This other sources give some traces about
This article taught me mavlavi and sama are ones of the most important elements for Turkish tradition. It gives information about the rituals and the ceremonies. It also mentions about development of the mavlavi sama by giving exact times.
This article took my attention because I was already curious about this topic.The author gives a detailed information about mavlaviyya, when it was written and how it was written. Looks like, mavlavi mukahala started to evolve during the fourteenth and fifteenth centuries but it shaped its final form in the sixteenth and seventeenth centuries.
Although some early sources of Mavlaviyya have any exact definition of sama but other sources give some traces about the origin of the mavlavi sama. The author explores and explains origin of the Mavlavi sama in detailed way. I learnt from this chapter the Sama means a supernatural travel of man’s afterlife, reach to intellect and cherish to flawlessness. I also learnt what the moves in sama means and how sama is presented and played as an exhibition in the stage.
Some of the moves in sama don’t exist in mavlavi mukahala as I see. I am surprised that sama dance and music related to the universe and the creation of universe. One of the topics that drew my attention was that Mavlavis don’t accept zikr as the basis of their ritual although they practice in repeating the name of God. I really don’t understand why they do so.
I learnt that Mavlavis may attend rituals of other cult and they perform sama. Thanks to the chapter, I had information about the rabab which is a musical instrument. I learnt from the some websites that even if Mevlana Celaleddin Rumi is thought that he was a neyzen(reed-flute player), he was a rabab player.