Ankara Seymen Oyunlarının Davul Üzerindeki Ritmik Vurguları

Abstract

Bu araştırmada, davul-zurna ile çalınan seymen oyunlarının davul üzerindeki ritmik vurgularının ortaya çıkarılmasına çalışılmıştır. Bunun yanında oyunlar hakkında kısa bilgiler verilmiş, zeybekler yanında düz seymen oyunlarına da değinilmiştir. Konunun orjinalitesine ulaşabilmek için oyunları çalan zurna icracısı Metin Öge'ye ulaşılmış ve beraber kayıtları Ankara'da yapılmıştır. Ayrıca konuyla ilgili bilgilerde alınmıştır. Oyunun ayrılmaz bir parçası olan kostüm konusuna girilmiş, bu konuyla ilgili kaynaklardan kostüm ve aksesuarlar hakkında bilgiler sunulmuştur. Ayrıca seymenlik konusuna da değinilerek, başlangıç itibariyle bu konu hakkında kısa açıklayıcı bilgilere değinilmiştir. Olayı somutlaştırmak içinde Kültür Bakanlığı'ndan ve 1985 yılında yapılan bir yarışma video bantından kopyalar alınmış ve tez ile birlikte sunulmuştur.

At the beginnig of this study some brief information has been given about ANKARA, which is the region that subject to this research. At this section has been mentioned about the origin of Ankara name, Ankara's history and geography, Ankara before/ after Turkish soverinity, being capital city of Turkey, Ankara in the years of Turkish war of independence, Socio-Economic structure, cultural chancings..etc. After that some explanatory information has been given about SEYMENs whom specifies Ankara folkore culture. EFE (EFELİK) figuratively means to hero, brave manly and fighter person. EFEs are avoid themselves to do harm and love to do kindness. EFEs in the southern Anatolian called as ZEYBEK. In the middle Anatolian especially in/around Ankara EFEs are called as SEYMEN wich means to braveheart and horseman. Also at this section, it has been explained about the regions which seymen are common folkloric appearings. Especially Safranbolu and Ankara told. Vlll In SEYMENs' groups main dance is "ZEYBEK DANCE". On account of this we can say ZEYBEK and SEYMENs come through the same culture source and there is very close relations with each other. SEYMENs were making a kind of ceremony called "SEYMEN ALAYI" during the days of national disasters, foundation or demolition of BEYLİKs/ states or to do select a leader. This ceremony has been told through the section. Knowledge about dresses and accessories which takes very important place in SEYMEN culture has been presented before "Dance, Music and Rhytmic percussions" section. SEYMENs used dresses and accessories; Osmaniye Underwears, Camadans, Cepkens, Silver Threaded Waistcoats, knee socks, Hamails Half Knee Guards, Zivgas, Velvet or broudcloth Wiastcouts, Sashes for EFE, Set of Arm Tools, Bazubants or Bazvats, Socks and shose opinion. In the end of this section "A Costume Wearing Order List" has been given for wearing the costumes easily and orderly. This order list is very important not to broke he traditions. SEYMENs' costumes had taken into current forms a hundred years ago. EFEs of SEYMENs' still wear these costumes. At traditional wearing, initially it's started to wearing the woollen socks. And socks are made fit with on legs. Parts of ZIVGA are pulled to the calves over the wollen socks. After that the Interior İÇLİK is worn on upper surface sequentially. To the waist, over the ZIVGA and OSMANİYE İÇLİK, a kind of Wide Rectangle Shawl Sash is fastened. At the one side of tools, there are three buckle. At the other side, there are two long, one short skin Belt (Column). When looked at profile, bottom of the arm should look at to the inside and top of the arm should look at to the outside. FES or Skullcan are worn to the head, and to the top of these, POŞU or Kaffiyeh are wrapped. Kaffiyeh and POŞU should be long. To the foot YEMENİ is worn. IX Afterforwards the complementary accessories -chained watch throwed from shoulder, HAMAİL and armband are atteched. In this way traditional wearing of Ankara SEYMENs' costumes has been completed. As known in every regions several instruments accompany to the dances concentrated on Rhythmical Percussions an Drum. These instruments are played in open or closed areas. Drum and Zurna are played and open areas. Such instruments like BA?LAMA and BA?LAMA FAMİLY, DARBUKA, DEF (tef), ZİLLİ MAŞA, SPOON are played in closed areas. At DRUM section mentioned about making drum, drum tools, playing drum. Through this section I gave brief information about ZURNA and playing ZURNA which shows differences from region to region. During the manufacturing of drum it is needed to the hoops. These hoops are generally provided from Malatya or Kırşehir cities. Two sides of hoops' are nailed on and given a shape to circle. One side of the drum is placed with skin of Drumstick and other side of drum is placed with Skin of Smaller Drumstick. These two wet skins are tightened by using ropes and Skin Belts. Then these wet skins are dried in a few days in stove heated rooms. At the end the Drum is ready to play. At "Ankara Seymen Dances and Rhythmic Percussions of Dances played with Drum" section. I made a "Zeybeks and Simple Dances" part which was reviwed in two section. After giving knowledge about groups, I mentioned about "Simple Dances" which are generally played in closed areas. Also I added Already Gathered Music Notes to this section. The simple dances played Ankara MİSKET, HÜDAYDA (FİDAYDA), MOR KOYUN, YANDIM ŞEKER, NAME GELİN, YILDIZ, ÇARŞAMBA VE ATIM ARAP has been given in this section with their notes. Dances with DAVUL-ZURNA in Ankara commonly ZEYBEK dances. Before to start to study these dances, for the benefit of inquisitives acknowledge about "how to prepare Drum Notes". This information was derived and arranged for drum from "Method of Tömbek" translated by Doç.Dr.Şenel ÖNALDI. Moreover, for easily understading of this matter by even layperson, I have touched on the rhytmic patterns used on Turkish Folk Dances. The music and rhytym has been changed into notes from the tape that I have recorded with Mr. Metin Öge. I have also gave some brief information about the dances. These are respectively Zeybek of SEYMEN, zeybek of KARAŞAR, Zeybek of ANKARA and Zeybek of Mendil. Henceforth, under the "Main Rhythmic Patterns" title, it was caused to happen the most common rhythmic patterns played by davul. In the "Associated Patterns" title we see the dances in "9 measured" forms and this is 2+2+2+3. All of the dances we can see only one format and this is happened in the last 3; T£K.- ^ J> sS TEK. * ; In the part of the result derived from melodies, again we see 9 mesured pattern and it's 2+2+2+3 format. Mainly, at the percussions periods of melody, *--% s~\ s~\ -? J^ * Vj> XI We see that patterns are used to emphasise the percussions. At the final Part we may say that the dances with accompaniment of DAVUL- ZURNA are commonly Zeybek DANCES and in general in 9 times measure and in the pattern of 2+2+2+3 These dances can also be performed with mere BA?LAMA, drum and players are originated mainly from Kırşehir and Keskin regions and these players are rare, while the musicians are playing Drum, the rhythmic percussions are determined according to melody and dance, at the percussion periods of the melody shared patterns are used some patterns are used and some patterns are present with these four dances.