Her sabah namazından 1 saat önce, en az 5 bin kişinin abdestli bir şekilde mescitte hazır olduğu ve teheccüt namazı kıldığı tekkelere ve o tekkenin sofilerine, evlerinde sabah namazına kalkmayanlar “tasavvuf şirktir” derler.
Geceleri sabahlara kadar günahkârlar için gözyaşı dökerek gözleri kızaran tasavvuf büyüklerine, uzunca uykudan dolayı gözleri kızaranlar “tasavvuf şirktir” derler.
İçki içen, kumar oynayan, zina eden ve değişik günahların batağına düşmüşlerin elinden tutup dini öğreten Allah dostlarına, içki içene, kumar oynayana, zina edene ve değişik günahların batağına düşmüşlere sövenler “tasavvuf şirktir” derler.
Bir kere görmekle tüm kötülüklerin bırakılmasına vesile olan veli zatlara, saatlerce nasihat edip de kimsede bir değişiklik göremeyenler “tasavvuf şirktir” derler.
Kuran ve sünnetten taviz vermeyen, mekruhlara bile düşmekten haya eden salihlere, farz, vacib, sünneti sadece ezberden okuyanlar “tasavvuf şirktir” derler.
Ömrünü tevbe ve niyazla geçirip milyonların tevbesine vesile olan Allah’ın sadık kullarına, günah işlemediğinden tevbe de etmeyenler! “Tasavvuf şirktir” derler.
Gece ve gündüz, oturarak, ayakta ve yanı üzere Allah’ı zikredenlere ve insanlara bilmediği zikirleri öğretenlere, malayaniyi pek sevenler “tasavvuf şirktir” derler.
Kuran’ı ve hadisi birebir yaşayarak örnek olan lakin pek az konuşan ariflere, dilinde sayısız ayet ve hadis ile saatlerce kendisinin yaşamadığı konuları vaaz edenler “tasavvuf şirktir” derler.
Mevlana’ya, Yunus’a ve asrın Mevlanası ve Yunuslarına, evliya ve seyyidlere hürmete kızan fakat kendisini her türlü hürmete layık görenler, onların sözünün dinlenilmesine kızan ama kendisinin her türlü sözünün dinlenilmesini isteyenler “tasavvuf şirktir” derler.
Tasavvuf Kuran ve sünneti en içten duygularla yaşamaya çalışmaktır. Tevbe etmek ve dini öğrenmek bu yolun başı, zikir ve tefekkürle ilerlemek bu yolun adabıdır. Bu yolda çok kimseler kötü alışkanlıklarını, çok kimseler kötü ahlaklarını, çok kimseler de hissiz Müslümanlığını terk edip Allah’ı seven ve Allah anılınca kalbi titreyen, Peygambere aşık, müminleri hoş gören, dini yaşamaya çalışan birer Müslüman haline geldiler. Bunun için, tasavvufa, tasavvuf büyükleri olan evliyaya, tasavvufi edeplerden olan rabıtaya, şirktir diyenler diye dursun, tasavvuf kervanı yoluna devam ettiğinden bir gün bu kervanın yolcusu olmak duamız olsun…
TEXT: Neela Khopkar – “The Khayal: What It Is & What It Is Not” in Journal of Arts & Ideas, no. 4 (July-Sept 1983)
IMAGE: Khayal Gatha, The Saga of Khayal (Kumar Shahani | 1989)
Rather than imbuing stories about contemporary conditions with epic dimensions (cf. Maya Darpan, 1972; Tarang, 1984), Shahani here addresses the epic forms directly in a film about the Khayal, a form of classical music established in the 18th C., based on the earlier Dhrupad which it then adapted, mobilising elements of other classical and folk literatures and music. For Shahani, the crucial relevance of this music to the cinema resides in its theory of the shruti, the subdivisions between given notes in a raga which eventually yield a continuous scale and prove that ‘you can only name approximations, never absolutes’ (1986). By emphasising sequence rather than discrete notes or the rhythmic cycle, musical elaboration could be based on improvisation so that, like jazz or other musical forms emerging from oppression, it was able to resist all efforts at encoding while remaining free to assimilate the widest range of musical elements from as far as Central Asia, Turkey and Persia.
The film merges the history of the Khayal form with several legends associated with it: e.g. the legends of Rani Rupmati (Vasisht) and Baaz Bahadur (Dhillon), Heer-Ranjha, Nala-Damayanti and others (some invented for the film). These legends are then worked into some of the key figurations determining the Khayal narrative, such as the nayika and the object of the address, and the sakhi. [x]
Arkadaşlar ben pek çok günahın ufacık bir adaya sığdırıldığı Kıbrıs’ta yaşamaktayım. KUMAR buranın en çok olduğu pisliği.
Ve Hz Ömer Türbesi’nin yanına bir Casino yapılacak diyorlar.
Her yer Kumarhane zaten.
O kadar çok midem bulandı ki bu durumdan buraya yazıp bu ayıbın ve saygısızlığın önüne geçmek için sizin de destek vermenizi umut ediyorum.
Su anda daha yeni açılmış bir imza kampanyası var. Lütfen imzalayın.
7 İslam Mücahidi Şehitlerin Türbelerinin çevresini içki-müzik-kumar ile eğlencelik alana çevrilmesine engelleyin.Allah ın zaferinde vesile olun. Çünkü Allah sevdiklerini korur.İnşallah bu Müslüman Büyükleri ve Şehitlerimizin de
Türbelerini de koruyacaktır.
Mita Vashisht as Rani Roopmati in Khayal Gatha, The Saga of Khayal (1989)
The seeker is engaged in an apprenticeship in learning to learn and also in understanding what that entails. In a sequence in the Rūpmati Pavilion at Mandu, overlooking the Rewa River, a tributary of the Narmada, the seeker, who is searching for the legendary poet-singer and famous lover of Baz Bahadur (Mangal Dhillon), Rūpmati (Mita Vashisht), asks the woman seated in the pavilion playing a tamboura to give him a sign. He fails to realize that this woman is the Rūpmati he seeks. And she tauntingly responds: “From whom?” Neither showing nor telling, it seems, is an adequate way of knowing. One needs a conception of the sign adequate to articulating complex systems, systems that are not exclusively expressed by human beings.
Laleen Jayamanne – “Lapidary Dynamisms” from The Epic Cinema of Kumar Shahani (2014)
Dalits of Gujarat have set an example by replying in their own assertive way to the brutality done on four dalit youth who were carrying a dead cow. They have denounced their ‘traditional’ occupation as a revolt against the Brahminical system. A march has been organised from Ahmedabad to Una where the shameful incident happened. However, this whole episode carries other aspects which also need to be understood from a Dalit-Bahujan location.
In the Ambedkar Age series of interviews and documentaries on current issues, Gurinder Azad interviews Mr. Arvind Shesh and Mr. Rajnish Kumar for Round Table India. Both are journalists and social thinkers. They analyse the whole issue from various dimensions.
Rochelle got to spend some time getting to know Fiona’s family a little better. Both Duck and Deonte seemed to take to her right away. They already thought she was a lovely girl when they met her during the bachelorette challenge. The thought even more highly of her knowing that she loved Fiona and made her happy. Rochelle was overjoyed to be accepted into the family.
Its another birthday today and we wish Rohit a very happy birthday .. with wishes for happiness always from the Ef of this Blog .. love
I have but little to say and write ..
But each time I have said that it has taken enough numbers of the page count to finally end the Blog ..
Maybe this time I shall refrain from the normal and do the unusual .. make it short .. naaah .. that would not be me and that would not be the expectation from the Ef ..
Last night was a ringer .. I mean it ended at around 4 this morning and then I was back at work by 7 am .. which meant that whatever I was doing , I was doing out of a blurred and heavy head .. and I wonder if the results of that work showed up the way my head was .. will soon find out ..
But back from that morning outing made way for some domestic essentials and then it was back to the board room .. the studio ..
Studios are fascinating experiences .. they provoke you .. that microphone staring at you in bland expectation, netted and covered in screens to prevent apprentice amateur singers .. haha h singers ..? Singers like me to prevent that blow of breath to be controlled, else the speakers blurb burst in a thud and the recordist shall politely talk back at you and gently push you either away from the recording mike , or simply ask you to leave the studio ..
It is a pretty intimidating atmosphere inside one of these ‘rooms’ padded from the outside world, crowded with gadgetry that make no absolute sense at all, and surrounded by several people that do ; all looking at the subject of their interest - the probable singer, and increasingly developing condescending looks within them like :
“ ab ye gaana gaane aaye hain .. !!!??”
Which in simple terminology works out to : ‘So this idiot is going to sing now ?’ and reeking of sarcasm in every breath of their supercilious air .. !!
So despite the intimidating atmosphere, a painstaking effort is made to get what comes out in song or near to it, on to the mike and hope and pray that those insulated enclosures do not suddenly snap open and the head of the manor comes charging out, guiding us out of range of this portal of creative singers and musicians .. !!
At times though one flukes it and what comes out for the mike seems to gather approval from that head shaking, occupied in other traits in the control room, gang .. they are the masters .. they know the tricks, the machinery, that shall make one in tune with the best in the world .. and they oblige and give that much needed thrust in a direction which kind of permits you access to the computer that has , within complicated buttonery, captured your vocals .. !!
And the moment you hear it .. you wish the earth would part and you could somehow disappear within its depths ..
BUT .. eureka .. the gang nods approval after a great deal of fixing and fidgeting on the large control machine they operate and finally a smirkish half smile suddenly forms upon them that had pushed you in in the first place …
And all works out fine .. though not without certain remarks that never allow one to step into a zone they would feel comfortable in .. no sireeeeee .. never !!
Back with a small pendrive carrying those essential moments of the mike and the room .. you push your own controls on the lap top, cover the noise by sound protective head phones and listen in to the mess that one has just created and wondering, how on earth did they ever pass such utter rubbish .. !!
So there .. the story of the day and now a tormented night .. the sleep induction has long passed its prime .. we are awake to the issues and practices and grounds of work that stares into our faces and we try to live all that transpired, with a more gentle and reassuring look ..
Some Twitter and FB moments later, we stare at our page and search the stored areas of your machine whether there is something pictorially that one could put up here ..
There is none .. and thank God for that .. I do look a sight ..
Do not believe .. okaaayyy .. have a look ..
Damn … the screen in front of me came to life and warned me that the picture I was about to put was so darned UGLY that the system was rejecting it, in order that better sense prevailed .. they say it is far to large in size and needs to be squished a bit … bit squishing is not my pastime .. its the only time I have .. so ok .. we go without one tonight ..
Just looked up at the clock and its past the 4 am mark ..
And tomorrow is a joint venture of the family .. both the wife and me in front of the camera … so better get in shape else there shall be fire and brimstone .. !!
Amitabh Bachchan told you it would not be a short one