| Popis: |
Musical and choreographic processes—termed sama’/sema—were employed continuously from the lifetime of Rumi up until the twentieth century. While certain technical questions of the development of this sema can be be answered more or less empirically, a synthesis of the available sources of highly varied origin and nature, can only yield results that are often more suggestive than conclusive. Some of the earliest bases of the Mevlevi movement seem to have been related both to medieval Iranian Sufi practices, and to the traditions of heterodox Anatolian Sufi groups. Side by side with this movement (and its music) is a symbolic discourse, which was usually written down in the form of poetry. At the same time there was an oral tradition of the meaning of the movements and their connection with the developing forms of the music of the ayin. Most of this oral discourse has left little documentation, but some of the theoretical symbolism was enshrined in poetry. One of the most extensive of these poems is the Turkish “Treatise or Mesnevi Concerning the Mevlevi Mukabele’ written by the Karahisar Sheikh Divane Mehmed Çelebi (d. 1529), which is discussed here at some length. |
