A. R. Rahman (India) – Bombay Theme.mp4
ABDURRAHMAN ÖNÜL-DÖNDÜM MEVLANA GİBİ مولانا جلال الدين الرومي.mp4
Abed Azarieh – ibnArabi -عابد عزرية يغني لإبن عربي.mp4
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Abed Azrie – Belief (une poésie d’Ibn Arabiعابد عازريه – ابن عربي .mp4
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Achrak – Bab Makina – Festival musiques sacrées Fés – Maroc.mp4
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AR Rahman _ Bombay.mp4
Atiq Rahimi – Syngué Sabour.mp4
AŞKIN İLAHİ DANSI رقص صوفي.mp4
Bachar Zarqan-ibn arabi-بشار زرقان-عجبت منك ومني- ابن عربي.mp4
Begum Abida Parveen – Bulle Shah.mp4
Demiryürek Tasdi Rahmet موسيقى صوفية تركية مع بلال ديميريوريك.mp4
Derviches de DAMAS.mp4
Derwich egyptienرقص درويش مصري.flv
Dhafer youssef – Al Hallej ظافر يوسف – الحلاج.mp4
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Dhafer Youssef – L’Ange Aveugle -O Anjo Cegoظافر يوسف .mp4
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Dhafer Youssef – Odd Poetry.mp4
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Ek Allah Kolo Main Dardi-abida_parveen.mp4
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Frederick Arthur Bridgman With Arabian Rhapsody by Omar Khairat.mp4
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Hallaj ظافر يوسف – الحلاج.mp4
Ibn Arab-Het-Ja en nee-van ابن عربي.flv
Ibn Arabi – Ses mots me ramener à la vie (Sufi Song)ابن عربي.mp4
ibn arabi – Tourjumenديوان ترجمان الأشواق للبحر الزاخر الامام ابن عربي.mp4
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Jahida wahbe -al hallaj جاهدة وهبه – اذا هجرت-الحلاج.mp4
Jahida wahbe -Rumi جاهدة وهبه يا من هو سيدي- الرومي.mp4
Jahida Wehbe chante Günter Grass (Prix Nobel de Littérature 1999)جاهدة وهبه تغني لغوتر غراس.mp4
Jalâluddîn Rûmî – Shahram Nazeri – Chants + Entretien.mp4
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Karima skolli -rab3a al3adawia (كريمة الصقلي- أحبك حبين ( رابعة العدوية.mp4
L’ensemble taybah et les derviches tourneurs.mp4
La Conférence des Oiseaux – Farid Al-Din Attar (1177) 1.mp4
La Conférence des Oiseaux – Farid Al-Din Attar (1177) 2.mp4
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Mevlana Celaleddin Rumi – Mesnevi 1.mp4
MEVLANA CELALEDDİN RUMİ مولانا جلال الدين الرومي.mp4
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MEVLANA CELALEDDİN RUMİ(30 EYLÜL 1207-17 ARALIK 1273) SEMA GÖSTERİSİ.mp4
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Mute Sound – Homenaje a Ibn Arabiابن عربي.mp4
MİSTİK FLÜT- MYSTIC FLUTE-BY ALPARSLAN GÜN.mp4
Nusrat Fateh Ali Khan & Peter Gabriel – Signal to noise.mp4
Nusrat Fateh Ali Khan – Afreen Afreen.mp4
Nusrat Fateh Ali Khan – Must Nazron Se Allah Bachaye.mp4
Nusrat Fateh Ali Khan live at Washington University- Allah hoo.mp4
Nusrat Fateh Ali Khan performs a classic Qawwali song named -Ali Maula Ali Maula Ali Dam Dam.flv
Ode Ibn Arabi ابن عربي- أدين بدين الحب.mp4
Omar Faruk Tekbelik.mp4
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RUMI – Dont go to sleep this night.mp4
Rumi Poem Iranian Music And Divine Dance.flv
Rumi-Jahida wahbe جلال الدين الرومي جاهدة وهبه – يامن هو سيدي.mp4
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The Mevlana Rumi derwishes of Damascus.mp4
THE MEVLANA المولوية.mp4
The Sufi Whirling Dervishes of Istanbul.mp4
The Whirling Dervishes.mp4
Transes – Adeptes Soufis.mp4
Turkish Sufi Music.mp4
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Ömer Faruk Tekbilek- AŞK…mp4
Şerîf Muhiddîn Targan (Turkey).mp4
A R Rehman(Allah Rakkha Rahman)Rehman has spelled his music combining Kawaali and sufi tunes
Abida ParveenSongs to the Divine Beloved
If Abida Parveen is really a cult, it is because this tremendous artist offers herself to her audience, like noone. This way to serve the Kalam (the Verb) of the Sufi saints is often compared to Nusrat Fateh Ali Khan. Sometimes staying on a low note, sometimes producing sounds of an extraordinary virtuosity, she is always transformed by energy, seemingly inspired by He of whom she sings the praises in ecstatic communion with her audience. One for her dazzling voice and her musical imagination allied with a totally feminine, delicate statement to the divine Beloved.
THE MEVLEVI RITES:
Rifa’iyya Brotherhood of Aleppo
Syria – Islamic Ritual Zikr
Auvidis UNESCO D 8013, 1989
TASSAWUF AND ZIKRThe word “Sufi”, which is derived from the concept of tassawuf, denotes the esoteric currents in Islam which aim at seeking mystic union and the experience of the dissolution of the self in the Divine Essence. These currents appeared in the second century after the hijrah and since then have continued to multiply in various forms in the Islamic world. Both the word tassawuf and “Sufi”, which is derived from it, contain the root suf which means wool and refers to the rough woollen garment originally worn by the ascetics as a taken of their detachment. The thinker al-Ghazali (450/1058-505/1111), a great Islamic mystic, in his work entitled Ihya “ulum al-din (Revival of the Sciences of Religion), defined this as follows: “To re-nounce the world in order to lead the life of an ascetic by ridding oneself of material bonds, by emptying the heart of its earthly concerns, and by approaching Almighty God with perfect spiritual diligence”.
In one of his Maqamat the story-teller Hariri gives an account of the intense piety which prevailed during the second century after the hijrah in Baghdad , which was a meeting place for writers who sympathized with the ideas of the Sufis, and also in Basra, Kufa, Wasit and elsewhere. At this period Southern Iraq was the scene of the revival of religious fervour which led to the beginnings of the Sufi movements centred round the person of Hassan Basri (died in 100/772), who is regarded as the father of Islamic mysticism. These movements, which started in Iraq, later spread to Syria, Egypt and Anatolia through the founding of two of the oldest orders, the Qadiriyya and the Rifa’yya. Other movements came into being and influenced one another. This is true of the movement in Khorasan with its Turkish and Syrian ramifications (Mawlawiyya), of that in Egypt and the Maghrib (Shadhiliyya), and of that in Turkestan, which spread to the Ottoman Empire (Bektashiyya). The indian movement (Chistiyya), however, does not appear to have had any influence on the Arab world.
The sufi movement came under harsh criticism during the period of political agitation that followed the decline of the Umayyad cliphate and the ascendance of the Abbasids. It was attacked chiefly on the account of its esoteric practices and of being the privilege of an elite circle indulging in gnostic speculations. This weakening of faith was violently condemned by al-Ghazali, who advocated a return to the sources and affirmed the importance of a response of the heart in a direct and vivid experience. This appeal did not go unheeded and sufism began to be propagated by groups of people who gathered round a spiritual leader, a munshid, a director of conscience, called a shaykh, a bestower of baraka (blessing), who after his death, was elevated to the rank of the saint (sayedna) of his tariqa. Although the word tariqa originally denoted a way, a path to follow, in its religious acceptation it came to signify method, and then order or brotherhood . Hence the appearance in Mesopotamia of the first communities in the history of Islam, that of Qadiriyya founded by Abdul-qadir Jilani (died in Baghdad in 561/1161) and that of the Rifa’iyya founded by Ahmed Rifa’i (died in 575/1182). very little is Known about the latter, who left no writings. Born in an Arab family, he spent his life as an ascetic among the fakirs (a synonym of dervishes, the etymological meaning being “poor men”) who gathered round him in a marshy region north of Basra called Bata’ih or al-Batiha. Initially the order was called the bata’ihiyya, but it soon assumed the name of its founder.
Historians such as Ibn Khallikan and Ibn Battuta were later to describe the ordeals which made the Rifa’iyya famous: walking on fire, placing a piece of burning wood on the tongue, swallowing potsherds, and transfixing the body (these practices were also adopted by maghribin brotherhood of the Isawiyya).
The Semitic root ZKR is associated with the notion of remembering. The word zikr (dhkr) primarily means an act of remembrance, more particularly an act of meditation on the name of Allah, And then it came to signify a technique for keeping the remembrance of Allah constantly in mind. It is mentioned several times in the Qoran. In the 41st verse of surate al-Ahzab we read, “Ye who believe, remeber (uzkuru) God with a continual remembering (zikran kathiran)”.
There are numerous justifications for the zikr both in the Qoran and in the Hadith (the sayings of the Prophet).
The zikr is a method of asceticism practised either by a single believer or by a group. It is also a technique, chiefly a collective technique, which finds expression in the “session”, the hadra. The various exercises performed during a hadra, such as the acceleration of the movement of the body, the swaying of the head in time with the breathing, the uttering of repeated phrases, etc., have been described by many scholars.
The technique of the zikr has often been explained during the course of the centuries, but there are few references to its musical aspects, to the perceptible manifestations of the context in terms of sound which plays a predominant part in the procedure of the ritual. In Islam, where the adhan, tell call to prayer, and the reciting of the sacred book are the two officially accepted forms of vocal art, the zikr forms a third and no less imprtant example. Here the progressive sequence of chant is connected with the degree of intensity of the spiritual experience. Old Indian texts repeatedly state that “the word is God”. a notion which can be grasped at every moment during zikr, where, strangely enough, the melodic aspect provides the basis of the rhythmic aspect and indeed dominates it. The nearer the development of the chant comes to its climax, the more intense does the experience of the zikr become. Starting with an intoned recitation, the participants gradually reach the fullness of a cantilena through chanting a madih. On the other hand, the alteration of the first phrase of the shahada (testimony), “La illaha illa ‘llah”, repeated in a melodic style, gives rise to a kind of rhythmic pulse which generates the articulation of the words “hay” (living) and “hu” (he).
The presence of the singing, which is kept up throughout the service, is felt under various aspects comparable to a scale of degrees of intensity corresponding to the musical degrees of the maqam. This term, which is here taken not in its musical but in its Sufi sense, signifies the various stations through which the believer has to pass in order to attain union with God. This development is realized in several stages.
In answer to the recitation chanted by the munshid, or hymnodist, and when he comes to a qafla, i.e. the end of a phrase or, in musical terms, a return to the tonic, the hadra enters either by uttering exclamations on the syllable ah, which resounds like a kind of drone, or by declaring the attributes of the shahada. the purpose of this is obvious: it affords a means of filling in what would otherwise be a silence, in other words, a means of maintaining the impetus of the ceremony. This fear of emptiness bears an affinity with the state of mind of the faithful who “sit down in a circle without leaving any gaps between one another, for such gaps would cause the demon to rejoice and give access to him” (an Ibadite treatise by al-Jytali).
Those who are responsible for guiding the course of the zikr by singing are called munshid (plural munshidin). Their number varies from one to twelve according to the ceremony. if he takes part in the singing, the shaykh, or head of the tariqa, cannot be regarded as a munshid, who is the Islamic counterpart of the hymnodist in the rites of Christianity. Although a layman by origin and not admitted to the brotherhood, the munshid is treated with great respect and even veneration. In the hierarchy he comes immediately after the shaykh himself. He is juded by his qualities as a singer, these qualities being defined by the word hess (voice), by the abundance of his literary and the musical heritage.
Apart from the munshid there are other members of the faithful, called zakira, who may be close relatives of the shaykh and play a not unimportant part. It is their duty to raise the pitch level of the shahada along a chromatic scale of micro-intervals and to increase the tempo, at the same time taking account of the singing of the munshid, who at this stage is the leading figure in the ceremony. this they do in a most natural manner and without any apparent effort.
the agents which are conducive to “the sturation of the spirit” by enhancing the intensity of communion with the zikr are the percussion instruments. The two main brotherhoods which came into being in the Iraqi sphere, the Qadiriyya and the Rifa’iyya, use similar percussion instruments, namely frame drums called mizhar or mazhar. It is not impossible that the origin of this instrument, which has always had a religious function, is to be sought in Sumer because it is deplcted in bas-reliefs found in Mesopotamia.
the vigorous beating of the mizhar, which in Arabic means “that which causes to appear”, gradually overpowers all physical which makes it easier to subject the body to the discipline of the ceremony, particularly during the trial by transfixing. the great volume of sound generated by this instrument, which can be heard from a considerable distance, causes the chanting it accompanies to impress itself more strongly on the mind and body of the faithful who identtify themselves with it.
Other musical instruments were authorized to be employed by the different brotherhoods, among which the mawlawiyya order has made the most expressive use of them.
the ceremony presented here four parts. The first, which is called wird by the theologians of Islam and known as mawled in the vernacular speech of Aleppo, consists of various intoned recitations: a reading from the Qoran, a ta’tira or prayer for the Prophet, qasida (poems) and madih (hymns).
The second part starts with the entry of the percussion supported by several madih (songs of praise) sung by shaykh al-Yamili and concludes with the trial representing an act of faith which makes the novices the elect of the holy Sayedna Ahmed Rifa’i, the founder of the order which bears his name. this long crescendo which enables the faithful to enter into a state of ecstasy lasts for nearly an hour. It is usually called darb shish, or “piercing with the sword”. The third part, which immediately follows the preceding one introduces the munshid or hymnodist Munhiedin Ahmed, who becomes the leading figure in the ceremony properly known as the zikr, or “remembrance of Allah”, A du’a or prayer of invocation, which forms the fourth and last part, concludes the ritual with a litany.
the abridged presentation of the second and third parts, the darb shish and the zikr, is intended to give as faithful an impression as possible of the Rifa’yya ceremony of Aleppo.
The zawiya of Shaykh Ahmed al-Yamili is a well-known meeting place for pilgrims and worshippers in the city of Aleppo, Zawiya, in Turkish tekke, literally “corner”, is the name given to a room in a house set aside by a brotherhood for the purpose of holding communal prayers. The office of the superior of an order, who has the title of shaykh or spiritual head, is usually handed down from father to son. this is the case with the zawiya of the al-Yamili family, which has held this officer for more than two centuries. Every thursday evening a gathering is held which is attended by anything from sixty to eighty participants, some of whom travel fairly long distances to be present. The zawiya is a small room measuring four metres by three. The disciples take off their shoes when entering, respectfully kiss the hand of the shaykh, who invites them to take their places on the carpet, and then concentrate in silence and wait for the ceremony to begin. The participants, who are called hadra, whence comes the concept of “presence” often used as a synonym of zikr, arrange themselves in a circular formation called halqa, a word which gave rise to the frequently used term halqa zikr, all of them facing in the direction of Mecca. On the walls there are inscriptions in Kufic letters glorifying the Prophet and the founder of the Sayedna brotherhood, the holy Ahmed Rifa’i. A sword, the shish, hangs on one of the walls, and here and there are suspended a dozen or so mizhar or frame-drums, the skins of which are frequently heated over a coal fire to increase their tension and to produce a duller or a clearer sound. An officiant is responsible for performing this task through-out the ceremony. Two tabl or kettledrums are additionally used at the beginning and end of the second part, the darb shish.
Each of the faithful is dressed in a long white cotton tunic, the jellaba or gallabiyya, the distinctive apparel of the Rifa’iyya. The tunic worn by the shaykh is blue, and he also wears a maroon woollen mantle and a turban; the laffa, a symbol of his authority.
Opposite the shaykh, and with his back to the direction of Mecca, sits the chief munshid or hymnodist, who, like the officiant, does not take part in the mystic exaltation. During the zikr, however, he joins the shaykh, and from then on remains in a standing position facing southwards. The faithful all sit on mats and cushions during the first two parts, but stand up during the last two parts when the shahada or profession of faith, “La illah illa ‘llah” (there is no God but Allah), is pronounced by the shaykh to start the zikr.
This is an authentic ritual, seldom recorded, in which music produces a state of trance in the audience.
The obsessional beat of the drums, the accelerating tempo, the repetition and rise of the song, the panting rhythms, all bring about a state of ecstasy; the audience is subsumed into the Divine Being.
Recorded in 1973
1. Islamic Ritual Darb Shish 25:05
2. Islamic Ritual Zikr 27:50
320 kbps including full scans
ABIDA PARVEEN – Visal
Abida ParveenVisal – The meetingMystic Pets from the Hind and the SindAbida Parveen is often compared to Nusrat Fateh Ali Khan for the dazzling quality of her voice and her vivd musical imagination allied to her utterly feminine sensibility, all used to tell the Beloved, the states that his love makes us endure. A real cult is now devoted to Abida, proof indeed of the way this immense artist gives herself over entirely to her public in her music; so long as they demand it, she is ready to go on giving the best of her gifts to serve the kalam (the Word) of the Sufi saints. Sometimes she will linger on a low note, sometimes she’ll rise to dizzy heights with vocal ornaments of dazzling virtuosity; she seems to be in a state of ecstatic communion with her audience, inspired by an energy coming directly from Him whose praises she sings. Poems from Hind and Sind This mystic poetry developed largely in the austerely beautiful countryside bordering the shrine route in the area known in ancient times as the Hind and the Sind that follows the modern-day border between India and Pakistan. At first these poems did not exist in written form. They were collected much later after the death of the saints and then transmitted orally from one generation to another. This explains how one singer’s version will differ from another; it has also given the bards a certain freedom of expression when weaving their tale. For example, if a singer wants to develop the theme of firaq (seperation), after a poem by Khawaja Ghulam Farid, he might find the needs to insert the verses of another poet into his own in order to underline he emotion he arouses. This is known as girah (literally « a knot », such as one finds in carpets).
6th Sense. New Songs from Bengal
Iris Musique 3001 822, 1999
Bapi has called his album “The 6th sense” to touch the heart and recover an intangible and essential virtue there. Our task is to follow him and his “Baul Bishwa” along this winding path, note by note, step by step, body and soul. This album is a gem.
Paralleling the Baul philosophy of taking the best elements of disparate religions and loving “humanity” as the common denominator, this music assimilates influences from a succession of Hindu, Buddhist, and Muslim conquests. This eclectic music captures some of the soaring vocal highs of qawaali music (think Nusrat Fateh Ali Khan), but it also features jangley beautiful melodies and is packaged in a deeper and more accessible rhythmic groove. This sound is quite different from the Rough Guide track- it’s more organic and upbeat.
The liner notes are fabulous and detailed- with a history of Baul music as well as English and French translations of the presumably Bengali lyrics.
An interesting quote from Bapi Das Baul:
“when you are on stage with the only desire to share your music with a musician who comes from somewhere else, the listening is vibrating. You can hear it like an endless interrogation point; you can smell it in the air like the memory of a forgotten perfume… you can taste it in singing words you don’t understand.”
I’m surprised this album isn’t better known. I’d recommend it as one of the first records to buy for someone wanting to explore the vast and diverse musical traditions of India.1. Ore Amar Mon Ganer Nowka
2. Mona Mona Mon
3. Dancing with Chakras
4. Mi Je Mone Mone
5. Chere De Tor
6. Nodi Chena Bora Dai
7. Ore Obodh Mon Chas Kore
320 kbps including full scans
Rumi جلال الدين الرومي
- Abida Parveen casts her spell at Sufi festival (nation.com.pk)
- A tribute to the late, great Nusrat Fateh Ali Khan (timesunion.com)
- A Virtual Mehfil-i Sema (thecorner.wordpress.com)
- Teachings for the Modern World: Ibn ‘Arabi & Rumi- A Conference (prweb.com)
- The world is a place actualizing our humanity (yilmazalimoglu.com)
- In the Depths of Your Heart (musingbymoonlight.com)
- Personal Narrative: What happened to You? (caravanofdreams.wordpress.com)