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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