FROM KONYA TO NUSANTARA: RUMI’S SUFI DIASPORA IN PIDIE, ACEH, INDONESIA

Rumi’s sufism has not only flourished in Turkey, where the sufi was born, but also in many other far-flung world regions such as Nusantara. Its worldwide success invites many questions, for example the reasons for its ability to attract both Muslims and non-Muslims. In Pidie, Aceh, Indonesia, one of its popular aspects is the sema ritual dance, which has spread to other Aceh sufi orders (tariqa), especially the Naqshbandi sufi order. This dance is an adaptation of foreign teaching and performance to local context in the location of the study, the village of Lampôh Saka in Pidie. Aceh’s sufi orders have succeeded in synthesizing foreign and local culture to create something uniquely their own. This study could offer an example of how to develop harmony and peace in Indonesian life, as exemplified by the sema dance, which symbolizes care towards creation while maintaining submission to the Creator.


A. INTRODUCTION
Despite the distance between them, the relationship between Turkey and Aceh has existed for a long time. Historical records in the form of Ottoman archive from the 16th to the 19th century testify to this relationship, 1, 2, 3 which began with trade and diplomatic interaction. Then, global political dynamic was not favorable to Muslim polities, as European states raced to conquer much of the world, including those areas ruled by Muslims. This condition caused Turkey, then in its Ottoman form, to seek the support of other Muslim rulers to counter the disadvantage of its location, which was wedged between European states.
The relationship expanded from politics and trade to religion and culture. As the largest Muslim polity, Ottoman religious and cultural influence could be seen clearly in Indonesia, such as in the architecture of mosques and their minarets in Sulawesi. The physical influence was also accompanied with spiritual influence in the form of Rumi's sufism.
Founded by Jalaluddin Rumi, who was born in Persia but later resided with his family in Konya, now in the southern Turkey region, this sufism becomes prevalent in Aceh.
One of the famous practices in Rumi's sufi tradition is the sema dance ritual which is intended to bring its practitioners closer to God. The Konya people imbibed Rumi's teaching and made it integral to their life in the form of Mevlavi sufi order (Ira Friedlander 1975).
Konya local government even provides a special place for adherents of Rumi's sufism as a form of acknowledging his legacy. This legacy was only briefly interrupted during the early Attatürk regime, which was hostile to Islam.
In this region, Nusantara, even though Rumi's sufism is seldom mentioned by name, it has essentially become a model for the region. This could be seen from the practice of Haqqani Naqshbandi tariqa, the largest in this region, which often involves the ecstatic sema dance.
Several studies have shown that the zikr (remembrance of God) used in Naqshbandi sufi order rituals in this region generally integrates Rumi's zikr with Naqshbandi's. An example is the sema dance. Agung Dwi Putra 4 (2017) studied the practice of sema dance among the Naqshbandi sufi order followers in Jakarta, as was Nila Sari 5 (2013) in Jepara, and Ahmad Raisul Falah 6 (2015) in Semarang, Central Java. However, no such studies have been conducted in Aceh, even though the Naqshbandi sufi order has existed there since the 19th century, and became popular through the prominent sufi figure named Mudawali.
This study aims to fill this lacuna and examines the past connection between Konya and Nusantara. It intends to uncover similarities and differences between sufi rituals in these regions, especially on the practice of sema dance ritual. A larger aim of this paper is to analyze the link between tasawwuf (Islamic spirituality) in Persia, Ottoman (Turkey), and Nusantara, especially Pidie as one of districts in Aceh, Indonesia. Qualitative method with historical, philological, and anthropological approaches was used. Primary data took the form of manuscripts related to the study topic, and on-location in-depth interviews with sema practitioners in Pidie. Rumi's mosque and museum in Konya (Turkey) were visited on April 2018 to obtain primary data on Rumi's sufism and sema dance.
There are two assumptions in this study. One, Aceh's sufi order members interact culturally with foreigners, resulting in cultural modification. Robert Berkhofer 7 (1969) and 4 Agung Dwi Putra, "Estetika Sema dalam Tarekat Sufi Naqsybandi Haqqani Jakarta sebagai Media Donald Horowitz 8 (1975) have written extensively on this modification. Two, local sufi rituals were modified to increase spiritual intensity, as can be seen in sema dance adoption. The rituals helped to drive the sharing of action and knowledge in the tariqa.
Ritual participation increases self-awareness, cognitive process, and brain function, forming a new attitude within ritual participants. The sharing of action and knowledge between individuals makes religious concepts easy to understand. 9 In the context of sufi ritual, the action of sema dance increases the faith of its practitioners. Rumi stated that sufi experience lies beyond earthly worries, akin to a flying bird, far above the tree, but still within the sky. 10 As a note, in the following sections, Turkey is equated with its Ottoman predecessor.

An Overview on the Relationship between Turkey and Nusantara
Turkey and Nusantara have well relationship since long time ago. It started in 16 th century, Turkey institutionally built relationship with Aceh. In various sides, it can be revealed to see the existence of Turkey and its work in the archipelago, such as social, economic, and religious interaction. 11 Many evidences came up both in the manuscripts collected in Nusantara and Turkey, and researches performed by many scholars. Anthony Reid has examined the relationship between Rum (Turkey) and Java. 12 Vladimir Braginsky also widened the examination to Turkey and Nusantara using manuscript analysis. More than 40 ancient manuscripts were discovered mentioning the name for Turkish people and kings, no less than 600 times. Pasai was even once ruled by the Turks. 13 8 Donald Horowits, "Ethnic Identity," in Ethnicity: Theory and Experience, ed. Nathan Glazer and Daniel Patrick Moynihan (Harvard University Press, 1975 The Acehnese remember fondly when Turkey helped them against the Portuguese in the 16th century. The term of meuriam lada sicupak, military cannons given by the Turkish Sultan to the Acehnese, then the Acehnese ruler also gave to the Turkish Sultan handful peppers as a form of gratitude, is still well-known today. In one of Aceh's ancient manuscripts kept and preserved in Leiden University Library (famous name is called UB = Universiteit Bibliotheek), The Netherlands, with Cod. Or. 8194a 14 , it was described that the ruler of the world was from Rum or Turkey, who was kind enough to allow for marriages to occur between the kingdoms' populations. Further studies should be conducted to trace Acehnese lineage to Turkey 15 .
There was also contact between Turkey and other regions in Nusantara. In Hikayat Indranata, it was stated that in addition to political relationship, the Turks also married local people. 16 This strand of relationship deserves further study.

About Rumi's Sufism
Jalaluddin Rumi or so-called Rumi as a famous name is a very well-known sufi figure at international level. Born in Persian region (b. 604H/1207CE -d. in 672H/1273CE), he travelled to Anatolia (Turkey) in his later years. The last name of Rumi was taken from a province (Rum) in Anatolia, which capital was Konya.
Rumi's sufism was initiated by his family. His father was also a well-known sufi in become immersed fully in tasawwuf. It was stated that he even forgot to work for teaching his students as he was practicing tasawwuf full time with his teacher.
Rumi's writings 18 became a guideline for his followers, such as the Masnavi.
Comprised of six volumes and 20.700 lines of poetry, this work teaches deep spirituality in the form of apologia, fable, legends, and anecdotes. Another work is Ruba'iyyāt (1600 fourline stanzas), Fīhi Mā fīhi (in prose form, a compilation of his sermon on tasawwuf), and Maktūbāt (a compilation of his letters to friends and followers). 19, 20 Generally, these works were completed when he was separated from his spiritually inspiring teacher.
The content of Rumi's work transcends time, space, and religion, attracting scholars from all over the world to study it. Rumi emphasizes the love of God without any boundary, stating that humans who limits themselves to reason would not be able to reach God's love. In Maśnawī, he described a universal love towards God. Love does not only belong to humans, but the entire universe. Love could reach and uncover the veil of this universe. 21

Sema Dance Ritual Tradition in Konya
Sema dance was performed by Rumi and his followers since the 13th century in Konya (Turkey). To date, many people visited this city to witness this unique dance in person.
The dance begins with a religious sermon, followed by the ritual of asking permission from a spiritual teacher to perform it. Then follows a circling movement, accompanied by a distinct music out of the sound of ney (a flute-like instrument). The tariqa combines Naqshbandi and Mevlevi traditions, as practiced by Shaykh Nazim, the Naqshbandi world-figure. It turns out that the Shaykh's father adheres to the former tariqa and his mother adheres to the latter. Therefore, it is not surprising that the Naqshbandi ritual taught by the Shaykh contains the sema dance of the Mevlevi.
In Indonesia, the Naqshbandi tariqa has many followers in Jakarta, Jepara (Central Java) and Aceh. In Aceh, the tariqa can be found in Aceh Besar, Pidie, and Aceh Timur, especially among the Tamiang people. Tami himself witnessed the Tamiang people performed the sema ritual in 2015. 35 The uniqueness of sema ritual in Pidie is the combination with zikr of the Rifa'i, Alawi, and Mevlevi tariqas. This combination was intended to attract people's attention, especially the youth. When they became interested with sema, the meaning of movements and recitations performed during the ritual were taught.
If in Konya, sema dance is accompanied by the instrument ney, in Lampoh Saka, it is accompanied by the instrument rapa'i (tambourine-like instrument). This versatile instrument is used by the locals to accompany many rituals. There is even a rapa'i dance performed in religious and traditional events. Rapa'i is often used in Rifa'i tariqa, which was introduced by ar-Raniry in the 17th century.
Zikr uttered in the dance is modified from the original sema. Loudly performed, one of the zikr contents is the prophetic invocation salawat dalail al khairat. 36 It proceeds 34 Interview with Sofyan and Tami, a leaders and followers of Naqshabandi Nazim Haqqani sufi order in Guci Rumpung, Lampoh Saka, Pidie, Aceh, 18 June 2018. The followers of this order in this area reach 70 people derived from many places. 35 Tami, a leader of Naqshabandi Nazim Haqqani sufi order in Guci Rumpung, Lampoh Saka, Pidie, describes and gives the explanation to me as a researcher during the interview and discussion, held in 18 June 2018. 36 Salawat dalail al khairat is a famous salawat uttered by sufis in the world. It was produced by Moroccan sufi named al-Juzuli in 15 th century. This salawat is also well known in almost each area in Nusantara, including Aceh and Pidie. There are bulks of dalail al khairat manuscripts can be found in each region in Nusantara and also in other Muslim countries. Leiden University Library collected 37 manuscripts if dalail al khairat. In England, especially British library has collected the manuscripts more than 46 manuscripts of dalail al khairat. Many other libraries in the world also keep the manuscripts much more. Besides, the society like from the zikr of awwal, musta'id, mubtadi, and ends with dalail al khairat. A probable reason for the salawat addition is al-Jazuli's praise of zikr in spiritual acts.
Physically, the headgear used in the dance symbolizes gravestones, which reminds their participant of their afterlife. Similarly, the clothes worn is shroud-like, as if the dancers were already in their graves. One hand points up and the other down indicating the connection between God and the earth. 37 They pray to God for blessings to all humanity.
A requirement in performing the dance is to have an unbroken connection between the murshid (teacher) and the murid (student

C. CONCLUSION
Rumi's sema ritual has been adapted by Indonesian sufi traditions, resulting in several unique modifications. In Pidie, Aceh, performing sema dance is combined with rapa'i, and the content of salawat Dala'il al Khairat also uttered as zikr. Also, the practice of several sufi orders is combined. This combination is the result of Pidie's people creativity in mixing and matching different spiritual traditions.
The seriousness in which the sema ritual is performed has resulted in the increase of sufi understanding, which in essence is to love God and His creations. Rumi taught his followers to care for each other and all creations through symbolic actions in sema dance.
This is a seed for peace and harmony in the world.
To note, this is a preliminary study of Rumi's sufism, focusing on the sema dance ritual, in Pidie, Aceh. There are many other sides to Rumi, which needs to be examined to discover the richness of Indonesia's sufi culture. An example is analyzing Rumi's manuscripts read by his followers and admirers in Nusantara. These efforts are necessary as Rumi is an example of how religious traditions could inspire people to create a better world, one where humans love one another as well as other creations. In the midst of today's humanitarian and environmental crisis, nothing is more urgent than how to create peace and harmony among the society in Nusantara and around the world.

D. Acknowledgement
This work will be nothing without helps of many people around me during performing field research in Pidie Aceh and when writing and finishing this work to be a readable paper. Therefore, first of all, I would like to thank to my cousin, Muhammad Jaisar Raju, who kindly facilitated me with his friends to be in my research place that is Lampoh Saka, Pidie and meet the followers of Naqshabandi Sufi Order who perform sema dance as a kind of their Sufi ritual in each Friday night in Lampoh Saka Pidie, Aceh. He also had helped me in producing abstract of this paper in a good Arabic. To my parents, my father and mother who always support me in any kind of my work, I have no word to say except my special deep gratitude and my special pray for them that may Allah always gives them healthy and they are always able to perform every obedience to God. Last but not least is my gratefulness to my daughter, Ilda, and my son, Faza, who patiently accompanied me during the time of my field research for interview and observation, and also to my husband who always supports and wants to read draft of my paper. Thanks also for Surya who help me for correcting my work and producing a good English of my article. Thanks for all of course to those who already involved in succeeding this research that I am not able to mention one by one in this opportunity. I really expect that this work will be useful to the people who read it, not only for the Acehnese but for Indonesians and the people around the world as well.