The dance is hierarchic, with a group of companions performing it while wearing a particular decorative costume and a typical headdress.[2] A Zeybek band has a leader called efe; the inexperienced young men were called kzans. The term efe is presumably the survivor of the Greek word ephebos.[2]
In addition, information about the similarities of the Pecheneg costume with the Zeybek-Seymen costume, as determined in the Byzantine chronicles, Claude Cahen explained this case in his article titled Battle of Manzikert According to Islamic sources, with the statements that the clothes of the paid Pecheneg soldiers under the command of Alyatte, one of the Byzantine commanders, could not be distinguished from their cognates on the opposite front. According to some historians, Pecheneg culture has a great influence on Zeybek-Seymen culture.[5][6]
Zeybek Dance Mp3 Indir
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*A Living dance is a 1st Generation dance that is still performed in the country of origin (or immigrant communities) as part of a social event like a wedding where others can participate (not for an audience) by people who learned the dance informally (from friends and relatives by observation and imitation, not in a classroom situation). For more information, click here and here.
Taking the formation of a long line that curves into a semi- or full circle, there is no limit to the number of people who can join in. Each dancer must intertwine their hand or finger with the individuals on either side, before moving round anti-clockwise with certain steps in time to the music.
While the zurna pipe has been an essential part of the Halay since the 14th century, the davul drum goes much further back. Prehistoric cave paintings found across modern-day Turkey, Azerbaijan, Kazakhstan and Kyrgyzstan, for example, depict figures dancing in Halay formation with a drum. As a result, the davul drum still takes centre stage.
The Horon is the favoured dance for those in the northern Black Sea region of Turkey. Considered a much-cherished tradition, the dance was added to the Unesco Intangible Cultural Heritage list in 2021.
Accompanied by either a small stringed instrument known as a kemence, or a form of bag-pipe called a tulum, the dance is made up of three sections with participants once again interlocking hands. To help dancers segue into each phase easily, the leader of the Horon shouts commands signalling change.
For those not convinced by either argument, there is also a Turkish origin of the word: horom, the word for a stook of corn. Just as the corn is tied tightly in a ring, they say, so is the Horon danced in a ring formation.
In the west of Turkey, the Zeybek reigns. Choreographed to represent strength and heroism, this dance is very different to the Halay or Horon. With no interlinking of the hands, each individual dancer stands alone.
Women started to join in the dance in 1916, when a physical education teacher, Selim Sirri Tarcan, known as "Sari Zeybek", tweaked the existing dance moves to instead symbolise and represent the love between a man and a woman.
In 1925, Tarcan performed this dance with a student at a conference attended by then Turkish President Mustafa Kemal Ataturk. Having enjoyed the dance, it is said that Ataturk stated that the Zeybek should take place in social salons with women.
Zeybek Dances, a dance of western Anatolia or its music, appear to our minds whenever Western Anatolian Folk Dances especially of Izmir province, Aydin province, Denizli province, Balikesir and Mugla provinces are told.
In Izmir, Zeybek Dances that are to be danced whether single or with a group, display the Efe's and Zeybek's self-assurances, mainly braveness and their challenges. The Zeybek's who show braveness and honestly with all their excitement are a symbol of dignity and valor.
The musical instruments that are used in Zeybek dances are clarinet and drum in the open areas, baglama (a plucked instrument with 3 double strings and a long neck) is used in the closed areas. The double clarinet is traditional while the first clarinet plays the melody the other one accompanies it.
Efe wear a reddish helmet which is made of broadcloth and this helmet called "Kabalak". Efe tie "Posu" that the young girls embroidered around their helmets. The blue shalwar (baggy trousers) that Efe wear are called "asir Menevrek". These shalwars' length extends to the knee-caps and they are open in both winter and summer. The flank side of these "asir Menevreks" are black-silk caftan (robe). They wear the tassels that is called "Koza" and they are long. This tassel must be 100 drachma (400th part of an okka). If the jackets that the Efe wear have sleeves, this type is called "Cepken" and if not, then it is called "amadan". These are made of blue or dark-blue broad-cloth and they are embroidered with the black-silk caftan with various motifs and Zeybeks wear silver-thread cepkens. The mintan with thin round disks and without color is called "Alakye", is worn to the waist and leather weapon case which is tied to it. In this weapon case "Kulakli Yatagan Knife" takes place.
Besides a handkerchief a silver tobacco case, an amber cigarette holder and two okkas of clean wool-shorn is used in case of an injury and from flank side of the weapon-case, an iron stick that is called "mese" leans over. He uses his knife to sharpen this Pala or to defend himself in case of a confrontation against agony. Two Efe never shoot each other, because this signifies "cowardness".
Efe wear "Pazubent" that is covered with silver to their arms, an "enam" and a silver "hamay" lean over on their breasts. Pazubent is worn from the childhood to the end of life. Efe's weapons are silver repose work that is embroidered with a silver repose. They wear cross-cartridges called "Karlilik" on their breasts. The embroidered boots that Efe wear are called "Kayalik" only Efe wear them. Zeybeks and infants wear "ariksi" (slippers). Both in winter and summer the wool socks are worn and knee-pad that is called "Kepmen" are worn on it. The daggers which are put "Kepmen" are used in dances. Efe and Zeybek are distinguished from each other with the difference in their mintans; Efe's mintans are not buttoned up, their breasts are seen.
Some differences are seen in their figures of walking, turning, rising, knee-downing and holding up their arms (the walking with or without ricochets) and turnings in the Zeybek plays display Zeybek's self-assurance, honesty, braveness and challenging.
Historical and topographical research has clearly shown that
both Dionysiac-Pyrrhic and Zeybek dances and music developed in the same
region, namely Aegean Turkey. This is not a coincidence, but it reflects the
survival of an age-old Anatolian Dionysiac/Pyrrhic tradition throughout the
centuries to the present day, and remains alive in the form of Zeybek and Bengi
folklore. A process of amalgamation-syncretisation united had been able to
unite the ancient local Dionysiac traditions with the customs and beliefs of a
Turkish Heterodox Islamic Qalandaria Order in order to give birth to a new
Anatolian synthesis which has Islamic, ethnic and patriotic features. In the Zeybek tradition the costumes, accessories,
head dresses, hairstyle, everything related to design, reflects a strongly
hierarchic order. The life of Zeybeks was much related to mountains, rebellion,
heroism, initiation rituals, music and dance. Apparently, the reason for its
persistence was not only the mere maintenance of traditional or habitual
behaviour or national pride. Simply put, the cult of Dionysos and the Pyrrhic
war dance traditions of Western Anatolia provided the basis for a new synthesis
of different cultures, for example by adding into it the legends of St. George,
the Qalandaria and Khizr. Zeybeks won an accepted place in society after their
great role in the Liberation War of 1922 and are recognized as a heroic
folkloric group with a special dance, music and costumes.
Ahmet Adnan Saygun said; There is no difference between excavating the ground to reveal an ancient monument and compiling folklore traditions or music. To arrive at broad conclusions; neither the one nor the other should be neglected.
In Anatolia, which has been home to the Hittites, Phrygians, Lydians, Urartians, and many more people and empires, music, folk dance, and folklore costumes are the repositories of a long and rich cultural legacy. Muzaffer Sarisozen, who devoted much of his life to studying folk dances and their music, used to say that the music and dancing themselves are their historical sources. He observed that striking the knees is the movement most widespread in Turkish dances, occurring in many different types, including spoon dancing. Often the move follows agile leaps. In dances of the bar and halay types where each dancer sweep forward and then in an instant drop-down and slap their knees, the staccato sound is exhilarating to hear.
In the zeybek dances, with their swashbuckling mood of adventure appropriate to the bandits who performed them, each dancer suddenly strikes their knees with a vigor which sets the heart racing. The famous bar dancings of Erzurum begin with a series of foot and arm movements executed at walking pace, then the line of dancers leap and crouch before pulling back. This is repeated at least three times in each bar.
In some cases, the common threads which run through the dancing can be attributed to the Central Asian Turkish Legacy and in others to ancient Anatolian pagan rituals whose sacred character has long since been forgotten, but which continue to express a communal exuberance and joy. The origins of some dances probably lie in historical events that came to be dramatized in the abstract forms of dancing. Dances that developed at a later date often have clearer origins, representing what must have been real stories of lovers or heroes who captured the popular imagination. The Abdurrahman Halay of Sivas is an example of the latter, its movements acting out a drama of heroism unrecorded in history. We can discover neither the identity of Abdurrahman nor the time when he lived, quite apart from the details of his story. 152ee80cbc
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