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Breath That Releases Spirit from its Cage; Nây-ı Şerif Written by: Muzaffer S. INANÇ / Translated by: Sabriye GUN KULAHÇIOĞLU Word has it that when the first human being Adem was created, his already created soul refused to enter its body cage. When Cebrail heard this, he began to blow the ‘ram ney’. The enraptured spirit agreed to enter the body with the moaning of the ney. While the ney makes the soul enter the body in ecstasy, it can also release souls from the skin cage in the same ecstasy. The only requirement is ‘Bişnev!’ that is ‘Listen with full heart!’ Thus, we listen to the adventure of ‘ney’ from the master ‘neyzen’ Dr. Suleyman Erguner. The reed flute ney is ‘nay’ in Persian, and it means ‘nothing’. Simply, ney represents the ‘perfect man’. Perfect man doesn’t have any worldly ambitions; he wants to reach God and God’s ultimate grace. Ney moans with the same desire. Ney realizes an ancient civilization based on this philosophy. An old phrase used for ney is ‘Nây-ı Şerif’ which means ‘sacred nay’ in English. Humankind can understand the veracity of life more easily through symbols. Ney is one of those symbols and it serves as a means to his endeavor. Word has it that Prophet Mohammed tells Caliph Ali some of the secrets of his ascent to heaven. Although, Ali keeps the secrets for a long time, he can’t endure the heaviness of the secrets any more and takes a well into his confidence. Stones around the dry well become a reed bed. The first reed arises from that march. The first known ney, dates to 3000 years before Christ in Mesopotamia between the Euphrates and the Tigris by Sumerians. It is displayed in Philadelphia University Museum, in the USA. Ney, a universal instrument, was given sanctity by the Muslim Turks when brought to Anatolia from Central Asia. Considering a parallel between their lives and the ney, they gave a mystic idea to it. All other instruments are ‘played’, but ney is
‘blown’. Since God has blown his own Soul only into mankind, since that moment, mankind is endeavoring to find and reach and merge the owner of that blow so as to extinguish in it. Just as the mankind’s search, ney is also searching the reed field it has been cut off, burning inside with despair and is ‘blown’ by a human being sharing the same grief. Ney Passing from Hand to Hand Grandfather, Suleyman Erguner, was a ney player 'neyzen', who served Istanbul Radio and different ensembles. He strived to revitalize ney and the Sufi Music… He was a master who was followed by Ulvi Erguner, Niyazi Sayın, Ahmet Yakuboğlu, Selami Bertuğ, Nevzad Atlığ, Alaeddin Yavaşça, Ercumend Berker and many more musicians… Father, Ulvi Erguner… by the whirling dervishes) at Istanbul Topkapı Sport and Exhibition Centre. At seventeen, he joined the commemorative Mevlana ceremony in Konya. He executed Bestenigar Mevlevi Mass by Ismail Dede Efendi. As he is continuing to follow the Erguners tradition of being a neyzen, he is also producing neys. At his workshop in Çamlıca, we talked with Mr. Erguner about the adventure of ney which start from the reed field and end in a musical instrument in the hands and lips of the neyzen. The First Stop Hatay Samandağ He started to produce ney in 1975. He says, “For a perfect ney, the reed should be from Hatay, Samandağ. Samandağ’s water and weather is good for the soil He practiced music with Halil Can, Nuri Halil Poyraz, Ilyas Tonguç, Fahri Kopuz, Hulusi Gökmenli, Sadeddin Heper. He was heard in TRT Istanbul and Ankara Radio programs. He was the head of Turkish Classical and Folklore Music groups. He was a master of ney… And Grandson Suleyman Erguner… He was born in a house where music was played and practiced. Since his grandfather and father were neyzens, he was introduced to ney as soon as he was born. When he was five years old, he blew his father’s neys and started to be trained by his father. When he was sixteen, he participated the Mevlevi Sema (The execution of religious text with music and with enthusiastic dance of reed.” By these words he emphasizes the quality of Hatay reed. “There’s reed in Aegean Region, even in Marseille, but the reed of those areas isn’t quite good.” He has a lot of reeds, stocked neatly in his workshop. These are the reeds that are left from the 25 reeds he had chosen out of the 500 that he had ordered from Samandağ last Ramadan. He had thrown away the 16 that he eliminated out of the 25 when coming to Istanbul. This shows the amount of attention he gives to his work. Time is also important for the reed as well as place. If they aren’t cut off at the proper time, they may not 151
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