LAHORE - Whirling dervishes came all the way from turkey to celebrate 70 years of Pakistan’s creation and to strengthen diplomatic relationship between Turkey and Pakistan yesterday at Lahore Arts Council.
Lahore Arts Council in collaboration with Ministry of Culture and Tourism, Republic of Turkey organized a ceremony on whirling dervishes.
When everyone was seated the performance opened with the recitation of Holy Quran, after then Naat was recited expressing love and respect for the Holy Prophet (PBUH).
The next performance was reed flute improvisation. It presented the Archangel Israfil trumpeting the Sur, the sound heralding the resurrection and Day of Judgment.
Addressing at the ceremony of Whirling dervishes, Ambassador of Turkey to Pakistan S Babur Girgin said “Allama Iqbal catered Jalaluddin Rumi as his spiritual leader of Sufism that’s why this group came from turkey to perform at LAC and pay tribute to Iqbal,” he said.
Lahore Arts Council Executive Director Atta Muhammad Khan said, “It is an honour for LAC to host Whirling Dervish who came from turkey. My humble request to the audience is that during the performances do not clap as this is the program of meditation there are no dance performances,” he said.
Minister for culture and Information Mian Mujtaba Shujaur Rehman said “On behalf of Punjab Government I welcome all my honorable guests from Turkey. Pakistan and Turkey relation gained their strength from history and our brotherly friendship has spanned over 100 years. With the passage of time the trade between both the countries has been increased constantly. We have decided to make Turkish language apart of our curriculum in future,” he said.
The performances of Whirling dervishes were divided into four sections.
The first part of ceremony was realised with choral and instrumental music in eight and fourteen beats rhythm. As the music begins, the Semazens remove their (black Khirka long cap with wide arms) symbolizing spiritual birthAs they stand in the humble Niyaz, their posture suggests the number one, symbol of Allah’s oneness.
The dervish master, Semazenbashi goes before the sheikh and requests permission to commence with the Sema.
The Semazens one by one pass before him to kiss his right hand. He in turn kisses their tall headgear, Sikke, thus opening the sema. . The hats that they wear, called Sikkes, represent their own tombstones and are pulled tightly onto their head so that they don’t fall off while the dervishes are spinning.
During the Sema the Semazens hold their arms with right palm facing up and the left down. The posture symbolizes the fair distribution to others of that which is received from Allah Almighty.
Immediately following the abrupt end of the music in the first selam, the second Selam commences. The nine beat rhythmic patterns are somewhat slower. This change of rhythm compelled the listeners to contemplation. When the music ceases, the Semazens also abruptly cease turning, standing shoulder to shoulder in twos and threes in the humble Niyaz posture, they face the center of the Sema hall.
In the third part three different rhythms and a gradually increasing tempo are employed. The first is the 28 beat measure rhythm the second 10 beats measure rhythm, and finally the six beat measure rhythm Yuruk Semai. During the final six beat sections the tempo slowly accelerates, increasing the music’s tension.
In the last part music is composed with nine beat measures of the rhythm. It is played slowly, as if one had been abruptly taken from the rhythmic state of the previous Selam and left alone with reality.