Laddas ned direkt. Skickas inom vardagar specialorder. New Age and holistic beliefs and practices - sometimes called the "new spirituality" - are widely distributed across modern global society. The fluid and popular nature of new age makes these movements a very challenging field to understand using traditional models of religious analysis. Rather than treating new age as an exotic specimen on the margins of 'proper' religion, "New Age Spirituality" examines these movements as a form of everyday or lived religion.
The book brings together an international range of scholars to explore the key issues: insight, healing, divination, meditation, gnosis, extraordinary experiences, and interactions with gods, spirits and superhuman powers. Combining discussion of contemporary beliefs and practices with cutting-edge theoretical analysis, the book repositions new age spirituality at the forefront of the contemporary study of religion.
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Ladda ned. Recensioner i media. Bloggat om New Age Spirituality. The unique spiritual identity attributed to the ney distinguishes it from other instruments of Ottoman-Turkish classical music. The dervishes sit under water together with a hundred other giant sculptures crafted to represent themes of national importance see fig. Figure 3. The sculptures of two Mevlevi dervishes displayed at Side Underwater Museum In this second half of the paper, I continue to examine the kinds of spiritual experiences and practices that surround the ney , but this time by looking at its teaching and learning.
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The analysis concentrates specifically on the pedagogical practices of ney masters who are members of the two major ney lineages silsile in Turkey that trace their genealogy back to the Ottoman period. The person you take lessons from may not always end up becoming your hoca , and not every person you teach may become your talebe.
Learning to play the ney is a technical endeavour. You learn how to move your fingers, your lips, this and that. Anyone can learn those things if she or he commits time on practice. What matters more is the connection [ irtibat ] between the hoca and talebe.
Emancipatory Spirituality: Rethinking Religion
Salih Bilgin. Feelings of love, trust and mutual commitment form the core of this relationship even if they are lived within a hierarchical intersubjective setting. In this mode of learning, it is deemed vital that the talebe lay unquestioning faith and trust in the teachings of the master, and commit undivided loyalty to them. N o matter how skilled a teacher one has become, o ne never ceases to be a talebe to their own master.
Thus the role of being a hoca entails much more than merely passing down technical and artistic knowledge to the pupil. As my autobiographical interviews with neyzen masters revealed, being exposed to the moral guidance of their master formed the most significant element of their experience of musical apprenticeship in which a powerful spiritual meaning was found. As Gieser discusses, the emotions cultivated in the apprenticeship context do not merely form a backdrop to learning.
May God bless my Hoca. I completely surrendered myself to him. Only then muhabbet spiritual love occurs. You pay your hoca the respect that you may not even pay to your own father. As one ney master teaching at a music department of an Istanbul university remarked:. It is a problem if one cannot trace the masters of their own master back to two or three generations ago. This music can only be learnt from a master, who must have also learnt it from their master.
It is the lineage that constitutes this tradition. By contrast, in popular music, musicians exist without any lineage, but merely as individuals interview with Neyzen Ali Tan, 5 June As in Sufism, ney masters often talk about their lineage as a yol [way or path].
The three nineteenth century members of this lineage practised their art in a social milieu in which Sufi tekkes were still active. A code of ethics applied here.
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According to Neyzen Salih Bilgin, students ought to feel morally responsible for mastering the particular repertory of neyzen composers. In his ney lessons, Bilgin would occasionally allude to anecdotal stories about his lineage members, who were talked about like members of an extended family. By contrast, each lineage member re-creates the musical style — this applies also to the teaching practice — but only when they are disciplined thoroughly in the fundamental techniques of the art and musical repertoire.
Mastering a musical instrument, a craft, a form of dance, or a martial art involves at the same time cultivation of a particular kind of self. As we shall see in the self-reflexive narratives of ney masters provided below, alongside their musical disciplining, an experience of ethical character-formation is integral to their creative becoming whereby a spiritual meaning is found. Artistic practice is not understood as an end in itself; it also serves for the attainment of a moral goal.
Virtuosity cannot occur without the cultivation of inner virtues. According to Khaldun, the competent performance of any skilled activity — calligraphy, carpentry, minaret building — furnishes the soul with attributes, which through practice and repetition forms a habit Lapidus A habit, malaka in Arabic, is more than just a learned semiautomatic activity. It bears the meaning of habitus — an acquired faculty, rooted in the soul.
It involves also teaching the talebe the spirituality, the ethics of that art and guiding them in realising what art essentially serves for. We know that these art traditions [referring to calligraphy and music] were used in the tekkes in the past with the aims of softening the soul and giving it a form. Can you shape hard dough? This is what arts were intended for, to mould the human heart. The conservatorium has changed a lot, what being a talebe means has changed too. When we were students, you learnt through the master-apprentice relationship. But now there is a week curriculum and a student knows which makam is to be covered, say, in week seven.
Everything has become standardized, so have the talebes and the pitches perdeler they play. But of course exceptional talebes exist. Currently, I am working with eight students and one of them signals that he has the potential to become a good talebe. When I look at him, I see my own earlier self.
The way he sits, the way he walks — he always leaves the room walking with his back towards the corridor — his character karakter , his expression of respect for his hoca , his polite manners and modesty. To demonstrate a capacity to comport the body in a fitting manner is to intentionally orient oneself towards the act of learning — a comportment towards learning. Without such orientation or attitude, how can learning be effectively — and affectively — achieved?
Given that the hoca-talebe relationship is the immediate context of teaching and learning in this pedagogical practice, spending time with the master during and outside of the actual lesson time is in itself conducive for such embodied disciplining. As the autobiographical reflections that interviews with ney musicians revealed, the masters they learnt from f ulfilled in t heir lives , a bove all else, the role of an exemplar , providing them with a model of acting worthy of emulation.
They not only taught but inspired their pupils, facilitating their moral growth as much as guiding them through the intricacies of the art. For Faubion, pedagogues do more than set out certain normative rules to be followed by others; because they come to inhabit their subject positions in a skilful manner, they are able to act as an exemplar with a capacity to convey values and ideals concerning how to live This point can help us consider the subtleties of the hoca-talebe relationship by shedding light on the ways in which this interpersonal relationship can be empowering for both subjects even if it is deeply hierarchical.
It is legitimate to argue that masters performed an exemplary role in the lives of their talebes who surrendered to them, not by putting in place rules to be followed by their disciples, but by occupying well their own subject positions as a hoca in the first place.
This multi-textured word refers to the state of being greatly inspired and influenced by an exemplary guide. Although there are no prescribed ways through which feyz can be received, sitting side by side with a guide and listening to their words are conceived as particularly vital for creating a certain shared affective state between the two subjects.
According to Salih Bilgin:. In reality, that person does not teach you; instead their knowledge becomes manifest in you. We are all intermediaries in this art. We were there to play the ney with our hoca , right? But believe me, the time spent for playing the ney in that hour lesson would hardly make half an hour. Apart from that, there was always sohbet [conversation]. There was sohbet about Sufism, about music.
Hoca passed on many things to us about his own hoca , about the great musicians of his time, and about the Sufi elders he knew. Humanistic criteria. This is how our lessons passed. A talebe should try to learn not only the actual art from their hoca , but the spiritual and ethical dimensions of that art as well.
I started going to Niyazi Hoca in Initially we used to come together on Sundays. Because Niyazi Hoca used to take part in those concerts, we would go to his house once a fortnight. Later we shifted the lessons to weekday. Niyazi Hoca is a profoundly knowledgeable person of course. He had been acquainted with venerable men from the late Ottoman era. Niyazi Hoca knew them well and in his sohbet s he would tell us a great deal about these figures who had so much influence on his life.
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