Sound & Politics

Sound & Politics

[click here]

This is a clip of the ezan, which is the main subject I have been studying as it relates to language politics and the interplay between religion and secularism in Turkey. The fact that the call to prayer is in Arabic unites the “Muslim World” as the liturgical language is commonly understood, regardless of the native tongue of the worshipper. Performing the ezan in a different language would imply a sort of separation and ethnic division, where the practitioner is placing their own tradition above the language of the Qur’an (Arabic). The common liturgical language shows respect for the religion and worshippers everywhere, even if the Arabic required must be learned as a second language. Thus the use of Turkish language in the ezan for around 30 years represents a significant shift in political thought.

[click here] 

This is a sound clip of İstiklâl Marşı, which is the national anthem of Turkey and was adopted in 1921. The song is a reflection of the essence of nationalistic sentiment; the lyrics celebrate and affection for the Turkish homeland and was written to help raise the spirits of the military, as with most national anthems. This sound clip is important to the understanding of Turkish secularism, as a framed copy of this anthem resides in each classroom, along with a picture of Atatürk and an image of the Turkish flag. This display represents the devotion to the state and the support of a secular government–while God is mentioned in the lyrics of the anthem, the idea of God is used as a secondary support as a reason to fight for the State. Kemalist ideas of secularism by no means exclude religion, but rather place more value upon national identity than religious identity and separate the government from religious ideas, which may inform—but not dictate—the law of the land.

http://www.youtube.com/watch?v=xZ6sEohkuI0

This last section is a recording of Atatürk’s speech to Turkish youth fighting in the War for Independence. The first thing he says is “Birinci vazifen, Türk istiklâlini, Türk Cumhuriyetini, ilelebet, muhafaza ve müdafaa etmektir.” This can be translated to mean, “Your first duty is to preserve and to defend Turkish Independence and the Turkish Republic forever.” This statement is critical to understand the essence of Kemalism, which resists typical American politicizations like “conservative” or “liberal”—in a sense, Kemalism is an extremely “right-wing” sort of ideology, where the state and the idea of “the people” are revered; however, Kemalism is also—particularly in the context of its time—an extremely “liberal” ideology in its radical break from the Caliphate model of government and the increase in modernizations that departed from the traditional customs of Turkey (such as dress, architecture, etc.). The purpose of the political speech is to rouse a feeling of “togetherness” for something bigger than the self; the rhetoric embodied the desire for a new and better order after the decline of the Ottoman Empire.

Sources:

Ezan – Fair Use (through Wikipedia commons) http://en.wikipedia.org/wiki/File:Adhan_(Call_to_Prayer).ogg

İstiklâl Marşı – Public Domain (through Wikipedia commons) http://en.wikipedia.org/wiki/File:Istikl%C3%A2l_Marsi_instrumetal.ogg

Manisa Turkish. John Guise, n.d. Web. 11 Apr. 2013.

Language & National Identity

IMG_1122

The use of language in many countries is not merely a personal custom, but a political statement and a marker of national identity. In Turkey, the government purged the Turkish language of Arabic and Persian elements in the 1920s and 30s under the nationalistic and secular philosophy of Mustafa Kemal Atatürk. In 1950 with the election of a new government party, the adhan (Turkish: ezan) reverted back to being preformed in Arabic, which signaled an increasing political connection to the Arab world and conservative Islam. Though Turkey remains a secular nation, an anti-Kemalist faction has risen in recent years in tandem with economic downturns. This question of language and identity signals the order of self-alignment with a group—whether or not a person is a first a Muslim or first a Turk. The use of the Turkish language in any form is closely tied with nationalistic sentiment, and the language of the adhan is a political marker for the political atmosphere of the country.

This topic connects to the other members of my group in the sense that we are all focused on how sounds define identity, both on a personal and national level.

Here is a link where you can listen to the adhan in Istanbul:

This adhan is performed in Arabic. (The lyrics are: God is Great/I bear witness that there is no God but Allah/I bear witness that Muhammed is his messenger/Rush to prayer/Rush to success/God is Great.) This sound can be heard five times a day in nearly every city. However, it is important to know that the relationship between religion and government is complicated in Turkey; the country is still a secular nation, and the politics are “liberal” in comparison to other “Muslim nations” (like Iran, for example). My use of quotation marks here merely indicates that these terms are frequently used in the US media but are not entirely adequate to describe these concepts. Although most of the nation subscribes to the Muslim religion, some people identify first as Turks, and some people identify first as Muslims, and there is a continuum of devotion and attitudes towards religious practices and politics, just as there is a spectrum of attitudes in the United States towards Christianity, for example.

 

A Hierarchy of Hindu Identity

In the extremely diverse religio-culture of Hinduism, the type of verbal worship one practices with largely defines that person’s identity in that society. In this way, the sounds of Hinduism serve as a case study for the relationship between sound, identity and belonging. Each invocation belongs to a complex hierarchy of identification. At the top of the pyramid is Hinduism, a broad term referring to the Indian culture assigned to the Western idea of religion. Below that are the two categories of vocal expression, bhajan and mantra. Beneath that the sounds are subject to an elaborate labyrinth of intersecting and intertwined spheres of identification. The most discernible quality at this level is which deity the song, prayer or chant refers to. From there a sound can be traced through traditions and sub-traditions, geographic locations and varying contexts. Though a sound of Hindu worship can rarely be tracked to a precise origin, devotees that belong to the elements that define it can identify with that sound.

This particular bhajan, or prayer song, is in praise of Vishnu, the deity that is responsible for maintaining the balance of dharma and adharma, which roughly translates to good and evil, in the world. Any followers of the Classical Theology of Hinduism or any devotees to Vishnu could identify with this song. Often Vishnu appears in the form of Krishna, so Krishna Bhakti followers would also relate to this particular bhajan.  Many Hindus praise Vishnu in conjunction with his brother deities in the form of the Trimurti, so all of the Hindu’s that identify with any of the gods listed would also find a sense of belonging in this song. However yogi’s and those who practice mantra worship, or devotees of other gods such as Kali-Ma, would not identify with this song.

raas_leela

Belonging Through Sound In Hinduism

The sounds that define the religio-culture of Hinduism can be divided into two distinct categories: mantras or chanting and prayers songs known as bhajan. Both are vocal expressions employed to achieve similar goals, however, the practice and setting in which each is voiced is vastly different. The type of verbal worship or prayer that one practices largely defines his place in Hindu society. In this way, the various sounds of Hinduism serve as not only a vehicle of praise and divine relation, but also as a form of identification within Indian culture. In order to analyze the relationship between sound, identity and divine knowledge in Hinduism, it is essential to understand the purpose, parts and practice of each category.

Bhajan is part of Bhakti Yoga, a tradition based in the Upanishadic and Dharmic subtraditions of Hinduism that eventually detached and became its own form of worship. Bhakti Yoga is essentially disciplined worship by means of complete devotion and love. Bhakti can be directed to any deity, however Krshna Bhakti is the most popular due to his accessibility and inclusive reputation, especially for women. The bhajans of Krshna Bhakti are a particularly significant due to the nature of Krshna worship festivals. As a playful and loving god, Krshna Bhakti is practiced through elaborate festivals with dances like the ras lila, sports, delicious foods and fun activities. The dances and songs of Krshna Bhakti are meant to be entertaining, erotic and arousing, allowing followers to reach the purest and strongest form of love for Krshna. One main subject of bhajan is the divine union of Krshna and his earthly lover Radha. By listening, singing, and dancing to arousing music, complete devotion to the divine is reached by sharing ultimate and unrestrained love. One famous devotee of Krshna is Mirabai, a 16th century Hindu saint who wrote songs and poems of love to Krshna. Her work exemplifies the devotion necessary to reach the ultimate goal of liberation through Bhakti Yoga.

Hindu mantras and chanting trace back to the origins of the religion. One of the first rituals that remains the epicenter of the Vedic tradition is the fire sacrifice. Noble priests and householders perform this ceremony at different levels, sacrificing food and offerings for protection, prosperity and progeny. During the ritual, different hymns are chanted to call on the various gods and request divine knowledge in return for devotion. Mantras or “sacred sentences” are also chanted in everyday practice to express devotion in order to increase consciousness of liberated truth.

Both forms of worship achieve liberation from the cycle of delusion via devotion to the divine through vocal expression, however the practices, and therefore practitioners, of each are different, making sound a form of identification. Bhajan is easy to access in the general Hindu population and tend to be more pleasurable while mantra is much more serious and takes a higher status and level of attention. By partaking in vocal prayer, whether it be mantra or bhajan, a Hindu is identifying himself as either a part of the majority with worship integrated into daily life or as a part of the minority that lives as a devotee and student of the divine powers at work.

Annotated Bibliography

Zide, Norman. “Mirabai and Her Contributions to the Bhakti Movement.” History of Religions. Vol.5, No.1 (Summer,1965), 54-73.

Norman Zide is a Professor of South Asian Languages and Civilization in the Department of Linguistics at the University of Chicago. In this article, Zide examines the life and influences of the well-known Hindu poet Mirabai. Miribai dedicated all of her poems, which were sung as bhajans, to Lord Krshna and focused on his divine relationship with Radha. Miribai’s complete devotion to Lord Krshna contributed to the popular practice of Krshna Bhakti Yoga by making devotion more available via the vehicle of music.

Singer, Milton. “The Radha-Krishna ‘Bhajans’ of Madras City.” History of Religions. Vol. 2, No. 2 (Winter, 1963), 183-226.

Milton Singer is one of the nation’s pre-eminent scholars of India focusing specifically on the period of modernization on Indian culture. In this journal article, Singer analyzes the popularity of bhajans in 20th century. He uses the Krshna Bhakti worship dance known as ras lila and the prayer songs that accompany it to illustrate the importance of bhajans in Krshna worship. He also breaks the diverse practice into six distinct categories and examines the social integration of each type of prayer song.

Kinsley, David. “Without Krsna There is No Song.” History of Religions. Vol. 12, No. 2 (November, 1972), 149-180.

David Kinsley was a professor in the Department of Religious Studies at McMaster University who mostly studied the role of the divine feminine in Hinduism. Fascinated by the popularity of Krshna Bhakti, its practices, and how it contrasts with other Hindu traditions, Kinsley claims that without Krshna worship, sound would play a much different role in Hindu culture. The playful music and songs of India exist only because of Krshna worship and, in a historical context, are very new to Hinduism.

Gonda, Jan. “The Indian Mantra.” Oriens. Vol. 16 (December, 1963), 244-297.

Jan Gonda was a Dutch Orientalist and Indologist recognized as one of the twentieth century’s leading scholars of Asian language, literature and religion. His work with Hindu texts lead him to analyze the importance of the spoken word, especially mantra, in Hindu rituals. Vocal expression is central to the rituals of older Hindu traditions, such as the fire sacrifice in the Vedic Tradition. The power of “sacred sentences” are achieved through repetition and emphasis. This journal article also breaks down and analyzes some important Vedic hymns, identifying the poets intent and the importance of the hymns in Vedic practices.

Bhaktivedanta Swami. On the Way to Krsna. London: Bhaktivedanta, 1973. 5-79.

A. C. Bhaktivedanta Swami Prabhupada was a Vaishnava teacher and the founder of Interntionational Society for Krishna Consciousness, known as the “Hare Krishna Movement.” He translated over sixty volumes of classic Vedic scriptures and dedicated the last twenty years of his life to publishing his works of religious teachings. This short book of teachings lays out ways to act in order to live a life of devotion to Krsna. One of the most important ways to know Krsna is through chanting. Bhaktivedanta Swami translates the Hare Krsna mantra and explains how to utilize it to see, feel, and relate to Krsna everywhere and always.

Beloning Through Sound in Hinduism

The sounds that define the religio-culture of Hinduism can be divided into two distinct categories: mantras or chanting and prayers songs known as bhajan. Both are vocal expressions employed to achieve similar goals, however, the practice and setting in which each is voiced is vastly different. The type of verbal worship or prayer that one practices largely defines his place in Hindu society. In this way, the various sounds of Hinduism serve as not only a vehicle of praise and divine relation, but also as a form of identification within Indian culture. In order to analyze the relationship between sound, identity and divine knowledge in Hinduism, it is essential to understand the purpose, parts and practice of each category.

Bhajan is part of Bhakti Yoga, a tradition based in the Upanishadic and Dharmic subtraditions of Hinduism that eventually detached and became its own form of worship. Bhakti Yoga is essentially disciplined worship by means of complete devotion and love. Bhakti can be directed to any deity, however Krshna Bhakti is the most popular due to his accessibility and inclusive reputation, especially for women. The bhajans of Krshna Bhakti are a particularly significant due to the nature of Krshna worship festivals. As a playful and loving god, Krshna Bhakti is practiced through elaborate festivals with dances like the ras lila, sports, delicious foods and fun activities. The dances and songs of Krshna Bhakti are meant to be entertaining, erotic and arousing, allowing followers to reach the purest and strongest form of love for Krshna. One main subject of bhajan is the divine union of Krshna and his earthly lover Radha. By listening, singing, and dancing to arousing music, complete devotion to the divine is reached by sharing ultimate and unrestrained love. One famous devotee of Krshna is Mirabai, a 16th century Hindu saint who wrote songs and poems of love to Krshna. Her work exemplifies the devotion necessary to reach the ultimate goal of liberation through Bhakti Yoga.

Hindu mantras and chanting trace back to the origins of the religion. One of the first rituals that remains the epicenter of the Vedic tradition is the fire sacrifice. Noble priests and householders perform this ceremony at different levels, sacrificing food and offerings for protection, prosperity and progeny. During the ritual, different hymns are chanted to call on the various gods and request divine knowledge in return for devotion. Mantras or “sacred sentences” are also chanted in everyday practice to express devotion in order to increase consciousness of liberated truth.

Both forms of worship achieve liberation from the cycle of delusion via devotion to the divine through vocal expression, however the practices, and therefore practitioners, of each are different, making sound a form of identification. Bhajan is easy to access in the general Hindu population and tend to be more pleasurable while mantra is much more serious and takes a higher status and level of attention. By partaking in vocal prayer, whether it be mantra or bhajan, a Hindu is identifying himself as either a part of the majority with worship integrated into daily life or as a part of the minority that lives as a devotee and student of the divine powers at work.

Annotated Bibliography

Zide, Norman. “Mirabai and Her Contributions to the Bhakti Movement.” History of Religions. Vol.5, No.1 (Summer,1965), 54-73.

Norman Zide is a Professor of South Asian Languages and Civilization in the Department of Linguistics at the University of Chicago. In this article, Zide examines the life and influences of the well-known Hindu poet Mirabai. Miribai dedicated all of her poems, which were sung as bhajans, to Lord Krshna and focused on his divine relationship with Radha. Miribai’s complete devotion to Lord Krshna contributed to the popular practice of Krshna Bhakti Yoga by making devotion more available via the vehicle of music.

Singer, Milton. “The Radha-Krishna ‘Bhajans’ of Madras City.” History of Religions. Vol. 2, No. 2 (Winter, 1963), 183-226.

Milton Singer is one of the nation’s pre-eminent scholars of India focusing specifically on the period of modernization on Indian culture. In this journal article, Singer analyzes the popularity of bhajans in 20th century. He uses the Krshna Bhakti worship dance known as ras lila and the prayer songs that accompany it to illustrate the importance of bhajans in Krshna worship. He also breaks the diverse practice into six distinct categories and examines the social integration of each type of prayer song.

Kinsley, David. “Without Krsna There is No Song.” History of Religions. Vol. 12, No. 2 (November, 1972), 149-180.

David Kinsley was a professor in the Department of Religious Studies at McMaster University who mostly studied the role of the divine feminine in Hinduism. Fascinated by the popularity of Krshna Bhakti, its practices, and how it contrasts with other Hindu traditions, Kinsley claims that without Krshna worship, sound would play a much different role in Hindu culture. The playful music and songs of India exist only because of Krshna worship and, in a historical context, are very new to Hinduism.

Gonda, Jan. “The Indian Mantra.” Oriens. Vol. 16 (December, 1963), 244-297.

Jan Gonda was a Dutch Orientalist and Indologist recognized as one of the twentieth century’s leading scholars of Asian language, literature and religion. His work with Hindu texts lead him to analyze the importance of the spoken word, especially mantra, in Hindu rituals. Vocal expression is central to the rituals of older Hindu traditions, such as the fire sacrifice in the Vedic Tradition. The power of “sacred sentences” are achieved through repetition and emphasis. This journal article also breaks down and analyzes some important Vedic hymns, identifying the poets intent and the importance of the hymns in Vedic practices.

Bhaktivedanta Swami. On the Way to Krsna. London: Bhaktivedanta, 1973. 5-79.

A. C. Bhaktivedanta Swami Prabhupada was a Vaishnava teacher and the founder of Interntionational Society for Krishna Consciousness, known as the “Hare Krishna Movement.” He translated over sixty volumes of classic Vedic scriptures and dedicated the last twenty years of his life to publishing his works of religious teachings. This short book of teachings lays out ways to act in order to live a life of devotion to Krsna. One of the most important ways to know Krsna is through chanting. Bhaktivedanta Swami translates the Hare Krsna mantra and explains how to utilize it to see, feel, and relate to Krsna everywhere and always.