By Peerzada Ashiq, *Kashmir Sufi preachers deny Delhi patronage* - Hindustan Times - Srinagar, India; Thursday, May 3, 2012
Kashmir Sufi preachers deny Delhi patronage
Srinagar: With separatist leaders raising fingers of suspicion towards Kashmir valley’s fast spreading aetiqadi’s (people who visit shrines for salvation), the Carvaan-e-Islami (CeI) distanced itself from any government patronage on Thursday and vowed their support to “Kashmir’s movement”.
"From Delhi to Srinagar there is propaganda against us. There are people and groups working behind the curtains, who feel threatened, and are maligning our image and portray us in a particular fashion".
"Our name is being dragged in sectarian divide. But we want to clear that our grouping considers Kashmir a dispute and nobody will be allowed to compromise on martyrs’ lives,” said CeI chief Ghulam Rasool Hami in Srinagar without naming any group or institution.
Hami’s statement came in the backdrop of utterances made by moderate and hardline Hurriyat chairman, Mirwaiz Umar Farooq and Syed Ali Shah Geelani respectively, in which they accused New Delhi of patronizing a particular sect in Kashmir, while referring to the CeI.
The Mirwaiz, who is a sufi and also the valley’s head priest, even went ahead with accusing New Delhi of attempts to “Indian-ise and Hinduise” Kashmir’s sufi Islam.
“Our Sufi icons remain people like Shah Hamdam and Hazrat Makhdoom, who are pioneers of Islam in Kashmir. Yes, we do respect Ahmed Raza Khan as being a scholar from Barelvi but nothing more than that. We reject any new Sufi Islam being introduced here but will continue to preach as it was done 600 years ago in Kashmir,” said Hami.
The CeI, which owns a 24X7 channel to preach their version of Islam, organised a huge rally in February this year in which more than one lakh aetiqadis participated.
At present, there are competing ideologies in Kashmir of Deobandi, Wahabi and Ahl al-Hadith. The Wahabi and Ahl al-Hadith Muslims are opposed to the idea of paying obeisance at shrines and pray there. The police suspect that the attack on Peer Jalauddin, an aetiqadi, on March 17 in Srinagar was outcome of growing sectarian divide.
“There is no sectarian divide. Kashmir has centuries old history of tolerance and sense of pluralism. There is a deliberate attempt to break our unity, which we will not allow,” said Hami.
The CeI also distanced itself from state information director Farooq Renzu, who was part of their many rallies. “Renzu is not our member. We do not give membership to any bureaucrat. It’s unfortunate if any bureaucrat uses this platform for his petty interests,” said Hami.
The grouping also denied receiving any money from the sanctioned human resource development funds of Rs. 8.86 crore for Kashmir under the Scheme for Providing Quality Education (SPQEM) for madrasas.
“We neither applied for any grants nor received any till date. Our investigations revealed that either bank accounts don’t exist or there are fake institutions. The government figures is an attempt to defame us,” said Ghulam Rasool Hami, whose body governs more than 100 seminaries in the valley and Jammu regions.
The government in March claimed to have received 362 proposals through directorate of school education both in Jammu and Kashmir regions, most from CeI madrasas. Around Rs. 7 crore stands released after reverification of these madrasas for modern education, says the government report.
To diffuse sectarian tension, Hurriyat chairman Geelani, who is pro-Jamiat-e-Islami, is organizing a daylong conference of Muslim intellectuals and groups from all sects on May 5 to thrash out the issue.
“Unity is need of the hour. Attempts are being made to promote sectarian divide to dwarf the real issue of Kashmir,” said Geelani.
[Picture: Shah Hamadhan on a Tajikistani Somoni. Photo: Wiki].
Wednesday, May 09, 2012
Tuesday, May 08, 2012
Once Been Hostile
By Tom Perry with Peter Graff, *Islamist stakes claim to Egypt middle ground* - Reuters - U.S. Edition - Monday, April 30, 2012
Islamist stakes claim to Egypt middle ground
Cairo: Abdel Moneim Abol Fotouh was jailed by Hosni Mubarak but has emerged as a front-runner for his old job as president of Egypt, staking claim to the political centre in this nascent democracy with a moderate Islamist platform that has found broad appeal.
A senior figure in the Muslim Brotherhood until he parted ways with the group last year, he is part of the generation of Islamist activists that spawned al Qaeda leader Ayman al-Zawahiri. Both doctors, they spent time in adjoining jail cells in 1981. For the most part, that's where the similarities end.
Abol Fotouh presents himself as a champion of moderate Islam, yet he has been able to win the backing of hardliners thanks partly to a political brain which many say sets him apart from the Brotherhood. Even some liberals, impressed by his reformist zeal, say they could vote for the bespectacled 60-year old.
With his presidential bid, he is charting new waters for the Islamist mainstream, reaching out to the tens of millions of Egyptians who played no role in politics in Mubarak's days but are expected to flock to the polls for the May 23-24 vote.
"It's the Egyptian mainstream I am banking on, the ones I have been working to win over since I started my campaign, who make up more than 90 percent of Egyptians ... who understand (Islamic) sharia law correctly," he said in an April 23 television interview. "Wherever we look out for people's interests, we serve them, we are implementing God's law."
If the sketchy opinion polls that are available are anything to go by, Abol Fotouh is doing well. A poll published on Monday by a state-run research centre showed him second to ex-Arab League chief Amr Moussa and polling well ahead of Mohamed Mursi, the candidate fielded by the Muslim Brotherhood.
Abol Fotouh was expelled from the group last year over his decision to seek the presidency - a move that defied its wishes.
At that stage, the Brotherhood had decided against running. Abol Fotouh's departure from the Brotherhood seemed an inevitable step for a reform-minded politician who had been at odds with the conservatives who still run the movement.
"He is not afraid of anyone," said Mohamed Habib, a former deputy head of the Brotherhood, recalling two occasions in 2009 when Abol Fotouh had clashed with Mahdi Akef, then the leader of the group. "He is brave and decisive," added Habib, who also left the group last year and plans to vote for Abol Fotouh.
As a student leader in the 1970s, Abol Fotouh is remembered for confronting President Anwar Sadat in a debate, famously telling him he was surrounded by hypocrites.
In 1981, he was arrested by the Sadat government in a crackdown against dissidents. Under Mubarak, his activism landed him in jail twice for a total of more than six years.
REACHING OUT
Campaigning under the slogan "Strong Egypt", Abol Fotouh has stressed the need to finish the country's unfinished revolution by rooting out remnants of the Mubarak era from the state.
He pledges to increase health and education spending, to make Egypt's army the most powerful in the region and to turn its economy into one of the 20 strongest in the world. His program says he will adhere to Islamic law.
Like other candidates, he has called for a review of Egypt's 1979 peace treaty with Israel, which he says was "imposed" on Egypt.
While the Brotherhood has faced broad criticism for alienating other parties in the year since Mubarak was toppled, Abol Fotouh is credited with reaching out across the political spectrum.
His efforts appear to be paying dividends. While the Brotherhood's Mursi has tried to cast himself as the only Islamist in the race, Abol Fotouh managed to convince leading hardline Salafi groups they should endorse him instead.
The Nour Party, a Salafi group that won a fifth of the seats in parliament, has endorsed him. So too has al-Gama'a al-Islamiya, a Salafi group that took up arms against the state but disavowed violence in 1997.
The Wasat Party, a centrist party run by ex-Brotherhood members who left in the 1990s, has also endorsed Abol Fotouh.
A member of the Brotherhood's executive board from 1987 to 2009, Abol Fotouh still commands respect in the group. His candidacy is also endorsed by Sheikh Yousef al-Qaradawi, a cleric held in high regard by Brotherhood followers.
"In terms of ideology, there is little difference to me between Mursi and Abdel Moneim. As for the organization, of course there is a difference, but the idea is the same," Helmi el-Gazzar, a Brotherhood member of parliament, told Reuters.
Habib, the former Brotherhood leader, said much of Abol Fotouh's Islamist vision tallied with the Brotherhood's, though he was more liberal than some of its members on issues such as the right of Christians and women to seek the presidency.
In a recently published book, Abol Fotouh reflects on how he had once been hostile towards Sufism, or Islamic mysticism, but moderated his views after meeting Sufi Muslims at university.
Some of his critics say Abol Fotouh is trying to be all things to all people. But he says there has been no change in his views since he quit the Brotherhood.
In his April 23 interview, Abol Fotouh said: "I have not changed my principles or ideas regardless of my administrative link: whether I was Brotherhood or now I am outside the administration of the Brotherhood."
He added: "I don't think there is a fair liberal, or a fair Salafi, or a fair leftist, who says Dr. Abdel Moneim says one thing and hides another."
Islamist stakes claim to Egypt middle ground
Cairo: Abdel Moneim Abol Fotouh was jailed by Hosni Mubarak but has emerged as a front-runner for his old job as president of Egypt, staking claim to the political centre in this nascent democracy with a moderate Islamist platform that has found broad appeal.
A senior figure in the Muslim Brotherhood until he parted ways with the group last year, he is part of the generation of Islamist activists that spawned al Qaeda leader Ayman al-Zawahiri. Both doctors, they spent time in adjoining jail cells in 1981. For the most part, that's where the similarities end.
Abol Fotouh presents himself as a champion of moderate Islam, yet he has been able to win the backing of hardliners thanks partly to a political brain which many say sets him apart from the Brotherhood. Even some liberals, impressed by his reformist zeal, say they could vote for the bespectacled 60-year old.
With his presidential bid, he is charting new waters for the Islamist mainstream, reaching out to the tens of millions of Egyptians who played no role in politics in Mubarak's days but are expected to flock to the polls for the May 23-24 vote.
"It's the Egyptian mainstream I am banking on, the ones I have been working to win over since I started my campaign, who make up more than 90 percent of Egyptians ... who understand (Islamic) sharia law correctly," he said in an April 23 television interview. "Wherever we look out for people's interests, we serve them, we are implementing God's law."
If the sketchy opinion polls that are available are anything to go by, Abol Fotouh is doing well. A poll published on Monday by a state-run research centre showed him second to ex-Arab League chief Amr Moussa and polling well ahead of Mohamed Mursi, the candidate fielded by the Muslim Brotherhood.
Abol Fotouh was expelled from the group last year over his decision to seek the presidency - a move that defied its wishes.
At that stage, the Brotherhood had decided against running. Abol Fotouh's departure from the Brotherhood seemed an inevitable step for a reform-minded politician who had been at odds with the conservatives who still run the movement.
"He is not afraid of anyone," said Mohamed Habib, a former deputy head of the Brotherhood, recalling two occasions in 2009 when Abol Fotouh had clashed with Mahdi Akef, then the leader of the group. "He is brave and decisive," added Habib, who also left the group last year and plans to vote for Abol Fotouh.
As a student leader in the 1970s, Abol Fotouh is remembered for confronting President Anwar Sadat in a debate, famously telling him he was surrounded by hypocrites.
In 1981, he was arrested by the Sadat government in a crackdown against dissidents. Under Mubarak, his activism landed him in jail twice for a total of more than six years.
REACHING OUT
Campaigning under the slogan "Strong Egypt", Abol Fotouh has stressed the need to finish the country's unfinished revolution by rooting out remnants of the Mubarak era from the state.
He pledges to increase health and education spending, to make Egypt's army the most powerful in the region and to turn its economy into one of the 20 strongest in the world. His program says he will adhere to Islamic law.
Like other candidates, he has called for a review of Egypt's 1979 peace treaty with Israel, which he says was "imposed" on Egypt.
While the Brotherhood has faced broad criticism for alienating other parties in the year since Mubarak was toppled, Abol Fotouh is credited with reaching out across the political spectrum.
His efforts appear to be paying dividends. While the Brotherhood's Mursi has tried to cast himself as the only Islamist in the race, Abol Fotouh managed to convince leading hardline Salafi groups they should endorse him instead.
The Nour Party, a Salafi group that won a fifth of the seats in parliament, has endorsed him. So too has al-Gama'a al-Islamiya, a Salafi group that took up arms against the state but disavowed violence in 1997.
The Wasat Party, a centrist party run by ex-Brotherhood members who left in the 1990s, has also endorsed Abol Fotouh.
A member of the Brotherhood's executive board from 1987 to 2009, Abol Fotouh still commands respect in the group. His candidacy is also endorsed by Sheikh Yousef al-Qaradawi, a cleric held in high regard by Brotherhood followers.
"In terms of ideology, there is little difference to me between Mursi and Abdel Moneim. As for the organization, of course there is a difference, but the idea is the same," Helmi el-Gazzar, a Brotherhood member of parliament, told Reuters.
Habib, the former Brotherhood leader, said much of Abol Fotouh's Islamist vision tallied with the Brotherhood's, though he was more liberal than some of its members on issues such as the right of Christians and women to seek the presidency.
In a recently published book, Abol Fotouh reflects on how he had once been hostile towards Sufism, or Islamic mysticism, but moderated his views after meeting Sufi Muslims at university.
Some of his critics say Abol Fotouh is trying to be all things to all people. But he says there has been no change in his views since he quit the Brotherhood.
In his April 23 interview, Abol Fotouh said: "I have not changed my principles or ideas regardless of my administrative link: whether I was Brotherhood or now I am outside the administration of the Brotherhood."
He added: "I don't think there is a fair liberal, or a fair Salafi, or a fair leftist, who says Dr. Abdel Moneim says one thing and hides another."
Monday, May 07, 2012
Superb Sculpting
By Dr Mahjabeen Islam, *Book Review: An emotional pendulum — By Dr Mahjabeen Islam* - Daily Times - Lahore, Pakistan; Tuesday, March 1, 2012
Book Review: An emotional pendulum
American Dervish
Author: Ayad Akhtar
Publisher: Little, Brown and Co. (January 2012)
357 pages
I have always preferred non-fiction. Ayad Akhtar’s entrancing novel American Dervish has caused me to shift a bit toward fiction. The protagonist, like the author, grows up in the US’s Midwest and the passion and certitude in the pages makes the reader consider that perhaps, the novel is a bit of an autobiography.
The charms of the book are many. Akhtar is a maestro of language; his style flows despite the usage of several words that one does not come across generally. One feels superb sculpting of the story without a hint of verbosity, just a draw to pick up the book again quickly.
The incredulity and innocence of a ten-year-old is another winner. The simplicity with which Hayat Shah reports arguments and events in his family underscores the very convoluted nature of adults. The small Midwestern Pakistani-American family’s life changes rather dramatically with the arrival of Mina, Hayat’s mother’s best friend. Hayat’s mother for some reason has a masculine name — Muneer-- and interestingly, his father’s is a unisex one too: Naveed. It might have been less jarring to have transposed the names, but it is of no matter.
Akhtar depicts the culture well, but behta is phonetically incorrect; the word for child is beta or baita in Urdu. Initially, I found bhaj confusing and then realised that he was using the short form for baji or older sister. It should have been abbreviated baaj and not bhaj for the latter spelling sounds like a short form for a vegetable.
Hayat’s infatuation with Mina and how a ten-year-old deals with its turbulence is poignantly portrayed. Akhtar is deft at this and the reader acquiesces in what would be classified as an unnatural relationship. What is more, in the detail of this relationship, all others that we have had, however odd and unconventional, find a strange vindication.
The story does not build up, the book is a veritable pendulum of emotions; taking the reader from one crisis to another storm. Perhaps that is why it does not drag.
Besides the language, Akhtar is grounded in his knowledge of the Quran and in page after page, events in Hayat’s life are correlated with the Quranic verses smoothly. The reader senses Hayat’s tender wonderment vicariously. The verses appear, sometimes in such profusion and detail though that it almost has a proselytizing feel.
The spectrum of opinion with regard to Jews is delivered very aptly. Muneer typifies Muslims that love and respect the Jews, especially Jewish men, and then there is the venom that Imam Souhef and Dr Ghaleb Chatha spew. This is palpable in the American-Muslim community; rarely are people indifferent, they follow the all or none law — effusively awed by the Jews or tightly wound with antipathy. The ill logic is even starker when seen through the eyes of a child.
Patriarchy, male chauvinism and domestic violence are alive and practised with impunity by Chatha and Mina’s first and second husbands. Dr Chatha’s wife pulls in a literal interpretation of a Quranic verse to become not just a willing victim but desirous of a beating, for in her mind she “needs it”.
Mina’s God-centred view of life and her capsules of Sufism provide for the deep joy in the narrative. “To be a Sufi means to depend on nothing, to want nothing and to be nothing. A Sufi is a day that needs no sun, a night that needs no moon, no stars. A Sufi is like the dust on the ground that no one knows is even there.”And amazingly, “This is what life is behta. It grinds us to dust. The Sufi is just someone that does not fight it. He knows that being ground to nothing is not bad. It’s the way to God.”
American Dervish is one of those books in which the end is essentially disclosed at the start of the book. The narrative is magnetic and yet before you are quite ready, it’s done. Every chance I got, I found myself reading the book, loving the roller-coaster feel, and suddenly one feels like a giant wall accordions you, and it’s over. The languid feel of the book should have been carried right to the end. I didn’t like the wall. Yet I know that my mind is spinning from the story and not the sudden end.
Ayad Akhtar is an actor, playwright and novelist and American Dervish is his debut work of fiction. He is working on his second novel while he continues to direct plays in New York City. Until his second novel appears, I just might go for a second helping of American Dervish. So much for not liking fiction!
The reviewer is a columnist, family physician and addictionist with a practice in Toledo Ohio. She can be reached at mahjabeen.islam@gmail.com
Book Review: An emotional pendulum
American Dervish
Author: Ayad Akhtar
Publisher: Little, Brown and Co. (January 2012)
357 pages
I have always preferred non-fiction. Ayad Akhtar’s entrancing novel American Dervish has caused me to shift a bit toward fiction. The protagonist, like the author, grows up in the US’s Midwest and the passion and certitude in the pages makes the reader consider that perhaps, the novel is a bit of an autobiography.
The charms of the book are many. Akhtar is a maestro of language; his style flows despite the usage of several words that one does not come across generally. One feels superb sculpting of the story without a hint of verbosity, just a draw to pick up the book again quickly.
The incredulity and innocence of a ten-year-old is another winner. The simplicity with which Hayat Shah reports arguments and events in his family underscores the very convoluted nature of adults. The small Midwestern Pakistani-American family’s life changes rather dramatically with the arrival of Mina, Hayat’s mother’s best friend. Hayat’s mother for some reason has a masculine name — Muneer-- and interestingly, his father’s is a unisex one too: Naveed. It might have been less jarring to have transposed the names, but it is of no matter.
Akhtar depicts the culture well, but behta is phonetically incorrect; the word for child is beta or baita in Urdu. Initially, I found bhaj confusing and then realised that he was using the short form for baji or older sister. It should have been abbreviated baaj and not bhaj for the latter spelling sounds like a short form for a vegetable.
Hayat’s infatuation with Mina and how a ten-year-old deals with its turbulence is poignantly portrayed. Akhtar is deft at this and the reader acquiesces in what would be classified as an unnatural relationship. What is more, in the detail of this relationship, all others that we have had, however odd and unconventional, find a strange vindication.
The story does not build up, the book is a veritable pendulum of emotions; taking the reader from one crisis to another storm. Perhaps that is why it does not drag.
Besides the language, Akhtar is grounded in his knowledge of the Quran and in page after page, events in Hayat’s life are correlated with the Quranic verses smoothly. The reader senses Hayat’s tender wonderment vicariously. The verses appear, sometimes in such profusion and detail though that it almost has a proselytizing feel.
The spectrum of opinion with regard to Jews is delivered very aptly. Muneer typifies Muslims that love and respect the Jews, especially Jewish men, and then there is the venom that Imam Souhef and Dr Ghaleb Chatha spew. This is palpable in the American-Muslim community; rarely are people indifferent, they follow the all or none law — effusively awed by the Jews or tightly wound with antipathy. The ill logic is even starker when seen through the eyes of a child.
Patriarchy, male chauvinism and domestic violence are alive and practised with impunity by Chatha and Mina’s first and second husbands. Dr Chatha’s wife pulls in a literal interpretation of a Quranic verse to become not just a willing victim but desirous of a beating, for in her mind she “needs it”.
Mina’s God-centred view of life and her capsules of Sufism provide for the deep joy in the narrative. “To be a Sufi means to depend on nothing, to want nothing and to be nothing. A Sufi is a day that needs no sun, a night that needs no moon, no stars. A Sufi is like the dust on the ground that no one knows is even there.”And amazingly, “This is what life is behta. It grinds us to dust. The Sufi is just someone that does not fight it. He knows that being ground to nothing is not bad. It’s the way to God.”
American Dervish is one of those books in which the end is essentially disclosed at the start of the book. The narrative is magnetic and yet before you are quite ready, it’s done. Every chance I got, I found myself reading the book, loving the roller-coaster feel, and suddenly one feels like a giant wall accordions you, and it’s over. The languid feel of the book should have been carried right to the end. I didn’t like the wall. Yet I know that my mind is spinning from the story and not the sudden end.
Ayad Akhtar is an actor, playwright and novelist and American Dervish is his debut work of fiction. He is working on his second novel while he continues to direct plays in New York City. Until his second novel appears, I just might go for a second helping of American Dervish. So much for not liking fiction!
The reviewer is a columnist, family physician and addictionist with a practice in Toledo Ohio. She can be reached at mahjabeen.islam@gmail.com
Sunday, May 06, 2012
One of the Foremost
By Staff Reporter, *Abida Parveen hospitalised* - Dawn.Com - Pakistan; Tuesday, May 1, 2012
Abida Parveen Hospitalised
New Delhi: Eminent singer Abida Parveen was hospitalised here on Monday for cardiac problems. Doctors at the Medanta City Hospital said she would undergo angioplasty.
According to APP, Pakistan’s High Commissioner Shahid Malik called on the singer and presented a bouquet on behalf of President Asif Ali Zardari.
Picture: Legendary Sufi singer Abida Parveen of Pakistan, center, performs to a sold-out crowd at Humayun's Tomb during the Jahan-e-Khusrau Sufi Music Festival in New Delhi, India, Sunday, March 4, 2012. Parveen, who sings mostly in Urdu, is one of the foremost musicians in modern Sufi music. Photo: AP Photo.
Abida Parveen Hospitalised
New Delhi: Eminent singer Abida Parveen was hospitalised here on Monday for cardiac problems. Doctors at the Medanta City Hospital said she would undergo angioplasty.
According to APP, Pakistan’s High Commissioner Shahid Malik called on the singer and presented a bouquet on behalf of President Asif Ali Zardari.
Picture: Legendary Sufi singer Abida Parveen of Pakistan, center, performs to a sold-out crowd at Humayun's Tomb during the Jahan-e-Khusrau Sufi Music Festival in New Delhi, India, Sunday, March 4, 2012. Parveen, who sings mostly in Urdu, is one of the foremost musicians in modern Sufi music. Photo: AP Photo.
Saturday, May 05, 2012
Layers of Meanings
By Merve Büşra Öztürk, *Arab poet Nawwab presents her Sufism-themed book of poems in Turkey* - Today's Zaman - Istanbul, Turkey; Sunday, April 29, 2012
Arab poet Nawwab presents her Sufism-themed book of poems in Turkey
Nimah Ismail Nawwab, known as the voice of Arab women and youth, was in İstanbul last week to launch her latest book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia,” in Turkey.
Nawwab, an internationally published poet and photographer, a Young Global Leader and keynote speaker, descends from a long line of scholars from Mecca, Saudi Arabia. She was the first female Saudi Arabian poet to be published in the US and is heavily engaged in critical and emerging issues involving women and youth empowerment, seeking to build bridges of understanding to establish global peace and rapport.
“Canvas of the Soul,” which comes eight years after Nawwab’s pioneering work “The Unfurling,” features Islamic art and calligraphy and is a spiritual volume similar to the works of Rumi and other mystic poets.
Speaking in an interview with Sunday’s Zaman during her recent book tour here, Nawwab noted that her poetry does not aim to convey one certain meaning or give a specific message; it urges the reader to find their own meaning. “I am an artist; not just a poet, writer or photographer. And the beauty of art for an artist is to convey meanings through different layers of meanings. Whether you are a writer or a photographer, the mission of an artist is to convey deep meanings through short, brief works. Every time you look at a work, you should get another meaning. I can write a lot of works. I am a writer -- I can write 500 works. But the hard thing is to carefully put the meaning in a short but precise and concise work.”
When asked if her book was a painting what the canvas would be, Nawwab said: “I prefer to leave it to the reader to discover. The main idea is really peace, tranquility and the connection with the One, our Beloved. And a lot of things [in the book] are dream-like attempts of seeking, questioning, looking for something. So the messages in the poems vary on the thing the reader seeks.”
Nawwab’s poems have been reviewed many times by prominent Muslim figures, including Seyyed Hossein Nasr, writer and professor of Islamic studies at George Washington University; singer Sami Yusuf; writer Shems Friedlander; and Professor James Morris of the department of theology at Boston College and president of the Rumi Institute’s international advisory council.
Nasr described Nawwab as “a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi-inspired poetry that is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry.”
Friedlander wrote: “Nimah Nawwab was born into the lineage of a family of scholars in Makkah [Mecca]. Her poems unfold the living landscapes, the horizons that hold the signs spoken of in the Quran, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man.”
Nawwab says it is a blessing to be able to get these reviews. “All of these artists are of different fields, different segments of society, and they are people having different interests in life. Yet they are all spiritual people; that’s what brings them all together. This is what makes it special. Each reviewer noticed something. That’s what is great about different reviewers. Each one noticed something else and hooked on to it.”
Regarding her sources of inspiration, Nawwab has underlined her interest in world religions and the significance of knowing more about other cultures and religions. “Knowing more about other cultures is one of the things I want to have in my life, but it is not easy to have in Saudi Arabia. We can’t have it in our schools or system. We need to study the Bible, the Torah in order to understand because there are similarities and there are differences. Every time I am in a hotel in the US or in other countries, there is always a Bible at the hotel and I always take it up and read. I also get inspired by them. I have some poems in ‘Unfurling’ that refer to the Bible. Also, what I enjoy doing is to talk with people from other religions and exchanging ideas with them. This makes you think more of your own religion and appreciate the depth of it. But you also appreciate others’. And we shouldn’t think of those as others, though. I don’t like the word … ‘others.’ And I don’t like the word … ‘tolerance.’ The word ‘tolerance’ itself means that you don’t like it but you are tolerating, there is no dignity to it. It should be respecting, accepting, instead. These are the words we should use.”
Nawwab’s poetry mostly focuses on Sufism, a mystical Islamic belief and practice in which Muslims seek to find the truth of divine love and knowledge through direct personal experience of God.
We think we do, but we don’t actually know much about Sufism, Nawwab said. “I learned Sufism through Shems. [A] few years ago, I met him in Cairo and he gave me some books: a book he wrote about Mevlana [Rumi] and a DVD of him called ‘The Circles of Remembrance.’ He did not say anything about Sufism or that he is a Sufi. He did not want me to have any positive or negative ideas beforehand and he just gave me the books. When I read them I got interested in Mevlana’s works so much. And last year I went to Konya [where Rumi’s tomb is located]. I felt like I was at home.”
Nawwab’s poems, which are written in English, have been translated into Japanese, Chinese, Portuguese and Arabic and will soon be translated into French, German and Urdu. We need someone who is good with poetry to translate them into Turkish, too, she said.
Picture: Nimah Ismail Nawwab offers a collection of spiritual poems similar to the works of Rumi and other mystic poets in her book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia.” Photo: Sunday’s Zaman.
Arab poet Nawwab presents her Sufism-themed book of poems in Turkey
Nimah Ismail Nawwab, known as the voice of Arab women and youth, was in İstanbul last week to launch her latest book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia,” in Turkey.
Nawwab, an internationally published poet and photographer, a Young Global Leader and keynote speaker, descends from a long line of scholars from Mecca, Saudi Arabia. She was the first female Saudi Arabian poet to be published in the US and is heavily engaged in critical and emerging issues involving women and youth empowerment, seeking to build bridges of understanding to establish global peace and rapport.
“Canvas of the Soul,” which comes eight years after Nawwab’s pioneering work “The Unfurling,” features Islamic art and calligraphy and is a spiritual volume similar to the works of Rumi and other mystic poets.
Speaking in an interview with Sunday’s Zaman during her recent book tour here, Nawwab noted that her poetry does not aim to convey one certain meaning or give a specific message; it urges the reader to find their own meaning. “I am an artist; not just a poet, writer or photographer. And the beauty of art for an artist is to convey meanings through different layers of meanings. Whether you are a writer or a photographer, the mission of an artist is to convey deep meanings through short, brief works. Every time you look at a work, you should get another meaning. I can write a lot of works. I am a writer -- I can write 500 works. But the hard thing is to carefully put the meaning in a short but precise and concise work.”
When asked if her book was a painting what the canvas would be, Nawwab said: “I prefer to leave it to the reader to discover. The main idea is really peace, tranquility and the connection with the One, our Beloved. And a lot of things [in the book] are dream-like attempts of seeking, questioning, looking for something. So the messages in the poems vary on the thing the reader seeks.”
Nawwab’s poems have been reviewed many times by prominent Muslim figures, including Seyyed Hossein Nasr, writer and professor of Islamic studies at George Washington University; singer Sami Yusuf; writer Shems Friedlander; and Professor James Morris of the department of theology at Boston College and president of the Rumi Institute’s international advisory council.
Nasr described Nawwab as “a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi-inspired poetry that is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry.”
Friedlander wrote: “Nimah Nawwab was born into the lineage of a family of scholars in Makkah [Mecca]. Her poems unfold the living landscapes, the horizons that hold the signs spoken of in the Quran, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man.”
Nawwab says it is a blessing to be able to get these reviews. “All of these artists are of different fields, different segments of society, and they are people having different interests in life. Yet they are all spiritual people; that’s what brings them all together. This is what makes it special. Each reviewer noticed something. That’s what is great about different reviewers. Each one noticed something else and hooked on to it.”
Regarding her sources of inspiration, Nawwab has underlined her interest in world religions and the significance of knowing more about other cultures and religions. “Knowing more about other cultures is one of the things I want to have in my life, but it is not easy to have in Saudi Arabia. We can’t have it in our schools or system. We need to study the Bible, the Torah in order to understand because there are similarities and there are differences. Every time I am in a hotel in the US or in other countries, there is always a Bible at the hotel and I always take it up and read. I also get inspired by them. I have some poems in ‘Unfurling’ that refer to the Bible. Also, what I enjoy doing is to talk with people from other religions and exchanging ideas with them. This makes you think more of your own religion and appreciate the depth of it. But you also appreciate others’. And we shouldn’t think of those as others, though. I don’t like the word … ‘others.’ And I don’t like the word … ‘tolerance.’ The word ‘tolerance’ itself means that you don’t like it but you are tolerating, there is no dignity to it. It should be respecting, accepting, instead. These are the words we should use.”
Nawwab’s poetry mostly focuses on Sufism, a mystical Islamic belief and practice in which Muslims seek to find the truth of divine love and knowledge through direct personal experience of God.
We think we do, but we don’t actually know much about Sufism, Nawwab said. “I learned Sufism through Shems. [A] few years ago, I met him in Cairo and he gave me some books: a book he wrote about Mevlana [Rumi] and a DVD of him called ‘The Circles of Remembrance.’ He did not say anything about Sufism or that he is a Sufi. He did not want me to have any positive or negative ideas beforehand and he just gave me the books. When I read them I got interested in Mevlana’s works so much. And last year I went to Konya [where Rumi’s tomb is located]. I felt like I was at home.”
Nawwab’s poems, which are written in English, have been translated into Japanese, Chinese, Portuguese and Arabic and will soon be translated into French, German and Urdu. We need someone who is good with poetry to translate them into Turkish, too, she said.
Picture: Nimah Ismail Nawwab offers a collection of spiritual poems similar to the works of Rumi and other mystic poets in her book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia.” Photo: Sunday’s Zaman.
Friday, May 04, 2012
Timbuktu rejects al-Qaeda
By Jemal Oumar,*Timbuktu rejects al-Qaeda* - Magharebia - USA; Friday, April 27, 2012
Timbuktu rejects al-Qaeda: Timbuktu residents are determined to stop them.
Al-Qaeda in the Islamic Maghreb (AQIM) and Ansar al-Din are not receiving a warm welcome in Azawad.
Days after Touareg rebel Iyad Ag Ghaly's Islamist group seized Timbuktu with the help of al-Qaeda, residents struck their first blow against what they called the "Islamic and foreign groups in the region" by staging a protest on Friday (April 20th).
"Elements of al-Qaeda and Ansar al-Din tried to stop the march, but young people ignored them," an official of the Belferandi mosque told Magharebia.
Northern Mali's strong cultural pride, Touareg heritage, affinity for Sufism and respect for women's freedom make them deaf to the extremists' message. They are vocal about their refusal to let their UNESCO World Heritage Site be held hostage by Islamic hardliners.
"We held our own banners to show our rejection of al-Qaeda and the carriers of black flags [Salafists]," Elhassan Cissé, a bus driver in Timbuktu, tells Magharebia.
"The people who took part in the march were very angry with the behaviour of al-Qaeda and Ansar al-Din because they enter people's houses, break their belongings and intervene in the details of their lives," he adds.
Local imam Daoud Ibn Mohammed explains that Timbuktu residents sought to do more with their rally that condemn the presence of extremists and denounce the new al-Qaeda affiliated wali.
"They also wanted to protest against the behaviour of the new leaders," the imam says. "The way they run our lives led to acute food shortages and the spread of hunger and poverty among the people."
Extremist groups have allied to control the Azawad region as a prelude to controlling all of Mali, analyst al-Mokhtar al-Salem warns. But that will prove impossible in a region where the values of openness and tolerance prevail, he adds.
"Women, for example, move around without veils and enjoy much freedom in management and leadership," al-Salem says. "It would be difficult to apply strict Islamic laws in a society that has habits and traditions which run against repression and restriction."
Mali is much different than places where al-Qaeda gained a foothold, such as Afghanistan, he points out.
"Afghan society is controlled by traditions that don't give women any right to express their desires, and therefore, it constituted a suitable ground for the infiltration of al-Qaeda ideology," Al-Salem says.
Another factor that leads Azawad residents to reject al-Qaeda is their pride in their patrimony.
For centuries, the area has been a crossroads of religion and culture known for its tolerance. Residents were outraged when gangs recently raided symbols of Christianity in Gao, Kidal and Timbuktu and looted the cities' cultural landmarks, such as Timbuktu's Ahmed Baba Institute of Higher Islamic Studies and Research (IHERI-AB).
Sufism, which stresses mysticism and moderation, is also popular in the region.
"The spread of Sufi ideology among Timbuktu residents is one of the reasons that made them reject extremist ideology, because al-Qaeda usually accuses those who embrace Sufism of kufr," said Mubarak Ag Mohamed, a member of the media office in the National Movement for the Liberation of Azawad (MNLA).
Abdel Hamid al-Ansari, an analyst and academic in Timbuktu, complains that "Ansar al-Din and their al-Qaeda allies have disfigured the bright image of religion".
"Applying Islamic Sharia has only brought poverty, hunger and devastation to Timbuktu and aggravated people's sense of injustice, repression of individual and collective freedoms, prompting them to take to streets to condemn it," al-Ansari says.
This public outcry arose as soon as the terrorists "said they would raid shops, force women to wear the veil, and impose religious education", he tells Magharebia. "These practices are not acceptable in this city, which carried the banner of real Islam in the region."
If the terrorists are still determined to control the region, even in the face of this public rejection, they will be hard pressed to supply, electricity, water and food, he notes. They are not prepared to do the job of the Malian government.
Sid Ahmed Ould Tfeil, an analyst of Salafist groups, is not surprised that Azawad rejected the extremists. For starters, the Malians suddenly found themselves under the control of a foreigner.
As part of their deal with AQIM, Ansar al-Din appointed Algerian national and al-Qaeda emir Yahya Abou al-Hammam (real name Jemal Oukacha) as the local governor. He was named wali of Timbuktu because he had spent years in the region, "but he was not accepted by the predominantly Arab and Touareg local residents", the analyst says.
"Those who know the tribal, religious and doctrinal nature of Azawad society in general and Touaregs in particular will realise that it's not easy for them to accept the control of any outsider force, especially from al-Qaeda," Ould Tfeil adds.
It was not long before local residents "started to understand the danger that group poses to their political independence future and sovereignty," he says.
"And although al-Qaeda was able to create a few alliances with tribal chiefs due to the absence and weakness of Mali's central government, this alliance is no longer possible under the current circumstances," he tells Magharebia.
"Most people in Azawad society have ambitions of obtaining independence, living in an atmosphere of stability and security and forming relations on an international level. Therefore, it is natural that they reject al-Qaeda, and this explains why Timbuktu residents reject Abou Al-Hammam's leadership," Ould Tfeil says.
Ham Ag Mahmoud, a member of the MNLA's political office says, "We alone have the right to appoint a wali in town, not al-Qaeda and not Ansar al-Din."
The Timbuktu march last Friday "was the peak of rejection, as the residents could no longer accept the reality which was imposed on them", the MNLA official tells Magharebia.
Mouhi Ag Boulkhei, a MNLA military officer in Niafounké, southwest of Timbuktu, agrees that local residents would feel compelled to demonstrate against a wali imposed on them by outside groups.
"What do Ansar al-Din and al-Qaeda mean?" he asks. "What benefit can they bring to the people? We've already warned them to leave our land because we won't be governed by people who don't belong to us."
Picture: Timbuktu residents rally against control by Islamist group Ansar al-Din. Photo: Jemal Oumar.
Timbuktu rejects al-Qaeda: Timbuktu residents are determined to stop them.
Al-Qaeda in the Islamic Maghreb (AQIM) and Ansar al-Din are not receiving a warm welcome in Azawad.
Days after Touareg rebel Iyad Ag Ghaly's Islamist group seized Timbuktu with the help of al-Qaeda, residents struck their first blow against what they called the "Islamic and foreign groups in the region" by staging a protest on Friday (April 20th).
"Elements of al-Qaeda and Ansar al-Din tried to stop the march, but young people ignored them," an official of the Belferandi mosque told Magharebia.
Northern Mali's strong cultural pride, Touareg heritage, affinity for Sufism and respect for women's freedom make them deaf to the extremists' message. They are vocal about their refusal to let their UNESCO World Heritage Site be held hostage by Islamic hardliners.
"We held our own banners to show our rejection of al-Qaeda and the carriers of black flags [Salafists]," Elhassan Cissé, a bus driver in Timbuktu, tells Magharebia.
"The people who took part in the march were very angry with the behaviour of al-Qaeda and Ansar al-Din because they enter people's houses, break their belongings and intervene in the details of their lives," he adds.
Local imam Daoud Ibn Mohammed explains that Timbuktu residents sought to do more with their rally that condemn the presence of extremists and denounce the new al-Qaeda affiliated wali.
"They also wanted to protest against the behaviour of the new leaders," the imam says. "The way they run our lives led to acute food shortages and the spread of hunger and poverty among the people."
Extremist groups have allied to control the Azawad region as a prelude to controlling all of Mali, analyst al-Mokhtar al-Salem warns. But that will prove impossible in a region where the values of openness and tolerance prevail, he adds.
"Women, for example, move around without veils and enjoy much freedom in management and leadership," al-Salem says. "It would be difficult to apply strict Islamic laws in a society that has habits and traditions which run against repression and restriction."
Mali is much different than places where al-Qaeda gained a foothold, such as Afghanistan, he points out.
"Afghan society is controlled by traditions that don't give women any right to express their desires, and therefore, it constituted a suitable ground for the infiltration of al-Qaeda ideology," Al-Salem says.
Another factor that leads Azawad residents to reject al-Qaeda is their pride in their patrimony.
For centuries, the area has been a crossroads of religion and culture known for its tolerance. Residents were outraged when gangs recently raided symbols of Christianity in Gao, Kidal and Timbuktu and looted the cities' cultural landmarks, such as Timbuktu's Ahmed Baba Institute of Higher Islamic Studies and Research (IHERI-AB).
Sufism, which stresses mysticism and moderation, is also popular in the region.
"The spread of Sufi ideology among Timbuktu residents is one of the reasons that made them reject extremist ideology, because al-Qaeda usually accuses those who embrace Sufism of kufr," said Mubarak Ag Mohamed, a member of the media office in the National Movement for the Liberation of Azawad (MNLA).
Abdel Hamid al-Ansari, an analyst and academic in Timbuktu, complains that "Ansar al-Din and their al-Qaeda allies have disfigured the bright image of religion".
"Applying Islamic Sharia has only brought poverty, hunger and devastation to Timbuktu and aggravated people's sense of injustice, repression of individual and collective freedoms, prompting them to take to streets to condemn it," al-Ansari says.
This public outcry arose as soon as the terrorists "said they would raid shops, force women to wear the veil, and impose religious education", he tells Magharebia. "These practices are not acceptable in this city, which carried the banner of real Islam in the region."
If the terrorists are still determined to control the region, even in the face of this public rejection, they will be hard pressed to supply, electricity, water and food, he notes. They are not prepared to do the job of the Malian government.
Sid Ahmed Ould Tfeil, an analyst of Salafist groups, is not surprised that Azawad rejected the extremists. For starters, the Malians suddenly found themselves under the control of a foreigner.
As part of their deal with AQIM, Ansar al-Din appointed Algerian national and al-Qaeda emir Yahya Abou al-Hammam (real name Jemal Oukacha) as the local governor. He was named wali of Timbuktu because he had spent years in the region, "but he was not accepted by the predominantly Arab and Touareg local residents", the analyst says.
"Those who know the tribal, religious and doctrinal nature of Azawad society in general and Touaregs in particular will realise that it's not easy for them to accept the control of any outsider force, especially from al-Qaeda," Ould Tfeil adds.
It was not long before local residents "started to understand the danger that group poses to their political independence future and sovereignty," he says.
"And although al-Qaeda was able to create a few alliances with tribal chiefs due to the absence and weakness of Mali's central government, this alliance is no longer possible under the current circumstances," he tells Magharebia.
"Most people in Azawad society have ambitions of obtaining independence, living in an atmosphere of stability and security and forming relations on an international level. Therefore, it is natural that they reject al-Qaeda, and this explains why Timbuktu residents reject Abou Al-Hammam's leadership," Ould Tfeil says.
Ham Ag Mahmoud, a member of the MNLA's political office says, "We alone have the right to appoint a wali in town, not al-Qaeda and not Ansar al-Din."
The Timbuktu march last Friday "was the peak of rejection, as the residents could no longer accept the reality which was imposed on them", the MNLA official tells Magharebia.
Mouhi Ag Boulkhei, a MNLA military officer in Niafounké, southwest of Timbuktu, agrees that local residents would feel compelled to demonstrate against a wali imposed on them by outside groups.
"What do Ansar al-Din and al-Qaeda mean?" he asks. "What benefit can they bring to the people? We've already warned them to leave our land because we won't be governed by people who don't belong to us."
Picture: Timbuktu residents rally against control by Islamist group Ansar al-Din. Photo: Jemal Oumar.
Thursday, May 03, 2012
Canvas of the Soul
By Ahmet Idil, *The First Saudi Female Poet to be Published in the US* - PRWeb - Clifton, NJ, USA; Friday, April 27, 2012
Writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
The first Saudi female poet to be published in the US, writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
She will combine readings, book signings and lectures at various organizations.
Her newly released book, Canvas of the Soul: Mystic Poems from the Heartland of Arabia, published by Tughra Books, encompasses poems of fiery love and peace from the spiritual heartland of Islam composed by a modern-day female poet descended from a long line of Meccan (from Mecca) scholars.
Reflecting the pulsing, indivisible bridge of the works of great Sufi mystics and poets to modern times, these spiritual pieces recall the beloved works of Rabi‘ah Al ‘Adawiyyah, Rumi and Hafiz.
Drawing on a rich religious legacy and led by the Sufi tradition seeking Unity, the poems cover aspects related to spirituality and present-day challenges. The inspiring combination of the traditional and modern in these compositions will touch the inner souls and captivate the hearts of those interested in Higher Love in these turbulent times of transition and frantic search for peace.
Nawwab’s book tour includes lectures and book signing at Middle East Institute, Washington, DC (April, 26); Center for Muslim-Christian Understanding at Georgetown University (April 30); East-West institute, Chicago, IL (May 16); The Brecht Forum/ASMA, New York, NY (May 22); and Book Expo America, New York, NY (June 5).
Author Bio:
Nimah Nawwab is a poet, writer, photographer, lecturer and activist in Saudi Arabia. Born to a scholarly Meccan family, she has been dubbed a "voice for Arab women and youth."
She often works with established and emerging filmmakers, musicians, calligraphers, and artists of various genres through mentorship projects. As an activist, Ms. Nawwab has been involved with numerous women's issues, including the forced divorce petition and legal case, and the guardianship of women.
Ms. Nawwab has spoken at international events including the World Economic Forum, the Japan Expo, and the UN Pavilion, and has lectured at the Smithsonian, American University, Rice University, Ghalib Academy in India, and London University's School of Oriental and African Studies (SOAS).
Nawwab's best-selling book and work have been featured in numerous media outlets including BBC World News, Newsweek International, MSNBC the Japanese Yomiuri Shimbum, GEO France, India’s Asian Age, Malaysia’s Berita Harian, Britain’s Hello magazine, as well as numerous Arabic media.
Reviews:
"The voice of a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi- inspired poetry is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry. The present book is significant in that it reflects something of that classical expression of spiritual beauty in a contemporary language expressed by a female poet who hails from the land where the Blessed Prophet was born, carried out his prophetic mission and died".
-Seyyed Hossein Nasr
"Nimah is a talented writer and poet who isn't afraid to speak her mind and address issues that, quite frankly, are often ignored as a result of timidity. I commend her efforts in this noble initiative where the arts combine in powerfully written poetic compositions and a showcasing of Islamic arts".
-Sami Yusuf
"Nimah's poems unfold the living landscapes, the horizons that hold the signs spoken of in the Qur’an, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man".
-Shems Friedlander
Nimah Nawwab
Canvas of the Soul: Mystic Poems from the Heartland of Arabia
Available May 2012
$19.95 Cloth ISBN-13: 978-1-59784275-4
120 pp. 6 x 8 inches
Contact: Ahmet Idil, 973-777-2704
agi(at)tughrabooks(dot)com
Writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
The first Saudi female poet to be published in the US, writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
She will combine readings, book signings and lectures at various organizations.
Her newly released book, Canvas of the Soul: Mystic Poems from the Heartland of Arabia, published by Tughra Books, encompasses poems of fiery love and peace from the spiritual heartland of Islam composed by a modern-day female poet descended from a long line of Meccan (from Mecca) scholars.
Reflecting the pulsing, indivisible bridge of the works of great Sufi mystics and poets to modern times, these spiritual pieces recall the beloved works of Rabi‘ah Al ‘Adawiyyah, Rumi and Hafiz.
Drawing on a rich religious legacy and led by the Sufi tradition seeking Unity, the poems cover aspects related to spirituality and present-day challenges. The inspiring combination of the traditional and modern in these compositions will touch the inner souls and captivate the hearts of those interested in Higher Love in these turbulent times of transition and frantic search for peace.
Nawwab’s book tour includes lectures and book signing at Middle East Institute, Washington, DC (April, 26); Center for Muslim-Christian Understanding at Georgetown University (April 30); East-West institute, Chicago, IL (May 16); The Brecht Forum/ASMA, New York, NY (May 22); and Book Expo America, New York, NY (June 5).
Author Bio:
Nimah Nawwab is a poet, writer, photographer, lecturer and activist in Saudi Arabia. Born to a scholarly Meccan family, she has been dubbed a "voice for Arab women and youth."
She often works with established and emerging filmmakers, musicians, calligraphers, and artists of various genres through mentorship projects. As an activist, Ms. Nawwab has been involved with numerous women's issues, including the forced divorce petition and legal case, and the guardianship of women.
Ms. Nawwab has spoken at international events including the World Economic Forum, the Japan Expo, and the UN Pavilion, and has lectured at the Smithsonian, American University, Rice University, Ghalib Academy in India, and London University's School of Oriental and African Studies (SOAS).
Nawwab's best-selling book and work have been featured in numerous media outlets including BBC World News, Newsweek International, MSNBC the Japanese Yomiuri Shimbum, GEO France, India’s Asian Age, Malaysia’s Berita Harian, Britain’s Hello magazine, as well as numerous Arabic media.
Reviews:
"The voice of a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi- inspired poetry is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry. The present book is significant in that it reflects something of that classical expression of spiritual beauty in a contemporary language expressed by a female poet who hails from the land where the Blessed Prophet was born, carried out his prophetic mission and died".
-Seyyed Hossein Nasr
"Nimah is a talented writer and poet who isn't afraid to speak her mind and address issues that, quite frankly, are often ignored as a result of timidity. I commend her efforts in this noble initiative where the arts combine in powerfully written poetic compositions and a showcasing of Islamic arts".
-Sami Yusuf
"Nimah's poems unfold the living landscapes, the horizons that hold the signs spoken of in the Qur’an, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man".
-Shems Friedlander
Nimah Nawwab
Canvas of the Soul: Mystic Poems from the Heartland of Arabia
Available May 2012
$19.95 Cloth ISBN-13: 978-1-59784275-4
120 pp. 6 x 8 inches
Contact: Ahmet Idil, 973-777-2704
agi(at)tughrabooks(dot)com
Wednesday, May 02, 2012
Just Read Nursi and Gülen
By Mustafa Akyol, *The hype about the Gülen Movement* - Hürriyet Daily News - Istanbul, Turkey; Saturday, April 28, 2012
The hype about the Gülen Movement
One of the hot topics in present-day Turkey is the so-called “Gülen Movement,” a widespread religious network named after its spiritual leader, a Sufi-minded cleric named Fethullah Gülen.
The movement is known for opening modern schools and media outlets, as well as pursuing interfaith dialogue, but lately it has been accused of “taking over the state.” Recently, there was even a long New York Times story about the matter, which quoted a Turkish journalist who believed that Gülen followers “have proliferated within the police and the judiciary, working behind the scenes to become one of Turkey’s most powerful political forces.”
So, as another Turkish journalist, let me also tell you what I think.
First, a reminder: Turkey is a paranoia-rich country. Most people here believe that some hidden power – the CIA, Mossad, “Jews,” freemasons, foreign states, the deep state, or just something – is under every stone. Therefore, if you hear any Turk saying, “Oh my God, there is this scary cabal that is pulling all the strings,” I would suggest taking that with a grain of salt.
Besides, some conspiracy theories about the Gülen Movement are already overtly crazy. Just go into any bookstore, and you will see ultra-nationalist bestsellers that blame Gülen for being “a secret Cardinal” (for he is too pro-Christian) or “a CIA puppet” (for he is not categorically anti-American).
Unless proven otherwise, therefore, I take the Gülenists-take-over-the-state theory only as convincing as the above.
However, it is also obvious that the movement has become growingly politicized in the past decade despite their earlier apolitical and non-partisan stance. One only needs to read daily Zaman and Today’s Zaman, or watch their TV counterpart, STV, to see a passion for supporting the investigations and cases against the alleged juntas in the military.
I think this strongly “anti-coup” stance of the movement is the basis of the speculations that they are “taking Turkey over.” My personal version of Occam’s Razor, however, gives me a simpler explanation: Gülen followers are very eager to prevent a military comeback, for they know that they would be its first victim.
You just need to know the history of the movement to see that. They follow in the footsteps of Said Nursi, who was jailed for decades under Mustafa Kemal Atatürk for simply writing books of “religious propaganda,” and whose tomb was torn to pieces by the military junta of 1960. The latest junta, that of “the postmodern coup,” targeted not just Gülen himself – because of it, he moved to the United States – but also all the institutions of the movement.
Therefore, it can well be reasoned that the movement does not want to “take over the state,” but to save it from being taken over by their enemies.
What if this is a transitional stage, though? What if the movement actually wants to establish an “Islamic state,” as all Islamists ultimately want?
I would say no, for two reasons. First, just read Nursi and Gülen, and you will see a clear refusal of Islamism. Their hope is not an “Islamic state,” but an Islam-friendly democratic state, under which their faith-focused “hizmet” (missionary work) can flourish with civil means.
Second, the Gülen Movement is a global one now. It is dedicated to show the world the virtues of Islam, which they think are overshadowed by radical Islamists and jihadists. Their global message is all about tolerance, dialogue and moderation. They would be utterly unwise to tarnish that well-deserved reputation for the sake of the petite politics of a midsize country called Turkey.
[Picture: Said Nursi, 1918. Photo: Wiki.]
The hype about the Gülen Movement
One of the hot topics in present-day Turkey is the so-called “Gülen Movement,” a widespread religious network named after its spiritual leader, a Sufi-minded cleric named Fethullah Gülen.
The movement is known for opening modern schools and media outlets, as well as pursuing interfaith dialogue, but lately it has been accused of “taking over the state.” Recently, there was even a long New York Times story about the matter, which quoted a Turkish journalist who believed that Gülen followers “have proliferated within the police and the judiciary, working behind the scenes to become one of Turkey’s most powerful political forces.”
So, as another Turkish journalist, let me also tell you what I think.
First, a reminder: Turkey is a paranoia-rich country. Most people here believe that some hidden power – the CIA, Mossad, “Jews,” freemasons, foreign states, the deep state, or just something – is under every stone. Therefore, if you hear any Turk saying, “Oh my God, there is this scary cabal that is pulling all the strings,” I would suggest taking that with a grain of salt.
Besides, some conspiracy theories about the Gülen Movement are already overtly crazy. Just go into any bookstore, and you will see ultra-nationalist bestsellers that blame Gülen for being “a secret Cardinal” (for he is too pro-Christian) or “a CIA puppet” (for he is not categorically anti-American).
Unless proven otherwise, therefore, I take the Gülenists-take-over-the-state theory only as convincing as the above.
However, it is also obvious that the movement has become growingly politicized in the past decade despite their earlier apolitical and non-partisan stance. One only needs to read daily Zaman and Today’s Zaman, or watch their TV counterpart, STV, to see a passion for supporting the investigations and cases against the alleged juntas in the military.
I think this strongly “anti-coup” stance of the movement is the basis of the speculations that they are “taking Turkey over.” My personal version of Occam’s Razor, however, gives me a simpler explanation: Gülen followers are very eager to prevent a military comeback, for they know that they would be its first victim.
You just need to know the history of the movement to see that. They follow in the footsteps of Said Nursi, who was jailed for decades under Mustafa Kemal Atatürk for simply writing books of “religious propaganda,” and whose tomb was torn to pieces by the military junta of 1960. The latest junta, that of “the postmodern coup,” targeted not just Gülen himself – because of it, he moved to the United States – but also all the institutions of the movement.
Therefore, it can well be reasoned that the movement does not want to “take over the state,” but to save it from being taken over by their enemies.
What if this is a transitional stage, though? What if the movement actually wants to establish an “Islamic state,” as all Islamists ultimately want?
I would say no, for two reasons. First, just read Nursi and Gülen, and you will see a clear refusal of Islamism. Their hope is not an “Islamic state,” but an Islam-friendly democratic state, under which their faith-focused “hizmet” (missionary work) can flourish with civil means.
Second, the Gülen Movement is a global one now. It is dedicated to show the world the virtues of Islam, which they think are overshadowed by radical Islamists and jihadists. Their global message is all about tolerance, dialogue and moderation. They would be utterly unwise to tarnish that well-deserved reputation for the sake of the petite politics of a midsize country called Turkey.
[Picture: Said Nursi, 1918. Photo: Wiki.]
Tuesday, May 01, 2012
Emotional Moments
By Ben Sisario, *A Diplomat Whose Language Is Song* - The New York Times - New York, NY, USA; Thursday, April 26, 2012
A Diplomat Whose Language Is Song
Sometimes it takes the efforts of a few highbrow arts organizations to bring cultures together through music. In the case of Arif Lohar, it also doesn’t hurt to have some help from Coke.
A famous folk singer in Pakistan, Mr. Lohar is in the United States as part of Caravanserai, a tour bringing traditional Muslim performers to mainstream American audiences to share their artistic heritage and to challenge stereotypes. After stops throughout the Northeast and even Montana, the tour comes to Asia Society in Manhattan on Friday and Saturday.
“The mission of Caravanserai is very beautiful,” Mr. Lohar said. “I feel that it is very necessary at this critical time. It allows us to gather people together, using art as a bridge, to extend our hand in friendship to Americans, and to share our love and our wish for peace.”
Mr. Lohar sings Sufi music, a devotional style with centuries-old poetry that is layered with allegory, and performed with all the transcendent passion of a love epic. At home his performances can last six hours or more. His shows in the United States may be more conventionally structured but have still had their emotional moments. Last week in Helena, Mont., John Bohlinger, the bow-tied, septuagenarian lieutenant governor, danced onstage and grabbed a microphone to express his feelings.
“I don’t think there’s a person in the audience that understood a word of what you said,” Mr. Bohlinger told Mr. Lohar, as he recalled in a telephone interview this week. “But we understood in our heart what the message was. And the message was joy; the message was peace.”
Mr. Lohar absorbed Sufi music and the art of the chimta, a long percussive instrument like a pair of tongs, from his father, Alam Lohar, also a renowned singer. But he is no rigid traditionalist. Over his career — which has included some 150 albums and dozens of films — he has, like the Pakistani musical patriarch Nusrat Fateh Ali Khan before him, dabbled with pop sounds, including Bollywood-style song-and-dance, rock guitars and electronic beats. After his father, who died when Mr. Lohar was 13, and Mr. Khan, who died in 1997, Mr. Lohar lists Michael Jackson as one of his biggest influences.
That folk-meets-pop sensibility made Mr. Lohar perfect for “Coke Studio,” Pakistan’s most popular TV show, and gave him the biggest hit of his career. A slick performance showcase in the “MTV Unplugged” vein, “Coke Studio” featured Mr. Lohar two years ago in his signature song, “Alif Allah Chambley Di Booti,” with a rock rhythm section and guest vocals by Meesha Shafi, a young model and actress. Surrounded by Coke branding, the two praised what Mr. Lohar calls “the beautiful essence of Allah,” and the video got eight million views on YouTube.
“Before I did ‘Coke Studio,’ the audiences who knew my music were those who had heard me in concert,” Mr. Lohar said by phone from Montana, speaking through an interpreter. “After that it reached a whole new generation. It reached teenagers, people who had never heard my music before. I felt lucky.”
Caravanserai was put together as a multiyear project by the nonprofit group Arts Midwest, and began last fall with Pakistan as its first focus; next year it looks at Morocco. The shows in New York this weekend also intersect with one of Asia Society’s own series, Creative Voices of Muslim Asia. Both programs are supported by the Doris Duke Foundation for Islamic Art.
When artists of Mr. Lohar’s stature perform in cities like New York, the audience is often members of their own ethnic group. Tickets to Mr. Lohar’s shows here sold out quickly, said Rachel Cooper, Asia Society’s director of cultural programs and performing arts, and a majority of the crowd will probably be Pakistanis and other South Asians. (Saturday’s show will be streamed live on Asia Society’s site.)
But Caravanserai, which in addition to Mr. Lohar and his group includes a young Pakistani-American singer, Arooj Aftab, has mostly been playing to audiences unfamiliar with the culture. At each stop the musicians have been holding workshops with schoolchildren and community groups, as well as soaking up local customs. Last week in Helena, Mr. Lohar celebrated his 46th birthday in a hotel lobby with quesadillas and chocolate cake.
“The artists have their own notions of what America is,” said Zeyba Rahman, the tour’s artistic director. “They are discovering that it’s not a monolithic block. They are discovering that Americans are just like the people back home. So they are being transformed by this process too.”
Speaking in Urdu dotted with sunny English expressions — “love blessing,” “very happy,” “peace message” — Mr. Lohar summed up his role on the trip by calling himself “both a fakir and a safir”: a wandering mystic and a cultural ambassador.
Mr. Lohar’s tour is only the latest of many efforts at cultural diplomacy since the attacks of Sept. 11, 2001. Ms. Cooper echoed others involved in the project by saying that with most Americans’ view of the Middle East and the Muslim world being shaped by news media images of war and terrorism, the arts have become a critical avenue for communication.
Not that Mr. Lohar’s itinerary is all super-serious. In New York the other day, MTV shot a video for its international platforms featuring Mr. Lohar playing in a beauty salon on the Lower East Side, to “take Arif out of the polite ‘world music’ wrapper,” said Nusrat Durrani, the general manager of MTV World.
Nor is “Coke Studio” all light entertainment. The show, whose first iteration was in Brazil, has had a wide influence on pop culture in Pakistan since it began in 2008, and it is now expanding to India and the Middle East. In Pakistan many of the performers have been adherents of Sufism, a mystical branch of Islam that has come under attack from hard-line militants. That and Coke’s involvement have drawn some controversy to the show, said Rohail Hyatt, the producer of “Coke Studio” in Pakistan.
But the blend of traditional and pop styles, and the accessible spirituality of many of the show’s musicians, have made it a voice of mild opposition to radicalism in the region, said Mr. Hyatt, a former rock musician. “This is a more moderate spirituality coming into play,” he said, “and part of the acceptance of this was about this massive need for people to relate to something.”
For Mr. Lohar, the messages of peace and harmony in his music speak for themselves.
“All the world over, the language is music,” he said. “The styles are different, the nuances are different. But the language is the same. I am here representing my country and my culture. I have connected with people, and it feels so good to connect in that way.”
And like many musicians in the West, Mr. Lohar seemed fully accustomed to the idea of performing alongside an advertisement for soda.
“Many famous artists are sponsored by big multinational companies,” he said. “So when I was approached by ‘Coke Studio,’ I didn’t think it was unusual. I did the show just like any other.”
Visit Caravanserai.
[Click on the title to the original article with many more links. (ed.)]
A Diplomat Whose Language Is Song
Sometimes it takes the efforts of a few highbrow arts organizations to bring cultures together through music. In the case of Arif Lohar, it also doesn’t hurt to have some help from Coke.
A famous folk singer in Pakistan, Mr. Lohar is in the United States as part of Caravanserai, a tour bringing traditional Muslim performers to mainstream American audiences to share their artistic heritage and to challenge stereotypes. After stops throughout the Northeast and even Montana, the tour comes to Asia Society in Manhattan on Friday and Saturday.
“The mission of Caravanserai is very beautiful,” Mr. Lohar said. “I feel that it is very necessary at this critical time. It allows us to gather people together, using art as a bridge, to extend our hand in friendship to Americans, and to share our love and our wish for peace.”
Mr. Lohar sings Sufi music, a devotional style with centuries-old poetry that is layered with allegory, and performed with all the transcendent passion of a love epic. At home his performances can last six hours or more. His shows in the United States may be more conventionally structured but have still had their emotional moments. Last week in Helena, Mont., John Bohlinger, the bow-tied, septuagenarian lieutenant governor, danced onstage and grabbed a microphone to express his feelings.
“I don’t think there’s a person in the audience that understood a word of what you said,” Mr. Bohlinger told Mr. Lohar, as he recalled in a telephone interview this week. “But we understood in our heart what the message was. And the message was joy; the message was peace.”
Mr. Lohar absorbed Sufi music and the art of the chimta, a long percussive instrument like a pair of tongs, from his father, Alam Lohar, also a renowned singer. But he is no rigid traditionalist. Over his career — which has included some 150 albums and dozens of films — he has, like the Pakistani musical patriarch Nusrat Fateh Ali Khan before him, dabbled with pop sounds, including Bollywood-style song-and-dance, rock guitars and electronic beats. After his father, who died when Mr. Lohar was 13, and Mr. Khan, who died in 1997, Mr. Lohar lists Michael Jackson as one of his biggest influences.
That folk-meets-pop sensibility made Mr. Lohar perfect for “Coke Studio,” Pakistan’s most popular TV show, and gave him the biggest hit of his career. A slick performance showcase in the “MTV Unplugged” vein, “Coke Studio” featured Mr. Lohar two years ago in his signature song, “Alif Allah Chambley Di Booti,” with a rock rhythm section and guest vocals by Meesha Shafi, a young model and actress. Surrounded by Coke branding, the two praised what Mr. Lohar calls “the beautiful essence of Allah,” and the video got eight million views on YouTube.
“Before I did ‘Coke Studio,’ the audiences who knew my music were those who had heard me in concert,” Mr. Lohar said by phone from Montana, speaking through an interpreter. “After that it reached a whole new generation. It reached teenagers, people who had never heard my music before. I felt lucky.”
Caravanserai was put together as a multiyear project by the nonprofit group Arts Midwest, and began last fall with Pakistan as its first focus; next year it looks at Morocco. The shows in New York this weekend also intersect with one of Asia Society’s own series, Creative Voices of Muslim Asia. Both programs are supported by the Doris Duke Foundation for Islamic Art.
When artists of Mr. Lohar’s stature perform in cities like New York, the audience is often members of their own ethnic group. Tickets to Mr. Lohar’s shows here sold out quickly, said Rachel Cooper, Asia Society’s director of cultural programs and performing arts, and a majority of the crowd will probably be Pakistanis and other South Asians. (Saturday’s show will be streamed live on Asia Society’s site.)
But Caravanserai, which in addition to Mr. Lohar and his group includes a young Pakistani-American singer, Arooj Aftab, has mostly been playing to audiences unfamiliar with the culture. At each stop the musicians have been holding workshops with schoolchildren and community groups, as well as soaking up local customs. Last week in Helena, Mr. Lohar celebrated his 46th birthday in a hotel lobby with quesadillas and chocolate cake.
“The artists have their own notions of what America is,” said Zeyba Rahman, the tour’s artistic director. “They are discovering that it’s not a monolithic block. They are discovering that Americans are just like the people back home. So they are being transformed by this process too.”
Speaking in Urdu dotted with sunny English expressions — “love blessing,” “very happy,” “peace message” — Mr. Lohar summed up his role on the trip by calling himself “both a fakir and a safir”: a wandering mystic and a cultural ambassador.
Mr. Lohar’s tour is only the latest of many efforts at cultural diplomacy since the attacks of Sept. 11, 2001. Ms. Cooper echoed others involved in the project by saying that with most Americans’ view of the Middle East and the Muslim world being shaped by news media images of war and terrorism, the arts have become a critical avenue for communication.
Not that Mr. Lohar’s itinerary is all super-serious. In New York the other day, MTV shot a video for its international platforms featuring Mr. Lohar playing in a beauty salon on the Lower East Side, to “take Arif out of the polite ‘world music’ wrapper,” said Nusrat Durrani, the general manager of MTV World.
Nor is “Coke Studio” all light entertainment. The show, whose first iteration was in Brazil, has had a wide influence on pop culture in Pakistan since it began in 2008, and it is now expanding to India and the Middle East. In Pakistan many of the performers have been adherents of Sufism, a mystical branch of Islam that has come under attack from hard-line militants. That and Coke’s involvement have drawn some controversy to the show, said Rohail Hyatt, the producer of “Coke Studio” in Pakistan.
But the blend of traditional and pop styles, and the accessible spirituality of many of the show’s musicians, have made it a voice of mild opposition to radicalism in the region, said Mr. Hyatt, a former rock musician. “This is a more moderate spirituality coming into play,” he said, “and part of the acceptance of this was about this massive need for people to relate to something.”
For Mr. Lohar, the messages of peace and harmony in his music speak for themselves.
“All the world over, the language is music,” he said. “The styles are different, the nuances are different. But the language is the same. I am here representing my country and my culture. I have connected with people, and it feels so good to connect in that way.”
And like many musicians in the West, Mr. Lohar seemed fully accustomed to the idea of performing alongside an advertisement for soda.
“Many famous artists are sponsored by big multinational companies,” he said. “So when I was approached by ‘Coke Studio,’ I didn’t think it was unusual. I did the show just like any other.”
Visit Caravanserai.
[Click on the title to the original article with many more links. (ed.)]
Sunday, April 29, 2012
Malian Common Sense
By Brian J. Peterson, *Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance* - AllAfrica.com - Africa; Wednesday, April 25, 2012
Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance
Of the insurgent factions that have wrested control over northern Mali from the central government, and effectively partitioned the country, Ansar Dine ("Defenders of the Faith") has stolen the spotlight. Led by the wily Tuareg rebel Iyad ag-Ghali, and aiming to impose shari'a law in Mali, this group has come to epitomize the northern revolt.
But there is another "Ansar Dine" in Mali, and one that is far more representative of the kind of Islam that most Malian Muslims practice. Although this grassroots movement has over one million followers, it rarely makes the news - at least not the kind of news that ag-Ghali's Islamist militia made in seizing Timbuktu. And yet in the past decade, the charismatic preacher of this other Ansar Dine, Shaykh Cherif Ousmane Madani Haidara, has emerged as Mali's most popular religious leader. Consistently preaching messages of unity, peace, tolerance, moderation, and moral renewal, he unequivocally opposes the establishment of an Islamic state and shari'a law in Mali. Clearly, we have a tale of two namesakes that stand for very different things.
Thus, it seems an obvious question to ask: What is the place of religion in the current political crisis in Mali?
Now, we have noted the secular nature of the MNLA, and the lack of any religious content among the putschists. But, as the Islamists of Iyad ag-Ghali have promulgated their theocratic intentions, with their sinister black flag, and the unconfirmed reports of rather ghoulish behavior vis-à-vis non-Salafists, we might take a moment to revisit the crisis through the lens of religion in Mali. This also provides a subtle corrective to the overblown reporting on the place of Islam and Islamism in this otherwise peaceful and tolerant country.
So who is Shaykh Haidara and why does he serve as a compelling counterpoint to Iyad ag-Ghali? The leader of Ansar Dine rose to prominence following the coup of 1991, which overthrew Moussa Traoré. This new era of multi-party democracy then opened the floodgates to freedom of expression, as radio stations, newspapers, and civil society organizations proliferated across Mali. It also saw an explosion in the number of Islamic nongovernmental organizations and religious associations. Within this context, Haidara saw his popularity skyrocket, as audio taped sermons, radio programs, and videos have broadcasted his distinctive voice and religious messages across the country.
For Malian Muslims looking for spiritual, moral and even practical guidance, "Wulibali," as Malians affectionately call him, is the man "who speaks the undeniable truth." Preaching in the lingua franca of Bamana, Haidara advocates for a Malian Islamic tradition independent of Arabic language and culture. Politically, he has used his platform to deliver blunt critiques of government corruption and forms of social injustice, while weighing in on important issues, such as the new family code.
Since the coup, Haidara has made it clear that his movement has "nothing to do" with the militant group of Iyad ag-Ghali that has taken Timbuktu, Kidal, and Gao and has threatened to impose shari'a law. He refers to it as a "a criminal association that kills and pillages." He states: "We don't need their shari'a. We have been Muslim here for centuries. We don't need their new Islam that they are bringing to impose among us.... Mali is a secular country. The shari'a is for Muslims. But here in Mali, we live with Christians, we live with Jews, and we live with animists. We are all Malians together here.... We are not in agreement with the shari'a of Iyad. We reject it." And when Haidara speaks, Malians listen.
Yet a quick web search for "Ansar Dine," yields pages of stories about the Islamist militia led by Iyad ag-Ghali, and how Salafists are taking over northern Mali and setting their sights on the entire country. Indeed, the news media has gotten carried away with a narrative of inexorable Islamist radicalization. For these reasons, it is high time that we place the religious dimensions surrounding the current political crisis in their proper context.
Mali is at the far moderate end of the spectrum of Islamic societies. Talk to Malian Muslims about Islam today, and they will likely say something about peace, tolerance and unity. Therefore, the brand of Islam being advocated by the Islamists in the north simply does not mirror what the vast majority of Malian Muslims value in their religion. In fact, most Malians are loosely affiliated with one of the major Sufi brotherhoods, such as the Tijaniyya, Hamawiyya or Qadiriyya. However, there are many Malians who simply identify themselves as "Sunni," or ahl al-Sunna (which non-reformists label as "Wahhabi"), usually indicating that they belong to the wider reform movement. These reformists state that the only real difference between them and Sufis is that they pray with "arms crossed" and their wives wear veils. Otherwise, many of them participate in community-level Sufi rituals and celebrations. In other words, the boundaries between reformists and Sufis are not quite as rigid as outside observers might think.
Cutting across these Sufi brotherhoods and reformist groups, there are the new media stars, such as Haidara, who draw followers from a wide range of affiliations. And many Malian Muslims do not hold themselves exclusively to these institutional groupings, and in fact move rather freely and promiscuously among them, gleaning insights and finding direction wherever they are to be found.
Furthermore, Islamic practices in Mali continue to be profoundly shaped by an underlying animist substratum. In the southern parts of the country, these pre-Islamic customs are called Bamanaya. In certain localities, people draw deeply on these indigenous customs for healing or bringing the rain. And even Muslim preachers, such as Haidara, draw extensively on Bamana idioms, proverbs, and a kind of Malian common sense. Indeed, for Malian Muslims, rather than looking to the Arab world for direction, they look to their own rich cultural heritage. We can see this today in current concerns over the safety of Timbuktu's libraries and manuscript holdings and evocations of the city's traditions of tolerance.
Timbuktu has been central in the wider propagation of the Qadiriyya Sufi brotherhood, with its long local history of Muslim scholars opposing jihad. Thus, even in the north, which has been posited as the more "radical" region, a Sufi-animist substratum among the Songhay, Tuareg, Bella and so forth has deeply influenced Muslim religious life. This has meant a more expanded role for women in public life than one might expect, and the persistence of customs, such as ritual music and dance - and even a gender reversal in veiling practices among the Tuareg - that do not usually conform to the normative traditions of Islam being enforced by Salafists.
Certainly, things have changed in recent years, partly stemming from Saudi patronage, usually in the building of mosques or madrasas, but also due to the activities of Muslim missionaries, such as Pakistanis belonging to the Tablighi Jama'at. We should also add, however, that the U.S. "war on terror" in the region, and wider Islamophobic discourses, have not helped, and have very likely served as rallying devices for reformist leaders. According to recent reports, reformists have grown in number, but not dramatically so. In many regions, Malian Muslims have flirted with the "dawa," but then have simply drifted back to their original religious communities.
In the more important religious centers of Nioro du Sahel, Djenne and Timbuktu, the most powerful religious authorities continue to be those linked to the Sufi brotherhoods, despite the presence of reformists. And while there are small pockets of ahl al-Sunna in rural areas, peasants generally remain tied to syncretic forms of Islam that draw heavily on pre-Islamic practices and beliefs. In short, from the perspective of popular modes of religious belonging, there is very little reason to anticipate any kind of grassroots enthusiasm for the prospects of Salafist variants of Islam, particularly when imposed through violence and intimidation.
There is another reason for this: Malians have a long history of resisting jihads and attempts at forced conversion. This is not to say that in the long run jihads always failed in spreading Islam. The nineteenth-century Muslim scholar and state-builder El Hajj Umar Tall left an enduring legacy in the region, despite the resistance that his wars provoked, particularly in the Bamana heartland. However, the historical and anthropological literature is replete with cases of Malians resisting the efforts of Muslim states and preachers seeking to impose Islam on them.
Malian peasants have generally refused to accept forced conversion efforts, whether by firebrand preachers or state-builders. They cite the "No Compulsion" verse from the Qur'an, as one elderly informant stated: "On the path of Allah, there is no need for forcing Islam on people. After the descent of the Quran, Allah said that there is no more compulsion in religion. This cannot be done." Later, there were efforts by "Wahhabis" at imposing reformist ideas on rural Muslims. Once the "Wahhabis" showed their intolerance by criticizing Sufi holy men, engaging in street battles over the correct way to pray, defiling the tombs of saints, and generating "conflict" (fitna) between Muslims, they were rejected.
For these reasons, local imams and ordinary Muslims have stated that they don't need any foreigners coming to tell them how to conduct their religious lives. Thus, when Malian Muslims hear about the violent efforts of Iyad ag-Ghali and other Salafists linked to Al-Qaida in the Islamic Maghreb, they see no religious legitimacy or theological rationale for their wars. They are already Muslim, so there is no justification for bringing war to Muslim communities. They see the northern jihadists as warlords aimed at pillaging Malian people and lands for personal gain, while using Islam as an ideological tool to manipulate and dominate vulnerable people.
In this light, it is no coincidence that ag-Ghali chose to name his Islamist militia Ansar Dine. The Tuareg rebel leader is well aware of Haidara's organization, and he is also au courant that this other Ansar Dine is the far more popular one. Is ag-Ghali trying to highjack the movement, or sow confusion while playing on Malians' desperation? So far, ag-Ghali's armed group has pursued its goals through violence and intimidation. But in recent days, it has stepped up a kind of hearts and minds campaign, distributing food and medicine. This isn't fooling anyone, at least not in the south.
In the past few days in Bamako, Muslim leaders, including prominent reformists and Sufis, unanimously denounced the Islamists in the north. Although they have sought to reign in any sort of overtly bellicose rhetoric, and kept the emphasis on peace, their condemnations have been strong. They stated that Mali would not accept foreigners imposing their Salafist kind of Islam on Malians by force of arms. And in a press conference, Shaykh Haidara repeated his message of tolerance: "We do not know this Islam advocated by these people. Those who kill and say that they want to act in the name of Islam are not really [Muslims].... Islam is a religion of peace and tolerance."
Outside of the mosques, there has been an active mobilization of civil society organizations, including numerous women's groups, the hunters' associations, and urban youth. And the interim president Diouncounda Traore has threatened "total war" against the northern insurgents. We can only hope that the saber-rattling in Bamako will not escalate into a full-blown conflagration in the north, and that the Islamists come to their senses in hearing religious authorities calling for Muslim and Malian unity. In the meantime, as outside observers, we might look beyond ag-Ghali's statements about holy war, or stories on the potential "Talibanization" of Mali, which ultimately serve to obfuscate the realities of Malian Muslim societies. We might push past the prevailing jihad-centric narratives, in finding that we too embrace Haidara's vision of a tolerant, pluralistic, and democratic society, while rejecting the vision of intolerance currently threatening northern Mali.
Brian J. Peterson is an associate professor of history at Union College (NY). His recent book is Islamization from Below: The Making of Muslim Communities in Rural French Sudan, 1880-1960 (Yale University Press, 2011).
[Picture: Bozo Girl in Bamako. Photo: Wiki.]
Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance
Of the insurgent factions that have wrested control over northern Mali from the central government, and effectively partitioned the country, Ansar Dine ("Defenders of the Faith") has stolen the spotlight. Led by the wily Tuareg rebel Iyad ag-Ghali, and aiming to impose shari'a law in Mali, this group has come to epitomize the northern revolt.
But there is another "Ansar Dine" in Mali, and one that is far more representative of the kind of Islam that most Malian Muslims practice. Although this grassroots movement has over one million followers, it rarely makes the news - at least not the kind of news that ag-Ghali's Islamist militia made in seizing Timbuktu. And yet in the past decade, the charismatic preacher of this other Ansar Dine, Shaykh Cherif Ousmane Madani Haidara, has emerged as Mali's most popular religious leader. Consistently preaching messages of unity, peace, tolerance, moderation, and moral renewal, he unequivocally opposes the establishment of an Islamic state and shari'a law in Mali. Clearly, we have a tale of two namesakes that stand for very different things.
Thus, it seems an obvious question to ask: What is the place of religion in the current political crisis in Mali?
Now, we have noted the secular nature of the MNLA, and the lack of any religious content among the putschists. But, as the Islamists of Iyad ag-Ghali have promulgated their theocratic intentions, with their sinister black flag, and the unconfirmed reports of rather ghoulish behavior vis-à-vis non-Salafists, we might take a moment to revisit the crisis through the lens of religion in Mali. This also provides a subtle corrective to the overblown reporting on the place of Islam and Islamism in this otherwise peaceful and tolerant country.
So who is Shaykh Haidara and why does he serve as a compelling counterpoint to Iyad ag-Ghali? The leader of Ansar Dine rose to prominence following the coup of 1991, which overthrew Moussa Traoré. This new era of multi-party democracy then opened the floodgates to freedom of expression, as radio stations, newspapers, and civil society organizations proliferated across Mali. It also saw an explosion in the number of Islamic nongovernmental organizations and religious associations. Within this context, Haidara saw his popularity skyrocket, as audio taped sermons, radio programs, and videos have broadcasted his distinctive voice and religious messages across the country.
For Malian Muslims looking for spiritual, moral and even practical guidance, "Wulibali," as Malians affectionately call him, is the man "who speaks the undeniable truth." Preaching in the lingua franca of Bamana, Haidara advocates for a Malian Islamic tradition independent of Arabic language and culture. Politically, he has used his platform to deliver blunt critiques of government corruption and forms of social injustice, while weighing in on important issues, such as the new family code.
Since the coup, Haidara has made it clear that his movement has "nothing to do" with the militant group of Iyad ag-Ghali that has taken Timbuktu, Kidal, and Gao and has threatened to impose shari'a law. He refers to it as a "a criminal association that kills and pillages." He states: "We don't need their shari'a. We have been Muslim here for centuries. We don't need their new Islam that they are bringing to impose among us.... Mali is a secular country. The shari'a is for Muslims. But here in Mali, we live with Christians, we live with Jews, and we live with animists. We are all Malians together here.... We are not in agreement with the shari'a of Iyad. We reject it." And when Haidara speaks, Malians listen.
Yet a quick web search for "Ansar Dine," yields pages of stories about the Islamist militia led by Iyad ag-Ghali, and how Salafists are taking over northern Mali and setting their sights on the entire country. Indeed, the news media has gotten carried away with a narrative of inexorable Islamist radicalization. For these reasons, it is high time that we place the religious dimensions surrounding the current political crisis in their proper context.
Mali is at the far moderate end of the spectrum of Islamic societies. Talk to Malian Muslims about Islam today, and they will likely say something about peace, tolerance and unity. Therefore, the brand of Islam being advocated by the Islamists in the north simply does not mirror what the vast majority of Malian Muslims value in their religion. In fact, most Malians are loosely affiliated with one of the major Sufi brotherhoods, such as the Tijaniyya, Hamawiyya or Qadiriyya. However, there are many Malians who simply identify themselves as "Sunni," or ahl al-Sunna (which non-reformists label as "Wahhabi"), usually indicating that they belong to the wider reform movement. These reformists state that the only real difference between them and Sufis is that they pray with "arms crossed" and their wives wear veils. Otherwise, many of them participate in community-level Sufi rituals and celebrations. In other words, the boundaries between reformists and Sufis are not quite as rigid as outside observers might think.
Cutting across these Sufi brotherhoods and reformist groups, there are the new media stars, such as Haidara, who draw followers from a wide range of affiliations. And many Malian Muslims do not hold themselves exclusively to these institutional groupings, and in fact move rather freely and promiscuously among them, gleaning insights and finding direction wherever they are to be found.
Furthermore, Islamic practices in Mali continue to be profoundly shaped by an underlying animist substratum. In the southern parts of the country, these pre-Islamic customs are called Bamanaya. In certain localities, people draw deeply on these indigenous customs for healing or bringing the rain. And even Muslim preachers, such as Haidara, draw extensively on Bamana idioms, proverbs, and a kind of Malian common sense. Indeed, for Malian Muslims, rather than looking to the Arab world for direction, they look to their own rich cultural heritage. We can see this today in current concerns over the safety of Timbuktu's libraries and manuscript holdings and evocations of the city's traditions of tolerance.
Timbuktu has been central in the wider propagation of the Qadiriyya Sufi brotherhood, with its long local history of Muslim scholars opposing jihad. Thus, even in the north, which has been posited as the more "radical" region, a Sufi-animist substratum among the Songhay, Tuareg, Bella and so forth has deeply influenced Muslim religious life. This has meant a more expanded role for women in public life than one might expect, and the persistence of customs, such as ritual music and dance - and even a gender reversal in veiling practices among the Tuareg - that do not usually conform to the normative traditions of Islam being enforced by Salafists.
Certainly, things have changed in recent years, partly stemming from Saudi patronage, usually in the building of mosques or madrasas, but also due to the activities of Muslim missionaries, such as Pakistanis belonging to the Tablighi Jama'at. We should also add, however, that the U.S. "war on terror" in the region, and wider Islamophobic discourses, have not helped, and have very likely served as rallying devices for reformist leaders. According to recent reports, reformists have grown in number, but not dramatically so. In many regions, Malian Muslims have flirted with the "dawa," but then have simply drifted back to their original religious communities.
In the more important religious centers of Nioro du Sahel, Djenne and Timbuktu, the most powerful religious authorities continue to be those linked to the Sufi brotherhoods, despite the presence of reformists. And while there are small pockets of ahl al-Sunna in rural areas, peasants generally remain tied to syncretic forms of Islam that draw heavily on pre-Islamic practices and beliefs. In short, from the perspective of popular modes of religious belonging, there is very little reason to anticipate any kind of grassroots enthusiasm for the prospects of Salafist variants of Islam, particularly when imposed through violence and intimidation.
There is another reason for this: Malians have a long history of resisting jihads and attempts at forced conversion. This is not to say that in the long run jihads always failed in spreading Islam. The nineteenth-century Muslim scholar and state-builder El Hajj Umar Tall left an enduring legacy in the region, despite the resistance that his wars provoked, particularly in the Bamana heartland. However, the historical and anthropological literature is replete with cases of Malians resisting the efforts of Muslim states and preachers seeking to impose Islam on them.
Malian peasants have generally refused to accept forced conversion efforts, whether by firebrand preachers or state-builders. They cite the "No Compulsion" verse from the Qur'an, as one elderly informant stated: "On the path of Allah, there is no need for forcing Islam on people. After the descent of the Quran, Allah said that there is no more compulsion in religion. This cannot be done." Later, there were efforts by "Wahhabis" at imposing reformist ideas on rural Muslims. Once the "Wahhabis" showed their intolerance by criticizing Sufi holy men, engaging in street battles over the correct way to pray, defiling the tombs of saints, and generating "conflict" (fitna) between Muslims, they were rejected.
For these reasons, local imams and ordinary Muslims have stated that they don't need any foreigners coming to tell them how to conduct their religious lives. Thus, when Malian Muslims hear about the violent efforts of Iyad ag-Ghali and other Salafists linked to Al-Qaida in the Islamic Maghreb, they see no religious legitimacy or theological rationale for their wars. They are already Muslim, so there is no justification for bringing war to Muslim communities. They see the northern jihadists as warlords aimed at pillaging Malian people and lands for personal gain, while using Islam as an ideological tool to manipulate and dominate vulnerable people.
In this light, it is no coincidence that ag-Ghali chose to name his Islamist militia Ansar Dine. The Tuareg rebel leader is well aware of Haidara's organization, and he is also au courant that this other Ansar Dine is the far more popular one. Is ag-Ghali trying to highjack the movement, or sow confusion while playing on Malians' desperation? So far, ag-Ghali's armed group has pursued its goals through violence and intimidation. But in recent days, it has stepped up a kind of hearts and minds campaign, distributing food and medicine. This isn't fooling anyone, at least not in the south.
In the past few days in Bamako, Muslim leaders, including prominent reformists and Sufis, unanimously denounced the Islamists in the north. Although they have sought to reign in any sort of overtly bellicose rhetoric, and kept the emphasis on peace, their condemnations have been strong. They stated that Mali would not accept foreigners imposing their Salafist kind of Islam on Malians by force of arms. And in a press conference, Shaykh Haidara repeated his message of tolerance: "We do not know this Islam advocated by these people. Those who kill and say that they want to act in the name of Islam are not really [Muslims].... Islam is a religion of peace and tolerance."
Outside of the mosques, there has been an active mobilization of civil society organizations, including numerous women's groups, the hunters' associations, and urban youth. And the interim president Diouncounda Traore has threatened "total war" against the northern insurgents. We can only hope that the saber-rattling in Bamako will not escalate into a full-blown conflagration in the north, and that the Islamists come to their senses in hearing religious authorities calling for Muslim and Malian unity. In the meantime, as outside observers, we might look beyond ag-Ghali's statements about holy war, or stories on the potential "Talibanization" of Mali, which ultimately serve to obfuscate the realities of Malian Muslim societies. We might push past the prevailing jihad-centric narratives, in finding that we too embrace Haidara's vision of a tolerant, pluralistic, and democratic society, while rejecting the vision of intolerance currently threatening northern Mali.
Brian J. Peterson is an associate professor of history at Union College (NY). His recent book is Islamization from Below: The Making of Muslim Communities in Rural French Sudan, 1880-1960 (Yale University Press, 2011).
[Picture: Bozo Girl in Bamako. Photo: Wiki.]
Saturday, April 28, 2012
Significant Health Results
By Matthew Brunwasser, *How Sufi Music Helps Patients in Turkey* - PRI's The World - Boston, MA, USA; April 25, 2012
How Sufi Music Helps Patients in Turkey
The intensive care unit of Istanbul’s memorial hospital looks like any modern hospital anywhere. But it definitely doesn’t sound like one.
Dr. Bingur Sonmez introduces himself: “I am Professor Doctor Bingur Sonmez, I’m a cardiac surgeon, I’ve been doing cardiac surgery more than 30 years. What we are doing in intensive care, we are playing Sufi music to our patients to calm down, to make them feeling much better.”
Sufism is a mystical strain of Islam whose traditional music is popular among Turks. Sonmez says that five centuries ago when Europeans were burning people alive for having mental illnesses, the Turkish Ottoman Empire had a more civilized approach.
“In this country, in Ottoman Empire times, we used to treat psychiatric patients with music in hospitals, in local hospitals,” Sonmez says. “So what we are doing is the same.”
So doctors here don’t consider themselves doing anything new.
“If you look at the patient’s face, you can see that he is very anxious. But after 10 minutes you will see that he is very much relaxed,” says Sonmez.
After a short performance, anesthesiologist Erol Can says the patient’s heart rate decreased 15 percent.
Can says the approach has scientific backing. He says the hospital conducted a study of 22 patients and measured their stress levels on a scale of one to 10. Their stress went down from an average of seven to three after a 20 minute musical performance.
“We recorded heart rate, systolic and diastolic blood pressure, respiratory rate and oxygen delivery, the oxygen saturation of the blood. Every parameter was better after this 20 minutes,” Can says.
Sonmez and Can demonstrate the traditional medicinal properties of different melodic systems – or makams in Turkish music. Sonmez says certain makams can treat specific conditions.
“That makam makes you sleepy, it’s a real meditation music,” says Sonmez. “So its good to listen to when you go to bed. If you listen to this makam when you are waking up in the morning, you won’t be able to get out of the bed.”
The Mahur makam is the opposite of Sabah, so it might make you agitated and unable to sleep.
“If you play that makam to a depressed patient, you can cheer him up easily,” says Sonmez.
There are makams that can help with other conditions as well. One supposedly increases your appetite. Another can help you lose weight. The music has significant health results, the doctors say. But while they sing the praises of music therapy, they stress it’s a compliment — not a replacement — for conventional medicine.
Picture: Erol Can (left), an anesthesiologist, and Bingur Sonmez, a cardiac surgeon play for a patient. Photo: Matthew Brunwasser.
How Sufi Music Helps Patients in Turkey
The intensive care unit of Istanbul’s memorial hospital looks like any modern hospital anywhere. But it definitely doesn’t sound like one.
Dr. Bingur Sonmez introduces himself: “I am Professor Doctor Bingur Sonmez, I’m a cardiac surgeon, I’ve been doing cardiac surgery more than 30 years. What we are doing in intensive care, we are playing Sufi music to our patients to calm down, to make them feeling much better.”
Sufism is a mystical strain of Islam whose traditional music is popular among Turks. Sonmez says that five centuries ago when Europeans were burning people alive for having mental illnesses, the Turkish Ottoman Empire had a more civilized approach.
“In this country, in Ottoman Empire times, we used to treat psychiatric patients with music in hospitals, in local hospitals,” Sonmez says. “So what we are doing is the same.”
So doctors here don’t consider themselves doing anything new.
“If you look at the patient’s face, you can see that he is very anxious. But after 10 minutes you will see that he is very much relaxed,” says Sonmez.
After a short performance, anesthesiologist Erol Can says the patient’s heart rate decreased 15 percent.
Can says the approach has scientific backing. He says the hospital conducted a study of 22 patients and measured their stress levels on a scale of one to 10. Their stress went down from an average of seven to three after a 20 minute musical performance.
“We recorded heart rate, systolic and diastolic blood pressure, respiratory rate and oxygen delivery, the oxygen saturation of the blood. Every parameter was better after this 20 minutes,” Can says.
Sonmez and Can demonstrate the traditional medicinal properties of different melodic systems – or makams in Turkish music. Sonmez says certain makams can treat specific conditions.
“That makam makes you sleepy, it’s a real meditation music,” says Sonmez. “So its good to listen to when you go to bed. If you listen to this makam when you are waking up in the morning, you won’t be able to get out of the bed.”
The Mahur makam is the opposite of Sabah, so it might make you agitated and unable to sleep.
“If you play that makam to a depressed patient, you can cheer him up easily,” says Sonmez.
There are makams that can help with other conditions as well. One supposedly increases your appetite. Another can help you lose weight. The music has significant health results, the doctors say. But while they sing the praises of music therapy, they stress it’s a compliment — not a replacement — for conventional medicine.
Picture: Erol Can (left), an anesthesiologist, and Bingur Sonmez, a cardiac surgeon play for a patient. Photo: Matthew Brunwasser.
Friday, April 27, 2012
“Commented Concerts”
By HDN Staff Reporter, *Samir Odeh-Tamimi & Hezarfen Ensemble on stage* - Hürriyet Daily News - Istanbul, Turkey; Wednesday, April 25, 2012
Samir Odeh-Tamimi & Hezarfen Ensemble on stage: The Goethe-Institut Istanbul and Borusan Music House are presenting a series called “New Music -- Commented Concerts.”
The first concert of the series will feature Berlin-based Palestinian-Israeli composer Samir Odeh-Tamimi, who musically brings together the European environment he lives in today with the Islamic-Oriental traditions that shaped his youth.
His music bears traces of Sufi rituals that are deeply rooted in him, thanks to the influence of his grandfather, who was an esteemed Sufi healer.
Many other ingredients also spice up his music, and his choice of instruments reveals his Palestinian-Israeli roots.
Odeh-Tamimi will perform with the Hezarfen Ensemble, known for supporting young musicians through intercultural projects and interdisciplinary performances.
Odeh-Tamimi’s debut presentation of some new music at this performance is highly anticipated in music circles. His comments on his selected works, and Hezarfen Ensemble’s renderings of them, will create a setting where listeners’ questions will be answered.
This encounter, where musicians and discussion will complement each other on stage, will launch the “Commented Concerts” at Borusan Music House.
Samir Odeh-Tamimi & Hezarfen Ensemble on stage: The Goethe-Institut Istanbul and Borusan Music House are presenting a series called “New Music -- Commented Concerts.”
The first concert of the series will feature Berlin-based Palestinian-Israeli composer Samir Odeh-Tamimi, who musically brings together the European environment he lives in today with the Islamic-Oriental traditions that shaped his youth.
His music bears traces of Sufi rituals that are deeply rooted in him, thanks to the influence of his grandfather, who was an esteemed Sufi healer.
Many other ingredients also spice up his music, and his choice of instruments reveals his Palestinian-Israeli roots.
Odeh-Tamimi will perform with the Hezarfen Ensemble, known for supporting young musicians through intercultural projects and interdisciplinary performances.
Odeh-Tamimi’s debut presentation of some new music at this performance is highly anticipated in music circles. His comments on his selected works, and Hezarfen Ensemble’s renderings of them, will create a setting where listeners’ questions will be answered.
This encounter, where musicians and discussion will complement each other on stage, will launch the “Commented Concerts” at Borusan Music House.
Thursday, April 26, 2012
Making Space
By A. Faizur Rahman, *Sufis as architects of Muslim spaces in India* - The Hindu - India; Monday, April 23, 2012
Sufis as architects of Muslim spaces in India
Sufism (tasawwuf in Arabic), the esoteric physiognomy of Islam, is probably the only school of thought which has remained above suspicion in the post 9/11 Islamophobic onslaught. And if any reason could be attributed to this unimpeachability it is its inherent pacifism.
Although Sufism has several etymological denotations the simplest and best explanation was given by Al-Hujwiri, the famous 11th century mystic of Lahore. In his renowned treatise, Kashf al-Mahjub, Hujwiri quotes a Prophetic tradition to define a Sufi as the one who adopts safa (purity) and gives up kadar (impurity).
Such straightforward renditions have contributed to the immense popularity of Sufism across the globe. In India too it is believed that a huge percentage of Muslims have historically been the adherents of the inclusive Sufi traditions.
It is this Sufi history which happens to be the theme of Prof. Nile Green's latest tome Making Space wherein he explores the role of itinerant “saints” and “blessed men” in the emergence of Muslim communities in early modern India.
Most of these saints, according to Green, sought refuge in India after the sacking of “the great Sufi cradle of Khurasan” by the Mongols, and the mass persecution of Iranian Sufis under the Safavids.
Green's thesis is that Sufi shrines serve as “gates through time” (dargah means gateway) where the past is recounted in narrative and rendered visible in architecture and ritual, and therefore, have been crucial to the making of Muslim space on Indian soil.
These dargahs, or “the death spaces” as Green calls them, helped define Muslim identity by linking community to territory and territory to hagiographic texts of memory known as tazkirat. In other words, a mausoleum that immortalised a saint was kept alive through the stories and rituals that surrounded it, and the resulting “architectural embodiment of collective memory” helped create a Muslim space by acting as a bridge between the past and present.
Interestingly, Green does not go into the “intellectualized doctrinal abstraction” of Sufism. He confines his research to a dispassionate analysis of the historical role of the Sufis as social actors — both during their lifetime and after their death — in the creation of Muslim settlements in India.
But he does mention quoting Hujwiri that Sufism should not be talked about in a different breath from Islamic law or the study of Hadith. For, to the likes of Hujwiri the notion of a discrete ‘Sufism' at even a step's removal from ‘Islam' would have been “a troubling and unfamiliar idea.”
Rise of shrine cults
And, even while treating them as purely historical events, Green drops enough hints to suggest that most of the rituals that have come to be associated with the shrines today did not have the approval of the buried Sufis. For instance, he speaks of how “shrine cults” rose to a high degree of importance a few centuries after Hujwiri's death.
Even today many shrines in India are said to facilitate the exorcism of jinns in clear violation of the teachings of the very saints in whose name it is done.
Green feels that such commemorative rituals extolling the miraculous powers of the buried saints were meant to attract the more material forms of investment required to maintain and preserve the sacred space. This argument is substantiated by the huge monetary contributions some South Asian Muslim shrines regularly get, the most recent example being the donation of a million dollars by the President of Pakistan to the Ajmer dargah.
A substantial part of Green's research is devoted to the Mughal imperial expansion into the Deccan (1640-1690) and their policy of co-option and creation of Sufi shrine complexes in south India which was continued by Aurangzeb's successors, the Nizams. Green recounts the story of how Aurangzeb himself came to be buried at the shrine of Zaynuddin Shirazi (d.1369) in Khuldabad on the advice of Sufi Shah Nur as expiation for killing Sarmad, the free thinker and close associate of Dara Shukoh.
Mention is also made of the migration of Sufis to Arcot where they were patronised by the Nawabs of Carnatic, especially Sadatullah Khan and Muhammad Shah who built shrines in their honour.
One of the most significant findings of Making Space is the absence of communal overtones in the Sufi narratives. Extracting from the works of leading Deccan litterateurs, Azad Bilgrami and Sabzawari, Green highlights the presence of numerous Yogis at the shrines in Khuldabad and says that if at all there was rivalry during those times it was not between Hindu and Muslim power centres but between the Muslim saints and the sultans. The saints refused to bow down to the kings.
In short, Making Space is a chef-d'oeuvre which expertly weaves together various aspects of Muslim cultural history to produce a coherent account of how Muslims carved out a space for themselves in India. It is essential reading for anyone who has a dispassionate interest in the ethno-history of early modern India.
MAKING SPACE — Sufis and Settlers in Early Modern India;
Nile Green;
Oxford University Press, YMCA Library Building, Jai Singh Road, New Delhi-110001.
Rs. 795.
Sufis as architects of Muslim spaces in India
Sufism (tasawwuf in Arabic), the esoteric physiognomy of Islam, is probably the only school of thought which has remained above suspicion in the post 9/11 Islamophobic onslaught. And if any reason could be attributed to this unimpeachability it is its inherent pacifism.
Although Sufism has several etymological denotations the simplest and best explanation was given by Al-Hujwiri, the famous 11th century mystic of Lahore. In his renowned treatise, Kashf al-Mahjub, Hujwiri quotes a Prophetic tradition to define a Sufi as the one who adopts safa (purity) and gives up kadar (impurity).
Such straightforward renditions have contributed to the immense popularity of Sufism across the globe. In India too it is believed that a huge percentage of Muslims have historically been the adherents of the inclusive Sufi traditions.
It is this Sufi history which happens to be the theme of Prof. Nile Green's latest tome Making Space wherein he explores the role of itinerant “saints” and “blessed men” in the emergence of Muslim communities in early modern India.
Most of these saints, according to Green, sought refuge in India after the sacking of “the great Sufi cradle of Khurasan” by the Mongols, and the mass persecution of Iranian Sufis under the Safavids.
Green's thesis is that Sufi shrines serve as “gates through time” (dargah means gateway) where the past is recounted in narrative and rendered visible in architecture and ritual, and therefore, have been crucial to the making of Muslim space on Indian soil.
These dargahs, or “the death spaces” as Green calls them, helped define Muslim identity by linking community to territory and territory to hagiographic texts of memory known as tazkirat. In other words, a mausoleum that immortalised a saint was kept alive through the stories and rituals that surrounded it, and the resulting “architectural embodiment of collective memory” helped create a Muslim space by acting as a bridge between the past and present.
Interestingly, Green does not go into the “intellectualized doctrinal abstraction” of Sufism. He confines his research to a dispassionate analysis of the historical role of the Sufis as social actors — both during their lifetime and after their death — in the creation of Muslim settlements in India.
But he does mention quoting Hujwiri that Sufism should not be talked about in a different breath from Islamic law or the study of Hadith. For, to the likes of Hujwiri the notion of a discrete ‘Sufism' at even a step's removal from ‘Islam' would have been “a troubling and unfamiliar idea.”
Rise of shrine cults
And, even while treating them as purely historical events, Green drops enough hints to suggest that most of the rituals that have come to be associated with the shrines today did not have the approval of the buried Sufis. For instance, he speaks of how “shrine cults” rose to a high degree of importance a few centuries after Hujwiri's death.
Even today many shrines in India are said to facilitate the exorcism of jinns in clear violation of the teachings of the very saints in whose name it is done.
Green feels that such commemorative rituals extolling the miraculous powers of the buried saints were meant to attract the more material forms of investment required to maintain and preserve the sacred space. This argument is substantiated by the huge monetary contributions some South Asian Muslim shrines regularly get, the most recent example being the donation of a million dollars by the President of Pakistan to the Ajmer dargah.
A substantial part of Green's research is devoted to the Mughal imperial expansion into the Deccan (1640-1690) and their policy of co-option and creation of Sufi shrine complexes in south India which was continued by Aurangzeb's successors, the Nizams. Green recounts the story of how Aurangzeb himself came to be buried at the shrine of Zaynuddin Shirazi (d.1369) in Khuldabad on the advice of Sufi Shah Nur as expiation for killing Sarmad, the free thinker and close associate of Dara Shukoh.
Mention is also made of the migration of Sufis to Arcot where they were patronised by the Nawabs of Carnatic, especially Sadatullah Khan and Muhammad Shah who built shrines in their honour.
One of the most significant findings of Making Space is the absence of communal overtones in the Sufi narratives. Extracting from the works of leading Deccan litterateurs, Azad Bilgrami and Sabzawari, Green highlights the presence of numerous Yogis at the shrines in Khuldabad and says that if at all there was rivalry during those times it was not between Hindu and Muslim power centres but between the Muslim saints and the sultans. The saints refused to bow down to the kings.
In short, Making Space is a chef-d'oeuvre which expertly weaves together various aspects of Muslim cultural history to produce a coherent account of how Muslims carved out a space for themselves in India. It is essential reading for anyone who has a dispassionate interest in the ethno-history of early modern India.
MAKING SPACE — Sufis and Settlers in Early Modern India;
Nile Green;
Oxford University Press, YMCA Library Building, Jai Singh Road, New Delhi-110001.
Rs. 795.
Tuesday, April 24, 2012
A Genuine Understanding
By Sadia Dehlvi, *‘Sufism isn’t a fashion statement but a quest for union with God’* - Tehelka - India; Friday, April 20, 2012
‘Sufism isn’t a fashion statement but a quest for union with God’: Jashn-e-Khusrau unearths facets of Sufism that make the tradition dynamic, says Sadia Dehlvi
Jashn-e-Khusrau: A Collection
Roli Books & Agha Khan Trust For Culture
Pages: 221
The last decade has witnessed innovations such as Sufi Yoga and Sufi Kathak. Bare-chested men have been dancing at Sufi festivals marketed in the name of Khusrau.
New age gurus continue to recycle selective writings of Mevlana Rumi and Amir Khusrau to produce what I call “bubble gum spirituality”. Such innovations make mockery of both Sufism and Hazrat Amir Khusrau, one of the great poets of the region.
Sufism is not a fashion statement but a serious quest for union with God. Much like other religions, Islam too has a mystical dimension. This spiritual current, known as tasawuff, later came to be called Sufism. It represents the vibrancy of Islam in adapting to different cultures, allowing for diversity of devotional expressions while affirming unity of faith.
In the subcontinent, this plurality is exemplified by the life of the towering 13th century Sufi Master Hazrat Nizamuddin Auliya and his beloved disciple Amir Khusrau.
Produced by the Aga Khan Trust for Culture, Jashn-e-Khusrau: A Collection does not succumb to popular notions of Sufi traditions.
It presents a genuine understanding of Sufiana Qawaali and its pivotal role in Zikr, remembrance of the Divine at sama mehfils, collective gatherings held to induce spiritual experience.
The text focuses on how the Hindawi Kalaam of Khusrau, who venerates his mystic master, celebrates local language and cultures, defines the essence of Qawaali and gives it a universal appeal.
Jashn-e-Khusrau, both the festival and the book, take Amir Khusrau to the place where he lies entombed, the Hazrat Nizamuddin Basti, a place at the core of Delhi’s history and culture.
The first essay by Sunil Sharma, who teaches Persian literature at Boston University, details the vast and diverse nature of Khusrau’s work. Regula Qureshi, the sole ethnomusicologist to work on genre of Qawaali, pens an insightful history of the popular genre. The third and final essay by Irfan Zuberi on art, artists and patronage of the Qawaals in Basti Nizamuddin, outlines the close symbiosis between the Qawaals and their patrons at the dargah. It rightfully calls for the conservation of the 700-year-old settlement, its traditions and monuments.
The illuminated manuscripts in Jashn-e-Khusrau are sourced from museums around the world. Rather than just serve as decorative miniature paintings and calligraphies, these folios illustrate the literary work of Amir Khusrau and Amir Hasan, a fellow poet and disciple of Hazrat Nizamuddin.
The three CDs, elegantly cased within the folds of the book, are a compilation of the six Qawaali performances held by the Agha Khan Trust.
The collection from the festival Jashn-e-Khusrau includes some of the best Qawaals from India and Pakistan, including Meeraj Nizami, Ghaus Muhammad Nasir Niazi, Muhammad Ahmed Warsi Naziri, Farid Ayaz and Abu Muhammad. Khusrau’s poetry is sung in the traditional style as across the dargahs of South Asia.
The rendition and choice of poetry, both in Hindawi and Persian, are amongst the finest I have heard.
The second part of the book has around 25 pages devoted to Kalaam, where the complete poetry of the recitals rendered in the CD are inscribed in Urdu with a transliteration in the Roman script, along with English translations by scholars like SM Yunu Jaffery, Saleem Qidwai, Paul Losensky and Sunil Sharma.
Jashn e Khusrau: A Collection recounts Amir Khusrau’s contribution to India’s contemporary identity and continuing traditions. The wonderful pictures, essays, and Qawaalis make Jashn-e-Khusrau: A Collection, a treasure for lovers of Sufism and Qawaali.
‘Sufism isn’t a fashion statement but a quest for union with God’: Jashn-e-Khusrau unearths facets of Sufism that make the tradition dynamic, says Sadia Dehlvi
Jashn-e-Khusrau: A Collection
Roli Books & Agha Khan Trust For Culture
Pages: 221
The last decade has witnessed innovations such as Sufi Yoga and Sufi Kathak. Bare-chested men have been dancing at Sufi festivals marketed in the name of Khusrau.
New age gurus continue to recycle selective writings of Mevlana Rumi and Amir Khusrau to produce what I call “bubble gum spirituality”. Such innovations make mockery of both Sufism and Hazrat Amir Khusrau, one of the great poets of the region.
Sufism is not a fashion statement but a serious quest for union with God. Much like other religions, Islam too has a mystical dimension. This spiritual current, known as tasawuff, later came to be called Sufism. It represents the vibrancy of Islam in adapting to different cultures, allowing for diversity of devotional expressions while affirming unity of faith.
In the subcontinent, this plurality is exemplified by the life of the towering 13th century Sufi Master Hazrat Nizamuddin Auliya and his beloved disciple Amir Khusrau.
Produced by the Aga Khan Trust for Culture, Jashn-e-Khusrau: A Collection does not succumb to popular notions of Sufi traditions.
It presents a genuine understanding of Sufiana Qawaali and its pivotal role in Zikr, remembrance of the Divine at sama mehfils, collective gatherings held to induce spiritual experience.
The text focuses on how the Hindawi Kalaam of Khusrau, who venerates his mystic master, celebrates local language and cultures, defines the essence of Qawaali and gives it a universal appeal.
Jashn-e-Khusrau, both the festival and the book, take Amir Khusrau to the place where he lies entombed, the Hazrat Nizamuddin Basti, a place at the core of Delhi’s history and culture.
The first essay by Sunil Sharma, who teaches Persian literature at Boston University, details the vast and diverse nature of Khusrau’s work. Regula Qureshi, the sole ethnomusicologist to work on genre of Qawaali, pens an insightful history of the popular genre. The third and final essay by Irfan Zuberi on art, artists and patronage of the Qawaals in Basti Nizamuddin, outlines the close symbiosis between the Qawaals and their patrons at the dargah. It rightfully calls for the conservation of the 700-year-old settlement, its traditions and monuments.
The illuminated manuscripts in Jashn-e-Khusrau are sourced from museums around the world. Rather than just serve as decorative miniature paintings and calligraphies, these folios illustrate the literary work of Amir Khusrau and Amir Hasan, a fellow poet and disciple of Hazrat Nizamuddin.
The three CDs, elegantly cased within the folds of the book, are a compilation of the six Qawaali performances held by the Agha Khan Trust.
The collection from the festival Jashn-e-Khusrau includes some of the best Qawaals from India and Pakistan, including Meeraj Nizami, Ghaus Muhammad Nasir Niazi, Muhammad Ahmed Warsi Naziri, Farid Ayaz and Abu Muhammad. Khusrau’s poetry is sung in the traditional style as across the dargahs of South Asia.
The rendition and choice of poetry, both in Hindawi and Persian, are amongst the finest I have heard.
The second part of the book has around 25 pages devoted to Kalaam, where the complete poetry of the recitals rendered in the CD are inscribed in Urdu with a transliteration in the Roman script, along with English translations by scholars like SM Yunu Jaffery, Saleem Qidwai, Paul Losensky and Sunil Sharma.
Jashn e Khusrau: A Collection recounts Amir Khusrau’s contribution to India’s contemporary identity and continuing traditions. The wonderful pictures, essays, and Qawaalis make Jashn-e-Khusrau: A Collection, a treasure for lovers of Sufism and Qawaali.
Monday, April 23, 2012
Through a Study of Dreams
By Kelsey Geiser, *Stanford's Özgen Felek investigates the power of dreams in Sufism* - Stanford University News - Stanford, CA, USA; Tuesday, April 17, 2012
Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.
Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.
One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."
Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.
To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.
The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.
"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.
For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.
Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.
Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.
Charting the rise of a ruler
A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.
Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"
"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.
In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.
For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."
The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."
Dreaming in the classroom
In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.
"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."
Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.
"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.
Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.
This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.
Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.
Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.
Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.
Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.
One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."
Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.
To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.
The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.
"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.
For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.
Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.
Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.
Charting the rise of a ruler
A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.
Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"
"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.
In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.
For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."
The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."
Dreaming in the classroom
In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.
"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."
Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.
"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.
Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.
This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.
Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.
Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.
Sunday, April 22, 2012
All Are Vulnerable
By Dominique Soguel, *Ghariani embodies image of Muslim Libya in post-Gathafi era* - Middle East Online - London, UK; Monday, April 16, 2012
Ghariani embodies image of Muslim Libya in post-Gathafi era: Mufti warns all groups, whether Muslim Brotherhood, Salafists or Sufis, are vulnerable to radical elements in their ranks seeking to sow chaos.
Tripoli: As devoutly Muslim Libya struggles through a transition to democracy, its Grand Mufti has emerged as a powerful moral compass for leaders and ordinary citizens alike.
While Libyans were fighting to oust leader Moamer Gathafi last year, the new National Transitional Council named Sheikh Sadeq al-Ghariani in May as the top religious authority and judge of what is forbidden or permitted under Islam.
The Tripoli-based scholar and author of 32 books was among the first to speak out against Gathafi's regime after it launched a violent crackdown against a popular uprising in February 2011 in the eastern city of Benghazi.
And when Gathafi was captured and slain last October, the grand mufti ruled the former strongman to be an "infidel," unworthy of prayers.
"The role of the mufti is to provide guidance and counsel," Sheikh Ghariani said in between solemn meetings with citizens seeking answers on how to settle disputes out of court.
Interim government spokesman Nasser al-Manaa says of Sheikh Ghariani that "these days show that many Libyans stand by his words," adding that the authorities themselves will seriously consider any proposal he makes.
No such compass guided the nation during the final years of Gathafi's four-decade rule. A self-proclaimed Arab, African and Islamic leader, Gathafi had a touch-and-go relationship with Islam.
He replaced the Gregorian, solar-based calendar with the Muslim lunar calendar in everyday affairs and declared the Koran should be translated into every language. But he also abolished Dar Al-Ifta, the office for religious edicts, fatwas, and crushed Islamists posing a political threat.
Dar Al-Ifta was formally reinstituted in Tripoli after rebels seized the capital last August.
Indefatigable, the septuagenarian Sheikh Ghariani hosts a weekly TV talk show fielding calls on a range of topics, from how to split inheritances to what is halal (permitted) and haram (forbidden) in Islamic sharia law.
Yet he is modest about his role.
"If no one comes to him (for advice), he approaches no one (with advice)," said the graduate of Cairo's Al-Azhar, the highest centre of Sunni Muslim learning, who issued his fatwas from Benghazi during the 2011 revolution.
Since the outbreak of the Arab Spring last year, a long-running debate on the thorny constitutional question of whether Islam should be "a" source of legislation, or "the" source, has come to the fore across the region.
In August, the NTC issued a provisional declaration that Sharia would be the "primary source" of legislation, raising concerns in the West about religious tolerance and women's rights.
The Mufti clarifies: "We are not saying Islam should be the only source of legislation... What we are saying is that any law that contradicts Islam is invalid."
"Laws created by men are acceptable on the condition that they are not in contradiction with the Koran and Sunna (teachings of the Muslim prophet Mohammed)," he said, adding that 90 percent of the laws on the books pose no problem.
Hence, the longstanding bans on selling alcohol and pork and of licencing brothels will never be revoked.
But there are some laws promulgated under Gathafi that fly in the face of the holy book, including one that allows a person to claim unoccupied property, and one that permits charging interest on loans.
As for politics, Sheikh Ghariani has already issued edicts on the importance of qualified people running for office but declines to define which school of Islamic jurisprudence he draws on for his fatwas.
"Islam is one," he stressed.
Libya is a Sunni Muslim society in which many citizens describe themselves as middle-of-the-road moderates who reject violence.
But the Sufi sect, which practises a mystical form of Islam and has played a historic role in the affairs of the North African nation, now finds itself in conflict with Qatari- and Saudi-trained Salafist preachers who consider it heretical.
The Mufti warns that all groups -- whether the Muslim Brotherhood, Salafists or Sufis -- are vulnerable to radical elements in their ranks seeking to sow chaos.
While downplaying fears Salafist extremists are gaining momentum in post-Gathafi Libya, he said they are a minority and taking advantage of the security vacuum left after Gathafi.
"Such people are a very small segment (of society) and have surfaced now because of the lack of security and stability," he said in reference to scattered cases of zealots entering mosques by force to preach.
"If there were a strong grip on security and everyone who committed a crime faced justice, these people would never have come out, and we would never have heard of them."
At the request of the interim government, he ruled against the desecration of tombs after an attack by Salafists against a cemetery in Benghazi left the graves of World War II heroes gutted.
He also opposes the demolition of Sufi shrines, which have been attacked, and issued an edict to that effect in March after a stand-off between people in the town of Zliten and armed Salafists seeking to destroy a shine there.
The Mufti's position on women reflects view held widely in his society.
Interim leader Abdel Jalil sparked an outcry last year, especially among women rights activists, when he said his country would overturn a Gathafi-era ruling restricting polygamy.
Libya's personal status laws -- which regulate such matters as marriage, divorce, child custody and inheritance -- are already based on the Koran and will probably remain the same or similar in future, he said.
When asked whether a man would need his wife's permission to take a second wife -- a requirement under Gathafi that was rarely put into practice -- he said no, because of a woman's "jealous nature."
"Polygamy is legitimate and there is no controversy in this," he said, arguing it is better than to take a lover and bring illegitimate children into the world and makes men shoulder the responsibility for their offspring.
However, at the same time, he said "we want women to play a strong role in the upcoming phase of elections."
While his views may be as jarring as fingernails on a chalk board to most Western and some Arab feminists, they cause few ripples in Libya, where religious observance underpins every social norm.
"Islam governs all aspects of life, not only Zakat (alms) and Hajj (pilgrimage to Mecca) -- two central tenets of Islam -- but the moment from which a Muslim is conceived to the moment he is buried," says the Mufti.
Ghariani embodies image of Muslim Libya in post-Gathafi era: Mufti warns all groups, whether Muslim Brotherhood, Salafists or Sufis, are vulnerable to radical elements in their ranks seeking to sow chaos.
Tripoli: As devoutly Muslim Libya struggles through a transition to democracy, its Grand Mufti has emerged as a powerful moral compass for leaders and ordinary citizens alike.
While Libyans were fighting to oust leader Moamer Gathafi last year, the new National Transitional Council named Sheikh Sadeq al-Ghariani in May as the top religious authority and judge of what is forbidden or permitted under Islam.
The Tripoli-based scholar and author of 32 books was among the first to speak out against Gathafi's regime after it launched a violent crackdown against a popular uprising in February 2011 in the eastern city of Benghazi.
And when Gathafi was captured and slain last October, the grand mufti ruled the former strongman to be an "infidel," unworthy of prayers.
"The role of the mufti is to provide guidance and counsel," Sheikh Ghariani said in between solemn meetings with citizens seeking answers on how to settle disputes out of court.
Interim government spokesman Nasser al-Manaa says of Sheikh Ghariani that "these days show that many Libyans stand by his words," adding that the authorities themselves will seriously consider any proposal he makes.
No such compass guided the nation during the final years of Gathafi's four-decade rule. A self-proclaimed Arab, African and Islamic leader, Gathafi had a touch-and-go relationship with Islam.
He replaced the Gregorian, solar-based calendar with the Muslim lunar calendar in everyday affairs and declared the Koran should be translated into every language. But he also abolished Dar Al-Ifta, the office for religious edicts, fatwas, and crushed Islamists posing a political threat.
Dar Al-Ifta was formally reinstituted in Tripoli after rebels seized the capital last August.
Indefatigable, the septuagenarian Sheikh Ghariani hosts a weekly TV talk show fielding calls on a range of topics, from how to split inheritances to what is halal (permitted) and haram (forbidden) in Islamic sharia law.
Yet he is modest about his role.
"If no one comes to him (for advice), he approaches no one (with advice)," said the graduate of Cairo's Al-Azhar, the highest centre of Sunni Muslim learning, who issued his fatwas from Benghazi during the 2011 revolution.
Since the outbreak of the Arab Spring last year, a long-running debate on the thorny constitutional question of whether Islam should be "a" source of legislation, or "the" source, has come to the fore across the region.
In August, the NTC issued a provisional declaration that Sharia would be the "primary source" of legislation, raising concerns in the West about religious tolerance and women's rights.
The Mufti clarifies: "We are not saying Islam should be the only source of legislation... What we are saying is that any law that contradicts Islam is invalid."
"Laws created by men are acceptable on the condition that they are not in contradiction with the Koran and Sunna (teachings of the Muslim prophet Mohammed)," he said, adding that 90 percent of the laws on the books pose no problem.
Hence, the longstanding bans on selling alcohol and pork and of licencing brothels will never be revoked.
But there are some laws promulgated under Gathafi that fly in the face of the holy book, including one that allows a person to claim unoccupied property, and one that permits charging interest on loans.
As for politics, Sheikh Ghariani has already issued edicts on the importance of qualified people running for office but declines to define which school of Islamic jurisprudence he draws on for his fatwas.
"Islam is one," he stressed.
Libya is a Sunni Muslim society in which many citizens describe themselves as middle-of-the-road moderates who reject violence.
But the Sufi sect, which practises a mystical form of Islam and has played a historic role in the affairs of the North African nation, now finds itself in conflict with Qatari- and Saudi-trained Salafist preachers who consider it heretical.
The Mufti warns that all groups -- whether the Muslim Brotherhood, Salafists or Sufis -- are vulnerable to radical elements in their ranks seeking to sow chaos.
While downplaying fears Salafist extremists are gaining momentum in post-Gathafi Libya, he said they are a minority and taking advantage of the security vacuum left after Gathafi.
"Such people are a very small segment (of society) and have surfaced now because of the lack of security and stability," he said in reference to scattered cases of zealots entering mosques by force to preach.
"If there were a strong grip on security and everyone who committed a crime faced justice, these people would never have come out, and we would never have heard of them."
At the request of the interim government, he ruled against the desecration of tombs after an attack by Salafists against a cemetery in Benghazi left the graves of World War II heroes gutted.
He also opposes the demolition of Sufi shrines, which have been attacked, and issued an edict to that effect in March after a stand-off between people in the town of Zliten and armed Salafists seeking to destroy a shine there.
The Mufti's position on women reflects view held widely in his society.
Interim leader Abdel Jalil sparked an outcry last year, especially among women rights activists, when he said his country would overturn a Gathafi-era ruling restricting polygamy.
Libya's personal status laws -- which regulate such matters as marriage, divorce, child custody and inheritance -- are already based on the Koran and will probably remain the same or similar in future, he said.
When asked whether a man would need his wife's permission to take a second wife -- a requirement under Gathafi that was rarely put into practice -- he said no, because of a woman's "jealous nature."
"Polygamy is legitimate and there is no controversy in this," he said, arguing it is better than to take a lover and bring illegitimate children into the world and makes men shoulder the responsibility for their offspring.
However, at the same time, he said "we want women to play a strong role in the upcoming phase of elections."
While his views may be as jarring as fingernails on a chalk board to most Western and some Arab feminists, they cause few ripples in Libya, where religious observance underpins every social norm.
"Islam governs all aspects of life, not only Zakat (alms) and Hajj (pilgrimage to Mecca) -- two central tenets of Islam -- but the moment from which a Muslim is conceived to the moment he is buried," says the Mufti.
Saturday, April 21, 2012
Everlasting Influence
By IRNA Staff Writer, *Attar Neishabouri commemorated* - Islamic Republic News Agency - Tehran, Iran; Saturday, April 14, 2012
Attar Neishabouri commemorated
Tehran: Ceremonies marking birth anniversary of eminent Iranian poet Attar Neishabouri were held here as well as in his birthplace Neishabour in Khorassan Razavi province.
Designated as the ‘Day of Commemorating Attar’, April 13 provides an opportunity for experts to study his life and works.
Iranian literati and scholars gathered at the mausoleum of the classical Persian poet as part of the programs to commemorate him.
Attar was a Persian Muslim poet, theoretician of Sufism and hagiographer who left an everlasting influence on Persian poetry and Sufism.
His works are in poetry and prose. ‘Manteq At-Teir’ (conference of birds), his masterpiece, is in poetry while his works in prose include ‘Elahi Nameh’, ‘Asrar Nameh’ and ‘Mosibat Nameh’.
‘Manteq At-Tair’ covers approximately 4,500 verses. It depicts a journey by a group of birds, led by a hoopoe, as an allegory of a leader directing them to the land of Simorgh (mythical bird).
They cross seven valleys longing for meeting Simorgh. The seven valleys symbolizing the seven stages of mysticism.
But not all of the can endure the pains of the journey. A number of them drop out of the journey, each offering an excuse.
Eventually, only thirty birds reach the abode of the Simurgh. But there is no Simurgh to see. Simurgh's chamberlain keeps them waiting for Simurgh long enough for the birds to figure out that they themselves are the si (thirty) murgh (bird).
It is the Sufi doctrine that God is not separate from the universe and every creature is a manifestation of the Creator.
Attar was killed by the invading Mongols. He was buried near Neishabour, Khorassan Razavi province.
Attar Neishabouri commemorated
Tehran: Ceremonies marking birth anniversary of eminent Iranian poet Attar Neishabouri were held here as well as in his birthplace Neishabour in Khorassan Razavi province.
Designated as the ‘Day of Commemorating Attar’, April 13 provides an opportunity for experts to study his life and works.
Iranian literati and scholars gathered at the mausoleum of the classical Persian poet as part of the programs to commemorate him.
Attar was a Persian Muslim poet, theoretician of Sufism and hagiographer who left an everlasting influence on Persian poetry and Sufism.
His works are in poetry and prose. ‘Manteq At-Teir’ (conference of birds), his masterpiece, is in poetry while his works in prose include ‘Elahi Nameh’, ‘Asrar Nameh’ and ‘Mosibat Nameh’.
‘Manteq At-Tair’ covers approximately 4,500 verses. It depicts a journey by a group of birds, led by a hoopoe, as an allegory of a leader directing them to the land of Simorgh (mythical bird).
They cross seven valleys longing for meeting Simorgh. The seven valleys symbolizing the seven stages of mysticism.
But not all of the can endure the pains of the journey. A number of them drop out of the journey, each offering an excuse.
Eventually, only thirty birds reach the abode of the Simurgh. But there is no Simurgh to see. Simurgh's chamberlain keeps them waiting for Simurgh long enough for the birds to figure out that they themselves are the si (thirty) murgh (bird).
It is the Sufi doctrine that God is not separate from the universe and every creature is a manifestation of the Creator.
Attar was killed by the invading Mongols. He was buried near Neishabour, Khorassan Razavi province.
Thursday, April 19, 2012
Peace, Joy and Unity
By News Desk, *Salman Ahmad: Making his way into films* - The Express Tribune - Karachi, Pakistan; Friday, April 13, 2012
Salman Ahmad: Making his way into films
Sufi rockstar Salman Ahmad, who is all set to rock India in an upcoming tour later this month, has a little surprise for his fans in Pakistan and abroad.
Previously, Ahmad was going to New Delhi to perform live for his fans but now the musician has announced that he will be making his Bollywood debut in Vicky Kumar’s musical love story Rhythm, according to timesofindia.com.
Hindustan Times reports that Ahmad’s fan following started strengthening from 1997, when his song “Sayonee” created a rage in India and garnered uninterrupted airtime on television. Now, Junoon, spearheaded by Ahmad, will hit the stage in Mumbai on April 28.
Having undergone numerous line-up changes since the band’s inception in 1990, Junoon currently consists of founder Ahmad on guitar and vocals, John Alec on bass, Sunny Jain on drums and Kedarnath Havaldar on percussion.
Sadly, the current line-up does not include singer Ali Azmat and bassist Brian O’ Connell, two band members who helped the band earn recognition as the pioneer of rock in the subcontinent.
The two-hour long show aims to attract a crowd of 10,000. The Pakistani Sufi rock band is also scheduled to perform in Pune, Delhi and Bangalore.
Event organiser Darpan Trisal says, “We might add on some more cities on the road. Band member, Salman Ahmad has also consented to perform a jugalbandi at the forthcoming Wow awards, the awards which recognise outstanding customer service.”
Junoon’s last concert in India was on February 6, 2010 in Delhi in support of the Lighting a Billion Lives campaign, reports Hindustan Times.
According to Pakistantoday.com, Ahmad, who is based in the US these days, says, “India is the land of junoonis and we want to infuse it with some high-octane junooni (passion) soul.”
He adds, “Many of my Indian friends including actor Naseeruddin Shah, politician Shashi Tharoor, Nobel Peace prize winner Dr Rajendera Pachauri and actor Nandita Das have told me that our music has played a vital role in promoting harmony between India and Pakistan. I hope to further promote peace, joy and unity on the land of Hazrat Amir Khusrau and Khwaja Gharib Nawaz.”
Picture: Salman Ahmad will perform live in India after almost two years. Photo: TET File
Salman Ahmad: Making his way into films
Sufi rockstar Salman Ahmad, who is all set to rock India in an upcoming tour later this month, has a little surprise for his fans in Pakistan and abroad.
Previously, Ahmad was going to New Delhi to perform live for his fans but now the musician has announced that he will be making his Bollywood debut in Vicky Kumar’s musical love story Rhythm, according to timesofindia.com.
Hindustan Times reports that Ahmad’s fan following started strengthening from 1997, when his song “Sayonee” created a rage in India and garnered uninterrupted airtime on television. Now, Junoon, spearheaded by Ahmad, will hit the stage in Mumbai on April 28.
Having undergone numerous line-up changes since the band’s inception in 1990, Junoon currently consists of founder Ahmad on guitar and vocals, John Alec on bass, Sunny Jain on drums and Kedarnath Havaldar on percussion.
Sadly, the current line-up does not include singer Ali Azmat and bassist Brian O’ Connell, two band members who helped the band earn recognition as the pioneer of rock in the subcontinent.
The two-hour long show aims to attract a crowd of 10,000. The Pakistani Sufi rock band is also scheduled to perform in Pune, Delhi and Bangalore.
Event organiser Darpan Trisal says, “We might add on some more cities on the road. Band member, Salman Ahmad has also consented to perform a jugalbandi at the forthcoming Wow awards, the awards which recognise outstanding customer service.”
Junoon’s last concert in India was on February 6, 2010 in Delhi in support of the Lighting a Billion Lives campaign, reports Hindustan Times.
According to Pakistantoday.com, Ahmad, who is based in the US these days, says, “India is the land of junoonis and we want to infuse it with some high-octane junooni (passion) soul.”
He adds, “Many of my Indian friends including actor Naseeruddin Shah, politician Shashi Tharoor, Nobel Peace prize winner Dr Rajendera Pachauri and actor Nandita Das have told me that our music has played a vital role in promoting harmony between India and Pakistan. I hope to further promote peace, joy and unity on the land of Hazrat Amir Khusrau and Khwaja Gharib Nawaz.”
Picture: Salman Ahmad will perform live in India after almost two years. Photo: TET File
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Wednesday, May 09, 2012
Aetiqadi
By Peerzada Ashiq, *Kashmir Sufi preachers deny Delhi patronage* - Hindustan Times - Srinagar, India; Thursday, May 3, 2012
Kashmir Sufi preachers deny Delhi patronage
Srinagar: With separatist leaders raising fingers of suspicion towards Kashmir valley’s fast spreading aetiqadi’s (people who visit shrines for salvation), the Carvaan-e-Islami (CeI) distanced itself from any government patronage on Thursday and vowed their support to “Kashmir’s movement”.
"From Delhi to Srinagar there is propaganda against us. There are people and groups working behind the curtains, who feel threatened, and are maligning our image and portray us in a particular fashion".
"Our name is being dragged in sectarian divide. But we want to clear that our grouping considers Kashmir a dispute and nobody will be allowed to compromise on martyrs’ lives,” said CeI chief Ghulam Rasool Hami in Srinagar without naming any group or institution.
Hami’s statement came in the backdrop of utterances made by moderate and hardline Hurriyat chairman, Mirwaiz Umar Farooq and Syed Ali Shah Geelani respectively, in which they accused New Delhi of patronizing a particular sect in Kashmir, while referring to the CeI.
The Mirwaiz, who is a sufi and also the valley’s head priest, even went ahead with accusing New Delhi of attempts to “Indian-ise and Hinduise” Kashmir’s sufi Islam.
“Our Sufi icons remain people like Shah Hamdam and Hazrat Makhdoom, who are pioneers of Islam in Kashmir. Yes, we do respect Ahmed Raza Khan as being a scholar from Barelvi but nothing more than that. We reject any new Sufi Islam being introduced here but will continue to preach as it was done 600 years ago in Kashmir,” said Hami.
The CeI, which owns a 24X7 channel to preach their version of Islam, organised a huge rally in February this year in which more than one lakh aetiqadis participated.
At present, there are competing ideologies in Kashmir of Deobandi, Wahabi and Ahl al-Hadith. The Wahabi and Ahl al-Hadith Muslims are opposed to the idea of paying obeisance at shrines and pray there. The police suspect that the attack on Peer Jalauddin, an aetiqadi, on March 17 in Srinagar was outcome of growing sectarian divide.
“There is no sectarian divide. Kashmir has centuries old history of tolerance and sense of pluralism. There is a deliberate attempt to break our unity, which we will not allow,” said Hami.
The CeI also distanced itself from state information director Farooq Renzu, who was part of their many rallies. “Renzu is not our member. We do not give membership to any bureaucrat. It’s unfortunate if any bureaucrat uses this platform for his petty interests,” said Hami.
The grouping also denied receiving any money from the sanctioned human resource development funds of Rs. 8.86 crore for Kashmir under the Scheme for Providing Quality Education (SPQEM) for madrasas.
“We neither applied for any grants nor received any till date. Our investigations revealed that either bank accounts don’t exist or there are fake institutions. The government figures is an attempt to defame us,” said Ghulam Rasool Hami, whose body governs more than 100 seminaries in the valley and Jammu regions.
The government in March claimed to have received 362 proposals through directorate of school education both in Jammu and Kashmir regions, most from CeI madrasas. Around Rs. 7 crore stands released after reverification of these madrasas for modern education, says the government report.
To diffuse sectarian tension, Hurriyat chairman Geelani, who is pro-Jamiat-e-Islami, is organizing a daylong conference of Muslim intellectuals and groups from all sects on May 5 to thrash out the issue.
“Unity is need of the hour. Attempts are being made to promote sectarian divide to dwarf the real issue of Kashmir,” said Geelani.
[Picture: Shah Hamadhan on a Tajikistani Somoni. Photo: Wiki].
Read More
Kashmir Sufi preachers deny Delhi patronage
Srinagar: With separatist leaders raising fingers of suspicion towards Kashmir valley’s fast spreading aetiqadi’s (people who visit shrines for salvation), the Carvaan-e-Islami (CeI) distanced itself from any government patronage on Thursday and vowed their support to “Kashmir’s movement”.
"From Delhi to Srinagar there is propaganda against us. There are people and groups working behind the curtains, who feel threatened, and are maligning our image and portray us in a particular fashion".
"Our name is being dragged in sectarian divide. But we want to clear that our grouping considers Kashmir a dispute and nobody will be allowed to compromise on martyrs’ lives,” said CeI chief Ghulam Rasool Hami in Srinagar without naming any group or institution.
Hami’s statement came in the backdrop of utterances made by moderate and hardline Hurriyat chairman, Mirwaiz Umar Farooq and Syed Ali Shah Geelani respectively, in which they accused New Delhi of patronizing a particular sect in Kashmir, while referring to the CeI.
The Mirwaiz, who is a sufi and also the valley’s head priest, even went ahead with accusing New Delhi of attempts to “Indian-ise and Hinduise” Kashmir’s sufi Islam.
“Our Sufi icons remain people like Shah Hamdam and Hazrat Makhdoom, who are pioneers of Islam in Kashmir. Yes, we do respect Ahmed Raza Khan as being a scholar from Barelvi but nothing more than that. We reject any new Sufi Islam being introduced here but will continue to preach as it was done 600 years ago in Kashmir,” said Hami.
The CeI, which owns a 24X7 channel to preach their version of Islam, organised a huge rally in February this year in which more than one lakh aetiqadis participated.
At present, there are competing ideologies in Kashmir of Deobandi, Wahabi and Ahl al-Hadith. The Wahabi and Ahl al-Hadith Muslims are opposed to the idea of paying obeisance at shrines and pray there. The police suspect that the attack on Peer Jalauddin, an aetiqadi, on March 17 in Srinagar was outcome of growing sectarian divide.
“There is no sectarian divide. Kashmir has centuries old history of tolerance and sense of pluralism. There is a deliberate attempt to break our unity, which we will not allow,” said Hami.
The CeI also distanced itself from state information director Farooq Renzu, who was part of their many rallies. “Renzu is not our member. We do not give membership to any bureaucrat. It’s unfortunate if any bureaucrat uses this platform for his petty interests,” said Hami.
The grouping also denied receiving any money from the sanctioned human resource development funds of Rs. 8.86 crore for Kashmir under the Scheme for Providing Quality Education (SPQEM) for madrasas.
“We neither applied for any grants nor received any till date. Our investigations revealed that either bank accounts don’t exist or there are fake institutions. The government figures is an attempt to defame us,” said Ghulam Rasool Hami, whose body governs more than 100 seminaries in the valley and Jammu regions.
The government in March claimed to have received 362 proposals through directorate of school education both in Jammu and Kashmir regions, most from CeI madrasas. Around Rs. 7 crore stands released after reverification of these madrasas for modern education, says the government report.
To diffuse sectarian tension, Hurriyat chairman Geelani, who is pro-Jamiat-e-Islami, is organizing a daylong conference of Muslim intellectuals and groups from all sects on May 5 to thrash out the issue.
“Unity is need of the hour. Attempts are being made to promote sectarian divide to dwarf the real issue of Kashmir,” said Geelani.
[Picture: Shah Hamadhan on a Tajikistani Somoni. Photo: Wiki].
Tuesday, May 08, 2012
Once Been Hostile
By Tom Perry with Peter Graff, *Islamist stakes claim to Egypt middle ground* - Reuters - U.S. Edition - Monday, April 30, 2012
Islamist stakes claim to Egypt middle ground
Cairo: Abdel Moneim Abol Fotouh was jailed by Hosni Mubarak but has emerged as a front-runner for his old job as president of Egypt, staking claim to the political centre in this nascent democracy with a moderate Islamist platform that has found broad appeal.
A senior figure in the Muslim Brotherhood until he parted ways with the group last year, he is part of the generation of Islamist activists that spawned al Qaeda leader Ayman al-Zawahiri. Both doctors, they spent time in adjoining jail cells in 1981. For the most part, that's where the similarities end.
Abol Fotouh presents himself as a champion of moderate Islam, yet he has been able to win the backing of hardliners thanks partly to a political brain which many say sets him apart from the Brotherhood. Even some liberals, impressed by his reformist zeal, say they could vote for the bespectacled 60-year old.
With his presidential bid, he is charting new waters for the Islamist mainstream, reaching out to the tens of millions of Egyptians who played no role in politics in Mubarak's days but are expected to flock to the polls for the May 23-24 vote.
"It's the Egyptian mainstream I am banking on, the ones I have been working to win over since I started my campaign, who make up more than 90 percent of Egyptians ... who understand (Islamic) sharia law correctly," he said in an April 23 television interview. "Wherever we look out for people's interests, we serve them, we are implementing God's law."
If the sketchy opinion polls that are available are anything to go by, Abol Fotouh is doing well. A poll published on Monday by a state-run research centre showed him second to ex-Arab League chief Amr Moussa and polling well ahead of Mohamed Mursi, the candidate fielded by the Muslim Brotherhood.
Abol Fotouh was expelled from the group last year over his decision to seek the presidency - a move that defied its wishes.
At that stage, the Brotherhood had decided against running. Abol Fotouh's departure from the Brotherhood seemed an inevitable step for a reform-minded politician who had been at odds with the conservatives who still run the movement.
"He is not afraid of anyone," said Mohamed Habib, a former deputy head of the Brotherhood, recalling two occasions in 2009 when Abol Fotouh had clashed with Mahdi Akef, then the leader of the group. "He is brave and decisive," added Habib, who also left the group last year and plans to vote for Abol Fotouh.
As a student leader in the 1970s, Abol Fotouh is remembered for confronting President Anwar Sadat in a debate, famously telling him he was surrounded by hypocrites.
In 1981, he was arrested by the Sadat government in a crackdown against dissidents. Under Mubarak, his activism landed him in jail twice for a total of more than six years.
REACHING OUT
Campaigning under the slogan "Strong Egypt", Abol Fotouh has stressed the need to finish the country's unfinished revolution by rooting out remnants of the Mubarak era from the state.
He pledges to increase health and education spending, to make Egypt's army the most powerful in the region and to turn its economy into one of the 20 strongest in the world. His program says he will adhere to Islamic law.
Like other candidates, he has called for a review of Egypt's 1979 peace treaty with Israel, which he says was "imposed" on Egypt.
While the Brotherhood has faced broad criticism for alienating other parties in the year since Mubarak was toppled, Abol Fotouh is credited with reaching out across the political spectrum.
His efforts appear to be paying dividends. While the Brotherhood's Mursi has tried to cast himself as the only Islamist in the race, Abol Fotouh managed to convince leading hardline Salafi groups they should endorse him instead.
The Nour Party, a Salafi group that won a fifth of the seats in parliament, has endorsed him. So too has al-Gama'a al-Islamiya, a Salafi group that took up arms against the state but disavowed violence in 1997.
The Wasat Party, a centrist party run by ex-Brotherhood members who left in the 1990s, has also endorsed Abol Fotouh.
A member of the Brotherhood's executive board from 1987 to 2009, Abol Fotouh still commands respect in the group. His candidacy is also endorsed by Sheikh Yousef al-Qaradawi, a cleric held in high regard by Brotherhood followers.
"In terms of ideology, there is little difference to me between Mursi and Abdel Moneim. As for the organization, of course there is a difference, but the idea is the same," Helmi el-Gazzar, a Brotherhood member of parliament, told Reuters.
Habib, the former Brotherhood leader, said much of Abol Fotouh's Islamist vision tallied with the Brotherhood's, though he was more liberal than some of its members on issues such as the right of Christians and women to seek the presidency.
In a recently published book, Abol Fotouh reflects on how he had once been hostile towards Sufism, or Islamic mysticism, but moderated his views after meeting Sufi Muslims at university.
Some of his critics say Abol Fotouh is trying to be all things to all people. But he says there has been no change in his views since he quit the Brotherhood.
In his April 23 interview, Abol Fotouh said: "I have not changed my principles or ideas regardless of my administrative link: whether I was Brotherhood or now I am outside the administration of the Brotherhood."
He added: "I don't think there is a fair liberal, or a fair Salafi, or a fair leftist, who says Dr. Abdel Moneim says one thing and hides another."
Read More
Islamist stakes claim to Egypt middle ground
Cairo: Abdel Moneim Abol Fotouh was jailed by Hosni Mubarak but has emerged as a front-runner for his old job as president of Egypt, staking claim to the political centre in this nascent democracy with a moderate Islamist platform that has found broad appeal.
A senior figure in the Muslim Brotherhood until he parted ways with the group last year, he is part of the generation of Islamist activists that spawned al Qaeda leader Ayman al-Zawahiri. Both doctors, they spent time in adjoining jail cells in 1981. For the most part, that's where the similarities end.
Abol Fotouh presents himself as a champion of moderate Islam, yet he has been able to win the backing of hardliners thanks partly to a political brain which many say sets him apart from the Brotherhood. Even some liberals, impressed by his reformist zeal, say they could vote for the bespectacled 60-year old.
With his presidential bid, he is charting new waters for the Islamist mainstream, reaching out to the tens of millions of Egyptians who played no role in politics in Mubarak's days but are expected to flock to the polls for the May 23-24 vote.
"It's the Egyptian mainstream I am banking on, the ones I have been working to win over since I started my campaign, who make up more than 90 percent of Egyptians ... who understand (Islamic) sharia law correctly," he said in an April 23 television interview. "Wherever we look out for people's interests, we serve them, we are implementing God's law."
If the sketchy opinion polls that are available are anything to go by, Abol Fotouh is doing well. A poll published on Monday by a state-run research centre showed him second to ex-Arab League chief Amr Moussa and polling well ahead of Mohamed Mursi, the candidate fielded by the Muslim Brotherhood.
Abol Fotouh was expelled from the group last year over his decision to seek the presidency - a move that defied its wishes.
At that stage, the Brotherhood had decided against running. Abol Fotouh's departure from the Brotherhood seemed an inevitable step for a reform-minded politician who had been at odds with the conservatives who still run the movement.
"He is not afraid of anyone," said Mohamed Habib, a former deputy head of the Brotherhood, recalling two occasions in 2009 when Abol Fotouh had clashed with Mahdi Akef, then the leader of the group. "He is brave and decisive," added Habib, who also left the group last year and plans to vote for Abol Fotouh.
As a student leader in the 1970s, Abol Fotouh is remembered for confronting President Anwar Sadat in a debate, famously telling him he was surrounded by hypocrites.
In 1981, he was arrested by the Sadat government in a crackdown against dissidents. Under Mubarak, his activism landed him in jail twice for a total of more than six years.
REACHING OUT
Campaigning under the slogan "Strong Egypt", Abol Fotouh has stressed the need to finish the country's unfinished revolution by rooting out remnants of the Mubarak era from the state.
He pledges to increase health and education spending, to make Egypt's army the most powerful in the region and to turn its economy into one of the 20 strongest in the world. His program says he will adhere to Islamic law.
Like other candidates, he has called for a review of Egypt's 1979 peace treaty with Israel, which he says was "imposed" on Egypt.
While the Brotherhood has faced broad criticism for alienating other parties in the year since Mubarak was toppled, Abol Fotouh is credited with reaching out across the political spectrum.
His efforts appear to be paying dividends. While the Brotherhood's Mursi has tried to cast himself as the only Islamist in the race, Abol Fotouh managed to convince leading hardline Salafi groups they should endorse him instead.
The Nour Party, a Salafi group that won a fifth of the seats in parliament, has endorsed him. So too has al-Gama'a al-Islamiya, a Salafi group that took up arms against the state but disavowed violence in 1997.
The Wasat Party, a centrist party run by ex-Brotherhood members who left in the 1990s, has also endorsed Abol Fotouh.
A member of the Brotherhood's executive board from 1987 to 2009, Abol Fotouh still commands respect in the group. His candidacy is also endorsed by Sheikh Yousef al-Qaradawi, a cleric held in high regard by Brotherhood followers.
"In terms of ideology, there is little difference to me between Mursi and Abdel Moneim. As for the organization, of course there is a difference, but the idea is the same," Helmi el-Gazzar, a Brotherhood member of parliament, told Reuters.
Habib, the former Brotherhood leader, said much of Abol Fotouh's Islamist vision tallied with the Brotherhood's, though he was more liberal than some of its members on issues such as the right of Christians and women to seek the presidency.
In a recently published book, Abol Fotouh reflects on how he had once been hostile towards Sufism, or Islamic mysticism, but moderated his views after meeting Sufi Muslims at university.
Some of his critics say Abol Fotouh is trying to be all things to all people. But he says there has been no change in his views since he quit the Brotherhood.
In his April 23 interview, Abol Fotouh said: "I have not changed my principles or ideas regardless of my administrative link: whether I was Brotherhood or now I am outside the administration of the Brotherhood."
He added: "I don't think there is a fair liberal, or a fair Salafi, or a fair leftist, who says Dr. Abdel Moneim says one thing and hides another."
Monday, May 07, 2012
Superb Sculpting
By Dr Mahjabeen Islam, *Book Review: An emotional pendulum — By Dr Mahjabeen Islam* - Daily Times - Lahore, Pakistan; Tuesday, March 1, 2012
Book Review: An emotional pendulum
American Dervish
Author: Ayad Akhtar
Publisher: Little, Brown and Co. (January 2012)
357 pages
I have always preferred non-fiction. Ayad Akhtar’s entrancing novel American Dervish has caused me to shift a bit toward fiction. The protagonist, like the author, grows up in the US’s Midwest and the passion and certitude in the pages makes the reader consider that perhaps, the novel is a bit of an autobiography.
The charms of the book are many. Akhtar is a maestro of language; his style flows despite the usage of several words that one does not come across generally. One feels superb sculpting of the story without a hint of verbosity, just a draw to pick up the book again quickly.
The incredulity and innocence of a ten-year-old is another winner. The simplicity with which Hayat Shah reports arguments and events in his family underscores the very convoluted nature of adults. The small Midwestern Pakistani-American family’s life changes rather dramatically with the arrival of Mina, Hayat’s mother’s best friend. Hayat’s mother for some reason has a masculine name — Muneer-- and interestingly, his father’s is a unisex one too: Naveed. It might have been less jarring to have transposed the names, but it is of no matter.
Akhtar depicts the culture well, but behta is phonetically incorrect; the word for child is beta or baita in Urdu. Initially, I found bhaj confusing and then realised that he was using the short form for baji or older sister. It should have been abbreviated baaj and not bhaj for the latter spelling sounds like a short form for a vegetable.
Hayat’s infatuation with Mina and how a ten-year-old deals with its turbulence is poignantly portrayed. Akhtar is deft at this and the reader acquiesces in what would be classified as an unnatural relationship. What is more, in the detail of this relationship, all others that we have had, however odd and unconventional, find a strange vindication.
The story does not build up, the book is a veritable pendulum of emotions; taking the reader from one crisis to another storm. Perhaps that is why it does not drag.
Besides the language, Akhtar is grounded in his knowledge of the Quran and in page after page, events in Hayat’s life are correlated with the Quranic verses smoothly. The reader senses Hayat’s tender wonderment vicariously. The verses appear, sometimes in such profusion and detail though that it almost has a proselytizing feel.
The spectrum of opinion with regard to Jews is delivered very aptly. Muneer typifies Muslims that love and respect the Jews, especially Jewish men, and then there is the venom that Imam Souhef and Dr Ghaleb Chatha spew. This is palpable in the American-Muslim community; rarely are people indifferent, they follow the all or none law — effusively awed by the Jews or tightly wound with antipathy. The ill logic is even starker when seen through the eyes of a child.
Patriarchy, male chauvinism and domestic violence are alive and practised with impunity by Chatha and Mina’s first and second husbands. Dr Chatha’s wife pulls in a literal interpretation of a Quranic verse to become not just a willing victim but desirous of a beating, for in her mind she “needs it”.
Mina’s God-centred view of life and her capsules of Sufism provide for the deep joy in the narrative. “To be a Sufi means to depend on nothing, to want nothing and to be nothing. A Sufi is a day that needs no sun, a night that needs no moon, no stars. A Sufi is like the dust on the ground that no one knows is even there.”And amazingly, “This is what life is behta. It grinds us to dust. The Sufi is just someone that does not fight it. He knows that being ground to nothing is not bad. It’s the way to God.”
American Dervish is one of those books in which the end is essentially disclosed at the start of the book. The narrative is magnetic and yet before you are quite ready, it’s done. Every chance I got, I found myself reading the book, loving the roller-coaster feel, and suddenly one feels like a giant wall accordions you, and it’s over. The languid feel of the book should have been carried right to the end. I didn’t like the wall. Yet I know that my mind is spinning from the story and not the sudden end.
Ayad Akhtar is an actor, playwright and novelist and American Dervish is his debut work of fiction. He is working on his second novel while he continues to direct plays in New York City. Until his second novel appears, I just might go for a second helping of American Dervish. So much for not liking fiction!
The reviewer is a columnist, family physician and addictionist with a practice in Toledo Ohio. She can be reached at mahjabeen.islam@gmail.com
Read More
Book Review: An emotional pendulum
American Dervish
Author: Ayad Akhtar
Publisher: Little, Brown and Co. (January 2012)
357 pages
I have always preferred non-fiction. Ayad Akhtar’s entrancing novel American Dervish has caused me to shift a bit toward fiction. The protagonist, like the author, grows up in the US’s Midwest and the passion and certitude in the pages makes the reader consider that perhaps, the novel is a bit of an autobiography.
The charms of the book are many. Akhtar is a maestro of language; his style flows despite the usage of several words that one does not come across generally. One feels superb sculpting of the story without a hint of verbosity, just a draw to pick up the book again quickly.
The incredulity and innocence of a ten-year-old is another winner. The simplicity with which Hayat Shah reports arguments and events in his family underscores the very convoluted nature of adults. The small Midwestern Pakistani-American family’s life changes rather dramatically with the arrival of Mina, Hayat’s mother’s best friend. Hayat’s mother for some reason has a masculine name — Muneer-- and interestingly, his father’s is a unisex one too: Naveed. It might have been less jarring to have transposed the names, but it is of no matter.
Akhtar depicts the culture well, but behta is phonetically incorrect; the word for child is beta or baita in Urdu. Initially, I found bhaj confusing and then realised that he was using the short form for baji or older sister. It should have been abbreviated baaj and not bhaj for the latter spelling sounds like a short form for a vegetable.
Hayat’s infatuation with Mina and how a ten-year-old deals with its turbulence is poignantly portrayed. Akhtar is deft at this and the reader acquiesces in what would be classified as an unnatural relationship. What is more, in the detail of this relationship, all others that we have had, however odd and unconventional, find a strange vindication.
The story does not build up, the book is a veritable pendulum of emotions; taking the reader from one crisis to another storm. Perhaps that is why it does not drag.
Besides the language, Akhtar is grounded in his knowledge of the Quran and in page after page, events in Hayat’s life are correlated with the Quranic verses smoothly. The reader senses Hayat’s tender wonderment vicariously. The verses appear, sometimes in such profusion and detail though that it almost has a proselytizing feel.
The spectrum of opinion with regard to Jews is delivered very aptly. Muneer typifies Muslims that love and respect the Jews, especially Jewish men, and then there is the venom that Imam Souhef and Dr Ghaleb Chatha spew. This is palpable in the American-Muslim community; rarely are people indifferent, they follow the all or none law — effusively awed by the Jews or tightly wound with antipathy. The ill logic is even starker when seen through the eyes of a child.
Patriarchy, male chauvinism and domestic violence are alive and practised with impunity by Chatha and Mina’s first and second husbands. Dr Chatha’s wife pulls in a literal interpretation of a Quranic verse to become not just a willing victim but desirous of a beating, for in her mind she “needs it”.
Mina’s God-centred view of life and her capsules of Sufism provide for the deep joy in the narrative. “To be a Sufi means to depend on nothing, to want nothing and to be nothing. A Sufi is a day that needs no sun, a night that needs no moon, no stars. A Sufi is like the dust on the ground that no one knows is even there.”And amazingly, “This is what life is behta. It grinds us to dust. The Sufi is just someone that does not fight it. He knows that being ground to nothing is not bad. It’s the way to God.”
American Dervish is one of those books in which the end is essentially disclosed at the start of the book. The narrative is magnetic and yet before you are quite ready, it’s done. Every chance I got, I found myself reading the book, loving the roller-coaster feel, and suddenly one feels like a giant wall accordions you, and it’s over. The languid feel of the book should have been carried right to the end. I didn’t like the wall. Yet I know that my mind is spinning from the story and not the sudden end.
Ayad Akhtar is an actor, playwright and novelist and American Dervish is his debut work of fiction. He is working on his second novel while he continues to direct plays in New York City. Until his second novel appears, I just might go for a second helping of American Dervish. So much for not liking fiction!
The reviewer is a columnist, family physician and addictionist with a practice in Toledo Ohio. She can be reached at mahjabeen.islam@gmail.com
Sunday, May 06, 2012
One of the Foremost
By Staff Reporter, *Abida Parveen hospitalised* - Dawn.Com - Pakistan; Tuesday, May 1, 2012
Abida Parveen Hospitalised
New Delhi: Eminent singer Abida Parveen was hospitalised here on Monday for cardiac problems. Doctors at the Medanta City Hospital said she would undergo angioplasty.
According to APP, Pakistan’s High Commissioner Shahid Malik called on the singer and presented a bouquet on behalf of President Asif Ali Zardari.
Picture: Legendary Sufi singer Abida Parveen of Pakistan, center, performs to a sold-out crowd at Humayun's Tomb during the Jahan-e-Khusrau Sufi Music Festival in New Delhi, India, Sunday, March 4, 2012. Parveen, who sings mostly in Urdu, is one of the foremost musicians in modern Sufi music. Photo: AP Photo.
Read More
Abida Parveen Hospitalised
New Delhi: Eminent singer Abida Parveen was hospitalised here on Monday for cardiac problems. Doctors at the Medanta City Hospital said she would undergo angioplasty.
According to APP, Pakistan’s High Commissioner Shahid Malik called on the singer and presented a bouquet on behalf of President Asif Ali Zardari.
Picture: Legendary Sufi singer Abida Parveen of Pakistan, center, performs to a sold-out crowd at Humayun's Tomb during the Jahan-e-Khusrau Sufi Music Festival in New Delhi, India, Sunday, March 4, 2012. Parveen, who sings mostly in Urdu, is one of the foremost musicians in modern Sufi music. Photo: AP Photo.
Saturday, May 05, 2012
Layers of Meanings
By Merve Büşra Öztürk, *Arab poet Nawwab presents her Sufism-themed book of poems in Turkey* - Today's Zaman - Istanbul, Turkey; Sunday, April 29, 2012
Arab poet Nawwab presents her Sufism-themed book of poems in Turkey
Nimah Ismail Nawwab, known as the voice of Arab women and youth, was in İstanbul last week to launch her latest book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia,” in Turkey.
Nawwab, an internationally published poet and photographer, a Young Global Leader and keynote speaker, descends from a long line of scholars from Mecca, Saudi Arabia. She was the first female Saudi Arabian poet to be published in the US and is heavily engaged in critical and emerging issues involving women and youth empowerment, seeking to build bridges of understanding to establish global peace and rapport.
“Canvas of the Soul,” which comes eight years after Nawwab’s pioneering work “The Unfurling,” features Islamic art and calligraphy and is a spiritual volume similar to the works of Rumi and other mystic poets.
Speaking in an interview with Sunday’s Zaman during her recent book tour here, Nawwab noted that her poetry does not aim to convey one certain meaning or give a specific message; it urges the reader to find their own meaning. “I am an artist; not just a poet, writer or photographer. And the beauty of art for an artist is to convey meanings through different layers of meanings. Whether you are a writer or a photographer, the mission of an artist is to convey deep meanings through short, brief works. Every time you look at a work, you should get another meaning. I can write a lot of works. I am a writer -- I can write 500 works. But the hard thing is to carefully put the meaning in a short but precise and concise work.”
When asked if her book was a painting what the canvas would be, Nawwab said: “I prefer to leave it to the reader to discover. The main idea is really peace, tranquility and the connection with the One, our Beloved. And a lot of things [in the book] are dream-like attempts of seeking, questioning, looking for something. So the messages in the poems vary on the thing the reader seeks.”
Nawwab’s poems have been reviewed many times by prominent Muslim figures, including Seyyed Hossein Nasr, writer and professor of Islamic studies at George Washington University; singer Sami Yusuf; writer Shems Friedlander; and Professor James Morris of the department of theology at Boston College and president of the Rumi Institute’s international advisory council.
Nasr described Nawwab as “a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi-inspired poetry that is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry.”
Friedlander wrote: “Nimah Nawwab was born into the lineage of a family of scholars in Makkah [Mecca]. Her poems unfold the living landscapes, the horizons that hold the signs spoken of in the Quran, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man.”
Nawwab says it is a blessing to be able to get these reviews. “All of these artists are of different fields, different segments of society, and they are people having different interests in life. Yet they are all spiritual people; that’s what brings them all together. This is what makes it special. Each reviewer noticed something. That’s what is great about different reviewers. Each one noticed something else and hooked on to it.”
Regarding her sources of inspiration, Nawwab has underlined her interest in world religions and the significance of knowing more about other cultures and religions. “Knowing more about other cultures is one of the things I want to have in my life, but it is not easy to have in Saudi Arabia. We can’t have it in our schools or system. We need to study the Bible, the Torah in order to understand because there are similarities and there are differences. Every time I am in a hotel in the US or in other countries, there is always a Bible at the hotel and I always take it up and read. I also get inspired by them. I have some poems in ‘Unfurling’ that refer to the Bible. Also, what I enjoy doing is to talk with people from other religions and exchanging ideas with them. This makes you think more of your own religion and appreciate the depth of it. But you also appreciate others’. And we shouldn’t think of those as others, though. I don’t like the word … ‘others.’ And I don’t like the word … ‘tolerance.’ The word ‘tolerance’ itself means that you don’t like it but you are tolerating, there is no dignity to it. It should be respecting, accepting, instead. These are the words we should use.”
Nawwab’s poetry mostly focuses on Sufism, a mystical Islamic belief and practice in which Muslims seek to find the truth of divine love and knowledge through direct personal experience of God.
We think we do, but we don’t actually know much about Sufism, Nawwab said. “I learned Sufism through Shems. [A] few years ago, I met him in Cairo and he gave me some books: a book he wrote about Mevlana [Rumi] and a DVD of him called ‘The Circles of Remembrance.’ He did not say anything about Sufism or that he is a Sufi. He did not want me to have any positive or negative ideas beforehand and he just gave me the books. When I read them I got interested in Mevlana’s works so much. And last year I went to Konya [where Rumi’s tomb is located]. I felt like I was at home.”
Nawwab’s poems, which are written in English, have been translated into Japanese, Chinese, Portuguese and Arabic and will soon be translated into French, German and Urdu. We need someone who is good with poetry to translate them into Turkish, too, she said.
Picture: Nimah Ismail Nawwab offers a collection of spiritual poems similar to the works of Rumi and other mystic poets in her book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia.” Photo: Sunday’s Zaman.
Read More
Arab poet Nawwab presents her Sufism-themed book of poems in Turkey
Nimah Ismail Nawwab, known as the voice of Arab women and youth, was in İstanbul last week to launch her latest book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia,” in Turkey.
Nawwab, an internationally published poet and photographer, a Young Global Leader and keynote speaker, descends from a long line of scholars from Mecca, Saudi Arabia. She was the first female Saudi Arabian poet to be published in the US and is heavily engaged in critical and emerging issues involving women and youth empowerment, seeking to build bridges of understanding to establish global peace and rapport.
“Canvas of the Soul,” which comes eight years after Nawwab’s pioneering work “The Unfurling,” features Islamic art and calligraphy and is a spiritual volume similar to the works of Rumi and other mystic poets.
Speaking in an interview with Sunday’s Zaman during her recent book tour here, Nawwab noted that her poetry does not aim to convey one certain meaning or give a specific message; it urges the reader to find their own meaning. “I am an artist; not just a poet, writer or photographer. And the beauty of art for an artist is to convey meanings through different layers of meanings. Whether you are a writer or a photographer, the mission of an artist is to convey deep meanings through short, brief works. Every time you look at a work, you should get another meaning. I can write a lot of works. I am a writer -- I can write 500 works. But the hard thing is to carefully put the meaning in a short but precise and concise work.”
When asked if her book was a painting what the canvas would be, Nawwab said: “I prefer to leave it to the reader to discover. The main idea is really peace, tranquility and the connection with the One, our Beloved. And a lot of things [in the book] are dream-like attempts of seeking, questioning, looking for something. So the messages in the poems vary on the thing the reader seeks.”
Nawwab’s poems have been reviewed many times by prominent Muslim figures, including Seyyed Hossein Nasr, writer and professor of Islamic studies at George Washington University; singer Sami Yusuf; writer Shems Friedlander; and Professor James Morris of the department of theology at Boston College and president of the Rumi Institute’s international advisory council.
Nasr described Nawwab as “a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi-inspired poetry that is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry.”
Friedlander wrote: “Nimah Nawwab was born into the lineage of a family of scholars in Makkah [Mecca]. Her poems unfold the living landscapes, the horizons that hold the signs spoken of in the Quran, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man.”
Nawwab says it is a blessing to be able to get these reviews. “All of these artists are of different fields, different segments of society, and they are people having different interests in life. Yet they are all spiritual people; that’s what brings them all together. This is what makes it special. Each reviewer noticed something. That’s what is great about different reviewers. Each one noticed something else and hooked on to it.”
Regarding her sources of inspiration, Nawwab has underlined her interest in world religions and the significance of knowing more about other cultures and religions. “Knowing more about other cultures is one of the things I want to have in my life, but it is not easy to have in Saudi Arabia. We can’t have it in our schools or system. We need to study the Bible, the Torah in order to understand because there are similarities and there are differences. Every time I am in a hotel in the US or in other countries, there is always a Bible at the hotel and I always take it up and read. I also get inspired by them. I have some poems in ‘Unfurling’ that refer to the Bible. Also, what I enjoy doing is to talk with people from other religions and exchanging ideas with them. This makes you think more of your own religion and appreciate the depth of it. But you also appreciate others’. And we shouldn’t think of those as others, though. I don’t like the word … ‘others.’ And I don’t like the word … ‘tolerance.’ The word ‘tolerance’ itself means that you don’t like it but you are tolerating, there is no dignity to it. It should be respecting, accepting, instead. These are the words we should use.”
Nawwab’s poetry mostly focuses on Sufism, a mystical Islamic belief and practice in which Muslims seek to find the truth of divine love and knowledge through direct personal experience of God.
We think we do, but we don’t actually know much about Sufism, Nawwab said. “I learned Sufism through Shems. [A] few years ago, I met him in Cairo and he gave me some books: a book he wrote about Mevlana [Rumi] and a DVD of him called ‘The Circles of Remembrance.’ He did not say anything about Sufism or that he is a Sufi. He did not want me to have any positive or negative ideas beforehand and he just gave me the books. When I read them I got interested in Mevlana’s works so much. And last year I went to Konya [where Rumi’s tomb is located]. I felt like I was at home.”
Nawwab’s poems, which are written in English, have been translated into Japanese, Chinese, Portuguese and Arabic and will soon be translated into French, German and Urdu. We need someone who is good with poetry to translate them into Turkish, too, she said.
Picture: Nimah Ismail Nawwab offers a collection of spiritual poems similar to the works of Rumi and other mystic poets in her book of poetry, “Canvas of the Soul: Mystic Poems from the Heartland of Arabia.” Photo: Sunday’s Zaman.
Friday, May 04, 2012
Timbuktu rejects al-Qaeda
By Jemal Oumar,*Timbuktu rejects al-Qaeda* - Magharebia - USA; Friday, April 27, 2012
Timbuktu rejects al-Qaeda: Timbuktu residents are determined to stop them.
Al-Qaeda in the Islamic Maghreb (AQIM) and Ansar al-Din are not receiving a warm welcome in Azawad.
Days after Touareg rebel Iyad Ag Ghaly's Islamist group seized Timbuktu with the help of al-Qaeda, residents struck their first blow against what they called the "Islamic and foreign groups in the region" by staging a protest on Friday (April 20th).
"Elements of al-Qaeda and Ansar al-Din tried to stop the march, but young people ignored them," an official of the Belferandi mosque told Magharebia.
Northern Mali's strong cultural pride, Touareg heritage, affinity for Sufism and respect for women's freedom make them deaf to the extremists' message. They are vocal about their refusal to let their UNESCO World Heritage Site be held hostage by Islamic hardliners.
"We held our own banners to show our rejection of al-Qaeda and the carriers of black flags [Salafists]," Elhassan Cissé, a bus driver in Timbuktu, tells Magharebia.
"The people who took part in the march were very angry with the behaviour of al-Qaeda and Ansar al-Din because they enter people's houses, break their belongings and intervene in the details of their lives," he adds.
Local imam Daoud Ibn Mohammed explains that Timbuktu residents sought to do more with their rally that condemn the presence of extremists and denounce the new al-Qaeda affiliated wali.
"They also wanted to protest against the behaviour of the new leaders," the imam says. "The way they run our lives led to acute food shortages and the spread of hunger and poverty among the people."
Extremist groups have allied to control the Azawad region as a prelude to controlling all of Mali, analyst al-Mokhtar al-Salem warns. But that will prove impossible in a region where the values of openness and tolerance prevail, he adds.
"Women, for example, move around without veils and enjoy much freedom in management and leadership," al-Salem says. "It would be difficult to apply strict Islamic laws in a society that has habits and traditions which run against repression and restriction."
Mali is much different than places where al-Qaeda gained a foothold, such as Afghanistan, he points out.
"Afghan society is controlled by traditions that don't give women any right to express their desires, and therefore, it constituted a suitable ground for the infiltration of al-Qaeda ideology," Al-Salem says.
Another factor that leads Azawad residents to reject al-Qaeda is their pride in their patrimony.
For centuries, the area has been a crossroads of religion and culture known for its tolerance. Residents were outraged when gangs recently raided symbols of Christianity in Gao, Kidal and Timbuktu and looted the cities' cultural landmarks, such as Timbuktu's Ahmed Baba Institute of Higher Islamic Studies and Research (IHERI-AB).
Sufism, which stresses mysticism and moderation, is also popular in the region.
"The spread of Sufi ideology among Timbuktu residents is one of the reasons that made them reject extremist ideology, because al-Qaeda usually accuses those who embrace Sufism of kufr," said Mubarak Ag Mohamed, a member of the media office in the National Movement for the Liberation of Azawad (MNLA).
Abdel Hamid al-Ansari, an analyst and academic in Timbuktu, complains that "Ansar al-Din and their al-Qaeda allies have disfigured the bright image of religion".
"Applying Islamic Sharia has only brought poverty, hunger and devastation to Timbuktu and aggravated people's sense of injustice, repression of individual and collective freedoms, prompting them to take to streets to condemn it," al-Ansari says.
This public outcry arose as soon as the terrorists "said they would raid shops, force women to wear the veil, and impose religious education", he tells Magharebia. "These practices are not acceptable in this city, which carried the banner of real Islam in the region."
If the terrorists are still determined to control the region, even in the face of this public rejection, they will be hard pressed to supply, electricity, water and food, he notes. They are not prepared to do the job of the Malian government.
Sid Ahmed Ould Tfeil, an analyst of Salafist groups, is not surprised that Azawad rejected the extremists. For starters, the Malians suddenly found themselves under the control of a foreigner.
As part of their deal with AQIM, Ansar al-Din appointed Algerian national and al-Qaeda emir Yahya Abou al-Hammam (real name Jemal Oukacha) as the local governor. He was named wali of Timbuktu because he had spent years in the region, "but he was not accepted by the predominantly Arab and Touareg local residents", the analyst says.
"Those who know the tribal, religious and doctrinal nature of Azawad society in general and Touaregs in particular will realise that it's not easy for them to accept the control of any outsider force, especially from al-Qaeda," Ould Tfeil adds.
It was not long before local residents "started to understand the danger that group poses to their political independence future and sovereignty," he says.
"And although al-Qaeda was able to create a few alliances with tribal chiefs due to the absence and weakness of Mali's central government, this alliance is no longer possible under the current circumstances," he tells Magharebia.
"Most people in Azawad society have ambitions of obtaining independence, living in an atmosphere of stability and security and forming relations on an international level. Therefore, it is natural that they reject al-Qaeda, and this explains why Timbuktu residents reject Abou Al-Hammam's leadership," Ould Tfeil says.
Ham Ag Mahmoud, a member of the MNLA's political office says, "We alone have the right to appoint a wali in town, not al-Qaeda and not Ansar al-Din."
The Timbuktu march last Friday "was the peak of rejection, as the residents could no longer accept the reality which was imposed on them", the MNLA official tells Magharebia.
Mouhi Ag Boulkhei, a MNLA military officer in Niafounké, southwest of Timbuktu, agrees that local residents would feel compelled to demonstrate against a wali imposed on them by outside groups.
"What do Ansar al-Din and al-Qaeda mean?" he asks. "What benefit can they bring to the people? We've already warned them to leave our land because we won't be governed by people who don't belong to us."
Picture: Timbuktu residents rally against control by Islamist group Ansar al-Din. Photo: Jemal Oumar.
Read More
Timbuktu rejects al-Qaeda: Timbuktu residents are determined to stop them.
Al-Qaeda in the Islamic Maghreb (AQIM) and Ansar al-Din are not receiving a warm welcome in Azawad.
Days after Touareg rebel Iyad Ag Ghaly's Islamist group seized Timbuktu with the help of al-Qaeda, residents struck their first blow against what they called the "Islamic and foreign groups in the region" by staging a protest on Friday (April 20th).
"Elements of al-Qaeda and Ansar al-Din tried to stop the march, but young people ignored them," an official of the Belferandi mosque told Magharebia.
Northern Mali's strong cultural pride, Touareg heritage, affinity for Sufism and respect for women's freedom make them deaf to the extremists' message. They are vocal about their refusal to let their UNESCO World Heritage Site be held hostage by Islamic hardliners.
"We held our own banners to show our rejection of al-Qaeda and the carriers of black flags [Salafists]," Elhassan Cissé, a bus driver in Timbuktu, tells Magharebia.
"The people who took part in the march were very angry with the behaviour of al-Qaeda and Ansar al-Din because they enter people's houses, break their belongings and intervene in the details of their lives," he adds.
Local imam Daoud Ibn Mohammed explains that Timbuktu residents sought to do more with their rally that condemn the presence of extremists and denounce the new al-Qaeda affiliated wali.
"They also wanted to protest against the behaviour of the new leaders," the imam says. "The way they run our lives led to acute food shortages and the spread of hunger and poverty among the people."
Extremist groups have allied to control the Azawad region as a prelude to controlling all of Mali, analyst al-Mokhtar al-Salem warns. But that will prove impossible in a region where the values of openness and tolerance prevail, he adds.
"Women, for example, move around without veils and enjoy much freedom in management and leadership," al-Salem says. "It would be difficult to apply strict Islamic laws in a society that has habits and traditions which run against repression and restriction."
Mali is much different than places where al-Qaeda gained a foothold, such as Afghanistan, he points out.
"Afghan society is controlled by traditions that don't give women any right to express their desires, and therefore, it constituted a suitable ground for the infiltration of al-Qaeda ideology," Al-Salem says.
Another factor that leads Azawad residents to reject al-Qaeda is their pride in their patrimony.
For centuries, the area has been a crossroads of religion and culture known for its tolerance. Residents were outraged when gangs recently raided symbols of Christianity in Gao, Kidal and Timbuktu and looted the cities' cultural landmarks, such as Timbuktu's Ahmed Baba Institute of Higher Islamic Studies and Research (IHERI-AB).
Sufism, which stresses mysticism and moderation, is also popular in the region.
"The spread of Sufi ideology among Timbuktu residents is one of the reasons that made them reject extremist ideology, because al-Qaeda usually accuses those who embrace Sufism of kufr," said Mubarak Ag Mohamed, a member of the media office in the National Movement for the Liberation of Azawad (MNLA).
Abdel Hamid al-Ansari, an analyst and academic in Timbuktu, complains that "Ansar al-Din and their al-Qaeda allies have disfigured the bright image of religion".
"Applying Islamic Sharia has only brought poverty, hunger and devastation to Timbuktu and aggravated people's sense of injustice, repression of individual and collective freedoms, prompting them to take to streets to condemn it," al-Ansari says.
This public outcry arose as soon as the terrorists "said they would raid shops, force women to wear the veil, and impose religious education", he tells Magharebia. "These practices are not acceptable in this city, which carried the banner of real Islam in the region."
If the terrorists are still determined to control the region, even in the face of this public rejection, they will be hard pressed to supply, electricity, water and food, he notes. They are not prepared to do the job of the Malian government.
Sid Ahmed Ould Tfeil, an analyst of Salafist groups, is not surprised that Azawad rejected the extremists. For starters, the Malians suddenly found themselves under the control of a foreigner.
As part of their deal with AQIM, Ansar al-Din appointed Algerian national and al-Qaeda emir Yahya Abou al-Hammam (real name Jemal Oukacha) as the local governor. He was named wali of Timbuktu because he had spent years in the region, "but he was not accepted by the predominantly Arab and Touareg local residents", the analyst says.
"Those who know the tribal, religious and doctrinal nature of Azawad society in general and Touaregs in particular will realise that it's not easy for them to accept the control of any outsider force, especially from al-Qaeda," Ould Tfeil adds.
It was not long before local residents "started to understand the danger that group poses to their political independence future and sovereignty," he says.
"And although al-Qaeda was able to create a few alliances with tribal chiefs due to the absence and weakness of Mali's central government, this alliance is no longer possible under the current circumstances," he tells Magharebia.
"Most people in Azawad society have ambitions of obtaining independence, living in an atmosphere of stability and security and forming relations on an international level. Therefore, it is natural that they reject al-Qaeda, and this explains why Timbuktu residents reject Abou Al-Hammam's leadership," Ould Tfeil says.
Ham Ag Mahmoud, a member of the MNLA's political office says, "We alone have the right to appoint a wali in town, not al-Qaeda and not Ansar al-Din."
The Timbuktu march last Friday "was the peak of rejection, as the residents could no longer accept the reality which was imposed on them", the MNLA official tells Magharebia.
Mouhi Ag Boulkhei, a MNLA military officer in Niafounké, southwest of Timbuktu, agrees that local residents would feel compelled to demonstrate against a wali imposed on them by outside groups.
"What do Ansar al-Din and al-Qaeda mean?" he asks. "What benefit can they bring to the people? We've already warned them to leave our land because we won't be governed by people who don't belong to us."
Picture: Timbuktu residents rally against control by Islamist group Ansar al-Din. Photo: Jemal Oumar.
Thursday, May 03, 2012
Canvas of the Soul
By Ahmet Idil, *The First Saudi Female Poet to be Published in the US* - PRWeb - Clifton, NJ, USA; Friday, April 27, 2012
Writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
The first Saudi female poet to be published in the US, writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
She will combine readings, book signings and lectures at various organizations.
Her newly released book, Canvas of the Soul: Mystic Poems from the Heartland of Arabia, published by Tughra Books, encompasses poems of fiery love and peace from the spiritual heartland of Islam composed by a modern-day female poet descended from a long line of Meccan (from Mecca) scholars.
Reflecting the pulsing, indivisible bridge of the works of great Sufi mystics and poets to modern times, these spiritual pieces recall the beloved works of Rabi‘ah Al ‘Adawiyyah, Rumi and Hafiz.
Drawing on a rich religious legacy and led by the Sufi tradition seeking Unity, the poems cover aspects related to spirituality and present-day challenges. The inspiring combination of the traditional and modern in these compositions will touch the inner souls and captivate the hearts of those interested in Higher Love in these turbulent times of transition and frantic search for peace.
Nawwab’s book tour includes lectures and book signing at Middle East Institute, Washington, DC (April, 26); Center for Muslim-Christian Understanding at Georgetown University (April 30); East-West institute, Chicago, IL (May 16); The Brecht Forum/ASMA, New York, NY (May 22); and Book Expo America, New York, NY (June 5).
Author Bio:
Nimah Nawwab is a poet, writer, photographer, lecturer and activist in Saudi Arabia. Born to a scholarly Meccan family, she has been dubbed a "voice for Arab women and youth."
She often works with established and emerging filmmakers, musicians, calligraphers, and artists of various genres through mentorship projects. As an activist, Ms. Nawwab has been involved with numerous women's issues, including the forced divorce petition and legal case, and the guardianship of women.
Ms. Nawwab has spoken at international events including the World Economic Forum, the Japan Expo, and the UN Pavilion, and has lectured at the Smithsonian, American University, Rice University, Ghalib Academy in India, and London University's School of Oriental and African Studies (SOAS).
Nawwab's best-selling book and work have been featured in numerous media outlets including BBC World News, Newsweek International, MSNBC the Japanese Yomiuri Shimbum, GEO France, India’s Asian Age, Malaysia’s Berita Harian, Britain’s Hello magazine, as well as numerous Arabic media.
Reviews:
"The voice of a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi- inspired poetry is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry. The present book is significant in that it reflects something of that classical expression of spiritual beauty in a contemporary language expressed by a female poet who hails from the land where the Blessed Prophet was born, carried out his prophetic mission and died".
-Seyyed Hossein Nasr
"Nimah is a talented writer and poet who isn't afraid to speak her mind and address issues that, quite frankly, are often ignored as a result of timidity. I commend her efforts in this noble initiative where the arts combine in powerfully written poetic compositions and a showcasing of Islamic arts".
-Sami Yusuf
"Nimah's poems unfold the living landscapes, the horizons that hold the signs spoken of in the Qur’an, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man".
-Shems Friedlander
Nimah Nawwab
Canvas of the Soul: Mystic Poems from the Heartland of Arabia
Available May 2012
$19.95 Cloth ISBN-13: 978-1-59784275-4
120 pp. 6 x 8 inches
Contact: Ahmet Idil, 973-777-2704
agi(at)tughrabooks(dot)com
Read More
Writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
The first Saudi female poet to be published in the US, writer and activist Nimah Nawwab is currently on tour in the US East Coast as she addresses issues related to challenges which form the basis for her art and activism, spirituality and women in times of transition in the Middle East.
She will combine readings, book signings and lectures at various organizations.
Her newly released book, Canvas of the Soul: Mystic Poems from the Heartland of Arabia, published by Tughra Books, encompasses poems of fiery love and peace from the spiritual heartland of Islam composed by a modern-day female poet descended from a long line of Meccan (from Mecca) scholars.
Reflecting the pulsing, indivisible bridge of the works of great Sufi mystics and poets to modern times, these spiritual pieces recall the beloved works of Rabi‘ah Al ‘Adawiyyah, Rumi and Hafiz.
Drawing on a rich religious legacy and led by the Sufi tradition seeking Unity, the poems cover aspects related to spirituality and present-day challenges. The inspiring combination of the traditional and modern in these compositions will touch the inner souls and captivate the hearts of those interested in Higher Love in these turbulent times of transition and frantic search for peace.
Nawwab’s book tour includes lectures and book signing at Middle East Institute, Washington, DC (April, 26); Center for Muslim-Christian Understanding at Georgetown University (April 30); East-West institute, Chicago, IL (May 16); The Brecht Forum/ASMA, New York, NY (May 22); and Book Expo America, New York, NY (June 5).
Author Bio:
Nimah Nawwab is a poet, writer, photographer, lecturer and activist in Saudi Arabia. Born to a scholarly Meccan family, she has been dubbed a "voice for Arab women and youth."
She often works with established and emerging filmmakers, musicians, calligraphers, and artists of various genres through mentorship projects. As an activist, Ms. Nawwab has been involved with numerous women's issues, including the forced divorce petition and legal case, and the guardianship of women.
Ms. Nawwab has spoken at international events including the World Economic Forum, the Japan Expo, and the UN Pavilion, and has lectured at the Smithsonian, American University, Rice University, Ghalib Academy in India, and London University's School of Oriental and African Studies (SOAS).
Nawwab's best-selling book and work have been featured in numerous media outlets including BBC World News, Newsweek International, MSNBC the Japanese Yomiuri Shimbum, GEO France, India’s Asian Age, Malaysia’s Berita Harian, Britain’s Hello magazine, as well as numerous Arabic media.
Reviews:
"The voice of a female Saudi Arabian poet expressing her deep spiritual yearnings in Sufi- inspired poetry is indeed a rare but also precious experience amidst all the din of strife and anger that surrounds so many Muslims today. This voice recalls that Islam emphasizes not only Divine Justice but also Divine Mercy and that the Blessed Prophet reflected not only Divine Majesty (Jalal) but also Divine Beauty (Jamal), the latter possessing a female dimension that is so evident in classical Sufi poetry. The present book is significant in that it reflects something of that classical expression of spiritual beauty in a contemporary language expressed by a female poet who hails from the land where the Blessed Prophet was born, carried out his prophetic mission and died".
-Seyyed Hossein Nasr
"Nimah is a talented writer and poet who isn't afraid to speak her mind and address issues that, quite frankly, are often ignored as a result of timidity. I commend her efforts in this noble initiative where the arts combine in powerfully written poetic compositions and a showcasing of Islamic arts".
-Sami Yusuf
"Nimah's poems unfold the living landscapes, the horizons that hold the signs spoken of in the Qur’an, the calligraphy of the mountains dipping into the desert, the inkwell of God’s words, reflecting the signs before us into the secrets within the Book of Man".
-Shems Friedlander
Nimah Nawwab
Canvas of the Soul: Mystic Poems from the Heartland of Arabia
Available May 2012
$19.95 Cloth ISBN-13: 978-1-59784275-4
120 pp. 6 x 8 inches
Contact: Ahmet Idil, 973-777-2704
agi(at)tughrabooks(dot)com
Wednesday, May 02, 2012
Just Read Nursi and Gülen
By Mustafa Akyol, *The hype about the Gülen Movement* - Hürriyet Daily News - Istanbul, Turkey; Saturday, April 28, 2012
The hype about the Gülen Movement
One of the hot topics in present-day Turkey is the so-called “Gülen Movement,” a widespread religious network named after its spiritual leader, a Sufi-minded cleric named Fethullah Gülen.
The movement is known for opening modern schools and media outlets, as well as pursuing interfaith dialogue, but lately it has been accused of “taking over the state.” Recently, there was even a long New York Times story about the matter, which quoted a Turkish journalist who believed that Gülen followers “have proliferated within the police and the judiciary, working behind the scenes to become one of Turkey’s most powerful political forces.”
So, as another Turkish journalist, let me also tell you what I think.
First, a reminder: Turkey is a paranoia-rich country. Most people here believe that some hidden power – the CIA, Mossad, “Jews,” freemasons, foreign states, the deep state, or just something – is under every stone. Therefore, if you hear any Turk saying, “Oh my God, there is this scary cabal that is pulling all the strings,” I would suggest taking that with a grain of salt.
Besides, some conspiracy theories about the Gülen Movement are already overtly crazy. Just go into any bookstore, and you will see ultra-nationalist bestsellers that blame Gülen for being “a secret Cardinal” (for he is too pro-Christian) or “a CIA puppet” (for he is not categorically anti-American).
Unless proven otherwise, therefore, I take the Gülenists-take-over-the-state theory only as convincing as the above.
However, it is also obvious that the movement has become growingly politicized in the past decade despite their earlier apolitical and non-partisan stance. One only needs to read daily Zaman and Today’s Zaman, or watch their TV counterpart, STV, to see a passion for supporting the investigations and cases against the alleged juntas in the military.
I think this strongly “anti-coup” stance of the movement is the basis of the speculations that they are “taking Turkey over.” My personal version of Occam’s Razor, however, gives me a simpler explanation: Gülen followers are very eager to prevent a military comeback, for they know that they would be its first victim.
You just need to know the history of the movement to see that. They follow in the footsteps of Said Nursi, who was jailed for decades under Mustafa Kemal Atatürk for simply writing books of “religious propaganda,” and whose tomb was torn to pieces by the military junta of 1960. The latest junta, that of “the postmodern coup,” targeted not just Gülen himself – because of it, he moved to the United States – but also all the institutions of the movement.
Therefore, it can well be reasoned that the movement does not want to “take over the state,” but to save it from being taken over by their enemies.
What if this is a transitional stage, though? What if the movement actually wants to establish an “Islamic state,” as all Islamists ultimately want?
I would say no, for two reasons. First, just read Nursi and Gülen, and you will see a clear refusal of Islamism. Their hope is not an “Islamic state,” but an Islam-friendly democratic state, under which their faith-focused “hizmet” (missionary work) can flourish with civil means.
Second, the Gülen Movement is a global one now. It is dedicated to show the world the virtues of Islam, which they think are overshadowed by radical Islamists and jihadists. Their global message is all about tolerance, dialogue and moderation. They would be utterly unwise to tarnish that well-deserved reputation for the sake of the petite politics of a midsize country called Turkey.
[Picture: Said Nursi, 1918. Photo: Wiki.]
Read More
The hype about the Gülen Movement
One of the hot topics in present-day Turkey is the so-called “Gülen Movement,” a widespread religious network named after its spiritual leader, a Sufi-minded cleric named Fethullah Gülen.
The movement is known for opening modern schools and media outlets, as well as pursuing interfaith dialogue, but lately it has been accused of “taking over the state.” Recently, there was even a long New York Times story about the matter, which quoted a Turkish journalist who believed that Gülen followers “have proliferated within the police and the judiciary, working behind the scenes to become one of Turkey’s most powerful political forces.”
So, as another Turkish journalist, let me also tell you what I think.
First, a reminder: Turkey is a paranoia-rich country. Most people here believe that some hidden power – the CIA, Mossad, “Jews,” freemasons, foreign states, the deep state, or just something – is under every stone. Therefore, if you hear any Turk saying, “Oh my God, there is this scary cabal that is pulling all the strings,” I would suggest taking that with a grain of salt.
Besides, some conspiracy theories about the Gülen Movement are already overtly crazy. Just go into any bookstore, and you will see ultra-nationalist bestsellers that blame Gülen for being “a secret Cardinal” (for he is too pro-Christian) or “a CIA puppet” (for he is not categorically anti-American).
Unless proven otherwise, therefore, I take the Gülenists-take-over-the-state theory only as convincing as the above.
However, it is also obvious that the movement has become growingly politicized in the past decade despite their earlier apolitical and non-partisan stance. One only needs to read daily Zaman and Today’s Zaman, or watch their TV counterpart, STV, to see a passion for supporting the investigations and cases against the alleged juntas in the military.
I think this strongly “anti-coup” stance of the movement is the basis of the speculations that they are “taking Turkey over.” My personal version of Occam’s Razor, however, gives me a simpler explanation: Gülen followers are very eager to prevent a military comeback, for they know that they would be its first victim.
You just need to know the history of the movement to see that. They follow in the footsteps of Said Nursi, who was jailed for decades under Mustafa Kemal Atatürk for simply writing books of “religious propaganda,” and whose tomb was torn to pieces by the military junta of 1960. The latest junta, that of “the postmodern coup,” targeted not just Gülen himself – because of it, he moved to the United States – but also all the institutions of the movement.
Therefore, it can well be reasoned that the movement does not want to “take over the state,” but to save it from being taken over by their enemies.
What if this is a transitional stage, though? What if the movement actually wants to establish an “Islamic state,” as all Islamists ultimately want?
I would say no, for two reasons. First, just read Nursi and Gülen, and you will see a clear refusal of Islamism. Their hope is not an “Islamic state,” but an Islam-friendly democratic state, under which their faith-focused “hizmet” (missionary work) can flourish with civil means.
Second, the Gülen Movement is a global one now. It is dedicated to show the world the virtues of Islam, which they think are overshadowed by radical Islamists and jihadists. Their global message is all about tolerance, dialogue and moderation. They would be utterly unwise to tarnish that well-deserved reputation for the sake of the petite politics of a midsize country called Turkey.
[Picture: Said Nursi, 1918. Photo: Wiki.]
Tuesday, May 01, 2012
Emotional Moments
By Ben Sisario, *A Diplomat Whose Language Is Song* - The New York Times - New York, NY, USA; Thursday, April 26, 2012
A Diplomat Whose Language Is Song
Sometimes it takes the efforts of a few highbrow arts organizations to bring cultures together through music. In the case of Arif Lohar, it also doesn’t hurt to have some help from Coke.
A famous folk singer in Pakistan, Mr. Lohar is in the United States as part of Caravanserai, a tour bringing traditional Muslim performers to mainstream American audiences to share their artistic heritage and to challenge stereotypes. After stops throughout the Northeast and even Montana, the tour comes to Asia Society in Manhattan on Friday and Saturday.
“The mission of Caravanserai is very beautiful,” Mr. Lohar said. “I feel that it is very necessary at this critical time. It allows us to gather people together, using art as a bridge, to extend our hand in friendship to Americans, and to share our love and our wish for peace.”
Mr. Lohar sings Sufi music, a devotional style with centuries-old poetry that is layered with allegory, and performed with all the transcendent passion of a love epic. At home his performances can last six hours or more. His shows in the United States may be more conventionally structured but have still had their emotional moments. Last week in Helena, Mont., John Bohlinger, the bow-tied, septuagenarian lieutenant governor, danced onstage and grabbed a microphone to express his feelings.
“I don’t think there’s a person in the audience that understood a word of what you said,” Mr. Bohlinger told Mr. Lohar, as he recalled in a telephone interview this week. “But we understood in our heart what the message was. And the message was joy; the message was peace.”
Mr. Lohar absorbed Sufi music and the art of the chimta, a long percussive instrument like a pair of tongs, from his father, Alam Lohar, also a renowned singer. But he is no rigid traditionalist. Over his career — which has included some 150 albums and dozens of films — he has, like the Pakistani musical patriarch Nusrat Fateh Ali Khan before him, dabbled with pop sounds, including Bollywood-style song-and-dance, rock guitars and electronic beats. After his father, who died when Mr. Lohar was 13, and Mr. Khan, who died in 1997, Mr. Lohar lists Michael Jackson as one of his biggest influences.
That folk-meets-pop sensibility made Mr. Lohar perfect for “Coke Studio,” Pakistan’s most popular TV show, and gave him the biggest hit of his career. A slick performance showcase in the “MTV Unplugged” vein, “Coke Studio” featured Mr. Lohar two years ago in his signature song, “Alif Allah Chambley Di Booti,” with a rock rhythm section and guest vocals by Meesha Shafi, a young model and actress. Surrounded by Coke branding, the two praised what Mr. Lohar calls “the beautiful essence of Allah,” and the video got eight million views on YouTube.
“Before I did ‘Coke Studio,’ the audiences who knew my music were those who had heard me in concert,” Mr. Lohar said by phone from Montana, speaking through an interpreter. “After that it reached a whole new generation. It reached teenagers, people who had never heard my music before. I felt lucky.”
Caravanserai was put together as a multiyear project by the nonprofit group Arts Midwest, and began last fall with Pakistan as its first focus; next year it looks at Morocco. The shows in New York this weekend also intersect with one of Asia Society’s own series, Creative Voices of Muslim Asia. Both programs are supported by the Doris Duke Foundation for Islamic Art.
When artists of Mr. Lohar’s stature perform in cities like New York, the audience is often members of their own ethnic group. Tickets to Mr. Lohar’s shows here sold out quickly, said Rachel Cooper, Asia Society’s director of cultural programs and performing arts, and a majority of the crowd will probably be Pakistanis and other South Asians. (Saturday’s show will be streamed live on Asia Society’s site.)
But Caravanserai, which in addition to Mr. Lohar and his group includes a young Pakistani-American singer, Arooj Aftab, has mostly been playing to audiences unfamiliar with the culture. At each stop the musicians have been holding workshops with schoolchildren and community groups, as well as soaking up local customs. Last week in Helena, Mr. Lohar celebrated his 46th birthday in a hotel lobby with quesadillas and chocolate cake.
“The artists have their own notions of what America is,” said Zeyba Rahman, the tour’s artistic director. “They are discovering that it’s not a monolithic block. They are discovering that Americans are just like the people back home. So they are being transformed by this process too.”
Speaking in Urdu dotted with sunny English expressions — “love blessing,” “very happy,” “peace message” — Mr. Lohar summed up his role on the trip by calling himself “both a fakir and a safir”: a wandering mystic and a cultural ambassador.
Mr. Lohar’s tour is only the latest of many efforts at cultural diplomacy since the attacks of Sept. 11, 2001. Ms. Cooper echoed others involved in the project by saying that with most Americans’ view of the Middle East and the Muslim world being shaped by news media images of war and terrorism, the arts have become a critical avenue for communication.
Not that Mr. Lohar’s itinerary is all super-serious. In New York the other day, MTV shot a video for its international platforms featuring Mr. Lohar playing in a beauty salon on the Lower East Side, to “take Arif out of the polite ‘world music’ wrapper,” said Nusrat Durrani, the general manager of MTV World.
Nor is “Coke Studio” all light entertainment. The show, whose first iteration was in Brazil, has had a wide influence on pop culture in Pakistan since it began in 2008, and it is now expanding to India and the Middle East. In Pakistan many of the performers have been adherents of Sufism, a mystical branch of Islam that has come under attack from hard-line militants. That and Coke’s involvement have drawn some controversy to the show, said Rohail Hyatt, the producer of “Coke Studio” in Pakistan.
But the blend of traditional and pop styles, and the accessible spirituality of many of the show’s musicians, have made it a voice of mild opposition to radicalism in the region, said Mr. Hyatt, a former rock musician. “This is a more moderate spirituality coming into play,” he said, “and part of the acceptance of this was about this massive need for people to relate to something.”
For Mr. Lohar, the messages of peace and harmony in his music speak for themselves.
“All the world over, the language is music,” he said. “The styles are different, the nuances are different. But the language is the same. I am here representing my country and my culture. I have connected with people, and it feels so good to connect in that way.”
And like many musicians in the West, Mr. Lohar seemed fully accustomed to the idea of performing alongside an advertisement for soda.
“Many famous artists are sponsored by big multinational companies,” he said. “So when I was approached by ‘Coke Studio,’ I didn’t think it was unusual. I did the show just like any other.”
Visit Caravanserai.
[Click on the title to the original article with many more links. (ed.)]
Read More
A Diplomat Whose Language Is Song
Sometimes it takes the efforts of a few highbrow arts organizations to bring cultures together through music. In the case of Arif Lohar, it also doesn’t hurt to have some help from Coke.
A famous folk singer in Pakistan, Mr. Lohar is in the United States as part of Caravanserai, a tour bringing traditional Muslim performers to mainstream American audiences to share their artistic heritage and to challenge stereotypes. After stops throughout the Northeast and even Montana, the tour comes to Asia Society in Manhattan on Friday and Saturday.
“The mission of Caravanserai is very beautiful,” Mr. Lohar said. “I feel that it is very necessary at this critical time. It allows us to gather people together, using art as a bridge, to extend our hand in friendship to Americans, and to share our love and our wish for peace.”
Mr. Lohar sings Sufi music, a devotional style with centuries-old poetry that is layered with allegory, and performed with all the transcendent passion of a love epic. At home his performances can last six hours or more. His shows in the United States may be more conventionally structured but have still had their emotional moments. Last week in Helena, Mont., John Bohlinger, the bow-tied, septuagenarian lieutenant governor, danced onstage and grabbed a microphone to express his feelings.
“I don’t think there’s a person in the audience that understood a word of what you said,” Mr. Bohlinger told Mr. Lohar, as he recalled in a telephone interview this week. “But we understood in our heart what the message was. And the message was joy; the message was peace.”
Mr. Lohar absorbed Sufi music and the art of the chimta, a long percussive instrument like a pair of tongs, from his father, Alam Lohar, also a renowned singer. But he is no rigid traditionalist. Over his career — which has included some 150 albums and dozens of films — he has, like the Pakistani musical patriarch Nusrat Fateh Ali Khan before him, dabbled with pop sounds, including Bollywood-style song-and-dance, rock guitars and electronic beats. After his father, who died when Mr. Lohar was 13, and Mr. Khan, who died in 1997, Mr. Lohar lists Michael Jackson as one of his biggest influences.
That folk-meets-pop sensibility made Mr. Lohar perfect for “Coke Studio,” Pakistan’s most popular TV show, and gave him the biggest hit of his career. A slick performance showcase in the “MTV Unplugged” vein, “Coke Studio” featured Mr. Lohar two years ago in his signature song, “Alif Allah Chambley Di Booti,” with a rock rhythm section and guest vocals by Meesha Shafi, a young model and actress. Surrounded by Coke branding, the two praised what Mr. Lohar calls “the beautiful essence of Allah,” and the video got eight million views on YouTube.
“Before I did ‘Coke Studio,’ the audiences who knew my music were those who had heard me in concert,” Mr. Lohar said by phone from Montana, speaking through an interpreter. “After that it reached a whole new generation. It reached teenagers, people who had never heard my music before. I felt lucky.”
Caravanserai was put together as a multiyear project by the nonprofit group Arts Midwest, and began last fall with Pakistan as its first focus; next year it looks at Morocco. The shows in New York this weekend also intersect with one of Asia Society’s own series, Creative Voices of Muslim Asia. Both programs are supported by the Doris Duke Foundation for Islamic Art.
When artists of Mr. Lohar’s stature perform in cities like New York, the audience is often members of their own ethnic group. Tickets to Mr. Lohar’s shows here sold out quickly, said Rachel Cooper, Asia Society’s director of cultural programs and performing arts, and a majority of the crowd will probably be Pakistanis and other South Asians. (Saturday’s show will be streamed live on Asia Society’s site.)
But Caravanserai, which in addition to Mr. Lohar and his group includes a young Pakistani-American singer, Arooj Aftab, has mostly been playing to audiences unfamiliar with the culture. At each stop the musicians have been holding workshops with schoolchildren and community groups, as well as soaking up local customs. Last week in Helena, Mr. Lohar celebrated his 46th birthday in a hotel lobby with quesadillas and chocolate cake.
“The artists have their own notions of what America is,” said Zeyba Rahman, the tour’s artistic director. “They are discovering that it’s not a monolithic block. They are discovering that Americans are just like the people back home. So they are being transformed by this process too.”
Speaking in Urdu dotted with sunny English expressions — “love blessing,” “very happy,” “peace message” — Mr. Lohar summed up his role on the trip by calling himself “both a fakir and a safir”: a wandering mystic and a cultural ambassador.
Mr. Lohar’s tour is only the latest of many efforts at cultural diplomacy since the attacks of Sept. 11, 2001. Ms. Cooper echoed others involved in the project by saying that with most Americans’ view of the Middle East and the Muslim world being shaped by news media images of war and terrorism, the arts have become a critical avenue for communication.
Not that Mr. Lohar’s itinerary is all super-serious. In New York the other day, MTV shot a video for its international platforms featuring Mr. Lohar playing in a beauty salon on the Lower East Side, to “take Arif out of the polite ‘world music’ wrapper,” said Nusrat Durrani, the general manager of MTV World.
Nor is “Coke Studio” all light entertainment. The show, whose first iteration was in Brazil, has had a wide influence on pop culture in Pakistan since it began in 2008, and it is now expanding to India and the Middle East. In Pakistan many of the performers have been adherents of Sufism, a mystical branch of Islam that has come under attack from hard-line militants. That and Coke’s involvement have drawn some controversy to the show, said Rohail Hyatt, the producer of “Coke Studio” in Pakistan.
But the blend of traditional and pop styles, and the accessible spirituality of many of the show’s musicians, have made it a voice of mild opposition to radicalism in the region, said Mr. Hyatt, a former rock musician. “This is a more moderate spirituality coming into play,” he said, “and part of the acceptance of this was about this massive need for people to relate to something.”
For Mr. Lohar, the messages of peace and harmony in his music speak for themselves.
“All the world over, the language is music,” he said. “The styles are different, the nuances are different. But the language is the same. I am here representing my country and my culture. I have connected with people, and it feels so good to connect in that way.”
And like many musicians in the West, Mr. Lohar seemed fully accustomed to the idea of performing alongside an advertisement for soda.
“Many famous artists are sponsored by big multinational companies,” he said. “So when I was approached by ‘Coke Studio,’ I didn’t think it was unusual. I did the show just like any other.”
Visit Caravanserai.
[Click on the title to the original article with many more links. (ed.)]
Sunday, April 29, 2012
Malian Common Sense
By Brian J. Peterson, *Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance* - AllAfrica.com - Africa; Wednesday, April 25, 2012
Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance
Of the insurgent factions that have wrested control over northern Mali from the central government, and effectively partitioned the country, Ansar Dine ("Defenders of the Faith") has stolen the spotlight. Led by the wily Tuareg rebel Iyad ag-Ghali, and aiming to impose shari'a law in Mali, this group has come to epitomize the northern revolt.
But there is another "Ansar Dine" in Mali, and one that is far more representative of the kind of Islam that most Malian Muslims practice. Although this grassroots movement has over one million followers, it rarely makes the news - at least not the kind of news that ag-Ghali's Islamist militia made in seizing Timbuktu. And yet in the past decade, the charismatic preacher of this other Ansar Dine, Shaykh Cherif Ousmane Madani Haidara, has emerged as Mali's most popular religious leader. Consistently preaching messages of unity, peace, tolerance, moderation, and moral renewal, he unequivocally opposes the establishment of an Islamic state and shari'a law in Mali. Clearly, we have a tale of two namesakes that stand for very different things.
Thus, it seems an obvious question to ask: What is the place of religion in the current political crisis in Mali?
Now, we have noted the secular nature of the MNLA, and the lack of any religious content among the putschists. But, as the Islamists of Iyad ag-Ghali have promulgated their theocratic intentions, with their sinister black flag, and the unconfirmed reports of rather ghoulish behavior vis-à-vis non-Salafists, we might take a moment to revisit the crisis through the lens of religion in Mali. This also provides a subtle corrective to the overblown reporting on the place of Islam and Islamism in this otherwise peaceful and tolerant country.
So who is Shaykh Haidara and why does he serve as a compelling counterpoint to Iyad ag-Ghali? The leader of Ansar Dine rose to prominence following the coup of 1991, which overthrew Moussa Traoré. This new era of multi-party democracy then opened the floodgates to freedom of expression, as radio stations, newspapers, and civil society organizations proliferated across Mali. It also saw an explosion in the number of Islamic nongovernmental organizations and religious associations. Within this context, Haidara saw his popularity skyrocket, as audio taped sermons, radio programs, and videos have broadcasted his distinctive voice and religious messages across the country.
For Malian Muslims looking for spiritual, moral and even practical guidance, "Wulibali," as Malians affectionately call him, is the man "who speaks the undeniable truth." Preaching in the lingua franca of Bamana, Haidara advocates for a Malian Islamic tradition independent of Arabic language and culture. Politically, he has used his platform to deliver blunt critiques of government corruption and forms of social injustice, while weighing in on important issues, such as the new family code.
Since the coup, Haidara has made it clear that his movement has "nothing to do" with the militant group of Iyad ag-Ghali that has taken Timbuktu, Kidal, and Gao and has threatened to impose shari'a law. He refers to it as a "a criminal association that kills and pillages." He states: "We don't need their shari'a. We have been Muslim here for centuries. We don't need their new Islam that they are bringing to impose among us.... Mali is a secular country. The shari'a is for Muslims. But here in Mali, we live with Christians, we live with Jews, and we live with animists. We are all Malians together here.... We are not in agreement with the shari'a of Iyad. We reject it." And when Haidara speaks, Malians listen.
Yet a quick web search for "Ansar Dine," yields pages of stories about the Islamist militia led by Iyad ag-Ghali, and how Salafists are taking over northern Mali and setting their sights on the entire country. Indeed, the news media has gotten carried away with a narrative of inexorable Islamist radicalization. For these reasons, it is high time that we place the religious dimensions surrounding the current political crisis in their proper context.
Mali is at the far moderate end of the spectrum of Islamic societies. Talk to Malian Muslims about Islam today, and they will likely say something about peace, tolerance and unity. Therefore, the brand of Islam being advocated by the Islamists in the north simply does not mirror what the vast majority of Malian Muslims value in their religion. In fact, most Malians are loosely affiliated with one of the major Sufi brotherhoods, such as the Tijaniyya, Hamawiyya or Qadiriyya. However, there are many Malians who simply identify themselves as "Sunni," or ahl al-Sunna (which non-reformists label as "Wahhabi"), usually indicating that they belong to the wider reform movement. These reformists state that the only real difference between them and Sufis is that they pray with "arms crossed" and their wives wear veils. Otherwise, many of them participate in community-level Sufi rituals and celebrations. In other words, the boundaries between reformists and Sufis are not quite as rigid as outside observers might think.
Cutting across these Sufi brotherhoods and reformist groups, there are the new media stars, such as Haidara, who draw followers from a wide range of affiliations. And many Malian Muslims do not hold themselves exclusively to these institutional groupings, and in fact move rather freely and promiscuously among them, gleaning insights and finding direction wherever they are to be found.
Furthermore, Islamic practices in Mali continue to be profoundly shaped by an underlying animist substratum. In the southern parts of the country, these pre-Islamic customs are called Bamanaya. In certain localities, people draw deeply on these indigenous customs for healing or bringing the rain. And even Muslim preachers, such as Haidara, draw extensively on Bamana idioms, proverbs, and a kind of Malian common sense. Indeed, for Malian Muslims, rather than looking to the Arab world for direction, they look to their own rich cultural heritage. We can see this today in current concerns over the safety of Timbuktu's libraries and manuscript holdings and evocations of the city's traditions of tolerance.
Timbuktu has been central in the wider propagation of the Qadiriyya Sufi brotherhood, with its long local history of Muslim scholars opposing jihad. Thus, even in the north, which has been posited as the more "radical" region, a Sufi-animist substratum among the Songhay, Tuareg, Bella and so forth has deeply influenced Muslim religious life. This has meant a more expanded role for women in public life than one might expect, and the persistence of customs, such as ritual music and dance - and even a gender reversal in veiling practices among the Tuareg - that do not usually conform to the normative traditions of Islam being enforced by Salafists.
Certainly, things have changed in recent years, partly stemming from Saudi patronage, usually in the building of mosques or madrasas, but also due to the activities of Muslim missionaries, such as Pakistanis belonging to the Tablighi Jama'at. We should also add, however, that the U.S. "war on terror" in the region, and wider Islamophobic discourses, have not helped, and have very likely served as rallying devices for reformist leaders. According to recent reports, reformists have grown in number, but not dramatically so. In many regions, Malian Muslims have flirted with the "dawa," but then have simply drifted back to their original religious communities.
In the more important religious centers of Nioro du Sahel, Djenne and Timbuktu, the most powerful religious authorities continue to be those linked to the Sufi brotherhoods, despite the presence of reformists. And while there are small pockets of ahl al-Sunna in rural areas, peasants generally remain tied to syncretic forms of Islam that draw heavily on pre-Islamic practices and beliefs. In short, from the perspective of popular modes of religious belonging, there is very little reason to anticipate any kind of grassroots enthusiasm for the prospects of Salafist variants of Islam, particularly when imposed through violence and intimidation.
There is another reason for this: Malians have a long history of resisting jihads and attempts at forced conversion. This is not to say that in the long run jihads always failed in spreading Islam. The nineteenth-century Muslim scholar and state-builder El Hajj Umar Tall left an enduring legacy in the region, despite the resistance that his wars provoked, particularly in the Bamana heartland. However, the historical and anthropological literature is replete with cases of Malians resisting the efforts of Muslim states and preachers seeking to impose Islam on them.
Malian peasants have generally refused to accept forced conversion efforts, whether by firebrand preachers or state-builders. They cite the "No Compulsion" verse from the Qur'an, as one elderly informant stated: "On the path of Allah, there is no need for forcing Islam on people. After the descent of the Quran, Allah said that there is no more compulsion in religion. This cannot be done." Later, there were efforts by "Wahhabis" at imposing reformist ideas on rural Muslims. Once the "Wahhabis" showed their intolerance by criticizing Sufi holy men, engaging in street battles over the correct way to pray, defiling the tombs of saints, and generating "conflict" (fitna) between Muslims, they were rejected.
For these reasons, local imams and ordinary Muslims have stated that they don't need any foreigners coming to tell them how to conduct their religious lives. Thus, when Malian Muslims hear about the violent efforts of Iyad ag-Ghali and other Salafists linked to Al-Qaida in the Islamic Maghreb, they see no religious legitimacy or theological rationale for their wars. They are already Muslim, so there is no justification for bringing war to Muslim communities. They see the northern jihadists as warlords aimed at pillaging Malian people and lands for personal gain, while using Islam as an ideological tool to manipulate and dominate vulnerable people.
In this light, it is no coincidence that ag-Ghali chose to name his Islamist militia Ansar Dine. The Tuareg rebel leader is well aware of Haidara's organization, and he is also au courant that this other Ansar Dine is the far more popular one. Is ag-Ghali trying to highjack the movement, or sow confusion while playing on Malians' desperation? So far, ag-Ghali's armed group has pursued its goals through violence and intimidation. But in recent days, it has stepped up a kind of hearts and minds campaign, distributing food and medicine. This isn't fooling anyone, at least not in the south.
In the past few days in Bamako, Muslim leaders, including prominent reformists and Sufis, unanimously denounced the Islamists in the north. Although they have sought to reign in any sort of overtly bellicose rhetoric, and kept the emphasis on peace, their condemnations have been strong. They stated that Mali would not accept foreigners imposing their Salafist kind of Islam on Malians by force of arms. And in a press conference, Shaykh Haidara repeated his message of tolerance: "We do not know this Islam advocated by these people. Those who kill and say that they want to act in the name of Islam are not really [Muslims].... Islam is a religion of peace and tolerance."
Outside of the mosques, there has been an active mobilization of civil society organizations, including numerous women's groups, the hunters' associations, and urban youth. And the interim president Diouncounda Traore has threatened "total war" against the northern insurgents. We can only hope that the saber-rattling in Bamako will not escalate into a full-blown conflagration in the north, and that the Islamists come to their senses in hearing religious authorities calling for Muslim and Malian unity. In the meantime, as outside observers, we might look beyond ag-Ghali's statements about holy war, or stories on the potential "Talibanization" of Mali, which ultimately serve to obfuscate the realities of Malian Muslim societies. We might push past the prevailing jihad-centric narratives, in finding that we too embrace Haidara's vision of a tolerant, pluralistic, and democratic society, while rejecting the vision of intolerance currently threatening northern Mali.
Brian J. Peterson is an associate professor of history at Union College (NY). His recent book is Islamization from Below: The Making of Muslim Communities in Rural French Sudan, 1880-1960 (Yale University Press, 2011).
[Picture: Bozo Girl in Bamako. Photo: Wiki.]
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Mali: Confronting 'Talibanization' - the Other Ansar Dine, Popular Islam, and Religious Tolerance
Of the insurgent factions that have wrested control over northern Mali from the central government, and effectively partitioned the country, Ansar Dine ("Defenders of the Faith") has stolen the spotlight. Led by the wily Tuareg rebel Iyad ag-Ghali, and aiming to impose shari'a law in Mali, this group has come to epitomize the northern revolt.
But there is another "Ansar Dine" in Mali, and one that is far more representative of the kind of Islam that most Malian Muslims practice. Although this grassroots movement has over one million followers, it rarely makes the news - at least not the kind of news that ag-Ghali's Islamist militia made in seizing Timbuktu. And yet in the past decade, the charismatic preacher of this other Ansar Dine, Shaykh Cherif Ousmane Madani Haidara, has emerged as Mali's most popular religious leader. Consistently preaching messages of unity, peace, tolerance, moderation, and moral renewal, he unequivocally opposes the establishment of an Islamic state and shari'a law in Mali. Clearly, we have a tale of two namesakes that stand for very different things.
Thus, it seems an obvious question to ask: What is the place of religion in the current political crisis in Mali?
Now, we have noted the secular nature of the MNLA, and the lack of any religious content among the putschists. But, as the Islamists of Iyad ag-Ghali have promulgated their theocratic intentions, with their sinister black flag, and the unconfirmed reports of rather ghoulish behavior vis-à-vis non-Salafists, we might take a moment to revisit the crisis through the lens of religion in Mali. This also provides a subtle corrective to the overblown reporting on the place of Islam and Islamism in this otherwise peaceful and tolerant country.
So who is Shaykh Haidara and why does he serve as a compelling counterpoint to Iyad ag-Ghali? The leader of Ansar Dine rose to prominence following the coup of 1991, which overthrew Moussa Traoré. This new era of multi-party democracy then opened the floodgates to freedom of expression, as radio stations, newspapers, and civil society organizations proliferated across Mali. It also saw an explosion in the number of Islamic nongovernmental organizations and religious associations. Within this context, Haidara saw his popularity skyrocket, as audio taped sermons, radio programs, and videos have broadcasted his distinctive voice and religious messages across the country.
For Malian Muslims looking for spiritual, moral and even practical guidance, "Wulibali," as Malians affectionately call him, is the man "who speaks the undeniable truth." Preaching in the lingua franca of Bamana, Haidara advocates for a Malian Islamic tradition independent of Arabic language and culture. Politically, he has used his platform to deliver blunt critiques of government corruption and forms of social injustice, while weighing in on important issues, such as the new family code.
Since the coup, Haidara has made it clear that his movement has "nothing to do" with the militant group of Iyad ag-Ghali that has taken Timbuktu, Kidal, and Gao and has threatened to impose shari'a law. He refers to it as a "a criminal association that kills and pillages." He states: "We don't need their shari'a. We have been Muslim here for centuries. We don't need their new Islam that they are bringing to impose among us.... Mali is a secular country. The shari'a is for Muslims. But here in Mali, we live with Christians, we live with Jews, and we live with animists. We are all Malians together here.... We are not in agreement with the shari'a of Iyad. We reject it." And when Haidara speaks, Malians listen.
Yet a quick web search for "Ansar Dine," yields pages of stories about the Islamist militia led by Iyad ag-Ghali, and how Salafists are taking over northern Mali and setting their sights on the entire country. Indeed, the news media has gotten carried away with a narrative of inexorable Islamist radicalization. For these reasons, it is high time that we place the religious dimensions surrounding the current political crisis in their proper context.
Mali is at the far moderate end of the spectrum of Islamic societies. Talk to Malian Muslims about Islam today, and they will likely say something about peace, tolerance and unity. Therefore, the brand of Islam being advocated by the Islamists in the north simply does not mirror what the vast majority of Malian Muslims value in their religion. In fact, most Malians are loosely affiliated with one of the major Sufi brotherhoods, such as the Tijaniyya, Hamawiyya or Qadiriyya. However, there are many Malians who simply identify themselves as "Sunni," or ahl al-Sunna (which non-reformists label as "Wahhabi"), usually indicating that they belong to the wider reform movement. These reformists state that the only real difference between them and Sufis is that they pray with "arms crossed" and their wives wear veils. Otherwise, many of them participate in community-level Sufi rituals and celebrations. In other words, the boundaries between reformists and Sufis are not quite as rigid as outside observers might think.
Cutting across these Sufi brotherhoods and reformist groups, there are the new media stars, such as Haidara, who draw followers from a wide range of affiliations. And many Malian Muslims do not hold themselves exclusively to these institutional groupings, and in fact move rather freely and promiscuously among them, gleaning insights and finding direction wherever they are to be found.
Furthermore, Islamic practices in Mali continue to be profoundly shaped by an underlying animist substratum. In the southern parts of the country, these pre-Islamic customs are called Bamanaya. In certain localities, people draw deeply on these indigenous customs for healing or bringing the rain. And even Muslim preachers, such as Haidara, draw extensively on Bamana idioms, proverbs, and a kind of Malian common sense. Indeed, for Malian Muslims, rather than looking to the Arab world for direction, they look to their own rich cultural heritage. We can see this today in current concerns over the safety of Timbuktu's libraries and manuscript holdings and evocations of the city's traditions of tolerance.
Timbuktu has been central in the wider propagation of the Qadiriyya Sufi brotherhood, with its long local history of Muslim scholars opposing jihad. Thus, even in the north, which has been posited as the more "radical" region, a Sufi-animist substratum among the Songhay, Tuareg, Bella and so forth has deeply influenced Muslim religious life. This has meant a more expanded role for women in public life than one might expect, and the persistence of customs, such as ritual music and dance - and even a gender reversal in veiling practices among the Tuareg - that do not usually conform to the normative traditions of Islam being enforced by Salafists.
Certainly, things have changed in recent years, partly stemming from Saudi patronage, usually in the building of mosques or madrasas, but also due to the activities of Muslim missionaries, such as Pakistanis belonging to the Tablighi Jama'at. We should also add, however, that the U.S. "war on terror" in the region, and wider Islamophobic discourses, have not helped, and have very likely served as rallying devices for reformist leaders. According to recent reports, reformists have grown in number, but not dramatically so. In many regions, Malian Muslims have flirted with the "dawa," but then have simply drifted back to their original religious communities.
In the more important religious centers of Nioro du Sahel, Djenne and Timbuktu, the most powerful religious authorities continue to be those linked to the Sufi brotherhoods, despite the presence of reformists. And while there are small pockets of ahl al-Sunna in rural areas, peasants generally remain tied to syncretic forms of Islam that draw heavily on pre-Islamic practices and beliefs. In short, from the perspective of popular modes of religious belonging, there is very little reason to anticipate any kind of grassroots enthusiasm for the prospects of Salafist variants of Islam, particularly when imposed through violence and intimidation.
There is another reason for this: Malians have a long history of resisting jihads and attempts at forced conversion. This is not to say that in the long run jihads always failed in spreading Islam. The nineteenth-century Muslim scholar and state-builder El Hajj Umar Tall left an enduring legacy in the region, despite the resistance that his wars provoked, particularly in the Bamana heartland. However, the historical and anthropological literature is replete with cases of Malians resisting the efforts of Muslim states and preachers seeking to impose Islam on them.
Malian peasants have generally refused to accept forced conversion efforts, whether by firebrand preachers or state-builders. They cite the "No Compulsion" verse from the Qur'an, as one elderly informant stated: "On the path of Allah, there is no need for forcing Islam on people. After the descent of the Quran, Allah said that there is no more compulsion in religion. This cannot be done." Later, there were efforts by "Wahhabis" at imposing reformist ideas on rural Muslims. Once the "Wahhabis" showed their intolerance by criticizing Sufi holy men, engaging in street battles over the correct way to pray, defiling the tombs of saints, and generating "conflict" (fitna) between Muslims, they were rejected.
For these reasons, local imams and ordinary Muslims have stated that they don't need any foreigners coming to tell them how to conduct their religious lives. Thus, when Malian Muslims hear about the violent efforts of Iyad ag-Ghali and other Salafists linked to Al-Qaida in the Islamic Maghreb, they see no religious legitimacy or theological rationale for their wars. They are already Muslim, so there is no justification for bringing war to Muslim communities. They see the northern jihadists as warlords aimed at pillaging Malian people and lands for personal gain, while using Islam as an ideological tool to manipulate and dominate vulnerable people.
In this light, it is no coincidence that ag-Ghali chose to name his Islamist militia Ansar Dine. The Tuareg rebel leader is well aware of Haidara's organization, and he is also au courant that this other Ansar Dine is the far more popular one. Is ag-Ghali trying to highjack the movement, or sow confusion while playing on Malians' desperation? So far, ag-Ghali's armed group has pursued its goals through violence and intimidation. But in recent days, it has stepped up a kind of hearts and minds campaign, distributing food and medicine. This isn't fooling anyone, at least not in the south.
In the past few days in Bamako, Muslim leaders, including prominent reformists and Sufis, unanimously denounced the Islamists in the north. Although they have sought to reign in any sort of overtly bellicose rhetoric, and kept the emphasis on peace, their condemnations have been strong. They stated that Mali would not accept foreigners imposing their Salafist kind of Islam on Malians by force of arms. And in a press conference, Shaykh Haidara repeated his message of tolerance: "We do not know this Islam advocated by these people. Those who kill and say that they want to act in the name of Islam are not really [Muslims].... Islam is a religion of peace and tolerance."
Outside of the mosques, there has been an active mobilization of civil society organizations, including numerous women's groups, the hunters' associations, and urban youth. And the interim president Diouncounda Traore has threatened "total war" against the northern insurgents. We can only hope that the saber-rattling in Bamako will not escalate into a full-blown conflagration in the north, and that the Islamists come to their senses in hearing religious authorities calling for Muslim and Malian unity. In the meantime, as outside observers, we might look beyond ag-Ghali's statements about holy war, or stories on the potential "Talibanization" of Mali, which ultimately serve to obfuscate the realities of Malian Muslim societies. We might push past the prevailing jihad-centric narratives, in finding that we too embrace Haidara's vision of a tolerant, pluralistic, and democratic society, while rejecting the vision of intolerance currently threatening northern Mali.
Brian J. Peterson is an associate professor of history at Union College (NY). His recent book is Islamization from Below: The Making of Muslim Communities in Rural French Sudan, 1880-1960 (Yale University Press, 2011).
[Picture: Bozo Girl in Bamako. Photo: Wiki.]
Saturday, April 28, 2012
Significant Health Results
By Matthew Brunwasser, *How Sufi Music Helps Patients in Turkey* - PRI's The World - Boston, MA, USA; April 25, 2012
How Sufi Music Helps Patients in Turkey
The intensive care unit of Istanbul’s memorial hospital looks like any modern hospital anywhere. But it definitely doesn’t sound like one.
Dr. Bingur Sonmez introduces himself: “I am Professor Doctor Bingur Sonmez, I’m a cardiac surgeon, I’ve been doing cardiac surgery more than 30 years. What we are doing in intensive care, we are playing Sufi music to our patients to calm down, to make them feeling much better.”
Sufism is a mystical strain of Islam whose traditional music is popular among Turks. Sonmez says that five centuries ago when Europeans were burning people alive for having mental illnesses, the Turkish Ottoman Empire had a more civilized approach.
“In this country, in Ottoman Empire times, we used to treat psychiatric patients with music in hospitals, in local hospitals,” Sonmez says. “So what we are doing is the same.”
So doctors here don’t consider themselves doing anything new.
“If you look at the patient’s face, you can see that he is very anxious. But after 10 minutes you will see that he is very much relaxed,” says Sonmez.
After a short performance, anesthesiologist Erol Can says the patient’s heart rate decreased 15 percent.
Can says the approach has scientific backing. He says the hospital conducted a study of 22 patients and measured their stress levels on a scale of one to 10. Their stress went down from an average of seven to three after a 20 minute musical performance.
“We recorded heart rate, systolic and diastolic blood pressure, respiratory rate and oxygen delivery, the oxygen saturation of the blood. Every parameter was better after this 20 minutes,” Can says.
Sonmez and Can demonstrate the traditional medicinal properties of different melodic systems – or makams in Turkish music. Sonmez says certain makams can treat specific conditions.
“That makam makes you sleepy, it’s a real meditation music,” says Sonmez. “So its good to listen to when you go to bed. If you listen to this makam when you are waking up in the morning, you won’t be able to get out of the bed.”
The Mahur makam is the opposite of Sabah, so it might make you agitated and unable to sleep.
“If you play that makam to a depressed patient, you can cheer him up easily,” says Sonmez.
There are makams that can help with other conditions as well. One supposedly increases your appetite. Another can help you lose weight. The music has significant health results, the doctors say. But while they sing the praises of music therapy, they stress it’s a compliment — not a replacement — for conventional medicine.
Picture: Erol Can (left), an anesthesiologist, and Bingur Sonmez, a cardiac surgeon play for a patient. Photo: Matthew Brunwasser.
Read More
How Sufi Music Helps Patients in Turkey
The intensive care unit of Istanbul’s memorial hospital looks like any modern hospital anywhere. But it definitely doesn’t sound like one.
Dr. Bingur Sonmez introduces himself: “I am Professor Doctor Bingur Sonmez, I’m a cardiac surgeon, I’ve been doing cardiac surgery more than 30 years. What we are doing in intensive care, we are playing Sufi music to our patients to calm down, to make them feeling much better.”
Sufism is a mystical strain of Islam whose traditional music is popular among Turks. Sonmez says that five centuries ago when Europeans were burning people alive for having mental illnesses, the Turkish Ottoman Empire had a more civilized approach.
“In this country, in Ottoman Empire times, we used to treat psychiatric patients with music in hospitals, in local hospitals,” Sonmez says. “So what we are doing is the same.”
So doctors here don’t consider themselves doing anything new.
“If you look at the patient’s face, you can see that he is very anxious. But after 10 minutes you will see that he is very much relaxed,” says Sonmez.
After a short performance, anesthesiologist Erol Can says the patient’s heart rate decreased 15 percent.
Can says the approach has scientific backing. He says the hospital conducted a study of 22 patients and measured their stress levels on a scale of one to 10. Their stress went down from an average of seven to three after a 20 minute musical performance.
“We recorded heart rate, systolic and diastolic blood pressure, respiratory rate and oxygen delivery, the oxygen saturation of the blood. Every parameter was better after this 20 minutes,” Can says.
Sonmez and Can demonstrate the traditional medicinal properties of different melodic systems – or makams in Turkish music. Sonmez says certain makams can treat specific conditions.
“That makam makes you sleepy, it’s a real meditation music,” says Sonmez. “So its good to listen to when you go to bed. If you listen to this makam when you are waking up in the morning, you won’t be able to get out of the bed.”
The Mahur makam is the opposite of Sabah, so it might make you agitated and unable to sleep.
“If you play that makam to a depressed patient, you can cheer him up easily,” says Sonmez.
There are makams that can help with other conditions as well. One supposedly increases your appetite. Another can help you lose weight. The music has significant health results, the doctors say. But while they sing the praises of music therapy, they stress it’s a compliment — not a replacement — for conventional medicine.
Picture: Erol Can (left), an anesthesiologist, and Bingur Sonmez, a cardiac surgeon play for a patient. Photo: Matthew Brunwasser.
Friday, April 27, 2012
“Commented Concerts”
By HDN Staff Reporter, *Samir Odeh-Tamimi & Hezarfen Ensemble on stage* - Hürriyet Daily News - Istanbul, Turkey; Wednesday, April 25, 2012
Samir Odeh-Tamimi & Hezarfen Ensemble on stage: The Goethe-Institut Istanbul and Borusan Music House are presenting a series called “New Music -- Commented Concerts.”
The first concert of the series will feature Berlin-based Palestinian-Israeli composer Samir Odeh-Tamimi, who musically brings together the European environment he lives in today with the Islamic-Oriental traditions that shaped his youth.
His music bears traces of Sufi rituals that are deeply rooted in him, thanks to the influence of his grandfather, who was an esteemed Sufi healer.
Many other ingredients also spice up his music, and his choice of instruments reveals his Palestinian-Israeli roots.
Odeh-Tamimi will perform with the Hezarfen Ensemble, known for supporting young musicians through intercultural projects and interdisciplinary performances.
Odeh-Tamimi’s debut presentation of some new music at this performance is highly anticipated in music circles. His comments on his selected works, and Hezarfen Ensemble’s renderings of them, will create a setting where listeners’ questions will be answered.
This encounter, where musicians and discussion will complement each other on stage, will launch the “Commented Concerts” at Borusan Music House.
Read More
Samir Odeh-Tamimi & Hezarfen Ensemble on stage: The Goethe-Institut Istanbul and Borusan Music House are presenting a series called “New Music -- Commented Concerts.”
The first concert of the series will feature Berlin-based Palestinian-Israeli composer Samir Odeh-Tamimi, who musically brings together the European environment he lives in today with the Islamic-Oriental traditions that shaped his youth.
His music bears traces of Sufi rituals that are deeply rooted in him, thanks to the influence of his grandfather, who was an esteemed Sufi healer.
Many other ingredients also spice up his music, and his choice of instruments reveals his Palestinian-Israeli roots.
Odeh-Tamimi will perform with the Hezarfen Ensemble, known for supporting young musicians through intercultural projects and interdisciplinary performances.
Odeh-Tamimi’s debut presentation of some new music at this performance is highly anticipated in music circles. His comments on his selected works, and Hezarfen Ensemble’s renderings of them, will create a setting where listeners’ questions will be answered.
This encounter, where musicians and discussion will complement each other on stage, will launch the “Commented Concerts” at Borusan Music House.
Thursday, April 26, 2012
Making Space
By A. Faizur Rahman, *Sufis as architects of Muslim spaces in India* - The Hindu - India; Monday, April 23, 2012
Sufis as architects of Muslim spaces in India
Sufism (tasawwuf in Arabic), the esoteric physiognomy of Islam, is probably the only school of thought which has remained above suspicion in the post 9/11 Islamophobic onslaught. And if any reason could be attributed to this unimpeachability it is its inherent pacifism.
Although Sufism has several etymological denotations the simplest and best explanation was given by Al-Hujwiri, the famous 11th century mystic of Lahore. In his renowned treatise, Kashf al-Mahjub, Hujwiri quotes a Prophetic tradition to define a Sufi as the one who adopts safa (purity) and gives up kadar (impurity).
Such straightforward renditions have contributed to the immense popularity of Sufism across the globe. In India too it is believed that a huge percentage of Muslims have historically been the adherents of the inclusive Sufi traditions.
It is this Sufi history which happens to be the theme of Prof. Nile Green's latest tome Making Space wherein he explores the role of itinerant “saints” and “blessed men” in the emergence of Muslim communities in early modern India.
Most of these saints, according to Green, sought refuge in India after the sacking of “the great Sufi cradle of Khurasan” by the Mongols, and the mass persecution of Iranian Sufis under the Safavids.
Green's thesis is that Sufi shrines serve as “gates through time” (dargah means gateway) where the past is recounted in narrative and rendered visible in architecture and ritual, and therefore, have been crucial to the making of Muslim space on Indian soil.
These dargahs, or “the death spaces” as Green calls them, helped define Muslim identity by linking community to territory and territory to hagiographic texts of memory known as tazkirat. In other words, a mausoleum that immortalised a saint was kept alive through the stories and rituals that surrounded it, and the resulting “architectural embodiment of collective memory” helped create a Muslim space by acting as a bridge between the past and present.
Interestingly, Green does not go into the “intellectualized doctrinal abstraction” of Sufism. He confines his research to a dispassionate analysis of the historical role of the Sufis as social actors — both during their lifetime and after their death — in the creation of Muslim settlements in India.
But he does mention quoting Hujwiri that Sufism should not be talked about in a different breath from Islamic law or the study of Hadith. For, to the likes of Hujwiri the notion of a discrete ‘Sufism' at even a step's removal from ‘Islam' would have been “a troubling and unfamiliar idea.”
Rise of shrine cults
And, even while treating them as purely historical events, Green drops enough hints to suggest that most of the rituals that have come to be associated with the shrines today did not have the approval of the buried Sufis. For instance, he speaks of how “shrine cults” rose to a high degree of importance a few centuries after Hujwiri's death.
Even today many shrines in India are said to facilitate the exorcism of jinns in clear violation of the teachings of the very saints in whose name it is done.
Green feels that such commemorative rituals extolling the miraculous powers of the buried saints were meant to attract the more material forms of investment required to maintain and preserve the sacred space. This argument is substantiated by the huge monetary contributions some South Asian Muslim shrines regularly get, the most recent example being the donation of a million dollars by the President of Pakistan to the Ajmer dargah.
A substantial part of Green's research is devoted to the Mughal imperial expansion into the Deccan (1640-1690) and their policy of co-option and creation of Sufi shrine complexes in south India which was continued by Aurangzeb's successors, the Nizams. Green recounts the story of how Aurangzeb himself came to be buried at the shrine of Zaynuddin Shirazi (d.1369) in Khuldabad on the advice of Sufi Shah Nur as expiation for killing Sarmad, the free thinker and close associate of Dara Shukoh.
Mention is also made of the migration of Sufis to Arcot where they were patronised by the Nawabs of Carnatic, especially Sadatullah Khan and Muhammad Shah who built shrines in their honour.
One of the most significant findings of Making Space is the absence of communal overtones in the Sufi narratives. Extracting from the works of leading Deccan litterateurs, Azad Bilgrami and Sabzawari, Green highlights the presence of numerous Yogis at the shrines in Khuldabad and says that if at all there was rivalry during those times it was not between Hindu and Muslim power centres but between the Muslim saints and the sultans. The saints refused to bow down to the kings.
In short, Making Space is a chef-d'oeuvre which expertly weaves together various aspects of Muslim cultural history to produce a coherent account of how Muslims carved out a space for themselves in India. It is essential reading for anyone who has a dispassionate interest in the ethno-history of early modern India.
MAKING SPACE — Sufis and Settlers in Early Modern India;
Nile Green;
Oxford University Press, YMCA Library Building, Jai Singh Road, New Delhi-110001.
Rs. 795.
Read More
Sufis as architects of Muslim spaces in India
Sufism (tasawwuf in Arabic), the esoteric physiognomy of Islam, is probably the only school of thought which has remained above suspicion in the post 9/11 Islamophobic onslaught. And if any reason could be attributed to this unimpeachability it is its inherent pacifism.
Although Sufism has several etymological denotations the simplest and best explanation was given by Al-Hujwiri, the famous 11th century mystic of Lahore. In his renowned treatise, Kashf al-Mahjub, Hujwiri quotes a Prophetic tradition to define a Sufi as the one who adopts safa (purity) and gives up kadar (impurity).
Such straightforward renditions have contributed to the immense popularity of Sufism across the globe. In India too it is believed that a huge percentage of Muslims have historically been the adherents of the inclusive Sufi traditions.
It is this Sufi history which happens to be the theme of Prof. Nile Green's latest tome Making Space wherein he explores the role of itinerant “saints” and “blessed men” in the emergence of Muslim communities in early modern India.
Most of these saints, according to Green, sought refuge in India after the sacking of “the great Sufi cradle of Khurasan” by the Mongols, and the mass persecution of Iranian Sufis under the Safavids.
Green's thesis is that Sufi shrines serve as “gates through time” (dargah means gateway) where the past is recounted in narrative and rendered visible in architecture and ritual, and therefore, have been crucial to the making of Muslim space on Indian soil.
These dargahs, or “the death spaces” as Green calls them, helped define Muslim identity by linking community to territory and territory to hagiographic texts of memory known as tazkirat. In other words, a mausoleum that immortalised a saint was kept alive through the stories and rituals that surrounded it, and the resulting “architectural embodiment of collective memory” helped create a Muslim space by acting as a bridge between the past and present.
Interestingly, Green does not go into the “intellectualized doctrinal abstraction” of Sufism. He confines his research to a dispassionate analysis of the historical role of the Sufis as social actors — both during their lifetime and after their death — in the creation of Muslim settlements in India.
But he does mention quoting Hujwiri that Sufism should not be talked about in a different breath from Islamic law or the study of Hadith. For, to the likes of Hujwiri the notion of a discrete ‘Sufism' at even a step's removal from ‘Islam' would have been “a troubling and unfamiliar idea.”
Rise of shrine cults
And, even while treating them as purely historical events, Green drops enough hints to suggest that most of the rituals that have come to be associated with the shrines today did not have the approval of the buried Sufis. For instance, he speaks of how “shrine cults” rose to a high degree of importance a few centuries after Hujwiri's death.
Even today many shrines in India are said to facilitate the exorcism of jinns in clear violation of the teachings of the very saints in whose name it is done.
Green feels that such commemorative rituals extolling the miraculous powers of the buried saints were meant to attract the more material forms of investment required to maintain and preserve the sacred space. This argument is substantiated by the huge monetary contributions some South Asian Muslim shrines regularly get, the most recent example being the donation of a million dollars by the President of Pakistan to the Ajmer dargah.
A substantial part of Green's research is devoted to the Mughal imperial expansion into the Deccan (1640-1690) and their policy of co-option and creation of Sufi shrine complexes in south India which was continued by Aurangzeb's successors, the Nizams. Green recounts the story of how Aurangzeb himself came to be buried at the shrine of Zaynuddin Shirazi (d.1369) in Khuldabad on the advice of Sufi Shah Nur as expiation for killing Sarmad, the free thinker and close associate of Dara Shukoh.
Mention is also made of the migration of Sufis to Arcot where they were patronised by the Nawabs of Carnatic, especially Sadatullah Khan and Muhammad Shah who built shrines in their honour.
One of the most significant findings of Making Space is the absence of communal overtones in the Sufi narratives. Extracting from the works of leading Deccan litterateurs, Azad Bilgrami and Sabzawari, Green highlights the presence of numerous Yogis at the shrines in Khuldabad and says that if at all there was rivalry during those times it was not between Hindu and Muslim power centres but between the Muslim saints and the sultans. The saints refused to bow down to the kings.
In short, Making Space is a chef-d'oeuvre which expertly weaves together various aspects of Muslim cultural history to produce a coherent account of how Muslims carved out a space for themselves in India. It is essential reading for anyone who has a dispassionate interest in the ethno-history of early modern India.
MAKING SPACE — Sufis and Settlers in Early Modern India;
Nile Green;
Oxford University Press, YMCA Library Building, Jai Singh Road, New Delhi-110001.
Rs. 795.
Tuesday, April 24, 2012
A Genuine Understanding
By Sadia Dehlvi, *‘Sufism isn’t a fashion statement but a quest for union with God’* - Tehelka - India; Friday, April 20, 2012
‘Sufism isn’t a fashion statement but a quest for union with God’: Jashn-e-Khusrau unearths facets of Sufism that make the tradition dynamic, says Sadia Dehlvi
Jashn-e-Khusrau: A Collection
Roli Books & Agha Khan Trust For Culture
Pages: 221
The last decade has witnessed innovations such as Sufi Yoga and Sufi Kathak. Bare-chested men have been dancing at Sufi festivals marketed in the name of Khusrau.
New age gurus continue to recycle selective writings of Mevlana Rumi and Amir Khusrau to produce what I call “bubble gum spirituality”. Such innovations make mockery of both Sufism and Hazrat Amir Khusrau, one of the great poets of the region.
Sufism is not a fashion statement but a serious quest for union with God. Much like other religions, Islam too has a mystical dimension. This spiritual current, known as tasawuff, later came to be called Sufism. It represents the vibrancy of Islam in adapting to different cultures, allowing for diversity of devotional expressions while affirming unity of faith.
In the subcontinent, this plurality is exemplified by the life of the towering 13th century Sufi Master Hazrat Nizamuddin Auliya and his beloved disciple Amir Khusrau.
Produced by the Aga Khan Trust for Culture, Jashn-e-Khusrau: A Collection does not succumb to popular notions of Sufi traditions.
It presents a genuine understanding of Sufiana Qawaali and its pivotal role in Zikr, remembrance of the Divine at sama mehfils, collective gatherings held to induce spiritual experience.
The text focuses on how the Hindawi Kalaam of Khusrau, who venerates his mystic master, celebrates local language and cultures, defines the essence of Qawaali and gives it a universal appeal.
Jashn-e-Khusrau, both the festival and the book, take Amir Khusrau to the place where he lies entombed, the Hazrat Nizamuddin Basti, a place at the core of Delhi’s history and culture.
The first essay by Sunil Sharma, who teaches Persian literature at Boston University, details the vast and diverse nature of Khusrau’s work. Regula Qureshi, the sole ethnomusicologist to work on genre of Qawaali, pens an insightful history of the popular genre. The third and final essay by Irfan Zuberi on art, artists and patronage of the Qawaals in Basti Nizamuddin, outlines the close symbiosis between the Qawaals and their patrons at the dargah. It rightfully calls for the conservation of the 700-year-old settlement, its traditions and monuments.
The illuminated manuscripts in Jashn-e-Khusrau are sourced from museums around the world. Rather than just serve as decorative miniature paintings and calligraphies, these folios illustrate the literary work of Amir Khusrau and Amir Hasan, a fellow poet and disciple of Hazrat Nizamuddin.
The three CDs, elegantly cased within the folds of the book, are a compilation of the six Qawaali performances held by the Agha Khan Trust.
The collection from the festival Jashn-e-Khusrau includes some of the best Qawaals from India and Pakistan, including Meeraj Nizami, Ghaus Muhammad Nasir Niazi, Muhammad Ahmed Warsi Naziri, Farid Ayaz and Abu Muhammad. Khusrau’s poetry is sung in the traditional style as across the dargahs of South Asia.
The rendition and choice of poetry, both in Hindawi and Persian, are amongst the finest I have heard.
The second part of the book has around 25 pages devoted to Kalaam, where the complete poetry of the recitals rendered in the CD are inscribed in Urdu with a transliteration in the Roman script, along with English translations by scholars like SM Yunu Jaffery, Saleem Qidwai, Paul Losensky and Sunil Sharma.
Jashn e Khusrau: A Collection recounts Amir Khusrau’s contribution to India’s contemporary identity and continuing traditions. The wonderful pictures, essays, and Qawaalis make Jashn-e-Khusrau: A Collection, a treasure for lovers of Sufism and Qawaali.
Read More
‘Sufism isn’t a fashion statement but a quest for union with God’: Jashn-e-Khusrau unearths facets of Sufism that make the tradition dynamic, says Sadia Dehlvi
Jashn-e-Khusrau: A Collection
Roli Books & Agha Khan Trust For Culture
Pages: 221
The last decade has witnessed innovations such as Sufi Yoga and Sufi Kathak. Bare-chested men have been dancing at Sufi festivals marketed in the name of Khusrau.
New age gurus continue to recycle selective writings of Mevlana Rumi and Amir Khusrau to produce what I call “bubble gum spirituality”. Such innovations make mockery of both Sufism and Hazrat Amir Khusrau, one of the great poets of the region.
Sufism is not a fashion statement but a serious quest for union with God. Much like other religions, Islam too has a mystical dimension. This spiritual current, known as tasawuff, later came to be called Sufism. It represents the vibrancy of Islam in adapting to different cultures, allowing for diversity of devotional expressions while affirming unity of faith.
In the subcontinent, this plurality is exemplified by the life of the towering 13th century Sufi Master Hazrat Nizamuddin Auliya and his beloved disciple Amir Khusrau.
Produced by the Aga Khan Trust for Culture, Jashn-e-Khusrau: A Collection does not succumb to popular notions of Sufi traditions.
It presents a genuine understanding of Sufiana Qawaali and its pivotal role in Zikr, remembrance of the Divine at sama mehfils, collective gatherings held to induce spiritual experience.
The text focuses on how the Hindawi Kalaam of Khusrau, who venerates his mystic master, celebrates local language and cultures, defines the essence of Qawaali and gives it a universal appeal.
Jashn-e-Khusrau, both the festival and the book, take Amir Khusrau to the place where he lies entombed, the Hazrat Nizamuddin Basti, a place at the core of Delhi’s history and culture.
The first essay by Sunil Sharma, who teaches Persian literature at Boston University, details the vast and diverse nature of Khusrau’s work. Regula Qureshi, the sole ethnomusicologist to work on genre of Qawaali, pens an insightful history of the popular genre. The third and final essay by Irfan Zuberi on art, artists and patronage of the Qawaals in Basti Nizamuddin, outlines the close symbiosis between the Qawaals and their patrons at the dargah. It rightfully calls for the conservation of the 700-year-old settlement, its traditions and monuments.
The illuminated manuscripts in Jashn-e-Khusrau are sourced from museums around the world. Rather than just serve as decorative miniature paintings and calligraphies, these folios illustrate the literary work of Amir Khusrau and Amir Hasan, a fellow poet and disciple of Hazrat Nizamuddin.
The three CDs, elegantly cased within the folds of the book, are a compilation of the six Qawaali performances held by the Agha Khan Trust.
The collection from the festival Jashn-e-Khusrau includes some of the best Qawaals from India and Pakistan, including Meeraj Nizami, Ghaus Muhammad Nasir Niazi, Muhammad Ahmed Warsi Naziri, Farid Ayaz and Abu Muhammad. Khusrau’s poetry is sung in the traditional style as across the dargahs of South Asia.
The rendition and choice of poetry, both in Hindawi and Persian, are amongst the finest I have heard.
The second part of the book has around 25 pages devoted to Kalaam, where the complete poetry of the recitals rendered in the CD are inscribed in Urdu with a transliteration in the Roman script, along with English translations by scholars like SM Yunu Jaffery, Saleem Qidwai, Paul Losensky and Sunil Sharma.
Jashn e Khusrau: A Collection recounts Amir Khusrau’s contribution to India’s contemporary identity and continuing traditions. The wonderful pictures, essays, and Qawaalis make Jashn-e-Khusrau: A Collection, a treasure for lovers of Sufism and Qawaali.
Monday, April 23, 2012
Through a Study of Dreams
By Kelsey Geiser, *Stanford's Özgen Felek investigates the power of dreams in Sufism* - Stanford University News - Stanford, CA, USA; Tuesday, April 17, 2012
Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.
Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.
One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."
Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.
To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.
The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.
"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.
For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.
Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.
Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.
Charting the rise of a ruler
A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.
Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"
"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.
In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.
For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."
The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."
Dreaming in the classroom
In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.
"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."
Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.
"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.
Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.
This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.
Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.
Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.
Read More
Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.
Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.
One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."
Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.
To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.
The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.
"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.
For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.
Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.
Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.
Charting the rise of a ruler
A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.
Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"
"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.
In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.
For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."
The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."
Dreaming in the classroom
In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.
"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."
Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.
"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.
Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.
This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.
Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.
Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.
Sunday, April 22, 2012
All Are Vulnerable
By Dominique Soguel, *Ghariani embodies image of Muslim Libya in post-Gathafi era* - Middle East Online - London, UK; Monday, April 16, 2012
Ghariani embodies image of Muslim Libya in post-Gathafi era: Mufti warns all groups, whether Muslim Brotherhood, Salafists or Sufis, are vulnerable to radical elements in their ranks seeking to sow chaos.
Tripoli: As devoutly Muslim Libya struggles through a transition to democracy, its Grand Mufti has emerged as a powerful moral compass for leaders and ordinary citizens alike.
While Libyans were fighting to oust leader Moamer Gathafi last year, the new National Transitional Council named Sheikh Sadeq al-Ghariani in May as the top religious authority and judge of what is forbidden or permitted under Islam.
The Tripoli-based scholar and author of 32 books was among the first to speak out against Gathafi's regime after it launched a violent crackdown against a popular uprising in February 2011 in the eastern city of Benghazi.
And when Gathafi was captured and slain last October, the grand mufti ruled the former strongman to be an "infidel," unworthy of prayers.
"The role of the mufti is to provide guidance and counsel," Sheikh Ghariani said in between solemn meetings with citizens seeking answers on how to settle disputes out of court.
Interim government spokesman Nasser al-Manaa says of Sheikh Ghariani that "these days show that many Libyans stand by his words," adding that the authorities themselves will seriously consider any proposal he makes.
No such compass guided the nation during the final years of Gathafi's four-decade rule. A self-proclaimed Arab, African and Islamic leader, Gathafi had a touch-and-go relationship with Islam.
He replaced the Gregorian, solar-based calendar with the Muslim lunar calendar in everyday affairs and declared the Koran should be translated into every language. But he also abolished Dar Al-Ifta, the office for religious edicts, fatwas, and crushed Islamists posing a political threat.
Dar Al-Ifta was formally reinstituted in Tripoli after rebels seized the capital last August.
Indefatigable, the septuagenarian Sheikh Ghariani hosts a weekly TV talk show fielding calls on a range of topics, from how to split inheritances to what is halal (permitted) and haram (forbidden) in Islamic sharia law.
Yet he is modest about his role.
"If no one comes to him (for advice), he approaches no one (with advice)," said the graduate of Cairo's Al-Azhar, the highest centre of Sunni Muslim learning, who issued his fatwas from Benghazi during the 2011 revolution.
Since the outbreak of the Arab Spring last year, a long-running debate on the thorny constitutional question of whether Islam should be "a" source of legislation, or "the" source, has come to the fore across the region.
In August, the NTC issued a provisional declaration that Sharia would be the "primary source" of legislation, raising concerns in the West about religious tolerance and women's rights.
The Mufti clarifies: "We are not saying Islam should be the only source of legislation... What we are saying is that any law that contradicts Islam is invalid."
"Laws created by men are acceptable on the condition that they are not in contradiction with the Koran and Sunna (teachings of the Muslim prophet Mohammed)," he said, adding that 90 percent of the laws on the books pose no problem.
Hence, the longstanding bans on selling alcohol and pork and of licencing brothels will never be revoked.
But there are some laws promulgated under Gathafi that fly in the face of the holy book, including one that allows a person to claim unoccupied property, and one that permits charging interest on loans.
As for politics, Sheikh Ghariani has already issued edicts on the importance of qualified people running for office but declines to define which school of Islamic jurisprudence he draws on for his fatwas.
"Islam is one," he stressed.
Libya is a Sunni Muslim society in which many citizens describe themselves as middle-of-the-road moderates who reject violence.
But the Sufi sect, which practises a mystical form of Islam and has played a historic role in the affairs of the North African nation, now finds itself in conflict with Qatari- and Saudi-trained Salafist preachers who consider it heretical.
The Mufti warns that all groups -- whether the Muslim Brotherhood, Salafists or Sufis -- are vulnerable to radical elements in their ranks seeking to sow chaos.
While downplaying fears Salafist extremists are gaining momentum in post-Gathafi Libya, he said they are a minority and taking advantage of the security vacuum left after Gathafi.
"Such people are a very small segment (of society) and have surfaced now because of the lack of security and stability," he said in reference to scattered cases of zealots entering mosques by force to preach.
"If there were a strong grip on security and everyone who committed a crime faced justice, these people would never have come out, and we would never have heard of them."
At the request of the interim government, he ruled against the desecration of tombs after an attack by Salafists against a cemetery in Benghazi left the graves of World War II heroes gutted.
He also opposes the demolition of Sufi shrines, which have been attacked, and issued an edict to that effect in March after a stand-off between people in the town of Zliten and armed Salafists seeking to destroy a shine there.
The Mufti's position on women reflects view held widely in his society.
Interim leader Abdel Jalil sparked an outcry last year, especially among women rights activists, when he said his country would overturn a Gathafi-era ruling restricting polygamy.
Libya's personal status laws -- which regulate such matters as marriage, divorce, child custody and inheritance -- are already based on the Koran and will probably remain the same or similar in future, he said.
When asked whether a man would need his wife's permission to take a second wife -- a requirement under Gathafi that was rarely put into practice -- he said no, because of a woman's "jealous nature."
"Polygamy is legitimate and there is no controversy in this," he said, arguing it is better than to take a lover and bring illegitimate children into the world and makes men shoulder the responsibility for their offspring.
However, at the same time, he said "we want women to play a strong role in the upcoming phase of elections."
While his views may be as jarring as fingernails on a chalk board to most Western and some Arab feminists, they cause few ripples in Libya, where religious observance underpins every social norm.
"Islam governs all aspects of life, not only Zakat (alms) and Hajj (pilgrimage to Mecca) -- two central tenets of Islam -- but the moment from which a Muslim is conceived to the moment he is buried," says the Mufti.
Read More
Ghariani embodies image of Muslim Libya in post-Gathafi era: Mufti warns all groups, whether Muslim Brotherhood, Salafists or Sufis, are vulnerable to radical elements in their ranks seeking to sow chaos.
Tripoli: As devoutly Muslim Libya struggles through a transition to democracy, its Grand Mufti has emerged as a powerful moral compass for leaders and ordinary citizens alike.
While Libyans were fighting to oust leader Moamer Gathafi last year, the new National Transitional Council named Sheikh Sadeq al-Ghariani in May as the top religious authority and judge of what is forbidden or permitted under Islam.
The Tripoli-based scholar and author of 32 books was among the first to speak out against Gathafi's regime after it launched a violent crackdown against a popular uprising in February 2011 in the eastern city of Benghazi.
And when Gathafi was captured and slain last October, the grand mufti ruled the former strongman to be an "infidel," unworthy of prayers.
"The role of the mufti is to provide guidance and counsel," Sheikh Ghariani said in between solemn meetings with citizens seeking answers on how to settle disputes out of court.
Interim government spokesman Nasser al-Manaa says of Sheikh Ghariani that "these days show that many Libyans stand by his words," adding that the authorities themselves will seriously consider any proposal he makes.
No such compass guided the nation during the final years of Gathafi's four-decade rule. A self-proclaimed Arab, African and Islamic leader, Gathafi had a touch-and-go relationship with Islam.
He replaced the Gregorian, solar-based calendar with the Muslim lunar calendar in everyday affairs and declared the Koran should be translated into every language. But he also abolished Dar Al-Ifta, the office for religious edicts, fatwas, and crushed Islamists posing a political threat.
Dar Al-Ifta was formally reinstituted in Tripoli after rebels seized the capital last August.
Indefatigable, the septuagenarian Sheikh Ghariani hosts a weekly TV talk show fielding calls on a range of topics, from how to split inheritances to what is halal (permitted) and haram (forbidden) in Islamic sharia law.
Yet he is modest about his role.
"If no one comes to him (for advice), he approaches no one (with advice)," said the graduate of Cairo's Al-Azhar, the highest centre of Sunni Muslim learning, who issued his fatwas from Benghazi during the 2011 revolution.
Since the outbreak of the Arab Spring last year, a long-running debate on the thorny constitutional question of whether Islam should be "a" source of legislation, or "the" source, has come to the fore across the region.
In August, the NTC issued a provisional declaration that Sharia would be the "primary source" of legislation, raising concerns in the West about religious tolerance and women's rights.
The Mufti clarifies: "We are not saying Islam should be the only source of legislation... What we are saying is that any law that contradicts Islam is invalid."
"Laws created by men are acceptable on the condition that they are not in contradiction with the Koran and Sunna (teachings of the Muslim prophet Mohammed)," he said, adding that 90 percent of the laws on the books pose no problem.
Hence, the longstanding bans on selling alcohol and pork and of licencing brothels will never be revoked.
But there are some laws promulgated under Gathafi that fly in the face of the holy book, including one that allows a person to claim unoccupied property, and one that permits charging interest on loans.
As for politics, Sheikh Ghariani has already issued edicts on the importance of qualified people running for office but declines to define which school of Islamic jurisprudence he draws on for his fatwas.
"Islam is one," he stressed.
Libya is a Sunni Muslim society in which many citizens describe themselves as middle-of-the-road moderates who reject violence.
But the Sufi sect, which practises a mystical form of Islam and has played a historic role in the affairs of the North African nation, now finds itself in conflict with Qatari- and Saudi-trained Salafist preachers who consider it heretical.
The Mufti warns that all groups -- whether the Muslim Brotherhood, Salafists or Sufis -- are vulnerable to radical elements in their ranks seeking to sow chaos.
While downplaying fears Salafist extremists are gaining momentum in post-Gathafi Libya, he said they are a minority and taking advantage of the security vacuum left after Gathafi.
"Such people are a very small segment (of society) and have surfaced now because of the lack of security and stability," he said in reference to scattered cases of zealots entering mosques by force to preach.
"If there were a strong grip on security and everyone who committed a crime faced justice, these people would never have come out, and we would never have heard of them."
At the request of the interim government, he ruled against the desecration of tombs after an attack by Salafists against a cemetery in Benghazi left the graves of World War II heroes gutted.
He also opposes the demolition of Sufi shrines, which have been attacked, and issued an edict to that effect in March after a stand-off between people in the town of Zliten and armed Salafists seeking to destroy a shine there.
The Mufti's position on women reflects view held widely in his society.
Interim leader Abdel Jalil sparked an outcry last year, especially among women rights activists, when he said his country would overturn a Gathafi-era ruling restricting polygamy.
Libya's personal status laws -- which regulate such matters as marriage, divorce, child custody and inheritance -- are already based on the Koran and will probably remain the same or similar in future, he said.
When asked whether a man would need his wife's permission to take a second wife -- a requirement under Gathafi that was rarely put into practice -- he said no, because of a woman's "jealous nature."
"Polygamy is legitimate and there is no controversy in this," he said, arguing it is better than to take a lover and bring illegitimate children into the world and makes men shoulder the responsibility for their offspring.
However, at the same time, he said "we want women to play a strong role in the upcoming phase of elections."
While his views may be as jarring as fingernails on a chalk board to most Western and some Arab feminists, they cause few ripples in Libya, where religious observance underpins every social norm.
"Islam governs all aspects of life, not only Zakat (alms) and Hajj (pilgrimage to Mecca) -- two central tenets of Islam -- but the moment from which a Muslim is conceived to the moment he is buried," says the Mufti.
Saturday, April 21, 2012
Everlasting Influence
By IRNA Staff Writer, *Attar Neishabouri commemorated* - Islamic Republic News Agency - Tehran, Iran; Saturday, April 14, 2012
Attar Neishabouri commemorated
Tehran: Ceremonies marking birth anniversary of eminent Iranian poet Attar Neishabouri were held here as well as in his birthplace Neishabour in Khorassan Razavi province.
Designated as the ‘Day of Commemorating Attar’, April 13 provides an opportunity for experts to study his life and works.
Iranian literati and scholars gathered at the mausoleum of the classical Persian poet as part of the programs to commemorate him.
Attar was a Persian Muslim poet, theoretician of Sufism and hagiographer who left an everlasting influence on Persian poetry and Sufism.
His works are in poetry and prose. ‘Manteq At-Teir’ (conference of birds), his masterpiece, is in poetry while his works in prose include ‘Elahi Nameh’, ‘Asrar Nameh’ and ‘Mosibat Nameh’.
‘Manteq At-Tair’ covers approximately 4,500 verses. It depicts a journey by a group of birds, led by a hoopoe, as an allegory of a leader directing them to the land of Simorgh (mythical bird).
They cross seven valleys longing for meeting Simorgh. The seven valleys symbolizing the seven stages of mysticism.
But not all of the can endure the pains of the journey. A number of them drop out of the journey, each offering an excuse.
Eventually, only thirty birds reach the abode of the Simurgh. But there is no Simurgh to see. Simurgh's chamberlain keeps them waiting for Simurgh long enough for the birds to figure out that they themselves are the si (thirty) murgh (bird).
It is the Sufi doctrine that God is not separate from the universe and every creature is a manifestation of the Creator.
Attar was killed by the invading Mongols. He was buried near Neishabour, Khorassan Razavi province.
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Attar Neishabouri commemorated
Tehran: Ceremonies marking birth anniversary of eminent Iranian poet Attar Neishabouri were held here as well as in his birthplace Neishabour in Khorassan Razavi province.
Designated as the ‘Day of Commemorating Attar’, April 13 provides an opportunity for experts to study his life and works.
Iranian literati and scholars gathered at the mausoleum of the classical Persian poet as part of the programs to commemorate him.
Attar was a Persian Muslim poet, theoretician of Sufism and hagiographer who left an everlasting influence on Persian poetry and Sufism.
His works are in poetry and prose. ‘Manteq At-Teir’ (conference of birds), his masterpiece, is in poetry while his works in prose include ‘Elahi Nameh’, ‘Asrar Nameh’ and ‘Mosibat Nameh’.
‘Manteq At-Tair’ covers approximately 4,500 verses. It depicts a journey by a group of birds, led by a hoopoe, as an allegory of a leader directing them to the land of Simorgh (mythical bird).
They cross seven valleys longing for meeting Simorgh. The seven valleys symbolizing the seven stages of mysticism.
But not all of the can endure the pains of the journey. A number of them drop out of the journey, each offering an excuse.
Eventually, only thirty birds reach the abode of the Simurgh. But there is no Simurgh to see. Simurgh's chamberlain keeps them waiting for Simurgh long enough for the birds to figure out that they themselves are the si (thirty) murgh (bird).
It is the Sufi doctrine that God is not separate from the universe and every creature is a manifestation of the Creator.
Attar was killed by the invading Mongols. He was buried near Neishabour, Khorassan Razavi province.
Thursday, April 19, 2012
Peace, Joy and Unity
By News Desk, *Salman Ahmad: Making his way into films* - The Express Tribune - Karachi, Pakistan; Friday, April 13, 2012
Salman Ahmad: Making his way into films
Sufi rockstar Salman Ahmad, who is all set to rock India in an upcoming tour later this month, has a little surprise for his fans in Pakistan and abroad.
Previously, Ahmad was going to New Delhi to perform live for his fans but now the musician has announced that he will be making his Bollywood debut in Vicky Kumar’s musical love story Rhythm, according to timesofindia.com.
Hindustan Times reports that Ahmad’s fan following started strengthening from 1997, when his song “Sayonee” created a rage in India and garnered uninterrupted airtime on television. Now, Junoon, spearheaded by Ahmad, will hit the stage in Mumbai on April 28.
Having undergone numerous line-up changes since the band’s inception in 1990, Junoon currently consists of founder Ahmad on guitar and vocals, John Alec on bass, Sunny Jain on drums and Kedarnath Havaldar on percussion.
Sadly, the current line-up does not include singer Ali Azmat and bassist Brian O’ Connell, two band members who helped the band earn recognition as the pioneer of rock in the subcontinent.
The two-hour long show aims to attract a crowd of 10,000. The Pakistani Sufi rock band is also scheduled to perform in Pune, Delhi and Bangalore.
Event organiser Darpan Trisal says, “We might add on some more cities on the road. Band member, Salman Ahmad has also consented to perform a jugalbandi at the forthcoming Wow awards, the awards which recognise outstanding customer service.”
Junoon’s last concert in India was on February 6, 2010 in Delhi in support of the Lighting a Billion Lives campaign, reports Hindustan Times.
According to Pakistantoday.com, Ahmad, who is based in the US these days, says, “India is the land of junoonis and we want to infuse it with some high-octane junooni (passion) soul.”
He adds, “Many of my Indian friends including actor Naseeruddin Shah, politician Shashi Tharoor, Nobel Peace prize winner Dr Rajendera Pachauri and actor Nandita Das have told me that our music has played a vital role in promoting harmony between India and Pakistan. I hope to further promote peace, joy and unity on the land of Hazrat Amir Khusrau and Khwaja Gharib Nawaz.”
Picture: Salman Ahmad will perform live in India after almost two years. Photo: TET File
Read More
Salman Ahmad: Making his way into films
Sufi rockstar Salman Ahmad, who is all set to rock India in an upcoming tour later this month, has a little surprise for his fans in Pakistan and abroad.
Previously, Ahmad was going to New Delhi to perform live for his fans but now the musician has announced that he will be making his Bollywood debut in Vicky Kumar’s musical love story Rhythm, according to timesofindia.com.
Hindustan Times reports that Ahmad’s fan following started strengthening from 1997, when his song “Sayonee” created a rage in India and garnered uninterrupted airtime on television. Now, Junoon, spearheaded by Ahmad, will hit the stage in Mumbai on April 28.
Having undergone numerous line-up changes since the band’s inception in 1990, Junoon currently consists of founder Ahmad on guitar and vocals, John Alec on bass, Sunny Jain on drums and Kedarnath Havaldar on percussion.
Sadly, the current line-up does not include singer Ali Azmat and bassist Brian O’ Connell, two band members who helped the band earn recognition as the pioneer of rock in the subcontinent.
The two-hour long show aims to attract a crowd of 10,000. The Pakistani Sufi rock band is also scheduled to perform in Pune, Delhi and Bangalore.
Event organiser Darpan Trisal says, “We might add on some more cities on the road. Band member, Salman Ahmad has also consented to perform a jugalbandi at the forthcoming Wow awards, the awards which recognise outstanding customer service.”
Junoon’s last concert in India was on February 6, 2010 in Delhi in support of the Lighting a Billion Lives campaign, reports Hindustan Times.
According to Pakistantoday.com, Ahmad, who is based in the US these days, says, “India is the land of junoonis and we want to infuse it with some high-octane junooni (passion) soul.”
He adds, “Many of my Indian friends including actor Naseeruddin Shah, politician Shashi Tharoor, Nobel Peace prize winner Dr Rajendera Pachauri and actor Nandita Das have told me that our music has played a vital role in promoting harmony between India and Pakistan. I hope to further promote peace, joy and unity on the land of Hazrat Amir Khusrau and Khwaja Gharib Nawaz.”
Picture: Salman Ahmad will perform live in India after almost two years. Photo: TET File
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