Research Article
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Year 2022, , 110 - 123, 31.12.2022
https://doi.org/10.33906/musicologist.1014113

Abstract

References

  • Bell, Catherine. (2009). Ritual Theory, Ritual Practice. New York: Oxford University Press.
  • Öngören, Reşat. (2013). Zikir (Dhikr). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/zikir (20.06.2022)
  • Özervarlı, M. Sait. (2001). Kadir Gecesi (Qadr Night). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/kadir-gecesi (20.06.2022)
  • Özkan, İsmail Hakkı. (2001). Kaside (Qasida). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/kaside (20.06.2022)
  • Uzun, Mustafa İsmet. (2000). İlahi (Hymn). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/ilahi (20.06.2022)
  • Rappaport, Roy. A. (1974). “Obvious Aspects of Ritual” Cambridge Anthropology, 2(1): 3–69.
  • Rappaport, Roy. A. 1979). Ecology, Meaning and Religion. Richmond, Calif.: North Atlantic Books.
  • Rappaport, Roy. A. (1999). Ritual and Religion in the Making of Humanity. United Kingdom: Cambridge University Press.

Processual Form in Sufi Dhikr Ritual

Year 2022, , 110 - 123, 31.12.2022
https://doi.org/10.33906/musicologist.1014113

Abstract

For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts.

References

  • Bell, Catherine. (2009). Ritual Theory, Ritual Practice. New York: Oxford University Press.
  • Öngören, Reşat. (2013). Zikir (Dhikr). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/zikir (20.06.2022)
  • Özervarlı, M. Sait. (2001). Kadir Gecesi (Qadr Night). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/kadir-gecesi (20.06.2022)
  • Özkan, İsmail Hakkı. (2001). Kaside (Qasida). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/kaside (20.06.2022)
  • Uzun, Mustafa İsmet. (2000). İlahi (Hymn). TDV İslâm Ansiklopedisi. Retrieved from https://islamansiklopedisi.org.tr/ilahi (20.06.2022)
  • Rappaport, Roy. A. (1974). “Obvious Aspects of Ritual” Cambridge Anthropology, 2(1): 3–69.
  • Rappaport, Roy. A. 1979). Ecology, Meaning and Religion. Richmond, Calif.: North Atlantic Books.
  • Rappaport, Roy. A. (1999). Ritual and Religion in the Making of Humanity. United Kingdom: Cambridge University Press.
There are 8 citations in total.

Details

Primary Language English
Subjects Anthropology, Music, Dance and Choreography
Journal Section Articles
Authors

Burçin Bahadır Güner 0000-0002-6276-8264

Publication Date December 31, 2022
Published in Issue Year 2022

Cite

APA Güner, B. B. (2022). Processual Form in Sufi Dhikr Ritual. Musicologist, 6(2), 110-123. https://doi.org/10.33906/musicologist.1014113