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SEMAH GROUPS’ SUSTENANCE AND REFLECTION VALUES
No full textAlevi-Bektaşi toplulukların belirli zamanlarda bir araya gelerek, dede veya baba denen önderleri eşliğinde yaptıkları on iki hizmetten oluşan sazlı-sözlü zikirlere ayin-i cem denmektedir. Uzun bir süre merkezden uzak yaşamak zorunda kalan Alevilerin gizli olarak icra ettikleri cemlerin ana unsurlardan biri semahlardır. Pîr Sultan Abdal, Şah İsmail Hatayi ve Kul Himmet’in deyişleri üzerine kurulan semahlar, ayin-i cemlerde zâkirler eşliğinde pervane/peyk denen kadın ve erkeklerden oluşan belli sayıdaki kişiler tarafından dönülür. Semahlar, Alevilerin köyden kente göç etmeleriyle yeni bir boyut kazanarak kent Alevilerinin görünen kimliği haline gelmiştir. Geleneksel bağlamından koparılarak söz ve musiki unsuru ön plana çıkarılan semahlar, 70’li yıllardan itibaren önce TRT sanatçıları sonra da Alevi gelenekten gelen ozanlar tarafından türkü olarak icra edilmeye başlanmıştır. Kulağa ve gönle hitap eden semahların görsel yanı da estetik seviyesi yüksek bir dans olarak düşünülebilir. Bu çalışmada, öncelikle yazılı kaynaklardan hareketle semahların ortaya çıkışı ve Alevi-Bektaşi inanç sistemindeki yeri irdelenmiştir. Daha sonra semahlarda dile getirilen değerler üzerinde durulmuştur. Son olarak semahların ayin-i cemlerden bağımsız olarak icra edilmesiyle ortaya çıkan yeni durumun Türk kültüründeki yeri açıklanmaya çalışılmıştır.The dhikr consisting of twelve services performed by the leaders of the so-called dede or baba is called Ayin-i cem in the The Alevi-Bektashi communities. One of the main elements of the secret cem ceremonies of the Alevis who had to live in remote places for a long time, is Semah. Semah groups are founded on the sayings of Pîr Sultan Abdal, Shah Ismail Hatayi and Kul Himmet and performed by specific a number of people consisting men and women called pervane/peyk in the accompany of the zakir in the Ayin-i cem ceremonies. The Semah groups have become a visible identity of the city Alevis by acquiring a new dimension through the migration of the Alevis from the village to the city. The Semah groups, which was removed from the traditional context and whose lyrics and musical elements are highlighted, started to be performed as folk songs by TRT artists and by bards coming from the Alevi tradition in the 70’s. The visual aspect of the Semah groups appealing to both the ear and the heart can also be considered as a dance with a high level of aesthetics.In this study, first, the emergence of Semah groups and the place in the Alevis-Bektashi belief system were examined from the written sources. Then, the values expressed in the Semah groups were emphasized. Finally, this study tried to explain the place of the new situation which emerged as the practice of Semah groups as independently from Ayin-i cem ceremonies in Turkish culture
Tasavvuf Klasikleri Eşliğinde Safevîler Öncesinde Sema (Semah)
No full textDie Aufklärung der historischen Vergangenheit des Semahs, das eines der grundlegenden Rituale des Alevitentums darstellt, ist in höchstem Maße wichtig, um den historischen Hintergrund des heutigen Alevitentums mit all seinen Aspekten aufzudecken. In diesem Kontext werden die Festsetzung des Startpunktes des besagten Rituals, das auch heute noch fortgesetzt wird, und das Enthüllen der Quelle oder der Quellen, aus denen es sich bei seiner Formation speiste, nicht nur in Bezug auf Forschungen zum Alevitentum, sondern auch in Bezug auf die Geschichte des Sufismus eine wichtige Lücke füllen. Wie alle Rituale ist auch das Semah während seines historischen Verlaufs, beeinflusst von geographischen, soziokulturellen, politischen und ökonomischen Bedingungen, durch verschiedene Phasen gegangen und hat seine heutige Form angenommen. An diesem Punkt ist die Akzeptanz des Ausspruchs “es kommt aus Khorasan”, wie es in der Tradition heißt, für den Entstehungsprozess des Semahs ein wertvoller Anhaltspunkt. Die Feststellung von Details wie der Existenz, der Beschaffenheit und des Beginns dieses Rituals in der Geographie des historischen Khorasan sowie davon, wer dieses Ritual als Ausdruck der Stufe des “Zustands” (“Hâl” Makamı) verwendete, ist überaus wertvoll für die Ausfüllung der besagten Lücke.
Eine andere Angelegenheit, die einer Erklärung bedarf, ist die Sichtweise der Scharia- Anhänger (Ahl ul-Zahir bzw. Zahir-Gelehrten) auf das Semah, denn die Fatwas und Ansichten in Bezug auf das Thema zeigen auf der einen Seite die soziale und religiöse Atmosphäre ihrer Zeit und auf der anderen Seite das Wesen und das Merkmal des Semah unter den sufistischen Gruppen. Zudem deutet die Haltung der Rechtsgelehrten (Fuqaha) gegenüber dem Semah auf dessen Verbreitung unter den sufistischen Strömungen hin. Die Verteidigungen der Sufis, besonders ihre Worte und Schriften, die das Ziel hatten, dem Semah Legitimation zu verleihen, gegenüber den Gruppen, die den Islam lediglich im Rahmen der Scharia und der Rechtslehre (Fiqh) betrachteten, beinhalten beachtenswerte Details. Der Platz des Semah-Rituals auf der Stufe der Wahrheit (Hakikat Makamı), seine Notwendigkeit und der Grund seiner Existenz stehen in den ersten Reihen der besagten Details. Außerdem lässt sich erkennen, dass die strikten Urteile mancher Gelehrten in Bezug auf das Semah Annahmen über die Sufis der ersten Epoche einschränken werden. Die Arbeit ist von großer Bedeutung, was die Darstellung des Semah, dessen Existenz wir in der vor-safawidischen Zeit im besagten Kulturgebiet bezeugt haben, in Bezug auf dessen Existenz und seinen Inhalt betrifft.
Aus diesem Grund scheint es absolut wichtig, die Spuren des Semah in historischen Quellen zu suchen, besonders in Werken, die als primär akzeptiert werden, denn Ansichten in manchen Arbeiten, dass die Begriffe “Semâ” und “Semah” unterschiedliche Inhalte und Funktionen ausdrücken, weisen darauf hin, wie schwer die Aufklärung der Angelegenheit ist. Aus diesem Grund ist es notwendig, den Platz dieser beiden Begriffe, die besonders im anatolischen Gebiet verbreitet sind, in den Quellen zu betonen. Nur auf diese Weise wird es möglich sein, die Entstehung, historische Entwicklung und heutige Erscheinung des behandelten Rituals zu besprechen.Elucidating the historical past of semah, one of the original rituals of Alevism, is highly important in terms of revealing all aspects of the historical background of today’s Alevism. In this context, identifying the origin of the ritual in question, that also continues today, and revealing its source or sources will fill an important gap not only for researches on Alevism but also for the history of Sufism. Like all rituals, semah has passed through different stages and taken its present form under the influence of geographical, sociocultural, political and economic conditions within its historical journey. At this point, determination of details such as the acceptance of “came from Khorasan”, a phrase used in tradition, the existence, quality and origin of this ritual in the historical Khorasan region as a valuable indication, the issue of who substituted it for an expression of the hal maqam, is very valuable in the interest of filling the aforesaid gap.
Another issue needing explanation is the Sharia followers’ opinion on semah. Because the fatwas and views on the subject, on one hand, show the social and religious atmosphere of the period and, on the other hand, reveal the nature and circumstance of semah among the Sufi groups. Besides, the fuqaha’s attitude towards semah indicates the prevalence of semah among different Sufi orders. The Sufi followers’ defences, especially the words and writings with the aim to gain semah legitimacy, against the groups that saw Islam only in the scope of Sharia and Fiqh contain significant details. As for the place of the semah ritual in the maqam of truth, its necessity and the reason for existence, they rank first among the aforementioned details. Moreover, it seems that the ulema’s strict edicts against semah will constrain recognition of Sufis belonging to the early period. The paper is of a great importance in terms of revealing the semah, that existed in the cultural region in question in the pre-Safavid period, in the context of its existence and content.
For that reason, looking for traces of semah in historical sources, especially in primary sources, is extremely important. Because opinions in some studies that sema and semah have different contents and functions indicate how difficult it is to clarify this problem. Therefore, it is necessary to stress the place of these two concepts, especially common in the Anatolian region, in sources. Only in this way it will be possible to comment the emergence, historical development and present appearance of the ritual in question.Aleviliğin aslî ritüellerinden biri olan semahın tarihî geçmişinin açıklığa kavuşturulması, günümüz Aleviliğinin tarihî arka planını bütün yönleriyle ortaya koymak açısından son derece önemlidir. Bu bağlamda günümüzde de devam eden söz konusu ritüelin başlangıç noktasını tespit etmek, oluşumunda hangi kaynak ya da kaynaklardan beslendiğini ortaya çıkarmak sadece Alevilik araştırmaları özelinde değil tasavvuf tarihi için de önemli bir boşluğu dolduracaktır. Semah da tüm ritüeller gibi tarihî seyri içinde coğrafi, sosyo-kültürel, siyasî ve ekonomik şartlardan etkilenerek farklı evrelerden geçmiş ve günümüzdeki şeklini almıştır. Bu noktada semahın ortaya çıkış süreci için, gelenek içindeki söylenişi ile “Horasan’dan gelme” kabulü, değerli bir ipucu olarak tarihi Horasan coğrafyasında bu ritüelin varlığı, niteliği, başlangıcı, kim veya kimler tarafından “hal” makamının bir ifadesi olarak ikame edildiği gibi ayrıntıların tespiti, sözü edilen boşluğun doldurulması adına oldukça değerlidir.
İzaha muhtaç bir diğer husus da şeriat ehlinin (ehl-i zahir veya zahir uleması) semaha bakışıdır. Zira konu ile ilgili fetva ve görüşler bir taraftan içinde bulundukları dönemin sosyal ve dinî atmosferini gösterirken diğer taraftan sûfî zümreler arasında semahın mahiyet ve keyfiyetini de ortaya koymaktadır. Bunun yanı sıra fukahanın semaha karşı tutumu semahın farklı sûfî ekoller arasındaki yaygınlık oranına da işaret etmektedir. İslam’ı sadece şeriat ve fıkıh çerçevesinde değerlendiren zümreler karşısında tasavvuf ehlinin müdafaaları, özellikle semaha meşruiyet kazandırma amaçlı söz ve yazıları dikkate değer ayrıntılar içermektedir. Semah ritüelinin hakikat makamındaki yeri, lüzum ve varoluş gerekçesi ise bahsedilen ayrıntılar arasında ilk sıralardadır. Ayrıca kimi ulemanın semaha dair katı hükümleri de ilk dönem sûfîleriyle ilgili kabulleri zorlayacak olduğu anlaşılmaktadır. Çalışma, Safevî dönemi öncesinde söz konusu kültür coğrafyasında yaşadığına tanıklık ettiğimiz semahın varlık ve içerik bağlamında ortaya konması açısından büyük önem arz etmektedir.
Tarihî kaynaklar, bilhassa birincil kabul edilen eserlerde semahın izlerini aramak bu nedenle elzem gözükmektedir. Çünkü bazı çalışmalarda “semâ” ve “semah” kavramlarının farklı içerik ve işlevleri ifade ettiğine dair görüşler meselenin açıklığa kavuşturulmasının ne denli zor olduğunu işaret etmektedir. Bu sebeple özellikle Anadolu sahasında yaygınlaşan bu iki kavramın kaynaklardaki yeri üzerinde durmak gerekmektedir. Ancak bu suretle söz konusu ritüelin ortaya çıkışı, tarihsel gelişimi ve günümüzdeki görünümü üzerine söz söylemek mümkün olacaktır
Sivas semah ve halaylarının karşılaştırılması
No full textTez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1994Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1994Bu tez, Sivas Semah ve Halaylarının karşılaştırılması konusun dadır. Bu tezde incelenmiş olan Sivas Semah ve Halaylarının tümü TRT repertuarında bulunan parçalardır. Çalışmamızda Semah ve Halaylar hakkında genel bir bilgi verdik. Her iki türü ritm, melodi ve makam yönünden inceleyip karşılaştırmasını yaptık. Geçmişte her ne kadar Semah ve Halaylar konusunda ayrı ayrı incelemeler yapılmışsa da bizim çalışmamız bu iki musiki türünün karşılaştırmalı olarak incelendiği ilk araştırmadır.This thesis relates to a comparison of Semahs and Halays originating from Sivas. The Halays and Semahs attributed to the Region of Sivas, which we study in the present thesis are the only works found in repertory of the State Radio. Although some studies on Semahs and Halays were done in the past, these kinds having two different natures have never been studied and compared to each other. In our study, general information about Semahs and Halays is given. Semahs is a kind of music performed by Alevi and Bektaşi communities during their religious ceremonies as a part of their worshipping. When we consider them by form, we see that Semahs are made up by several parts. Those are called ağırlama, yürütme, yeldirme and dar. Those parts are alternatively named raks, çarh, muallak and pertav. Raks is used in Arabic, to mean "movement and quake", which clearly means movements of the body in accompany of music. When we evaluate Halays by form, we see that they are also made up by several parts similar to Semahs. There are four-part, two-part and single-part halays. Halays literally means unity, togetherness, collective action such as mutual assistance, possibly originated ;s. 2\ from alay, a gatherance of people. Halays, similar to Semahs, were originally performed for religious purposes. They are performed by going around a fire by a certain rhythm and tempo. Today, however, Halays lost their religious aspect and performed only during wedding ceremonies and special meetings merely for the purposes of entertainment. Semahs contains a rhythmic rotation movement in accompany of a music played with a bağlama by a Dede at the end of a Cem ceremony by following certain rules. Semah is played by the Dede conducting the Cem. Depending on the kind of Semah, only women or only men or men and women revolve together. The difference between Semahs and Sema performed by some Alevi groups is that men and women turns around together in Semahs where there is no segregation between men and women. Semazens during a semah turn around independently of and in full harmony with each other. They do not hold hands of each other. During Halays, however, it is not compulsory to follow such strict and formal rules. For example in a three- part Halay, after all the parts have been performed, Hoplatma part may be repeated a few times, if desired. Such repetitions aiming for entertainment are not deemed as irregular. ( s. 3 ) Ha lays may also be performed by men and women together however, performance under management of a Dede is not required. They are performed in accompany of the music played by a person who knows to play Bağlama. Special attention is paid to performing Semahs with certain number of persons. Sources informing about Bektaşi Semahs report that Semahs are performed in groups of 2, 4, 6, 8, 10 and 12. Number of persons varies depending on the kind of Semah. It is observed that Alevi Semahs are mostly performed in groups of 3, 5, 7, 9 and 12. Alevi s attribute great importance to those numbers and regard them as sacred. Moreover, there are other Semahs performed in groups of sixteen, forty or more. As regards to Malays, depending on the availability of performers and convenience of the place, three to fifteen or even twenty persons may attend. In Malays, performers may perform individually or hold hand in hand depending on the rule of the performance. Semahs must be performed in accompany of the Bağlama instrument, which is counted as a requirement. While turning around in Semah, instruments aiming for entertainment and giving off loud sound such as drum and Zurna are not used. (s. 4: Çepnis definitely have twelve instruments during Cems. Those twelve instruments may be of a kind or different. In Tahtacı Cems, it is custom to have at least two and at most twelve instruments. While performing Halays, instruments such as drum and Zurna are used to exhilarate performers even further. It is not deemed as objectable to have loud instruments while performing for entertainment. Semah may generally be performed by those who are familiar with it and in the middle ages. Some Semahs require performers to be married. In Halays, however, age or familiarity of performers is of no importance. They are usually performed by girls and boys in wedding and engagement ceremonies as well as entertainment meetings. Being more rhythmic works than Semahs, they are mostly performed by boys and girls in addition to the aged. There is a very obvious rule in Semahs which require passage from one part to another with certain words serving a kind of bridge. Passage from one part to another is made by the repetition of a certain word as accompanied by different tune and rhythm. Usually, there are such musical passage sentences at the end of every part ensuring introduction to the next part. In Halays, this is a little different. Halays have (s. 5) sentences at the introduction of every part having melodic and rhythmic characteristics to prepare for the next part instead of bridge sentences. When those sentences are recited, performers have the feeling for entering the next part. If we evaluate Semahs in respect of melody, we see that they are in the nature of crescendo-* **-crescendo. There are mostly crescendos. Only the melodic nature of Semah of Kırat exhibits a ***. Ha lays exhibit crescendos, as well. This feature of the both kinds is seen in the Makams of the Turkish music. However, a melodic nature consisting of a crescendo, a melodic continuation in high-pitched sections followed by a return to prevailing sound as in the Turkish music is not observed. Prolonged stays in strong sound are seen. Dresses of Semah performers have different colors and styles. Or rather, they are daily-wear and special occasion dresses of people. Only while performing Semah, wearing the cleanest dresses is important. No certain forms exist. Both men and women pay special attention to wear their cleanest dresses. Loyalty to authenticity in dress is not important. Dresses show local differences. It is not deemed as fit to perform Semah with an uncovered head in the East. { S3* A Women cover their heads,, as well. Men wrap around their heads with a cover such as handkerchief or shawlYüksek LisansM.A
Re-Imagining Identity: The Transformation of the Alevi Semah
No full textUntil the early 1990s, the Alevi community, a heterodox Islamic sect in Turkey, actively avoided explaining their beliefs to outsiders and were against permitting non-Alevis to enter their cem rituals. By the mid-1990s they began to hold their rituals publicly in the cemevi (lit. cem house) in Turkish cities and in their cultural centres in the diaspora. Almost all Alevi associations or the cemevis in the diaspora and 'at home' have a semah group educated and organized by the executive. As opposed to rural/traditional cem rituals in which everybody may take part in the dance, the semahs performed in the urban cems are carried out by the semah groups consisting of young men and women. Moreover, these semah groups also perform in the non-ritual context. Thus, if the predominance of semah within the Alevi cem ritual is a 'fact' to be studied, then differences in their present interpretations in Turkish cities and in the diaspora is another. This article examines these differences in the context of the transformation of the semah from the representation of religious identity to that of ethno-political identity
Végétation au Pléistocène moyen en Italie centro-méridionale : premières données polliniques du bassin de Boiano (Molise).
No full textFROM A VILLAGE ROOM TO A STADIUM SEMAH: MEDIUM OF RELIGIOUS EXPRESSION AND SOCIO-POLITICAL IDENTITY
No full text27th Symposium of the International Council for Traditional Music Study Group on Ethnochoreology -- JUL 22-29, 2012 -- Univ Limerick, Limerick, IRELANDAlevism took a tedious and rugged path to reinforce its doctrines in Muslim religion. "Semah dance" as one of the doctrines of Alevism, a way of expression of a belief and social system, kept its importance within Alevism until today. However, its structural shift in this time period, gained semah dance new aspects as new places of performance within different contexts, as well as a medium of socio-politcal identity of Alevi society. Thus, fundamental orientation about Alevism and the transformation of semah dance is the main focus of this article: one, the introduction of Alevi society and Alevism; and two, the structural shift of "Semah dance" that transformed in the last two decades into a medium of a socio-political identity for the society.Irish World Acad Music & Dance, Arts Council Ireland, European Cultural Contact Point, Failte Ireland, Univ Limerick Fdn, Glucksman Lib, Natl Dance Arch Ireland, Dance Res Forum Ireland, ICTM Irelan
SEMAHLARIN YAŞATTIĞI VE YANSITTIĞI DEĞERLER [SEMAH GROUPS’ SUSTENANCE AND REFLECTION VALUES]
No full textThe dhikr consisting of twelve services performed by the leaders of the so-called dede or baba is
called Ayin-i cem in the The Alevi-Bektashi communities. One of the main elements of the secret cem
ceremonies of the Alevis who had to live in remote places for a long time, is Semah. Semah groups are
founded on the sayings of Pîr Sultan Abdal, Shah Ismail Hatayi and Kul Himmet and performed by
specific a number of people consisting men and women called pervane/peyk in the accompany of the
zakir in the Ayin-i cem ceremonies.
The Semah groups have become a visible identity of the city Alevis by acquiring a new dimension
through the migration of the Alevis from the village to the city. The Semah groups, which was removed
from the traditional context and whose lyrics and musical elements are highlighted, started to be
performed as folk songs by TRT artists and by bards coming from the Alevi tradition in the 70’s.
The visual aspect of the Semah groups appealing to both the ear and the heart can also be considered as
a dance with a high level of aesthetics.In this study, first, the emergence of Semah groups and the place in the Alevis-Bektashi belief system
were examined from the written sources. Then, the values expressed in the Semah groups were
emphasized. Finally, this study tried to explain the place of the new situation which emerged as the
practice of Semah groups as independently from Ayin-i cem ceremonies in Turkish culture
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What is it like to be a crane? Notes on Alevi semah and the Sivas massacre
No full textSemah is an Alevi ritual practice performed throughout Anatolia (Turkey) and the Alevi diaspora consisting of collective, dance-like movements that often take on or mimic the movements of animals, especially cranes. In attempting to elucidate that interplay between human performer and sacred animal, I draw on theoretical writings (especially philosophy and affect theory) about how people might – or might not – be able to become – or become like – other animals or forms of life, and what kind of affective processes that becoming might entail. I focus here especially on the role of semah in Sivas, Turkey, during the 1993 Pir Sultan Cultural Festival, during which Alevi participants, including many semah performers and musicians, were killed in an arson attack. Histories of that event highlight how prior to the attack, semah performers at the festival exemplified the possibility of becoming (like) cranes. Furthermore, many Alevis have placed semah at the centre of subsequent memorial events, suggesting new forms of affect and becoming as a political (and often public) response to the trauma of the Sivas massacre
Sema (Semah) vor den safawiden in begleitung von sufistischen klassikern
No full textAleviliğin aslî ritüellerinden biri olan semahın tarihî geçmişinin açıklığa kavuşturulması, günümüz Aleviliğinin tarihî arka planını bütün yönleriyle ortaya koymak açısından son derece önemlidir. Bu bağlamda günümüzde de devam eden söz konusu ritüelin başlangıç noktasını tespit etmek, oluşumunda hangi kaynak ya da kaynaklardan beslendiğini ortaya çıkarmak sadece Alevilik araştırmaları özelinde değil tasavvuf tarihi için de önemli bir boşluğu dolduracaktır. Semah da tüm ritüeller gibi tarihî seyri içinde coğrafi, sosyo-kültürel, siyasî ve ekonomik şartlardan etkilenerek farklı evrelerden geçmiş ve günümüzdeki şeklini almıştır. Bu noktada semahın ortaya çıkış süreci için, gelenek içindeki söylenişi ile “Horasan’dan gelme” kabulü, değerli bir ipucu olarak tarihi Horasan coğrafyasında bu ritüelin varlığı, niteliği, başlangıcı, kim veya kimler tarafından “hal” makamının bir ifadesi olarak ikame edildiği gibi ayrıntıların tespiti, sözü edilen boşluğun doldurulması adına oldukça değerlidir.
İzaha muhtaç bir diğer husus da şeriat ehlinin (ehl-i zahir veya zahir uleması) semaha bakışıdır. Zira konu ile ilgili fetva ve görüşler bir taraftan içinde bulundukları dönemin sosyal ve dinî atmosferini gösterirken diğer taraftan sûfî zümreler arasında semahın mahiyet ve keyfiyetini de ortaya koymaktadır. Bunun yanı sıra fukahanın semaha karşı tutumu semahın farklı sûfî ekoller arasındaki yaygınlık oranına da işaret etmektedir. İslam’ı sadece şeriat ve fıkıh çerçevesinde değerlendiren zümreler karşısında tasavvuf ehlinin müdafaaları, özellikle semaha meşruiyet kazandırma amaçlı söz ve yazıları dikkate değer ayrıntılar içermektedir. Semah ritüelinin hakikat makamındaki yeri, lüzum ve varoluş gerekçesi ise bahsedilen ayrıntılar arasında ilk sıralardadır. Ayrıca kimi ulemanın semaha dair katı hükümleri de ilk dönem sûfîleriyle ilgili kabulleri zorlayacak olduğu anlaşılmaktadır. Çalışma, Safevî dönemi öncesinde söz konusu kültür coğrafyasında yaşadığına tanıklık ettiğimiz semahın varlık ve içerik bağlamında ortaya konması açısından büyük önem arz etmektedir.
Tarihî kaynaklar, bilhassa birincil kabul edilen eserlerde semahın izlerini aramak bu nedenle elzem gözükmektedir. Çünkü bazı çalışmalarda “semâ” ve “semah” kavramlarının farklı içerik ve işlevleri ifade ettiğine dair görüşler meselenin açıklığa kavuşturulmasının ne denli zor olduğunu işaret etmektedir. Bu sebeple özellikle Anadolu sahasında yaygınlaşan bu iki kavramın kaynaklardaki yeri üzerinde durmak gerekmektedir. Ancak bu suretle söz konusu ritüelin ortaya çıkışı, tarihsel gelişimi ve günümüzdeki görünümü üzerine söz söylemek mümkün olacaktır.Elucidating the historical past of semah, one of the original rituals of Alevism, is
highly important in terms of revealing all aspects of the historical background of today’s
Alevism. In this context, identifying the origin of the ritual in question, that also continues
today, and revealing its source or sources will fill an important gap not only for researches
on Alevism but also for the history of Sufism. Like all rituals, semah has passed through
different stages and taken its present form under the influence of geographical, sociocultural, political and economic conditions within its historical journey. At this point,
determination of details such as the acceptance of “came from Khorasan”, a phrase
used in tradition, the existence, quality and origin of this ritual in the historical Khorasan
region as a valuable indication, the issue of who substituted it for an expression of the
hal maqam, is very valuable in the interest of filling the aforesaid gap.
Another issue needing explanation is the Sharia followers’ opinion on semah.
Because the fatwas and views on the subject, on one hand, show the social and religious
atmosphere of the period and, on the other hand, reveal the nature and circumstance of
semah among the Sufi groups. Besides, the fuqaha’s attitude towards semah indicates the
prevalence of semah among different Sufi orders. The Sufi followers’ defences, especially
the words and writings with the aim to gain semah legitimacy, against the groups that saw
Islam only in the scope of Sharia and Fiqh contain significant details. As for the place
of the semah ritual in the maqam of truth, its necessity and the reason for existence, they
rank first among the aforementioned details. Moreover, it seems that the ulema’s strict
edicts against semah will constrain recognition of Sufis belonging to the early period. The
paper is of a great importance in terms of revealing the semah, that existed in the cultural
region in question in the pre-Safavid period, in the context of its existence and content.
For that reason, looking for traces of semah in historical sources, especially in primary
sources, is extremely important. Because opinions in some studies that sema and semah
have different contents and functions indicate how difficult it is to clarify this problem.
Therefore, it is necessary to stress the place of these two concepts, especially common
in the Anatolian region, in sources. Only in this way it will be possible to comment the
emergence, historical development and present appearance of the ritual in question
Aspetti metodologici in uno studio etnografico sul semah degli Aleviti
No full textQuesto articolo presenta la metodologia multidisciplinare che ho seguito nell’analisi etnografica dello spettacolo di teatro sperimentale Samah – Kardeşlik Töreni. Realizzato a partire dagli anni 1980 dal gruppo amatoriale Ankara Deneme Sahnesi, questo spettacolo mette in scena il rituale Ayin-i Cem degli Aleviti, un rilevante e spesso misconosciuto gruppo etnico-religioso della Turchia contemporanea. Pur presentando alcuni degli elementi che compongono il rituale, lo spettacolo enfatizza il ruolo cruciale che il semah, qui analizzato in quanto «sistema strutturato di movimenti», ricopre all’interno di questa tradizione. In questo senso, Samah - Kardeşlik Töreni può essere ritenuto un «archivio dinamico-corporeo», per la sua ambizione a documentare il semah
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