Post on 25-Feb-2023
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HISTORICAL, SOCIOLOGICAL AND ETHNOGRAPHICAL PROPERTIES
OF ANATOLIAN FOLK DANCES
M. Tekin KOÇKAR Mustafa YAMAÇ Erkan ERDEKİR
(Turkey)
1. ABSTRACT
Folk dances are a part of the rich cultural accumulation of Anatolian people and a
treasure for the world’s cultural heritage. The different characteristics of the dances performed
by the same nation in different regions of the Anatolia are worth of researching. Generally,
the factors that influence the formation of folk dances are religion, history, geography, social
structure and ethnographic structure. Similar factors influenced the formation of the Anatolian
folk dances.
The purpose of this study is to examine the main characteristics of the Anatolian folk
dances along with the historical, sociological, geographical, and ethnographic influences in
their formation. Therefore, the study conducts an extensive literature review by using a
descriptive approach.
The study concludes that the historical, sociological, geographical, and ethnographic
characteristics of each region influenced the formation of the four most known folk dances,
Zeybek, Bar, Halay, and Horon that are performed in four different parts of the Anatolian
peninsula.
2. INTRODUCTION
The origins of dancing are thought to be present in social life style of primitive people
and their worship to mystical powers which they believe. Events like night, day, fire and
moon were the reasons forming the dance rituals of primitive people. Dancing has an
important contribution to the rise and development of a civilization along with the phenomena
of art, science, culture and religion. In this context, we can conclude that the first permanent
human settlements in Anatolia were important centers for dancing rituals as well.
3. PROPERTIES OF ANATOLIAN FOLK DANCES
Several factors can be mentioned for the formation of folk dances. Generally, historical,
sociological, cultural, economic, geographical and religious factors are important examples to
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these factors. Anatolian folkdances were also developed under the influence of these factors.
Thus, factors influencing Anatolian folk dances can be classified as follows: Natural factors,
local characteristics, relations with animals, daily life, military order, names of individuals,
and relatives and religions (Demirsipahi, 1975).
According to another approach, relations between individuals and human-nature
interactions are the main factors in formation of folk dances. When we consider the relations
between individuals; regular and irregular phenomena like love, jealousy, freedom, marriage,
quarrels, farewell and greeting for military service or traveling, bravery, piety and wars have
contributed to formation of folk dances. In terms of human-nature interactions, events like
production type, division of labor, cooperation, consumption, protection, accommodation,
various tools making, clothing, and trading have contributed to formation of folk dances as
well (Kockar, 1998).
3.1. Historical Characteristics
Anatolia has been a main source for great cultures for centuries. Factors like location,
lineage, and interactions in the foundation of Ottoman Empire and than the westernization
process are thought to have contributed to rich folk dance culture of Turkey.
First of these factors is the antique culture of Anatolia Peninsula. Civilizations such as,
Hittite, Urartu, Phrygia, Lydia, Ionia, Assyria and Byzantium are contributed to the Anatolian
folk dance repertoire. Archeological studies support the idea that Anatolia was one of the
most important centers for different civilizations and cultures. Archeological excavations of
James Melaart imply the existence of folk dance rituals in first permanent human settlements
of Anatolia. Pictures of collective dancing were found on walls of an Early Neolithic city wall
dated 5500-6500 B.C. In these pictures, deer hunters wearing clothes of leopard skin were
dancing with an accompanying drum (And, 1964). The ruins of ancient Anatolian
civilizations like Hittite, Lydia and Phrygia provide examples about the folk dance culture of
these civilizations. In Hittite and Phrygia reliefs, dancers with rhythm instruments in their
hands are present (Baykurt, 1995). Events like collective entertainment and worshipping to
gods were carried out by dancing in these civilizations, and this implies the deep-seated folk
dance tradition of Anatolia Peninsula (Eyuboglu, 1981). In his long poem, Odysseus, Homers
emphasizes the agedness of Anatolian folk dance tradition.
The second important factor that influenced the Anatolian folk dancing is the
associated effects of Middle Asian shaman beliefs and other Asian cultures. The importance
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of dancing for Middle Asian Turks, especially The Huns, can be seen on two lines of a poem
written by a Chinese princess, wife of a Hun ruler (Baykurt, 1987):
“They play the drum every night
they turn around until sunrise”
In shamanist Turkish tribes, folk dances had an important role in rituals performed
during summer and autumn festivals. It was reported that during these celebrations, the
shaman danced around a fire, until he fainted and before shaman’s dance, two young girls and
two young boys also danced (Inan, 1972). Remains of these rituals can be seen in some
traditional dances like “sin sin” dance in Anatolian cities like Bolu, Kastamonu and
Adıyaman (Kockar, 1998).
Rituals about hunting in Middle Asia also include dancing. It was thought that
animating the animal to be hunted with dance rituals will make the hunt successful. Events
like entertainment, celebration of victory of a war, urge for showing good intention, wedding
and religious ceremonies were leading motives for the folk dances in Middle Asia.
Consequently, it is obvious that folk dances are among the rituals which Turks carried to
Anatolia.
Another factor which is thought to be effective on development of the Anatolian folk
dances is religion. Whether dancing is a sin or not in Islam has been argued. Religious scholar
İbn-i Teymiyye* tried to prohibit dancing, whereas another scholar al-Ghazali* accepted
dancing as moves of joy in entertainments or holy ceremonies (Baykurt, 1995).
It is widely accepted that when Turks came to Anatolia, Islamic thought which has a
negative approach to dancing, painting and sculpturing, attempted to restrict the dancing
activities of common people. Because of the difference between aristocratic and public
cultures and under the strong prohibition of religion, dancing was done in secret places.
Tariqat* dances which were carried out as a reaction against the religious pressure, later
formed half-religious dance rituals called “semah”*. Because of the religious pressure on
* Islamic scholar (661-728 A.C.) * Islamic philosopher and mystic (1058-1111 A.C.) * Tariqat: Mystical order in Islam. * Whirling Dervishes.
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dancing, collective folk dances are mentioned as “ayin-i kefere-unbeliever’s ceremony” and
“ayin-i kerih-bad ceremony” by Evliya Celebi* in his travel book (Baykurt, 1987).
The fourth factor which was accepted to have effects on Anatolian folk dances is
interactions which were realized during the expansion of Ottoman Empire between 15th-19th
Centuries. Influences of Balkan countries on Anatolian folk dances are a good example for
this interaction. Dance styles formed during this development have considerable differences
from others. Religious dances, erotic style dances, grotesque dances, dances relying on a
special talent, war dances and foreign originated mythological dances are significant dancing
categories formed in this period (And, 1982). The differentiation between aristocracy and
public as a general feature of this period was reflected upon folk dance rituals. People, who
danced in Ottoman palaces and assemblies of rich people, were called “cengi” or “kocek”.
These people were professional that were organized in special societies. Evliya Celebi
mentioned thirteen dancing societies in Istanbul and that each of them consisted of two or
three hundred dancers. However, public was generally concerned with folk dances derived
from middle Asia and Anatolia dances and semah dances of Alevi-Bektasi and Mevlevi
tariqats. Consequently, the gap between aristocratic Ottoman culture and public culture of
Anatolia made their progress independent from each other.
The last factor influencing Anatolian dances is western civilization. Especially
westernization movements formed at early 20th century, like other arts of social life, had
serious influences on folk dances. After Tanzimat* we could see folk dances more frequently
on theatrical events like “karagoz”, “orta oyunu” and “sano”. After the formation of
constituonal monarchy, dance styles like Tango, Samba, Polka, Waltz, Rumba, and Foxtrot,
spread over firstly in Istanbul and later in Anatolia. In republican era, the first serious
contribution to folk dances was done by Public Centers. At this time, by means of education
system and folk dance groups of Public Centers, folk dances took their places in all stages,
entertainment activities, ceremonies, schools and gradually spread. “Foundation for
Conservation and Spreading Turkish Folk Dances”, which was formed in following years, had
great contributions until 1970’s. During inventory studies which was made in these years,
about 2000 folk dances were determined which are known and played among public.
* The greatest traveller in Turkish history, embarked on a 50-year long journey of many different lands, the fruit of which is a 10-volume book of travel entitled Seyahatname. * Tanzimat: Turkish Reorganization (1839–76) Series of reforms undertaken in the Ottoman Empire to modernize society along secular and bureaucratic lines.
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3. 2. Sociological and Geographical Characteristics
The effects of geographical conditions on human behavior have been argued for
sometime. This effect was stated first by Aristotle and Strabon of Amasya. According to
Strabon, societies who live at temperate climate and in coastal regions are more civilized and
peaceable. On the other hand, societies who live on the highlands are less civilized and hard
temperament. Although the geographical conditions have no direct effect on human behavior,
they have indirect effect on the cultural structures, economic relations and social life styles
(Guven, 1996).
The geography and social structures are also influential on the formation of the folk
dances. For instance; a mountain or river in the region; differences about roughness, drought
or fruitfulness of the climate and engagements in agriculture or livestock are reflected on the
folk dances as well. In very hot locations, the dances are fluent so the muscles aren’t strained.
In cold and humid regions, the movements are slow and discernible. In the fruitful and broad
lands, the movements are downward. If the space is not wide, the dancers come together like a
ring. In the steppes movements that use a big space, bouncing and steps at the double are
present. On the highlands upward movements that utilize the narrow space are present. Also,
the apparel is influenced by the climate and geography (And, 1964).
Another subject about which the regional differences have effect on the folk dances is
the “manner”. The manner is the wholeness of each motion’s details that carry the endemic
characteristic. The dancer starts to preserve the manner before the beginning of a dance and
continues till the end of the dance. The dance manner which is unique to each individual in
the beginning localizes via interaction with the people who live in a specific area. (Avsar,
1992). The figure characteristics do not compose the manner alone. Generally, each region
has different figure characteristics. However, similar figure characteristics can be used in
many dances which have different structures. But the manner of a certain region does not
exhibit likeness with another region’s manner (Bektas, 1990).
Turkey is divided into seven different regions geographically: The Marmara, Aegean,
Black Sea, Mediterranean, Middle Anatolia, East Anatolia and Southeast Anatolia Regions.
According to the categorizations about the kinds of the folk dances, the most common dance
kinds are the Halay, Horon and Bar (Ataman, 1975). The dances such as the Zeybek, Seymen,
Bengi and Mengi are also the common ones which are danced singly or collectively. Besides,
the dances such as the Welcome and Hora, Spoon, Guvende, Teke and Nanay are seen widely
(Kockar, 1998).
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When these dances are examined, it is seen that they are region specific. On this subject,
the map that was made by Sadi Yaver Ataman has a guiding quality (Ataman, 1975).
According to the relations between the regional characteristics and folk dances, it can be
said that the four different kinds of folk dances reflect the historical, sociological and
geographical characteristics of the four different regions. In the west of Turkey, dances like
the Zeybek; in the north of Turkey dances like the Horon, in the middle and south of Anatolia
the Halay dance and in the east Anatolia dances like the Bar are seen.
3.2.1. Zeybek
Zeybek is a folk dance which is symbol of Western Anatolia especially Aegean. The
origin of this dance is based on two phenomena: Efe and Zeybek. Zeybeks are a troop who
rebel against the injustices in their society in that time. They live at mountains as bandits and
their leaders are called Efe (Avci, 1997). As a symbol of courage and heroism, zeybeks were
supported by public where they lived and they showed success in years of war (Karademir,
2003). The same social and historical background can be seen at dances called “seymen” in
the central parts of Anatolia, “bengi, mengi, harmandalı” in the northern regions of Aegean
and Marmara (Demirsipahi, 1975). All of these dances are heroic and noble in form, tempo
and structure (Ataman, 1975).
The traditional instruments are drum and zurna (shrill pipe) and the dances are
performed by one person or two or by a group of people. Its well-known figure is kneeling,
touching the ground by knee and standing valiantly. Zeybek has also been known in Greece
for a hundred years as “sayvakikos”, “zaypakikos” or “turkikos” (Raftis, 1999).
3.2.2. Bar
Another dance thought to have similar heroic origins is bar. It is wide spread, in general,
over the eastern and south eastern part of Anatolia. In this region, the heroic concept of
“Dadas” is important like Efe and Zeybek. The meaning of bar is cooperation, being dadas,
becoming close friends hand-in-hand and arm-in-arm (Ataman, 1977). The characteristic of
its formation is that they are performed side-by-side, hand-in-hand, shoulder-to-shoulder and
arm-in-arm like mountains. As a heroic dance, the bar is influenced by the war history of
these regions. Because of its rebellious characteristics, bar was forbidden in Erzurum in the
past during the westernization process (Agrili, 1994).
Geographically, Eastern Anatolian region is divided into two parts: South and North
Eastern Anatolia. North Eastern Anatolia is highlands and has a cold climate. People are
engaged in agriculture and livestock. This geographical condition forces the people to
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cooperate with each other. People have to be courageous and trusty. Therefore, dancers in bar
dances are severe, serious and awesome. Figures are slow but hard (Guven, 1996). The
principal instruments of bar dances are drum and zurna, and performed by groups in the open
(Ataman, 1975).
3.2.3. Halay
This folk-dance is performed to a large extent in the Eastern, South- Eastern and Central
Anatolia. Halay is more crowded and vivacious from bar and Zeybek (Guven, 1996). On the
contrary to the hard climate of North Eastern Anatolia, South Eastern Anatolia has a soft
weather. Like weather, the folk dances of this region have soft form, figure and structure.
Opposite of the hard manner of North, soft weather enables brisk and fast figures.
Halay is the most influential and impressive dance of group dances. It is very rhythmic
and systematic. There are many kinds of halay but all kinds of halay are performed by groups
and under the leadership of “halaybası” as a line or circle in different parts of the dance. With
measured figures, halay is the joyful dance of wide lands. The principle instruments are drum
and zurna in halay (Ataman, 1975). People are engaged in agriculture, live as tribe and
according to basic characteristics, this dance can be interpreted as in accordance with
geographical and social conditions of region.
3.2.4. Horon
Horon is the folk dance which performed in the Black Sea Region of Turkey. Contrary
to the other folk dances, the Horon is danced in a narrower region; only in the Black Sea
Region. In this region, the folk dances excluding the Horon are not met. Only in the border
zones of the region, different kinds of dances are seen.
The Black Sea Region is hilly and steep. On the other hand, the wavy and peevish
Black Sea surrounds the region from end to end on the North side. People’s struggle against
this cruel nature heavily influenced the folk dances of the region. (Cihanoglu, 1997).
The Horon is generally performed by a chain in the form of a line, circle or semicircle.
It symbolizes union and cooperation. It has a mild and quick manner and this manner reflects
the basic characteristics of people of the region. However, Caucasian, Georgian and
Azerbaijani cultures from the neighborhood have effects on the formation of this brisk folk
dance (Hacibekiroglu, 1994).
Agricultural effects on Horon of Black Sea are very obvious. Stooping and reaching
arms forward and shaking movements symbolize digging of the fields (Hacibekiroglu, 1994).
The most renowned dance style of the Black Sea region, the Horon suggests the action of
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fishermen as well as the movements of the fish and the sea of this ancient fishing district. It is
characterized by alert and tense shivering movements and sudden squatting. Horons are often
danced to the music of these instruments: Cura zurna, cura davul, tulum, kemence, koltuk
davulu and more recently, accordion (Unsal, 2004).
On the other hand, there is some criticisms to the geographical approach. The criticisms
are three folds. First, Regions and provinces are too close to set boundaries. Second, while,
some namesake dances are completely different from each other, some others have only
different subgroups. Finally, some dances such as Halay and Ciftetelli are performed in
almost all regions of Turkey (Degerli, 1990).
3.3. Ethnographical Characteristics
The groups differentiated from others at language, religion and cultural aspects are
accepted as ethnical. It is accepted that languages and religions of a group are the most
important parameters of their ethnical prospects. These prospects can be use for the
determination of ethnical identity together or separately. Religion in Turkey is common to all.
Therefore the differentiation of ethnical groups is based on languages of them.
There are some other properties important for the definition of subgroups during the
formation of ethnical group identity. Properties such as organizational structure, tribal
organization, similarity of profession and solidarity may contribute to the formation of an
ethnical group.
Anatolia have obtained cultural richness from antique civilizations such as Greek,
Roman, Phrygian , Hittite, Ionian, Assyrian, Byzantine and from the cultures of Anatolian
communities such as Turkish, Kurdish, Armenian, Rome, Jewish, Arabian, Georgian,
Caucasus (Andrews, 1992). The most important reflections of this process may be seen at folk
dances of Anatolia.
Folk dances have important properties which can develop and protect themselves
despite change of their meanings. For example “Sin sin” is a dance that was performed in
shamanic period at many different sites of Anatolia. Although it used to be performed as a
religious ceremony for centuries, today it is performed for welcoming spring for
entertainment.
Oguz (2002) mentions the most important factors which contribute to the Anatolian
culture in his book “Anadolu Halkının Kultur Kokenleri”:
“For the traditional man, the nature is not ‘natural’. Halay is not performed just for fun
but many things like abundance expected. Dithyramb was a dance. But on the other hand it
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was a name of Dionysus. Forming a circle, torches in hand, at night, near the spring it is
performed with songs just like “caydacıra”. Likewise, how similar the Sword and Shield
Dance of Bursa is to the Kureta’s dance that hid infant Zeus’s cry from his stepmother by
voices of sword and shield …” (Oguz, 2002).
4. CONCLUSION
Various factors influence the formation of the folk dances. As a matter of fact, the folk
dances are a result of centuries -long cultural accumulation. Therefore, it is not easy to
classify the factors that influence their formation. The Anatolia has a very rich collection of
folk dances. Many folk dances with different names and characteristics exist in different parts
of this peninsula.
This study has founded that the most important factors in the formation of the Anatolian
folk dances are historical, social, geographic, and ethnographic ones. These factors are clearly
manifested in the Aegean Region of the Western Anatolia, the Black Sea Region of the
Northern Anatolia, south of the Eastern Anatolia, and north of the Middle Anatolia. Zeybek
and similar dances in Aegean Region, Horon in Black Sea Region, Bar in the Northeast, and
Halay in the Southeast region are the most common regional dances performed in the
Anatolia..
There are also some criticisms to the regional and social approach in explaining the
formation of folk dances. However, despite the criticisms, most studies indicate that Zeybek,
Horon, Halay, and Bar have been concentrated in particular regions of the Anatolian
peninsula.
5. REFERENCES
Abdurrahim Karademir, ”Zeybek Dansları”, Halkbilimi Araştırmaları, 1. Kitap, Mart 2003, s. 195.
Abdulkadir İnan, Tarihte ve Bugun Samanizm, (Birinci Basım: Turk Tarih Kurumu Basımevi, Ankara, 1972).
Ali Haydar Avcı, “Bir Sosyal İsyancılık Kurumu: Zeybeklik ve Zeybekler”, Folklor-Edebiyat, Sayı 12, Kasım-Aralık 1997, s.47.
Alkis Raftis, XOPOS 1900, Greek Dances Theater, 1999. P. Alford Andrews, Turkiye’de Etnik Gruplar, Cev: Mustafa Kupusoglu, (Birinci Basım:
İstanbul: Ant Yayınları, 1992). Atilla Agrılı, Erzurum Halkoyunları ve Giysileri, (Birinci Basım, Ankara: GSGM
Yayınları, 1994), s. 14. Cemil Demirsipahi, Türk Halkoyunları, (Birinci Basım, Ankara: İs Bankası Kultur
Yayınları, 1975), s. 11-16.
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Emin Avsar, “Halkoyunlarında Tavır ve Yore İliskisi”, IV. Milletlerarası Turk Halk Kulturu Kongresi Bildirileri, 3. Cilt, Ankara, 1992, Kultur Bakanlıgı HAGEM Yayınları, s. 27-29.
Erol Hacıbekiroglu, Zeki Akalın ve Abdullah Surmeli, Halkoyunlarıyla Artvin, (Birinci Basım, Ankara: GSGM Yayınları, 1994), s. 84-85.
Fikret Degerli, “Halkoyunları Uzerine”, II. Milletlerarası Turk Folklor Kongresi Bildirileri, 3. Cilt, Ankara: Kultur ve Turizm Bakanlıgı MİFAD Yayınları, s. 134.
İlknur Bektas, Turk Halkoyunlarında Tasnif Sekilleri, İTU Turk Musikisi Devlet Konservatuarı Bitirme Tezi, İstanbul, 1990, s. 9.
İsmet Zeki Eyuboglu, Anadolu Uygarlığı, (Birinci Basım : Der Yayınları, 1981, İstanbul M. Tekin Kockar, Caglar Boyunca İletisim Sanatı Olarak Dans ve Halkdansları, (Birinci
Basım, Ankara: Bagırgan Yayınevi, 1998), s. 72. Merdan Guven, “Dogu Anadolu Halkoyunlarına Cografyanın Etkisi”, 5. Milletlerarası Turk
Halk Kulturu Kongresi, Ankara, 1996, Kultur Bakanlıgı Yayınları, Yayın No: 1872, s. 179-183.
Metin And, Turk Koylu Dansları, (Birinci Basım, İstanbul: İzlem Yayınları, 1964), s. 48-50. Metin And, Osmanlı Senliklerinde Turk Sanatları, (Birinci Basım: Kultur ve Turizm
Bakanlıgı Yayınları, Ankara, 1982). Burhan Oguz, Turkiye Halkının Kultur Kokenleri, (Birinci Basım: İstanbul: Anadolu
Aydınlanma Vakfı Yayını, 2002). Sadi Yaver Ataman, 100 Turk Halk Oyunu, (Birinci Basım, İstanbul: Yapı ve Kredi Bankası
Yayınları,1975), s. 7. Sadi Yaver Ataman, Turk Halkoyunları I – Barlar, (Birinci Basım, İstanbul: Sarıaltın
Yayınları, 1977), s. 26-39. Selim Cihanoglu, Trabzon’da Oynanan Horonlar, (Birinci Basım, Trabzon: Eser Ofset,
1997). Serif Baykurt, “Turk Halk Dansları ve Anadolu Uygarlıkları”, III. Milletlerarası Turk
Folklor Kongresi Bildirileri, 3. cilt, Ankara, 1987, Basbakanlık Basımevi, XIII + 361 sayfa, Kultur ve Turizm Bakanlıgı MİFAD Yayınları, No : 85, 49-56. sayfa.
Serif Baykurt, Anadolu Kulturleri ve Turk Halk Dansları, (Birinci Basım: Yeni Dogus Matbaası, 1995, Ankara).
AUTHORS M. Tekin KOCKAR (8211) Date of Bird : 21 Dec. 1954 Profile a. Dancer : Ankara State Ballet Teatre 1966 – 1972 b. Dancer : Ankara Caucasus Folklore Assoc. 1970 - 1974 c. Dancer : İstanbul Folklore Foundation 1974 – 1978 d. Trainer : Anadolu University Folkdance Ensemble 1979 – 2001 e. Trainee : Elbrus Ensemble – Caucasus 1990 f. Trainee : Pyatniskova Ensemble – Moscow 1991 g. Trainee : Moiseyev Ensemble – Moscow 1992 h. Art. Director : Anadolu University Folkdance Ensemble 1982 – 2001 ı. Director and Art Director: Osmangazi University (HAMER) 2001 - j. Address : Osmangazı Unıversıty Folklor Research And Traınıng Center (Hamer)
Meşelik Kampusu 26480 Eskişehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: mtkockar@ogu.edu.tr
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Mustafa YAMAC (8212) Date of Bird : 10 Apr. 1966 Profile a. Dancer : Hacettepe University 1983 – 1987 b. Dancer : Anadolu University 1987 – 1993 c. Trainer : Yunus Emre Foundation 1990 – 1995 d. Manager : Osmangazi University (HAMER) 2001 – e. Lecturer : Associate Professor Biology Department, Osmangazi University f. Address : Osmangazı Unıversıty Folklor Research And Traınıng Center (Hamer)
Meşelik Kampusu 26480 Eskişehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: myamac@ogu.edu.tr
Erkan ERDEMIR (8215) Date of Bird : 09 Dec. 1973 Profile a. Dancer : Anadolu University 1993 – 1995 b. Manager : Eskisehir North Caucasus Assooc 2000 – 2003 c. Manager : Osmangazi University (HAMER) 2001 - d. Research Assitant : Business Department, Osmangazi University e. Address : Osmangazı Unıversıty Folklor Research And Traınıng Center (Hamer)
Meşelik Kampusu 26480 Eskişehir / Turkey Tel (90): 222.239 37 50 / 1454 Faks: (90) 222.229 14 18 (90) 222.229 31 55 E-Mail: eerdemir@ogu.edu.tr
******************************************************** Research report Presented at the 18th World Congress on Dance Research Argos, Greece, 3-7 November 2004 CF04130.doc