Abstract
This paper is devoted to analyze the text of Abu Bakr Qalandar Rumi’s poem “Qalandar-name” from the point of view of describing the Sufi ritual of listening to sama`. As it is known, Sufi zikr can be two types – “loud”, with singing, dancing movements and playing musical instruments, and “quiet” without any musical part. Research materials: The statement of the author of the poem is of scholarly interest because the author welcomes both two types of zikr, as his Ushshaki group used singing, dancing and musical instruments. All these activities were used for the sole purpose of unity with the divine. The text of the poem is a source on Sufi rituals and their musical peculiarities in different tariqats. The poet also provides theoretical justifications for the permissibility of music in Sufi rituals, based on famous Sufi sheikhs of the earlier centuries. Also the author of the poem displays a deep knowledge of the general Sufi Islamic culture of his time, often referring to poetic images of famous Sufi poets of different countries. The musical instruments presented in the poem give a deep insight into the fact that each group of dervishes may have had their own set of instruments and their own dances. A common genre for all Sufi groups in the world is the genre of munajat, which appears four times in the poem as a separate prayer chapter. Results and novelty of the study: In this paper much attention is paid to the analysis of Sufi musical genres and instruments which were typical of that era. Also a number of the most favorite musical instruments are identified, which were widely used during the Sufi ritual of listening to sama`. The differences between the terms sama` (Sufi listening ritual) and the dance genre of Crimean Tatars “sema” and Tajik “samo” are explained separately. The musical instruments, such as arganun and organ, as well as musikar / musigar, which have different descriptions in historical and modern scientific literature, are also studied separately. The description of the organ in the context of the poem together with the image of the immortal bird Kuknus / Phoenix gives the readers the poem the image about two variants of the wind instrument – the Pan flute type and the keyboard type with mechas. Since we have not found a precise description of the organ and the arganun / musikar in the poem itself, this question remains open for future research. The poem “Kalandar-nameh” will no doubt be useful as a source on Sufi culture of different tariqats of the Middle Ages.
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