A comparative study of reedless minstrelsy

The tradition of minstrel-style poetry has a considerable place in the Turkic world, in Turkish culture and history. Since the beginning of Turkish history, artists have transferred their own experiences and skills in art from generation to generation. The products of this tradition, which has been kneaded with the experiences of centuries, are a set of values that have certain rules and have managed to come to the present day by feeding on the impressive and permanent feature of poetry. Minstrel is an artist who feeds on folk culture, expresses his poems with his instrument, and ensures that oral culture is carried through generations. In the minstrel of the Anatolian field, important elements such as the level of playing and using the instrument, singing improvised poetry, sparring and sorting stories are together. Today, in addition to our performers who sing their poems by playing the instrument, we also have "reedless" artists. These minstrelsy, whom we call "reedless minstrel", have not been raised in the continuous-systematic execution structure of the tradition of minstrel. However, according to some criteria of tradition, he has developed himself, writes poetry like a representative of tradition and makes regressive encounters with minstrelsy. Behçet Kemal Çağlar, Turgut Günay, Feyzi Halıcı, Bekir Sami Özsoy and Nazım İrfan Tanrıkulu produce works in the structure of folk poetry even though they do not play the instrument, and they have met minstrelsy in various environments bickering . Within the scope of the study; who is the reedless minstrel as a tradition performer? What is its place in our literature? Questions such as what kind of functions they have undertaken in the field of continuity of tradition have been emphasized and the connection of reedless minstrelsy with tradition and their arts have been examined. Keywords: Minstrelsy, bickering, reedless minstrel, oral tradition, Anatolian minstrelsy