Wake Up and Smell the Stories

 

"I heard something scratching at my door in the middle of the night," the young man in the front row began. "When I opened the door, I found my dead cat, the one that died a couple of months ago. Then I noticed my house had four stories, which is a couple more than it ordinarily has. I was wondering what was going on in those extra stories up top. Then I heard my dad's voice. He was calling to me, 'Hurry up! You don't want to miss the music!'"-
    "How did you feel when you woke up?" I asked. It's always my first question, of any dream.
-  "Kind of nervous. My dad passed last spring, and I didn't know what he meant." -      "Have you had any previous contact with your father, since he passed?"
    "Oh sure. I feel like he's been dealing with a lot of stuff, and I've been helping."
    "How did your father sound, when he spoke about the music?"
    "He sounded real happy. Like something happy was going on."
    "If it were my dream," I said carefully, "I might think that my father's discovered something really good, and he wants to share it with me. Maybe he wants to show me that he's found his way, in his new life. If it were my dream, I might want to see if I could have a proper conversation with my dad. I want to know the rest of our story. Those extra levels to the house give me the sense of space and possibility. I might want to light a candle for dad, and put out something personal pertaining to him - like photo - and maybe something to eat or drink that he would enjoy, and see whether I can just start up a dialogue. Could you give that a try?"
    "Sure," the young man nodded. "I like the idea of getting the rest of the story."-

I looked around the group. "Would anyone else like to share a dream?" A few hands went up. This was a group of newbies, gathered for an evening program at an adult learning center. For some of them, this was the first time they had talked about a dream in their whole adult lives.
   "I dreamed I went to this very pricey restaurant," an older woman began. "I started sipping a glass of wine and the glass broke in my teeth and the shards of glass were inside my mouth, stabbing me. I was trying to tell people what had happened, and that I needed help., but they wouldn't believe me, even though there was blood everywhere."
  "How did you feel when you woke up?"
  "I couldn't understand why they wouldn't believe me."
  "Yes, and how did you feel about that?"
  "It's hard to say. Slightly disturbed."
  "But you didn't feel frightened, for example? Or disgusted."
   "Nothing that strong."
   "Well, that's interesting. That sets a little distance. Sometimes it's revealing that we don't have strong feelings around a dream. Reality check - could you go to a restaurant like that in the future?"
   "Sure."
   "Is it possible this could involve an occasion, maybe with family, when there is some conflict brewing and it's difficult to say your piece?"
   "That's entirely possible."
    "If it were my dream," I pursued, "I'd think about the broken glass in terms of emotional conflicts. I'd think about my need to express myself in such a way that others can hear me and believe me, on whatever I need to get out."
     This resonated deeply with the dreamer. After more discussion, I asked her for an action plan. She said she would start by keeping a journal and getting practice that way in saying what she needed to say.
    "Can you come up with a one-liner that moves in that direction?"
     She produced one right away, "I'm going to tell my story."
     This threw my mind back to something I had seen the previous morning in my local paper, at the bottom of the local news page. It was an ad for coffee. Across a landscape of green mountains scrolled the following text: I realized today's the day I will tell my story.
     The ability to tell our story - and in doing so, choose the stories we are living - is not only a creative gift, it is a vital survival tool. We live by stories. If we don't understand that, we are probably living inside old, unacknowledged stories that may cramp and confine us, stories passed down through families or imposed on us by others. A grand way to get into the practice of telling our own stories is to share our dreams, large and small.

Another woman in the group began, slightly diffident, to talk about a recurring dream from which she was always relieved to wake up. "I have a baby, maybe eighteen months old, and I'm supposed to take care of her. I want to get away because I don't know who she is."
      When I asked some questions, she added, "The baby is fine. I'm the one who's not fine."
      "If it were my dream, I might wonder whether what I running from was actually a part of myself. I might want to sit down quietly, at the right time, and take a closer look at that very young child and see whether she is a very young part of me that separated out for some reason but is now ready to bring her joy and energy into my life."
       This struck a chord. She was willing to give it a try. Through our dream stories, we sometimes find a part of us that was missing is calling to us, seeking a way to gain entry to our lives, to make us stronger and more whole.

 

- Notes from my road as a dream teacher. I teach at many levels. There is great joy in teaching beginners and watching the light of spirit come on in their eyes, and their excitement in finding there are ways to share dreams and personal stories that are safe and fun and socially rewarding. The simple four-step method of dream sharing I am using here is my own creation. It always leads to an action plan to embody and apply energy and guidance form the dream in everyday life. I call it the Lightning Dreamwork process, and it is explained, along with other core techniques, in my book Active Dreaming. 

The Master of Deadlines

 

He is there again, by the fire. He does not warm his hands, which are always cool. His clothes are immaculate His hair and mustache are glossy with pomade. His eyes are black holes.

 “I hope you have not forgotten our arrangement.” His words fall like cards on green baize. His accent is perfect Oxbridge, a little dated, the kind a maharajah might have spoken at Royal Ascot or the tennis club before the fall of the Raj. “You haven’t brought me a fresh story since yesterday, even though we have agreed that you will continue to live in your present body only as long as you tell stories that entertain me.”

I protest that his demand is unreasonable. A fresh story a day is hard to deliver. Worse, the bargain reeks of plagiarism. “I am not Scheherazade,” I point out.

“And I am not a minor monarch in an Arabian fairytale, my dear. Nonetheless, a story a day is the requirement. You used to say that you like impossible deadlines. I am the master of deadlines.”

I tell him, “I am not afraid of you.”

For an instant, he lets his gentleman’s guise shimmer. I see through it, to the terrible, mountainous form he is given in temples that rise from steaming jungles and peeling tenements in the East. I bind him with my will to the playboy maharajah guise. If I cannot choose where I will meet Death, I can still insist that he wears the costume I choose. No lolling, multiple ayes and arms, no tusks or butcher’s knives, no bouncing skulls.

He opens his dinner jacket to reveal the noose that is swinging from his cummerbund.

“I just delivered a story,” I shift my approach. “It is a story about you. It helped her.” I indicated the sleeping form of the lady in the window seat of the airplane. “She is going to Bangalore because the doctors told her that her mother is dying. I told her that you can be a great healer and teacher. I made you sound like the mentor they make you out to be in the Katha Upanishad, the giver of the Nachiketas fire.”

The flames around him flare up. None of the dormant passengers in the cabin notice. The flight attendants in the galley go on snacking and gossiping.

 “I came because I heard my name. But you did not tell it to my face. Begin again. And make sure you come up with fresh words.”

I have written many stories about my encounters with Yama, most of which will remain in my journals. You will find a longer and memorable one, "A Storytelling of Crows" in my book Mysterious Realities. 

Towards a History of Dreaming

 

Dreaming is vital to the human story, central to our survival and evolution, to creative endeavors in every field and, quite simply, to getting us through.
     It may be that just as babies rehearse for walking and talking in dreams before they have developed the corresponding physical abilities, humanity rehearses for new phases in its development through dreaming. We are on the edge of grasping what this might mean when we talk about ideas that are “in the air”. We see one facet of it when we learn that artists and science fiction writers have frequently anticipated new technologies by decades or centuries.
     We are learning to talk in English the imaginal realm, a dimension beyond the physical that is the precinct and playground of true imagination, a creative realm that may be the seed-bed of our great discoveries and innovations, and even the origin of events and situations that are manifested in the surface world. Indigenous peoples call it the Dreamtime, or the dream world. We go there when we go dreaming, which may or may not involve going to sleep.
      In modern western societies, we think of dreams as sleep experiences. But for many cultures, dreaming is fundamentally about waking up. In the language of ancient Egypt, the word for “dream” is rswt, which means “awakening”. The implication is that in much of ordinary life, we are in the condition of sleepwalkers, following programs and routines. In dreams, we wake up. This may happen during sleep, or in a twilight state of reverie, or in a vision or meditation or shamanic journey, or through the dreamlike play of coincidence and symbolic “pop-ups” in the midst of everyday life — all of which may be viewed as modes of dreaming and may provide experiences that can be reviewed and honored in the manner of dreams.
     To uncover the real history of dreaming, we need to read scenes from other times with the patience and intuition of a forensic scientist. We need to flag and tag as evidence all sorts of clues and sources that may not previously have been recognized as relevant. We need to situate dreaming activity in its social and cultural context. Above all, we need to be able to imagine ourselves inside the scene, as vividly as basketball great Bill Russell was able to replay games inside his head — and then go beyond the mental replay into a deeper play.
     Dream archaeologist is my name for the kind of investigator who is able to read all the clues from a scene in another time, enter that scene and then bring back new discoveries that will stand up to cross-examination.
     While “archaeology” is often understood to be the science of unearthing and studying antiquities, the root meaning of the word takes us deeper: it is the study of the arche, the first and primal, chief and essential things.
      There are three essential requirements for the dream archaeologist. The first is mastery of a panoply of sources, and the ability to read between the lines and make connections that have gone unnoticed by specialists who were looking for something else.
      Second, the dream archaeologist requires the ability to locate dreaming in its context - physical, social and cultural. For example, to understand the dream practices of the Mayoruna Indians of Amazonia (known as Cat People), we need to know that the typical sleeping arrangement is that you climb into a hammock woven from vines, tied at one end to the center pole of the communal hut, along with all the other hammocks in there. If you go to bed alone, you’ll pull down the center pole and all the other hammocks. You have to agree with at least one other person that you’ll go to bed at the same time. So sleep and dreaming are shared experiences from the moment you decide to go to bed.
     We need to understand the imaginal space, as well as the physical space, within which dreaming experiences take place. Certain cultures instruct or even command dream travelers to journey within a fixed imaginal geography. For example, in his fieldwork among a Nahuat-speaking people in Mexico, anthropologist Timothy Knab was encouraged by his mentors to locate his remembered dream experiences within an Otherworld, or Underworld, known as Talocan. If there’s a lot of water in a certain scene, that means he traveled to a Water World on the east side of Talocan. If there are mostly women that meant he went to the House of Women in the west of Talocan. From outside observer, the anthropologist found his way inside the dreamworld of his hosts.
     Third, the dream archaeologist must develop the ability to enter a different reality and experience it from inside. “One cannot conduct fieldwork in another person’s dream,” says anthropologist Roger Ivar Lohmann. While this may seem to be common sense, it is a view that dream archaeologists are going to test.
    Through the arts of conscious dream travel, active imagination and “mutual visioning”, we can enter other times and gain first-hand knowledge of conditions there that we can proceed to research and verify — and may assist both scholars and practitioners to go beyond what was previously understood. We can reclaim the best of ancient traditions and rituals in authentic, helpful and timely ways.
      As we enter deeper levels of past and future history, we may be able to re-vision the linear sequence of events from the standpoint of metahistory, an understanding that transcends linear time.
     We can enter the life situations of personalities in the past or future who may be related to us in various ways — as ancestors or descendants, as members of our larger spiritual families, as embodied aspects of ourselves or as counterpart selves actually living in other places and times. And we can experiment with direct communication with personalities living in other times, for mutual benefit, in their “now” time as well as the spacious Now of the Dreamtime.

Text adapted from The Secret History of Dreaming by Robert Moss. Published by New World Library. 


Dream journal drawing by Robert Moss

 

Spirits Are Real: Vic Turner Betwixt and Between

I dreamed of attending a lecture by Victor Turner, a great cultural anthropologist who became famous for his studies of liminality, the "betwixt and between" state in the life of an individual or a culture when established norms are left behind and profound transformation may follow, with the challenge of reintegration looming beyond that. Vic has been dead in the world for many years but I found him to be very much alive in a betwixt and between state somewhere else.  

I loved the simplicity with which he addressed his audience. He told us, "I dedicated my life to explaining different peoples to each other." In my dream Vic Turner knows he's dead, in the sense that he's not on earth, in the Africa he loved, or in America, or Sri Lanka, or Manchester. He has had plenty of time to reflect on that life, though time works differently here.

I read in his wife Edie's memoir, Heart of Lightness (Berghahn Books, 2005) that he died relatively young in 1983. She describes the depth of their engagement with the Ndembu people of northern Zimbabwe. She gives a whizbang portrait of his personality: Vic was "a flat-out character; in a sense, he was out of control, his consciousness had escaped from him, it was flying ahead of him, like the arutam-souls of Jivaro Indians flying out ahead of their bodies over the battlefield."

Naturally he broke with the dialectcal materialism of his early Marxism and then with the British anthro penchant for reducing spirits to by-products of social structures. I did not have the pleasure of meeting Vic Turner before he passed on. I am glad to see that in his Bardo of Betwixt and Between, this passionate Scots scholar of liminality is still thinking about what his discipline needs to be - an anthropology of experience that requires the observer to become a participant and practitioner of the ways of another culture.

For more than two decades, his widow Edie upheld that cause like the milk tree the Ndembu call their flag, declaiming - after she watched a dramatic shamanic extraction - that "spirits are real".

In her memoir, Edie recalls how the Manchester set of Africanists agreed to uphold what later became for Star Trek the Prime Directive: leave the cultures you visit untouched. 

The Blob and Tooth Extraction

She went back to Kajima in Ndembu country a couple of years after Vic’s death. For many hours, she helped gather the tree parts and supplies required for an extraction healing. When the healer completed her operation, Edie saw a huge grey blob emerge from the patient’s back. Later she was shown a bloodied molar. She was told that the patient had been possessed by a spirit of the dead that was now trapped in the tooth. . 

The Ndembu call this type of operation a Tooth extraction and a bloody tooth is usually produced as evidence of success. The tooth is stuffed in the hole of a piece of antelope meat shaped like a donut and confined in a jar with cassava meal and blood. Edie did not doubt the blob was real (though she hints that the tooth may be just for show) and this this was true shamanic extraction. She made this the theme of a celebrated article affirming that spirits are real. * Truly, an anthropologist who stepped out from under the mosquito net. 

* E.B. Turner, "The Reality of Spirits: A Tabooed or Permitted Field of Study?" first published in Anthropology of Consciousness March 1993.

Illustration: "Under the Milk Tree" RM + AI

 

When Her Husband Saw His Own Soul

 

After the Danish explorer Knud Rasmussen had lived for six months with the Netsilik Inuit, some of his hosts opened up about their dreams, their shamans and their sacred stories. The stories were only told to the right person at the right time, because, Rasmussen noted, “all that is described in them did really happen once, when everything in the world was different to what it is now. Thus these tales are both their real history and the source of all their religious ideas.” [1]
      Over long nights by the fire in an ice hut or a tent, the women were especially loquacious and some were formidable. Nalungiaq, a Netsilik woman, was married to her third husband, who had killed her second husband, who had killed her first husband, all from the desire to possess her. She described a time when there was no time, when the world was dark and there was no difference between humans and animals; they could take each other’s forms.
      She spoke of how the dead are alive in dreams. “We believe that dead people whom we see so vividly in dreams really are alive. In that way dreams have taught us that people live on after death. For very often our dear departed come to us while we sleep, and we see that they live, and that they are the same as when they lived together with us on earth.” [2]
      Rasmussen heard many stories of how souls wander beyond the body, and sometimes get lost or stolen, which is when the services of a shaman, an angakok. may be required.
      Manelaq, the wife of Qaorssuaq, told how her husband once saw his own soul, wandering apart from his body, and where this led. Qaorssuaq had lain ill for a long time, and no one could understand what was wrong with him. Then one day, he saw "his own living self" a little way away.
      "No one else could see him. Seeing himself suddenly outside his own body he began to shiver all over. What he saw was his own soul, and it was owing to his illness that it had left his body. All trembling he stretched out his arms towards his soul and cried: 'Come nearer, come nearer. Come to me, come back to me!'
       " I could not understand what was happening to him and had to hold him by the hood when he kept on trembling. At the very moment I took hold of him the vision disappeared, but the soul did not return to his body. It had fled just at the moment it was perhaps on its way back to his body, for I was unclean and just in those days had my bleedings, and therefore the soul fled from me."
       Help came in the form of a couple who were both shamans. "When they heard what had happened, they insisted that 1 should go into a corner of the -tent, right over behind the fireplace; there I had to lie with my head hidden in a heap of caribou bones. While I remained concealed there, the two shamans conjured and summoned their helping spirits. They held a great seance in order to call the soul back to Qaorssuaq's body. And it was not long before he again saw his soul.
       "The two shamans, to whom nothing was impossible, could see it too. They uttered magic words and spoke with their helping spirits' own tongue until the soul came quite close to Qaorssuaq. Then they suddenly sprang to him and began to beat him here and there on his body, the consequence being that the soul was frightened and became so scared that it slipped into Qaorssuaq's body once more.
       "At the very same moment he was well again and I could hear him shouting and singing with joy. Only then did I venture to rise from the heap of animal bones where I had hidden my head till then, and we all sang with happiness. In that way Qaorssuaq got his soul back again." [3]
      It may seem odd that the vagrant soul was induced to get back in the body rather than go further away when the beating began, but it seems the shamans knew what they were doing. The magic words were certainly an important part of their operation. Inuit shamans have special language to do special things. Rasmussen later recounts a story of how magic words were used by an angakok to create a kind of Inuit golem , turning a neap of snow into a black bear. [4] Calling up helping spirits is central to Inuit shamanic practice, as in other traditions. An Inuit name for a spirit helper means "one that exists to be questioned" and the variety of entities that may play this role can be startling. Rasmussen mentions one shaman whose helping spirits included the moon, a sea scorpion, and one of his father’s living dogs. [5] 
     Inuit shamans were unwilling to share much of their training and practice with an outsider, and some told Rasmussen that the great shamans were no more; their tradition was in deep decay. Nonetheless, he was able to report how Inuit shamans are often called by the spirits in dreams. were prolific dreamers and "lived long in a dual world as real shamans must do". In the shaman’s calling, the spirits took the initiative, in dreams. If you could retain your dream experiences and apply them to the world around you, you had keys to mysteries impenetrable to others. [6]
     Rasmussen collected stories of shamanic soul flight, which Mircea Eliade, controversially, thought was the central feature of shamanic practice. [7] His most memorable tales came from Inuit recounting the deeds of illustrious ancestors. “I am a shaman myself,” an informant named Samik told him, “ but I am nothing compared with my grandfather Titqatsaq. He lived in the time when a shaman could go down to the mother of the sea beasts, fly up to the moon or make excursions out through space.”   
    Titqatsag was a frequent flyer. He loved spirit flight, and had a friendly rival, Muraoq, who also took to the air. They met in spirit flight over sea ice midway between their villages. As they converged, Muraoq spread his arms, like a bird gliding on its wings, but did not judge distance well and crashed violently into Tirqatsaq, who fell down onto the ice. He could not move until Muraoq called in helping spirits to get him up. Then the incident was mirrored. Back in the air, Tirqatsag crashed into Muraoq, who dropped to the ice and had to be rescued by his rival’s helping spirits in turn. Even shamans may need flight controllers. [8]

 

References

1.       Knud Rasmussen, The Netsilik Eskimo Social Life and Spiritual Culture. Report of the Fifth Thule Expedition 1921-24, (Copenhagen: Gyldendalske Boghhandewl, 1931) p. 207.
2. Ibid., p. 213
3. Ibid. p. 216
4. ibid., pp.288-91.
5. ibid., p. 294
6. ibid,, p.296
7. Mircea Eliade, Eliade. Shamanism: Archaic Techniques of Ecstasy. (Princeton: Princeton University Press, 1974).
8. Rasmussen op.cit., pp 299-300.

Illustration RM + AI

 

Dream Divination, Jinn and the Marabouts of Paris

 

Voyance dormante, "sleeping divination", they call it. In the West Africa diaspora in Paris, you can hire a marabout to do it for you. He may send up special prayers and look up secret invocations in a little book to attract the help of angels or jinn. He may lie down on his right side in the recommended posture of the Prophet.
     Liliane Kuczynski gives us a fascinating account of how this works based on her observation of  a Fula dream diviner, Dia. [1] Born on the east bank of the Senegal river, Dia came from a well-known family of silangi diviners, believed to have special knowledge of plants through their friendly relations with the jinn.
      Dream incubation is called listikhar (Fula)  or istikhara (Arabic), the placing of a choice in Allah’s hands. A marabout preparing to do dream divination for a client may perform a variety of rituals belonging to ilm al-asrar, the "science of secrets”. The marabout starts with prayer, may prepare an esoteric text -for example, a diagram including the numerical formula of the client’s name and a word that summarizes their request – and place this or a twig from the sacred doki tree under his pillow. He proceeds to seek a dream from the angels to clarify and resolve his client’s problems. Before sleep, the marabout may say aloud, "Angels, take care of [the client’s name]" and then add a specific request. The diviner lies down on his right side. In his dreams, he hopes to meet invisible guides, see what he asked to see, and maybe bring about unseen intervention.
     The client visits the marabout twice: the first time to explain their problem and the second to hear the result of the dream divination.
      In traditional Islamic dream interpretation, dreams are divided into three categories. The “true dream” (al-ruya) is a dream inspired by God or his Prophet, and an experience of a higher aspect of spirit or consciousness. The evil or deceptive dream is inspired by Shaytan, the Devil. Then there is the great profusion of dreams, void of any real importance, that reflect the confused, desire-driven wanderings of the nafs, a lower aspect of consciousness.
     Beyond this tripartite schema, the marabouts in Paris invoke help from other sources, to be delivered in dreams.  Kuczynski reports that besides Allah, marabouts invoke "other invisible beings, mighty enough to provide someone with help, advice and solutions to anxieties." They are deliberately vague in identifying these allies, often referring only to "a person" or "someone". Evasive vocabulary is designed to avoid naming players in a very dangerous world invisible to ordinary sight. There are many intermediary beings between Allah and humans. Sometimes they are ranked in hierarchies but by Kuczynski’s observation "in a marabout mind, terms like ‘angel’, ‘jinn’, ‘spirit’, ‘rahwan’ and ‘maleika’ are quite synonymous. The main feature of all these beings is that they are dangerous. For this reason, marabouts must perform many rituals before invoking them, in order to persuade them to answer their requests." [2]
   The jinn, of course, have a mixed reputation. appropriate given their mixed nature. [3] Some are said to be Muslim, others clearly not. While made of fire and air, they can take any physical form they choose. Some are regarded as sources of evil and misfortune, and maladies including madness. The word jinn and the word junun, madness, have the same root. [4] The Qur’an organized jinn into six different types: Jinni, the true Jinn, Aamar, those who live among mankind, Arwaah, those who antagonize the young, Shaytan, the evil ones who bother humans, Maarid, said to be the most powerful of all Jinn and worse than a demon, and finally the Ifreet, that cause a lot of harm to become stronger [5] 
   Marabouts are able to collaborate with the jinn. They may invoke Allah, angels like Jibril and Asrafil, and the jinn at the same time. Most intriguing:

Some diviners are closely related to jinn, which they appeal to in any circumstance and whom they consider their relatives – namely their wives. Marabouts are also believed to act on the partner jinn of the client; this jinn, which everyone has, is often viewed as the double of a person, and to be their most vulnerable aspect. [6] The conclusion that arises is that the dreamer’s inspiration depends upon a very composite world. It mixes Allah with an invisible group of powerful beings that are not clearly defined in Islamic teachings, and who give rise to all sorts of discussions, even from a religious perspective. In some marabout practices, it doesn’t appear obvious whether jinn belong to a transcendent or an immanent world. Nature, as it appears in the forms that jinn may take, is not so distant or distinct a force. [7]

As for the dreams that come, the marabouts are described as flexible and eclectic in their readings, rarely inclined to go by the dream books, like the famous one named for Ibn Sirin but certainly not authored by him [8], that are perennially popular in the Muslim world. Dia has played dream detective, catching a thief - he claimed - by the clues he found in a night vision. 
      Dia's engagement with the jinn appears to have been demanding. He was often tired and ill, in need of protection from hostile jinn and sorcerers. His psychic defense involved washing with herbal compounds, chanting divine names, and appealing to specific jinn and other spirits in a Fula secret language. Although not really literate, he recorded many of his secret invocations in different languages, including Arabic, in a little notebook [9]
      Lana Nasser instructs us, in an excellent essay, that jinn interact with humans mostly through dreams and visions so it is not surprising that some individuals may make a profession out of maintaining and focusing this kind of contact. It is commonly believed that the realms of jinn and humans are separated by an opaque veil that prevents direct interaction between them. However, there are some who claim to see and communicate with jinn. They are said to possess bassar (sight) and  the veil is lifted for them. A sheikh (traditional healer) in Amman, Jordan described it as “a gift and a curse at the same time, a gift because it is grace from Allah but a curse because you start carrying around others’ burdens as well as your own.” [10] 

 

References

 1. Liliane Kuczynski. “Dreaming in the Practice of African Marabouts in Paris” in Zarcone, Thierry and Angela Hobart. Shamanism and Islam: Sufism, Healing Rituals and Spirits in the Muslim World. London: I.B. Tauris, 2013, pp. 217-230 

2, Ibid p.223

3.  “The earliest mention of [jinn] appears in the Koran, where they are described as supra-human beings composed of fire and flames, not perceivable by man, and capable of emerging in a variety of forms. Many regard them as the nature spirits of the pre-Islamic Arabian world, forces that were beyond the control of man and at odds with his desires. These spirits were gradually brought under the control of Allah, the majority of them being converted to Islam and serving as his companions. Those that were not converted formed part of the unbelieving world and were viewed as opposed to the rule and power of Allah. But Islamic religious literature, and the official view of the faith, is generally accepting of the djinn. Even the legal literature of Islam seriously discusses the position of the djinn, particularly with respect to questions of marriage, death, property, and inheritance. Opinions on their nature and legality have certainly varied over the centuries, but the prominence and strength of this aspect of Islam have never been denied.” Rene A. Bravmann, “Gyinna-Gyinna: Making the Djinn Manifest”. African Arts Vol. 10, no. 3 (April, 1977), pp. 46-52.

4. Lana Nasser. “The Jinn: Companion in the Realm of Dreams and Imagination” in Kate Adams, Kelly Bulkeley & Patricia M. Davis Adams (eds)  Dreaming in Christianity and Islam: Culture, Conflict, and Creativity. New Brunswick NJ: Rutgers University Press, 2009, p. 144. 

5.  Hussein G. Rassool. “Existence and types of Jinn: Evidence from the Qur’an, Sunnah and scholars.” in Evil Eye, Jinn Possession, and Mental Health Issues: An Islamic Perspective. London: Routledge, 2018. p 113 

6. This refers to the qarin. See the recent study by Dunja Rašić,. Bedeviled: Jinn Doppelgangers in Islam and Akbarian Sufism. Albany NY: SUNY Press, 2024. 

7.  Kuczynski p. 223 

8. See John C. Lamoreaux. The Early Muslim Tradition of Dream Interpretation. Albany NY: SUNY Press, 2002. 

9. Kuczynski p. 226. 

10. Nasser, “The Jinn”, p.146.

 

Illustration: "Voyant marabout" RM + AI

 

Dreams of the Tiger Sultan

Tipu Sultan, Muslim ruler of Mysore in southern India from 1782 to 1799, spent much of his reign fighting the British and their allies, the Marhattas. He was called the Tiger of Mysore because of his fierce battle prowess and his self-identification with the tiger which featured everywhere in his ambit. A life-sized tiger statue was the base if his jeweled throne; gold tiger heads glared from the canopy above his own. He had a mechanical tiger constructed that mauled and tore at the figure of a prone English soldier when turned on.
     Tipu was also profoundly interested in dreams. He looked to his dreams for guidance on the future, especially the outcome of battles, and for direct access to tutelary spirits, including the Prophet himself. He recorded his dream in Persian in his own hand and kept his journal secret even from his closest advisers.
     Tipu’s manuscript journal was discovered after he was killed in battle at Seringapatam in 1799. It was presented to the Court of Directors of the East India Company in 1800 by Alexander Beatson on behalf of the Governor-General, Marquess Wellesley. The story of its discovery is recorded in Beatson’s signed and dated note at the end of the volume:

This register of the Sultaun’s  [sic] dreams was discovered by Colonel William Kirkpatrick, amongst other papers of a secret nature in an escritoire found in the Palace of Seringapatam. Hubbeeb Oollah, one of the most confidential of the Sultaun’s servants, was present at the time it was discovered. He knew that there was such a book of the Sultaun’s composition; but had never seen it, as the Sultaun always manifested peculiar anxiety to conceal it from the view of any who happened to approach while he was either reading or writing in it.[1]

 

A woman in man’s clothes 

In the dream report numbered #13 in the translation of the journal made by Mahmoud Husain for the Pakistan Historical Society. Tipu describes what he saw before he went to battle against a Marhattaa force that greatly outnumbered his own:

I had a dream: It seemed to me as if a handsome young man, a stranger, came and sat down near me. I passed certain remarks in the manner in which one might, in a playful mood, talk to a woman. I then said to myself: “It is not my custom to enter into playful discourse with anyone.”
      Shortly thereafter, the youth rose, and walking a few paces, returned to loosen his hair from beneath his turban, and opening the fastenings of his robe, displayed his bosom, and I saw it was a woman. I immediately called and seated her and said to her: “Whereas formerly I had only guessed you were a woman, and I had cut jokes with you, it is now definite that you are a woman in the dress of a man. My conjecture has come true.”
      In the midst of this conversation the morning dawned, and I woke up. I conveyed the contents of the dream to other people and interpreted it thus: That please God those Marhattas have put on the clothes of men, but in fact will prove to be women.

The sultan saw his dream fulfilled. As he wrote, “By the favor of God and the aid of His Messenger on the morning of Saturday, I made a surprise attack upon the army of the unbelievers. Advancing with two or three hundred men, I myself penetrated the camp of the unbelievers, crushing them as I went and they all fled like women.” [2]

References

1.British Library IO Islamic 3563, f. 29v.

2. Tipu, Sultan. The Dreams of Tipu Sultan. Trans. Husain Karachi: Pakistan Historical Society Publications no. 7. n.d. [1957]  pp.63-4.

Photo: Tipu's mechanical tiger is in the Victoria & Albert Museum in London