Evaluation of the relation between Central Anatolian and Aegean Abdal cultures through musical analysis

Since the beginning of the 'mystic movement' based migration of the nomadic Turkmen tribes coming to Anatolia from the 11th century, Abdal tradition has maintained its existence until today. Today, the concept of Abdal has been changing from past to present, but has maintained its relation to beliefs and music. This study focuses on the historical development of the Abdal tradition, the Abdal tribes of today and the analysis of the music played by the Aegean and Central Anatolian Abdal tribes. In this respect, it was aimed to determine the structures related to the culture and music of Abdal tribes in the light of the historical developments which are effective in the emergence of Abdal concept. First, the emergence of sects and mysticism are examined with the mystic movements that were thought to affect this tradition. By following the religious orders such as Kalendiri, Haydari, Bektashi dervish orders related to Khorasan School and Melamilik which are becoming widespread in Anatolia, it is aimed to establish the link between the sense of God and world and life styles of the Abdal tribes from the past. Moreover, similarities and differences between the today and past of the Abdals' tradition has been revealed. Abdals who live in different regions of Anatolia are being adapted to the cultures they live in, they have maintained their relations with music which is a part of their identity. This situation can be observed both in Central Anatolia and the Aegean Region. Therefore, ağır halays performed by Abdal musicians of Central Anatolia and ağır zeibeks performed by Abdal musicians of Aegean Region were musically analyzed. Thus, the tradition of Abdal, which emerged under the influence of many mystical movements, has shaped up with the interaction of the Turkmen tribes migrating to Anatolia and the past belief structures in this land. Despite living in different regional cultures, today Abdals have been found to protect their identities especially in relation to music and to reflect their musical performance characteristics to the music of the region they live in.