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Sufi whirling
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Mevlevi Sema Ceremony
UNESCO Intangible Cultural Heritage
Whirling Dervishes in Istanbul, Turkey
Country
Turkey
Reference
100
Region
Europe and North America
Inscription history
Inscription
2008 (3rd session)
Whirling Dervishes, at Rumi Fest 2007
Sufi whirling (or Sufi turning) (Turkish: Semazen) is a form of Sama or physically active meditation which originated among Sufis, and which is still practiced by the Sufi Dervishes of the Mevlevi order and other orders such as the Rifa'i-Marufi. It is a customary meditation practice performed within the Sema, or worship ceremony, through which dervishes (also called semazens, from Persian سماعزن) aim to reach the source of all perfection, or kemal. This is sought through abandoning one's nafs, egos or personal desires, by listening to the music, focusing on God, and spinning one's body in repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the sun.[1]
The Mevlevi practice gave rise to an Egyptian form, tanoura, distinguished by the use of a multicolored skirt. This has also developed into a performance dance by non-Sufis, including dancers outside the Islamic world.
Contents
[hide]
1 Origin
2 Practice
3 Today
4 Regional and secular forms
4.1 Egyptian tanoura
4.2 Pakistan
4.3 In the West
5 Physiology
6 Records
7 See also
8 References
9 External links
Origin[edit]
Mevlevi dervishes whirling in Pera by Jean-Baptiste van Mour
"In the 12th century, Sufi fraternities (طرائق ṭarāʾiq) were first organized as an established leadership in which a member followed a prescribed discipline in service to a sheikh or master in order to establish rapport with him."[2] A member of such a fraternity is referred to as a Persian darwish.[2] These turuk (plural of tariqa) were responsible for organizing an Islamic expression of religious life, often founded by independent saints or resulted from the division of existing orders.[3] Each Sufi tariqa stems from a unique silsila, or "chain of order" in which a member must learn, as the silsila binds each member to Allah through one's chain of order.[3] One's silsila extends through the member's individual teacher, to their teacher and so on, through time until one is connected to the Prophet and thus Allah.[3] The Prophet himself is revered as the originator of Sufism, which has in turn been traced down through a series of saints.[3]
Practice[edit]
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A dervish practices multiple rituals, the primary of which is the dhikr, a remembering of Allah.[2] The dhikr involves recitation of devotional Islamic prayer. This dhikr is coupled with physical exertions of movement, specifically dancing and whirling, in order to reach a state assumed by outsiders to be one of "ecstatic trances".[2] As explained by Sufis:[4]
In the symbolism of the Sema ritual, the semazen's camel's hair hat (sikke) represents the tombstone of the ego; his wide, white skirt (tennure) represents the ego's shroud. By removing his black cloak (hırka), he is spiritually reborn to the truth. At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth. The semazen conveys God's spiritual gift to those who are witnessing the Sema. Revolving from right to left around the heart, the semazen embraces all humanity with love. The human being has been created with love in order to love. Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!"
Among the Mevlevi order, the practice of dhikr is performed in a traditional dress: a tennure, a sleeveless white frock, the destegul, a long sleeved jacket, a belt, and a black overcoat or khirqa to be removed before the whirling begins.[5] As the ritual dance begins, the dervish dons a felt cap, a sikke, in addition to a turban wrapped around the head, a trademark of the Mevlevi order.[5] The sheikh leads the ritual with strict regulations. To begin,
The sheikh stands in the most honored corner of the dancing place, and the dervishes pass by him three times, each time exchanging greetings, until the circling movement starts. The rotation itself is on the left foot, the center of the rotation being the ball of the left foot and the whole surface of the foot staying in contact with the floor. The impetus for the rotation is provided by the right foot, in a full 360-degree step. If a dervish should become too enraptured, another Sufi, who is in charge of the orderly performance, will gently touch his frock in order to curb his movement, The dance of the dervishes is one of the most impressive features of the mystical life in Islam, and the music accompanying it is of exquisite beauty, beginning with the great hymn in honor of the Prophet (na't-i sharif, written by Jalaluddin himself) and ending with short, enthusiastic songs, some things sung in Turkish.[5]
Turkish whirling dervishes of Mevlevi Order, bowing in unison during the Sema ceremony
The Western world, having witnessed Sufi whirling through tourism, have described the various forms of dhikr as "barking, howling, dancing, etc."[3] The practice of each tariqa is unique to its individual order, specific traditions and customs may differ across countries. The same tariqa in one country will not mirror that of another country as each order's ritual stresses "emotional religious life" in various forms.[3] The Mevleviyah order, like many others, practice the dhikr by performing a whirling meditation. Accompanying the dhikr practices of whirling and prayer, the custom of sama serves to further one's "nourishment of the soul" through devotional "hearing" of the "'subtle' sounds of the hidden world or of the cosmos."[6] In contrast to the use of sama, whirling and devotional prayer in the practice of dhikr, the tariqa orders perform Sufi whirling in addition to playing musical instruments, consuming glowing embers, live scorpions and glass, puncturing body parts with needles and spikes, or practicing clairvoyance and levitation.[3] The dervish practice can be performed by community residents or lay members, members have typically been those of lower classes.[2] Within Islamic faith, unlike Middle Eastern law, women have equal status to men, allowing women to participate in dhikr as dervishes themselves.[3] Women were received into a tariqa order by a male sheikh, but traditionally were instructed to practice the dhikr alone or with an established branch of females within a specific order.[3] Sufi whirling, a worship of dhikr, became a gender and class neutral practice throughout the Central Islamic region.
The custom of sama among Sufi orders has a history of controversy within the Islamic faith. In one argument, the use of the term sama is considered to suggest physically "listening" in a spiritual context.[6] A differing opinion argues that sama is in fact "hearing", as "to hear" can pertain to any sound in addition to any "subtle" sounds of the spiritual realm.[6] Those in support of sama further claim that the term is actually synonymous with "understanding" and therefore recognition and application of the Revelation as well as the act of "attaining higher knowledge."[6] The spread of sama among Sufi orders began some time around the mid 3rd/9th century C.E. in Baghdad, eventually finding acceptance and favor in Persian, Turkish and Indian Islam.[6] The custom of sama evolved in practice over time as it complimented Sufi dhkir, whirling and among some orders dancing and a meal.[6] Rules of propriety and conditions were adopted upon the widespread concern surrounding the necessity of sama with the dhikr; in order to distinguish between entertainment and valuable spiritual practice, the sama was distinguished as heard from the ego, heart or spirit.[6] Despite the application of rules, some sheikhs continued to limit or disapprove the practice of sama. While controversy continuously questioned the place of sama in Sufi orders, the music itself was not affected.[6] More recently, the custom of sama is most commonly performed within a dhikr ceremony. Those in support of sama continue to argue that "according to that which it is not sama and dance which induce ecstasy, but ecstasy which arouses dance, or furthermore, that sama is only a revealing instrument and that it only supplies that which is brought to it by the hearer."[6]
In 2005, UNESCO proclaimed the "Mevlevi Sema Ceremony" of Turkey as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.[7]
Today[edit]
Dervish communities, in the Middle Ages, served a central role in social, religious and political life throughout "central Islamic lands."[2] Dervish orders were at one time much larger in size than they are today, as the government has taken control over most Dervish monasteries throughout this area.[3] In 1925, Turkey ordered the dissolution of all Sufi fraternities by decree, the Mevlevi managed to survive among small villages throughout the Middle East.[8] In 1954, the Turkish government granted the Mevlevi order a special permission to perform ritual whirling practices for tourists during two weeks each year.[8] Outside of tourist entertainment, Orthodox theologians have now vocally discounted the Dervish practice resulting in faqirs, or wandering, mendicant dervishes throughout central Islamic regions.[2] Despite strict government control over Dervish practices, the Mevleviyah order continued its existence in Turkey to this day.[8]
While only men have historically been permitted to take part in the ceremony, some communities now allow women to participate.[9]
Sema ceremony at Sirkeci Railway Station, Istanbul
Regional and secular forms[edit]
Egyptian tanoura[edit]
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Egyptian tanoura dancers
In Egypt, the practice of whirling has been adapted as tanoura (Arabic: التنورة el-tanoura). The word tanoura or tannoura refers to the colorful skirt worn by the whirler, with a color representing each Sufi order.[10] The word may also refer to the dancer, traditionally a Sufi man.[10] Tanoura is associated with Sufism and is performed at Sufi festivals, but it is also performed by non-Sufis as a folk dance or concert dance.
Although it is mainly used for visual effects, the dancers also augment their balance with the tanoura, through a dynamic centrifugal effect.[citation needed]
Pakistan[edit]
In Sufi shrines in Pakistan, such as the Lal shrine in Sehwan, Sindh,[11][12] the practice of Sufi whirling is called Dhamaal and is performed to honor Sufi saints, or qalandars.[13] Unlike the Turkish practice, Dhamaal may be practiced by any devotee – priests as well as pilgrims. Dhamaal is usually preceded by the beating of a drum (naghara) and ringing of bells, as pilgrims raise their hands, start to skip steps standing at one place and gradually work into a trance as the beats get faster. As the beats get faster, rhythms change and the drum beats are accompanies by the playing of shehnai.
Practitioners associate the dance with Lal Shahbaz Qalandar and with protests following the Battle of Karbala. They regard the rhythm of the drum to evoke the rhythm of the creation of the universe, as illustrated in the concept of Kun Fyakun.[13]
In the West[edit]
Whirling dancer, performing in a modern costume
The tanoura tradition has attracted some interest from Westerners in the belly dancing community. These performers include both men and women, solo and in groups. Such performances may be augmented with pyrotechnics or props, such as veils, wings and ribbons.[14][non-primary source needed] The techniques used in Egyptian Tanoura can also be adopted by belly dancers to help with their balance and control dizziness.[citation needed]
Sufi whirling has also been promoted by actor and memoirist Annabelle Gurwitch as a form of stress relief.[15]
Physiology[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2016) (Learn how and when to remove this template message)
A defining feature of whirling is continuous rotation (clockwise or counterclockwise) around a central radical axis while avoiding vertigo. In untrained dancers, this sustained rotation causes dizziness or motion-induced vertigo. Training for whirling targets the inner ear[clarify], which is responsible for balance functions in humans. To counteract this effect, whirling dance performers practice various balancing and psychological techniques [example needed].
Records[edit]
Guinness World Records for "most Sufi whirls in one hour" were awarded in London in 2012, to Shafik Ibrahim Abd El Hamed in the male category with 2,905 rotations, and Tara Lee Oakley in the female category with 2,191.[16] These records were surpassed in Zurich in 2015 by Nicole McLaren, with 3,552 rotations.[17]
The longest continuous whirling performance has been recorded at more than four hours.[citation needed] The most people simultaneously whirling is 755, set in Taiwan in 2011.[18]
See also[edit]
Dhikr
Nasheed
Religious experience
Qawwali
Islamic culture
References[edit]
Jump up ^ "The Sema of the Mevlevi". Mevlevi Order of America. Archived from the original on 21 December 2012. Retrieved 26 March 2009.
^ Jump up to: a b c d e f g "Dervish." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 21 Sept. 2009 Dervish
^ Jump up to: a b c d e f g h i j MacDonald, D.B. "Darwish (Darwesh)." Encyclopedia of Islam, Second Edition. Edited by: P.B. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel and W.P. Heinrichs. Brill, 2009. Brill Online. Augustana. 21 September 2009. Darwish (Darwesh)
Jump up ^ The Whirling Dervishes of Rumi
^ Jump up to: a b c Schimmel, Annemarie. Mystical Dimensions of Islam. Chapel Hill: University of North Carolina press, 1975. Print. Page 325.
^ Jump up to: a b c d e f g h i During, J.; Sellheim, R. "Sama". Encyclopedia of Islam, Second Edition. Edited by: P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel and W.P. Heinrichs. Brill, 2009. BRill Online. Augustana. 21 Sept. 2009 Sama
Jump up ^ The Mevlevi Sema Ceremony UNESCO.
^ Jump up to: a b c "Mawlawiyah." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 21 Sept. 2009. Mawlawiyah
Jump up ^ Jamjoom, Mohammed (16 December 2010). "Change is afoot for 800-year-old whirling dance". CNN. Turner Broadcasting System.
^ Jump up to: a b Egyptian Folk Dance Tanoura at entertainment.feedfury.com
Jump up ^ Sherwan, Atique (February 17, 2017). "Deadliest Sehwan attack fails to bar devotees from holding Dhamaal at shrine". Outlook Pakistan.
Jump up ^ Akhtar, Suleman (22 February 2017). "Damadam mast Qalandar is a cry of rebellion against established orders". Dawn. Retrieved 22 February 2017.
^ Jump up to: a b Shaheer Ellahi Khan (2015). "Sufi Dance in Pakistan: Anthropological Insights on the Concept and Origin of Dhamal" (PDF). Science International. 27 (2): 1641–1643.
Jump up ^ McLaren, Nicole (11 January 2013). "Whirling: Meditation in Motion or Spectacular Show?". Gilded Serpent.
Jump up ^ How to Tell if You're a Member of the 4 A.M. Club. Doctor Oz. Event occurs at 3:12. Retrieved 2016-03-18. Meditation has been shown to be relaxing for the brain, and I like a moving meditation, so I thought of Dervish whirling. Dervish whirling is an ancient technique. It's from the 13th century in Turkey.
Jump up ^ World Record for Sufi Whirling. Afaq (in Arabic). BBC Arabic Television. 2012.
Jump up ^ Lukhi, Angela (23 March 2015). "Dancer Nicole McLaren puts her fans in a record-breaking spin in Switzerland". Newsivity. Guavo Media.
Jump up ^ "Most people sufi whirling". Guinness World Records. Retrieved 2016-03-21.
External links[edit]
Wikimedia Commons has media related to Tanoura (dance).
Whirling Dervishes in Istanbul (video on YouTube)
Egyptian Castle: Tanoura dance
Egyptian El Tanoura Dancer - Dreams Beach Resort, Sharm on youtube.com
Gamard, Ibrahim (October 2012). "In Defense of the Whirling Prayer Ceremony (Sema)". Dar-Al-Masnavi.
"13 Things The Whirling Dervishes Can Teach You About Spinning Until You're Dizzy Enough To Puke". Very Ethnic. 29 June 2012.
Whirling dance performance on YouTube
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Value theory
From Wikipedia, the free encyclopedia
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It has been suggested that Axiology be merged into this article. (Discuss) Proposed since December 2016.
Value theory is a range of approaches to understanding how, why, and to what degree persons value things; whether the object or subject of valuing is a person, idea, object, or anything else.
This investigation began in ancient philosophy, where it is called axiology or ethics. Early philosophical investigations sought to understand good and evil and the concept of "the good". Today, much of value theory aspires to the scientifically empirical, recording what people do value and attempting to understand why they value it in the context of psychology, sociology, and economics.[1]
At the general level, there is a difference between moral and natural goods. Moral goods are those that have to do with the conduct of persons, usually leading to praise or blame. Natural goods, on the other hand, have to do with objects, not persons. For example, the statement "Mary is a good person" represents a very different sense of the word 'good' than the statement "That was some good food".
Ethics is mainly focused on moral goods rather than natural goods, while economics has a concern in what is economically good for the society but not an individual person and is also interested in natural goods. However, both moral and natural goods are equally relevant to goodness and value theory, which is more general in scope.
Contents
[hide]
1 Sociology
2 Economics
3 Ethics and axiology
3.1 Intrinsic and instrumental value
3.2 Pragmatism and contributory goodness
3.3 Kant: hypothetical and categorical goods
4 See also
5 References
Sociology[edit]
Main article: Value (personal and cultural)
In sociology, value theory is concerned with personal values which are popularly held by a community, and how those values might change under particular conditions. Different groups of people may hold or prioritize different kinds of values influencing social behavior.
Major Western theorists who stress the importance of values as an analytical independent variable include Max Weber, Émile Durkheim, Talcott Parsons, and Jürgen Habermas. Classical examples of sociological traditions which deny or downplay the question of values are institutionalism, historical materialism (including Marxism), behaviorism, pragmatic-oriented theories, postmodern philosophy and various objectivist-oriented theories.
Methods of study range from questionnaire surveys to participant observation.
Economics[edit]
Main article: Theory of value (economics)
Economic analysis emphasizes goods sought in a market and tends to use the consumer's choices as evidence (revealed preference) that various products are of economic value. In this view, religious or political struggle over what "goods" are available in the marketplace is inevitable, and consensus on some core questions about body and society and ecosystems affected by the transaction, are outside the market's goods so long as they are unowned.[2]
However, some natural goods seem to also be moral goods. For example, those things that are owned by a person may be said to be natural goods, but over which a particular individual(s) may have moral claims. So it is necessary to make another distinction: between moral and non-moral goods. A non-moral good is something that is desirable for someone or other; despite the name to the contrary, it may include moral goods. A moral good is anything which an actor is considered to be morally obligated to strive toward.
When discussing non-moral goods, one may make a useful distinction between inherently serviced and material goods in the marketplace (or its exchange value), versus perceived intrinsic and experiential goods to the buyer. A strict service economy model takes pains to distinguish between the goods and service guarantees to the market, and that of the service and experience to the consumer.
Sometimes, moral and natural goods can conflict. The value of natural "goods" is challenged by such issues as addiction. The issue of addiction also brings up the distinction between economic and moral goods, where an economic good is whatever stimulates economic growth. For instance, some claim that cigarettes are a "good" in the economic sense, as their production can employ tobacco growers and doctors who treat lung cancer. Many people[who?] would agree that cigarette smoking is not morally "good", nor naturally "good," but still recognize that it is economically good, which means, it has exchange value, even though it may have a negative public good or even be bad for a person's body (not the same as "bad for the person" necessarily – consider the issue of suicide.)
In Ecological Economics value theory is separated into two types: Donor-type value and receiver-type value. Ecological economists tend to believe that 'real wealth' needs a donor-determined value as a measure of what things were needed to make an item or generate a service. (H.T. Odum 1996). An example of receiver-type value is 'market value', or 'willingness to pay', the principal method of accounting used in neo-classical economics. In contrast both, Marx's Labour Theory of Value and the 'Emergy' concept are conceived as donor-type value. Emergy theorists believe that this conception of value has relevance to all of philosophy, economics, sociology and psychology as well as Environmental Science.
Ethics and axiology[edit]
Main article: Value (ethics)
Intuitively, theories of value must be important to ethics. A number of useful distinctions have been made by philosophers in the treatment of value.
Intrinsic and instrumental value[edit]
Main article: Instrumental and intrinsic value
Many people find it useful to distinguish instrumental value and intrinsic values, first discussed by Plato in the "Republic". An instrumental value is worth having as a means towards getting something else that is good (e.g., a radio is instrumentally good in order to hear music). An intrinsically valuable thing is worth having for itself, not as a means to something else. It is giving value intrinsic and extrinsic properties.
Intrinsic and instrumental goods are not mutually exclusive categories. Some things are both good in themselves, and also good for getting other things that are good. "Understanding science" may be such a good, being both worthwhile in and of itself, and as a means of achieving other goods.
A prominent argument in environmental ethics, made by writers like Aldo Leopold and Holmes Rolston III, is that wild nature and healthy ecosystems have intrinsic value, prior to and apart from their instrumental value as resources for humans, and should therefore be preserved. This line of argument has been articulated further in recent years by Canadian philosopher John McMurtry within the Encyclopedia of Life Support Systems (http://www.eolss.net) published by UNESCO.
Pragmatism and contributory goodness[edit]
Further information: Pragmatic ethics
John Dewey (1859-1952), in his book Theory of Valuation,[3] sees goodness as the outcome of ethic valuation, a continuous balancing of "ends in view". An end in view is said to be an objective potentially adopted, which may be refined or rejected based on its consistency with other objectives or as a means to objectives already held.
Dewey's empiricist approach evinces absolute intrinsic value denial; i.e. not accepting intrinsic value as an inherent or enduring property of things. Instead, Dewey sees the appearance of intrinsic value as an illusory product of our continuous valuative activity as purposive beings. In addition to denying categorically that there is anything like intrinsic value, Dewey held the same position with regard to moral values - for Dewey, moral values are also based on a learning process, and are never intrinsic or absolute.
Another contribution of pragmatism to value theory is the idea of contributory goods with a contributory conditionality. These have the same qualities as the good thing, but need some emergent property of a whole state-of-affairs in order to be good. For example, salt is food on its own, but is far better as part of a prepared meal. In other words, such goods are only "good" when certain conditions are met. This is in contrast to other goods, which may be considered "good" in a wider variety of situations.
Kant: hypothetical and categorical goods[edit]
For more information, see the main article, Immanuel Kant.
The thinking of Immanuel Kant (1724-1804) greatly influenced moral philosophy. He thought of moral value as a unique and universally identifiable property, as an absolute value rather than a relative value. He showed that many practical goods are good only in states-of-affairs described by a sentence containing an "if" clause, e.g., in the sentence, "Sunshine is only good if you do not live in the desert." Further, the "if" clause often described the category in which the judgment was made (art, science, etc.). Kant described these as "hypothetical goods", and tried to find a "categorical" good that would operate across all categories of judgment without depending on an "if-then" clause.
An influential result of Kant's search was the idea of a good will being the only intrinsic good. Moreover, Kant saw a good will as acting in accordance with a moral command, the "Categorical Imperative": "Act according to those maxims that you could will to be universal law.[4]" but should not be confused with the Ethic of Reciprocity or Golden Rule, e.g. Mt. 7:12. Whereas the golden rule states that "One should treat others as one would like others to treat oneself," Kant asks us to analyze whether an act can be performed simultaneously by everyone without exception. For example, murder cannot be performed simultaneously by everyone, one set of people would have to live and the other die. That disparity is an exception. The act cannot be performed without exception, therefore it fails the categorical imperative. Contrast this with the golden rule which is subjective to the individual. Following the logic of the golden rule, if I wanted someone to kill me, then it would be acceptable for me to kill others, because I would be doing to others what I would want done to me. This is very important to keep in mind, because Kant's categorical imperative avoids this flaw. From this, and a few other axioms, Kant developed a moral system that would apply to any "praiseworthy person". (See Groundwork of the Metaphysic of Morals, third section, 446-[447].)
Kantian philosophers believe that any general definition of goodness must define goods that are categorical in the sense that Kant intended.
See also[edit]
Aesthetics
Anthropological theories of value
Cultural Institutions Studies
Graded absolutism
Intuitionism
Labor theory of value
Law of value
Logic
Morality
Friedrich Nietzsche
Normative science
Practical philosophy
Pirsig's metaphysics of Quality
Rationality
Rationality and power
Summum bonum
Ultimate importance
Value-added theory
References[edit]
Jump up ^ Freedom as a Value: A Critique of the Ethical Theory of Jean-Paul Sartre. Open Court Publishing. 1988. ISBN 978-0812690835.
Jump up ^ Debreu, G (1972). Theory of Value: An Axiomatic Analysis of Economic Equilibrium. Cowles Foundation - Yale University. ISBN 978-0300015591.
Jump up ^ Dewey, J (1939). Theory of Valuation. University of Chicago USA. ISBN 978-0226575940.
Jump up ^ Immanuel Kant & Gary Banham (Authors) plus other contributors (1787–2007). The Critique of Pure Reason. Macmillan. ISBN 978-0230013384.
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Editorial
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Editorial from a 1921 issue of Photoplay recommending that readers not see a film, which featured nude scenes
An editorial, leading article (US) or leader (UK), is an article written by the senior editorial staff or publisher of a newspaper, magazine, or any other written document, often unsigned. Australian and major United States newspapers, such as The New York Times[1] and The Boston Globe,[2] often classify editorials under the heading "opinion".
Illustrated editorials may appear in the form of editorial cartoons.[3]
Typically, a newspaper's editorial board evaluates which issues are important for their readership to know the newspaper's opinion on.[4]
Editorials are typically published on a dedicated page, called the editorial page, which often features letters to the editor from members of the public; the page opposite this page is called the op-ed page and frequently contains opinion pieces by writers not directly affiliated with the publication. However, a newspaper may choose to publish an editorial on the front page. In the English-language press this occurs rarely and only on topics considered especially important; it is more common, however, in some European countries such as Spain, Italy, and France.[5]
In the field of fashion publishing, the term has been adapted[by whom?] to refer to photo-editorials – features with often full-page photographs on a particular theme, designer, model or other single topic, with or (as in a photo-essay) without accompanying text.[6]
See also[edit]
Column (periodical)
References[edit]
Jump up ^ Staff (23 May 2012). "Opinion". The New York Times. Retrieved 23 May 2012.
Jump up ^ Staff (23 May 2012). "Opinion". The Boston Globe. Retrieved 23 May 2012.
Jump up ^ Staff (2012). "AAEC The Association of American Editorial Cartoonists". The Association of American Editorial Cartoonists. Retrieved 23 May 2012.
Jump up ^ Passante, Christopher K. (2007). The Complete Idiot's Guide to Journalism – Editorials. Penguin. p. 28. ISBN 1-59257-670-2. Retrieved 2010-02-21.
Jump up ^ Christie Silk (June 15, 2009). "Front Page Editorials: a Stylist Change for the Future?". Editors' Weblog. World Editors' Forum. Retrieved July 1, 2011.
Jump up ^ "Various editorials". models.com. Retrieved 2012-04-03.
External links[edit]
Look up editorial in Wiktionary, the free dictionary.
Editorial Writing Examples
Authority control
NDL: 00571964

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The Wind That Shakes the Barley (film)
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The Wind That Shakes the Barley
Theatrical release poster
Directed by
Ken Loach
Produced by
Rebecca O'Brien
Written by
Paul Laverty
Starring
Cillian Murphy
Liam Cunningham
Padraic Delaney
Orla Fitzgerald
Music by
George Fenton
Cinematography
Barry Ackroyd
Edited by
Jonathan Morris
Production
company
Sixteen Films
Matador Pictures
Distributed by
Pathé Distribution (UK)
IFC First Take (US)
Release date
18 May 2006 (2006-05-18) (Cannes)
23 June 2006 (2006-06-23) (UK & IRL)
Running time
126 minutes[1]
Country
United Kingdom
Ireland
Italy[2]
Germany[2]
Spain[2]
Language
English
Irish
Latin
Budget
€6.5 million[2][3]
($8.3 million)
Box office
$25.7 million[3]
The Wind That Shakes the Barley is a 2006 war drama film directed by Ken Loach, set during the Irish War of Independence (1919–1921) and the Irish Civil War (1922–1923). Written by long-time Loach collaborator Paul Laverty, this drama tells the fictional story of two County Cork brothers, Damien O'Donovan (Cillian Murphy) and Teddy O'Donovan (Pádraic Delaney), who join the Irish Republican Army to fight for Irish independence from the United Kingdom. The film takes its title from Robert Dwyer Joyce's "The Wind That Shakes the Barley", a song set during the 1798 rebellion in Ireland and featured early in the film. The film is heavily influenced by Walter Macken's 1964 novel The Scorching Wind.
Widely praised, the film won the Palme d'Or at the 2006 Cannes Film Festival.[4] Loach's biggest box office success to date,[5] the film did well around the world and set a record in Ireland as the highest-grossing Irish-made independent film, until surpassed by The Guard.[6]
Contents
[hide]
1 Plot
2 Main cast
3 Production
4 Distribution
5 Themes
6 Reception
7 Awards and nominations
8 References
9 External links
Plot[edit]
County Cork, Ireland, 1920. Dr. Damien O'Donovan is about to leave his native village to practise medicine in a London hospital. Meanwhile, his brother Teddy commands the local flying column of the Irish Republican Army. After a hurling match, Damien witnesses the summary execution of his friend, Micheál Ó Súilleabháin, by British Black and Tans. Although shaken, Damien rebuffs his friends' entreaties to stay in Ireland and join the IRA, saying that the war is unwinnable. As he is leaving town, Damien witnesses the British Army vainly trying to intimidate a railway personnel for refusing to permit the troops to board. In response, Damien decides to stay and is sworn into Teddy's IRA brigade.
After drilling in the mountains, the column raids the village's Royal Irish Constabulary barracks to acquire revolvers, then uses them to assassinate four Auxiliaries. In the aftermath, Anglo-Irish landowner Sir John Hamilton coerces one of his servants, IRA member Chris Reilly, into passing information to the British Army's Intelligence Corps. As a result, the entire brigade is arrested. In their cell, Damien meets the train driver, Dan, a union official who shares Damien's socialist views.
Meanwhile, British officers interrogate Teddy, pulling out his fingernails when he refuses to give them the names of IRA members. Johnny Gogan, a British soldier of Irish descent, helps the prisoners escape, but three are left behind. After the actions of Sir John and Chris are revealed to the IRA's intelligence network, both are taken hostage. As Teddy is still recovering, Damien is temporarily placed in command. News arrives that the three remaining IRA prisoners have been tortured and shot. Simultaneously, the brigade receives orders to "execute the spies".
Despite the fact that Chris is a lifelong friend, Damien shoots both him and Sir John. Later, the IRA ambushes and wipes out a convoy of the Auxiliary Division, and in retaliation another detachment of Auxiliaries loots and burns the farmhouse of Damien's sweetheart, Cumann na mBan member Sinéad Sullivan. Sinéad is held at gunpoint while her head is roughly shorn, her scalp being wounded in the process. Later, as Damien treats her, a messenger arrives with news of a formal ceasefire between Britain and the IRA.
After the Anglo-Irish Treaty is signed, the brigade learns that a partitioned Ireland will only be granted Dominion status within the British Empire. As a result, the brigade divides over accepting the terms of the Treaty. Teddy and his allies argue that accepting the Treaty will bring peace now while further gains can be made later. Others oppose the Treaty, proposing to continue fighting until a united Irish Republic can be obtained. Dan and Damien further demand the collectivisation of industry and agriculture. Any other course, declares Dan, will change only "the accents of the powerful and the colour of the flag".
Soon the Irish Free State replaces British rule, and Teddy and his allies begin patrolling in National Army uniforms. Meanwhile, Damien and his allies join the Anti-Treaty IRA. When the Battle of Dublin launches the Irish Civil War, the Anti-Treaty column commences guerrilla warfare against Free State forces. As the violence escalates, Teddy expresses fear that the British will invade if the republicans gain the upper hand. His position is: "They take one out, we take one back. To hell with the courts."
Soon after, Dan is killed and Damien is captured during a raid for arms on an Irish Army barracks commanded by Teddy. Sentenced to execution , Damien is held in the same cell where the British Army imprisoned them earlier. Desperate to avoid executing his brother, Teddy pleads with Damien to reveal where the Anti-Treaty IRA is hiding the stolen rifles. In return, Teddy offers Damien full amnesty, a life with Sinéad, and the vision of an Ireland where Pro- and Anti-Treaty Irishmen can raise families side by side. Insulted, Damien responds by saying that he will never "sell out" the Republic the way Chris Reilly did and Teddy leaves the cell in tears. Damien writes a goodbye letter to Sinéad, expressing his love for her,and quote his brother's words "It's easy to know what you're against, quite another to know what you're for".But he says that he knows what he stands for and is not afraid to die for it and tells Sinéad to look after Teddy. At dawn, Damien dies before a firing squad commanded by a heartbroken yet obstinate Teddy. Teddy delivers Damien's letter to Sinéad who is distraught and heartbroken. She attacks Teddy and orders him to leave her land.
Main cast[edit]
Cillian Murphy – Damien O'Donovan
Pádraic Delaney – Teddy O'Donovan
Liam Cunningham – Dan
Orla Fitzgerald – Sinéad Ní Shúilleabháin
Laurence Barry – Micheál Ó Súilleabháin
Mary Murphy – Bernadette
Mary O'Riordan – Peggy
Myles Horgan – Rory
Martin Lucey – Congo
Roger Allam – Sir John Hamilton
John Crean – Chris Reilly
Damien Kearney – Finbar
Frank Bourke – Leo
Shane Casey – Kevin
Máirtín de Cógáin – Sean
William Ruane – Johnny Gogan
Fiona Lawton – Lily
Sean McGinley – Father Denis
Kevin O'Brien – Tim
Production[edit]
The film stars mostly Irish actors and was made by British director Ken Loach. It is an international co-production between companies in Ireland, United Kingdom, Germany, Italy, Spain, France, Belgium, and Switzerland.
The title derives from the song of the same name, The Wind That Shakes the Barley, by 19th-century author Robert Dwyer Joyce. The song made the phrase "the wind that shakes the barley" a motif in Irish republican song and poetry. Loach took some of the inspiration for Damian's character from the memoirs of republican leader Ernie O'Malley.[7] University College Cork historian Donal O Drisceoil was Loach's historical adviser on the film.
The film was shot in various towns within County Cork during 2005, including Ballyvourney and Timoleague.[8] Some filming took place in Bandon, County Cork: a scene was shot along North Main Street and outside a building next to the Court House.[8] The ambush scene was shot on the mountains around Ballyvourney while the farmhouse scenes were filmed in Coolea. Damien's execution scene was shot at Kilmainham Gaol in Dublin, where many leaders of Irish rebellions were imprisoned and some executed by the British and latterly in 1923 by the Irish Free State.[9]
Many of the extras in the film were drawn from local Scout groups,[10] including Bandon, Togher and Macroom with veteran Scouter Martin Thompson in an important role.[citation needed] Many of the British soldiers seen in the film were played by members of the Irish Army Reserve, from local units.
Among the songs on the film's soundtrack is Óró sé do bheatha abhaile, a 17th-century Irish Jacobite song whose lyrics the nationalist leader Pádraig Pearse changed to focus upon republican themes.[citation needed]
Distribution[edit]
The commercial interest expressed in the UK was initially much lower than in other European countries and only 30 prints of the film were planned for distribution in Great Britain, compared with 300 in France. However, after the Palme d'Or award the film appeared on 105 screens across Britain and Northern Ireland. The Respect Party, of which Ken Loach is on the national council, called for people to watch the film on its first weekend in order to persuade the film industry to show the film in more cinemas.[11]
Themes[edit]
According to director Ken Loach, the film attempts to explore the extent that the Irish revolution was a social revolution as opposed to a nationalist revolution. Loach commented on this theme in an interview with Toronto’s Eye Weekly (15 March 2007):[12]
Every time a colony wants independence, the questions on the agenda are: a) how do you get the imperialists out, and b) what kind of society do you build? There are usually the bourgeois nationalists who say, 'Let's just change the flag and keep everything as it was.' Then there are the revolutionaries who say, 'Let's change the property laws.' It's always a critical moment.
According to Rebecca O'Brien, producer of the film and a longtime Loach collaborator:[13]
It's about the civil war in microcosm... It's not a story like Michael Collins. It's not seeking that sort of biographical accuracy, but rather will express the themes of the period. This is the core of the later Troubles, which is why it's so fascinating to make.
Reception[edit]
The movie became the most popular independent Irish film ever released in Ireland, earning €377,000 in its opening weekend and €2.7 million by August 2006.[14]
The film got a positive reaction from film critics. As of 19 August 2017, the review aggregator Rotten Tomatoes reported that 88% of critics gave the film positive reviews, based on 113 reviews.[15] Metacritic reported the film had an average score of 82 out of 100, based on 30 reviews.[16]
The Daily Telegraph's film critic described it as a "brave, gripping drama" and said that director Loach was "part of a noble and very English tradition of dissent".[17] A Times film critic said that the film showed Loach "at his creative and inflammatory best",[18] and rated it as 4 out of 5. The Daily Record of Scotland gave it a positive review (4 out of 5), describing it as "a dramatic, thought-provoking, gripping tale that, at the very least, encourages audiences to question what has been passed down in dusty history books."[19]
Michael Sragow of The Baltimore Sun named it the 5th best film of 2007,[20] and Stephen Hunter of The Washington Post named it the 7th best film of 2007.[20]
Jim Emerson, Roger Ebert's editor, gave the film a 4 star review, calling it "breathtakingly authentic", and declared it ranked "among the best war films ever made."[21]
The film was attacked by some politically conservative commentators including Simon Heffer[22], who admitted that he hadn't seen it ("And no, I haven't seen it, any more than I need to read Mein Kampf to know what a louse Hitler was."[22]), and by Michael Gove MP[23], who was not in Cannes. Following the Cannes prize announcement, Irish journalist Ruth Dudley Edwards wrote in the Daily Mail on 30 May 2006 that Loach's political viewpoint "requires the portrayal of the British as sadists and the Irish as romantic, idealistic resistance fighters who take to violence only because there is no other self-respecting course,"[24] and attacked his career in an article that Loach criticised as inaccurate.[25] The following week, Edwards continued her attack in The Guardian, admitting that her first article was written without seeing the film (which at that stage had only been shown at Cannes), and asserting that she would never see it "because I can't stand its sheer predictability."[26] One day after Edwards' initial article appeared, Tim Luckhurst of The Times called the film a "poisonously anti-British corruption of the history of the war of Irish independence" and compared Loach to Nazi propagandist director Leni Riefenstahl.[27] Yet George Monbiot revealed on 6 June, also in The Guardian, that the production company had no record of Luckhurst having attended a critics' screening of the as-yet unreleased film.[28] In a generally positive review, the Irish historian Brian Hanley suggested that the film might have dealt with the IRA's relationship with the Protestant community, as one scene in its screenplay did.[29]
The film also revived debate on rival interpretations of Irish history.[30][31][32]
Awards and nominations[edit]
Awards
Award
Category
Name
Outcome
British Independent Film Awards Best Actor Cillian Murphy Nominated
Best British Independent Film Nominated
Best Director Ken Loach Nominated
Best Technical Achievement Barry Ackroyd Nominated
Cannes Film Festival Palme d'Or Ken Loach Won
European Film Awards Best Cinematographer Barry Ackroyd Won
Best Actor Cillian Murphy Nominated
Best Director Ken Loach Nominated
Best Film Nominated
Best Screenwriter Paul Laverty Nominated
Goya Awards Best European Film Ken Loach Nominated
Irish Film and Television Awards Best Irish Film (Audience Award) Won
Best Actor in a Supporting Role in a Feature Film Liam Cunningham Won
Best Film Ken Loach Won
Best Actor in a Lead Role in a Feature Film Cillian Murphy Nominated
Best Actor in a Supporting Role in a Feature Film Padraic Delaney Nominated
Best Actress in a Supporting Role in a Feature Film Orla Fitzgerald Nominated
Breakthrough Talent (actor) Padraic Delaney Nominated
Breakthrough Talent (actress) Orla Fitzgerald Nominated
London Critics Circle Film Awards British Director of the Year Ken Loach Nominated
British Film of the Year Nominated
British Producer of the Year Rebecca O'Brien Nominated
Polish Film Awards Best European Film Ken Loach Nominated
Satellite Awards Best Original Screenplay Paul Laverty Nominated
References[edit]
Jump up ^ "THE WIND THAT SHAKES THE BARLEY". bbfc.co.uk.
^ Jump up to: a b c d "Film - The Wind That Shakes The Barley (2006)". Element Pictures. Archived from the original on 11 July 2013.
^ Jump up to: a b "The Wind That Shakes the Barley (2007) - Financial Information". The Numbers. Retrieved 25 March 2018.
Jump up ^ "Festival de Cannes: The Wind That Shakes the Barley". festival-cannes.com. Retrieved 13 December 2009.
Jump up ^ News from the UK Film Council UKFilmCouncil.org.uk, 23 April 2007 Archived 30 April 2007 at the Wayback Machine.
Jump up ^ "Loach Film Sets New Money Mark" RTÉ.ie, 8 August 2006
Jump up ^ Smith, Damon (18 March 2007). "The agitator". The Boston Globe.
^ Jump up to: a b "Filming Locations". IMDb. Retrieved 23 November 2008.
Jump up ^ "Kilmainham Gaol". goireland.com. Archived from the original on 21 September 2008. Retrieved 23 November 2008.
Jump up ^ "Archived copy". Archived from the original on 6 February 2007. Retrieved 2006-09-11.
Jump up ^ "The Wind that Shakes the Barley" Archived 27 September 2007 at the Wayback Machine. RespectCoalition.org, 10 June 2006
Jump up ^ "Archived copy". Archived from the original on 15 November 2008. Retrieved 2009-02-19.
Jump up ^ "'The Wind That Shakes The Barley' set visit". TimeOut. 18 July 2005. Archived from the original on 28 March 2008.
Jump up ^ Loach film breaks Irish box-office records Kerr, Aine. The Irish Times (1921–Current File) [Dublin, Ireland] 8 August 2006: 3.
Jump up ^ "The Wind That Shakes the Barley – Rotten Tomatoes". Rotten Tomatoes. Retrieved 19 August 2017.
Jump up ^ "Wind That Shakes the Barley, The (2007): Reviews". Metacritic. Retrieved 5 January 2008.
Jump up ^ "Powerful – but never preachy" The Daily Telegraph, 23 June 2006
Jump up ^ "The Wind that Shakes the Barley" The Times, 22 June 2006
Jump up ^ "Troubles and Strife" The Daily Record, 23 June 2006
^ Jump up to: a b "Metacritic: 2007 Film Critic Top Ten Lists". Metacritic. Archived from the original on 2 January 2008. Retrieved 5 January 2008.
Jump up ^ Ebert, Roger (April 2007). "The Wind that Shakes the Barley". rogerebert.com. Retrieved 5 June 2011.
^ Jump up to: a b "Come out fighting" The Guardian, 16 June 2006
Jump up ^ "A truly radical film would dare to tell the truth" The Times, 31 May 2006
Jump up ^ "Why does Ken Loach loathe his country so much?" The Daily Mail, 30 May 2006
Jump up ^ "Ken Loach hits back at English tabloids" Indymedia Ireland, 1 June 2006
Jump up ^ "What about making Black and Tans: the movie?" The Guardian, 6 June 2006
Jump up ^ "Director in a class of his own" The Times, 31 May 2006
Jump up ^ "If we knew more about Ireland, we might never have invaded Iraq" The Guardian, 6 June 2006
Jump up ^ "Film Eye: The Wind that Shakes the Barley/ Reviews/Issue 5 (Sep/Oct 2006)/Volume 14". Historyireland.com. Archived from the original on 6 May 2012. Retrieved 19 February 2013.
Jump up ^ "Ireland's Freedom Struggle and the Foster School of Falsification" (also archived on 24 February 2007 at the Internet Wayback Machine with the original subtitle "The Wind That Shakes the Barley sends revisionists yapping at history's heels") Counterpunch.org, 11/12 November 2006
Jump up ^ "Sectarian Wind Up – a defence of The Wind that Shakes the Barley". Cork Examiner. 26 June 2006.
Jump up ^ "Film Review: The Wind That Shakes the Barley" indymedia Ireland, 2 July 2006
External links[edit]
The Wind That Shakes the Barley in the British Film Institute's "Explore film..." database
The Wind That Shakes the Barley on IMDb
The Wind That Shakes the Barley at AllMovie
The Wind That Shakes the Barley at Box Office Mojo
The Wind That Shakes the Barley at Rotten Tomatoes
The Wind That Shakes the Barley at Metacritic
Interview with Ken Loach from Socialist Worker, 10 June 2006
Introduction to The Wind That Shakes the Barley script by Luke Gibbons, and Gibbons' reply to Kevin Myers
[show]
v
t
e
Films directed by Ken Loach
Up the Junction (1965)
The End of Arthur's Marriage (1965)
Cathy Come Home (1966)
In Two Minds (1967)
Poor Cow (1967)
Kes (1969)
The Big Flame (1969)
The Rank and File (1971)
The Save the Children Fund Film (1971)
Family Life (1971)
Days of Hope (1975)
The Price of Coal (1977)
Black Jack (1979)
The Gamekeeper (1980)
A Question of Leadership (1981)
Looks and Smiles (1981)
Which Side Are You On? (1985)
Fatherland (1986)
Hidden Agenda (1990)
Riff-Raff (1991)
Raining Stones (1993)
Ladybird, Ladybird (1994)
Land and Freedom (1995)
A Contemporary Case for Common Ownership (1995)
Carla's Song (1996)
The Flickering Flame (1997)
McLibel (1997)
My Name Is Joe (1998)
Bread and Roses (2000)
The Navigators (2001)
Sweet Sixteen (2002)
Ae Fond Kiss... (2004)
Tickets (2005)
McLibel (2005)
The Wind That Shakes the Barley (2006)
It's a Free World... (2007)
Looking for Eric (2009)
Route Irish (2010)
The Angels' Share (2012)
The Spirit of '45 (2013)
Jimmy's Hall (2014)
I, Daniel Blake (2016)
[show]
v
t
e
Palme d'Or winning films
Union Pacific (1939)
Torment (Hets) (1946)
The Lost Weekend (1946)
The Red Meadows (1946)
Brief Encounter (1946)
María Candelaria (1946)
Neecha Nagar (1946)
The Turning Point (1946)
La Symphonie pastorale (1946)
The Last Chance (1946)
Men Without Wings (1946)
Rome, Open City (1946)
The Third Man (1949)
Miss Julie (1951)
Miracle in Milan (1951)
The Tragedy of Othello: The Moor of Venice (1951)
Two Cents Worth of Hope (1952)
The Wages of Fear (1953)
Gate of Hell (1954)
Marty (1955)
The Silent World (1956)
Friendly Persuasion (1957)
The Cranes Are Flying (1958)
Black Orpheus (1959)
La Dolce Vita (1960)
The Long Absence (1961)
Viridiana (1961)
O Pagador de Promessas (1962)
The Leopard (1963)
The Umbrellas of Cherbourg (1964)
The Knack ...and How to Get It (1965)
A Man and a Woman (1966)
The Birds, the Bees and the Italians (1966)
Blowup (1967)
if.... (1969)
MASH (1970)
The Go-Between (1971)
The Working Class Goes to Heaven (1972)
The Mattei Affair (1972)
The Hireling (1973)
Scarecrow (1973)
The Conversation (1974)
Chronicle of the Years of Fire (1975)
Taxi Driver (1976)
Padre Padrone (1977)
The Tree of Wooden Clogs (1978)
Apocalypse Now (1979)
The Tin Drum (1979)
All That Jazz (1980)
Kagemusha (1980)
Man of Iron (1981)
Missing (1982)
Yol (1982)
The Ballad of Narayama (1983)
Paris, Texas (1984)
When Father Was Away on Business (1985)
The Mission (1986)
Under the Sun of Satan (1987)
Pelle the Conqueror (1988)
Sex, Lies, and Videotape (1989)
Wild at Heart (1990)
Barton Fink (1991)
The Best Intentions (1992)
Farewell My Concubine (1993)
The Piano (1993)
Pulp Fiction (1994)
Underground (1995)
Secrets & Lies (1996)
Taste of Cherry (1997)
The Eel (1997)
Eternity and a Day (1998)
Rosetta (1999)
Dancer in the Dark (2000)
The Son's Room (2001)
The Pianist (2002)
Elephant (2003)
Fahrenheit 9/11 (2004)
The Child (2005)
The Wind That Shakes the Barley (2006)
4 Months, 3 Weeks and 2 Days (2007)
The Class (2008)
The White Ribbon (2009)
Uncle Boonmee Who Can Recall His Past Lives (2010)
The Tree of Life (2011)
Amour (2012)
Blue Is the Warmest Colour (2013)
Winter Sleep (2014)
Dheepan (2015)
I, Daniel Blake (2016)
The Square (2017)
Authority control
WorldCat Identities
VIAF: 204901506
LCCN: n2006076166
GND: 7611454-5
SUDOC: 11054210X
BNF: cb14660957f (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Wind_That_Shakes_the_Barley_(film)&oldid=833911091"
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values: 보리밭을 흔드는 바람 – Korean

values: The Wind That Shakes the Barley (film) – Indonesian

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values: ქარი, რომელიც ქერს არხევს – Georgian

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values: Vėjas, siūbuojantis miežius – Lithuanian

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values: 麦の穂をゆらす風 – Japanese

values: The Wind That Shakes the Barley – Portuguese

values: Ветер, который качает вереск – Russian

values: The Wind That Shakes the Barley (asaru) – Kabyle

values:
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values: สู้กู้แผ่นดิน (ภาพยนตร์) – Thai

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values: Вітер, що гойдає ячмінь – Ukrainian

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