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Ibn Arabi – Sufi Poet & Mystic

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In his book The Sufis, Idries Shah provides a detailed account of the life and teachings of one of the most important figures of Sufism, Muhyi al-Din Ibn Arabi (1165-1240). Ibn Arabi was a prominent scholar, mystic, and poet whose writings contributed greatly to the development of Sufism and Islamic theology. Although his life and teachings were controversial in his lifetime, Ibn Arabi is considered an important figure in Islamic spirituality, and is known for his influential teachings on the concept of God’s unity and his emphasis on spiritual experience over intellectual knowledge. We will provide an overview of Ibn Arabi’s life and teachings, with a focus on the chapter in Shah’s book The Sufis about Ibn Arabi.

Biography

Ibn Arabi was born in Murcia, Spain, in 1165. His father was a lawyer from Seville, and his mother was from an important Andalusian noble family. Arabi was educated at the famous Al-Azhar Mosque in Cairo, Egypt, where he studied Islamic theology, philosophy, and Sufism. He was also influenced by the teachings of al-Ghazali, an influential medieval thinker and Sufi scholar whose works would later become one of the major sources of Ibn Arabi’s teachings.

At an early stage, Ibn Arabi developed a passionate interest in spirituality and mysticism, and began to develop his own powerful teachings. Eventually, he settled in Damascus and began to teach, travel, and write extensively. His writings spanned many topics, but focused primarily on his theories of unity, love, and integration. He wrote about the divine unity and the essential oneness of all creation, and about the need for a strong connection between the individual and the divine in order to find inner harmony and peace.

Ibn Arabi’s Teachings

Ibn Arabi’s most important contribution to Sufi teachings was his concept of unity in God, or wahdat al-wujud. He preached that since God is one, all of creation is essentially one with Him, and all beings share in His oneness. He believed that humans could experience the fullness of God’s unity through a direct experience of the divine within, and that this experience was a necessary prerequisite for spiritual development. He also believed that the self can only be fully realized when it is connected to the divine, and that this connection is achieved through the practice of dhikr, or remembrance of God.

In his writings, Ibn Arabi also sought to bridge the gap between philosophy and mystical experience, and to emphasize the importance of both forms of knowledge. He argued that true understanding of the divine cannot be achieved through theoretical knowledge alone, but must also rely on subjective experience and direct contemplation of the divine. He believed that the true nature of reality could only be experienced through the direct experience of unity with the divine. 

Ibn Arabi was one of the most important figures in Islamic spirituality. His writings explored the concept of God’s unity and emphasized the need for a strong connection between the individual and divine in order to find inner harmony and peace. His life and teachings provide a powerful example of the importance of spiritual experience in developing a deeper understanding of God and of the world.

The Neo-Platonic influences on Ibn Arabi

Throughout history, the Muslim philosopher Ibn Arabi has been revered for his insistence on universal spirituality, his ability to synthesize different metaphysical traditions, and his expansive view of the world. Ibn Arabi’s writings have been critical to the formation of Sufism and his works continue to be cited and debated in Islamic scholarship. While established as an important figure in classical Islamic theology, Ibn Arabi’s teachings were heavily influenced by Neo-Platonic concepts. We will survey some of the key Neo-Platonic ideas that imbued Ibn Arabi’s writings and discuss the ways in which these ideas were expressed and extended in the philosopher’s work.

The term “Neo-Platonism” first appears in the writings of 15th century German scholar Johannes Reuchlin, who used it to describe the renaissance of Platonism that was taking place in the Islamic world in the 13th century. This period saw a revival of Platonic thought in the Islamic world that was heavily influenced by Neopythagorean speculation on the nature of the heavens, the divine, and the soul. Neo-Platonism influenced a great many Muslim philosophers, including Ibn Arabi.

Ibn Arabi’s writings are immersed in Neo-Platonism, from his One Thousand and One Treatises of Philosophy, to his major work, the Meccan Revelations. In the One Thousand and One Treatises, for instance, Ibn Arabi argues that the Neo-Platonic concept of the “Unity of Being” – the belief that all existence is effectively a single, unified entity – is key to understanding the nature of the spiritual path. In this regard, he goes beyond Neo-Platonic thought and strengthens its core concepts, such as God’s essential unity and the living, personal nature of Being. Similarly, in the Meccan Revelations, Ibn Arabi affirms the Neopythagorean belief in the unity of souls, but argues that a plurality of individual souls is the product of a complex and subtle mystical process.

Ibn Arabi was also influenced by the Neo-Platonic idea of the demiurge, or mediator between the material and the spiritual. For example, Ibn Arabi believed that humanity could become active participants in the cosmic process of self-realization, and argued that the spiritual “guide” was essential to this path. In this way, he was able to incorporate Neo-Platonic ideas of divine mediation into his own spiritual philosophy.

Finally, Ibn Arabi took Neo-Platonism beyond mere philosophical speculation and incorporated its concepts into Islamic theology. He argued that the Islamic tradition contains the truth of both Platonic and Neo-Platonic concepts, and sought to demonstrate how these truths manifest within Islamic theology. In this way, he was able to bridge the gap between these two philosophical traditions, as well as to establish an integrated worldview based on both.

Ibn Arabi’s writings are deeply influenced by Neo-Platonic concepts. Through his works, he was able to synthesize Neo-Platonism with the Islamic tradition and create an expansive vision of the universe that was rooted in the principle of the Unity of Being. While the Neo-Platonic ideas expounded by Ibn Arabi were complex, they ultimately helped to express the essence of his spiritual philosophy.

The Islamic mystic, Muhyddin Ibn Arabi, was a hugely influential thinker and writer who attempted to bridge the spiritual chasm between East and West. Borrowing ideas from both Hinduism and Islam, he created an innovative and controversial synthesis of the two traditions. One of the most influential of these ideas he inherited from Hinduism was the concept of Bhakti (devotional love). Let’s explore how this concept impacted Ibn Arabi’s thought and how it continued to influence Sufi traditions up to the present day.

What is Bhakti?

Bhakti is a Hindu term that refers to a devotional practice of love and sacrifice for a divine entity. It is closely related to the concept of puja, a ritualistic practice of worship intended to evoke a spiritual connection between an individual and the Divine. Bhakti can also be seen as a way of attaining spiritual liberation through the selfless act of devotion. The Bhakti movement itself was a product of the 11th century in which the idea of loving god spread across India, influencing literature and popular culture.

Ibn Arabi’s Influences

Ibn Arabi was deeply influenced by the Bhakti tradition. He saw it as a way to reconcile his Islamic faith with the spiritual practices he inherited from Hindu tradition. His writing was full of references to Bhakti, most notably in his ‘Futuhat al-makkiyya’ (Meccan Openings). Here, Ibn Arabi writes about love as being ‘the greatest of worships’, a sentiment deeply rooted in the Bhakti tradition. Ibn Arabi’s ideas on divine love, proximity and transcendence were largely shaped by his understanding of Bhakti.

Bhakti’s Influence on Sufism

Ibn Arabi’s understanding of Bhakti had a profound influence on the development of Sufism. During the 13th century, Sufi communities began to adopt Bhakti ideas of love and devotion from Ibn Arabi. This was reflected in popular Sufi interpretation of the Quran, which focused heavily on the theme of one’s relationship with god. This idea of a close relationship with the Divine was further developed by later Sufi thinkers such as Rumi and Shabistari.

Conclusion

This search has explored the influence of Hindu Bhakti on the mystic philosopher Muhyddin Ibn Arabi’s thought and how this has carried forward to shape the traditions of Sufism up to the present day. Ibn Arabi’s incorporation of Bhakti ideas into his philosophy provided a bridge between the two distinct traditions of Hinduism and Islam, helping to unite the spiritual practices of both. His understanding of the importance of love, proximity and transcendence inspired later Sufi thinkers and continues to shape Islam today.

Here’s some quotes by Ibn Arabi :

1. “We must accept the presence of God in everyone.” ― Ibn ‘Arabi

2. “God created Adam out of Love, not out of need.” ― Ibn ‘Arabi 

3. “If you do not know your essence, then you do not know your Lord.” ― Ibn ‘Arabi

4. “If you love truth, be a lover; and if you love Wisdom, be a seeker.” ― Ibn ‘Arabi

5. “The God you do not know is preferable to you than the god you believe in comfortingly.” ― Ibn ‘Arabi

6. “Whoever comes to know himself, knows his Lord.” ― Ibn ‘Arabi

7. “He who knows himself, knows his Lord.” ― Ibn ‘Arabi

8. “The entire universe is a divine Face; every thing in it is a sign.” ― Ibn ‘Arabi

9. “He who has knowledge of himself knows all things.” ― Ibn ‘Arabi

10. “Prayer is the most precious pearl of wisdom, and silence is its true form.” ― Ibn ‘Arabi

11. “The worship of one God brings with it a knowledge of all created beings.” ― Ibn ‘Arabi

12. “Rejoice in the knowledge of your own Self.” ― Ibn ‘Arabi 

13. “The more we discover within ourselves, the more we discover God.” ― Ibn ‘Arabi

14. “In truth, God inspires in you the knowledge and wisdom that He has for you.” ― Ibn ‘Arabi

15. “God’s mercy is so great that it forgives you not for a single moment, but for eternity.” ― Ibn ‘Arabi

16. “The source of spirituality is the heart of man, not a book or a teacher.” ― Ibn ‘Arabi

17. “Do not seek to understand in order to believe, but believe in order to understand.” ― Ibn ‘Arabi

18. “No one knows the secrets of God’s relationship with man except God himself.” ― Ibn ‘Arabi

19. “Love is the cause of existence and its end.” ― Ibn ‘Arabi

20. “The human being is my witness that I am God and that God is me.” ― Ibn ‘Arabi

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India, Mantra, Music, Mystical, Reggae, Spiritual, Yoga

Baraka : From the Experiential to the Analytical

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Baraka : From the Experiential to the Analytical

by Aaron Pollitt, (IU Folk 450) 4/23/10

It has often been the case that an ethnographer with the intention of developing their analytical and academic understanding will enter and immerse themselves within a culture, in order to gain an experience of it from the inside. In my case this is rather the opposite. I am a member of the band Baraka, and for the past year or so I have been the flamboyant, joyous, flute player and member of this band. I have immersed myself in a melting pot of ecstatic chanting, cultural co-creation, divine connections, and holistic exploration. I have traveled with this group to many interesting places, made many amazing friends, and felt an awesome sense of spiritual development within myself. This has been a profound and wonderful experience in my life, and my desire to enhance my abilities and participation within it has steadily been growing. In the creation of this document, I have set myself to the task of gaining a deeper understanding of this experience of Baraka. I am stepping out of the role of band member and friend, and taking on the role of the researcher and ethnographer. I am looking back at this band with my analytical mind, from a prospective that I had up until now, largely left alone. Through interviews with the band members and its affiliates, and comparisons to other studies of spiritual music and culture, I attempt to develop an understanding of what Baraka is, what effect the music has on its listeners and members, how Baraka fits in to the greater American culture, what Baraka and its members hold as their intention, and why they are using the methods they are. After answering these questions, I hope to step back into the role of band member with a greater ability to both experience this musical cultural process and participate in this co-creation.

The official members of Baraka consist of 4 young white males, native to Indiana. The members have all come from a relatively mainstream American upbringing, which is a stark contrast to the identity and style which they are now embodying. The band comes together to form a kind of spiritual and cultural anomaly, or phenomena within a greater culture. It acts as a bridge between mainstream America and an ancient Vedic tradition reaching back some 3000 years ago in India. “Yes, were all white and American, but we look for our identity outside of our culture. We are privileged, so we have the opportunity to do this. We happen to be white, but we are trying to represent different cultures.” (Ras-D, interview). The band Baraka is a bit hard to classify, as it is rather dynamic in its identity. The main musical style of the band is known as Kirtan. Kirtan is a form of devotional communal chanting sung in Sanskrit to the Hindu gods and goddesses. Along with this however, the band also plays Reggae, Nyabinghi chants, Hip Hop, Rock, New Age spiritual folk songs, improvisational instrumentals, and many fusions of these different styles. With all these different possibilities for style one may think that the band would be very scattered, but interestingly the underlying feeling and direction of their performance seems to be relatively the same. “Baraka is a hard working band that is unified in its intent of artistic effort towards a spiritual end.” (Bamboo Steve, Interview). The performance of this band is held as highly valuable and important to the band members. The development of this performance is given great attention during practices and shows for a few reasons. Certainly it seems to be the selling point of the band, the reason that they are seen as valuable to potential listeners and venues, but the band also takes a great deal of pride in their ability to create a very attractive performance. “This is largely about co-creation of a story, immersing people in another world that they aren’t used to or aware of, it’s the mythic and the mystic, it’s the the foreign, the colorful and the ancient” (Sakshi Interview). This development and structuring of the performance is very specific. It’s not everything all at once but rather carefully selected stories and styles used to create an atmosphere that is most attractive, and immersive to those listening. “It’s like getting into these epic stories of where things all came from. Taking ourselves back to a very simple time. These songs are so simple and often we don’t even understand most of the lyrics. It brings us into a Turning off of our analytical minds.“ (Zen –G, interview). “This is very primordial, many of these elements have been with humanity forever, communal chanting, deities, sacramentals, and ritual are part of our human story, but it’s very new and fresh, to our American culture” (Sakshi, interview). The band gives focus to connecting to that which is part of human history, trying to recreate a feeling of the lifestyle from long ago. This seems to connect with people on what might be considered an instinctual or intrinsic level, building off the universal similarities in primitive human cultures, and in doing so creating a very natural and welcoming feeling to the performance. In a normal performance the band often takes their shoes off and sits on the ground facing one another. The simple act of sitting on the ground in a circle is an example of this universal primitive human behavior. Most all ancient human groups have sat communally in circles on the earth. Creating this a part of the structure of the performance adds to the intended ancient mystic atmosphere, and brings the listeners directly into that experience so they are more than just listeners, they are participants. The instruments themselves are largely all authentic and traditional in style. They act as center pieces to the performance creating what appears to be an alter on the ground in front of the performers, often decorated by the band members with small figures, gems, feathers, and colorful cloth. The instruments, draw a lot of attention, and are marveled at by the participants. “These is a community of humans that exists across time, These instruments have been worked on over generations for thousands of years, and have been handed down through time and culture to us, they carry in them all this artistry and care and intent” (Bamboo Steve, Interview). Because of this the instruments are seen as having something of a mystical power within themselves much like the instruments described by Sue Carole DeVale in her writing, Power and Meaning in Musical Instruments.

Once the stage is set and the instruments are in place the stories and songs can be brought in to the performance “in the energy of the great figures, be it Yahshua, Krishna, Jah, Buddha, Ganesha, or Bob Marley. These are characters and deities are symbols.” (Sakshi-I interview). These are all highly praised mythic characters, that the band is singing to and telling stories of. They are surrounded in symbology and ritual, some of them are deeply meaningful to of the participants on a very spiritual level, as they may likely have had or a profound connection with such a figure in the past, or at least know of someone who has. The characters most commonly brought up by the band are the Hindu deities. This atmosphere of mystery, story, symbolism and ritual, develops a very spiritually conducive mindset in the listeners. “Baraka makes the Kirtan so delicious that people really do stop. And intentionally or unintentionally become more receptive spiritual entities because of it.” (Bamboo steve, interview). The music has a certain quality about it that causes the listeners to go into a kind of trance, to allow their analytical mind to turn off and for them in that moment to sink into the experience and co creative flow of the music. This seems to be where the greatest power for the band is held, and perhaps their greatest intention. “The Sanskrit term rasa… rasa is a religious sense, a feeling of unity with the world beyond oneself, a transcendental experience induced by an artistic event. From the invoking of indigenous.” (Judith Becker, Tantrism, Rasa, and Javanese Gamelan Music) this Sanskrit concept of rasa seems to have carried over through this musical form and still holds true in this new context of modern day America. This trance like, unified, transcendental state seems to be a common side effect of the Baraka performance. “It’s about the spirit of devotion, unity, the love of story, the love of diversity,” (Sakshi, interview). “The divine connection transcending religious boundaries, coming together as one spirit in celebration, with common intention of co-creation through sound. “ (Ras-D, interview). “The underlying mission of our music is to get us into a Right brained experience, losing ourselves in the joy of creation” (Zen-G, interview). “We play to get ourselves and our listeners into a more spiritually open, receptive, connected state of being.” (Arun Baba, interview). Though it may be called different things, spirit of devotion, divine connection, right brained experience, or spiritual openness, these things seem to be held as a common intention to the band members, and understood that they are using music as vehicle to bring them and the participants into this state of being. “Each song has a different flavor, a different mood. The musical style creates this openness, connection, receptiveness, but the content is what is being opened up to, connected with and received. For example we chant a song to this elephant deity Ganesha, this figure represents beginning, good luck and overcoming obstacles, That is the kind of energy that we open up to and really are able to take in. Kind of like summoning the power of this deity to aide us.” (Arun Baba, interview) The band sees these different deities as symbols of different energies, and chanting their song will bring them that type of energy. There seems to be 2 ways that this is seen. One side sees this as an inwardly psychological change brought on by the action of focusing on a type of energy. The other side sees this as a more outwardly calling of energy, that through focusing on a symbol the associated energy will blessed to them from without. Though these 2 different viewpoints on chanting seem to exist within the band and its following, outcome seems to be entirely the same. Both seem to see the creation of this music as forming a personal relationship with the divine, weather the divine exist within them or without them seems unimportant. “Like trying to join the divine in heavenly song, in a mystical sense, trying create a personal relationship with the divine“ (Bamboo Steve interview). This concept of personal relationship and moving towards union with god seems to be a common on, and is very similar to many Sufi practices as described in the writings of Regula Burckhardt Qureshi, in the article, Sufi music of India and Pakistan.

The experience of Baraka seems to be received with such appreciation and relief by so many of its listeners and participants, as though the experience is greatly healing to them. “There is a need for this in our culture, the simplicity and spiritual drone of this music is something which is obviously missing. Our culture is such like a drive up window culture now now now. There is a profound loss of connection in it.” (Bamboo Steve, Interview). The type of mindset that this music brings about seems to be one that is highly uncommon in the society in which this band exists. The exercise of playing this music is such a contrast to the normal American life that those who practice it seem to do it as a way of healing and balancing themselves. “It’s a daily challenge to get into that. We come from a very the left brained society. How do I bring out my heart, my soul, my spirit, this whole other side of me? I think that’s part of our venture as a band; to strike balance between the analytical and the experiential.” (Zen-G, interview). “Even what we are doing right now (in this interview) is intellectualizing about this, and at a certain point you just have to shut all that off and just experience something. That raw experience is totally different from the concept and its way more fulfilling.” (Zen-G, interview). Some of the band members and followers see the society that they live in as being very spiritually immature, as though it has actually been trying to get rid of spirituality within it’s citizens. “this band is my spiritual outlet, to help me with my emotions, with maintaining my peaceful life, as a way for me to release pent up energy, as a way of healing. (Ras –D, interview). Many see this as something that is actually very rare and difficult to find in this society, so the band members are taking it upon themselves to create it. Though this style of music is relatively unique the intention seems to be very much connected to a broader movement. One of spiritual connection, community, and celebration of diversity, “It’s part of the spiritual consciousness movement, we are trying to embody, and set an example of a healthy, holistic, conscious lifestyle.” (Sakshi, interview) different manifestations of this commonly held intention seem to be popping up everywhere and secretly this is one of the fastest growing social movements there is.” (Arun Baba, interview)

Though the band’s intention seems to be pretty clearly that of creating right brained spiritual experience and connection, they seem to have another very important intention in their music. Through observation and much questioning of the members it seems clear that one of the most foundational concepts that this band bases itself on is the celebration of diversity, and love of culture. It seems that a mission of this group is to aid in breaking down the social boundaries and walls. “Baraka is trying to bridge 2 cultures with art. White American young people backgrounds and playing devotional chant form India. The way it’s played is a fusion, not the music itself, but the place they are playing it. It’s like a translation, Translating Kirtan into American, and making the underlying message accessible to American people.” (Bamboo Steve, Interview) The band sees itself as a cultural bridge, as carrying across valuable cultural experiences and presenting them to the people of this culture, in a way that can be easily understood and accepted. “I love to be able to opens people minds, this is a very mind opening band, open to how other people do things. Cross cultural collision; this is a big part of our country. We represent the essence of this collision, we as a band embrace many cultural elements, and are hoping to embrace more.” (Zen-G, interview) “We want to connect with other cultures and learn from them and share with them, we go in humbleness, We see so much beauty in diversity in other cultures, and we’ll share what we have, but we want to represent these wonderful and powerful stories and styles in an honorable way.” (Sakshi interview). Baraka has a commonly held view point that they are embodying a cultural openness, that diversity is beautiful and ought to be celebrated. Though at first glance Baraka may seem to have the identity of a purely Hindu group, they see themselves as being centered in the celebration of diversity, rather than the celebration of one culture. They believe that it is one of their greatest missions to aid the world in opening its heart and mind to the beauty of diversity, not to hide from it, or try to destroy it, but to celebrate it.

“We are about the essence of life within all religions. The spirit that inspires man to create a religion, people get caught up in the secular and dogmatic, but this is transcendental. We may have leanings towards one or another on a personal level, but this is about the mystical energy, whatever it is. Reggae and Kirtan are our means and they work great, they are beautiful forms of music, but it could be any style and I bet that it will be.” (Sakshi interview) “This is a universal thing, of coming together as community and howling at the moon, just coming together and chanting, is like a universal language. It’s not about which story is true; we accept all these different stories, it’s about the experience of sharing these stories through music.” (Zen- G, interview). This concept that no one story is the true story, that the act of experiencing the stories is what is really important, is at the heart of this band and the movement that they see themselves as being part of. These young men have found the vehicle of music to be the best way for them to spread this message, as it is so present, so mold-able and expressive, it can spread their message of celebration of diversity far and wide while at the same time actually manifesting it in what they are doing.

After a my time of immersion in this experience, and having a vague and dreamy concept of what we are doing as this band, it has been refreshing to take a different prospective on it. I myself I feel much more balanced now in my relationship to Baraka, having fulfilled both my right brains need to experience, and now my left brains need to develop an analytical understanding. I think that I can safely say that I have come to a much more clear understanding. Baraka’s intentions seem clear to me now, spiritual connection, and celebration of diversity through music. We use Kirtan and Reggae as our means because that is what we have come to know, and they seem to do the job very well. We are filling a profound and important niche with our culture and within ourselves. I’m sure there is far more for me to learn and reflect on regarding what this band is and my experience of it. Now with the clarity that I have found I hope to return to this multi-cultural musical conversation, with more strength I had before, and I hope that I can embody my own identity with more certainty as I aid the group in this co-creative process.

Resources :

Harvard University, Center for the Study of world Religions, (Enchanting Powers): Judith Becker, (Tantrism, Rasa, and Javanese Gamelan Music)

Marina Roseman, (Healing Sounds From The Malaysnian Rainforest (Temiar Music and Medicine))

Regula Burckhardt Qureshi, (Sufi music of India and Pakistan)

Sue Carole DeVale, (Power and Meaning in Musical Instruments) 95

Aaron Pollitt Field study, Interview with Steve Pollitt(Bamboo Steve), founder of Hymnosophy, 4/18/10

Aaron Pollitt Field Study, Interview with Baraka member, Sakshi Gopal Das 4/20/10

Aaron Pollitt Field Study, Interview with Baraka Member, Gabriel Lantz (Zen-G) 4/21/10

Aaron Pollitt Field Study, Interview with Baraka Member, Danny Atlas (Ras-D) 4/21/10

Aaron Pollitt Field Study, interview with Baraka Member, (Arun Baba) 4/20/10