1992 – Ritual Music Of Fomal Hoot al-Ganoubī (CD)

FomalHoot_Erdenklang_Booklet

Virtual History

Fomal-Hoot al-Ganoubī is an mythological Arabian constellation. The first description of the music which flourished in that distant gloomy world could be find in the “Kitāb al-Algāni” (“Song of Book”) by Abu’l Faraq al-Isfahāni (died: 967) and the last was accessible in the “Al-Risāla al-sarafiyyā fi’L-nisab al-ta’lifiyya Fomal-Hoot al-Ganoubī” by Maulana Galāl al-Din Rumi (1207-1273) which was his last book and lost by now. This book enclose an exclusive rescription of the connection between an extraterrestrial world and the musical traditions of the Earth. It also involves the outline of a peculiar calligraphic language of Fomal-Hoot based on the rhythmical periods of the metrical and accented consonants. The earthy place of the interpretation of races and musical traditions – especially vigorous under the liberal rule of the Seljūks – was Balkh, the capital of Transoxania (Khorassan), birthplace of Avicenna (Ibn-Sina, died in 1037) and resort of the poets Muhammad al-Gazāli (Algazel, died in 1111), Omāri Khāiyyām (died in 1122), Sha’adi (died in 1292) and where Maulana Galāl al-Din Rumi (“Our Master Galāl al-Din of the Land of Rum“) was born in 1207. He was a mystic-poet, musician, phylosopher and – with his son: Sultān Veled – founder of the Order of Mevlevi Dervishes. Galāl al-Din after halting in Hamma, Mecca, Damascus erached the country of Rum (today: Turkey) which had been for a long time a scene of encounter of Persians, Byzantines, Franks, Armenias and the people of Transoxania. In this world there existed two principal currents of thought (hāqiqa). They are the crossroads of ancient cultural traditions, two basic interpretations of awareness of life of the ancient world: in constant creation amd constant mutual transformation. Galāl al-Din ended his journey in Kōnya – residence of the Seljūks of Rum – and was active there until his death in 1273. His mystic-phylosophic thoughts and his peculiar connection with the Beings of Fomal-Hoot were collected in numerous books (e.g.: “Masnāwi”, “Diwān-i Kabīr”, “Rubāyat” etc.) by his different disciples (shari’a ). His holographic book “Al-Risala al-sarafiyyā fi’L-nisāb al-ta’lifiyyā Fomal-Hoot al-Ganoubī” which has been buried in oblivion by today speaks – all instants and purposes – about the ethereal liturgies of the departed friars of Dervish Orders on the planet of Fomal-Hoot constellation. Celestial Sulfism (tasawwuf ) moulded by Tāriqa, a way of thinking that is a school of fathfullness to the Creator (ma’arif ) – who maintain the human race – constructed monasteries everywhere ni the Land of Fomal-Hoot. These cloisters or rather these Tekke‘s spirit (ruh) were the transplantation and reincarnation places of the Mevlevi, Qādiri, Rufai and Beqtāchi Dervish Sects’ enigmatic imagination.

“Here one learned to be a man, to find his place in the Universe and to utilize posiibilities of which he had been unconscious, to understand, to love, to justify the human being, to control and appease the sleeping dragons in the secret heart and mind,to know and dominate archetypes, to replace fear with confidence, to be sure of one’s self, to walk calmly with one’s feet on the greound, to lose ones’s illusion, to be realistic, to love and exhaust reality, to embrace it”. (Quotation from the Book).

Besides, the book performs various musical and dancing exercises and compositions which help the reception of the etherical body (bātin) of God and the same time to reach a state of contemplation. In the peculiar Fomal-Hoot‘s rite the participants form a circle and take hands, interlocking the fingers. To begin with, breathing slowly and deeplyas one man (yōga), they lean sharply forwards at each out-breath, and return to the upright at the in-breath, while a singer starts up a rhythmic chant. Later themovement changes, becoming altogether vertical, to the rhythm of quicker and lighter breathing: without raising their feet from the ground, they move down and up, slightly bending and then straightening their knees at the out-breath and the in-breath respectively, with their bodies upright. Many different aspects (zāhīr) of the mystic path of the etherical body are concentrated to these simple movements of the living body. It is at the same time a sacrifice – the sacrifice of the various individual rhythms to the single great rhythms of the dance through which the soul is de-individualized and universalized.

The dance might therefore be described as a ritual death agony, and the breathing of the dancers does in fact recall the breathing of a man at the point of death. But the “death” in question is a willing one, for it is the creating of a void to receive the God’s etherical body, this is the presence (al-Hadrah). The evolution of the Dervish ceremonials culminated in the Āyin (or Mukabele) rite in which the music and dance helps together to drive the performers into the greatest intensity of mystic exaltation and annihilation in the world of Fomal-Hoot al-Ganoubī.

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