Dance holds a prominent role within Turkish culture, encompassing various types that carry deep significance. The Turkish people have a well-known affinity for dancing, not only reserving it for weddings and special events like many other cultures but also incorporating it into protests, national holidays, and even election campaigns.
Dancing is so deeply ingrained in Turkish culture that it never appears out of place. However, it is not merely a spontaneous expression; rarely will you witness a simple head bop or someone swaying without rhythm. Turkish dancing is always structured and executed with specific forms. Although the dances may differ across regions, the majority of moves have been inherited from preceding generations, bearing historical importance.
Halay
The Halay dance is widely cherished and practiced throughout Türkiye, particularly in the eastern and southeastern regions. It involves forming a long line that curves into a semi- or full circle, allowing an unlimited number of participants to join. Each dancer interlaces their hand or finger with those on either side before gracefully moving counterclockwise, following specific steps synchronized with the music. Both men and women can dance together, and as the line grows more adept at the footwork, the tempo often accelerates.
Although the Halay may bear resemblance to the Greek Sirtaki or the Arabic Dabke, Turks argue that it possesses a unique identity. They trace its origins back to ancient Turkish mythology and its shamanistic roots in Central Asia. Legends make mention of the dance, and Central Asian shamanic rituals incorporated a circular or semi-circular formation of dancers around a fire. Even today, Turks continue the tradition of dancing the Halay around a fire on certain holidays and occasions, such as the Nowruz and Hidrellez seasonal festivals.
The term “Halay” is believed to have originated from the phrase “Al-Hal,” which conveys the meanings of “fire” and “society.” Within the Halay, the role of the leader, known as the halaybasi, holds great importance. The chosen halaybasi is usually a respected individual well-versed in the dances, responsible for setting the steps and pace. However, a halaybasi is incomplete without their handkerchief. By waving the handkerchief while dancing, the halaybasi maintains the rhythm and alignment of the other dancers.
The significance of the handkerchief extends beyond its practical use. It is believed to have connections to shamanistic rituals, where colored ribbons, shields, flags, and axes were waved during dances to ward off negative spirits. Additionally, music is an essential component of the Halay. The dance relies on two indispensable instruments: the davul (drum) and zurna (pipe).
The zurna pipe has been integral to the Halay since the 14th century, while the davul drum has an even deeper historical presence. Prehistoric cave paintings discovered in present-day Türkiye, Azerbaijan, Kazakhstan, and Kyrgyzstan depict figures dancing in Halay formation with a drum, affirming its central role in the dance.
Horon
The Horon, a beloved dance originating from the northern Black Sea region of Türkiye, holds a special place in the hearts of its people. Recognized as an esteemed tradition, this dance was granted the prestigious status of being included in the UNESCO Intangible Cultural Heritage list in 2021.
During the performance of the Horon, participants form a circle and join hands, guided by the rhythmic melodies produced by either a small stringed instrument called a kemence or a bagpipe-like instrument known as a tulum. The dance consists of three distinct sections, seamlessly transitioning with the aid of commands shouted by the leader of the Horon.
The initial segment commences at a leisurely pace, featuring forward steps and backward twists, gradually gaining momentum. As the tempo quickens, dancers raise their hands while keeping their bodies upright, exuding an air of vigor and determination.
The second section follows suit, with participants lowering their hands, slightly bending their backs, and engaging in intricate footwork, encompassing sideways, forward, and backward movements accompanied by shoulder shimmies. Finally, the last segment commences with an even faster tempo, marked by rapid shoulder shimmying and energetic foot stomping, culminating when the music comes to a halt.
Beyond its lively performance, the Horon carries symbolic meaning. The act of raising hands represents strength and bravery, while bending or crouching signifies the rest taken by field workers. The spirited shoulder shimmying and rapid tempo mirror the turbulent waves of the Black Sea and the agile movements of the anchovy fish, renowned for being caught in that very area.
Both men and women partake in the Horon, either together or separately, often adorning themselves in traditional costumes. Women typically wear vibrant shirts and jackets, complemented by a headscarf and a long, colorful skirt layered over loose trousers called shalwar.
Conversely, men don black and white attire, complete with numerous accessories. These include a belt featuring long strips of black leather, which can be used to attach hunting gear or weapons, a pocket watch with chains adorning the chest, and a muska—a small triangular box worn around the neck—containing a written note, such as a prayer, to ward off evil.
Zeybek
In the western region of Türkiye, the Zeybek dance holds sway, embodying strength and heroism in its choreography. Diverging from the Halay or Horon dances, the Zeybek sets itself apart by eschewing hand interlocking, with each dancer standing independently.
Arms are extended outward from the body before ascending into the air. Deliberate, unhurried steps follow, culminating in a crouch, a touch of the knee to the ground, and an upright stance. These movements repeat in a circular pattern, synchronized with the rhythmic beats of a slow davul drum and the haunting melodies of a zurna pipe.
While the origins of the Zeybek dance remain subject to debate, some propose ancient Greek or European roots. However, the widely accepted theory traces its origin to the 16th-century Ottoman Empire. During this tumultuous era marked by political and social unrest, small groups of men arose to defend their villages, akin to unofficial soldiers known as zeybeks. Leading these groups was a figure called an “efe.” The dance is believed to derive its name from these men and serves as a representation of their strength and nobility.