BABA BULLEH SHAH’S DANCE BEFORE HIS MURSHID, SHAH INAYAT, WAS NOT AN ORDINARY PERFORMANCE BUT AN ACT OF COMPLETE SPIRITUAL SURRENDER.
ACCORDING TO TRADITION, AFTER INCURRING HIS MURSHID’S DISPLEASURE, BULLEH SHAH ENDURED A PROLONGED PERIOD OF BIRHA OR HIJR—THE ANGUISH OF SEPARATION FROM THE BELOVED. SEEKING RECONCILIATION, HE EVENTUALLY DRESSED AS A FEMALE DANCER AND PERFORMED BEFORE SHAH INAYAT UNTIL HE WAS RECOGNISED AND ACCEPTED.
HIS DANCE THUS REPRESENTED THE DEATH OF EGO AND ATTACHMENT TO WORLDLY IDENTITY. IT TEACHES THAT SPIRITUAL REALISATION CANNOT BE ATTAINED THROUGH LEARNING, RITUAL OR OUTWARD DEVOTION ALONE; THE SEEKER MUST SURRENDER THE FORMER SELF COMPLETELY
BULLEH SHAH DID NOT MERELY DANCE BEFORE HIS MURSHID—HE DANCED OUT OF HIS EGO, I NESS AND DUALITY. WHEN THAT EGO AND INDIVIDUALITY DISAPPEARED OR BECAME "FANA", THE SEPARATION BETWEEN THE SEEKER AND THE BELOVED ALSO CAME TO AN END....ALSO CALLED STATE OF "BAQA". OR ONENESS WITH LORD.
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