Abstract
This paper describes the mystical approach to Islam known as Sufism and the role of the Dervish within this tradition. The unorthodox Sufi approach to Islam is first described. Then, the role of the Dervish is explained. The author further describes the essence of the Dervishes as using ritual and dance as a means of mystically and spiritually communing with the divine. A background of the Dervishes is presented, including a biography of its founder and a history of its first orders. The Dervishes' dances are also described. The author concludes that the rituals of the Dervishes form an essential part of the Islamic faith and add to the depth and richness of that religion.

From the Paper
"The Sufi Order or version of Islam is the more unorthodox form of the religion in many respects. The Sufi Order ".....seeks ultimate religious experience through mystic trances or altered states often induced through twirling dances or "whirling dervish." (SUFISM & WHIRLING DERVISHES) This is an important aspect in terms of understanding the function and significance of the Dervishes in Islam."

Tags:Islam, mysticism, Sufi, Dervish, Order, of, the, Whirling, Dervishes, Mevlana, Jelaluddin, Rumi

Abstract
This paper explains that classically trained Jelaluddin Rumi, who was born in 1207 in the region that is now part of Afghanistan, lived most of his life in Turkey and the surrounding area. The author points out that Rumi created the Mevlevi Order of Dervishes or commonly called the Whirling Dervishes of Sufism. The paper relates that the Whirling Dervishes are most recognized for their unique dance movements, oblique body posturing, acute mental focus and their musical facility, which is said to combine to bring them closer in union to God. The author states that Rumi's poetry is regarded as the cultural epicenter of all thought, literature, dance and music in the world of Islamic aesthetics. The paper reports that the traditional approach to studying the impact of Rumi's poetry on Sufi music has been to examine the text from a critical theoretic perspective.

From the Paper
"The natural academic tendency, regardless of academic specialty, is to examine the concepts contained within the lines of verse; to question 'what is the tree of wisdom' and to ask what or how one identifies one's internal "fairy." These are important metaphysical questions that can and should be asked of the text through critical analysis. However, therein rests the academic pitfall that most researchers and even casual observers typically get trapped in: the interpretation of the text which is made even more complex in translation."

Tags:dervishes, music, transcendental, sama, aural

Abstract
This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.

From the Paper
"More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."

Tags:Qari, God, Allah, sema, prophet, gift, worship, dance, body, Sufic, tradition

Abstract
This paper discusses issues pertinent to the Bedouin woman at a time of change with regard to her status, her abilities and skills as a healer in the Bedouin traditional society. The paper describes in detail research examining the following main questions: Are Bedouin women still engaged in traditional healing or do they prefer the modern medicine? What is the Bedouin's attitude to traditional medicine today in a period of a meaningful interaction with the Western culture? In response to this, the writer provides us with an understanding that the older Bedouin population favor their traditional methods, whereas the younger Bedouin favor the modern methods and find it easier to integrate with Western culture.

Table of Contents

Introduction
Literature Review
The Bedouin in Israel
Belief and Views among the Bedouin
The Bedouins' Health in the Desert
Climate and Living
Health Conditions
Illness and Cures among the Bedouin
The Bedouin Healers
The Dervish
The Fugara (Bedouin Shaman)
The Traditional Doctor
Ways of Healing
Preventive Medicine
Curative Medicine
Burning as a Cure
Bleeding as a Cure
Herbs as a Cure
Mental Diseases
Holistic Health and the Bedouin
From Tradition to Modernization
Traditional Medicine vs. Modern Medicine
The Bedouin Women of the Negev
The Bedouin Women's Attitude toward Traditional Medicine
The Research
Findings
Discussion
Summary
Bibliography

From the Paper
"The Bedouin society has been experiencing a process of change for the last several decades, regarding issues like dwelling, occupation, women's status, modernization - changes that refer to the traditional point of view among the Bedouins. During the last few years there has been a great change in the attitude toward Bedouin's medicine and its use as a result of interaction with the Western world. The awareness of the Bedouins to modern medicine brought many of them, especially the young ones, to realize the limits of traditional medicine. In order to follow this new situation one must begin with the Bedouin tradition in different themes (Ben-David, 1999)."

Tags:arab, belief, cure, east, islam, israel, minority, western, medicine

Abstract
In this article, the writer discusses classical dance from Northern India, Kathak. The writer traces how Kathak began as expressive storytelling by Brahmin priests and developed into a sophisticated form of art and entertainment under the patronage of Mughal rulers during the Mughal Empire.

From the Paper
"Kathak also Khattak is a major classical dance form that originated among that Kathak tribe in Northern India. The name Kathak derives from the Sanskrit words for story and making and indeed the original Kathak were storytellers who traveled the country entertaining and educating people with sacred legend folklore and mythology. Batish Kathak storytellers recited stories from Hindu epics and mythology through the use of mime and body movement. This old form of storytelling later incorporated music dance mime and comedy ..."

Tags:costume, Hindu mythology, whirling dervish, Islam, Arab, tribes, temples, storytelling, Mughal