SEMA: THE RITUAL DANCE

His projects often emerge from a long chain of discoveries. One place leads to another, one story opens the door to the next. Rather than chasing trends or searching for dramatic narratives, Rpnunyez follows curiosity.

Influenced by photographers such as Wayne Miller, Marc Riboud, Leonard Freed and Larry Towell, he approaches documentary photography with a humanist sensibility, combining careful composition with genuine respect for his subjects.

What draws you to the arts?

As a documentary photographer, my perspective goes far beyond viewing my work as a form of art; in fact, I don’t see it that way at all. I simply try to convey what we are like as human beings. As for art in general, of course, I’m often moved by certain photographs, sculptures, architecture or paintings, but nothing moves me as much as music.

What do you like best about this project?

The serenity of their faces and the elegance of their movements as they whirl.

His latest photobook, TÜRKIYE: A Secular Republic Under the Shadow of the Minaret, explores contemporary Turkish society through questions of identity, faith, history and coexistence. Among its most compelling chapters is SEMA: The Ritual Dance of the Whirling Dervishes, a series that examines one of the most enduring spiritual traditions of the Islamic world.

The Sema ceremony originates in the Mevlevi Order, a Sufi tradition inspired by the teachings of the 13th-century Persian poet and mystic Rumi. Often described simply as the dance of the whirling dervishes, the Sema is far more than a performance. It is a spiritual practice that combines music, prayer, meditation and symbolic movement.

Every element of the ritual carries meaning. The tall felt hat represents the tombstone of the ego, while the white robe symbolizes its burial shroud. As the dervishes turn in continuous circles, one hand faces upward to receive divine grace and the other downward to pass that blessing to the world. The movement itself reflects both the rotation of the cosmos and the seeker’s journey toward spiritual unity.

For a photographer, the Sema offers extraordinary visual possibilities. Yet what distinguishes Rpnunyez’s work is his refusal to reduce the ritual to spectacle.

The series unfolds in two complementary movements. The first consists of formal portraits of dervishes of different generations. Subjects appear against dark backgrounds, their expressions serene and introspective. The images possess a striking stillness. Rather than emphasizing costume or ceremony, the portraits invite viewers to focus on the individuals themselves and the quiet devotion reflected in their faces.

The second aspect captures the ceremony in motion. White garments expand into luminous circles as the dancers whirl across the floor, transforming movement into rhythm and geometry. Arms open toward the heavens, robes become flowing forms of light, and the dancers seem suspended between earth and sky. Reflecting the energy of the ritual, the photographs communicate a profound sense of balance and inner calm.

The decision to work in black and white strengthens this effect. Stripped of colour, the viewer’s attention moves toward gesture, expression and form. Rich tonal ranges and carefully controlled contrasts create images that feel timeless, echoing the traditions of classic documentary photography while remaining firmly rooted in the present.

Throughout the series, Rpnunyez maintains a respectful distance from interpretation. He neither romanticizes nor explains away the ritual. Instead, he allows the photographs to function as an invitation. The viewer is encouraged to observe, reflect and enter a world shaped by centuries of tradition, mysticism and devotion.

This approach reflects the broader philosophy behind Türkiye. The project does not seek simple conclusions about religion, secularism or national identity. Rather, it explores how these forces coexist within contemporary Turkish society. The whirling dervishes become one expression of that complexity, embodying a spiritual tradition that continues to resonate within a modern republic.

More than a study of ritual, SEMA becomes a meditation on stillness, movement and the enduring human search for meaning. In an age of constant distraction, these photographs remind us that some experiences reveal themselves only to those willing to slow down and look.

As Rpnunyez writes: “My universe has the boundaries of my knowledge. What I do not know does not exist for me.”

The photographs in SEMA invite us to step beyond those boundaries, if only for a moment.

The new photobook Türkiye contains these and many other documentary photographs in Rpnunyez´ distinctive black and white style.