic art) involves the development of the movement and rotation of dancers seen in Sufi dancing.