Trabzon`da oynanan horonlar

Abstract

ÖZET `TRABZON'DA OYNANAN HORONLAR` konulu bu çalışma, İstanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü Güzel Sanatlar Ana Sanat Dalı, Musiki Sanat Dalı Türk Halk Oyunları Alanında Yüksek Lisans Tezi olarak hazırlanmıştır. Dört bölümden oluşan tezin; Birinci bölümünde amaçları ve uygulanan metotları belirten bir giriş yapılmıştır. İkinci bölümde Trabzon'un Tarihi, Coğrafi konumu ve Sosyal yaşam üzerinde durulmuştur. / Üçüncü bölümde Horonun menşei ve kelime anlamı Horonların oynandığı yerler ve etkilendiği unsurlar ve Trabzon'da oynanan horonlar hakkında bilgi verilerek: Horom: `Mısır saplarının ve çayır (ot) 'ların 10-15 kucak bir araya getirilerek dikey durumda yığılıp, tarlada bulunan `kabak devekleri` ile üst kısımdan bağlanmasıdır. Başka bir deyişle daire (halka) şeklinde sıkıca bağlamaktır` tanımı ortaya çıkarılmıştır. Horonlar üç bölümde incelenmiştir. Düz horon, yenlik ve sert bölümü: Doğu Karadeniz bölgesinde horon kardeşliğin, dürüstlüğün, yiğitliğin ve mertliğin sembolüdür. Günümüzde Giresun, Trabzon, Rize ve Artvin'in sahil kesimlerinde oynanmaktadır. Karadeniz'e özgü horonun yapısında tarım kültürünün varlığı apaçık ortadadır. IIIHoronlar; davul, zurna, kemence, tulum-zurna ve kaval eşliğinde oynanır. Yalnız kadınlar, yalnız erkekler tarafından oynandığı gibi alaca, karma (kadın-erkek) 'da oynanmaktadır. Kadın horonları, yenlik horonların en güzel örneğidir. Kadının ruhuna ve fiziğine uygun olarak yumuşatılmış figürlerden oluşur. Yörede oynanan kadın oyunları şu şekilde sıralanmıştır: Kız horon kurma Düz horon Atlama Sallama Yörede oynanan erkek oyunları şu şekilde sıralanmıştır: Horon kurma Sallama Sıksara Bıçak Oyunu Kozangel Kozangel Sallama Sıva sıva, Parmak ucu, Doldurma Dördüncü bölümde oyunlara eşlik edilen sazlar hakkında bilgi verilerek teknik çizimleri yapılmıştır. IV

SUMMARY This thesis, about `Trabzon'da Oynanan Horonlar` is prepared for mater degree, at Turkish Folk Dance of the Music Art Department of the Department of Fine Arts, at the Institute of Social Science at Technical University Istanbul. In this study, the history of Trabzon, the origin of Horon and its meaning as a word, the folk songs that are sung in Horon, the instruments which participate in Horon, the places where Horon is played and the elements that influenced Horon has been prepared. Beside these parts, the parts of Horon has been examined widely and the melodies of the plays have been determined and put in notes. In the second part, the history of Trabzon, the historical periods of Trabzon, the conquest of Trabzon and Turkish state, its geographical situation and its social life has been examined under the title of `A General View to TRABZON` In the third part, the origin of Horon and its meaning as a word has been examined by giving some points about Horon this result has been appeared; The words, Horon, Carde, Xogos, Hor, Kor, Horoy, are not differed from each other, they are the various sorts of the same root of Hor. With these explanations, it's seen that there is a similarity between the use of `horom` and `horon`. Horom is to collect 10-15 armful corn stems and grass and to pile them in a perpendicular way and to fasten them with `Kabak Devekleri` which can be found in the field. In other words, Horom is to fasten tidily in the form of circle.While playing the provincial plays, people come together and stand tightly hand in hand in a circle. The style of setting Horon explains either the meaning or the structure as a word of Horon and Ho rom. Before beginning to play Horon, `Hay de bir horom kuralım` is to be told. It means `Let's come together and hold each other tightly`. Additional to this part, a Vast information about the play of Horon and the elements that influence Horon and Horons which are played in Trabzon has been given and we came to this conclusion; It is apparent that the presence of the agriculture can be seen in the structure of Horon which is played in the region of Black Sea. The rhythmic movements of the people working in who go turn over with a spade in the field or in the farm in spring, are seen in the play. The movements of the »arm, the leg and the body are horon itself. Horon, which is molded under the influence of the air in the mountains, corn bread and hamsi, expresses the trembling and the fluttering of hamsi. The nature is every rough and mountainous and it wakes the people in this region active. The people who go to the farm and to the forest in order to bring the heaps sit for a rest and this is like the figure of sitting or standing of the play. Besides this, In Black Sea the view of the waves which are first weak and then rough and strong and the echoes of these big waves, the boats which shake up and down the sea, the flutter of the fish which are trapped in a net is like the figures of horon. VIThe vacillation of the rough waves in the sea, the instability of the air influence the people. That's why they get angry and friendly quickly. They are brave and bold. They either sense or decide quickly. This condition can be observed in the play. The players have a great pleasure as they play, roam as waves, blow as wind, shake as leaves, jump and cry. As Horon is played by men and women it can be played only by women as well as only by men. Horon played by women: Women Horons are one of the best examples of Yenlik Horons. In women horons, instead of shaking the body which is done in men horons twisting the belly shaking the shoulders, trembling the bosoms and stretching is done. The figure of sitting and standing, the arms which go above the level of the shoulders which go above the level of the shoulders which is found in men horon, can't be found in women horons. We can put the women horons into this order; 1. Setting a girl horon 2. Straight horon 3. Jumping 4. Shaking Horon played by men: The leds, before beginning Horon, are like the silence of Karadeniz and as sweet and cool, as breeze, after starting Horon, they are like rough waves of Karadeniz and as hard as the cliffs. In lads' Horon you can see the people who are turning over with a spade in their friends, the water which flows down the hills quickly the dancing of the fish and the sea, shortly you can see the life struggle of the people live in Karadeniz. vnThe most obvious part of men's play is to put the knee onto the ground, to sit and stand, to shake the body. The men's play in the region can be arranged like this, 1. Setting Horon 2. Shaking (Akçaabat) 3. Sıksara (Siksaray) 4. The play of knife 5. Kozan Gel 6. Shaking Kozan gel 7. Siva sxva 8. The tip of toes 9. Filling In the fourth part, the information about the instrument which participate Horons has been given and its technical drawing has been done. Kemence: The most important feature of Kemence is to be played double tuned. It appears by touching the bow on two string and by pressing the finger on two string. The tune of the three string Kemence is the sounds Re- la-MI. If Horon weren't a mean of entertainment Kemence couldn't be an entertainment instrument, It's a mouth that talks in the name of Turkish folklore. Kemence is the translator of the people who live in Karadeniz. Except Kemence there are other instruments that participate the plays; Drum-Zurna-Kaval and Tulum-Zurna. The result which appears after the research; A person is a member of the society which he lives. He learns the culture of the society, keeps in alive and vintransfers it to the next generation. That's why, folk dance, folk music, folk instruments, and folk garments transfer from one generation to other generation as a cultural inheritance. The origin of the most folk plays that are danced today depends on the religious musical services which took place in the past. It's a pity that the today's spectators plays are danced. They suppose that these plays are danced for entertainment. In this study, the melodies of the playas, which were seen as lack of the study, has been put in notes, the origin of Horon and the instruments which participate the plays have been discussed and technical drawing has been done in a scientific frame. IX