THE PRODUCTION AND ARCHIVING OF THE EDUCATIONAL AUDIOVISUAL ETHNOGRAPHIC DANCE RECORDINGS (original) (raw)
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''ASSOCIATION FOR PROMOTING AND PROTECTING TURKISH FOLK DANCES'' ITS ACTIVITIES AND INFLUENCES
In the 1950s when many facts like the disappearance of traditional culture was realised, identifying Turkish Folk Dances repertory, the psychological and sociological gains offolk dances, and the need for folk dances to be brought together under an institutional roof became important issues. The Association for Promoting and Protecting Turkish Folk Dances appears to be one of the most serious attempts in the period when scientists dealing with folk culture and music discovered 'the realm oftraditional dance'. This essay focuses on the folk dance festival activities organised by the Yapr ve Kredi Bank's Association for the Promotion and Protection of Turkish Folk Dances. The reasons for the major change seen in the folk dance activities that spread rapidly from the cities to everywhere in Anatolia are identified using historical and comparative methods through the support of written and visual documents.
This study includes the first part of the results of the research titled "Examination of Literature on Turkish Folk Dances and Creating a Movement Notation Archive with Analysis Outputs" conducted within the scope of TUBITAK 2219 Post-Doctoral Research Fellowship Program. The research is designed to comprise three parts. The first part involves reviewing the archives of the Hungarian Academy of Sciences1, Research Center for Humanities, Institute for Musicology and existing literature regarding the subject, the second part involves notating the Turkish Folk Dances with Labanotation/Kinetography Laban, and the third part involves comparative analysis and interpretation of such dances notated in terms of Turkish-Hungarian Dance Folklore. This article includes the findings and determinations related to the research on Turkish Folk Dances in the film collections found in the archives of the Institute for Musicology, Research Center for Humanities. A Descriptive Survey Model has been used to obtain data. The information tags of the records found in the video archives have been examined, deciphered and corrected.
STAGING TRADITIONAL DANCES UNDER THE SOCIO-POLITICAL OPINION OF EARLY TURKISH REPUBLICAN ERA
During the foundation of the Turkish Republic, important factors affected the changing processes of traditional dance, which became a symbol to promote ‘racial continuity’. Because of the dominant nationalist trend of the era, the variety in the ‘indivisible national cultural source’ was defined according to a ‘union in diversity’ principle which was applied to the regional dance forms. Thus, the external elements were unified and adapted. The effect of modernization policies of the young Turkish Republic on the folk dances are examined. The political role which was provided for traditional folk dances is analysed in the light of the memoirs of Halil Oğultürk (1914–), the first officially appointed person to stage folk dances, using historical and comparative folkloristic approaches.
On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye
Musicologist, 2023
In the sources of dance history in Turkey, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the "other" determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as "the other" of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
In dance historical records, (re)naming of a dance from Artvin, Turkey as Atabarı is associated with a local dance event which occurred in 1936. This popular narrative has been reconstructed many times by different writers. In 2010, a new reconstruction of this narrative triggered a discussion among the dancers and musicians from Artvin. I make an intertextual and comparative analysis on different (re)constructions of this narrative. Exploring the similarities and contradictions, problematizing the gaps and silences in different accounts of dance historiography, I analyze the historical contexts in which those narratives have been constructed or reconstructed. Keywords: Turkey; narrative; historiography; Armenian; lyrics
Ethnomuse: Archiving folk music and dance culture
2009
The paper presents the development of EthnoMuse: multimedia digital library of Slovenian folk music and dance culture. The main scope of the project concerns the digitization of production and post-production processes that relate to collecting, documenting and archiving of folk heritage and development of multimedia applications for various content types (folk song, music and dance) and formats (image, audio, video,
On the Marginal Requisites: General Overview on the Popular Urban Dances in Turkey
DergiPark (Istanbul University), 2022
In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the "other" determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as "the other" of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
On the Marginal Requisites: Overview of Popular Urban Dances in Turkey
Musicologist: International journal of music studies, 2023
In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the "other" determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as "the other" of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
Women in Turkish Folk Dance and Music: A Case of Musical Gatherings
Journal of International Social Research, 2019
The environment of performance has a role as important in production, transfer and representation of oral cultural products as instruments, lyrics and performers. These environments, bearing the traces of their geography and social atmosphere, are so special that they become important determinants of the character of the dances that take place within them. The traditional musical gathering is one of the important performance environments of Turkish Folk music. In addition to it being an important determinant of oral cultural products in a wide area of our country, it also aims to put social rules into practice in a field of socialization. Stories are told, theatrical games are exhibited and folk dances are performed along with regional melodies in traditional musical gatherings referred to as "conversations", "meetings" as well as specific names that vary from place to place such as Ferfene, Yâren, Kürsübaşı, Sıra Gecesi, Barana etc. Traditional musical gatherings, which have occurred up through the present day and originated from Ahî Community (13th century) as it has been determined from sources, are male-dominant conversations. Women have no role in these gatherings. But, through the study of written sources and our field work, it has been determined that there are conversation environments, performance environments for which women gathered. In these gatherings, women appearing in the roles of instrument player, singer, actress, and dancer represent their region and reveal oral cultural products that are specific to women and local dances that are specific to the female body. At this point, we will answer the following questions with the support of visual and aural data that we obtained from field recordings; how do women representatives create a performance environment for themselves for musical gatherings? Do the performance environments they create fit with the traditional musical conversations of Turkish folk music? Do works sung by female representatives and the folk dances they perform in traditional musical conversations reflect their regions' traditional styles and forms? In addition, are there examples that reveal a women's style in these data? etc. In addition to written sources, we will answer the questions by supporting them with the visual and auditory data obtained from the records of the Ankara Club Association (Ankara Kulübü Derneği). While examining local music and describing forms of local dances of 21st century women representatives, we will try to identify women's status in their society and we will evaluate their representation of their form of art in their social environment by in terms of a cause and effect relationship. The scope of the research is related to the impact of the space (meetings with music, chatting environment) on women's execution of art. Questions that constitute the essentials of the research, are based on the assumption that the place of execution (space), where women are present, is closely related to the space theory and social gender coding. As the music is a means of body language in the study, it also appears as the executive of the environment where social gender roles are exhibited; and the women who perform exist as representatives of the tradititon in the performance area of the study.