William C. Chittick, Ph.D.: Sufism and the Path of Love

In My Opnion

This is an interesting article by one of the pre-eminent western scholars of Sufism today. He deals with a subject that is, in my opinion, far too ineffable to really do justice to it in this kind of venue. But a valiant attempt nonetheless. To me, this kind of thing cannot be taught by book learning or over the internet, except in the most dry, academic sort of way. The real thing must be experienced to be fully understood, and that requires a different kind of work.

Witness to this are two of the comments that were posted at the time I posted this. One commenter wishes that Chittick’s book were available for Kindle or audible books because of his own need for large print or audible books. In reality he needs neither of these but rather needs simply to spend a weekend in retreat with the Sufis. The second is a person who simply talks about his own experiences in retreat, and I understand his comment and appreciate it.

The third responds in my opinion in confusion. Without knowing the full hadith which Chittick calls “a famous saying” he misses the point – the fault of which is that this medium is not that suitable for these teachings. And especially when western authors water down the message by not making the point of where their information really comes from. Has it gotten to the point where people are afraid to admit wisdom, love and understanding as a part of Islam? In reality these are the core teachings and the heart of what we call Sufism nowadays. But worth reading for sure!

Sufism and the Path of Love

by William C. Chittick, Ph.D.

published in the Huffington Post

via William C. Chittick, Ph.D.: Sufism and the Path of Love.

Before modern times, sharia-mindedness played a much more limited role among Muslims than it does today. No doubt jurists devoted a great deal of effort to writing books on the fine points of law, and theologians dedicated their lives to investigating the mysteries of the divine nature. But these were the pursuits of scholars who often had little or no influence on the lived Islam of the people.

Those who asked questions about the meaning of life or felt the call of love for God did not seek guidance from jurists or theologians. Instead, they turned to teachers experienced in matters of the spirit. These teachers were called by a variety of names, “Sufi” being one of many. They were usually deeply learned in both jurisprudence and theology, but they considered these the groundwork for the real task of becoming fully human. From around the 11th century, many of these teachers reached out to vast audiences through poetry. The best known examples remain Ibn al-Farid in Arabic, Rumi and Attar in Persian and Yunus Emre in Turkish.

During the same period there was a flowering of prose works on love. One of the most influential authors in the Persianate lands was a man by the name of Ahmad Sam’ani, who died in 1140, 65 years before the birth of Rumi. He was a member of an eminent family of scholars from Merv, a great cosmopolitan city in Central Asia. Unlike some of his more famous relatives, he wrote only one book, a 600-page discourse on the 99 most beautiful names of God. During his own lifetime he was known as an eloquent preacher.

Sam’ani explains that God is motivated by love and compassion in everything he does. No matter which of the divine names we take as a starting point for meditation, we will find that it serves the purposes of love. This includes not only gentle names like merciful and forgiving, but also awe-inspiring names like severe and avenger.

Along with others who wrote on the same topic, Sam’ani understood love as an immediate corollary of tawhīd. God, in his absolute unity, embraces an infinity of possibilities. He desired to make these manifest: “I loved to be recognized,” as the famous saying puts it, “so I created the creatures that they might recognize Me.” Otherwise, why bother with creation?

On the human side, recognizing God’s merciful self-manifestation stirs up love for him. Since he alone is real, love for anything else is ephemeral and unreal. In any case, people cannot avoid love. They are full of desires, wants, wishes, loves, passions, cravings (as the consumer society knows so well). Created in the image of a loving God, they cannot not love. Their problem is that they cannot see beyond their noses.

Settling down in love depends upon achieving recognition of the One, because nothing can satisfy unlimited craving but the Infinite. Self-centeredness, however, makes love for fellow humans impossible, much less love for God. As Rumi said, the ego is “the mother of all idols,” the greatest obstacle to love.

Sam’ani’s book aimed at awakening people to beauty and alerting them to their innate love for God. Theologians could offer creeds, jurists could tell people what to do and what not to do, but all this was dry and stultifying if not leavened by love. In contrast, Sam’ani offered delicious prose mixed with occasional poetry, a fine sense of humor and wonderful anecdotes, in many ways prefiguring Rumi. Here is a typical passage from his book, urging readers to see through their own illusions and to engage in the really difficult task of overcoming the self:

Ash’ath the Covetous was passing by a tray-maker’s shop. He said, “Make these trays you’re making bigger. Maybe someone will give me something on one of them.” Here you have your own breast full of wishes, your own worthless heart! It is said that there were 360 idols placed in the Kaabah. If all the accountants in the world came to record the number of idols in your breast, they would be not be able to do so. In our times it is not necessary for Azar to carve idols, for everywhere in the world there’s someone with unwashed face, an Azari idol in his breast. “The ego is the greatest idol.” In the city a Zoroastrian is walking and wearing his cap, and you are walking with the turban of tawhīd on top of your head and a fanciful notion of tawhīd inside it. If turban and robe make someone a Muslim, then bravo, O leader of the sincerely truthful! And if “Zoroastrianism” means to attach your heart to two, well, you know what needs to be done. In short, know that nothing is given out on the basis of talk! Abu’l-Qasim Mudhakkir lived in Naishapur, though he was originally from Merv. He was a sweet-tongued preacher. Once he was holding a session and saying fine words. A man stood up and said, “If the work is done with talk, you have gone to the place of honor. But if this pot needs some seasoning, then you can’t settle down on the basis of words.” There was a singer who used to go to the home of a nobleman. Whenever he sang a song, the nobleman would say, “Bravo!” He would sing another song and again he would say, “Bravo!” The singer was also a poet. One day he said,Every time I sing, you say, “Bravo, sing another!”
But bravo doesn’t buy me any flour.

In the bazaar, you can’t buy anything with “Well done!” They want pure gold and unalloyed silver.

O respected man! In this road they want a burnt liver, they want a heart full of pain, they want footsteps with truthfulness, they want a spirit with love, they want togetherness without dispersion. If you have the hard cash, then the work is yours.

Indeed, the first trial you face is the trial of your own being. Gather this being and hand it back to the Sultan of tawhīd so that he may destroy it, for nothing can bring together a dispersed man except tawhīd. Tawhīd is assaying: discarding the specious temporal and selecting the authentically eternal.

Everyone in the world is attached to giving one and taking two. Those who follow this path are attached to giving all and taking one.

William Chittick is the author of many books on Sufism and Islam among them is Sufism: A Beginner’s Guide


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An artist's view of the Quran – Pittsburgh Post-Gazette

The Word of God: Sandow Birk's American Quran" juxtaposes with its English translation and supporting artwork.Read more: http://www.post-gazette.com/pg/11103/1138828-437.stm#ixzz1JOFiCNHG

A wonderful review of what seems to be a very good and unusual art exhibit. Also, be sure to read down through the review to the description of 30 days, 30 Mosques which is a story of two people traveling around the US during Ramadhan. That also is worth a serious look.

via An artist’s view of the Quran.

An artist’s view of the Quran

Art review

Wednesday, April 13, 2011

Long before an attention-seeking Florida pastor publicly burned Islam’s holy book, artist Sandow Birk began wondering about the contents of the Quran, so much in the news after the Sept. 11 attacks but little known in Western culture.

The Florida incident generated violent response half-way around the world. Mr. Birk’s musings generated an ongoing project to copy all of the book’s chapters and surround them with paintings.

After the wars began in Afghanistan and Iraq, there was “so much American debate about Islam — how threatening is it?” he said. He went to a bookstore and bought four English versions of the Quran and began to read them.

Mr. Birk, who grew up in Los Angeles, has been a lifelong surfer and has followed the waves across the world, including along the coasts of countries with large Muslim populations such as Morocco, India, Indonesia and the Philippines. During surfing trips, he investigated the culture, ate the food, toured the architecture including mosques, and heard the call to prayer.

“Public debate in the U.S. about Islam wasn’t really reconciling with my experience of it,” Mr. Birk said.

Five years ago, he began a series of paintings that combine the hand-written words of the Quran with gouache paintings of scenes from contemporary American life. Works completed as of December are in the exhibition “The Word of God: Sandow Birk’s American Qur’an” at The Andy Warhol Museum on the North Side. A related symposium, ecumenical event and opening reception for an Islamic art exhibition at Michael Berger Gallery will take place this weekend.

Born in Ohio to Presbyterian parents but not brought up in a religious tradition, Mr. Birk doesn’t ascribe to a particular belief. But the exploration of religion is not new to him. Earlier he spent five years creating works based upon “The Divine Comedy.”

“I was completely immersed in Dante and Catholicism, and discovered things new to me [about that religion] as well.” But by the completion “I was really kind of done with it.”

Now he’s moved to an even longer commitment. There are 114 chapters, or Suras, in the Quran and five years in he is about half-way done. He considers each chapter a separate artwork which, depending upon length of the text, may comprise between two and eight paintings.

The paintings remind of Persian miniatures and of Christian illuminated manuscripts, having a delicacy and refinement of image centered with panels containing the words of Mohammed. Border designs and text spacers are based upon those that appear in historic Qurans.

But these works have a contemporary jolt provided by the images juxtaposed with the text. These are drawn from everyday life — a tractor trailer fills one page, a wedding another — and Mr. Birk’s experiences in particular, such as an underwater scene with scuba divers. The artist is also known for social critique, which seeps in as floating bodies left in the aftermath of Hurricane Katrina or Hispanic shoppers at a mini-mart painted with the image of Our Lady of Guadelupe.

Response to Mr. Birk’s work by Muslims has been positive, he said. When some of the early paintings were exhibited in New York City, groups of Muslims visited as word got around. Before a similar show opened in Los Angeles, elders of a local mosque were “outraged,” he said, but added that they hadn’t personally seen the work.

“Once it was up, they were OK.”

Mr. Birk said of the project, “I erased from my head everything I knew and approached it like a blank slate. If this is God sending a message, how do I read it in California today? God sent the rain down from the sky so we have food to eat. I get food from the supermarket. I didn’t experience the story of Noah’s ark, but I remember Katrina and New Orleans.

“The work is not illustration. It’s not didactic. It’s more like metaphor.”

Asked about the apparent parallels to Christian biblical stories, Mr. Birk agreed.

“Absolutely. The remarkable thing is it’s so familiar. You read it and you think ‘What’s the problem here?’ It’s Noah’s ark and Moses parting the Red Sea. That’s the first thing you notice — it’s very familiar.”

That may be the major lesson of Mr. Birk’s work and exhibition, something reflected in a related program at The Warhol last week, “The Word of God: Voices — 30 Mosques in 30 Days: Tales From an American Ramadan Road Trip.”

Brooklyn-based Aman Ali and Bassam Tariq traveled to 30 mosques in 30 states during the 30 days of the Islamic holy month of Ramadan last year. When they recounted parts of their trip with stories, photographs and video, the overall tone was travels across the U.S., not a culturally exotic exercise (www.30mosques.com).

“We don’t see ourselves as activists,” Mr. Ali said. “We’re interested in telling authentic stories about Muslims in America.”

Tom Sokolowski, former director of The Warhol, summed it up with the comment that they could have been visiting Christian or Jewish sites. Overall, the experience was Americana.

“Commonality” is the word used by Tresa Varner, museum staff member and co-curator of the Word of God series, the intent of which is to “create a place where we can reflect on religion in our lives.”

Mr. Birk’s exhibition is the first in a five-part Word of God series this year at The Warhol that explores the texts of major faiths through the eyes of contemporary artists. The exhibitions will be supplemented by programming to complement each by expanded discussion.

“Each artist will be presenting their conceptual focus on these texts,” Ms. Varner said. “Sandow Birk is not Muslim. He’s just meditating on his interpretation of the Quran. Helene Ayon [the next artist to be featured] was raised in a strict Orthodox Jewish family but is also a feminist. Max Gimblett is a practicing Zen Buddhist.”

The remainder of the series will be: “The Word of God: Helene Aylon’s The Liberation of G-d and The Unmentionable,” May 8-June 26; “The Word of God: Chitra Ganesh,” concerning Hindu myth and goddesses, July 9-Sept. 4; “The Word of God: Max Gimblett, Budd­hanature,” Sept. 17-Nov. 27; and “Word of God: Jeffery Valance,” who created his own Bible, Dec. 3-Feb. 12.

“I’ve never read the Quran,” Ms. Varner said. “I don’t know much about Islam. This is as close as I’m ever going to get to the sacred text, to ask what are the connections between this and the text I was raised in.

“In the ongoing sensitive and factious debate between cultures, dialogue is the key.”

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YouTube – Stairway to Heaven – an excerpt

A remarkable story about the rebirth of Islamic art and culture coming out of a great tragedy.

YouTube – Stairway to Heaven – an excerpt.

In 1969, the Al-Aqsa mosque in Jerusalem was attacked by a fanatic, and in the blaze that followed, one of the world’s most precious works of art, the minbar of Saladin, originally installed in 1187, was destroyed. This is an excerpt from the film, made by The Prince’s Charities, which tells of the reconstruction of the minbar with the help of HRH The Prince of Wales and HRH Prince Ghazi of Jordan.
Narrated by Kenneth Branagh. To find out more about The Prince’s Charities visit: www.princescharities.org

Apologies to Led Zeppelin fans this is not that stairway to heaven.

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Sufi music: The song of the soul – Economic Times

Qawwali at the Dargah of Nizamuddin Aulia

Qawwali at the Dargah of Nizamuddin Aulia (c) Imam Salim Chishti

Sufi music: The song of the soul

By Dr Suvarnalata Rao via Sufi music: The song of the soul – Economic Times.

[A very nice discussion on the place of music, and especially Indian Qawwali music in Sufism. – Imam Salim]

Sufism is neither a religion nor a cult. Hazrat Inayat Khan, a Sufi philosopher and practitioner himself, describes it as, “Any person who has knowledge of both outer and inner life is a Sufi.” The etymology of the term ‘Sufi’ is not without ambiguity though. According to some scholars, the word is connected with safi, the pure. The more general view refers to suf or the coarse wool worn by the Sufi mystics.

The Divine Connect

Sufism, as the mystical dimension of Islam, preaches peace, tolerance and pluralism, while encouraging music as a way of deepening one’s relationship with the Creator. Based on the mystical branch of Islam, Sufi music seeks to unite listeners with the Divine. The pain of separation from the Creator is at the core of Sufi lyrics and music; and hence the intense longing to dissolve the physical realm and transcend into the spiritual universe with Sama’a, the practice of listening to music, chanting and whirling, and finally culminating in spiritual ecstasy (wajd).

Sound and music is thus central for the core experience of Sufism, since music is regarded as a means for the believer to get closer to the divine. Sufi music therefore is the music of the ‘soul’ by the ‘soul’ and for the ‘soul’.

Cultural Span

For a millennium now, the Sufi ideology has spanned several continents and cultures: from the deserts of Africa, the shores of the Atlantic Ocean to the mountains of Pakistan and Iran, the diversity of Sufi music is enriched by all the cultures it crosses in Egypt, Palestine, Syria, Turkey/Anatolia, Persia, Uzbekistan and India. At first, expressed through Arabic, then Persian, Turkish and later a dozen other languages in different regions and cultures, Sufi thoughts have found expression through myriad poetic forms and diverse musical genres.

Sound and music being the most important aspect of Sufism, the acts of listening, chanting and whirling to music is common to most Sufi orders. In Morocco, it’s the mystic chants accompanying the Gnawa (or Gnaoua) ritual to bring in the night of trance (Derdeba), just before the holy month of Ramadan. The African diasporas in Brazil, Cuba and Haiti also follow this tradition. The Mourides from Senegal seek communion with God through the Njang chanting.

Brotherhood Music

Other Sufi musical styles, popularly known as the “Brotherhood music”, thrives in Morocco, Egypt, Senegal, Indonesia, Turkey, Iran, the Balkans and the Caucuses, each with a regional flavour. In the North-African Arab Andalusian cultures like Tunisia, Algeria, Libya and Morocco the local musical genre of ma’louf forms the basis for reciting the classical Arabic poetry (qasidah), leading to trance (wajd). While the “brothers” in Morocco hold hands in a circle, chant and dance, usually without rhythm, “dervish” of Syria and Turkey whirl individually to melancholic melodies, accompanied by delicate musical instruments ranging from Oud, Rabab, Qanun, to Ney and Zukra, to the soul penetrating rhythms played on Bendir and Darbuka.

Sufi Music in India: The Qawwali

In India and Pakistan, it is the Qawwali, made globally popular by Shankar-Shambhu and Nustrat Fateh Ali Khan, that has been known to move the audiences to a state of emotional rapture. Actually, in the Indian subcontinent, Sufi thoughts find expression through several musical genres: Qawwali, Qaul, Qalbana, Ghazal, folk forms from Rajasthan, Sindh & Punjab, Sufiyana kalam from Kashmir, etc. Nonetheless, it is Qawwali, the homegrown genre attributed to Amir Khurau Dehlavi (1253 – 1325) that seems to be the most popular ‘food for the soul’. No doubt it shares general traits with the light classical music of the region; however, with elements such as mystical poetry and powerful rhythm suggesting ceaseless repetition of God’s name (zikr), the music of Qawwali fulfills a religious function; to arouse mystical love and divine ecstasy, which is the core experience of Sufism.

The song text of Qawwali is mystical poetry in Farsi, Hindi & Urdu, and has a poetic idiom rich in image and metaphor, which the generations of Sufi poets have invested with a wealth of highly elaborate symbolic content. As a result, much meaning can be conveyed in a few words drawn from this familiar and well-loved idiom of Sufi metaphor. The impact of such a communication is both instant and universal. The songs are presented in a fluid style by alternating solo and group passages characterized by repetition and improvisation. The vigorous drum accompaniment on the barrel-shaped dholak is reinforced by hand clapping while the small portable harmonium, usually in the hands of the lead singer, underscores the song melody.

For centuries, the Sufi communities of the Indian subcontinent have sustained this musical tradition in the mahfil-e-sama, the ‘assembly for listening’, and it remains the central ritual to this day, especially at the shrines of the Sufi saints like Shaikh Nizamuddin Aulia in Delhi and Khwaja Moinuddin Chishti in Ajmer. In India, many Sufi musicians trace their descent to the original Qawwali singers who were believed to be trained by Amir Khusrau, the most influential disciple of Shaikh Nizamuddin Aulia.

Sufi music and Bollywood

Notwithstanding the deep religious association, as early as the 1940s, Qawwali made its foray in to Hindi films. Hits like Teri mehfil main kismat (Mughal-e-Azam, 1960), Na to karwa ki talash hain (Barsaat ki Raat, 1960) Chandi ka badan (Taj Mahal, 1963) etc. bear testimony to the popularity of this genre. Given the metaphoric nature of poetry in Qawwali, some of these endeavours were perhaps acceptable. However, over time, the genre has transmuted into filmi qawwali with poetry which is profane, inclusion of all sorts of instruments, heavy beats, women dancing (which isn’t a part of the mise-en-scene of a Sufi music performance at all), and overt and loud expressions. Although there have been productions that try to retain the original context to some extent (Piya Haji Ali in Fiza 2000, Khwaja mere khwaja in Jodha Akbar 2008, both by AR Rahman), it is indeed unfortunate that today, we have to remind ourselves of the spiritual connection of Qawwali to the Divine.

Dr Suvarnalata Rao is Head – Programming (Indian Music) at the National Centre for the Performing Arts, Mumbai

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Omid Safi: Is Islamic Mysticism Really Islam?

Omid Safi

This is a wonderfully clear and concise article on the subject. Omid has captured the essential points in this ongoing debate and presents them here in a way that is easy to understand. Perhaps not the last word on the subject but sure to get a conversation started/continued. Please feel free to continue that conversation here by contributing a comment.

From the article:

There is a lovely story from the life of the Prophet Muhammad, remembering that a mysterious visitor came upon him and his companions. The visitor, later revealed to be the archangel Gabriel, proceeded to sit intimately next to Muhammad and quiz the Prophet. He asked Muhammad about three increasingly higher and deeper levels of religiosity, which the Prophet answered sequentially as Islam (wholehearted submission to God), Faith and, lastly, Loveliness (ihsan). This third quality the Prophet identified as worshipping God as if we could see the Divine, and if we cannot, to always remember that God nevertheless sees us.

via Omid Safi: Is Islamic Mysticism Really Islam?.

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