Muslim Saints of South Asia: The eleventh to ... - blog blog blog
Muslim Saints of South Asia: The eleventh to ... - blog blog blog
Muslim Saints of South Asia: The eleventh to ... - blog blog blog
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THE MENDICANT SAINTS<br />
<strong>The</strong> ‘old’ eastern entrance, adorned with dark blue and white tiles<br />
and two flanking minarets, leads <strong>to</strong> the <strong>to</strong>mb proper. Inside the <strong>to</strong>mb<br />
lamps are placed on high consoles, from which burning hot oil falls<br />
in drops in<strong>to</strong> special vessels. <strong>The</strong> pilgrims, taking the risk <strong>of</strong> being<br />
scalded, dip their fingers in it and smear it on their forehead and lips.<br />
<strong>The</strong> origin <strong>of</strong> this ritual is connected with the fact that in his lifetime<br />
the saint, consumed by the flame <strong>of</strong> divine love, literally used <strong>to</strong> drink<br />
boiling sesame oil and pour it on his chest. Under the canopy <strong>of</strong> the<br />
cenotaph a big s<strong>to</strong>ne is suspended, which seems <strong>to</strong> be quite heavy<br />
and which the saint used <strong>to</strong> carry on his chest during his lifetime. 6<br />
Going round the mazār, the faithful reverentially <strong>to</strong>uch this s<strong>to</strong>ne<br />
with their hand.<br />
At six thirty in the evening the thunder <strong>of</strong> the big drums heralds<br />
the commencement <strong>of</strong> the daily dhammal. On weekdays the dervishes<br />
and pilgrims dance for only half an hour, apart from on Thursdays<br />
when they dance for a whole hour. Men and women sit down on<br />
different sides <strong>of</strong> the courtyard; for the time being they interchange<br />
remarks, but in only a few minutes they will be in the grip <strong>of</strong> wild<br />
excitement, turning in<strong>to</strong> a somnambulistic trance. At first the<br />
dervishes come <strong>to</strong> the centre <strong>of</strong> the courtyard. From time <strong>to</strong> time<br />
they jump high, bending their legs in the air at the knees, while<br />
performing lezginka (a lively Caucasian folk dance). <strong>The</strong>y <strong>to</strong>uch<br />
down not flat on the whole foot, but on their <strong>to</strong>es, and then till the<br />
next jump they jig at a fast tempo, as if performing a <strong>to</strong>e dance, with<br />
the only difference being that they are barefoot.<br />
<strong>The</strong> heads and hands <strong>of</strong> the dancers twitch abruptly in time with<br />
the quickening roll <strong>of</strong> the drums; faces are dis<strong>to</strong>rted with the grimace<br />
<strong>of</strong> ecstasy. Gradually the pilgrims sitting around join the dancing<br />
dervishes. Men get up and clumsily jump, mark time and go in<strong>to</strong> a<br />
spin; <strong>of</strong>ten amongst them hījr¸as (transvestites) are <strong>to</strong> be seen who<br />
move with affectedly dainty steps. Women, on their knees, rotate<br />
their heads in a state <strong>of</strong> frenzy, and their long, loose, flowing hair<br />
cuts the air with a whistling sound. Some <strong>of</strong> them fall in<strong>to</strong> a deep<br />
trance and sit slumped on the ground in a cata<strong>to</strong>nic stupor.<br />
Everywhere one can see crooked hands and legs, mouths wide<br />
open, eyes coming out <strong>of</strong> their sockets, like a living visual aid for a<br />
psychiatrist learning his trade. However, with the stroke <strong>of</strong> the gong<br />
this entire frightening dance <strong>of</strong> death abruptly comes <strong>to</strong> an end. First<br />
<strong>to</strong> leave are the dervishes, the instiga<strong>to</strong>rs, and then the pilgrims also<br />
collect their belongings, disperse and go home. <strong>The</strong> woman who was<br />
just now rolling on the ground, having gone mad in ecstasy, tucks her<br />
hair under her black chaddar in a business-like manner, wraps herself<br />
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