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Semah, Alevi-Bektaşi ritual marks_1
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  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00000141
    Country Turkey
    ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events
    Address
    As bearers and practitioners of semah tradition, Alevi-Bektaşi communities are existent all across Turkey, having concentrated in certain regions with different names. Çepni Alevis live in central and eastern part of Blacksea Region and in city of Balıkesir in Aegean Region. Tahtacı Alevis live in the area covering Mersin and Antalya cities in Mediterranean Region to Balıkesir and Çanakkale cities in Aegean Region. Sıraç Alevis live in Amasya, Çorum, Sivas, Tokat and Yozgat cities in Central Anatolia. Babağan Bektaşi community mostly lives in Northwestern Region and in mid-Aegean Region and lastly the Alevi communities affiliated to ocak’s (hearth) live in Central and East Anatolia.
Description Semah; originated from the Arabic word sema meaning heavens, fortune and hearing. Semahs are the most effective instruments for the transmission of Alevi-Bektaşi tradition. Semah is one of the main twelve services of the cem rituals which are considered as religious practices by Alevi-Bektaşi adherents. It is possible to encounter various kinds of semahs across Turkey with different musical characteristics and rhythmic structures. The fact that there are variations in melodic and lyrical structure of semahs with the same name is an evident sign of the richness in semah culture. Centuries of oral transmission of semahs from generations to generations has enabled a rich diversity among semah culture. One of the main principles on which semahs are conceptualized is the unity with God which happens through a natural cycle. In this cycle man comes from God and goes back to God which resembles the circulation of the celestial bodies in the universe. However, man is the locus of this circulation. God is omnipresent and semah is the way to reach God. Hand and body motions in semahs have symbolical meanings. For instance, the motion in which one palm faces the sky while the other faces the earth is meant to say “You are God, we are the people, I come from You and hold your essence in me, I am not separated from You”. The motion in which palms first face the sky and then turned to the earth is meant to represent the same thought. When semahçıs (semah dancers) face each other just like in Tahtacı Semah it means that God is present in man and people facing each other will witness the divine beauty of God in man’s visage. The motion in which semahçı (semah dancers) turns the palm of his hand to his face represents man seeing his own beauty in the mirror and therefore he also witnesses the divine beauty of God. When both palms facing the sky are pulled towards the heart it is meant “God I am Man, so God is in me” or “God is in Man”. Semahs are categorized into two groups: 1- İçeri (private) semahs / Order semahs 2- Dışarı (public) semahs / Avare semahs İçeri Semahs (Order semahs): They are performed in Cems (considered as religious practices by Alevi-Bektaşi adherents) where 12 services are carried out. It is not desirable to perform içeri semahs in front of those without the faith. They are performed in three phases: - Ağırlama: The prologue with slow movements. - Yürütme: The phase when the semahs gets faster and livelier. - Yeldirme: The last phase when the semah is the fastest and hardest to perform. While this three-phase composition of semahs is very prevalent it is possible to see other kinds of performances as well. In some semahs it is very difficult to distinguish these phases from each other. Dışarı Semahs (Avare semahs, Yoz Semah or Mengis): They are performed independent of 12 services for the purposes of teaching the semah culture to younger generations or simply entertaining. Nevertheless, they are still loyal to semah principles. Dışarı semahs are mostly comprised of two phases; ağırlama and yürütme or ağırlama and yeldirme. Although semah performances vary according to regions, the main characteristics are common: - Semahs are performed by both women and men, - While semahçıs (semah dancers) in içeri semahs are limited in number there is no such restriction for dışarı semahs. - Semahçıs (semah dancers) start the semahs saluting and inviting each other. - While performing semah, semahçıs (semah dancers) are in a circular order or facing each other, without touching or holding. - Bağlama is usually the accompanying instrument to semahs but there are some regions where other rhythm instruments are also played during semahs. - While there is no specific attire to be worn in semahs it is not uncommon to wear traditional clothes in rural cems (considered as religious practices by Alevi-Bektaşi adherents). - When concluding semahs, dedes (spiritual leaders) usually say a prayer. - Transmission of semah occurs through the performance of the tradition. The basic characteristics and universal values reflecting the understanding of tradition bearers of Semah are as follows: -According to followers of Alevi-Bektaşi belief, every human being has a divine essence and they see man in unity with God called as the belief of “En-el Hak” which means “I’m God”. Thus, during the worship they prostrate towards one another. - Seeing man in unity with God, they internalize a humanist philosophy - According to Alevi-Bektaşi belief, sharing is of great importance in social life. “Musahiplik” (a kind of fellowship as regards to Alevi-Bektaşi belief) in which each individual chooses one another as a spiritual brother or sister committing to care for spiritual, emotional, physical and financial needs of each other, for the purpose of creating a type of communion intimately tied. - Alevi-Bektaşi believers object gender discrimination, therefore they pray side by side. - Alevi-Bektaşi followers consider offending human being as equal to offending God; hence, through establishing a kind of judging mechanism called “düşkünlük”, they use a sanction power over the members to prevent them from committing misdeeds. If one commits any of those, s/he is declared as “düşkün” (shunned) and temporarily or permanently excommunicated from the community or society. - The practices, traditional motifs and teachings are orally transmitted rather than written sources and distinct genres of art and literature particular to the tradition, thereby, have been created. - They practice their authentic worship and cultural transmission through expressions like lyrics, music and Semahs.
Social and cultural significance - Seeing man in unity with God, they internalize a humanist philosophy - According to Alevi-Bektaşi belief, sharing is of great importance in social life. “Musahiplik” (a kind of fellowship as regards to Alevi-Bektaşi belief)in which each individual chooses one another as a spiritual brother or sister committing to care for spiritual, emotional, physical and financial needs of each other, for the purpose of creating a type of communion intimately tied. - Alevi-Bektaşi believers object gender discrimination, therefore they pray side by side. - Alevi-Bektaşi followers consider offending human being as equal to offending God; hence, through establishing a kind of judging mechanism called “düşkünlük”, they use a sanction power over the members to prevent them from committing misdeeds. If one commits any of those, s/he is declared as “düşkün” (shunned) and temporarily or permanently excommunicated from the community or society. Semahs are the most crucial elements in terms of transmission of the Alevi-Bektaşi tradition. The aesthetics of semah performances have inspired various forms of visual arts (painting, sculpture, theatre, etc.) and related artistic products contribute to the visibility of this aesthetic aspect of semah. Semahs play a crucial role fostering and enriching traditional music culture of Turkey as well as being an important instrument for raising awareness. The authentic aspect of its oral structure and expression not only contributes to the overall visibility of traditional folk literature but also raises awareness as an example local literature. Musical and dancing characteristics of semahs constitute a common language for humanity as artistic creations in which faith and art are harmoniously integrated to raise awareness in national and international platform. Moreover it enables a better platform for inter-societal dialogue. The understanding of God-human unity and that everything will return to God has found its way in semah through circular movements which is derived from the movements of celestial bodies. Provided that this element is included in the Representative List, the authentic understanding of nature and universe, the symbolism and the conceptual depth of semah will better contribute to the universal awareness on Intangible Cultural Heritage. The human-centered perception of the world and the universe and humanist philosophy of semah are values which can contribute to the intercultural dialogue.
Transmission method The practices, traditional motifs and teachings are orally transmitted rather than written sources and distinct genres of art and literature particular to the tradition, thereby, have been created. Transmission of semah occurs through the performance of the tradition. 1- “Nevşehir Hacıbektaş Semah Topluluğu (Nevşehir Hacıbektaş Semah Ensemble)” was established in 1997, in the province of Nevşehir (Hacıbektaş) as an affiliation of Ministry of Culture and Tourism (MoCT). The number of members of the ensemble which was 30 in the beginning has decreased to 16. The ensemble maintains its activities under the supervision of Directorate General of Fine Arts of MoCT and participates in various national and international organizations. 2- Directorate General of Research and Training of the Ministry of Culture and Tourism carries out field studies which are registered in Information and Documentation Center of Folk Culture. 3- In Alevism-related activities carried out by MoCT, semah groups are encouraged to take parts and made publicly known.
Community Alevi-Bektaşi Order is shaped around the religious figure of Ali - the fourth caliph following Muhammed the Prophet. The word Alevi could literally be translated as “admirer” or “follower” of Ali. Having nourished by a variety of beliefs, cultural sources and reached its maturity in Anatolia, Alevi Bektaşi Order has distinguished itself from mainstream Alevi belief system, with respect to its roots, formation processes and current cultural background. Alevi-Bektaşi belief system has been enhanced and cultivated by a great variety of beliefs and cultures ranging from Manichaeism to Zoroastrianism, Shamanism to Islam and ancient beliefs and cultures rooted in Anatolia as well. Common features of Alevi-Bektaşi Order with the beliefs or sects such as Shi´ism-Twelver Shi'ism (Caferilik) and Alawites (Nusayriler), which flourished in various locations and cultural surroundings and were included in generally-accepted scope of Alevi-Bektaşi belief, do not go beyond the love of Ah al-Bayt (Ehli Beyt) or interpretion of some specific events in the same way with respect to Islamic history. The Semahs to be mentioned here are neither known nor practiced by Caferis or Nusayris. There are different views on the origins of Semah linking it to Central Asian and Turkish Culture, ancient Anatolian civilizations and Islamic mythology.
Type of UNESCO List Representative List of the Intangible Cultural Heritage of Humanity
Incribed year in UNESCO List 2010

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