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Sözlü anlatım, sözlü gelenek ve edebiyatı da kapsayan sözlü kültür, ait olduğu toplumun binlerce yıllık serüvenini özünde barındırmanın yanı sıra, yazılı kültüre de kaynaklık eder. Söz odağına şekillenen ve belli bir gelenek çerçevesinde ozan, halk şairleri, destan anlatıcıları gibi temsilcilerle kuşaktan kuşağa aktarılır. Birbirinden farklı coğrafyalarda ozan, âşık, şaman, kıssahan, halk şairi gibi adlarla anılan temsilcilerden biri de, Balkanlar ve Trakya’dakiadıyla “guslari”lerdir. Anadolu sahasındaki âşıkların sazını andıran “gusle” adlı musiki aletiyle ezgili şiirler, anlatılar icra eden guslarilerle, âşıklar/saz şairleri arasında birtakım farklılıklar olsa da, ozanlık geleneğinin icrası yönüyle bazı benzerlikler olduğu da görülür. Guslariliğin karakteristik özellikleri, gelenek içindeki konumları, anlatı dünyası ve icra yönleri dikkate değer özellikler barındırır. Guslariliğin tarihsel geçmişinin yanı sıra özellikle Osmanlılar döneminde Türk-İslam kültür atmosferinin, âşıklık geleneğinin Balkan guslari-halk şairliğinde izler bıraktığı belirlenir. Guslariliğin yanında ayrıca bu çalışmanın bir diğer bölümünü oluşturan “pesna” halk ezgileri/şarkıları da ayrıca önem arz eder. Guslarilerin yanı sıra halk içinden amatör kişilerin söylediği pesnalar, şiir ve ezginin uyumu bakımından dikkat çeker. Pesnanın, Pomak ve Romanların yanı sıra Bulgaristan, Makedonya ve Yunanistan’da, Slav coğrafyasında şiir ve müziğin iç içe olduğu bir tür olarak sözlü gelenekteki yeri, işleyişi ve özellikleri yadsınamaz niteliktedir. Sonuç olarak gerek guslarilik kurumu ve gerekse pesna söyleme geleneğinin, Trakya ve Balkanlar sahasında halk kültürünün önemli ögeleri olarak bünyelerinde pek çok kültürel değer taşıdığı ve ait oldukları toplumun kültürel belleğinin yansıması olduğu görülür.
The verbal culture, which includes verbal narration, verbal tradition, and literature, is the source of the thousands of years of society to which it belongs, as well as the written culture. The word center is shaped and in the framework of a certain tradition is transmitted from generation to generation with representatives such as people's poets, narratives and narratives. One of the representatives named by names such as ozan, a lover, shaman, kssahan, popular poet in different geographical areas is the "guslars" in the Balkans and in Trakya. Though the poems with the musical instrument called "gusle" that resembles the sound of the lovers in the Anadolu field, the poems with the poems that perform the stories and the poems that perform the stories, there are a number of differences between the lovers/saz poems, there are also some similarities in the direction of the performance of the tradition of ozanity. The characteristic characteristics of Guslarity, its positions within the tradition, the world of narrative and the execution aspects contain notable characteristics. In addition to the historical history of Guslarism, it is determined that the Turkish-Islamic cultural atmosphere, especially in the Ottoman period, has left traces in the Balkan Guslar-People poetry. In addition to the Guslarity, the “pesna” public songs that make up another part of this work also attract importance. In addition to the Gusters, the attention of the poems, poems and poems that amateurs say from the public is attracted in terms of the harmony of the poems. The place, function and characteristics of the poetry, the Pomak and the Romans, as well as in Bulgaria, Macedonia and Greece, as a species of poetry and music in the Slavic geography, are undeniable. As a result, it appears that the institution of gusarism and the tradition of speaking, if necessary, is a reflection of the cultural memory of the society to which they belong as important objects of the people’s culture in the area of Trakya and the Balkans.
Oral culture including oral narrative/tradition and literature not only holds the adventure of thousands of years of the society it belongs intrinsically but also serves as a resource for the written culture. It is transferred from one generation to another through representatives such as bards, minstrels and saga tellers. One of the agents known by names such as “bard”, “minstrel”, “shaman”, “kıssahan” (saga teller) is “guslari” as known at the Balkans and Thrace region. Although some differences are found between guslari, who perform melodious poems and narratives with the musical instrument called “gusle” of the minstrels in Anatolia and the minstrels, there are some similarities in terms of the performance of minstrel tradition. The characteristics of the practice of Guslaris embody remarkable features with their status in the tradition, their world of narration and performance aspect. It is noted that apart from the historical background of the practice of Guslari, the Turkish-Islamic cultural atmosphere and tradition of being minstrels left traces on the Guslari from the Balkans, especially in Ottoman period. In addition to the practice of Guslari, the “pesna” folk tunes/songs forming the other part of this study has an importance. In addition to the Guslaris, amateur people in the public said that the pesnas, the harmony of poetry and melody is remarkable. The status in oral tradition, functioning and properties of “pesna” as a variety combining poetry and music in Slavic region are undeniable not only for Pomaks and Romans but also in Bulgaria, Macedonia and Greece. As a result, it is observed that both the Guslari organisation and “pesna” telling tradition hold various cultural values as the significant elements of folk culture at the Thrace and the Balkans and seen as the reflection of the society they belong.
Field : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Ulusal
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