Papers by Serdar Ugurlu
Öz Anadolu sahası Köroğlu kollarından birisi de " Köroğlu-Han Nigâr, Hasan Bey-Telli Hanım " kolu... more Öz Anadolu sahası Köroğlu kollarından birisi de " Köroğlu-Han Nigâr, Hasan Bey-Telli Hanım " koludur. Çalışmamıza konu olan varyant ise bu kolun Sivas varyantıdır. 2001 yılında yapılmış bir yüksek lisans tezinden metinlerine ulaştığımız bu varyant, Köroğlu çalışmaları adına keşfedilmiş yeni bir varyant olması bakımından önemlidir. Anadolu sözlü geleneğinde, destandan masala doğru yaşanan dönüşümün bariz izlerini taşıması bakımından da ayrıca önemli bir varyanttır. Boratav'dan itibaren düzenlenen çeşitli tasnif denemelerinde kendisine ayrılan yeri almış olan " Köroğlu-Han Nigâr, Hasan Bey-Telli Hanım " kolu, elimizdeki metinden de anlaşıldığı kadarıyla zaman içerisinde çeşitli masal motifleri ve formelleriyle yeniden oluşturulmuş bir hikâye olarak öne çıkmaktadır. Çalışmamız bu bağlamda, mevcut varyantın tanıtımı, diğer kollar ile varyantlaşma örnekleri ve bazı masal hususiyetlerinin tespiti adına yapılmış bir çalışmadır.Telli Hanım " which has taken the place which has been separated to itself in various classification essays which have been arranged from Boratav becomes prominent as a story which has been regenerated with various tale motives and formals in the time as it can be understood in the texts in our 1 Bu varyanta, Yüzüncü Yıl Üniversitesi Sosyal Bilimler Enstitüsü " ne kayıtlı, " Sivas Merkez Ġlçe ve Köyleri, Ağızları (Giriş-Ġnceleme-Metinler) " adlı Yüksek Lisans Tezi " nden ulaşılmıştır.
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Öz Köroğlu destanlarının Anadolu sahası varyantlarından birisi olan Köroğlu'nun Halep Varyantı, b... more Öz Köroğlu destanlarının Anadolu sahası varyantlarından birisi olan Köroğlu'nun Halep Varyantı, bugüne kadarki Köroğlu çalıĢmalarında sıklıkla karĢımıza çıkan bir varyanttır. Bu varyant, ismen de olsa Boratav'dan itibaren düzenlenen çeĢitli tasniflerde kendisine ayrılan yeri almıĢtır. Ancak böyle olmasına rağmen bu varyantın metinlerine bugüne kadar yapılmıĢ olan çalıĢmalarda yeterince yer verildiğini söylememiz pek mümkün değildir. Biz bu hikâyenin metnine 1960 senesinden kalma bir ses kaydından ulaĢmıĢ bulunmaktayız. Bu kayıt, zikredilen tarihte Amasya'nın Aydınca Nahiyesi'nin YeĢilöz Köyü'nde düzenlenen bir âĢık meclisinde yapılmıĢtır. Bu mecliste dile getirilen hikâye, Halep Kolu hikâyesidir. Biz çalıĢmamızda bu Halep Kolu'nun metinlerine kısmen yer verebildik. Hikâyedeki manzumeler ise çalıĢmamıza olduğu gibi alınmıĢtır. Ayrıca mensur bölümlerin diğer Köroğlu varyantları ile olan benzerlikleri ve farklılıkları da çalıĢmamızda ele aldığımız bir diğer husustur. Mensur kısımlardaki aradığımız varyantlaĢma örneklerine manzum kısımlarda da bakılmıĢ ve diğer Köroğlu anlatmaları ile olan benzerlikler çalıĢmamızda gösterilmeye çalıĢılmıĢtır. ÇalıĢmamızda toplam 46 adet dörtlük üzerinde durulmuĢtur. Bu dörtlüklerden hareketle hikâyede koĢmalar, atıĢmalar ve müstakil kıtalar oluĢturulduğu görülmüĢtür. Elimizdeki çalıĢma ile Köroğlu'nun Halep Kolu muhteviyatına dair yeni bir eser meydana getirilmiĢ olup Türkoloji çalıĢmalarının hizmetine sunulmuĢtur. Abstract Aleppo variant of Köroğlu that is one of the Anatolia area variants of Köroğlu epics, is a variant of the Köroğlu studies commonly encountered in so far. This variant, albeit namely, took place allocated to it in different classifications held since Boratav. However, despite the fact, we say that enough space was given to the text of this variant of study done so far is. We have reached a sound recording of the text of this story dating from 1960. This recording was made on the date mentioned, in YeĢilöz village of Aydin Sub-district of Amasia by council held by minstrels. This council voiced story is the story of Aleppo branch. We could give place partly to the text of the study in Aleppo branch. However the poems in the story were taken to our story as are. Also similarities and differences of the prosaic sections with
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Öz Türk müzik folkloru, üzerinde yeterince çalıĢmanın yapılamadığı alanlardan biri olarak durmaya... more Öz Türk müzik folkloru, üzerinde yeterince çalıĢmanın yapılamadığı alanlardan biri olarak durmaya devam etmektedir. Türk müzik kültüründe Ģiir ile musikinin birlikteliği meselesi de doğal olarak çok fazla irdelenmemiĢtir. Türk kültür tarihine bakılınca bu birlikteliğin, Ģaman denilen dinî-mistik Ģahsiyetlerin törenleriyle ilk kez baĢladığı görülecektir. Bu birliktelikte ayrıca üçüncü bir unsur daha vardır ki; o da danstır. ġamanlara ait rakslar bu birlikteliğin aslında üçüncü ayağını oluĢturmaktadır. ġamanlar, incelendiğinde görülecektir ki; Türk tarihinin en eski Ģairleri olmanın yanında ayrıca musikiĢinasları ve halk dansçılarıdır da. ġiirin, musikinin ve raksın bir arada icra edildiği o eski icra geleneği, Türklerin Ġslamiyet " i kabul etmesiyle bozulmamıĢtır. Bu tarihten itibaren Ģaman veya kam törenlerindeki Ģiirin, musikinin ve raksın birlikteliği son bulmamıĢ aksine mahiyet değiĢtirerek icrasına devam etmiĢtir. Türk-Ġslam dünyasında özellikle on üçüncü asırdan sonra Mevlevilik ve Alevi-BektaĢilik gibi tasavvufi ekollerin sayılarının artması sonucu, bu üçlü birliktelik daha farklı bir mecraya sürüklenerek devam etmiĢtir. Tasavvufi gelenek çerçevesinde Ģiir, musiki ve raks, Mevlevilik adabına uygun olarak " Mevlevi Semâ " Töreni " ni oluĢtururken; Alevi-BektaĢi geleneği çerçevesinde ise Ģiir ve musikiye " Alevi-BektaĢi Semâh Töreni " eĢlik etmiĢtir. XVI. Asırdan itibaren ise tasavvufi cereyana ek olarak âĢıklar ortaya çıkmıĢ ve âĢıklık geleneği çerçevesinde din dıĢı konularda yazdıkları Ģiirleri sazları ile icra etmeye baĢlamıĢlardır. ÂĢık sanatında farklı olarak sadece Ģiir ile musikinin birlikteliğinden bahis olunabilmektedir. Ritüellerin zayıflaması ile Ģiir ile musiki üçlü birliktelikten ayrılarak raksın dıĢında bir bütün vücuda getirmiĢlerdir. Abstract Turkish music folklore has gone on being one of the fields that the studies have been done sufficiently on it. The matter on the association of poem and music in Turkish music culture has not been reviewed naturally too much. When the history of Turkish culture is considered, it will be seen that this association started firstly in the religious-mystic persons' ceremonies that they are named as Shamanist. Moreover, this association has got a third factor that it is dance. Belly dances belonging to Shamanists comprise the third section of this association. When it is reviewed, it will be seen that Shamanists are the oldest poets in Turkish history, and also they are music lovers and folk dancers. The old performance tradition that poem, music and
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International Language, Literature and Folklore Researchers Journal, 2013
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Abant Izzet Baysal Universitesi Sosyal Bilimler Enstitusu Dergisi, Dec 31, 2012
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Interest in folklore began in Turkey in the second half of the nineteenth century when the need w... more Interest in folklore began in Turkey in the second half of the nineteenth century when the need was felt to forge a national language which could be understood by the majority. The Tanzimat reforms, which were introduced in 1839, inaugurated a functional change in Ottoman literature. A new generation of writers who were in contact with the West, especially France, and admired the economic, social, and educational institutions of Europe, soon realized that literature played an important role in the development of these institutions. To create a literature using the language of "common people," which was pure Turkish and unspoiled by foreign influences, made the Tanzimat writers interested in folklore and folk literature. Many other poets, novelists, play- wrights, and the intellectuals joined the movement between 1860 and 1900. The emergence of Turkish nationalism marked anew era in the attitude of intellectuals toward folklore and it was Boratav who introduced folklore to Turkey as an independent, scientific discipline. He enlarged the scope of folklore teaching and research to include verbal and nonverbal tradition.
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Although these ceremonies performed by Shamans and Kams are due to the various
religious-mystical... more Although these ceremonies performed by Shamans and Kams are due to the various
religious-mystical and magical beliefs, they are important in forming the first association of poem and
music in our culture. We have been able to carry this period, in which poem, music and dance
performed together, to the tenth century that is the century Turks begun to accept Islam. Islamic
religion begun to be dominant on Turkish culture and language life and this case interrupted the
tradition formed and the art performed by the artisans called as Shaman and Kam. As of this date,
increasing of work sharing and number of profession branches in Turkish communities put an end to
this collocation of poem, music and dance in ceremonies of Shamans and then of Kams afterwards
Islam. By leaving this association, poem and music created a particular form apart from dance. The
increasing dominance of Islamic religion among Turks has deepened this separation also in sense of
language. As from XI century, therefore, encomiasts grown by Arabic and Persian language and culture
began to take the places of Shamans, Kams and Ozans in the palaces of Ghaznavid and Seljuk.
Afterwards Islam, as from XIII century in particular, as a result of increasing number of sufistic
religious orders originating from Arabic and Persian, such as Mevlevîsm and Alevî-Bektashism, it is
seen that association of poem and music was dragged in a more different channel and continued.
Tradition of being a poet maintained by traditional folk speech and culture, gave its place to the
language of poem and music formed by religious-sufistic culture. While “Mevlevî Sema Ceremony”,
which appears again in accordance with Mevlevîsm morals, accompanies with the poem and music
came together in context of Mevlevîsm tradition; “Alevî-Bektashi Semah Ceremony” accompanies with
the poem and music in context of Alevî-Bektashi tradition. As from XVI century, as a result of
decreasing effects of sufistic movements; minstrels who perform their non-religious poems in companywith their instruments, has grown up in context of the tradition that we called as “Minstrelsy
Tradition”.
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Researchers must be considered carefully over the role of cultural factors as performing a study ... more Researchers must be considered carefully over the role of cultural factors as performing a study concerned with Turkish culture and historical development of Turkish culture. Because the traditional cultural elements regardless of whatever assets are able to maintain. Despite Turks had put into many religions and belief systems in the history process, cultural elements as gains of this ancient tradition wereable to arrive until today. So today for all the cultural values which we have, we need to look at in this context. The concept of the tradition is just one of them. The Relations of concept of the tradition that established with the Turkish culture, had been tried to explaine with a phenomenological approach in our article. In the new culture, reflects of tradition as an acquisition of the old traditions had been evaluated by this perspective. In this study, the relationship between the old culture and new culture, described a variety of cultural symbols. Ecstatic with the secret expiration concepts, the concepts proposed in terms of this symbol. However, only not held due to the types of cultural concepts and symbols. With movement the old culture, focused on the many cultural elements that continues to experience around the new culture. The phenomenon is considered to be the concepts of this kind, was evaluated based on their roles in historical process. Purpose here is to understanding of the historical connection between the old culture and new culture. Thus, despite the destructiveness of the new culture is seen that the old culture still continue to live. The force that keeps alive the old culture is the traditional folk culture. The study focused on the power of intuition based on the traditional folk culture.
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Thousands of years, Turkish culture exhibited its presence and its wealth accumulation which
it h... more Thousands of years, Turkish culture exhibited its presence and its wealth accumulation which
it had earned at every stage of history, in different places of the world, manages to move
eventually that its accumulation into Anatolia. Turkish culture Which progress and shows
itself together with former Turkish faith and beliefs as based on oral tradition in the Central
Asia, after meeting with Islam, this its wealth has not just leave the break. Today, in various
places of Anatolia, are exhibited on behalf of Islam, which many religious rituals, traditions
and customs as a matter of fact, traces of the old Turkish religion and belief will be seen how
much control. Old applications that present-day Islam under the influence of Turkish culture
in which the rate raises question marks remain. Such a study is discussed in terms of folklore,
the origin of people's material and spiritual culture references to make determinations about
the necessity of concrete has emerged.
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The traditional Turkish folk medicine has a history of thousands
years. This tradition existed be... more The traditional Turkish folk medicine has a history of thousands
years. This tradition existed before Islam, has continued to live then.
Therefore, nowadays, old-traditional healing practices continued to be
applied, contains marks of faith and beliefs of past. This tradition
executed by shamans and kams, in the ancient religion and tradition, is
maintained by religion men, big wives, folk healers and ocaks (that is a
kind of folk healer) in the new religion and culture around. Even though
present-day practices of healing tradition are reverse of modern medicine,
in this tradition there are also many practices overlapping with the
modern medicine. Folk healers of old tradition have benefited from nature
in order to make the drugs or heal patients. This situation has continued
unchanged in the new tradition as well. In addition to these, tradition of
a folk pharmacy has occurred because of use of various herbs and
animal products in making drug. This kind patient healing techniques
and drug making applications, have reached until now with the
traditional ways of transmission.
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Custom (töre) is constitution that based on the tradition of old Turkish state. Custom is the sum... more Custom (töre) is constitution that based on the tradition of old Turkish state. Custom is the sum of laws that Turkish rulers make the dominant to their nations and states. The effect of the custom has continued in period after the Islam. Customary or manners (örf) is the best example of this effect. Today, customary, although regarded as a social norm, in fact, Turkish custom tradition along with the Islam has won its last form. Roles of Turkish sultans and clerics is greater in acquired and consisted of this last shape. In fact, they have invented a new tradition that this tradition name is customary (örf). In the Turkish law tradition has been experienced an evolutionary change from custom to customary. We do not look at to experienced this change as entry into a religious structure of custom tradition. Because the in some convention applications of Turkish sultans (especially during the Ottoman period) have been seen features that do not fit into the religious rules. In this context, the Turkish custom tradition has evolved into a newtradition that it continued own tradition in Islamic period. That his name is customary. Turkish sultans who not afraid to displaying this attitude for centuries is owner of this new tradition that invented it.
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The obstacles we encountered during the Turcology studies are also seen in the presentation of th... more The obstacles we encountered during the Turcology studies are also seen in the presentation of these studies. The fact that nowadays the internet technologies is being used effectively in academic studies is anopportunity to remove the barriers encountered in the presentation of Turcology studies. Because, in this last stage the era has come, internet technologies has the power to solve many problems with the new methods to be found. However, at this point, it would be wrong to claim that today's scientists are using this technology with all the possibilities. Especially the journal systems that are open to access need to be discussed again dealing with them in this logic. The expression difficulties of Turcology encountered in some areas such as folk literature, folklore and dialect studies are thought to be resolved with the reorganization of journal systems that are open to access. In this context, our study is in the characteristics of a new method. Thanks to the new method we assert in our study, we think that the matters in the field of Turcology that are extremely difficult to explain and understand would be illuminated. In this context, our study is a study built on a new technical proposal as being a new method and relevant. This study is a study that would enable great facilities in the presentation of the studies of other disciplines as in the presentation of the studies performed in the field of Turcology. Because of our study field as a sample, we tried to reinforce the costruct of the study by making selectios among the type, shape and mode topics and the topics of folklore.
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Culture is born and shaped by necessity. Cultural elements which are transmitted orally from
gene... more Culture is born and shaped by necessity. Cultural elements which are transmitted orally from
generation to generation have a changing structure within their own internal dynamism. In
this change, living conditions, as well as the effect of technology and mass media are also
available. One of the inevitable areas of variation is clothing, finery and dressing. This is a
natural process and in this process, the effect of fashion is intense. Differentiation of needs
has brought variation in clothing, finery and dressing. Bride costumes and all the cultural
elements in these dresses, place and regional differences in the line, has undergone change
over time. Determination of cultural foundations of bride dresses in use today is very
important in this regard.
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If we consider the historical development of Turkish culture language, it is seen that associatio... more If we consider the historical development of Turkish culture language, it is seen that association of poem and music has begun with ceremonies of religious-mystical types called as Shaman. As far as we follow, dances of Shamans also have gone with this association that has begun twenty-four centuries ago. In this context, Shamans are the oldest and the first poets, music lovers and artisans of Turkish culture. We have been able to carry this period, in which poem, music and dance performed together, to the tenth century that is the century Turks begun to accept Islam. As of this date, increasing of work sharing and number of profession branches in Turkish communities put an end to this collocation of poem, music and dance in ceremonies of Shamans and then of Kams afterwards Islam. By leaving this association, poem and music created a particular form apart from dance. The increasing dominance of Islamic religion among Turks has deepened this separation also in sense of language. Afterwards Islam, as from XIII century in particular, as a result of increasing number of sufistic religious orders originating from Arabic and Persian, such as Mevlevism and Alevi-Bektashism, it is seen that association of poem and music was dragged in a more different channel and continued. While “Mevlevi Sema Ceremony”, which appears again in accordance with Mevlevism’s morals, accompanies with the poem and music came together in context of Mevlevism tradition; “Alevi-Bektashi Semah Ceremony” accompanies with the poem and music in context of Alevi-Bektashi tradition.
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Shamanism which is a religion of the Turks, or the idea that is the oldest religion of the Turks,... more Shamanism which is a religion of the Turks, or the idea that is the oldest religion of the Turks, is an incorrect assumption that has engaged the academic circles for a long time. Yet, the belief system which is known as Shamanism, is a system that has not yet occurred BC. As can be understood in the studies, shamanismapplied in their regions of Turks and surrounding communities, in Central Asia only after 11th century, and it is a belief system held by therapeutic-the clergy called Shaman or Cam. Shamanism that is the whole folk medicine practices based on a kind of magic and spell, tried to be reflected in the form of the oldest religion of Turks as a result of intentional attributions and over time with wrong perceptions. In contrast to conjecture of some scientists, shamanism; is not a religion such as Christianity and Islam. At this point, Through the studies from the first half of the 20.century; has started to become clear differences between shamanism and Sky God Religious that is the religion of the ancient Turkish. It is known that what shamanism is, and what percentage meld with the religion of Sky God over time. Of course, studies are not enough. Nevertheless, the idea that Shamanism is not an ancient religious of Turks now has gained prevalence through these studies. In addition, Sky God religion also examined in all its aspects, and has been reached a comprehensive knowledge about. In this context, the root Tengri religious come to the fore as the oldest religion of Turks. Shamanism has been identified as an improvement that is formed around a type applications called the shaman, relate with the realm of the spirits, a belief that formed within the framework of implementation of trance and ecstasy techniques.
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It has been tackled Dede Korkut tales considered as an important element in Turkish culture
and a... more It has been tackled Dede Korkut tales considered as an important element in Turkish culture
and as cornerstone of our literature in on focused our study of Turkish family structure. In
general, It was questioned the important of the child. In particular, son was considered as a
son. Examined the importance of culture and children’s education the child and the child was
considered loaded meanings.
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The obstacles we encountered during the
Turcology studies are also seen in the presentation
of th... more The obstacles we encountered during the
Turcology studies are also seen in the presentation
of these studies. The fact that nowadays the
internet technologies are being used effectively in
academic studies is an opportunity to remove the
barriers encountered in the presentation of
Turcology studies. Because, in this last stage the era
has come, internet technologies have the power to
solve many problems with the new methods to be
found. However, at this point, it would be wrong
to claim that today's scientists are using this
technology with all the possibilities. Especially the
journal systems that are open to access need to be
discussed again dealing with them in this logic. The
expression difficulties of Turcology encountered in
some areas such as folk literature, folklore and
dialect studies are thought to be resolved with the
reorganization of journal systems that are open to
access. In this context, our study is in the
characteristics of a new method. Thanks to the new
method we assert in our study, we think that the
matters in the field of Turcology that are extremely
difficult to explain and understand would be
illuminated. In this context, our study is a study
built on a new technical proposal as being a new
method and relevant. This study is a study that
would enable great facilities in the presentation of
the studies of other disciplines as in the
presentation of the studies performed in the field
of Turcology. Because of our study field as a
sample, we tried to reinforce the construct of the
study by making selections among the type, shapeand mode topics and the topics of folklore.
Moreover, new method proposal that we propose,
is also a suggestion will shed light on other
disciplines. On the health sciences, fine arts and
engineering sciences areas, we believe that a
functionalist will function.
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Conference Presentations by Serdar Ugurlu
Makedonya Türk tiyatrosunda “Aliş Oyunu” Türk tiyatrosu adına yeni bir dönemin başlangıcı olmuş b... more Makedonya Türk tiyatrosunda “Aliş Oyunu” Türk tiyatrosu adına yeni bir dönemin başlangıcı olmuş bir eserdir. Hüseyin Süleyman (1903-1963) tarafından oluşturulan bu eser, “Alişimin Kaşleri Kare” adı altında, 1958 yılı Mayıs ayında, Üsküp Halklar Tiyatrosu, Türk Drama Ekibi tarafından oynanmış ve büyük bir ilgi görmüştür. Önceki tiyatro oyunlarına göre Türklerin halk dilini, edebiyatını ve folklorik özelliklerini daha fazla yansıtan bir eserdir. XVI. Asra ait bir Rumeli türküsünün hikâyesinden esinlenilerek yazılan oyunda, Balkan Türk folkloruna dair önemli unsurlar mevcuttur. Aliş Oyunu’nun Makedon Türklerinin mizaç, görüş ve hislerine göre yazılmış olması, ona olan ilginin asıl kaynağıdır ve bu nedenle de bir dönüm noktası olarak kabul edilir. Aliş Oyunu’nda birbirine gönül vermiş Aliş ile Zeynep’in hasret dolu aşkları anlatılmaktadır. Hüseyin Süleyman, oyununda Rumeli Türk kültürünün adeta bütün güzelliklerine yer vermiştir. Aynı zamanda bir folklor derlemecisi olan Hüseyin Süleyman, bütün tecrübesini bu dört perdelik müzikli tiyatro oyununda sergilemeyi başarmıştır. Oyunda Türk sözlü kültürüne, müzikolojisine, halk danslarına ve geleneğine dair önemli ürünler bulunmaktadır.
"Aliş Theate" in Macedonia Turkish theater is a work marked the beginning of a new period for the Turkish theater. This theate generated by Hüseyin Süleyman under the name "Alişimin Kaşlari Kare", in May 1958, played by Turkish Drama Team of Skopje People's Theatre and has seen great interest. According to the previous theater this theater is a work that reflects more the Turkish people language, literature and folkloric features. In this theatre inspired by the story of a Rumeli folk song of the sixteenth century, the there are important cultural elements of the Balkan Turkish folklore. Aliş Theatre has been written in accordance with the mood, opinions and feelings of Turks in Macedonia. This is the main source of demand for this theatre and therefore is considered a turning point. In the Aliş theater describes Zeynep's sincere love with Aliş. Hüseyin Süleyman has included almost all the beauty of the Rumeli Turkish culture in his work. At the same time, a folklore compilers Hüseyin Süleyman, the whole his experience was able to demonstrate in this four-act musical theater. There are important elements related to Turkey oral culture, musicology, folk dances and traditions.
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Papers by Serdar Ugurlu
religious-mystical and magical beliefs, they are important in forming the first association of poem and
music in our culture. We have been able to carry this period, in which poem, music and dance
performed together, to the tenth century that is the century Turks begun to accept Islam. Islamic
religion begun to be dominant on Turkish culture and language life and this case interrupted the
tradition formed and the art performed by the artisans called as Shaman and Kam. As of this date,
increasing of work sharing and number of profession branches in Turkish communities put an end to
this collocation of poem, music and dance in ceremonies of Shamans and then of Kams afterwards
Islam. By leaving this association, poem and music created a particular form apart from dance. The
increasing dominance of Islamic religion among Turks has deepened this separation also in sense of
language. As from XI century, therefore, encomiasts grown by Arabic and Persian language and culture
began to take the places of Shamans, Kams and Ozans in the palaces of Ghaznavid and Seljuk.
Afterwards Islam, as from XIII century in particular, as a result of increasing number of sufistic
religious orders originating from Arabic and Persian, such as Mevlevîsm and Alevî-Bektashism, it is
seen that association of poem and music was dragged in a more different channel and continued.
Tradition of being a poet maintained by traditional folk speech and culture, gave its place to the
language of poem and music formed by religious-sufistic culture. While “Mevlevî Sema Ceremony”,
which appears again in accordance with Mevlevîsm morals, accompanies with the poem and music
came together in context of Mevlevîsm tradition; “Alevî-Bektashi Semah Ceremony” accompanies with
the poem and music in context of Alevî-Bektashi tradition. As from XVI century, as a result of
decreasing effects of sufistic movements; minstrels who perform their non-religious poems in companywith their instruments, has grown up in context of the tradition that we called as “Minstrelsy
Tradition”.
it had earned at every stage of history, in different places of the world, manages to move
eventually that its accumulation into Anatolia. Turkish culture Which progress and shows
itself together with former Turkish faith and beliefs as based on oral tradition in the Central
Asia, after meeting with Islam, this its wealth has not just leave the break. Today, in various
places of Anatolia, are exhibited on behalf of Islam, which many religious rituals, traditions
and customs as a matter of fact, traces of the old Turkish religion and belief will be seen how
much control. Old applications that present-day Islam under the influence of Turkish culture
in which the rate raises question marks remain. Such a study is discussed in terms of folklore,
the origin of people's material and spiritual culture references to make determinations about
the necessity of concrete has emerged.
years. This tradition existed before Islam, has continued to live then.
Therefore, nowadays, old-traditional healing practices continued to be
applied, contains marks of faith and beliefs of past. This tradition
executed by shamans and kams, in the ancient religion and tradition, is
maintained by religion men, big wives, folk healers and ocaks (that is a
kind of folk healer) in the new religion and culture around. Even though
present-day practices of healing tradition are reverse of modern medicine,
in this tradition there are also many practices overlapping with the
modern medicine. Folk healers of old tradition have benefited from nature
in order to make the drugs or heal patients. This situation has continued
unchanged in the new tradition as well. In addition to these, tradition of
a folk pharmacy has occurred because of use of various herbs and
animal products in making drug. This kind patient healing techniques
and drug making applications, have reached until now with the
traditional ways of transmission.
generation to generation have a changing structure within their own internal dynamism. In
this change, living conditions, as well as the effect of technology and mass media are also
available. One of the inevitable areas of variation is clothing, finery and dressing. This is a
natural process and in this process, the effect of fashion is intense. Differentiation of needs
has brought variation in clothing, finery and dressing. Bride costumes and all the cultural
elements in these dresses, place and regional differences in the line, has undergone change
over time. Determination of cultural foundations of bride dresses in use today is very
important in this regard.
and as cornerstone of our literature in on focused our study of Turkish family structure. In
general, It was questioned the important of the child. In particular, son was considered as a
son. Examined the importance of culture and children’s education the child and the child was
considered loaded meanings.
Turcology studies are also seen in the presentation
of these studies. The fact that nowadays the
internet technologies are being used effectively in
academic studies is an opportunity to remove the
barriers encountered in the presentation of
Turcology studies. Because, in this last stage the era
has come, internet technologies have the power to
solve many problems with the new methods to be
found. However, at this point, it would be wrong
to claim that today's scientists are using this
technology with all the possibilities. Especially the
journal systems that are open to access need to be
discussed again dealing with them in this logic. The
expression difficulties of Turcology encountered in
some areas such as folk literature, folklore and
dialect studies are thought to be resolved with the
reorganization of journal systems that are open to
access. In this context, our study is in the
characteristics of a new method. Thanks to the new
method we assert in our study, we think that the
matters in the field of Turcology that are extremely
difficult to explain and understand would be
illuminated. In this context, our study is a study
built on a new technical proposal as being a new
method and relevant. This study is a study that
would enable great facilities in the presentation of
the studies of other disciplines as in the
presentation of the studies performed in the field
of Turcology. Because of our study field as a
sample, we tried to reinforce the construct of the
study by making selections among the type, shapeand mode topics and the topics of folklore.
Moreover, new method proposal that we propose,
is also a suggestion will shed light on other
disciplines. On the health sciences, fine arts and
engineering sciences areas, we believe that a
functionalist will function.
Conference Presentations by Serdar Ugurlu
"Aliş Theate" in Macedonia Turkish theater is a work marked the beginning of a new period for the Turkish theater. This theate generated by Hüseyin Süleyman under the name "Alişimin Kaşlari Kare", in May 1958, played by Turkish Drama Team of Skopje People's Theatre and has seen great interest. According to the previous theater this theater is a work that reflects more the Turkish people language, literature and folkloric features. In this theatre inspired by the story of a Rumeli folk song of the sixteenth century, the there are important cultural elements of the Balkan Turkish folklore. Aliş Theatre has been written in accordance with the mood, opinions and feelings of Turks in Macedonia. This is the main source of demand for this theatre and therefore is considered a turning point. In the Aliş theater describes Zeynep's sincere love with Aliş. Hüseyin Süleyman has included almost all the beauty of the Rumeli Turkish culture in his work. At the same time, a folklore compilers Hüseyin Süleyman, the whole his experience was able to demonstrate in this four-act musical theater. There are important elements related to Turkey oral culture, musicology, folk dances and traditions.
religious-mystical and magical beliefs, they are important in forming the first association of poem and
music in our culture. We have been able to carry this period, in which poem, music and dance
performed together, to the tenth century that is the century Turks begun to accept Islam. Islamic
religion begun to be dominant on Turkish culture and language life and this case interrupted the
tradition formed and the art performed by the artisans called as Shaman and Kam. As of this date,
increasing of work sharing and number of profession branches in Turkish communities put an end to
this collocation of poem, music and dance in ceremonies of Shamans and then of Kams afterwards
Islam. By leaving this association, poem and music created a particular form apart from dance. The
increasing dominance of Islamic religion among Turks has deepened this separation also in sense of
language. As from XI century, therefore, encomiasts grown by Arabic and Persian language and culture
began to take the places of Shamans, Kams and Ozans in the palaces of Ghaznavid and Seljuk.
Afterwards Islam, as from XIII century in particular, as a result of increasing number of sufistic
religious orders originating from Arabic and Persian, such as Mevlevîsm and Alevî-Bektashism, it is
seen that association of poem and music was dragged in a more different channel and continued.
Tradition of being a poet maintained by traditional folk speech and culture, gave its place to the
language of poem and music formed by religious-sufistic culture. While “Mevlevî Sema Ceremony”,
which appears again in accordance with Mevlevîsm morals, accompanies with the poem and music
came together in context of Mevlevîsm tradition; “Alevî-Bektashi Semah Ceremony” accompanies with
the poem and music in context of Alevî-Bektashi tradition. As from XVI century, as a result of
decreasing effects of sufistic movements; minstrels who perform their non-religious poems in companywith their instruments, has grown up in context of the tradition that we called as “Minstrelsy
Tradition”.
it had earned at every stage of history, in different places of the world, manages to move
eventually that its accumulation into Anatolia. Turkish culture Which progress and shows
itself together with former Turkish faith and beliefs as based on oral tradition in the Central
Asia, after meeting with Islam, this its wealth has not just leave the break. Today, in various
places of Anatolia, are exhibited on behalf of Islam, which many religious rituals, traditions
and customs as a matter of fact, traces of the old Turkish religion and belief will be seen how
much control. Old applications that present-day Islam under the influence of Turkish culture
in which the rate raises question marks remain. Such a study is discussed in terms of folklore,
the origin of people's material and spiritual culture references to make determinations about
the necessity of concrete has emerged.
years. This tradition existed before Islam, has continued to live then.
Therefore, nowadays, old-traditional healing practices continued to be
applied, contains marks of faith and beliefs of past. This tradition
executed by shamans and kams, in the ancient religion and tradition, is
maintained by religion men, big wives, folk healers and ocaks (that is a
kind of folk healer) in the new religion and culture around. Even though
present-day practices of healing tradition are reverse of modern medicine,
in this tradition there are also many practices overlapping with the
modern medicine. Folk healers of old tradition have benefited from nature
in order to make the drugs or heal patients. This situation has continued
unchanged in the new tradition as well. In addition to these, tradition of
a folk pharmacy has occurred because of use of various herbs and
animal products in making drug. This kind patient healing techniques
and drug making applications, have reached until now with the
traditional ways of transmission.
generation to generation have a changing structure within their own internal dynamism. In
this change, living conditions, as well as the effect of technology and mass media are also
available. One of the inevitable areas of variation is clothing, finery and dressing. This is a
natural process and in this process, the effect of fashion is intense. Differentiation of needs
has brought variation in clothing, finery and dressing. Bride costumes and all the cultural
elements in these dresses, place and regional differences in the line, has undergone change
over time. Determination of cultural foundations of bride dresses in use today is very
important in this regard.
and as cornerstone of our literature in on focused our study of Turkish family structure. In
general, It was questioned the important of the child. In particular, son was considered as a
son. Examined the importance of culture and children’s education the child and the child was
considered loaded meanings.
Turcology studies are also seen in the presentation
of these studies. The fact that nowadays the
internet technologies are being used effectively in
academic studies is an opportunity to remove the
barriers encountered in the presentation of
Turcology studies. Because, in this last stage the era
has come, internet technologies have the power to
solve many problems with the new methods to be
found. However, at this point, it would be wrong
to claim that today's scientists are using this
technology with all the possibilities. Especially the
journal systems that are open to access need to be
discussed again dealing with them in this logic. The
expression difficulties of Turcology encountered in
some areas such as folk literature, folklore and
dialect studies are thought to be resolved with the
reorganization of journal systems that are open to
access. In this context, our study is in the
characteristics of a new method. Thanks to the new
method we assert in our study, we think that the
matters in the field of Turcology that are extremely
difficult to explain and understand would be
illuminated. In this context, our study is a study
built on a new technical proposal as being a new
method and relevant. This study is a study that
would enable great facilities in the presentation of
the studies of other disciplines as in the
presentation of the studies performed in the field
of Turcology. Because of our study field as a
sample, we tried to reinforce the construct of the
study by making selections among the type, shapeand mode topics and the topics of folklore.
Moreover, new method proposal that we propose,
is also a suggestion will shed light on other
disciplines. On the health sciences, fine arts and
engineering sciences areas, we believe that a
functionalist will function.
"Aliş Theate" in Macedonia Turkish theater is a work marked the beginning of a new period for the Turkish theater. This theate generated by Hüseyin Süleyman under the name "Alişimin Kaşlari Kare", in May 1958, played by Turkish Drama Team of Skopje People's Theatre and has seen great interest. According to the previous theater this theater is a work that reflects more the Turkish people language, literature and folkloric features. In this theatre inspired by the story of a Rumeli folk song of the sixteenth century, the there are important cultural elements of the Balkan Turkish folklore. Aliş Theatre has been written in accordance with the mood, opinions and feelings of Turks in Macedonia. This is the main source of demand for this theatre and therefore is considered a turning point. In the Aliş theater describes Zeynep's sincere love with Aliş. Hüseyin Süleyman has included almost all the beauty of the Rumeli Turkish culture in his work. At the same time, a folklore compilers Hüseyin Süleyman, the whole his experience was able to demonstrate in this four-act musical theater. There are important elements related to Turkey oral culture, musicology, folk dances and traditions.
Koroghlu – Khan Nigar, Hasan Bey – Telli Khanum version of the Koroghlu, known as the Anatolian of the Koroghlu epics, is a version which frequently appears in the studies about Koroghlu. This version, subject to our study, is Sivas verison of the related branch in Koroghlu epic. The reason why we named this text as “Sivas Version” is that, it is based on the story of Koroghlu compiled from Aşık Recep Altay, registered in Güney Village of Sivas. We received this version with the guidance of Assoc.Prof.Dr. Şaban Doğan and from the Master’s Thesis that he presented in 2001 at Van Yüzüncü Yıl University, Institute of Social Sciences, Turkish Language and Literature Department, with title of “Sivas Centre District and Villages, Dialects (Introduction – Review – Texts)”. We first met in the text an element of the tale, The Tale is used as input to formal versus unique we have seen. The variant in our hand is a remarkable variant in the context of story and fairy tale motifs. The work we will use in our work and we will take our example is Ali Berat Alptekin's "Motif Structure of Folk Stories". Alptekin also included 18 Köroğlu variants in his work and summaries of some of the stories related to them. Thus, we have identified many motifs that we often see used in stories and tables. Alptekin has benefited from Stith Thompson's motif index in his work entitled "Motif Index of Folk-Literature". The motifs we often encounter in the masks and stories are also present in the text of ours. As far as Alptekin's work is concerned, we also use Stith Thompson's motif index in his "Motif Index of Folk-Literature" to determine and examine the fairy-tale motifs in his text. At the end of the study, we also received the transcript of the current variant in order to be able to make a comparison.
Sesler Journal is one of the leading journals of the Turkish periodicals in the Balkans. For the first time, on December 1965, Sesler Journal was published in Skopje as a monthly community and art Journal, and continued its adventure until 2001. Besides the contribution it made to the development of Balkan Turkish, Sesler Journal has played a significant role in the record and promotion of the Balkan Turkish folklore. Sesler Journal is a journal which has a unique importance where we can find the traditions of birth, marriage and death, faith and beliefs, the culture of clothing and ornamentation that reflect the folkloric accumulations of Balkan Turks as well as the oral tradition such as the stories, the legends, the manners, the songs, the proverbs and the idioms together. Despite this important mission that Sesler Journal has undertaken in Turkish National culture together with Turkish folklore, the absence of its complete issues in the libraries including the National Library in Turkey is unfortunately a big deficiency. Likewise, the insufficiency of the studies made in Turkey about Sesler Journal immediately attracts attention. For this reason, especially in terms of language, literature and folklore; the researchers turning to new studies on Sesler Journal and opening this written knowledge about Balkan Turkology to the service of scientific circles is a very important issue. In our present study, Sesler Journal will be handled in terms of these folkloric features and its place in Balkan Turkish folklore will be tried to be revealed.