The sema of the whirling dervish is a symbolic communion which exhibits the elements of liminality. The sema exhibits the features of liminality, specifically communitas and the communication of the sacra. (Turner 2004)

Symbolism is shown in each of the selams, or musical movements. The first selam denotes birth; it represents the dervish's acceptance of being created by God. The second selam is the happiness of witnessing the magnificence of creation. The third selam is the “dissolving” into love and sacrificing oneself to love; it is a giving in to total destruction by love. During the third selam, the dervish enters an almost trancelike state as he becomes in union with God. The fourth and final selam is the dervish's descent back into his life after his spiritual trip (The Art of Middle Eastern Dance 2004). The fourth selam is very transitional, which matches the meaning of that musical movement. The actual meter of the music played during the fourth selam is slower than the quicker third selam (And 1977: 6). This change is easing the dervish back into his earthly position as a creature of Allah. The transitional elements of the selams are really central to the symbolism of death and rebirth apparent throughout the ceremony. Additionally, the way in which the dervishes are arranged is symbolic of the celestial bodies which orbit circularly around the sun. The turning of the dervishes is symbolic of the way in the planets and celestial bodies spin on their axes as they orbit the sun. The spinning and revolving of the dervishes is allegorical of the naturally revolving world, such as: Planets, blood circulation, atoms and subatomic particles (Celebi 2004).

In addition to the symbolism on view, communitas (groups) which aren't governed by social bonds are present in the sema (Turner 2004: 205). The dervishes are arranged in a circular manner on a dance floor, often with a crowd of spectators surrounding them. The social status of the dervishes is irrelevant while the ceremony is taking place. Within this communita there is the exception of the hierarchy shown by the dance master and the Sheikh, or dervish chief. The participating dervishes are in traditional clothing, that of an outer black cloak, an inner white gown, and a sikke, a tall felt hat. Traditionally all of the performing dervishes are in the same clothing. Since no clothing is more ornate than another, the clothing serves as a leveling mechanism in this communita (Turner 2004: 205). During the ceremony those participating are removed from their everyday life and become one with God in an “ experience of spiritual union ” (Dance Magazine 2001).

The communication of the sacra is shown very well as a dance. The dervishes, as the selams progress, enter a trancelike state during which they believe they become in union with God. In truth, the goal of a whirling dervish is to “loosen himself from the earth's glue which binds him and become one with God, to become a channel for His Light.” (Friedlander 1992: 19) The left hand of the turning dervish is facing the ground, while the right hand is facing heaven. The right hand is pointing toward heaven bringing blessing from God and the left hand is symbolically transferring this blessing to the earth.

A whirling dervish in this trancelike state is representatively an intermediary for God when in his trancelike state. The sikke (hat) that a dervish would wear is symbolic of his tombstone. The Black cloak, which the dervish drops to the ground before turning, “symbolizes their grave, the box of their actions”. By taking off this black cloak they are “reborn to the truth” (Celebi 2004). The dervishes joining with God is also symbolic of death, for a person becomes in union with Allah (God) when they die. During this liminal period the performing dervish experiences an intense ecstasy as they leave their earthly position and become one with God. (Friedlander 1992: xix)

Furthermore, the sema has economic and political significance as well. In 1925, during the secular reform of Turkey the Mevlevi tekkes, or monasteries, were closed and the whirling dance was banned from the public arena. It was not until December of 1953 that a public authorized sema took place again in Konya . The government of Turkey realized the tourism opportunity that the sema presented and began to allow the Mevlevi to publicly celebrate the sema annually during the anniversary of the death of Mevlana. The sema is culturally significant even in economics in that it attracts tourism to Turkey and generates revenue. (Friedlander 1992: 113)

The sema also has much cultural significance in the religious realm. The Mevlevi order is still a part of Sufi Islamic religion. They are an important part within the whole of Islamic religious culture. The Mevlevi sema has many religious symbols, and underlying meanings making it a culturally rich component of Islamic Sufism.