Music , 1720. Music in the Ottoman Empire was a rich and diverse tradition that synthesized various Central Asian, Middle Eastern, and Balkan influences over six centuries. The royal court in Constantinople (Istanbul) served as the central hub for the development of
Ottoman classical music, which utilized a sophisticated modal system known as makam (a set of rules and melodic patterns for composition and improvisation) and a specific rhythmic system called usul. This tradition was preserved and taught in palace schools (Enderûn), which trained both musicians for court ceremonies and members of the military. A parallel, highly influential tradition was the military music of the
Janissary bands (Mehter), which employed loud wind instruments (like the zurna and boru) and percussion, inspiring European military bands. In the 19th century, the court officially shifted its patronage to Western classical music and opera during the Tanzimat reforms, leading to a decline in traditional court music, though it continued to flourish in private circles and various regional folk traditions across the empire's vast territories.
Dance Dancing was an important element of Ottoman culture, which incorporated the folkloric dancing traditions of many different countries and lands on three continents; from the
Balkan peninsula and the
Black Sea regions to the
Caucasus, the
Middle East and
North Africa. Dancing was also one of the most popular pastimes in the
Imperial Harem of
Topkapı Palace. The female belly dancers, named
Çengi, were mostly from the
Roma community. Today, living in Istanbul's Roma neighbourhoods like Sulukule, Kuştepe, Cennet and Kasımpaşa, they still dominate the traditional belly dancing and musical entertainment shows throughout the city's traditional taverns. There were also male dancers, named
Köçek, who took part in the entertainment shows and celebrations, accompanied by
circus acrobats, named
Cambaz, performing difficult tricks, and other shows which attracted curiosity.
Meddah The
meddah or
story teller played in front of a small group of viewers, such as a
coffeehouse audience. The play was generally about a single topic, the
meddah playing different characters, and was usually introduced by drawing attention to the
moral contained in the story. The
meddah would use props such as an umbrella, a handkerchief, or different headwear, to signal a change of character, and was skilled at manipulating his voice and imitating different
dialects. There was no time limitation on the shows; a good
meddah had the skill to adjust the story depending on interaction with the audience.
Meddahs were generally traveling artists whose route took them from one large city to another, such along the towns of the
spice road; the tradition supposedly goes back to
Homer's time. The methods of
meddahs were the same as the methods of the itinerant storytellers who related Greek epics such as the
Iliad and
Odyssey, even though the main stories were now
Ferhat ile Şirin or
Layla and Majnun. The repertoires of the
meddahs also included true stories, modified depending on the audience, artist and political situation. The Istanbul
meddahs were known to integrate musical instruments into their stories: this was a main difference between them and the East Anatolian
Dengbejin. In 2008 the art of the
meddahs was relisted in the
Representative List of the Intangible Cultural Heritage of Humanity.
Karagöz shadow play (left) and
Karagöz (right) The Turkish shadow theatre, also known as Karagöz ("Black-Eyed") after one of its main characters, is descended from the Oriental
Shadow theatre. According to Georg Jacob the certain date of
Karagöz and Hacivat shadow play is unknown. However, the shadow play itself was invented in China and Central Asia then transferred into Turkish tradition. The other theory is that the tradition of shadow play was introduced to Ottoman Empire from Egypt. And it is known that Egypt got this tradition from the
Island of Java with the interaction through Arab merchants starting from 7th to 10th centuries.
Sections of play and characters Karagöz shadow play (
gölge oyunu) consists of four parts: Giriş (Introduction); Muhavere (Conversation); Fasıl; Bitiş (Ending). In Introduction part, Hacivat enters the stage with the sound of Nareke – a tool that sounds like a buzzing of a bee, and starts reading poems which is an invitation for Karagöz to come to the stage. In terms of characters,
Karagöz and Hacivat was a reflection of Ottoman society. The cosmopolite structure of the Empire – especially of Istanbul, was shown to the audience. Here is the list of some characters of the shadow play: Medyan took its final form in the start of the 19th century.
Seljuk plays that are based on performing imitation and personification were common. However, with the combination of raks (dance), musiki (music), muhavere (discourse), and histrionics the play of Orta Oyunu took its final shape. Other influential plays such as
Karagöz and Hacivat, Kukla (puppet play), dans (dance), meddah (encomiastics) and prestidigitation were also significant in the shaping of Medyan, it is because those plays were also based on personification. The forming elements of Orta Oyunu are the music, different forms of dances and wizardries of the different regions within the Ottoman Empire. Alongside these, cultural way of mocking, mimicking and discourses also have a part to play in Orta Oyunu.
Stage and characters The play took place in an open area where people gathered around the field. Orta Oyunu is unique as it lacks a specific plot, emphasizing improvisation. Music, particularly folk songs and poems, plays a significant role in the performance. Alongside Kavuklu and Pişekar, there are supporting characters such as Curcunabazlar, Çengiler (women dancers), and Köçekler (young men dancers imitating women dancers). Other characters represented various stereotypes from different Ottoman millets, including Arabs, Armenians, Albanians, Kurds, Laz people, and Jews. The performance area was known as the "Meydan" (Square), and there was another space called the "Yeni Dünya" (New World) where men and women audience members observed the play. The men's section was referred to as "mevki" (position), while the women's section was called the "kafes" (cage). İsmail Dümbüllü, who died in 1973, was the last notable figure associated with Orta Oyunu. == Sports ==