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HISTORICAL, SOCIOLOGICAL AND ETHNOGRAPHICAL PROPERTIES OF ANATOLIAN FOLK DANCES

M. Tekin KOKAR Mustafa YAMA Erkan ERDEKR (Turkey)

1. ABSTRACT Folk dances are a part of the rich cultural accumulation of Anatolian people and a treasure for the worlds cultural heritage. The different characteristics of the dances performed by the same nation in different regions of the Anatolia are worth of researching. Generally, the factors that influence the formation of folk dances are religion, history, geography, social structure and ethnographic structure. Similar factors influenced the formation of the Anatolian folk dances. The purpose of this study is to examine the main characteristics of the Anatolian folk dances along with the historical, sociological, geographical, and ethnographic influences in their formation. Therefore, the study conducts an extensive literature review by using a descriptive approach. The study concludes that the historical, sociological, geographical, and ethnographic characteristics of each region influenced the formation of the four most known folk dances, Zeybek, Bar, Halay, and Horon that are performed in four different parts of the Anatolian peninsula. 2. INTRODUCTION The origins of dancing are thought to be present in social life style of primitive people and their worship to mystical powers which they believe. Events like night, day, fire and moon were the reasons forming the dance rituals of primitive people. Dancing has an important contribution to the rise and development of a civilization along with the phenomena of art, science, culture and religion. In this context, we can conclude that the first permanent human settlements in Anatolia were important centers for dancing rituals as well. 3. PROPERTIES OF ANATOLIAN FOLK DANCES Several factors can be mentioned for the formation of folk dances. Generally, historical, sociological, cultural, economic, geographical and religious factors are important examples to

2 these factors. Anatolian folkdances were also developed under the influence of these factors. Thus, factors influencing Anatolian folk dances can be classified as follows: Natural factors, local characteristics, relations with animals, daily life, military order, names of individuals, and relatives and religions (Demirsipahi, 1975). According to another approach, relations between individuals and human-nature interactions are the main factors in formation of folk dances. When we consider the relations between individuals; regular and irregular phenomena like love, jealousy, freedom, marriage, quarrels, farewell and greeting for military service or traveling, bravery, piety and wars have contributed to formation of folk dances. In terms of human-nature interactions, events like production type, division of labor, cooperation, consumption, protection, accommodation, various tools making, clothing, and trading have contributed to formation of folk dances as well (Kockar, 1998). 3.1. Historical Characteristics Anatolia has been a main source for great cultures for centuries. Factors like location, lineage, and interactions in the foundation of Ottoman Empire and than the westernization process are thought to have contributed to rich folk dance culture of Turkey. First of these factors is the antique culture of Anatolia Peninsula. Civilizations such as, Hittite, Urartu, Phrygia, Lydia, Ionia, Assyria and Byzantium are contributed to the Anatolian folk dance repertoire. Archeological studies support the idea that Anatolia was one of the most important centers for different civilizations and cultures. Archeological excavations of James Melaart imply the existence of folk dance rituals in first permanent human settlements of Anatolia. Pictures of collective dancing were found on walls of an Early Neolithic city wall dated 5500-6500 B.C. In these pictures, deer hunters wearing clothes of leopard skin were dancing with an accompanying drum (And, 1964). The ruins of ancient Anatolian civilizations like Hittite, Lydia and Phrygia provide examples about the folk dance culture of these civilizations. In Hittite and Phrygia reliefs, dancers with rhythm instruments in their hands are present (Baykurt, 1995). Events like collective entertainment and worshipping to gods were carried out by dancing in these civilizations, and this implies the deep-seated folk dance tradition of Anatolia Peninsula (Eyuboglu, 1981). In his long poem, Odysseus, Homers emphasizes the agedness of Anatolian folk dance tradition. The second important factor that influenced the Anatolian folk dancing is the associated effects of Middle Asian shaman beliefs and other Asian cultures. The importance

3 of dancing for Middle Asian Turks, especially The Huns, can be seen on two lines of a poem written by a Chinese princess, wife of a Hun ruler (Baykurt, 1987):

They play the drum every night they turn around until sunrise

In shamanist Turkish tribes, folk dances had an important role in rituals performed during summer and autumn festivals. It was reported that during these celebrations, the shaman danced around a fire, until he fainted and before shamans dance, two young girls and two young boys also danced (Inan, 1972). Remains of these rituals can be seen in some traditional dances like sin sin dance in Anatolian cities like Bolu, Kastamonu and Adyaman (Kockar, 1998). Rituals about hunting in Middle Asia also include dancing. It was thought that animating the animal to be hunted with dance rituals will make the hunt successful. Events like entertainment, celebration of victory of a war, urge for showing good intention, wedding and religious ceremonies were leading motives for the folk dances in Middle Asia. Consequently, it is obvious that folk dances are among the rituals which Turks carried to Anatolia. Another factor which is thought to be effective on development of the Anatolian folk dances is religion. Whether dancing is a sin or not in Islam has been argued. Religious scholar bn-i Teymiyye* tried to prohibit dancing, whereas another scholar al-Ghazali* accepted dancing as moves of joy in entertainments or holy ceremonies (Baykurt, 1995). It is widely accepted that when Turks came to Anatolia, Islamic thought which has a negative approach to dancing, painting and sculpturing, attempted to restrict the dancing activities of common people. Because of the difference between aristocratic and public cultures and under the strong prohibition of religion, dancing was done in secret places. Tariqat * dances which were carried out as a reaction against the religious pressure, later formed half-religious dance rituals called semah*. Because of the religious pressure on

* *

Islamic scholar (661-728 A.C.) Islamic philosopher and mystic (1058-1111 A.C.) * Tariqat: Mystical order in Islam. * Whirling Dervishes.

4 dancing, collective folk dances are mentioned as ayin-i kefere-unbelievers ceremony and ayin-i kerih-bad ceremony by Evliya Celebi* in his travel book (Baykurt, 1987). The fourth factor which was accepted to have effects on Anatolian folk dances is interactions which were realized during the expansion of Ottoman Empire between 15th-19th Centuries. Influences of Balkan countries on Anatolian folk dances are a good example for this interaction. Dance styles formed during this development have considerable differences from others. Religious dances, erotic style dances, grotesque dances, dances relying on a special talent, war dances and foreign originated mythological dances are significant dancing categories formed in this period (And, 1982). The differentiation between aristocracy and public as a general feature of this period was reflected upon folk dance rituals. People, who danced in Ottoman palaces and assemblies of rich people, were called cengi or kocek. These people were professional that were organized in special societies. Evliya Celebi mentioned thirteen dancing societies in Istanbul and that each of them consisted of two or three hundred dancers. However, public was generally concerned with folk dances derived from middle Asia and Anatolia dances and semah dances of Alevi-Bektasi and Mevlevi tariqats. Consequently, the gap between aristocratic Ottoman culture and public culture of Anatolia made their progress independent from each other. The last factor influencing Anatolian dances is western civilization. Especially westernization movements formed at early 20th century, like other arts of social life, had serious influences on folk dances. After Tanzimat* we could see folk dances more frequently on theatrical events like karagoz, orta oyunu and sano. After the formation of constituonal monarchy, dance styles like Tango, Samba, Polka, Waltz, Rumba, and Foxtrot, spread over firstly in Istanbul and later in Anatolia. In republican era, the first serious contribution to folk dances was done by Public Centers. At this time, by means of education system and folk dance groups of Public Centers, folk dances took their places in all stages, entertainment activities, ceremonies, schools and gradually spread. Foundation for Conservation and Spreading Turkish Folk Dances, which was formed in following years, had great contributions until 1970s. During inventory studies which was made in these years, about 2000 folk dances were determined which are known and played among public.

The greatest traveller in Turkish history, embarked on a 50-year long journey of many different lands, the fruit of which is a 10-volume book of travel entitled Seyahatname. * Tanzimat: Turkish Reorganization (183976) Series of reforms undertaken in the Ottoman Empire to modernize society along secular and bureaucratic lines.

5 3. 2. Sociological and Geographical Characteristics The effects of geographical conditions on human behavior have been argued for sometime. This effect was stated first by Aristotle and Strabon of Amasya. According to Strabon, societies who live at temperate climate and in coastal regions are more civilized and peaceable. On the other hand, societies who live on the highlands are less civilized and hard temperament. Although the geographical conditions have no direct effect on human behavior, they have indirect effect on the cultural structures, economic relations and social life styles (Guven, 1996). The geography and social structures are also influential on the formation of the folk dances. For instance; a mountain or river in the region; differences about roughness, drought or fruitfulness of the climate and engagements in agriculture or livestock are reflected on the folk dances as well. In very hot locations, the dances are fluent so the muscles arent strained. In cold and humid regions, the movements are slow and discernible. In the fruitful and broad lands, the movements are downward. If the space is not wide, the dancers come together like a ring. In the steppes movements that use a big space, bouncing and steps at the double are present. On the highlands upward movements that utilize the narrow space are present. Also, the apparel is influenced by the climate and geography (And, 1964). Another subject about which the regional differences have effect on the folk dances is the manner. The manner is the wholeness of each motions details that carry the endemic characteristic. The dancer starts to preserve the manner before the beginning of a dance and continues till the end of the dance. The dance manner which is unique to each individual in the beginning localizes via interaction with the people who live in a specific area. (Avsar, 1992). The figure characteristics do not compose the manner alone. Generally, each region has different figure characteristics. However, similar figure characteristics can be used in many dances which have different structures. But the manner of a certain region does not exhibit likeness with another regions manner (Bektas, 1990). Turkey is divided into seven different regions geographically: The Marmara, Aegean, Black Sea, Mediterranean, Middle Anatolia, East Anatolia and Southeast Anatolia Regions. According to the categorizations about the kinds of the folk dances, the most common dance kinds are the Halay, Horon and Bar (Ataman, 1975). The dances such as the Zeybek, Seymen, Bengi and Mengi are also the common ones which are danced singly or collectively. Besides, the dances such as the Welcome and Hora, Spoon, Guvende, Teke and Nanay are seen widely (Kockar, 1998).

6 When these dances are examined, it is seen that they are region specific. On this subject, the map that was made by Sadi Yaver Ataman has a guiding quality (Ataman, 1975). According to the relations between the regional characteristics and folk dances, it can be said that the four different kinds of folk dances reflect the historical, sociological and geographical characteristics of the four different regions. In the west of Turkey, dances like the Zeybek; in the north of Turkey dances like the Horon, in the middle and south of Anatolia the Halay dance and in the east Anatolia dances like the Bar are seen. 3.2.1. Zeybek Zeybek is a folk dance which is symbol of Western Anatolia especially Aegean. The origin of this dance is based on two phenomena: Efe and Zeybek. Zeybeks are a troop who rebel against the injustices in their society in that time. They live at mountains as bandits and their leaders are called Efe (Avci, 1997). As a symbol of courage and heroism, zeybeks were supported by public where they lived and they showed success in years of war (Karademir, 2003). The same social and historical background can be seen at dances called seymen in the central parts of Anatolia, bengi, mengi, harmandal in the northern regions of Aegean and Marmara (Demirsipahi, 1975). All of these dances are heroic and noble in form, tempo and structure (Ataman, 1975). The traditional instruments are drum and zurna (shrill pipe) and the dances are performed by one person or two or by a group of people. Its well-known figure is kneeling, touching the ground by knee and standing valiantly. Zeybek has also been known in Greece for a hundred years as sayvakikos, zaypakikos or turkikos (Raftis, 1999). 3.2.2. Bar Another dance thought to have similar heroic origins is bar. It is wide spread, in general, over the eastern and south eastern part of Anatolia. In this region, the heroic concept of Dadas is important like Efe and Zeybek. The meaning of bar is cooperation, being dadas, becoming close friends hand-in-hand and arm-in-arm (Ataman, 1977). The characteristic of its formation is that they are performed side-by-side, hand-in-hand, shoulder-to-shoulder and arm-in-arm like mountains. As a heroic dance, the bar is influenced by the war history of these regions. Because of its rebellious characteristics, bar was forbidden in Erzurum in the past during the westernization process (Agrili, 1994). Geographically, Eastern Anatolian region is divided into two parts: South and North Eastern Anatolia. North Eastern Anatolia is highlands and has a cold climate. People are engaged in agriculture and livestock. This geographical condition forces the people to

7 cooperate with each other. People have to be courageous and trusty. Therefore, dancers in bar dances are severe, serious and awesome. Figures are slow but hard (Guven, 1996). The principal instruments of bar dances are drum and zurna, and performed by groups in the open (Ataman, 1975). 3.2.3. Halay This folk-dance is performed to a large extent in the Eastern, South- Eastern and Central Anatolia. Halay is more crowded and vivacious from bar and Zeybek (Guven, 1996). On the contrary to the hard climate of North Eastern Anatolia, South Eastern Anatolia has a soft weather. Like weather, the folk dances of this region have soft form, figure and structure. Opposite of the hard manner of North, soft weather enables brisk and fast figures. Halay is the most influential and impressive dance of group dances. It is very rhythmic and systematic. There are many kinds of halay but all kinds of halay are performed by groups and under the leadership of halaybas as a line or circle in different parts of the dance. With measured figures, halay is the joyful dance of wide lands. The principle instruments are drum and zurna in halay (Ataman, 1975). People are engaged in agriculture, live as tribe and according to basic characteristics, this dance can be interpreted as in accordance with geographical and social conditions of region. 3.2.4. Horon Horon is the folk dance which performed in the Black Sea Region of Turkey. Contrary to the other folk dances, the Horon is danced in a narrower region; only in the Black Sea Region. In this region, the folk dances excluding the Horon are not met. Only in the border zones of the region, different kinds of dances are seen. The Black Sea Region is hilly and steep. On the other hand, the wavy and peevish Black Sea surrounds the region from end to end on the North side. Peoples struggle against this cruel nature heavily influenced the folk dances of the region. (Cihanoglu, 1997). The Horon is generally performed by a chain in the form of a line, circle or semicircle. It symbolizes union and cooperation. It has a mild and quick manner and this manner reflects the basic characteristics of people of the region. However, Caucasian, Georgian and Azerbaijani cultures from the neighborhood have effects on the formation of this brisk folk dance (Hacibekiroglu, 1994). Agricultural effects on Horon of Black Sea are very obvious. Stooping and reaching arms forward and shaking movements symbolize digging of the fields (Hacibekiroglu, 1994). The most renowned dance style of the Black Sea region, the Horon suggests the action of

8 fishermen as well as the movements of the fish and the sea of this ancient fishing district. It is characterized by alert and tense shivering movements and sudden squatting. Horons are often danced to the music of these instruments: Cura zurna, cura davul, tulum, kemence, koltuk davulu and more recently, accordion (Unsal, 2004). On the other hand, there is some criticisms to the geographical approach. The criticisms are three folds. First, Regions and provinces are too close to set boundaries. Second, while, some namesake dances are completely different from each other, some others have only different subgroups. Finally, some dances such as Halay and Ciftetelli are performed in almost all regions of Turkey (Degerli, 1990). 3.3. Ethnographical Characteristics The groups differentiated from others at language, religion and cultural aspects are accepted as ethnical. It is accepted that languages and religions of a group are the most important parameters of their ethnical prospects. These prospects can be use for the determination of ethnical identity together or separately. Religion in Turkey is common to all. Therefore the differentiation of ethnical groups is based on languages of them. There are some other properties important for the definition of subgroups during the formation of ethnical group identity. Properties such as organizational structure, tribal organization, similarity of profession and solidarity may contribute to the formation of an ethnical group. Anatolia have obtained cultural richness from antique civilizations such as Greek, Roman, Phrygian , Hittite, Ionian, Assyrian, Byzantine and from the cultures of Anatolian communities such as Turkish, Kurdish, Armenian, Rome, Jewish, Arabian, Georgian, Caucasus (Andrews, 1992). The most important reflections of this process may be seen at folk dances of Anatolia. Folk dances have important properties which can develop and protect themselves despite change of their meanings. For example Sin sin is a dance that was performed in shamanic period at many different sites of Anatolia. Although it used to be performed as a religious ceremony for centuries, today it is performed for welcoming spring for entertainment. Oguz (2002) mentions the most important factors which contribute to the Anatolian culture in his book Anadolu Halknn Kultur Kokenleri: For the traditional man, the nature is not natural. Halay is not performed just for fun but many things like abundance expected. Dithyramb was a dance. But on the other hand it

9 was a name of Dionysus. Forming a circle, torches in hand, at night, near the spring it is performed with songs just like caydacra. Likewise, how similar the Sword and Shield Dance of Bursa is to the Kuretas dance that hid infant Zeuss cry from his stepmother by voices of sword and shield (Oguz, 2002). 4. CONCLUSION Various factors influence the formation of the folk dances. As a matter of fact, the folk dances are a result of centuries -long cultural accumulation. Therefore, it is not easy to classify the factors that influence their formation. The Anatolia has a very rich collection of folk dances. Many folk dances with different names and characteristics exist in different parts of this peninsula. This study has founded that the most important factors in the formation of the Anatolian folk dances are historical, social, geographic, and ethnographic ones. These factors are clearly manifested in the Aegean Region of the Western Anatolia, the Black Sea Region of the Northern Anatolia, south of the Eastern Anatolia, and north of the Middle Anatolia. Zeybek and similar dances in Aegean Region, Horon in Black Sea Region, Bar in the Northeast, and Halay in the Southeast region are the most common regional dances performed in the Anatolia.. There are also some criticisms to the regional and social approach in explaining the formation of folk dances. However, despite the criticisms, most studies indicate that Zeybek, Horon, Halay, and Bar have been concentrated in particular regions of the Anatolian peninsula.

5. REFERENCES Abdurrahim Karademir, Zeybek Danslar, Halkbilimi Aratrmalar, 1. Kitap, Mart 2003, s. 195. Abdulkadir nan, Tarihte ve Bugun Samanizm, (Birinci Basm: Turk Tarih Kurumu Basmevi, Ankara, 1972). Ali Haydar Avc, Bir Sosyal syanclk Kurumu: Zeybeklik ve Zeybekler, FolklorEdebiyat, Say 12, Kasm-Aralk 1997, s.47. Alkis Raftis, XOPOS 1900, Greek Dances Theater, 1999. P. Alford Andrews, Turkiyede Etnik Gruplar, Cev: Mustafa Kupusoglu, (Birinci Basm: stanbul: Ant Yaynlar, 1992). Atilla Agrl, Erzurum Halkoyunlar ve Giysileri, (Birinci Basm, Ankara: GSGM Yaynlar, 1994), s. 14. Cemil Demirsipahi, Trk Halkoyunlar, (Birinci Basm, Ankara: s Bankas Kultur Yaynlar, 1975), s. 11-16.

10 Emin Avsar, Halkoyunlarnda Tavr ve Yore liskisi, IV. Milletleraras Turk Halk Kulturu Kongresi Bildirileri, 3. Cilt, Ankara, 1992, Kultur Bakanlg HAGEM Yaynlar, s. 27-29. Erol Hacbekiroglu, Zeki Akaln ve Abdullah Surmeli, Halkoyunlaryla Artvin, (Birinci Basm, Ankara: GSGM Yaynlar, 1994), s. 84-85. Fikret Degerli, Halkoyunlar Uzerine, II. Milletleraras Turk Folklor Kongresi Bildirileri, 3. Cilt, Ankara: Kultur ve Turizm Bakanlg MFAD Yaynlar, s. 134. lknur Bektas, Turk Halkoyunlarnda Tasnif Sekilleri, TU Turk Musikisi Devlet Konservatuar Bitirme Tezi, stanbul, 1990, s. 9. smet Zeki Eyuboglu, Anadolu Uygarl, (Birinci Basm : Der Yaynlar, 1981, stanbul M. Tekin Kockar, Caglar Boyunca letisim Sanat Olarak Dans ve Halkdanslar, (Birinci Basm, Ankara: Bagrgan Yaynevi, 1998), s. 72. Merdan Guven, Dogu Anadolu Halkoyunlarna Cografyann Etkisi, 5. Milletleraras Turk Halk Kulturu Kongresi, Ankara, 1996, Kultur Bakanlg Yaynlar, Yayn No: 1872, s. 179-183. Metin And, Turk Koylu Danslar, (Birinci Basm, stanbul: zlem Yaynlar, 1964), s. 48-50. Metin And, Osmanl Senliklerinde Turk Sanatlar, (Birinci Basm: Kultur ve Turizm Bakanlg Yaynlar, Ankara, 1982). Burhan Oguz, Turkiye Halknn Kultur Kokenleri, (Birinci Basm: stanbul: Anadolu Aydnlanma Vakf Yayn, 2002). Sadi Yaver Ataman, 100 Turk Halk Oyunu, (Birinci Basm, stanbul: Yap ve Kredi Bankas Yaynlar,1975), s. 7. Sadi Yaver Ataman, Turk Halkoyunlar I Barlar, (Birinci Basm, stanbul: Saraltn Yaynlar, 1977), s. 26-39. Selim Cihanoglu, Trabzonda Oynanan Horonlar, (Birinci Basm, Trabzon: Eser Ofset, 1997). Serif Baykurt, Turk Halk Danslar ve Anadolu Uygarlklar, III. Milletleraras Turk Folklor Kongresi Bildirileri, 3. cilt, Ankara, 1987, Basbakanlk Basmevi, XIII + 361 sayfa, Kultur ve Turizm Bakanlg MFAD Yaynlar, No : 85, 49-56. sayfa. Serif Baykurt, Anadolu Kulturleri ve Turk Halk Danslar, (Birinci Basm: Yeni Dogus Matbaas, 1995, Ankara).

AUTHORS M. Tekin KOCKAR (8211) Date of Bird : 21 Dec. 1954 Profile a. Dancer : Ankara State Ballet Teatre 1966 1972 b. Dancer : Ankara Caucasus Folklore Assoc. 1970 - 1974 c. Dancer : stanbul Folklore Foundation 1974 1978 d. Trainer : Anadolu University Folkdance Ensemble 1979 2001 e. Trainee : Elbrus Ensemble Caucasus 1990 f. Trainee : Pyatniskova Ensemble Moscow 1991 g. Trainee : Moiseyev Ensemble Moscow 1992 h. Art. Director : Anadolu University Folkdance Ensemble 1982 2001 . Director and Art Director: Osmangazi University (HAMER) 2001 j. Address : Osmangaz Unversty Folklor Research And Tranng Center (Hamer) Meelik Kampusu 26480 Eskiehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: mtkockar@ogu.edu.tr

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Mustafa YAMAC (8212) Date of Bird : 10 Apr. 1966 Profile a. Dancer : Hacettepe University 1983 1987 b. Dancer : Anadolu University 1987 1993 c. Trainer : Yunus Emre Foundation 1990 1995 d. Manager : Osmangazi University (HAMER) 2001 e. Lecturer : Associate Professor Biology Department, Osmangazi University f. Address : Osmangaz Unversty Folklor Research And Tranng Center (Hamer) Meelik Kampusu 26480 Eskiehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: myamac@ogu.edu.tr

Erkan ERDEMIR (8215) Date of Bird : 09 Dec. 1973 Profile a. Dancer : Anadolu University 1993 1995 b. Manager : Eskisehir North Caucasus Assooc 2000 2003 c. Manager : Osmangazi University (HAMER) 2001 d. Research Assitant : Business Department, Osmangazi University e. Address : Osmangaz Unversty Folklor Research And Tranng Center (Hamer) Meelik Kampusu 26480 Eskiehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: eerdemir@ogu.edu.tr

******************************************************** Research report Presented at the 18th World Congress on Dance Research Argos, Greece, 3-7 November 2004 CF04130.doc