The Shaman in Turkish Culture: The Cycle of Ritual Movement as a Bodily Expression

Meltem Öner; Mehmet Erol

Makale detayları

The Shaman in Turkish Culture: The Cycle of Ritual Movement as a Bodily Expression

Yazarlar:

Meltem Öner | Mehmet Erol

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Türkiye Sahası Türk Halk Bilimi | Türk Halk Bilimi (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 43, pp.285-308

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001349956

pISSN:

2147-2610

Anahtar kelimeler:

Özet:

 Turkish mythology and cosmology conceptualize the structure and function of the universe through certain dichotomies, making the balance between the earth and sky, the cosmic order, and their manifestations in social life visible through rituals, belief systems, and cultural practices. This entire system provides a profound conceptual framework for understanding the relationship between humans and the cosmos, with the shaman emerging as both the transmitter and the experiencer of this framework. Possessing mythical knowledge, the shaman comprehends the structure and workings of the universe; as a cosmic traveler, they embark on journeys to the lower and upper worlds, communicating with deities and spirits. This process not only allows the shaman to demonstrate their spiritual identity and power but also enables them to fulfill their social responsibilities. The shamans spiritual and physical actions during rituals become embodied through dance. The rotational movement of dance facilitates the shamans transition into a trance while also serving as a bodily expression of the cosmic cycle, producing corporeal codes related to the structure and function of the universe. Thus, dance, as a form of bodily language, becomes a functional tool in the construction of cultural memory and identity. With a history as ancient as humanity itself, dance is shaped by its cultural dynamics and, influenced by social environment, religion, and geography, becomes an integral part of societies. Defined by its movement style, modes of representation, symbols, and behavioral codes, dance acquires profound meaning within this cultural process, constructing a unique memory of its own. In the cultural transmission process that traces the historical origins of Turkish folk dances, the influence of shamanic dance is particularly evident in the circular formations and full-turn movements. These dances, functioning as a bodily means of expression, play an active role in conveying social and cultural norms in both religious and secular contexts. In the dances performed by shamans for purposes such as cosmic journeying, worship, offering sacrifices, healing, fertility, abundance, and death, rotational movement carries symbolic meanings and serves as a fundamental element in shaping the ritual structure and imbuing the process with meaning. Considering the process of cultural transmission, circular formations and rotational movements in Turkish folk dances can, in a religious context, manifest as expressions of ecstatic states, the spiritual essence of worship, cosmic journeying within the cycle of existence, and the identification with the divine. In the social sphere, these movements function to enhance fertility, ensure unity, maintain norms, uphold ceremonial traditions, and express group belonging, thereby reinforcing social cohesion. In this regard, dance is understood as a form of bodily language, and the structure, ritualistic role, and presence of shamanic dance within Turkish folk dances are particularly noteworthy. This article aims to explore how rotational movements in Turkish folk dances may reflect the cultural memory of shamanic traditions. It seeks to analyze how these dances serve as vehicles of transmission and expression in religious and social domains, examining their symbolic dimensions within cultural memory and the mediums through which they are conveyed, with a particular focus on rotational movement.

 Turkish mythology and cosmology conceptualize the structure and function of the universe through certain dichotomies, making the balance between the earth and sky, the cosmic order, and their manifestations in social life visible through rituals, belief systems, and cultural practices. This entire system provides a profound conceptual framework for understanding the relationship between humans and the cosmos, with the shaman emerging as both the transmitter and the experiencer of this framework. Possessing mythical knowledge, the shaman comprehends the structure and workings of the universe; as a cosmic traveler, they embark on journeys to the lower and upper worlds, communicating with deities and spirits. This process not only allows the shaman to demonstrate their spiritual identity and power but also enables them to fulfill their social responsibilities. The shamans spiritual and physical actions during rituals become embodied through dance. The rotational movement of dance facilitates the shamans transition into a trance while also serving as a bodily expression of the cosmic cycle, producing corporeal codes related to the structure and function of the universe. Thus, dance, as a form of bodily language, becomes a functional tool in the construction of cultural memory and identity. With a history as ancient as humanity itself, dance is shaped by its cultural dynamics and, influenced by social environment, religion, and geography, becomes an integral part of societies. Defined by its movement style, modes of representation, symbols, and behavioral codes, dance acquires profound meaning within this cultural process, constructing a unique memory of its own. In the cultural transmission process that traces the historical origins of Turkish folk dances, the influence of shamanic dance is particularly evident in the circular formations and full-turn movements. These dances, functioning as a bodily means of expression, play an active role in conveying social and cultural norms in both religious and secular contexts. In the dances performed by shamans for purposes such as cosmic journeying, worship, offering sacrifices, healing, fertility, abundance, and death, rotational movement carries symbolic meanings and serves as a fundamental element in shaping the ritual structure and imbuing the process with meaning. Considering the process of cultural transmission, circular formations and rotational movements in Turkish folk dances can, in a religious context, manifest as expressions of ecstatic states, the spiritual essence of worship, cosmic journeying within the cycle of existence, and the identification with the divine. In the social sphere, these movements function to enhance fertility, ensure unity, maintain norms, uphold ceremonial traditions, and express group belonging, thereby reinforcing social cohesion. In this regard, dance is understood as a form of bodily language, and the structure, ritualistic role, and presence of shamanic dance within Turkish folk dances are particularly noteworthy. This article aims to explore how rotational movements in Turkish folk dances may reflect the cultural memory of shamanic traditions. It seeks to analyze how these dances serve as vehicles of transmission and expression in religious and social domains, examining their symbolic dimensions within cultural memory and the mediums through which they are conveyed, with a particular focus on rotational movement.

 Turkish mythology and cosmology conceptualize the structure and function of the universe through certain dichotomies, making the balance between the earth and sky, the cosmic order, and their manifestations in social life visible through rituals, belief systems, and cultural practices. This entire system provides a profound conceptual framework for understanding the relationship between humans and the cosmos, with the shaman emerging as both the transmitter and the experiencer of this framework. Possessing mythical knowledge, the shaman comprehends the structure and workings of the universe; as a cosmic traveler, they embark on journeys to the lower and upper worlds, communicating with deities and spirits. This process not only allows the shaman to demonstrate their spiritual identity and power but also enables them to fulfill their social responsibilities. The shamans spiritual and physical actions during rituals become embodied through dance. The rotational movement of dance facilitates the shamans transition into a trance while also serving as a bodily expression of the cosmic cycle, producing corporeal codes related to the structure and function of the universe. Thus, dance, as a form of bodily language, becomes a functional tool in the construction of cultural memory and identity. With a history as ancient as humanity itself, dance is shaped by its cultural dynamics and, influenced by social environment, religion, and geography, becomes an integral part of societies. Defined by its movement style, modes of representation, symbols, and behavioral codes, dance acquires profound meaning within this cultural process, constructing a unique memory of its own. In the cultural transmission process that traces the historical origins of Turkish folk dances, the influence of shamanic dance is particularly evident in the circular formations and full-turn movements. These dances, functioning as a bodily means of expression, play an active role in conveying social and cultural norms in both religious and secular contexts. In the dances performed by shamans for purposes such as cosmic journeying, worship, offering sacrifices, healing, fertility, abundance, and death, rotational movement carries symbolic meanings and serves as a fundamental element in shaping the ritual structure and imbuing the process with meaning. Considering the process of cultural transmission, circular formations and rotational movements in Turkish folk dances can, in a religious context, manifest as expressions of ecstatic states, the spiritual essence of worship, cosmic journeying within the cycle of existence, and the identification with the divine. In the social sphere, these movements function to enhance fertility, ensure unity, maintain norms, uphold ceremonial traditions, and express group belonging, thereby reinforcing social cohesion. In this regard, dance is understood as a form of bodily language, and the structure, ritualistic role, and presence of shamanic dance within Turkish folk dances are particularly noteworthy. This article aims to explore how rotational movements in Turkish folk dances may reflect the cultural memory of shamanic traditions. It seeks to analyze how these dances serve as vehicles of transmission and expression in religious and social domains, examining their symbolic dimensions within cultural memory and the mediums through which they are conveyed, with a particular focus on rotational movement.

 Türk mitolojisi ve kozmolojisi, evrenin yapısını ve işleyişini belirli karşıtlıklar üzerinden ele aldığı gibi yer ve gök arasındaki dengeyi, kozmik düzeni ve bu anlayışın toplumsal yaşamdaki karşılığını ritüeller, inanç sistemleri ve kültürel pratiklerle görünür kılar. Tüm sistem, insan ve evren arasındaki ilişkiyi anlamlandırmaya yönelik derin kavramsal bir çerçeve sunarken, şaman bu çerçevenin hem aktarıcısı hem de deneyimleyicisi olarak öne çıkar. Şaman, sahip olduğu mitsel bilgi sayesinde evrenin yapısını ve işleyişini kavrar; kozmik bir seyyah olarak alt ve üst dünyalara yolculuklar gerçekleştirir, tanrılarla ve ruhlarla iletişim kurar. Bu süreç, şamanın ruhsal kimliğini ve gücünü sergilemesine olanak tanıdığı gibi toplumsal sorumluluklarını yerine getirmesini de mümkün kılar. Şamanın ritüeller sırasında sergilediği ruhsal ve fiziksel eylemler, dans aracılığıyla somutlaşır. Dansın dönüş hareketine dayanması şamanın transa geçmesini sağlarken, aynı zamanda kozmik döngünün bedensel bir ifadesi olarak evrenin yapısı ve işleyişine dair bedensel kodlar üretir. Böylece dans, bir beden dili olarak kültürel bellek ve kimlik inşasında işlevsel bir araç hâline gelir. İnsanlık tarihi kadar eski geçmişe sahip olan dans, kendi kültürel dinamiklerinden beslenerek sosyal çevre, din ve coğrafyanın etkisiyle toplumların ayrılmaz bir parçası hâline gelir. Hareket tarzı, temsil biçimi, simgeleri ve davranış kodlarıyla şekillenen dans, bu kültürel süreç içerisinde derin bir anlam kazanır ve kendine özgü bir bellek inşa eder. Türk halk danslarının tarihsel kökenine uzanan kültürel aktarım sürecinde, şaman dansının etkilerinin özellikle tam dönüş hareketlerine sahip düzende ve halka biçiminde belirginleştiği gözlemlenmektedir. Bu danslar hem inançsal hem de seküler bağlamlarda, bedensel bir ifade aracı olarak toplumsal ve kültürel normların aktarımında aktif bir rol üstlenir. Şamanların kozmik yolculuk, tapınma, kurban sunma, sağaltma, bolluk, bereket ve ölüm gibi sebeplerle gerçekleştirdiği danslarda, dönüş hareketi sembolik anlamlar taşır ve ritüelin yapısını belirleyerek sürecin anlam kazanmasında temel bir rol üstlenir. Kültürel aktarım süreci göz önüne alındığında Türk halk danslarında dönüş ve halka düzeni, inançsal boyutta vecdin şekli, ibadetin ruhu, devran içinde kozmik yolculuk ve tanrıyla özdeşleşmenin ifadesi haline gelebildiği gibi sosyal alanda bereketin artırılması, birliğin sağlanması, normların korunması, törenlerin sürdürülmesi ve bir gruba aidiyetin ifade edilmesi gibi işlevler üstlenerek sosyal bağlayıcılığı güçlendirir. Bu bağlamda, dans bir beden dili olarak değerlendirilmekte ve şaman ayinlerinde çeşitli işlevler üstlenen dansın biçimi, ritüel süreci şekillendirmedeki rolü ve bu sürecin Türk halk danslarında görünür olması dikkate değer olmaktadır. Bu makale, dönüş hareketine dayalı Türk halk danslarının, şamana ait kültürel belleğin bir yansıması olabileceğine dayanarak, dansların inançsal ve sosyal alanlarda nasıl bir aktarım ve ifade taşıdıklarını, dansın kültürel bellekteki sembolik boyutlarını ve aktarım ortamlarını dönüş hareketi üzerinden incelemeyi amaçlamaktadır.

Makale detayları

The Shaman in Turkish Culture: The Cycle of Ritual Movement as a Bodily Expression

Yazarlar:

Meltem Öner | Mehmet Erol

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Türkiye Sahası Türk Halk Bilimi | Türk Halk Bilimi (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 43, pp.285-308

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001349956

pISSN:

2147-2610

Dance

cycle

ritual

shamanism

cultural memorydans

dönüş

ritüel

şamanizm

kültürel bellek

Sayı

Makale detayları

Yazarlar: Meltem Öner | Mehmet Erol

Yayıncı: Ayla KAŞOĞLU

Ana Başlıklar: Türkiye Sahası Türk Halk Bilimi | Türk Halk Bilimi (Diğer)

Dergi: Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 43, pp.285-308

Belge Tipi: Makale

Yayın Tarihi: 5/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001349956

pISSN: 2147-2610

Sayı

Yazarlar:

Meltem Öner | Mehmet Erol

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Türkiye Sahası Türk Halk Bilimi | Türk Halk Bilimi (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 43, pp.285-308

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001349956

pISSN:

2147-2610