Mawlid culture in Diyarbakir: Mawlidhan tradition and performing analysis of Süleyman Çelebi's Mawlid

People in Diyarbakir who had a sufi tradition and were talented in music wrote mawlids with the inspiration by Süleyman Çelebi. Both the mawlid texts written in Diyarbakır which has a rich mawlid culture, and the mawlids written by people from out of Diyarbakır have been read for years. Mawlid texts written in different languages such as Ottoman, Turkish, Kurdish and Zazaki are still read with great interest in the region. While these mawlids are performed, their unique structure, sound, tone and melodies are used. Descriptive screening model was used as research method. Content /text analysis and semi-structured interview were used in the study. Mawlid texts, written and visual materials of the relevant literature, audio recordings, videos and interview were used to collect data in the study. In order to determine the traditional mawlid structure in the region, interviews were held with the mawlidhans and the performance styles of the mawlid texts were focused. While researching these texts, another copy of Dersaadet of the Bateyî mawlid (Kurdish) which was read in the region was found by the researcher. As a result of the study, it has been determined that the performances that reflect the characteristics of Turkish music in the local mawlids are the mawlid of Süleyman Çelebi, known as Kesikbaş Mevlidi. The recording of Süleyman Çelebi's mawlid which was performed in 1970s with professional recitation in the region was reached and first five parts of its which are Davet, Tevhid, Nur, Veladet and Merhaba part and the works read between these parts were notated and maqam sequence analysis of them was done. It has been found that the Kurdish and Zazaki mawlids performed in the region were performed in basic makams such as Uşşak, Hüseyni and Hicaz. Moreover, it has been seen that it is a traditional custom in the region to read the ''Merhaba'' part standing up in all mawlids. It will be our most important goal that the performers who adopt the traditional mawlid culture in Diyarbakır and the mawlidhans who will be trained in this way benefit from this study which aims to collect and record the products of the mawlid culture in Diyarbakır and to be a source for the mawlid culture in Diyarbakır.