WHAT A TEXT THAT TURNS FROM BALLAD TO FOLK SONG SUGGESTS: “ENEMY CANNON EXPLODES IN KARADAĞ”
ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN
Makale Bilgileri
| Makale Başlık | WHAT A TEXT THAT TURNS FROM BALLAD TO FOLK SONG SUGGESTS: “ENEMY CANNON EXPLODES IN KARADAĞ” |
| Makale Başlık İngilizce | WHAT A TEXT THAT TURNS FROM BALLAD TO FOLK SONG SUGGESTS: “ENEMY CANNON EXPLODES IN KARADAĞ” |
| Cilt / Sayı | Cilt: 12 / Sayı: 1 |
| Yazar | Süleyman FİDAN |
| Makale Dili | Türkçe |
| DOI |
Özet Türkçe
In addition to its artistic value in terms of structure and content, texts formed in an oral culture environment are also to record individual and social events. Particularly verse types are one of the forms of recording of verbal memory. In this framework, folk literature texts in the tradition of minstrelsy in Turkish cultural history reveal important data in order to understand and interpret the past. One of them is the type of ballad. In the minstrel tradition of poetry, the ballad is a genre created around an event or subject that concerns society and performed with traditional melodies. The ballads, which are generally sung in the form of kosma verse, are the longest genre of minstrel poetry and are shaped around an event. These texts can also be read as oral history text. In this context, the text of the folk song entitled “The Enemy Cannon Explode in Karadağ” is a ballad that was said to increase the motivation of the soldier by Bardızlı Âşık Nihanî, a minstrel who participated in the National Struggle. After the 93 War (1877-1878), Kars was left to the Russians with Ardahan and Batumi and remained in the hands of the Russians and the Armenian gangs they placed for more than forty years. The troops led by Deli Halit Pasha turned to Kars, which was left to the Armenian gangs by the Russians after the Bolshevik Revolution after Erzurum and Artvin were cleared of the gangs. This epical folk poem, also known as Nihanî's “Vurun Aslanlarım”, “Vurun Evlatlarım”, was sung at the closing of the minstrel chapters, entered in the repertory records, became folk song over time and started to be sung in radio television programs. In the becoming folk song process, different interventions such as changing the words, removing some names, especially shortening are observed. In this study, the determined variants of the work will be compared, the reasons for changing will be discussed, and contextual interpretations based on oral history will be made. In addition, the effect of interventions on the text will be evaluated by addressing the verbal memory of people and places such as Kars and its affiliated places, Âşık Nihanî, Deli Halit Pasha, enemy gangsters / commanders and ensuring memory transfer via folk songs.
Özet İngilizce
In addition to its artistic value in terms of structure and content, texts formed in an oral culture environment are also to record individual and social events. Particularly verse types are one of the forms of recording of verbal memory. In this framework, folk literature texts in the tradition of minstrelsy in Turkish cultural history reveal important data in order to understand and interpret the past. One of them is the type of ballad. In the minstrel tradition of poetry, the ballad is a genre created around an event or subject that concerns society and performed with traditional melodies. The ballads, which are generally sung in the form of kosma verse, are the longest genre of minstrel poetry and are shaped around an event. These texts can also be read as oral history text. In this context, the text of the folk song entitled “The Enemy Cannon Explode in Karadağ” is a ballad that was said to increase the motivation of the soldier by Bardızlı Âşık Nihanî, a minstrel who participated in the National Struggle. After the 93 War (1877-1878), Kars was left to the Russians with Ardahan and Batumi and remained in the hands of the Russians and the Armenian gangs they placed for more than forty years. The troops led by Deli Halit Pasha turned to Kars, which was left to the Armenian gangs by the Russians after the Bolshevik Revolution after Erzurum and Artvin were cleared of the gangs. This epical folk poem, also known as Nihanî's “Vurun Aslanlarım”, “Vurun Evlatlarım”, was sung at the closing of the minstrel chapters, entered in the repertory records, became folk song over time and started to be sung in radio television programs. In the becoming folk song process, different interventions such as changing the words, removing some names, especially shortening are observed. In this study, the determined variants of the work will be compared, the reasons for changing will be discussed, and contextual interpretations based on oral history will be made. In addition, the effect of interventions on the text will be evaluated by addressing the verbal memory of people and places such as Kars and its affiliated places, Âşık Nihanî, Deli Halit Pasha, enemy gangsters / commanders and ensuring memory transfer via folk songs.
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