Cultural identity, professional musicianship and musical creativity among the rom in western Turkey

ABSTRACT The Rom society in Western Turkey consists of groups migrating from several places of the Balkans. Historical records suggest that these groups had been in relation with Muslim gypsies in the area even before the Ottoman occupation of the Balkans, resulting a cultural impact on their culture. Some of the groups have moved to Western Turkey due to the Ottoman war against Russia (1877-78) and Balkan War (1912-13), while the rest have migrated after the pact between Turkey and Greece in 1923-24. The term 'Roman' in their own definition is to distinguish themselves from other gypsy groups that live in the inner Anatolia. Although the Roman have similar cultural traits with such groups as the Tinkers and the Travellers (in England), the Jenitsche (in Germany), the Tatar (in Scandinavia) and the Abdal in Turkey, it is important to note that these groups do not acknowledge Hindu origin as opposed to the Roman. The complexity of terminology suggests not to compare them on the basis of one single ethnicity. Even the Roman of the Western Turkey reflects the diversity of the gypsies in the Diaspora. A significant variable to define a group is the dominant profession rather than ethnic origin. Each of such professions as tinkering, blacksmilhing, basketry, cartering is dominant in one group, and therefore, professional musicianship is associated in one group among the Roman in Western Turkey, which is called "Çalgıcı Romanlar" (lit. instrumentalist Romans). That musicianship is genealogical, as the other professions based on skill, explains how it belongs to a certain group and why the çalgıcı Romanlar are known as the best musicians not only in their vicinity but also in the popular music industry. The çalgıcı Romanlar are in a cultural interaction with other groups around, because these groups are their potential customer to whom they serve musically in a variety of contexts and modes. There are basically two types of instrumental ensembles, davul-zurna, and, ince saz (lit.: tiny instrument; used generally for indoor instruments such as violin, clarinet and frame drum). While their distinctive style can be noticed in every performance of a given tune through modifications with the use of such musical technics as variation, counterpoint and rhythmic mutations, improvisation remains as inextricable part of performance.