Showing posts sorted by relevance for query Sufi. Sort by date Show all posts
Showing posts sorted by relevance for query Sufi. Sort by date Show all posts

Sunday, September 13, 2009

Moroccan youth rediscover Sufi heritage


Today we have pleasure in sharing an article by Mahmoud Habboush on Moroccan youth and sufi culture. Mahmoud Habboush writes for The National newspaper in Abu Dhabi, UAE, where this article originally appeared. It is reprinted with permission"
In the rectangular courtyard outside the Tijani zawiya, a Sufi centre in Fez, half a dozen groups of men sit in circles around aluminium trays filled with flat bread, fruits, milk and thick harira vegetable soup, waiting to perform the al Maghreb prayer before breaking fast.

Among them is 23-year-old Abdul Hameed al Warhi, who works in a shoe factory by day but spends most of his free time here, praying and partaking in mystical rituals with his fellow Sufis, whose strand of Islam, dominant in Morocco before a mid-20th century decline, is now enjoying something of a resurgence.

Abdul Hameed al Warhi, 23, centre, breaks fast at Tijani zawiya. Photograph: Nicole Hill

Following prayer and iftar, Mr al Warhi, wearing a brown T-shirt and black tracksuit bottoms, steps into the zawiya, which looks like a typical Moroccan mosque with colourful tiled walls and stain-glass windows.

In the middle of the room, thick copper bars and short marble columns seal off the tomb of Sidi Ahmed al Tijani, who founded the Tijani Sufi order in the 19th century.

“[Sufism] is the purity of intention and clarity of heart,” said Mr al Warhi, sitting on a red Persian carpet next to the tomb, which is revered by followers of this order, many of whom hail from as far afield as Senegal, Mali, Gambia and Mauritania.

Mr al Warhi is one of many Moroccans, especially among the youth, who are rediscovering their Sufi heritage, a development that has been promoted by Mohammed VI, the Moroccan king.

The mystical branch of Islam, with its philosophy of inner peace, social harmony and oneness with God, is seen by many in Morocco as the ideal counterweight to such strict interpretations of Islam as Salafism, which have gained ground in the past few decades, as well as answering the country’s spiritual needs.


“A lot of people who want to adhere to Islam follow ideologies that lead them to extremism and rejection of others,” said Mr al Warhi. “But Sufism is a peaceful and forgiving way that calls for dialogue and love of others.”

Sufi orders are mostly distinguished by their system of dhikr, which is a silent – that is, internal – or vocal chanting based on the repetition of prayers or the names and attributes of God, which number 99, according to Islamic tradition.

Essentially, the Sufis, like mystic branches of other religions, strive to obtain spiritual oneness with God, and dhikr, they say, is the vehicle that helps them achieve that.

“When I do dhikr, I feel comfort and tranquillity,” said Mr al Warhi. “A spiritual feeling that I can’t describe to you.”

At the central Sufi zawiya of the Boutchichi order in Madagh, a small village in the north-east of Morocco, just 15km west of Algeria, young worshippers sit in a circle after performing the al Ishaa prayer, the last of the day. They begin chanting a poem about love of the divine, without the use of musical instruments.

The tone is solemn and engaging: “Oh how happy are those who won God and saw in the world nothing but Him,” went one line.

As the chanting continues it grows louder and the young men gradually stand up with some of them clasping their hands around the backs of fellow worshippers, jumping up and down euphorically. Towards the end of each verse, a powerful voice resonates throughout the zawiya’s court, the ceiling of which is made of corrugated-iron sheets. The voice, loud and penetrating yet barely recognisable, said “ah”; the last letters of the word Allah.

Sufis say that in this ecstatic state the material world dissolves; and people react in different, spontaneous ways, including jumping, spinning and deep grunting.

For Hassan Boumata, 17, from Tiznit, a town in the southern region of Sous-Massa-Draa, it is because of this exhilaration he will always be a Sufi.

“A lot of people are looking for happiness but real happiness and serenity lies in dhikr,” said Hassan, who is still in secondary school.

If testament were needed to the revival of Sufism in Morocco, it was visible last year when 100,000 worshippers descended on the Boutchichi zawiya for the celebration of the Moulid, or the birthday of the Prophet Mohammed.

The Hamadcha, one of the many Sufi Brotherhoods in Morocco

Sufism has been one of the defining elements of Moroccan culture for centuries. Sufi zawiyas and shrines of Sufi masters are seen everywhere in the country. In the desert, the vast agricultural plains and fertile valleys, shrines for “men of God” take pride of place.

But during the latter half of the 20th century, Sufism declined in numbers and influence due, among other reasons, to the emergence of a number of competing secular and religious ideological strands, including Morocco’s first Islamist movement in 1969, influenced by Egypt’s Muslim Brotherhood.

But following the Casablanca bombings in 2003 and 2007, perpetrated by Jihadist groups inspired by the literalist interpretations of Salafi Islam, the Moroccan regime closed dozens of Quranic schools that were believed to be centres of Salafist preaching and pushed to rekindle public interest in Sufism.

In July, the Moroccan monarch wrote to an international Sufi gathering in Marrakech saying that Sufis “advocate co-operation and joint action to support fellow humans, to show them love, fraternity and compassion”.

The Alaouite Dynasty, which has ruled Morocco since 1666, adopts Sufism as a major tenet of the country’s Islamic faith.

It is believed the term Sufi was coined in the eighth century when it was applied to ascetics who wore uncomfortable woollen clothes to achieve spiritual discipline. Sufi is Arabic for wool.

Early on, a number of orders, or Tariqa, were established by certain Sufis who linked their chain of teachers back to the Prophet Mohammed. Only the few of those who attained high levels of Sufi knowledge had orders established after them.

Not everyone in Morocco appreciates the current rejuvenation of Sufism.

Back in Fez, Salah Iddin al Sharqi, 16, said he did not consider the zawiya to be a “house of God”. Walking through the packed, narrow alleys of the 12-century-old city, in a red T-shirt, khaki shorts and flip-flops, Salah said some Sufi practices were not consistent with Islam.

“I believe in God and his messenger, but the zawiya is not a place of worship. There is someone buried in the zawiya and I don’t believe in praying in a place where someone is buried,” he said, referring to the tombs located in many Sufi zawiyas.

Others express outright hostility towards Sufism, saying it should be banned according to prophetic tradition.

Standing outside the Barrima mosque in the old city of Marrakech – which is across the road from a small Sufi zawiya – after al Ishaa prayers, three young, bearded men said certain Sufi practices amounted to “blasphemy”.

“Seeking the blessing [of the dead] is explicit blasphemy,” said one of the men.

Salafis have traditionally criticised the presence of tombs in some Sufi zawiyas as well as the reverence the Sufis hold for their sheikhs.

Even some Sufis question the practices of their fellow worshippers. Idris al Faez, imam of the Tijani zawiya in Fez who tends toward a more conservative version of Sufism, said he could understand certain criticism directed towards Sufis.

“There are some aspects of ignorance among some Sufis such as the mingling of the two genders and the use of music,” he said, sitting against the wall of the Tijani zawiya in Fez.

Still, proponents of Sufism argue that it was the absence of their brand of Islam, as well as the spread of satellite channels espousing anti-Sufi views, that has allowed extremist versions of Islam, such as Salafism, to grow.

“The absence of the role of Sufism … resulted in the emergence of all sorts of extremism,” said Fouzi Skali, a leading Moroccan Sufi expert. “We can’t imagine a civilisation with this type of behaviour of killing innocents. We have developed an ideology that is against the basic values of Islamic civilisation.

Faouzi Skali - leading Sufi intellectual

“If there is no change in moral values by which societies are ruled, we will be moving towards more crises and splits within societies,” said Mr Skali, who manages the annual Fez Festival of Sufi Culture.

Regardless of the ups and downs Sufism has experienced in the past and may experience again in the future, practitioners say it is ingrained in Moroccan culture and always will be.

“Sufism is the essence of Islam,” said Sidi Jamal, a Sufi master and son of the sheikh of the Boutchichi order in Madagh, as he sipped a bowl of soup. “The Prophet, his friends and early followers were all Sufis.”


Tuesday, March 03, 2009

Sufism - a Moroccan youth culture.



In a recent article, Mokhtar Ghambou examines Sufism as youth culture in Morocco. Mokhtar Ghambou is professor of Postcolonial Studies at Yale University. He is also the founder and president of the American Moroccan Institute (AMI). His article was originally written for the Common Ground News Service. Photographs added by The View from Fez.

Sufi brotherhood in Fez
(photo: Suzanna Clarke)

Morocco owes its image of a modern Muslim nation to Sufism, a spiritual and tolerant Islamic tradition that goes back to the first generations of Muslims and has sustained the religious, social and cultural cohesion of Moroccan society for centuries. Sufism provides answers to some of the most complex issues in the contemporary Muslim world, where youth comprise the majority of the population.

Most Moroccans, young or old, practice one form of Sufism or another. As a deep component of the Moroccan identity, Sufism absorbs all members of society, regardless of age, gender, social status or political orientation.

Moroccan youth are increasingly drawn to Sufism because of its tolerance, its fluid interpretation of the Qur'an, its rejection of fanaticism and its embrace of modernity. Young men and women find in the Sufi principles of "beauty" and "humanity" a balanced lifestyle that allows them to enjoy arts, music and love without having to abandon their spiritual and religious obligations.

Sufi orders exist throughout Morocco. They organize regular gatherings to pray, chant and debate timely topics of social and political importance, ranging from the protection of the environment and social charity to the war on drugs and the threat of terrorism.

Sufi inspiration - young Moroccans in Fez.
(photo: Suzanna Clarke)

Moreover, Sufi gatherings inspire young people to engage in interfaith dialogue, highlighting the universal values Islam shares with Christianity and Judaism - such as the pursuit of happiness, love of one's family, tolerance of racial and religious differences, and the promotion of peace.

Combined, Sufi seminars, chants and trances provide millions of Moroccans with a social medium where the fusion of the sacred and the secular, the soul and the body, and the local and the universal is both possible and enjoyable.

I recently asked Ahmed Kostas, an expert on Sufism and director at the Moroccan Ministry of Religious Affairs in Rabat, why this old spiritual tradition is so popular among modern youth.

"Progress and change," he noted, "are basic tenets of Sufi philosophy."

Sufis distance themselves from fundamentalists, whose vision of Islam is a strict and Utopian emulation of the Prophet Muhammad and his companions, by placing great emphasis on the community's adaptation to the concerns and priorities of modern times. Sufis neither condemn unveiled women nor censure modern means of entertainment. For them, the difference between virtue and vice is determined on the basis of intent, not appearances.

Sufism is so diffuse in Moroccan culture that its role cannot be properly understood if reduced to a sect or shrine; it pervades even those musical trends labeled as "modern" or "Western." Rai, as well as Moroccan versions of hip hop and rap, may seem too earthly or too sensual to be associated with Sufism, yet they draw on Sufi poetry to sing the primordial essence of the human body, the virtues of simplicity, and the healing gifts of Sufi saints, such as Sidi Abderrahman Majdub, Sidi Ahmed Tijani, and Sidi Boumediene-spiritual masters revered by their peers and disciples for having attained spiritual union with God during their earthly lives.

Nass Al Ghiwan
(
flikrpic)

The impact of Sufism on youth culture is more explicit in the lyrics of the urban band Nass Al Ghiwan (pictured above)and the Saharan Gnawa musicians. These two groups have profoundly shaped Moroccan popular music since the 1970s. Ghiwan songs, informed by the hippie style of bands like the Rolling Stones and Pink Floyd, inspire many listeners to a physical response called shatha, a Sufi word that Moroccans use for modern dance.

Gnawa musicians, the descendants of African slaves brought to Morocco between the 12th and 17th centuries, produce a similar effect. Their music is a mix of religious lyrics deeply rooted in the oral tradition of sub-Saharan Africa and melancholic melodies reminiscent of American jazz and blues. The Gnawa performance centers on a spinning body and a high-pitched voice, rhyming poetic verses with Sufi chants in Arabic such as "There is no god but God, and Muhammad is his Messenger." These same words are terrifying when they come from the mouth of the terrorist, but lift the soul when they are sung by pious Muslims, Gnawa and other Sufi-inspired musicians.

Fnaire -(myspace photo)

Even Fnaire (pictured above), the most recent hip hop band from Marrakech, identifies itself as a blend of Moroccan Sufi tradition and American rap.

In addition to Moroccans, thousands of young men and women from Europe, America and Africa flock to sacred music festivals organized every summer by Sufi movements throughout Morocco, to sing and celebrate their enthusiasm for life and their commitment to the universal values of peace. The scene at these festivals completely refutes the kind of image that extremists seek to convey to Muslim youth.

Sufi Ceremony
(Photo: Suzanna Clarke)

It is this fusion of Sufism and modernity that produces a unique aesthetic experience, which is attractive to Moroccan youth who reject extremism and uphold values of a shared humanity.

NOTE: And don't forget the Fes Festival of Sufi Culture from 18-25 April. See http://theviewfrommorocco.blogspot.com/2009/01/fez-festival-of-sufi-culture-2009.html

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Sunday, May 08, 2016

Fes Festival Sufi Nights - Night One Review


As the Fes festival has developed over its 22 years, with more famous artists who push the limit of what we understand as sacred music, the Sufi nights at Dar Tazi have remained a beloved constant. They are the real highlight of the festival for many, a place where spiritually curious foreigners and Moroccan families sit side by side to appreciate the samaa, madih and dhikr (audition, praise, and remembrance of God) of Morocco’s Sufi brotherhoods. Faith Barker reports for The View From Fez...

The position of Sufism in Morocco is fascinating. It is still deeply embedded in Moroccan culture and the music and chant associated with its brotherhoods are close to the hearts of many. At the same time, in the 1960s as there was an impetus to modernise both industrially and culturally, numbers in the brotherhoods dwindled. But as Morocco began to capitalise on its reputation as a site of spirituality and tolerance with a strong Sufi tradition, there was renewed interest in the brotherhoods. It was also around this time that they began to perform like musicians. The music came out of the zawiya, the Sufi lodge, and the traditional chanting and clapping was augmented by instruments from Andalusi music like the oud, the nayy, and the violin.

It is this combination of musicianship and worship that gives the Sufi Nights an interesting flavour. Performers and audience feed off each other’s energy, creating an atmosphere of warmth, conviviality and spiritual openness which gets to the heart of what the Fes Festival is all about.

Saad Temsamani

After a last-minute programme change, the Sufi Nights series was opened not by the Touatiyya but by the Shadhiliyya. It seems more appropriate in any case to begin with the tariqa from which many of the brotherhoods across North Africa have originated. This group, from Tangier, led by the calm and capable Saad Temsamani, took to the stage after processing in to the sound of the tbbal drum and chanting, known as the darqawiyya.

The Sufi performances, as they would in the ritual in the zawiya, always begin with the hizb or litany of the tariqa, the prayers setting the tone for the rest of the evening. The music began with a form of the musical mode hijaz al-kabir which Temsamani explained is particular to the north of Morocco. As well as Temsamani’s soft and sweet tones, there was a beautiful solo from the nayy player which drew cries of “Allah!” from the audience.

The audience were totally engaged

As always at the Sufi Nights, the audience is just as absorbing to watch as the men on stage. Their participation and appreciation is an integral part of the performance, with many singing along with the hizb. It was heartening to see young Moroccans in the audience engaging with the tradition, as well as a teenage boy singing with the tariqa. He was tentative in his solos but passionate in the call-and-response sections where the men sing as a group.

The youngest member of the tariqa

The hijaz al-kabir was followed by a form of the sharqi sghir which according to Temsamani is also particular to the north and rarely sung today. Throughout the musical sections there was some virtuosic singing and playing from the soloists, but the men remained fairly sedate, often looking down at the papers in their hands to recall the words. As they began the hadra, however, the mood changed. The instruments, except for the tbbal drum, are set aside and the men get to their feet. The hadra is a section of Sufi ritual where adepts chant the name of God and sway from side to side, experiencing the hal, an ecstasy that comes from a feeling of divine grace and closeness to God.

The nayy player's solo was superb

As the unmistakeable chanting of “Allah, hayy” began, many in the audience got to their feet. A trio in the front, regulars at the festival and true Sufi devotees, were the first up. They joined hands and formed a parallel to the three men on stage who were jumping up and down and rocking back and forth chanting, demonstrating again how the boundary between performers and audience becomes blurred in the special ambience and communal spirit of the Sufi Nights. As more people stood, the security guards stood to attention at the front of the stage in case any of the displays of devotion got out of hand. The performers were newly animated, closing their eyes in private trance, breathing heavily in the rhythm of the drum. They reached a fever pitch, with those in the audience crying out “Allah” and “nabbi Muhammad”, and then, suddenly, it came to an end. The evening wound down with a fatha prayer and Qur’anic recitation, with some in the audience mouthing along with the words.

First time Sufi Nights attendee Habiba was very moved. An Australian woman who practises Sufism and lived in the north of Morocco in the seventies, Habiba is a good example of the typical Sufi Nights audience member.

“This is why I’m here,” Habiba told me. “It was fantastic, and so moving. It’s a concert, and yet it’s also a practice.”

Text and photographs: Faith Barker


Dar Tazi Sufi Night - Sunday May 8th: Tariqa Harrakiya from Safi
Sufi Nights Programme: Performers
Fes Festival Opening Night Review
Fes Festival Day Two Review

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Monday, April 20, 2015

Fes Festival of Sufi Culture ~ Day Three


Day Three of the Fes Sufi Festival began with mystical Persian poetry and ended with Mevlevi music for the ney

Rumi - the poet of love

Morning Round Table

The morning panel examined how ideas about spiritual love in the Quran and Hadiths influenced Persian mystical poetry. While there was also a brief presentation by Saida Bennani on the contemporary writing of Muhammad Iqbal, it was Leonard Lewisohn's scholarship on “The Religion of Love,” and ensuing discussion that stole the show.

Lewisohn is a professor at the University of Exeter's Institute of Arab and Islamic Studies. Quoting examples of Hadiths, he argued that in the founding texts of Islam, “all of existence is an erotic interplay between God and man.” In essence, God creates human beings in order to reveal the beauty of his love, and human beings worship God by finding beauty in the things he has created.

Lewisohn explained that, “because God is beyond form, we need a form to worship him.” People and things are therefore understood in this tradition to be merely the incarnations or containers of a greater divine beauty. These vessels could include the person we build our life with, or even beautiful faces glimpsed briefly in passing on the street.

From a Western perspective, we tend to think about love in a romantic sense as a search for a specific individual with particular qualities. We may question, “why does this person deserve our love?” whether it's a life partner, or a stranger. Sufism instead promotes an attitude of love that is largely unconditional and non-possessive. Love of people and things in the world serve to direct the heart upward and outward toward the divine. The stages of religious love also involve suffering, tragedy and yearning. Salah Stetié commented that the presentation neglected these elements. However there was a lot of ground to cover in a short time.

Lewisohn - "God is beyond form"

The audience responded passionately to Lewisohn's presentation, applying it to present day issues in their questions and responses. They invited Lewisohn to tackle the subject Islamic extremism. He responded that radical Islam obfuscates the religion's tradition of love through its intolerance of art and philosophy, the mediums through which the original interpretations of Hadiths have been passed down. He argued that the wealth of these concepts of love belong not just to Sufism, but to the shared heritage of Islamic religion and culture more generally.

Aziz Eddebbarh

Aziz Eddebbarh, a visiting Imam, argued that there needs to be a festival of Sufi Culture in North America to help spread these humanist ideas, especially to the youth. Others asked about how the importance of love as a core value of Islam could be put into practice, and brought to the attention of the greater public.

The head of Fez's Rumi Institute reminded people that promoting these ideas is precisely the purpose of the Festival of Sufi Culture. He reminded those in attendance that, “it's good to say with force that there are people working to do good things, rather than to always focus on the negative.”


Program change for Afternoon Round Table

While the small audience were anticipating ney player, Kudsi Erguner to discuss the Mevlevi music for the ney, Festival Director Faouzi Skali explained that Kudsi had decided that doing an extended talk and then a concert was too much. A sensible decision.

In a deft piece of program swapping, the Festival presented the Persian Sufi scholar, Jane Lewisohn who had been scheduled for tomorrow. Kudsi Erguner will speak at the round table tomorrow morning.

"Let me explain about Soufism..."

As the audience waited for the session to begin, one youngster provided a moment of delight, by ignoring security and making herself at home with the microphone on stage.

Jane Lewisohn with Faouzi Skali

Unfortunately, Jane Lewisohn's presentation relied on slides, and there was no adequate medium to show them. Instead of a wide screen, there was a small TV screen, partially washed out by sunshine at the beginning. It was only visible to a small section of the audience.

Thankfully, the sound of the accompanying music was fine but neither the venue nor the technology were appropriate for the presentation.

Ms Lewisohn gave an interesting and erudite commentary, illustrating the Persian Sufi traditions. She pointed out that Rumi is very much alive for Iranians and that over the centuries the Persian language has not changed like other languages. As she pointed out, a child in Iran would understand every word of a Rumi poem. Whereas a French poem of the same era would only be intelligible to a modern scholar.

In an interesting analogy she compared Sufi practise as "polishing the mirror of the heart" but a performance in a Sufi gathering is "sandblasting".

The audience appreciated that Lewisohn had taken the trouble of printing out translations of some of the Persian poetry.

Let go all your scheming, lover
let yourself go mad
go mad
just step into the heart of the fire
make yourself a moth
a moth - Divan-i Shans Ghazal 1944


Evening Concert


Photo: Priam Thomas

The evening concert by the Kudsi Erguner Ensemble from Turkey was a superb example of just how sublime divine music can be and how it only takes three master musicians to transport an audience.

The recital began gently with an introduction on the kanun before Kudsi Erguner brought the ney to his lips. The sound was more breathy and ephemeral than that of a Western flute, reminiscent of a Japanese shakuhachi in the hands of a master musician like Riley Lee. Yet, when Erguner reached effortlessly up the octaves, the sound produced was as pure as molten silver.

As the first piece progressed the large frame drum came into play giving a solid base heart beat. Further on the tempo increased and the three instrumentalists shared a more playful few passages with the ney and the virtuosic kanun player swapping phrases or providing a counterpoint to each other. Then, with the music reaching full speed, they galloped to the end of the piece like three horses gratefully heading for home.


Erguner, speaking in French to the audience, proved he was a master not only of the ney, but also a man with a gift for gentle communication.
"In reality Sufi music does not exist but there are Sufis who listen to music.  Music is not entertainment but food for the soul" ~ Kudsi Erguner

There was a variety to the music with pieces from the traditional Turkish Mevlevi repertoire through to a delightful Iranian maqam.

Given the stature of Kudsi Erguner it would have been easy for him to dominate the ensemble. But this was not the case as the brilliant kanun player was masterful on his instrument as was the percussionist whose work on the drum and frame drum was outstanding.

The concert, attended by a smaller crowd than the previous nights, was a meditation on the divine and the audience sat quietly while the melodic music flowed over and around them or swooped above the majestic Barbary oak.

Photo: Priam Thomas

The trio received a standing ovation and, after sustained applause, generously returned for an encore. A splendid concert on a perfect night in Fez.

Seen in the Audience ~ Frédéric Calmès, Musical Director of the Fes Hamadcha Sufi Brotherhood

A little background - Kudsi Erguner

The Turkish musician, Kudsi Erguner was born 4 February 1952 in Diyarbakır, Turkey. He is considered a master of traditional Mevlevi Sufi music and is one of the worlds best-known players of the Turkish ney flute.

The ney (Persian: نی / نای‎), is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use.

The Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass or plastic mouthpiece is placed at the top to protect the wood from damage, but this plays no role in the sound production. The ney consists of a piece of hollow cane or reed with five or six finger holes and one thumb hole. Modern neys may be made instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called neyzen, can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages.

As a boy, Erguner studied with his father Ulvi Erguner and attended the Sema of the Mevlevi-Sufi tradition along with other Dervish ceremonies. He started his musical career in Istanbul Radio in 1969. For several decades, he has researched the earliest roots of Ottoman music which he has also taught, performed and recorded.

In the seventies Erguner moved to Paris where, at the beginning of the eighties, he founded the Mevlana Institute devoted to the study and teaching of classical Sufi music. Together with the Kudsi Erguner Ensemble he developed deep insights into the diversity of his culture: the group conveys both authentic, often improvised forms of expression of classical Ottoman performance culture as well as a comprehensive repertoire of modern and classical pieces that can be traced back to the 13th century.

Photos and text: Priam Thomas and Sandy McCutcheon



Tomorrow's Programme at the Batha Museum
 PLEASE NOTE THE PROGRAMME CHANGE*

10am       *Round Table "Listen to the ney" Mevlevi music and visions - with Kudsi Erguner
4pm          Round Table Rumi and Mevlevi music - ecstatic poetry.
8.30pm     Concert of samaà by the Tariqa Charqawiyya>

Tuesday's weather: Sunny. Top temperature 26 Celsius. Minimum 14.

See other Festival reports

Sufi Festival  ~ Day One
Sufi Festival - Day Two
Sufi Festival ~ Day Three
Sufi Festival ~ Day Four
Sufi Festival ~ Day Five
Sufi Festival ~ Day Six
Sufi Festival ~ Day Seven
Sufi Festival ~ Day Eight

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Friday, April 24, 2015

Fes Festival of Sufi Culture ~ Day Seven


Evening Concert

Sufis Chants of Allepo  ~  a tribute to Jalaluddine Weiss

Jalaluddin was Weiss's Muslim name referencing the 13th-century poet Jalaluddin Rumi.

He was born "Julien", in Paris, but was, as Musicologist Peter Culshaw put it, "one of those often eccentric Europeans who become so fascinated with Arabian culture that they go native". He died Friday, January 2nd 2015. He was 61 years old.

The Al-Kindî Ensemble, founded in 1983 by Julien Jalaluddine Weiss in Aleppo, capital of northern Syria and a stopping place on the famous Silk Road, was rated among the best groups devoted to classical Arab music, owing to the musical qualities displayed by its performers, and to the high standard of its work, steeped in the various musical traditions of the near and middle East.

Al Kindi were a Takht Sharqi (traditional oriental ensemble), composed of a qânun (a table zither with pinched strings), an Oud (oriental lute), a Nay (reed flute) and a riqq (small tambourine with little cymbals).

Under Jalaluddine's leadership, the group performed the classical Arab repertoire setting the instruments into sharp relief, thus re-establishing a balance which very often exclusively favoured the sung melody.

Aleppo has been an important centre for Sufism since the thirteenth century, when the rulers of the Ayubid dynasty started building Sufi convents (khanaqa) and lodges (zawiya, pl. zawaiya) as part of their policy of fostering Sunni Islam against the threat of Ismaili Shi‘ism and the Crusaders. Aleppo was a cultural crossroad due its geographical location and its function as a trading centre to where converged caravans coming from Anatolia, Iran, Mesopotamia and southern Syria. This cosmopolitan environment was reflected in the doctrinal and ritual traits of the Sufism practiced in Aleppo, which fused mystical trends developed in the Arab, Turkish and Persian religious and cultural contexts. Under the Ottoman Empire some Sufi tariqas (Brotherhoods) where organised into centralised and hierarchical structures, putting the local zawiyas under the leadership of a Shaykh Al-Mashaykh.

Up until the tragedy of the war in Syria, the permanence and expansion of Sufism in Aleppo showed that there is no inherent contradiction between Sufi practices or beliefs and modernity.


Concert Review

The concert at Bab Makina was in two parts. First up was a small tariqa half of whose members live in France the other half in Syria.

Photo: Priam Thomas
 It was a simple musical line up with three tambourines, a nay and an oud. The youngish singer had a commanding voice and a healthy dose of vitality. He was obviously enjoying his gig. The Syrian Sufi music was intense and uplifting.


However, the audience were focused on one end of the stage where three of the Turkish Khalwatiyya were waiting . Unlike the Dervish performance the previous night where the whirling was an integral part of the spiritual performance, the display at Bab Makina, totally upstaged the music. It was not necessarily a bad thing, more that they were highly visible on the raised stage and brighter lighting. The audience were mesmerised.


As on the previous night, dancer Burak Bildik (pictured above) gave an amazing display of whirling. His eyes closed, he appeared lost in a sea of tranquility, his mind elsewhere. His fellow dancers were excellent but lacked his finely tuned grace and fluidity.


The second group was, in sound and appearance, like many Arabic Orchestras.  It comprised a singer and solo violinist and orchestra leader, out front of a row of nattily dressed gentlemen. These gentlemen, included two young male backing vocalists, a 2nd violin, qânun, oud, double bass and three percussionists.

Photo: Priam Thomas
The music immediately struck a chord with the smallish crowd. It was traditional Arabic popular music, familiar to almost everyone. "Just like Egyptian music, but better!" a local fan informed everyone within hearing range.


The formula for much of the programme was a slow and melodic introduction, vaguely reminiscent of a taqsim. Then, with a sudden flourish of tambourines or glissando on the oud and qânun, the tempo would kick up a gear and the musicians would romp on into a medley of songs.

Sufi fans come in all sizes
This unashamedly popular culture was the perfect fit for the audience who lapped it up and applauded at every flourish. The stand out moment was a remarkable rendition by the singer of the opening words of the call to prayer . His"allahu akbar"rang through the the Bab Makina. A timely reminder that we were at a Sufi festival.

Photos and text: Priam Thomas and Sandy McCutcheon



Apology: Due to a technical glitch we are unable to bring you the reports from today's Round Tables

Tomorrow's Programme (Note: Afternoon at Batha Museum is a concert not a Round Table)

10am   Round Table Final Discussion
4pm     Batha Museum - Concert: Shaykh Hassan Dyck & Muhabbat Caravan
8.30pm Concert at Bab Makina: Samaà by Moroccan Sufis and Andalusian music

Saturday's weather: Partly cloudy. Top temperature 25 Celsius. Minimum 12.

Bab Makina - Photo Priam Thomas

See other Festival reports

Sufi Festival  ~ Day One
Sufi Festival - Day Two
Sufi Festival ~ Day Three
Sufi Festival ~ Day Four
Sufi Festival ~ Day Five
Sufi Festival ~ Day Six
Sufi Festival ~ Day Seven
Sufi Festival ~ Day Eight

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Wednesday, June 05, 2013

Sufi Nights at the Fes Festival of World Sacred Music 2013


The Sufi Nights are daily free concerts and a wonderful way to wrap up your day at the festival. The Dar Tazi garden venue is a great location and easy to find, being at the top of the Medina near Batha. Be warned that the Sufi Nights are very popular and so expect large and enthusiastic crowds of locals.

The Hamadcha Brotherhood at Dar Tazi

8-15 June 2013, free entry Dar Tazi: Sufi Nights from 23h00

These outdoor samaà concerts are open to all, and give a glimpse into Islamic culture through the richness and creativity of its artistic and spiritual dimensions. Musicologist Philip Murphy explains samaà - Much of what is performed is known as samaà - a form of Sufi music, and the literal translation from Arabic is audition, to listen or to hear, but with spiritual connotations. It also refers to a ritual taking place in the zawiya, Arabic for the corner of a Sufi house or meeting place, which could be attached to a Mosque, and which would indicate that the original samaâ used to meet in a corner.

Samaà is something that happens in the zawiya but is now becoming part of these cultural festivals. As Faouzi Skali explained, the evening was one of community prayer, not a performance. This is what adds intensity to the experience as it is never really a performance for outsiders, more for the Sufi’s themselves, but has now become a staged thing that has entered the world music market and festival circuits. It seems that it is a very personal celebration between the group themselves but it has also taken on the modern role as a public performance of what they do. There are some differences, for example with the Moroccan-Andalusian style there will usually be some kind of orchestra, but in the zawiya the typical way of doing it is without instruments, so it’s often just vocalising.

The samaâ isn’t really considered singing, it’s more melodic vocalising. It has been called chant, but it can be translated in different ways. The word is inshad in Arabic, which can be translated as chant or melodic vocalising, it’s distinct from singing, which has other connotations. To our ears it’s very melodic and the melodic rules, the ways that you develop melody, are similar for both, but it has to do with place, time and the role of music, it’s so very difficult to give an exact definition.

Marouane Hajji  photo: Sandy McCutcheon

One exception to the normal Sufi Night programming is the inclusion of local singer Marouane Hajji. If you intend to go along to this concert - go early! He is extremely popular and very good. His appearance will be in June 11th

Sufi brotherhoods appearing at the Sufi Nights:

Saturday June 8th: Tariqa Hassania (Laayoune)
A Sufi Brotherhood from the far south of Morocco.

Sunday June 9th: : Tariqa Habibia (Taza)
Taza, in Arabic: تازة) is a city in northern Morocco, which occupies the corridor between the Rif mountains and Middle Atlas mountains, about 120 km east of Fes.

Monday June the 10th: Tariqa Derkaouia (Azemmour)
A Sufi Brotherhood founded by Sharif Idrisi Moulay Larbi Derkaoui. He was born in 1760 in the Moroccan tribe Beni Bou Zerroual Brih. He was the disciple of the great mystic Moulay Ali Ben Abderrahman El Amrani said Jamal El Fasi who had his zawiya (lodge) in Fes, at a place called Hummat Er-Remula. The doctrine of Moulay Larbi Derkaoui proceeds from tarika Shadhiliyya jazouliya. He died in 1824 in his zawiya Bou Brih where he was buried.

Tuesday June 11th : Marouane Hajji

Wednesday June the 12th: Tariqa Touhamia (Fes)
The Taibia or Touhamia were servants of the sherifs of Ouezzane, who exercised their influence in Morocco and Algeria from the 18th cent.

Thursday June the 13th : Tariqa Hamadcha of Fes
Along with the Gnawa and the Aïssawa, the Hamadcha are one of the three most important so-called ‘popular’ Sufi brotherhoods in Morocco. The Hamadcha brotherhood was founded by Saint Sidi Ali Ben Hamdouch in the seventeenth century, and has become famous through the originality of its repertoire, its spellbinding dances, and the trance-therapy skills of its members.

Friday June the 14th : Tariqa Al Ajibia (Tangier)

Saturday June the 15th : Tariqa Ouazzania

Fes Festival program
Fes Festival Medina Map
Fes Festival Food! 

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Thursday, April 21, 2016

Fes Festival Preview - Free Boujloud and Sufi Nights Program

During the Fes Festival of World Sacred Music there are free concerts in the Boujloud Square starting each evening at 10pm.  The Sufi Nights at Dar Tazi at 11pm are also free
Tariqa Boutchichiya
Saturday 7th
Boujloud Square: 22.00 free of charge
Regional Choir of Fes | Mohammed Soussi

Dar Tazi Sufi Nights 23h00: Touatiya Tariqa: Dar Dmana hal touat

Sunday 8th
Boujloud Square: 22h00 free of charge
Mourad Bouriki | Lamia Zaidi

Dar Tazi Sufi Nights 23h00: Harrakiya Tariqa from Safi

Monday 9th
Boujloud Square: 22.00
Batoul Marouani: Hassani Song | H-Kayne

Dar Tazi Sufi Nights 23h00: Chadilia Tariqa from Tangier

Tuesday 10th
Boujloud Square: 22.00
Participation of the French Institute in Fes: Buddha Bar | Omar Boutmazoukt: Amazigh Song

Dar Tazi Sufi Nights 23h00: Assaouia Tariqa

Wednesday 11th
Boujloud Square: 22h00
In association with the Pakistan Embassy: Najat Aatabou

Dar Tazi Sufi Nights 23h00: Machichiya Tariqa: Al Houda Ensemble from Tangier

Najat Aatabou

Thursday 12th
Boujloud Square: 22h00
Mahmoud Al Idrissi | Khalid Ali Orchestra

Dar Tazi Sufi Nights 23h00: Bouchichiya Tariqa

Friday 13th
Boujloud Square: 22h00
Diego Cortès / Reda Taliyani

Dar Tazi Sufi Nights 23h00: Derqaouia Tariqa: Abdemjid Sweri from Essaouira

Saturday 14th
Boujloud Square: 22h00
Ba-jloud: music of the Jabali tradition | Aminux

Dar Tazi Sufi Nights 23h00: Hamdouchiya Tariqa (Fez Hamadcha) 

Festival highlight - The Fez Hamadcha will perform at the final Sufi Night

Sufi Nights and Boujloud Square events are free


Book other tickets here

The View From Fez is a Fes Festival official Media Partner

FULL FESTIVAL PROGRAMME HERE

See our other Fes Festival previews:
Opening Night Preview
Homage to India Preview
Divas of the World Preview
Nights in the Medina 1 Preview
Nights in the Medina 2 Preview
Nights in the Medina 3 Preview
Istanbul to Fez Preview
Tribute to Oum Keltoum Preview
Samira Saïd Preview
Forum Sessions Preview

Thanks to Helen Ranger for translations

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Saturday, April 18, 2015

Fes Festival of Sufi Culture ~ Day One

The Fes Festival of Sufi Culture opened on a beautiful afternoon at the Batha Museum. With minimal fuss or security, things went like clockwork.  
The Batha Museum venue - Photo Priam Thomas

Festival Director Faouzi Skali was in a surprisingly relaxed mood for the first day of the event and greeted guests and dignitaries with a warm smile. After setting the scene, he introduced four musicians who gave a beautiful reading of Rumi - a hymn to love in every sense.

The relaxed Faouzi Skali arrives at the venue

Faouzi was followed by Bariza Khiari, a French politician, Socialist senator and previously Vice President of the Senate. She has published insightful papers on Sufism and Islam that aim to encourage policy-makers and observers of social and political life to broaden their vision and sharpen their thinking.

Bariza Khiari - Photo Priam Thomas

Bariza Khiari pointed out that Islam has become a highly politicised in recent years and its religious and spiritual dimension has been reduced to almost nothing, in favour of controversy. In what she describes as a "cacophony", we find the "media obscurantists" one side and Islamophobia, on the other - their language designed to politicise their arguments.

Roderick Grierson is a world expert on the Mevlevi liturgy known as sema. and about its role in preserving the mystical teachings of Jalal al-Din Rumi. He talked about the fascination and admiration with which travellers from the West have regarded the music and dance of the ‘Whirling Dervishes’ since the early eighteenth century. He pointed out that there are many "versions" of Rumi and that the Festival would give everyone who attended a chance to explore the Turkish Mevlevi traditions in music, literature and poetry.

Roderick Grierson praised the Festival programme

Roderick is the director of the Rumi Institute at the Near East University in Cyprus. He serves on the editorial committee of the Mawlana Rumi Review and is preparing an exhibition of engravings and lithographs of Mevlevi dervishes that will travel to the United Kingdom and United States in 2015. His translation of the Book of Counsels by the Turkish sufi poet Yunus Emre was published in 2013.

All the speakers  praised the tireless work of Faouzi Skali and congratulated him on focusing on love. As Grierson said, in an echo of John Lennon, "We need more love in today's world".

Fatima Azzahra Kortobi

The surprise of the afternoon was a wonderful musical interlude from Fatima Azzahra Kortobi and Salah Eddin Mohassine - a taste of what we could expect in the evening.

Note should be made of the work behind the scenes done by Thibaut Chandelier who facilitated the smooth distribution of information and passes to the international press contingent.

Thibaut Chandelier - ensuring smooth running
Renowned Australian poet, Catherine Wright was in the audience
Priam Thomas 

A new face at the Batha Museum was that of writer and photographer Priam Thomas who has joined The View from Fez team for the duration of the festival. You will find more of his work here.

Evening Concert

Photo: Priam Thomas

The first full concert of the Sufi Festival was a creative work that brought together some very talented musicians to pay homage to Rabia Adawiyya. Rābiʻa al-ʻAdawiyya al-Qaysiyya (Arabic: رابعة العدوية القيسية‎) or simply Rābiʿah al-Baṣrī (Arabic: رابعة البصري‎) was a female Muslim saint and Sufi mystic.

She was born between 713 and 717 CE (100 and 108 Hijri) in Basra, Iraq. Much of her early life is narrated by Farid ud-Din Attar, a later Sufi Saint and poet, who used earlier sources. Rabia herself did not leave any written works about her life. She died in around 801 CE.

The orchestra leader providing some lyrical beauty - Photo: Priam Thomas

Backed by an Andalusian style orchestra of some twenty talented musicians, were Samira Kadiri, Fatima Azzahra Kortobi, Salah Eddine Mohssine and Marouane Hajji. It was an interesting mix - the voices varied, ranging from the dynamic Marouane Hajji, with a boyish smile and playfulness that had the capacity crowd loving every nuance, to Sallah Eddine Mohssine, who was more workmanlike in comparison with Hajji, but he performed with the grace and ease of a master musician..

Fatima Azzahra Kortobi
Marouane Hajji
Salah Eddine Mohssine
Samira Kadiri

Fatima Azzahra Kortobi displayed a wide vocal range from crystal clear soprano down to a depth and earthiness that was reminiscent of some of the great Fado singers. Samira Kadiri's soprano voice is one of classical purity that could stand well alongside  most Western sopranos.

The music was broken up with narration that was, if anything, a bit too pretty. The words are beautiful in themselves and didn't need a dusting of sugar. That aside it was a splendid creation and a suitable opening night.


Coming up tomorrow: Sunday, April 19

10am Round table and poetry readings."Tribute to Abdelwahhab Meddeb"

4pm Round Table: "Will there be a revival of Sufism in the Muslim World?"

8:30 p.m. Samaa of the Tariqa Qadiriyya Boutchichiyya
Samaa of Tariqa-s Siqilliyya / Wazzaniyya

See other Festival reports

Sufi Festival  ~ Day One
Sufi Festival - Day Two
Sufi Festival ~ Day Three
Sufi Festival ~ Day Four
Sufi Festival ~ Day Five
Sufi Festival ~ Day Six
Sufi Festival ~ Day Seven
Sufi Festival ~ Day Eight

The weather should be sunny with a top of 24 degrees Celsius and an overnight low of 11 degrees.

Photos: Priam Thomas & Sandy McCutcheon

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