Pause for a moment and watch this performance of music and dance inspired by the Indo-Iranic mystical tradition:
Watch the Music and Dance
It is a living expression of one of the oldest spiritual insights of this tradition: the unity of existence—that all being is one, endlessly manifesting in countless forms. The performance channels this vision through sound, rhythm, and movement. To prepare the ground for reflection, let us turn to the words of Rumi in the video whose poetry has carried this spirit across centuries.
Poetic English Translation of Rumi’s Persian Poem
I am drunk and you are mad —
Who will take us home, dear friend?
A hundred times I warned you:
Don’t drink two or three more cups again!
In this whole town, not a single soul
Do I see awake and sane —
Each one crazier than the next,
Lost in the same sweet pain.
Come, beloved, to the tavern,
There you’ll taste the soul’s delight.
What joy can the soul ever find
Without the beloved’s light?
In every corner, a drunken one
Hand in hand with another —
And the cupbearer of all existence
Stands pouring wine like no other.
You are a child of ruin and wine,
Wine your income, wine your cost.
Don’t entrust this sacred gift
To minds who think they’ve never lost.
O you, the lute-player gypsy —
Are you more drunk, or am I?
In the face of your ecstasy,
My magic becomes a lie.
I walked out of my house,
My drunkenness led me astray —
In every glance of his I saw
A hundred gardens, blooming in play.
Like a ship without an anchor,
I tossed and turned on the sea —
From longing for him, even wise men
Lost their minds, no longer free.
I said, “Be my friend, for I am your own.”
He said, “I don’t know friend from unknown.”
I asked, “Where are you from?” He smiled:
“Half from Turkestan, half from Ferghana.
Half of me is water and clay,
Half is soul and love’s Nirvana.
Half of me the ocean’s shore,
Half a pearl without flaw.”
I am bare, without hat or heart —
A tavern is my humble place.
A chest full of untold words —
Should I share them, or leave no trace?
The Mystical Logic of Drunkenness and Madness
The poem begins with paradox: “I am drunk and you are mad — who will take us home?” Here, intoxication and madness are not social vices but sacred states of consciousness. To be drunk in Rumi’s sense is to be filled with divine love to the point of dissolving the ego. To be mad is to be swept away by an attraction so powerful that rational thought collapses. Both signify the annihilation of the self in the face of the Beloved, or God.
The question “Who will take us home?” underlines that in such states, conventional paths and guides no longer suffice. Reason, tradition, and logic falter at the threshold of the infinite. Instead, music, dance, and poetry step in as the only possible navigators.
A City Where All Are Lost
The poet describes wandering through a town where no one is awake or sane. This vision suggests that once awakened to the truth of divine unity, one sees that everyone else is already intoxicated—by desire, by illusion, or by the yearning for completion. Madness is universal, though not everyone recognizes it.
This echoes the Indo-Iranic belief that existence itself is a form of intoxication: creation spills over like wine from an eternal source. Each soul, knowingly or not, is drunk on the sweetness of life, driven by a yearning for reunion with the One.
The Tavern as Sacred Ground
In Sufi poetry, the tavern (kharabat) is not a place of sin but of revelation. It is where the rigid rules of society and formal religion break down, replaced by direct, unmediated experience of divine presence. The tavern welcomes all—mad, drunk, saint, and sinner alike.
Music and dance, within this symbolic tavern, are not entertainment but sacraments. Each note, each movement is an act of remembrance (dhikr)—a way of turning the heart toward the Beloved. The performers in the video embody this symbolism: the human body itself becomes the tavern, and the music its overflowing wine.
The Cupbearer of Existence
One of the most striking images in the poem is the “cupbearer of all existence,” pouring wine without end. This cupbearer is God, or the spiritual guide who channels divine love. The wine is truth itself, irresistible and overwhelming. To drink it is to lose the illusion of separation and taste the sweetness of unity.
In the performance, the fluid motion of dancers, the circling rhythms, and the improvisational interplay of instruments all become metaphors for this endless pouring.
Dissolution of Borders
The beloved’s words—“Half from Turkestan, half from Ferghana. Half water and clay, half soul and love’s Nirvana”—signal the erasure of rigid identities. In the Indo-Iranic mystical vision, nationality, tribe, religion, and even selfhood are dissolved in the face of divine oneness.
This is not mere abstraction. Historically, Indo-Iranic poetry flourished in cultural crossroads—Persia, Central Asia, Anatolia—where identities were fluid, hybrid, and interwoven. The beloved’s declaration reflects this lived cosmopolitanism, elevated into a spiritual truth: we are from everywhere and nowhere, at once body and spirit, earth and infinity.
Sea and Pearl: The Hidden Unity
Rumi’s imagery of being “half the sea, half the pearl” embodies the paradox of existence. The sea is infinite being, vast and restless. The pearl is hidden wisdom, a jewel formed in secrecy, waiting to be discovered. Together, they reveal that the human soul is both the restless seeker and the hidden treasure sought.
The circularity of the dance, spinning endlessly without arrival, enacts this same rhythm: existence as both path and destination, both wave and jewel.
Silence Beyond Words
The poem ends with the image of a chest full of untold words. Mystical truths are too vast, too sacred, to be fully captured in language. Instead, they are carried through gesture, rhythm, and song. The music and dance of the Indo-Iranic tradition are not accessories to the poetry but its necessary completion. They give body and voice to what words can only gesture toward.
Conclusion: Toward the Unity of Existence
This performance of Rumi’s poem is not simply art but ritual. It enacts the Indo-Iranic mystical philosophy of unity through the intoxication of sound, movement, and verse. Drunkenness and madness are revealed as sacred states, the tavern as a holy ground, the cupbearer as the divine presence, and the beloved as both self and cosmos.
To watch and listen is to participate in this vision: to feel the dissolving of ego, the transcendence of borders, and the intoxication of love. What remains, once all separations fall away, is the radiant truth at the heart of the Indo-Iranic tradition—that all existence is one, and we are each its ecstatic notes.
Watch the Music and Dance
It is a living expression of one of the oldest spiritual insights of this tradition: the unity of existence—that all being is one, endlessly manifesting in countless forms. The performance channels this vision through sound, rhythm, and movement. To prepare the ground for reflection, let us turn to the words of Rumi in the video whose poetry has carried this spirit across centuries.
Poetic English Translation of Rumi’s Persian Poem
I am drunk and you are mad —
Who will take us home, dear friend?
A hundred times I warned you:
Don’t drink two or three more cups again!
In this whole town, not a single soul
Do I see awake and sane —
Each one crazier than the next,
Lost in the same sweet pain.
Come, beloved, to the tavern,
There you’ll taste the soul’s delight.
What joy can the soul ever find
Without the beloved’s light?
In every corner, a drunken one
Hand in hand with another —
And the cupbearer of all existence
Stands pouring wine like no other.
You are a child of ruin and wine,
Wine your income, wine your cost.
Don’t entrust this sacred gift
To minds who think they’ve never lost.
O you, the lute-player gypsy —
Are you more drunk, or am I?
In the face of your ecstasy,
My magic becomes a lie.
I walked out of my house,
My drunkenness led me astray —
In every glance of his I saw
A hundred gardens, blooming in play.
Like a ship without an anchor,
I tossed and turned on the sea —
From longing for him, even wise men
Lost their minds, no longer free.
I said, “Be my friend, for I am your own.”
He said, “I don’t know friend from unknown.”
I asked, “Where are you from?” He smiled:
“Half from Turkestan, half from Ferghana.
Half of me is water and clay,
Half is soul and love’s Nirvana.
Half of me the ocean’s shore,
Half a pearl without flaw.”
I am bare, without hat or heart —
A tavern is my humble place.
A chest full of untold words —
Should I share them, or leave no trace?
The Mystical Logic of Drunkenness and Madness
The poem begins with paradox: “I am drunk and you are mad — who will take us home?” Here, intoxication and madness are not social vices but sacred states of consciousness. To be drunk in Rumi’s sense is to be filled with divine love to the point of dissolving the ego. To be mad is to be swept away by an attraction so powerful that rational thought collapses. Both signify the annihilation of the self in the face of the Beloved, or God.
The question “Who will take us home?” underlines that in such states, conventional paths and guides no longer suffice. Reason, tradition, and logic falter at the threshold of the infinite. Instead, music, dance, and poetry step in as the only possible navigators.
A City Where All Are Lost
The poet describes wandering through a town where no one is awake or sane. This vision suggests that once awakened to the truth of divine unity, one sees that everyone else is already intoxicated—by desire, by illusion, or by the yearning for completion. Madness is universal, though not everyone recognizes it.
This echoes the Indo-Iranic belief that existence itself is a form of intoxication: creation spills over like wine from an eternal source. Each soul, knowingly or not, is drunk on the sweetness of life, driven by a yearning for reunion with the One.
The Tavern as Sacred Ground
In Sufi poetry, the tavern (kharabat) is not a place of sin but of revelation. It is where the rigid rules of society and formal religion break down, replaced by direct, unmediated experience of divine presence. The tavern welcomes all—mad, drunk, saint, and sinner alike.
Music and dance, within this symbolic tavern, are not entertainment but sacraments. Each note, each movement is an act of remembrance (dhikr)—a way of turning the heart toward the Beloved. The performers in the video embody this symbolism: the human body itself becomes the tavern, and the music its overflowing wine.
The Cupbearer of Existence
One of the most striking images in the poem is the “cupbearer of all existence,” pouring wine without end. This cupbearer is God, or the spiritual guide who channels divine love. The wine is truth itself, irresistible and overwhelming. To drink it is to lose the illusion of separation and taste the sweetness of unity.
In the performance, the fluid motion of dancers, the circling rhythms, and the improvisational interplay of instruments all become metaphors for this endless pouring.
Dissolution of Borders
The beloved’s words—“Half from Turkestan, half from Ferghana. Half water and clay, half soul and love’s Nirvana”—signal the erasure of rigid identities. In the Indo-Iranic mystical vision, nationality, tribe, religion, and even selfhood are dissolved in the face of divine oneness.
This is not mere abstraction. Historically, Indo-Iranic poetry flourished in cultural crossroads—Persia, Central Asia, Anatolia—where identities were fluid, hybrid, and interwoven. The beloved’s declaration reflects this lived cosmopolitanism, elevated into a spiritual truth: we are from everywhere and nowhere, at once body and spirit, earth and infinity.
Sea and Pearl: The Hidden Unity
Rumi’s imagery of being “half the sea, half the pearl” embodies the paradox of existence. The sea is infinite being, vast and restless. The pearl is hidden wisdom, a jewel formed in secrecy, waiting to be discovered. Together, they reveal that the human soul is both the restless seeker and the hidden treasure sought.
The circularity of the dance, spinning endlessly without arrival, enacts this same rhythm: existence as both path and destination, both wave and jewel.
Silence Beyond Words
The poem ends with the image of a chest full of untold words. Mystical truths are too vast, too sacred, to be fully captured in language. Instead, they are carried through gesture, rhythm, and song. The music and dance of the Indo-Iranic tradition are not accessories to the poetry but its necessary completion. They give body and voice to what words can only gesture toward.
Conclusion: Toward the Unity of Existence
This performance of Rumi’s poem is not simply art but ritual. It enacts the Indo-Iranic mystical philosophy of unity through the intoxication of sound, movement, and verse. Drunkenness and madness are revealed as sacred states, the tavern as a holy ground, the cupbearer as the divine presence, and the beloved as both self and cosmos.
To watch and listen is to participate in this vision: to feel the dissolving of ego, the transcendence of borders, and the intoxication of love. What remains, once all separations fall away, is the radiant truth at the heart of the Indo-Iranic tradition—that all existence is one, and we are each its ecstatic notes.
