GAZi ÜNİVERSİTESİ

Türk Kültürü ve Hacı Bektaş Veli Araştırma Merkezi

HI. Uluslararası Türk Kültürü ve Hacı Bektaş Veli
Sempozyumu

(30-31 Ekim, 20.09, Üsküp 1 Scopje)

HACI BEKTAŞ VELI'NİN

TARİHSEL KİMLİGİ, DÜŞÜNCE
o • • •

SISTEMI ve ETKILERI

Editörler
Doç. Dr. Gıyasettin AYTAŞ
Yrd. Doç. Dr. Yusuf DOGAN
Arş.Gör. Deren Başak AKMAN YEŞİLEL
 HACI BEKTAŞ VELI'NİN ALEvi VE BEKTAŞi
RİTÜELLERİNİ, DÜNYA GÖRÜŞÜNÜ, GEÇMiŞ
VE BUGÜNKÜ KİMLİK İNŞASINDAKi ROLÜ VE
ÖNEMİNİ FORMÜLE ETME (BiÇiMLENDİRME)
ARACI OLARAK NEFES VE DEYiŞLER

Nefes and Deyiş as T ools for Formulating an Understanding of

the Role and Significance of Haci Bektas Veli in Alevi/Bektashi
Rituals, World View, and Identity Construction Pastand Present.

Dr. lrene MARKOFF 1

ÖZET

Bu çalışmanın amacı Hacı Bektaş Veli'nin Alevi-Bektaşi törenlerindeki rolünü, dün-

ya görüşünü ve yıllar
içindeki kimlik oluşumunu daha iyi anlayabilmak için onun gel-
miş geçmiş Alevi-Bektaşi nefeslerinde ve deyişlerindeki varlığını incelemektir. Analizler
Hacı Bektaş'ın eseri Velayetname ve onun hayatı, öğretileri ve felsefesi ile ilgili diğer
kaynaklardan yararlanılarak yapılacaktır. Şiir penceresinden bakıldığında, bu kaynaklar,
Türkiye'deki Alevi Bektaşiler ile Bulgaristan'daki Bektaşi Kızılbaş ve Babailer bu ruhsal
ikonla ilişkisini çeşitli nüanslarla ortaya koyacaktır.

Mevcut Alevi-Bektaşi tasavvufY şiir koleksiyonunun yanı sıra bu çalışma aynca çağdaş
Alevi aşıklara ve sadece dini töreniere (cemler, muhabbetler) özgü olmayan ve usta mü-
zisyenler tarafından ticari kayıtlar aracılığı ile popüler hale getirilen repertuvar üzerinde
durulacaktır.

1980'den günümüze Türkiye ve Bulgaristan'da bulunan Bektaşi babalan, Alevi de-

delen, Alevi-Bektaşi zakirieri ve aşıklan ile yapılan görüşmeler de çalışmaya katkı sağla­
yacaktır.

Anahtar Kelimeler: Müzik, Nefes, Nutuk, Bektaşi Müziği

ABSTRACT
This pa per will investigate the presence of Haji Bektash Veli in Alevi/Bektasbi sacred
(nefesler) and secular ideyisler) poetry past and present in order to formuiate a clearer
understanding of the saint's role and significance in Alevi-Bektashi rituals, world view,
and identity construction throughout the years. The analysis will draw from information
gleaned from the Vilayetname of Haji Bektash and other sources that document his life,
teachings, and philosophy. When viewed through the lens of the poetry, these sources
will help reveal variegated nuances in the relevance of this spiritual icon for Alevis and
Bektashis in Turkey and Bektashis, Kizilbash, and Babais in Bulgaria.

1 York University, TORONTO

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Dr. lrene MARKOFF - - - - - - - - - - - - - - - - - - - - - - - -

Aside from the many collections of Alevi/Bektashi mystical poetry that are available,
the study will also refer to the works of contemporary Alevi minstrels (a-lklar) and the
repertoire that is not only typical for ritual gatherings (cemler and muhabbetler), but also
that which has been popularized by master musicians through commercial recordings.

Interviews conducted with Bektasbi babalar, Alevi dedeler, and Alevi/Bektashi zakirler
and asiklar in Turkey and Bulgaria from the 1980s until the present will contribute to the
presentation. Audio samples ~nd video clips will accompany the presentation.

Key Words: Music, Nefes (Poem sung by dervishes), Sermon, Bektashi Music

My original topic for this paper involved a rigorous scrutiny of Alevi/Bektashi

deyişler and nefes/er in order establish Hacı Bektas Velf' s place and importance
in Alevi/Bektashi rituals, world view and identity. As I soon realized that it would
be impossible to provide a thorough analysis of this subject in the space of 15
minutes, I will then present (1) an introduction; (2) a brief overview of examples
from the literature and (3) case examples reflecting Alevi/Bektashi identity thro-
ugh artists and repertoire in Turkey and "village" Bektashis from the Eastem
Rhodope Mountains in Bulgaria.
It is quite obvious that there is stili much that we can leam from a concentra-
ted perusal of Alevi/Bektashi sung poetry, and particularly that repertoire which
is utilized during cem/er, through public performance, and on recordings. This
is because it is generally agreed that the poetry embodies the main beliefs, doct-
rines, and rules for behavior (edep erkan) of the tarikat and the mezhep.
Two excellent sources for poetry are Gölpınarlı's 1963 publication Alevi-
Bektasi Nefesler and the 1933 publication Bektasi Nefesleri compiled by Rauf
Yekta Bey, Suphi Bey and others that includes musical notation. One familiar
with the general repertoire will quickly understand that many of the poems are
shared by both Alevis and Bektashis, but the main difference is that the urban
Bektashi nefesler are sung in a style that is closer to Türk sanat müziği and
the Alevideyişler in a style that adheres to regional folk music practice. The
instrumentation also differs as the bağlama or saz is the instrument used by the
Alevis, Tahtacis and viiiage Bektashis, rather than the instruments of art music.
Publications do exist that classify the poetry into subgenres, but detailed analyses
of the texts are few and far between.
The issue of the occurrences of Hacı Bektaş in the literary tradition and his
resulting significance necessitates a broader investigation of the poems (inside
of and outside of ritual), a fundamental understanding of Hacı Bektaş as a tra-
ditional and histarical personage, and links between Alevis and Bektashis from
the point of view of the appointing and reality of spiritual authority figures,
affiliations of space and place (ocak, gyol, dergah/cemevi), anda world view
that marks a strong division between those who maintain a bond with the theme
of martyrdom, oppression, and resistance, and those for whom the values of

176. I I I. ULU S LARARA S I TÜR K KÜLTÜRÜ ve HA C I B E K TA Ş V EL İ S E M PO Z YU M U

 Hacı Bektaş Velrnin Alevi ve Bektaşi Ritüellerini. Dünya Görüşünü. Geçmiş ve Bugünkü Kimlik inşasındaki Rolü ve Önemini
Formüle Etme (Biçimlendirme) Aracı Olarak Nefes ve Deyişler

humanism, equality among all human beings, respect for nature, and a strong
sense of morality (edep erkan) are pre-eminent. It is interesting that although
Alevis consider Hacı Bektaş Veli to be their patron saint and there are dedeler
who have maintained strong relations with the Çelebis of the main dergôh in
Hacı Bektaş village, there is now a strong current of reviving, or proclaiming Kı­
zılbaş roots, and even in the case of Kurdish Alevis exploring and embracing the
belief systems and expressive culture of related Ghulat sects such as the Ahi-ı
Hakk of Iran. One has to remember that the Ottomans did favor the Bektashis
until the demise of the Janisseries and the establishment of the Turkish Republic
and its policies that ordered all of the tekkes to be closed in 1925. The term
Kızılbaş- supplanted by the later term Alevi, as you all know, continues to have
derogatory implications from the historical, political, and moral (mum sondu)
standpoint.
These points are mentioned in order to pose the question of the relevance
of Haci Bektaş for today' s Alevis as well as Bektashis. I will now provide a brief
account of mention of Hacı Bektaş in Alevi/Bektasi poetry. It is by no means
comprehensive, but certainly a stepping stone in the directian of further impor-
tant work.
Hacı Bektash
Who was the Hünkar? If we look at the Makalat-i Gaybiyye ve Kelimat-i
Ayniyye we leam that his si/si/a traces back to the prophet Muhammed and
that he espouses the doctrines of a predominantly Sunni Sufi order, no doubt
that of Ahmed Yesevi; there is some mention of reverence for the ehl-i-beyt
and Hazreti Ali, but what predominates is dervish life and its related activities.
As we know, the Vilayetname deseribes the saint's miraculous feats and makes
references to Ali as the source for batini knowledge.
Let us lo ok at the poetry.
In the early poetry, Hacı Bektaş is referred to as an abdal:
Abdalliğın binasını sorarsaniAllah bir Muhammed Ali Abdaldır1
Kemer-bestelerin bel Abdaldır/ Öten bülbüllerin dili Abdaldır/Muhammed
Ali'nin yolu Abdaldır/ Hünkar Hacı Bektaş Veli Abdaldır.
(Dertli Kemter)
This points towards the Bektashi legacy of Qalandar, Haydari, Abdal,
(abdalan-i Rum) and early Bektashi dervish collectives known for their ascetic
and antinamian ways, a renunciation of society and social customs, and often
an excessive love of İmam 'Ali (Karamustafa 2006 :2, 20, 84).:

Hankah-ı ışkiçinde baş açık Bekdaşiyem

Biz de Rum abdaliyiz, bizim Ali'dir şahımız.

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Hayreti (16th century)

Ina poem that is stili sung by Bektashis in southem Bulgaria (eastem Rho-
dope Mountains), the 14Uı/15Uı century mystic and master of Bektashi poetry,
Kaygusuz Abdal, pays hamage to his spiritual guide Abdal Musa, an important
Bektashi saint whose türbe (tomb/shrine) is found in Tekke village, Elmalı, do-
se to Antalya in southem Anatolia. The poet refers to the Urum Abdalları or
Abdalan-i Rum- the itinerant "deviant" dervishes (Karamustafa 2006) who
wore sheep skins used oüring Bektashi rituals on their backs (postun eğnine),
the erler (wise ones), nurlar (those who have seen the light of Ali), the sick
(hasta/eri), who make a pilgrimage to Abdal Musa's tomb. He refers to ritual
ceremonies where the "true ones" or "faithful" (gerçekler) stand in the dar po-
sition (d ara durmuş gerçekler)- the position that is symbolic of martyrdarn and
Mansur al-Hallaj- in center of the room (meydaninda) in which Bektashi ritual
ceremonies take place and where the candles of mystical "truth" are !it (Hak
cerağın yakarlar); ritual prayers (gülbang) are recited, and the mysteries (sır) of
the order are revered and protected (Gölpınarlı 1962: 107).
In other poems the Hünkar is accorded the status of the pir of all pirs or
serçeşme - the source of Bektashi faith:
İman ettik Muhammed' e Ali'ye/Kırklar meydanında erler merhaba/ikranmız
Hacı Bektaş Vel!'ye/Hünkar Hacı Bektaş Veli merhaba
(aşık Ali Metin- dede: "Merhaba")
Sensin bizim zahir batın ulumuz (You are o ur exoteric/esateric master)/Aman
medet mürvet Pir Hacı Bektaş (Oh, our helper, our blessing, Hacı Bektaş)
He is also accorded status that is equal to Imam Ali or morphed into his
personage:
Ali' sin bir adın Pir Hacı Bektaş (You are Ali and one of your nam es is Hacı
Bektaş) Pirlerin pirisin zati Ali' sin (You are the pir of the pirs, as a matter of fact
you are Ali)/ Kul kemter Kenzi'yim sana dayandim Gam Kul Kemter Kenzi
and I trust you/depend on you)/Uyur idim himmetinle uyandim (I was asleep,
but awoke with your miraculous influence)
(Kul Kemter Kenzi)

Nesli Peygambersin cihanın nuru/Alisin Velisin Pirlerin Pin/Horasandan

ayak hastın Uruma/Mucizeler şahit oldu pirime/Sana inanmışım ervahtan kök-
ten/Sana inanmayan kör Hacı Bektaş/Yine senden olur her derde çare

(Aşık Veysel, "Hacı Bektas")

Contemporary poets such as Hüseyin Çırakman and aşık Hudai, for examp-
le, have compared Hacı Bektaş to Atatürk and the demecratic ideals and prin-

178 III. ULUSLARARASI TÜRK KÜLTÜRÜ ve HACI BEKTAŞ VELi SEMPOZYUMU

 Hacı Bektaş Veli'nin Alevi ve BektaşiRitüellerini. Dünya Görüşünü. Geçmiş ve Bugünkü Kimlik Inşasındaki Rolü ve Önemini
Formüle Etme (Biçimlendirme) Aracı Olarak Nefes ve Deyişler

ciples of the Turkish Republic. In Atatürk, the Alevis felt that the Mahdi- a true
Alevi - had arrived; the Bektashis, on the other hand, believed that the republic
had accomplished what the Bektashis stood for, meaning the abalition of the
Caliphate, the freedam of women from the veil and social restraints, and the
end to the fanaticism of religious leaders (Birge 1936:20). Bektashis, in fact,
profited when some Çelebis were appointed as delegates in the First Assembly
of the new secular state.

Asik Hudai (b. 1940) "Haci Bektaş ile Atatürk":

Gönlüm Hacı Bektaş elim Atatürk !Ilim Hacı Bektaş bilim Atatürk/ Gönlüm
Hacı Bektaş dilim Atatürk/Dalım Hacı Bektaş gülüm Atatürk/ Ulum Hacı Bek-
taş dolum Atatürk.

Hüseyin Çırakman: (p. 302) "Biri Hacı Bektaş, Biri Atatürk":

Insanlığı bile bile gelenler/Biri Hacı Bektaş, biri Atatürk/Cehaleti karanlığı

silenleri Dilimize Türkçe öz bırakanlar/Gerçeğe götüren iz bırakanlari Biri Hacı
Bektaş, biri Atatürk.

Alevi-Bektashi Expressive Culture and Identity in contemporary

times:
Turkey:
The Istanbul-based recording company Kalan has been instrumental in pro-
moting Alevi/Bektasi music and poetry and just this year released the remarkab-
le album Kızılbaş that on the surface boldly asserts extremist Shi'ite identity with
"extreme" repertoire that underscores themes of martyrdom, persecution, and
repression as reflected in Şah Hatai's duvaz imam "Lanet Yezid'e." The main
political message, however, is to bring together Alevis and Bektashi communiti-
es, eliminate divisive tendencies, and in the words of Hacı Bektaş, "to look at 72
nations with one eye." Asa result we find deyişler in Turkish, Kurdish and Zaza.
We also find a strong Bektashi presence with poems by the following:
(1) Genç Abdal (19th century) "Lamekzm içeri" - that attests to attaining
halekikat and being deserving of the appellation insan-ı kamil.

Ne yerdeyim ne gökteyim nerdeyim/Mekan tutmaz ispat olmaz yerdeyimi

Lamekamın lamekandan içeri.
(2) a contribution by aşık and dede Dertli Divani who is closely associated
with the Bektashi Çelebiler, leads cemler in Eastem Anatolia, Europe and North
America, gives workshops, and was a consultant and performer for the TRT do-
cumentary HacıBektaş Velf ve Cem Töreni Belgeseli. The nefes he performs

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Dr. lrene MARKOFF - - - - - - - - - - - - - - - - - - - - - - - -

is that of Büryani Baba (1926-1990) and is entitled "Yolumuz Vardır;" The

poem defends the Bektashi faith in the face of critica! Muslim fanatics, asserts
Hacı Bektaş's authority as the supreme arif, confirms that Ali is Allah's sacred
mystery, that the faith follows the path of Imam Cafer without reservations, and
that Muhammad and Ali are subsumed in the Unity of Gad:

"Softa biz tulaka takva değiliz/ Tarik-i nazanen yolumuz vardır/ Halilim bir-
liğinde Muhammad Ali/ Ta.....ezelden kırklar kurdu bu yolu/ Allahin şaşkını hey
sersem kulu, Hakikata vakıf delimiz vardır. Imam Cafer yolundayız dönmeyiz/
Saka-i kevserden dolumuz vardır, Kutb-ul arifin Bektaş-i Veli/ Kaddesallah sım
valiahi Ali/ Büryani bu pirden tutmuş eli/ Eve! Ali ahir Velimiz vardir. Divani's
sung poetry has been performed by many of Turkey's renowned Alevi artists
and alsa figures in the repertoire of cems.
The primary focal point in the Kızılbaş album, however, is a poem by the
Bektashi poet Harabi (Edip Harabi, 1853-1917) entitled "Vahdetname" that
symbolizes the "secret" or "mystery" (sırr) of Bektaşilik:

Vehdet sarayına girenler için/Hakkı hakk'el yakın görenler için/Bu sım Ha-
rabi bilenler için/Birlik meydanında cevlan eyledik.
(For those entering the palace of unity, For those who have come into the
presence of Gad, For those who know Harabi/I paraded this seeret in the mey-
dan of oneness) If time allows I would !ike to end this presentation with a brief
film elip of nefesler of Bektashi saints from the Eastem Rhodope Mountains
region of Bulgaria where the saints' tombs are visited frequently by "village"
Bektashis who are experiencing a revitalization of their sacred heritage.

180 ll !. U L U S LA R A RA S 1 TÜ R K K Ü LT Ü R Ü v e H A C 1 B E K TA Ş V EL İ S E M P O Z Y U M U