Traditional Folk Dances of Our Provinces (Mixed Event)

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Traditional Folk Dances of Our Provinces (Mixed Event)

AYŞE ARSLAN

KÜBRA DİNLEMEZ

ESKİŞEHİR FOLK DANCES

Folk dances of the Eskişehir region show different characters due to the settlement phases, the structure of the local people and the geographical location. When compared as a genre, men’s and women’s dances have different characteristics. Men’s dances are dances that feature the “Kaşıklı Zeybek” type. Women’s dances are “Welcoming with Spoon” type dances. Among women’s dances, the dances performed under the name zeybek do not bear the characteristics of the genre. For example, very few circles are made in dances. Dancers often perform opposite each other.

I general, the folk dances of the Eskişehir region are influenced by zeybek and spoon dances. In other words, local dances show a transition from east to west and from south to north. Although the restrictive effect of the union of men and women on the dances of the Anatolian people due to the influence of Islam is not seen much, this influence can be clearly seen in the Eskişehir region. It is seen that men and women dance separately in all dances compiled to date in the Eskişehir region. In contrast to the similarity in music, there is no similarity in dance practices. Although there are differences in women’s dances in general, there are influences from each other. The characteristics of the geographical location cannot be denied in this influence. For example, the game “I Have Yogurt” is played today with different variants in Afyon, Kütahya and Bilecik, and can also be played by men in Bilecik and its surroundings.

In men’s dances, although the general genre features are zeybek, it is not possible to identify different period characteristics as in women’s dances. Due to their geographical location, it can be said that Kütahya and Bilecik regions are affected. The reason for this is that women’s dances are not open to influence and change due to the nature of women in a closed society. In men’s dances, this influence and change may be faster and more obvious.

WOMEN’S DANCES: Eskişehir region’s women’s dances are “Mutual Welcoming” type dances. All local dances are folk songs. Women singing folk songs participate in dances with tambourines with or without cymbals. These dances are still performed in villages and old residential neighborhoods of the city today, although they vary in form. Among these dances, the dance called “Kırka Kadın Zeybeği” is as follows. It is played with the rhythm of (3.2.2.). It is played in a circle facing each other and by rotating around oneself. Shoulder taps are also used in dance. In the region, the dance is also defined as “Yörük walk”. Repeated corner turns on the left foot are the unique aspect of the dance.

THEY ROAST THE COFFEE

It is played by two or four people facing each other. Arms are bent, hands are held at shoulder level. The spoon is played with a slightly curved arm movement from right to left. It is played by throwing the left foot behind the left diagonal, bringing the right foot next to it, and then taking a step forward with the right step and bouncing. The straight step of the game is performed with constantly repeated movements of the feet and arms in a coordinated manner. Mutual displacement and rotation movements are the result of the traditional choreography of the game. The game consists of step sections called straight, reciprocal passing, turning in place and crawling. 9-time music is kept up with 2-time tab steps. It is a fun and agile folk song dance. The game emphasis is towards the ground. The center of gravity moves back and forth between the two feet. Generally speaking, it is built on the right foot.

They throw away without drinking
The custom of our village
They separate without loving
Come on my half, what should we do, what should we do?
Your beautiful tomorrow should fulfill your heart
frothy coffee
sparkling oak
My woman, oh my goodness
Palaces are precious
Come on my half, what should we do, what should we do?
My beautiful half should show her heart
I drank coffee, my hand burned and I spilled it, burning my tongue.
I have only one rosebud left in that druid’s daughter.
Come on my half, what should we do, what should we do?
My beautiful half should show her heart

I MADE FOUNTAINS BUILT
It was compiled by Gürsel Yaktıl in Kırka subdistrict of Seyitgazi district of Eskişehir. It is played with 2, 4 or 6 people. It is a ballad dance. It consists of three parts: straight walking, hopping, and turning with foot removal. It starts with walking forward with the left foot. Straight steps are performed by walking forward and backward. Walk forward straight and come back at a 45 degree angle. In the second step, the right-based hop is made and the foot is removed at the end of the step. You turn with a hop step, and at the end of the turn, your foot is taken out to the side of the body. In the dance, the spoon is played by swinging the arms in front of the body, moving left and right and up. Walking but not exaggerated swinging movements are applied (Koçkar, 1999: 64).

I had fountains made with golden flutes
I drained the water, it was full of fish
I loved a guy and he was a sweetheart too
Leave your little boy and I’ll take you away
Come on, my half, come on, I don’t eat people
I won’t tell you to be half of your hands.
A great rabbit on top of the mighty mountain
It’s read, it doesn’t happen at noon, it doesn’t happen in the evening
Give me my horse so I can wander around the mountain
I can reach the heart behind the mountains
Come on, my half, come on, I don’t eat people
I wouldn’t tell you to be half of your hands.

KARAKUŞ
It was compiled by Alaaddin Zengin in 1983 in Dinek village of Eskişehir Sivrihisar District. In the dance, which has very different characteristics apart from all the compiled dances, the leaps, twists and turns and collapses continue until the end of the dance. There is no walking at all. It has a 2+2+2+3 beat rhythm feature. It has been observed that the dance is also performed by men in the region (Koçkar, 1999: 66). It is similar to the game forms seen in Turkmen settlements, generally imitating an animal. It begins nine-time music with a lame tab step. It has steps that bounce and collapse on the right and left feet. It is a very difficult and effortful dance. The dance is performed by 2, 4 or more people in circle form. Men’s steps are bigger and showier. Women take smaller steps than men (Koçkar, 1999: 66).

In the first part of the dance, there is a wandering and walking that can be called preparation for the dance. When entering the dance, bouncing collapse and turning figures are performed. The most characteristic feature of the dance is the jumping step, kneeling on the right foot and turning.

My gara bird is in the air
Their babies are in the nest in the nest
Girls are gay, they are jealous, they are jealous
Frying pan with rattlesnake
Starling starlings in gardens
Your girl hair is squishy and squishy.
Little one who loves you
If it’s like this, if it’s not like that
You open the door to the port, you open it
You smell like musk and ambergris.
What do I love, you run away, you run away
If it’s like this, if it’s not like this

HANDYKEY “THE HANDER IN YOUR HAND”
Compiled by Ayten Uludemir from Alpagut village of Eskişehir Sarıcakaya district. It is played with a 2+2+2+3 rhythm and a single spoon stroke. The dance does not have a clear founding story. In the dance, the dancers continue the dance in a row after rotating in a circle. Hip and shoulder movements are limited in shoulder strikes. The play ballad was compiled by Muammer Uludemir in 1968 (Koçkar, 1999: 61).

In the 6 beats of the nine-time step, the right base bounces on the ground. It has a quarter-turn structure from right to left. The pose of the dance is given in the last 3 timed parts. In the “li li” section of the melody, the spoon is played with the arms bent in front of the body, then at the end, the left arm moves to the up and the right arm down position, returning to the starting pose. The dancers walk in mutual rhythm, approaching each other and moving away again. This step is called greeting in the region. As the last step, the dancers approach each other in the 6th time of the 9th time music and finish the dance by hitting shoulder to shoulder in the trilogy section.

Yuğdur is my favorite Yuğdır
Whoever the heart loves
She is the beauty of the world

bud of woolen socks
My half is an actor
Half wants a tissue
It is my duty to give

My handkerchief is in ringlets
I fell into foreign lands
I wore out seven handkerchiefs
wipe away the tears

I planted a vegetable garden
The black stork haunted
Stork, may you be blind
A house to be

Above the big door
My handkerchief fell into the water
While I’m taking my tissue
My heart fell for the beautiful

LANDING STREAKS
It was compiled by Alaattin Zengin in 1983 in Dinek village of Eskişehir Sivrihisar district. It is a ballad dance. It is played by playing spoons in front of the body, with arms bent at the elbows and hands at shoulder level. It is a reciprocal and transitional dance performed by 2, 4 or 6 people. It is played by pulling the arms from top to bottom according to the dance rhythm. It is performed by jumping on the right foot and generally transferring the body’s center of gravity to the right and left feet. In the lyric parts of the music, turns are made from right and left. It is played in closed areas during women’s entertainment and henna nights.

I landed, did you think the streams were vast?
Did you think you were a match for the tasseled branch, I got burned
Go away, go among the forest
Damn your insufferable hands, I got burned
Go away to the old dormitories I’ll shake my troubles to the green grass, I’m burned
My sides are no longer going away
My eyes lost sight of crying, I was burned

HANDYKEY “THE HANDER IN YOUR HAND”
Compiled by Ayten Uludemir from Alpagut village of Eskişehir Sarıcakaya district. It is played with a 2+2+2+3 rhythm and a single spoon stroke. The dance does not have a clear founding story. In the dance, the dancers continue the dance in a row after rotating in a circle. Hip and shoulder movements are limited in shoulder strikes. The play ballad was compiled by Muammer Uludemir in 1968 (Koçkar, 1999: 61).

In the 6 beats of the nine-time step, the right base bounces on the ground. It has a quarter-turn structure from right to left. The pose of the dance is given in the last 3 timed parts. In the “li li” section of the melody, the spoon is played with the arms bent in front of the body, then at the end, the left arm moves to the up and the right arm down position, returning to the starting pose. The dancers walk in mutual rhythm, approaching each other and moving away again. This step is called greeting in the region. As the last step, the dancers approach each other in the 6th time of the 9th time music and finish the dance by hitting shoulder to shoulder in the trilogy section.

handkerchief in hand
Yuğdur is my favorite Yuğdır
Whoever the heart loves
She is the beauty of the world

bud of woolen socks
My half is an actor
Half wants a tissue
It is my duty to give

My handkerchief is in ringlets
I fell into foreign lands
I wore out seven handkerchiefs
wipe away the tears

I planted a vegetable garden
The black stork haunted
Stork, may you be blind
A house to be

Above the big door
My handkerchief fell into the water
While I’m taking my tissue
My heart fell for the beautiful

MEN’S DANCES:

Eskişehir region’s men’s dances are “Spoon Zeybek” type dances. There are clear influences from zeybeks and spoon dances. Back and knee tapping are the most distinctive features of local dances. Spoon strokes are lame and strong. So much so that those who play well in the region are called “Spooncrackers”. Hitting and even breaking spoons has become a prerequisite for playing well. The dances are slower in the regions where the old settlement occurred (İnönü), whereas the dances are more active in Seyitgazi and Kırka. In addition to those with folk songs, there are also those performed without folk songs. Those with folk songs are usually played with baglama accompaniment, while those without folk songs are played outdoors with drum-zurna or drum-clarinet. Dances symbolize bravery and heroism. One of these dances, ring candy, is performed as follows: It has a 2.2 rhythm. It is a flexible and active dance specific to the region. Its main features are walking quickly back and forth and turning the heel by stepping on the toe of the right foot. The folk song lyrics of the dance taken from Sold Kılınç are as follows: Halkalı candy, damask pistachio Oh barley, gargle If you love me Oh come and take the dowry, set out on the road Halkalı candy attracts longing Don’t be too swaying, my beloved is ignorant, my mind goes away I’m a household in this place Oh, the wind blows, I’m a moth Go and tell that lover Oh, I’m crazy about my troubles Ringed candy is a longing candy. Don’t move too much, I’m ignorant, I’m losing my mind. Galabak streams are spreading. Oh, the camels are spreading too. They’re playing with their gusts. Oh, those gurka ladies.

HE ALSO GAVE GALKI (ATATURK ZEYBEGI)

“It is a dance compiled by Anadolu University Folklore Research Center from Eskişehir İnönü and its villages. The dance, which consists of two separate parts, is played in two different measures. The first part is played with a 9/8 rhythm of 2+2+2+3, the second part is played with a 7/8 rhythm of 2+2+3, and with movement changes, it returns to the first rhythm. Back-to-back arches, kneeling and swinging are distinctive features of the dance. The dance is performed by two or multiple people” (Koçkar, 1999: 84).

The dance, for which folk song lyrics from Süleyman Karavelioğlu were compiled by M. Tekin Koçkar in 1982, is the dance closest to the Zeybek attitude and stance. The dance resembles the slow zeybek form in terms of the weight of the movements, the rhythm and the measures of the music. In the dance, there are sections such as strolling, walking straight, swinging, hosting, jumping and collapsing. It is also known locally as “İnönü Zeybeği”. It is a unique dance with its spoon playing and attitude.

The dance begins with the left foot, with the fast part of the music. Walk counterclockwise in a circle form. You can make a straight step by pressing left and pulling right, and then pressing left and pulling right again. The spoon is played by opening the arms to both sides in front. At the end of the step, the playing is finished with an inward throwing movement. In the hospitality section, the left foot is thrown, the right foot is lifted, then the right foot is pressed to the ground and the body weight is transferred to the right and left feet. In the step where two dancers arch back to back, the dancers play spoons with upward arm movements. Then, take a step with the left foot and kneel down with a double bounce. The right knee and then the left knee touch the ground and stand up. The dance returns to the fast part of the music and ends with the straight step at the beginning.

He cried out, oh my martini’s joy
Will your zeybeks be ruined, my dear, hey
The goal of killing Osman Bey, oh my God!
I couldn’t wake up from a deep sleep hey
Ince and Memet will come down safely and come down from the landing.
You can’t see all parts of it, my dear, it’s made of silver.
My half will come now from the fight
I couldn’t wake up from a deep sleep hey

ESKİŞEHİR ZEYBEGI

The dance is a dance compiled by Anadolu University Folklore Research Center from Eskişehir center and villages. It is the most common among the local dances. It is played with two or multiples of people. The dance, which has many variants in the region, is performed with a 9/8 rhythm of 3+2+2+2 beats. It is an indispensable dance for entertainments, weddings and military send-offs. Apart from the traditional forms such as straight stepping (racing or belly throwing), trembling, shoulder tapping, folk dance instructors today apply straight walking, diagonal stepping, shoulder tapping and squatting in their arrangements.

It is estimated that the historical process of the dance is very old. The music is very similar to a zeybekikos dance performed on the Greek islands (URL-17). An example note is given below. This similarity can be considered as evidence of the prevalence of spoon and zeybek dances throughout the Greek islands throughout history.

The dance completes the nine-time music by bringing the left foot forward and then walking. Meanwhile, the arms are above shoulder level and the spoon is played with the hands in front. The arm is raised at the beginning of each step, first to the right and then to the left, and is lowered again at the end of the movement. You are guided by the most experienced person in the dance and move on to the second step. This step is traditionally performed as belly thrusting and body shaking, but it is not seen in regular teams today. In the walking part of the straight step, a step called diagonal or foot crossing is made by passing the other step from behind in response to the step taken inwards, that is, to the center of the circle. At the end of the steps, the spoon is thrown forward hard and played. In the dance that rotates counterclockwise in a circle form, a kneeling is performed by moving the foot and knee to the ground at the same time, called double feet, which is generally seen in all zeybek and spoon dances, towards the direction of the circle.

In the dance, pairings are made and the couples facing each other pass and come back to back at the end of the step. The arms swing in an arc from top to bottom, and at the end, a hard lunge is made, shoulder to shoulder. After this rhythmic fight, the partners separate again and change places. The step is started again and repeated. As a result, the dancers return to their previous positions after performing two shoulder taps. Shoulder tapping can be done while standing, or the same step can be done while kneeling. The dance returns to the straight step and is finished.

Variants of the step structure and music with minor changes have been found in the region. These variants can be perceived as diversity between districts and villages. There are places where difficult steps are performed or not performed, depending on the age and physical condition of the people performing the dance. It’s just a dance with music.

It is a dance compiled by Anadolu University Folklore Research Center in Kırka Sub-district of Seyitgazi District of Eskişehir Province. It is played with music without words. It is played in 9/8 rhythm with 2+2+2+3 rhythm. The general character of the dance is similar to Eskişehir Zeybeği. The dance, which has variants of its music and dance steps, is performed by two or multiples of people.

The dance begins with the wandering part. The dancers, who walk in a circular form within the area, walk to perceive the music and rhythm. This walking is an attitude known as “wandering” in zeybek dances. The dance begins with a straight step, with the left foot thrown forward and the right foot rising slightly. The spoon is played by raising the arms in front of the body above shoulder level. Spoon playing is shaped according to the talent of the dancer. At the end of the step, the arms are lowered to the right and left sides, next to the body, with a hard spoon stroke. While the left foot is taken forward and the right foot is started to walk, the right foot is thrown in and the left foot is passed behind the back to make a diagonal step. The end of the step is done towards the center of the circle. Although the dance moves in the direction of the circle, all endings are in the circle.

The step in which the straight step is made by entering and exiting the circle is called the “inside-outside” step. After the first figure of the step is made, the turning step is made by turning out of the circle and back into the circle from the right side. The dance moves counterclockwise in the direction of the circle and is also performed with moves in the opposite direction in some of its steps. Paired dancers break the circle form and become two rows. They pass each other, kneel down and hit each other hard with their spoons. It is important to hit the knees and hit the handles of the spoons against each other at the same time. After this step, the circle form is returned. After the straight steps are done again, they are matched again. Although the matching is usually made by the same people, this is not necessary. After mutual straight steps, two big steps are taken and a lunge is made towards the partner. At the end of these moves, in the third step, the feet touch and come back with big steps again. Again, the dancers approach each other with big steps, this time they touch each other knee to knee and open back again.

The dancers facing each other turn left and right, play spoons and throw arms. After these steps, the dance returns to the circle form. After a few straight steps, the paired dancers meet again, this time shoulder to shoulder. The dance usually ends by turning towards the audience and repeating the kneeling step. Similar to other zeybek dances, the dance has a unique ending. Dancers take a step as if they were starting a straight step, and at the end of the movement, the right hand is placed above the head, the left hand is behind the body, on the waist, the left foot is raised and the knees are bent. Its common performance and variants are given below.

Spinning, opening and closing, knee strikes, arm pulls, arm rotations and ricochets are dominant in the games. They are games performed “collectively” with harmonious movements that create joy and fun. Although the attitudes of Balıkesir Region games vary depending on the game, they have many common aspects. In the region, short movements are generally an expression of liveliness and joy, while slow, wavy movements are an expression of sadness. The games reflect the character of the local people and their sense of beauty and standards.

NEVŞEHİR FOLK DANCES

WELCOME:

Hoşbilezik is actually very famous as one of the Erzurum bars. In the game, the hands grasp the shoulders directly. (As in Heynare bar). Movements start from the right foot and end on the left. It is one of the bars that offers variety in sitting and walking movements.
Gold ring, pretty bracelet, gentle sleep on the arm!
I left my lover, shame on me too!
In Nevşehir, Hoşbilezik is played by at least two people lined up side by side. The leader has a handkerchief in his right hand. Each figure is executed in four measures of the piece.

LEBLEBİCİ:

It is a game played by Şakir ŞEN, known as ARAP ŞAKİR, who is referred to as the father of folk dances in the Anamur region and is the main source from which the games are compiled. The game is for single player. It was performed at weddings and celebrations to make the audience laugh. The player plays the game by taking the cap in his hand or the hat or cap on his head, and incorporating various facial expressions, according to the words in the game.

AĞIRLAMA

The selection of actors for Halays, which are traditionally a source of enthusiasm for weddings, holidays and other meeting days, is handled with a very polite and sincere management habit. When the halay moment comes in any meeting, the musical group is first asked to “perform a halay”. The offer is made to the instrumentalists by either the host or the chief administrator of the meeting. If the meeting is in the nature of a wedding, the “wedding steward” requests this. No one can give orders randomly, because drums, zurna or saz also have their own honor and dignity.

THREE LEGS

In the Nevşehir region style, the number of players varies between 5-10 people, and the players raise their arms at shoulder level and hold them with their little fingers. Bowing figures are performed by taking one step to the right with the right foot and two steps back with the left foot. The play, in which the team leader carries a handkerchief, is completed in eight measures.

THREE LEGS

In the Nevşehir region style, the number of players varies between 5-10 people, and the players raise their arms at shoulder level and hold them with their little fingers. Bowing figures are performed by taking one step to the right with the right foot and two steps back with the left foot. The play, in which the team leader carries a handkerchief, is completed in eight measures.

ALGERIA GAME

Algeria was annexed to the Ottoman Empire by Barbaros Hayrettin Pasha in the Battle of Ridaniye in 1517 and remained under Ottoman protection for 300 years. It is thought that the Algerian airs are laments made for the many martyrs suffered by Turkish soldiers during the occupation of Algeria by the French between 1827 and 1830. The laments of these common pains experienced in different regions of Anatolia were put into melodies. The fact that there is a march called “Algerian March” in the Mehter music repertoire from the 1800s to the present day shows that this melody is widespread in traditional life and musical culture. In the traditional life of Bursa, henna is sung accompanied by “copper” and “spoon” rhythms when henna is applied in rituals such as weddings and when the bride is received. The rhythm is slow and lame, the bride dances to Algerian melodies at almost every henna ceremony, and women play the Algerian dance accompanied by Algerian folk songs by playing spoons and coppers in the parties they organize among themselves. Algerian air is played as long and broken air. “Algerian Air” and “Algerian Game” folk dances are widely performed in Keles, Orhaneli, Harmancık and Büyükorhan districts.

The ball is thrown from goal to goal
It lasts months and days because of its violence
Koç braves are sold abroad
Algeria with marble stone streets
The harvests of Algeria are blown away
It swings and falls on my left side
Yellow wheat is separated from the chaff
Algeria with marble stone streets
Algerian beauties with sable hair
Rotten wood does not last ships.
The brave men are overtaken by heedlessness and will not wake up
Oh my God, people can’t stand this.
Algeria with marble stone streets
The beauties are Algeria with sable hair.