{"id":1781,"date":"2010-07-19T04:54:00","date_gmt":"2010-07-19T09:54:00","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=1781"},"modified":"2010-07-19T04:54:00","modified_gmt":"2010-07-19T09:54:00","slug":"hemsin-danslari-ve-ozellikleri-19-yy-in-ikinci-yarisi-ve-20-yy","status":"publish","type":"post","link":"https:\/\/akunq.net\/turkish\/2010\/07\/19\/hemsin-danslari-ve-ozellikleri-19-yy-in-ikinci-yarisi-ve-20-yy\/","title":{"rendered":"HEM\u015e\u0130N DANSLARI VE \u00d6ZELL\u0130KLER\u0130: 19. yy.\u0131n ikinci yar\u0131s\u0131 ve 20.yy."},"content":{"rendered":"<p style=\"text-align: right\"><strong>J.K. Kha\u00e7atryan<\/strong><\/p>\n<p style=\"text-align: right\">Ermenistan Cumhuriyeti, Bilimler Milli Akademisi,<\/p>\n<p style=\"text-align: right\">Arkeoloji ve Etnografi Enstit\u00fcs\u00fc<\/p>\n<p style=\"text-align: justify\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/p>\n<p style=\"text-align: justify\">Karadeniz\u2019in kuzeydo\u011fu k\u0131y\u0131lar\u0131nda bug\u00fcn h\u00e2la kendi \u00f6zg\u00fcn leh\u00e7eleriyle konu\u015fan, atalar\u0131ndan miras kalm\u0131\u015f ananeleri, inan\u00e7lar\u0131yla ya\u015fayan, isimlerini ve ya\u015fad\u0131klar\u0131 yer isimlerini koruyan ve anavatanlar\u0131, ya\u015fam tarz\u0131 ve ananeleriyle Karadeniz\u2019in Anadolu k\u0131y\u0131lar\u0131nda bulunan Hem\u015finli Ermenilerle ba\u011fl\u0131 olan \u00e7ok say\u0131da Ermeni ya\u015famaktad\u0131r. Bu insanlar kendilerini Trabzonlu, Ordulu, Canikli ve Samsunlu, genel olarak ise Hem\u015finli veya Hom\u015fetsi olarak adland\u0131r\u0131rlar.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1782\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1782\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1782\" title=\"1  hemsin\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/1-hemsin.jpg\" alt=\"\" width=\"605\" height=\"337\" \/><\/a><\/p>\n<p style=\"text-align: justify\">Hem\u015fin, merkezi Ham\u015fen veya Hamam\u015fen (Tambura) \u015fehri olan, y\u00fcksek ve eri\u015filmez da\u011flarla \u00e7evrili bir Ermeni sanca\u011f\u0131yd\u0131. Hem\u015finliler uzun y\u0131llar M\u00fcsl\u00fcmanlar\u0131n bask\u0131lar\u0131na maruz kalarak Trabzon, Kur\u015funlu, Kara-Dere, S\u00fcrmene ve hatta Ord ile, Samsun\u2019a, Nikomedia\u2019dan (\u0130zmit) Baberd\u2019e (Bayburt) kadar g\u00f6\u00e7m\u00fc\u015flerdir. Hem\u015finliler, \u00f6zellikle Karadeniz\u2019in G\u00fcney k\u0131y\u0131lar\u0131na yerle\u015fip, Bat\u0131ya do\u011fru Trabzon\u2019a, Do\u011fuya do\u011fru ise Batum (Khupta) ve Rize\u2019nin Kuzeydo\u011fusuna, \u00c7oruh Nehri vadisine\u00a0 kadar yay\u0131larak,\u00a0 yeni k\u00f6yler kurmu\u015flard\u0131r. (M\u0131khitar Abba\u2019n\u0131n \u00d6\u011frencileri, <strong>\u00d6zel \u0130simler S\u00f6zl\u00fc\u011f\u00fc<\/strong>, 2. Cilt, 1769)<\/p>\n<p style=\"text-align: justify\">1715 y\u0131l\u0131ndaki korkun\u00e7 S\u00fcrmene ve Kara-Dere katliamlar\u0131ndan sonra Hem\u015finliler bak\u0131\u015flar\u0131n\u0131 Do\u011fuya, Karadeniz\u2019in Do\u011fu ve Kuzey k\u0131y\u0131lar\u0131na y\u00f6neltmi\u015flerdi. XIX. yy.\u0131n 60\u2019l\u0131 ve 90\u2019l\u0131 y\u0131llar\u0131nda ba\u015flayan toplu g\u00f6\u00e7ler sonucunda \u00e7ok say\u0131da Hem\u015finli temelli olarak Sukhum, daha sonra ise So\u00e7i ve Tuapse b\u00f6lgelerine yerle\u015fip \u00e7ok say\u0131da Ermeni k\u00f6yleri meydana getirmi\u015flerdir.\u00a0 Etnograf A.H. Muratyan\u2019a g\u00f6re 1901 y\u0131l\u0131nda Karadeniz\u2019in t\u00fcm Kafkasya k\u0131y\u0131lar\u0131 boyunca K\u0131r\u0131m\u2019a kadar yakla\u015f\u0131k 15 000 Hem\u015finli ya\u015famaktayd\u0131. (<strong>Hem\u015finli Ermeniler<\/strong>, Etnografya Dergisi\u2019nden al\u0131nt\u0131, Tiflis. 1901. s.9 )<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1783\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1783\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1783\" title=\"2 sirtkoy-11\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/2-sirtkoy-11.jpg\" alt=\"\" width=\"342\" height=\"203\" \/><\/a>Hem\u015finliler, Hem\u015fin\u2019de de oldu\u011fu gibi yeni yerle\u015fim yerlerinde de b\u00fcy\u00fck k\u00f6yler kurmam\u0131\u015f, s\u00fclale prensibine g\u00f6re kurulan yerle\u015fim yerleri, t\u00fcm\u00fcn\u00fcn ayn\u0131 s\u00fclalenin farkl\u0131 kollar\u0131na ait olduklar\u0131 (erkek ve k\u0131z karde\u015fler, \u00e7ocuklar, torunlar) toplam 20-30 evden olu\u015fmu\u015f, bu sebepten dolay\u0131 k\u00f6yler s\u00fclale isimleriyle an\u0131lm\u0131\u015flard\u0131r. \u00d6rne\u011fin <strong>Artin usti ge\u011f<\/strong> (Artin ustan\u0131n k\u00f6y\u00fc), <strong>Papaztsonts ge\u011f<\/strong> (Papazlar\u0131n k\u00f6y\u00fc), <strong>Galactsonts ge\u011f<\/strong> (Galaclar\u0131n k\u00f6y\u00fc) veya eski yerle\u015fim yerlerinin isimlerine g\u00f6re <strong>S\u00fcng\u00fcrdtsots ge\u011f<\/strong> (S\u00fcng\u00fcrtl\u00fclerin k\u00f6y\u00fc), <strong>Ordetsots ge\u011f<\/strong> (Ordulular\u0131n k\u00f6y\u00fc), <strong>Aznabtsots ge\u011f<\/strong> (Aznabl\u0131lar\u0131n k\u00f6y\u00fc), <strong>S\u0131nabtsots ge\u011f<\/strong> (S\u0131nabl\u0131lar\u0131n k\u00f6y\u00fc) vs.<\/p>\n<p style=\"text-align: justify\">Hem\u015finlilerin folkloru ve manevi k\u00fclt\u00fcr\u00fcyle ilgili ara\u015ft\u0131rmalar\u0131n say\u0131s\u0131 \u00e7ok olmada\u011f\u0131ndan dolay\u0131 bu makale Sovyet y\u00f6netimi y\u0131llar\u0131nda kaydedilmi\u015f olan verilerin neticelerinin yay\u0131nlanmas\u0131ndan ibarettir. Bu kitap, tarihi Hem\u015finle ilgili bir dizi makaleden olu\u015fmaktad\u0131r. Bu makalenin niyeti, manevi k\u00fclt\u00fcr\u00fcn biri b\u00f6l\u00fcm\u00fc olan dans sanat\u0131 \u00fczerine yo\u011funla\u015fmakt\u0131r. Bu konuda sadece iki makale yay\u0131nlanm\u0131\u015ft\u0131r (<strong>J.K. Kha\u00e7atryan,<\/strong> Birka\u00e7 Hem\u015fin dans\u0131, B\u00fclten, Yerevan, 1964, N3, s.71. <strong>\u042d.\u0425.\u041f\u0435\u0442\u0440\u043e\u0441\u044f\u043d, \u0416.\u041a.\u0425\u0430\u0447\u0430\u0442\u0440\u044f\u043d, <\/strong>\u0421\u043e\u0431\u0440\u0430\u043d\u0438\u0435 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0438 \u0430\u0440\u043c. \u0442\u0430\u043d\u0446\u0435\u0432\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0430, \u0421\u043e\u0432. \u044d\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u044f, \u00a0\u043d\u043e. 1, \u0441\u0442\u0440. 155).\u00a0<\/p>\n<p style=\"text-align: justify\">Sovyet iktidar\u0131n\u0131n kurulu\u015fu ile \u0130kinci D\u00fcnya Sava\u015f\u0131 y\u0131llar\u0131nda ya\u015fanan a\u011f\u0131r olaylar sonucunda, bu topraklarda ya\u015fayan Hem\u015finli Ermeniler de yeni bask\u0131lara maruz kald\u0131klar\u0131ndan dolay\u0131 g\u00f6zlerini daha uza\u011fa, yeni diyarlara diktiler.<\/p>\n<p style=\"text-align: justify\">1950 y\u0131l\u0131nda Ermenistan Cumhuriyeti\u2019nin bilim ve k\u00fclt\u00fcr merkezlerinde Hem\u015finlilere y\u00f6nelik ilgi artar ve bunun sonucu olarak 1958 y\u0131l\u0131n\u0131n Temmuz-A\u011fustos aylar\u0131nda ESSC BA (Ermenistan Sovyet Sosyalist Cumhuriyeti Bilimler Akademisi) Sanat Enstit\u00fcs\u00fc ve Bestek\u00e2rlar Birli\u011fi tarafindan ortakla\u015fa d\u00fczenlenen bilimsel ara\u015ft\u0131rma gezileri d\u00fczenlenir. 4 ki\u015fiden olu\u015fan grubun ba\u015fkanl\u0131\u011f\u0131n\u0131 M\u00fczikolo\u011f M.T. Manukyan yapmaktayd\u0131. Yap\u0131lan \u00e7al\u0131\u015fmalar sonucunda 250 a\u015f\u0131k ve halk \u015fark\u0131s\u0131 derlenmi\u015ftir.<\/p>\n<p style=\"text-align: justify\">1961 yaz\u0131nda ayn\u0131 kurumlar\u0131n Arkeoloji ve Etnoloji Enstit\u00fcs\u00fc \u00e7al\u0131\u015fan\u0131, etnodans uzman\u0131 Srb. Lisistsyan, Sukhum \u015fehrinde birka\u00e7 Hem\u015fin dans\u0131 ve bunlarla ilgili baz\u0131 bilgiler kaydetmi\u015ftir. \u00d6zellikle <strong>T\u0131rt\u0131ruk<\/strong> (titreme) ve <strong>Karabdal<\/strong> oyunlar\u0131yla ilgili bilgiler enteresand\u0131r.<\/p>\n<p style=\"text-align: justify\">Ayn\u0131 enstit\u00fcden be\u015f ki\u015filik bir ara\u015ft\u0131rma grubu 1962 y\u0131l\u0131nda etnograf D.S. Vardumyan \u00f6nderli\u011finde Sukhum \u015fehrinde \u00e7al\u0131\u015fmalar yapm\u0131\u015ft\u0131r.<\/p>\n<p style=\"text-align: justify\">1966 y\u0131l\u0131nda \u015fahsi g\u00f6revle gidip danslar, halk bayramlar\u0131 ve Hem\u015fin d\u00fc\u011f\u00fcnleriyle ilgili geni\u015f \u00e7apta malzeme kaydetim. L\u00e2kin <strong>Tikko Dans\u0131<\/strong>\u2019n\u0131n notaya ge\u00e7irilmesi haricinde elimizde m\u00fczik kay\u0131tlar\u0131 yoktur. Bu durumun sebeplerinden biri de, 1967 y\u0131l\u0131nda Ermenistan Tarih M\u00fczesi Etnografya B\u00f6l\u00fcm\u00fc\u2019n\u00fcn etnograf V.A. Abrahamyan y\u00f6netiminde ger\u00e7ekle\u015ftirdi\u011fi bilimsel ara\u015ft\u0131rma gezisine \u015fahsi inisyatifimle kat\u0131lmam olmu\u015ft\u0131ur.<\/p>\n<p style=\"text-align: justify\">1972 y\u0131l\u0131nda bilimsel ara\u015ft\u0131rma gezisine bir defa daha kat\u0131lma imk\u00e2n\u0131 elde ettim. Yerevan Konservatuar\u0131 Halk M\u00fczi\u011fi B\u00f6l\u00fcm\u00fc\u2019n\u00fcn, m\u00fczikolo\u011f M.A.Brutyan y\u00f6netiminde ve \u00f6\u011frenci ve \u00f6\u011fretmenlerden olu\u015fan bir grupla d\u00fczenledi\u011fi bu sefer Krasnodar B\u00f6lgesi, \u00f6zellikle de Adler ve \u00e7evre k\u00f6ylerine d\u00fczenlenmi\u015fti.<\/p>\n<p style=\"text-align: justify\">1967 y\u0131l\u0131nda d\u00fczenledi\u011fimiz ilk gezi Sukhum\u2019dan ba\u015flayarak Lazarevsk\u2019te son bulmu\u015ftu. H\u0131zl\u0131 \u00e7al\u0131\u015fma sonucunda Sukhum, Anapa ve Tuapse b\u00f6lgelerinde bulunan hemen-hemen t\u00fcm Ermeni k\u00f6ylerinde bulunma,\u00a0 danslar ve oyunlarla ilgili bilgi toplama imk\u00e2n\u0131 elde edip bu sayede Hem\u015fin d\u00fc\u011f\u00fcn\u00fcn\u00fc (o zamanlar kullan\u0131lan leh\u00e7esiyle) 20 farkl\u0131 dans ve oyunu m\u00fczikal metinleriyle birlikte tamamlayabildik. Bunlar\u0131n hepsi bug\u00fcn art\u0131k ender bulunacak malzemelerdir.<\/p>\n<p style=\"text-align: justify\">1972 y\u0131l\u0131ndaki ara\u015ft\u0131rma gezisi \u00f6zellikle m\u00fczikal malzeme belirleme ve kaydetme imk\u00e2n\u0131 sundu.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1784\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1784\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1784\" title=\"3 costumwomdesk\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/3-costumwomdesk.jpg\" alt=\"\" width=\"286\" height=\"360\" \/><\/a>Malzemeyi elde etti\u011fimiz ki\u015filer genellikle altm\u0131\u015f\u0131n \u00fczerinde erkek ve kad\u0131nlard\u0131. 30-40 ya\u015flar\u0131ndaki Hem\u015finlilerin b\u00fcy\u00fck bir k\u0131sm\u0131 bilgi sahibi olmalar\u0131na ra\u011fmen danslar\u0131 takdim edemiyor veya sorular\u0131 tam olarak cevapland\u0131ram\u0131yorlard\u0131. Ya\u015fl\u0131lar, bilaistisna, danslar\u0131na son derece ciddi ve i\u00e7 mutlulukla yakla\u015f\u0131yorlard\u0131. Haykadzor\u2019da ya\u015fayan Vartan Petros o\u011flu \u011eukasyan, danslar\u0131 hakk\u0131nda konu\u015furken \u201c<strong>danslar\u0131m\u0131z \u00e7ok \u00e7ekicidir<\/strong>\u201d diye\u00a0 a\u00e7\u0131klamaktayd\u0131 B\u00fcy\u00fcklerinden dans, \u015fark\u0131 veya ananelerini \u00f6\u011frenmi\u015f olan gen\u00e7ler \u00e7ok azd\u0131. Bayram g\u00fcnlerinde Hem\u015finlilerin k\u00f6ylerden gelip \u015fehir meydanlar\u0131nda dansetmek i\u00e7in topland\u0131klar\u0131n\u0131 anlatt\u0131lar. Tuapse b\u00f6lgesi k\u00f6ylerinden toplan\u0131p t\u00fcm g\u00fcn boyunca <strong>Glor Barlar\u0131n\u0131<\/strong> (halay) oynad\u0131klar\u0131 1967 y\u0131l\u0131 1 may\u0131s \u015fenliklerini an\u0131yorlard\u0131. Dans edenlerin say\u0131s\u0131 o denli b\u00fcy\u00fckm\u00fc\u015f ki, geldikleri gibi, birbirleriyle tan\u0131\u015famadan eve d\u00f6nm\u00fc\u015fler. (J. Kha\u00e7atryan ar\u015fivi, Yer\u00e7anik Sahak o\u011flu Harutyunyan, Tuapse, 1967, s.37). Benzer bir durum 1937 Sovyet Cumhuriyetleri Aras\u0131 Olimpiyat Oyunlar\u0131 esnas\u0131nda meydana gelmi\u015f. (J. Kha\u00e7atryan ar\u015fivi, Karapet Harutyun o\u011flu Vaizyan, 1966, s.77). Anlat\u0131lana istinaden bayram toplant\u0131lar\u0131, anavatandaki y\u0131ll\u0131k bayramlar ve ziyaretlerde yap\u0131lan e\u011flencelere benzemekteydi. G\u00f6r\u00fcn\u00fc\u015fe g\u00f6re, benzer halk e\u011flenceleri eski bayramlar\u0131n ayakta kalm\u0131\u015f \u015fekillerini olu\u015fturmaktad\u0131r. 1970\u2019li y\u0131llardan sonra, Ermenistan\u2019\u0131n bir\u015fok k\u00f6y ve \u015fehirlerinde oldu\u011fu gibiHem\u015finliler ortam\u0131nda da \u00e7ok say\u0131da amat\u00f6r dans gruplar\u0131 kurulmu\u015f ve repertuvarlar\u0131na m\u00fcmk\u00fcn oldu\u011fu kadar \u00e7ok oyun d\u00e2hil etmeye \u00e7al\u0131\u015fmaktayd\u0131lar. Karadeniz\u2019in Kuzeydo\u011fu k\u0131y\u0131lar\u0131nda ya\u015fayan Hem\u015finli Ermenilerin dans ve tiyatro k\u00fclt\u00fcr\u00fc XX. yy.\u0131n 90\u2019l\u0131 y\u0131llar\u0131na kadar s\u00fcrm\u00fc\u015ft\u00fcr. Bu durumun g\u00fcn\u00fcm\u00fczde ne \u00f6l\u00e7\u00fcde devam etti\u011fi ve ne de\u011fi\u015fimlere maruz kald\u0131\u011f\u0131n\u0131 s\u00f6ylemek zordur. Bu makale i\u00e7in taraf\u0131mdan kaydedilmi\u015f malzemeler ve g\u00fcn\u00fcm\u00fcze kadar yay\u0131nlanm\u0131\u015f ve ar\u015fivlerde korunan malzemeler temel al\u0131nm\u0131\u015ft\u0131r.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1785\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1785\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1785\" title=\"4 karadenizlicift\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/4-karadenizlicift.jpg\" alt=\"\" width=\"278\" height=\"451\" \/><\/a>Hem\u015finli Ermeniler anavatanlar\u0131nda ve yeniden yerle\u015ftikleri yerlerde Y\u0131lba\u015f\u0131, Noel ve Ha\u00e7\u0131 suya atma bayramlar\u0131nda, Karnavalda, Paskalyada ve bir yas g\u00fcn\u00fcnden \u00e7ok atalar\u0131 anma g\u00fcn\u00fc olan \u00d6l\u00fcleri anma g\u00fcnlerinde, ziyaret yerlerine giderken ve adak adarken dans etmi\u015flerdir. Yeni yerle\u015ftikleri yerlerde kutsal yerleri olmad\u0131\u011f\u0131ndan dolay\u0131 azizlerin anma g\u00fcnlerinde k\u00f6y meydan\u0131, p\u0131nar ba\u015f\u0131 ve su k\u0131y\u0131s\u0131 gibi uygun yerlerde toplan\u0131p tuttuklar\u0131 ada\u011f\u0131 yerine getirmi\u015f ve ziyafet tertip etmi\u015fler. Bu toplant\u0131lar, g\u00fcre\u015f m\u00fcsabakalar\u0131n\u0131n <strong>Gp\u00e7u\u015f<\/strong>, k\u00f6pek, cam\u0131z, ko\u00e7 ve horoz d\u00f6\u011f\u00fc\u015flerinin ve atyar\u0131\u015flar\u0131n\u0131n tertiplendi\u011fi toplumsal e\u011flencelere d\u00f6n\u00fc\u015fm\u00fc\u015fler. En \u00e7ok Karnaval\u2019\u0131n ikinci haftas\u0131n\u0131n Per\u015fembe g\u00fcn\u00fc ve Cumartesi ile Pazar (as\u0131l Karnaval) g\u00fcnlerinde dans etmi\u015fler. \u201cBargendonkn\u201dda (Karnaval g\u00fcnleri) genel olarak d\u00fc\u011f\u00fcnler yap\u0131l\u0131rm\u0131\u015f. D\u00fc\u011f\u00fcnlerde, Karnaval\u2019\u0131n yukar\u0131da belirtilen g\u00fcnlerinde ve Paskalyada genellikle erkek danslar\u0131 oynay\u0131p (t\u00fcm erkekleri <strong>gdri\u00e7<\/strong> \u2013yi\u011fit- adland\u0131rm\u0131\u015flar), Karnaval\u2019\u0131n normal g\u00fcnlerinde ve di\u011fer g\u00fcnlerde ise kar\u0131\u015f\u0131k ve kad\u0131n danslar\u0131 oynam\u0131\u015flar. Karnaval\u2019\u0131n, belirtilen g\u00fcnleri haricinde kalan g\u00fcnleri kad\u0131nlar\u0131n h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc ve y\u00f6netti\u011fi g\u00fcnlerdi. (J. Kha\u00e7atryan ar\u015fivi, Karapet Hovsep o\u011flu Ko\u00e7konyan, Mdsara, 1966, s.29). Karnaval\u2019da ve d\u00fc\u011f\u00fcnlerde sadece <strong>Klor bar<\/strong> (halay) oynam\u0131\u015f, <strong>Tekhvakh<\/strong> veya <strong>Cukht<\/strong> (\u00e7ift) <strong>Par<\/strong> oynamam\u0131\u015flar. <strong>Tekhvakh<\/strong> oyununu <strong>Tu\u015fi<\/strong> olarak adland\u0131rm\u0131\u015flar. B\u00fcy\u00fck ihtimalle bu bir yenilikti veya art\u0131k unutulan \u00f6zel ayinlere ba\u011fl\u0131 tek ki\u015filik oyunlar\u0131 vard\u0131. (J. Kha\u00e7atryan ar\u015fivi, Petros Stepan o\u011flu \u011eukasyan, So\u00e7i, 1966, s.42). Dans \u015fark\u0131lar\u0131n\u0131 sadece erkekler s\u00f6ylemi\u015f ve i\u00e7lerinden biri bir d\u00f6rtl\u00fck s\u00f6yledikten sonra bir di\u011feri ikinci d\u00f6rtl\u00fc\u011f\u00fc s\u00f6ylemi\u015f veya bir d\u00f6rtl\u00fc\u011f\u00fc s\u00f6yledikten sonra ikinci d\u00f6rtl\u00fc\u011f\u00fc <strong>Kemaniyle<\/strong> \u00e7alm\u0131\u015flar. Zurna ve davul kullan\u0131ld\u0131\u011f\u0131nda dans ezgisini sadece \u00e7alarak icra etmi\u015fler.<\/p>\n<p style=\"text-align: justify\"><strong>Par<\/strong> (oyun, dans) terimi Hem\u015fin leh\u00e7esinde <strong>Bar<\/strong> olarak telaffuz edilmektedir. Etnodans uzman\u0131 Srb. Lisitsyan, Yeremia\u2019n\u0131n \u201cBargirk Hayotsi\u201dde (Ermenice s\u00f6zl\u00fck) yer bulan Pararutyun (muhteviyat) kelimesini d\u00f6llenme, gebelik (ayinsel olarak, dans sayesinde do\u011furganl\u0131k sa\u011flamakla ili\u015fkilendirilmektedir) anlam\u0131yla a\u00e7\u0131klamakta ve neslin \u00e7o\u011falmas\u0131 ve bar (meyve) anlam\u0131na ba\u011flamaktad\u0131r. Bilindi\u011fi gibi, Ermenice\u2019de <strong>bar<\/strong> kelimesi meyve anlam\u0131na gelmektedir, \u00f6rne\u011fin <strong>nubar<\/strong> \u2013 ilk meyve, ilk tad\u0131lan meyve vs. <strong>Bar<\/strong> k\u00f6keni ayn\u0131 zamanda <strong>bari<\/strong> (iyi), <strong>bareatsakam<\/strong> (yard\u0131msever), <strong>bareber<\/strong> (bereketli), <strong>bere\u011fen<\/strong> (iyilik, hay\u0131r), <strong>barepa\u015ft<\/strong> (m\u00fcmin), <strong>barev<\/strong> (selam) kelimeleriyle de anlam olarak ba\u011flant\u0131l\u0131d\u0131r. Srb. Lisitsyan, <strong>barev<\/strong> (selam) kelimesini <strong>barik<\/strong> (iyilik) dileme arzusuna ba\u011flamaktad\u0131r. Barevel (selamlamak), kar\u015f\u0131dakine <strong>iyilikle kal<\/strong>, <strong>bereketli ol<\/strong> temenni etmek anlam\u0131na gelmekte, bu ise sonradan de\u011fi\u015fime u\u011frayarak iyilik ve bereket temenni etmeye d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Ermeni halk oyunlar\u0131ndan biri <strong>barev brnel<\/strong> (selam durmak) olarak an\u0131lmaktad\u0131r. Yeni gelinlerin kollar\u0131n\u0131 g\u00f6\u011f\u00fcs \u00fcst\u00fcnde \u00e7apraz tutmalar\u0131 ve \u00f6l\u00fclerin ellerinin \u00e7aprazlanmas\u0131 da <strong>barev brnel<\/strong> (selam durmak) olarak an\u0131lmaktad\u0131r. Barekendan (Karnaval) veya <strong>Baregendonk<\/strong> (Hem\u015fin leh\u00e7esiyle) bayram\u0131 da \u0130yilik, sa\u011fl\u0131k, mutlu bir \u00f6m\u00fcr, ba\u015far\u0131 ve refah temennisiyle ba\u011flant\u0131l\u0131d\u0131r. Bu bayram\u0131n Hem\u015finliler i\u00e7in her zaman \u00f6zel bir yeri olmu\u015ftur. (Srb. Lisitsyan, Ermeni halk\u0131n\u0131n antik halk oyunlar\u0131 ve tiyatro temsilleri, I. cilt, Yerevan, 1985, s.64-65).<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1786\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1786\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1786\" title=\"5 hemsin\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/5-hemsin.jpg\" alt=\"\" width=\"634\" height=\"416\" srcset=\"https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/5-hemsin.jpg 634w, https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/5-hemsin-300x197.jpg 300w\" sizes=\"auto, (max-width: 634px) 100vw, 634px\" \/><\/a><\/p>\n<p style=\"text-align: justify\">Eskiden beri kapal\u0131 daire \u015feklinde <strong>Klor<\/strong> (yuvarlak, halka, halay) oyunlar\u0131 oynanm\u0131\u015ft\u0131r. Sadece oynayanlar\u0131n say\u0131s\u0131 az oldu\u011fu durumlarda yar\u0131m daire \u015feklinde oynanm\u0131\u015ft\u0131r. Anlatanlardan \u00e7o\u011fu, kendi k\u00fclt\u00fcrlerinde <strong>Tek bar<\/strong>, <strong>Tekhvakh bar<\/strong> veya <strong>Cukht bar<\/strong> oyunlar\u0131n\u0131n olmad\u0131\u011f\u0131 g\u00f6r\u00fc\u015f\u00fcndeler. L\u00e2kin 1966 y\u0131l\u0131nda kaydedilen halk oyunlar\u0131 listesinde, \u201c<strong>kad\u0131nlar\u0131n tefle oynad\u0131\u011f\u0131<\/strong>\u201d\u00a0 \u201c<strong>k\u0131z mendil<\/strong>\u201d <strong>Tekhvakh bar\u0131<\/strong> kaydedilmi\u015ftir (J. Kha\u00e7atryan ar\u015fivi, Baydzar Harutyun k\u0131z\u0131 Kuyumcuyan, Tsebelda, 1966, s.3).<\/p>\n<p style=\"text-align: justify\">Genelde gen\u00e7 ve orta ya\u015fl\u0131 erkekler bu oyunlar\u0131 oynam\u0131\u015f ve erkek oyunlar\u0131na kad\u0131nlar kat\u0131lmam\u0131\u015ft\u0131r. Nadiren, k\u0131rk\u0131n\u0131 ge\u00e7mi\u015f uyan\u0131k, kendi deyimleriyle <strong>\u011fo\u00e7a\u011f <\/strong>(ko\u00e7ak) ve iyi oynayan bir kad\u0131n, erkek oyunlar\u0131na kat\u0131lma hakk\u0131 elde edebilmi\u015ftir. Genel olarak, <strong>kar\u0131\u015f\u0131k<\/strong> (erkekli kad\u0131nl\u0131) oyunlara gen\u00e7 k\u0131zlar ve ya\u015fl\u0131 erkekler kat\u0131lmamaktad\u0131r. (J. Kha\u00e7atryan ar\u015fivi, Minas M\u0131g\u0131rti\u00e7 o\u011flu Gasparyan, So\u00e7i, 1966, s.45). Kay\u0131t edilen oyunlar\u0131 sadece oynayanlar\u0131n cinsiyeti ve ya\u015f\u0131na g\u00f6re s\u0131n\u0131fland\u0131rmak m\u00fcmk\u00fcnd\u00fcr.<\/p>\n<ul style=\"text-align: justify\">\n<li>Erkek veya yi\u011fitlerin yuvarlak oyunlar\u0131<\/li>\n<li>Kad\u0131n oyunlar\u0131<\/li>\n<li>Kar\u0131\u015f\u0131k oynanan oyunlar<\/li>\n<\/ul>\n<p style=\"text-align: justify\">\u00d6zel <strong>\u00e7ocuk<\/strong> oyunlar\u0131 kay\u0131t edilmemi\u015ftir. Sadece 1966 y\u0131l\u0131nda Yukar\u0131 Atara\u2019da <strong>Ay\u00e7on oyunu<\/strong> ad\u0131nda bir oyun kaydedilmi\u015f olmas\u0131na ra\u011fmen, bu oyunla ilgili toplanan veriler \u0131\u015f\u0131\u011f\u0131nda bunun bir \u00e7ocuk oyunu olmay\u0131p, erkek t\u00f6ren oyunu oldu\u011fu tespit edilmi\u015ftir. Ananeye g\u00f6re, oyunlar\u0131 erkekler tertip etmi\u015f ve oyunlar\u0131n y\u00f6neticili\u011fini, \u00f6nderli\u011fini \u00fcstlenmi\u015flerdir. Oynayanlar topland\u0131\u011f\u0131nda, oynama onay\u0131 ald\u0131ktan sonra iyi oynayan, say\u0131lan ve s\u00f6z\u00fc ge\u00e7en bir erke\u011fe <strong>barin aracnord\u0131 antsir<\/strong> (oyunun \u00f6nderli\u011fini al) \u00f6nerisi yaparlar. Oyunun \u00f6nderi <strong>Kumonda ano\u011f<\/strong> (kumanda eden, idare eden) (J. Kha\u00e7atryan ar\u015fivi, Matevos Harutyun o\u011flu Bicosyan, A\u015fa\u011f\u0131 Loo, 1967, s.50), <strong>Bari glekh<\/strong> (barba\u015f\u0131) (Srb. Lisitsyan ar\u015fivi, Harutyun Ba\u011ftasar o\u011flu Gaylacyan, Sukhum, 1961, s.30) olarak an\u0131lm\u0131\u015ft\u0131r. Oyunun yar\u0131m daire \u015feklinde oynand\u0131\u011f\u0131 durumlarda ikinci bir iyi oynayan\u0131 da d\u00fczeni sa\u011flamas\u0131 ve oynayanlara ad\u0131mlar\u0131 hat\u0131rlatmas\u0131 i\u00e7in yar\u0131m dairenin sonuna ge\u00e7meyi \u00f6nermi\u015flerdir. XX. yy.da art\u0131k hi\u00e7kimse oyunlar\u0131 gen\u00e7lere \u00f6\u011fretmeyi veya aktarmay\u0131 d\u00fc\u015f\u00fcnmemekteydi. Bilmeyenler, f\u0131rsat \u00e7\u0131kt\u0131\u011f\u0131nda kendi inisyatifleriyle \u00f6\u011freniyorlard\u0131.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1792\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1792\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1792\" title=\"6 Horon-2\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/6-Horon-21.jpg\" alt=\"\" width=\"341\" height=\"263\" srcset=\"https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/6-Horon-21.jpg 341w, https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/6-Horon-21-300x231.jpg 300w\" sizes=\"auto, (max-width: 341px) 100vw, 341px\" \/><\/a>Barba\u015f\u0131, oyunu ba\u015flatmadan \u00f6nce, g\u00f6revi yar\u0131m dairenin veya dairenin ortas\u0131nda veya s\u0131ran\u0131n herhangi bir yerinde durmak olan bir yard\u0131mc\u0131 se\u00e7mekteydi. Oynayanlar\u0131n say\u0131s\u0131n\u0131n \u00e7ok b\u00fcy\u00fck olmas\u0131 durumunda y\u00f6neticinin, oynayanlar\u0131 gruplara b\u00f6l\u00fcp gruplar halinde oynatma hakk\u0131 vard\u0131. Y\u00f6neticinin, kat\u0131l\u0131mc\u0131lar\u0131n \u00f6nerilerini dinleyip, dikkate al\u0131p, kabul veya reddetme zorunlulu\u011fu vard\u0131.\u00a0 S\u0131\u00e7rama, y\u00f6n de\u011fi\u015ftirme ve sa\u011fa-sola d\u00f6nme komutlar\u0131n\u0131 vs. zaman\u0131nda vermeliydi. Komutlar hayk\u0131rarak veriliyordu. En \u00e7ok kullan\u0131lan komut <strong>Yallah<\/strong> \u00e7a\u011fr\u0131s\u0131yd\u0131.\u00a0 Y\u00f6netici, oyun ad\u0131mlar\u0131n\u0131n do\u011fru at\u0131lmas\u0131n\u0131 g\u00f6zetmeliydi. Y\u00f6neticinin en \u00f6nemli g\u00f6revi, sayg\u0131nl\u0131\u011f\u0131 sayesinde d\u00fczeni korumakt\u0131.<\/p>\n<p style=\"text-align: justify\">Herhangi biri yersiz haraketler ve hayk\u0131r\u0131\u015flarla oyunu bozdu\u011fu veya -oynayanlara kar\u015f\u0131 bir sayg\u0131s\u0131zl\u0131k i\u015fareti olarak kabul edilen,- s\u0131ran\u0131n sonuna ge\u00e7ti\u011fi takdirde y\u00f6netici taraf\u0131ndan cezaland\u0131r\u0131lmaktayd\u0131. Bu ki\u015fi kad\u0131n olmas\u0131 durumunda s\u0131radan ve daha sonra da oyundan at\u0131l\u0131rd\u0131. Erkekse, eli aya\u011f\u0131n\u0131 ba\u011flay\u0131p, \u00f6z\u00fcr dileyip tekrar oyunu bozmayaca\u011f\u0131na dair s\u00f6z verene kadar hapsettirirdi. Oyun bilmeden s\u0131raya ge\u00e7mek de oyunu bozma denemesi olarak alg\u0131lan\u0131p ceza verilmekteydi.<\/p>\n<p style=\"text-align: justify\">Y\u00f6netici yard\u0131mc\u0131s\u0131 da benzer selahiyetlere sahipti, fakat onun en \u00f6nemli g\u00f6revi ad\u0131mlara dikkat edip, zaman-zaman uygun komutlarla, oyunu ve hareketleriyle oynayanlar\u0131 \u015fevklendirmek olmu\u015ftur.<\/p>\n<p style=\"text-align: justify\">Barba\u015f\u0131 ve yard\u0131mc\u0131s\u0131n\u0131n zaman-zaman oyunu terk edip tekrar geri gelme haklar\u0131 vard\u0131.<\/p>\n<p style=\"text-align: justify\">Barba\u015f\u0131n\u0131 se\u00e7tikten sonra herkesin onu dinleme ve ayaklar\u0131na, hareketlerine ve yakla\u015f\u0131m\u0131na uyma mecburiyeti vard\u0131.<\/p>\n<p style=\"text-align: justify\">Toplant\u0131larda, oyun bitince <strong>bar\u0131 ba\u015f e\u011fav<\/strong> (bar ba\u015f oldu) derlerdi, oyun bitti anlam\u0131nda.<\/p>\n<p style=\"text-align: justify\">Hem\u015fin oyunlar\u0131n\u0131n baz\u0131 \u00f6zellikleri vard\u0131r. Bu oyunlardan 15\u2019i XX. yy.\u0131n sonuna kadar g\u00fcndelik ya\u015famlar\u0131nda korunmaktayd\u0131. T\u00fcm bu oyunlar\u0131n isimleri a\u00e7\u0131klay\u0131c\u0131 ve tan\u0131mlay\u0131c\u0131 \u00f6zelli\u011fe sahiptir. \u00d6rne\u011fin, <strong>Dzondr bar<\/strong> ismi somut bir oyunla ilgili olmaktan ziyade dans \u00f6zelliklerinden birinin tan\u0131mlamas\u0131yla ilgilidir. Dzondr bar, karma\u015f\u0131k dans \u015fekli ve zor dans fig\u00fcrlerini betimlemektedir, <strong>T\u0131rt\u0131ruk<\/strong> oyununda oldu\u011fu gibi.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1793\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1793\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1793\" title=\"7 atsiapat\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/7-atsiapat.jpg\" alt=\"\" width=\"338\" height=\"260\" \/><\/a>Anlatanlar\u0131n hemen hepsi oyunlar i\u00e7in belirli zaman, yer ve s\u0131ralaman\u0131n olmad\u0131\u011f\u0131n\u0131 iddia etmekteydi. L\u00e2kin s\u00f6ylediklerini unutarak s\u0131kl\u0131kla <strong>T\u0131rt\u0131ruk<\/strong> oyununun her zaman oynanmad\u0131\u011f\u0131n\u0131 belirtmekteydiler. Genellikle d\u00fc\u011f\u00fcnlerde, Barekendan\u2019\u0131n (karnaval) Per\u015fembesinde ve Paskalya\u2019da oynanmaktayd\u0131. Genellikle, <strong>T\u0131rt\u0131ruk\u2019tan<\/strong> sonra muhakkak <strong>Toynal\u0131<\/strong> oyununu oynad\u0131klar\u0131n\u0131 belirtmekteydiler. Toynal\u0131 oyunu b\u00fcy\u00fck bir ihtimalle Karapdal oyunudur. Bir ba\u015fka seferinde de <strong>Ay\u00e7on<\/strong> oyununun sadece ya\u011fmur ya\u011fd\u0131rma ayini esnas\u0131nda oynand\u0131\u011f\u0131n\u0131 veya <strong>Haysi<\/strong> oyununu sadece d\u00fc\u011f\u00fcn sonunda oynad\u0131klar\u0131n\u0131 belirtmektedirler. T\u00fcm bunlar, oyunlar\u0131n belli bir s\u0131ralamas\u0131n\u0131n oldu\u011fu ve yer ile zamanla ilgili kesin kurallar\u0131n bulundu\u011funu kan\u0131tlamaktad\u0131r. Bu kurallar, oyunlar\u0131n t\u00f6rensel i\u00e7eri\u011fini s\u0131k\u0131 s\u0131k\u0131ya korumakla ilgili antik zamanlarda \u015fekillenmi\u015f \u00f6zelliklerdir. \u0130nan\u00e7lara g\u00f6re, kutsal danslar\u0131n sunu\u015fundaki en ufak de\u011fi\u015fiklik veya bozukluk, bilhassa ritmde, t\u00f6ren kat\u0131l\u0131mc\u0131lar\u0131 i\u00e7in y\u0131k\u0131c\u0131 olabilirdi. Bu inan\u00e7 y\u00fcz\u00fcnden baz\u0131 t\u00f6rensel danslar g\u00fcn\u00fcm\u00fcze kadar korunup ula\u015fabilmi\u015flerdir. (E.A. Koroleva, Tiyatronun \u0130lk \u015eekilleri, Ki\u015finev, 1977, s. 185. C. Frezer, Alt\u0131n kol, M., 1931, s. 38).<\/p>\n<p style=\"text-align: justify\">Yukar\u0131da belirtilen 15 oyundan her biri birka\u00e7 variasyonla g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r. Toplam say\u0131n\u0131n sadece be\u015fi erkek oyunlar\u0131d\u0131r, bunlardan d\u00f6rd\u00fc <strong>Glor<\/strong> (yuvarlak, halay), biri ise tek ki\u015filik oyundur. Sadece bir tek ki\u015filik kad\u0131n oyunu, &#8211;<strong>K\u0131z mendil<\/strong>,\u00a0 g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r. Di\u011fer oyunlar erkek-kad\u0131n kar\u0131\u015f\u0131k oynanan danslard\u0131r. Biri haricinde hemen t\u00fcm\u00fc sa\u011fa y\u00f6nelen oyunlard\u0131r. B. Torlakyan\u2019\u0131n tespitine g\u00f6re <strong>Holomendza<\/strong> veya <strong>Kholomendza<\/strong> oyunu sola do\u011fru y\u00f6nelen bir danst\u0131r. Dizi iyice k\u0131r\u0131p tekrar eski duruma d\u00f6n\u00fclerek yap\u0131lan sa\u011f ayakla sola do\u011fru at\u0131lan ad\u0131mlar Hem\u015fin oyunlar\u0131n\u0131n \u00f6zelliklerindendir. Bu hareket, genelde Ermeni halk danslar\u0131na \u00f6zel olmay\u0131p nadiren g\u00f6r\u00fclmektedir. Hem\u015fin oyunlar\u0131n\u0131n \u00f6zelliklerinden biri de ritmin devaml\u0131 vurgulanmas\u0131 ve h\u0131zl\u0131 hareketlerdir. T\u00fcm oyunlarda v\u00fccut k\u0131s\u0131mlar\u0131n\u0131 titreten hareketler vard\u0131r. XX. yy. sonlar\u0131nda baz\u0131 etkiler g\u00f6zlemlenmi\u015ftir. Oyunlar\u0131n isimlerinde <strong>Tasn\u0131\u00e7ors<\/strong> (ond\u00f6rt), <strong>Al aylu\u011f\u0131s<\/strong> (al mendilim), <strong>Ara\u00e7 mi dzap<\/strong> (\u00f6nce bir alk\u0131\u015f), <strong>Krung bar<\/strong> (turna oyunu) ve do\u011frudan <strong>K\u00f6ze\u011f tekvari<\/strong>, yani, -kendi deyimleriyle, uzundara benzeri, istendi\u011fi \u015fekilde oynanan ve Hem\u015fin oyunlar\u0131yla hi\u00e7bir ilgisi olmayan oyunlar belirtilmektedir. (B. Torlakyan ar\u015fivi, 4., s.69).<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1794\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1794\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1794\" title=\"8 YasarCorbaci2\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/8-YasarCorbaci2.jpg\" alt=\"\" width=\"315\" height=\"228\" srcset=\"https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/8-YasarCorbaci2.jpg 600w, https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/8-YasarCorbaci2-300x218.jpg 300w\" sizes=\"auto, (max-width: 315px) 100vw, 315px\" \/><\/a>Hem\u015finli Ermeniler oyunlar\u0131n\u0131 davul zurna e\u015fli\u011finde oynam\u0131\u015flar, b\u00fcy\u00fck <strong>buran<\/strong> ile b\u00fcy\u00fck ve k\u00fc\u00e7\u00fck zurna kullanm\u0131\u015flard\u0131r. B\u00fcy\u00fck davul kullanm\u0131\u015f ve davulu yere koyarak tokmaklam\u0131\u015flard\u0131r. Bir di\u011fer m\u00fczik enstr\u00fcman\u0131 ise <strong>Kimona\u2019d\u0131r<\/strong>. Hem\u015finli B. Torlakyana\u2019a g\u00f6re, <strong>gayda<\/strong>, <strong>boru<\/strong> ve <strong>\u00e7oban kaval\u0131<\/strong> da kullanm\u0131\u015flard\u0131r. (B. Torlakyan ar\u015fivi, 4, s.69).<\/p>\n<p style=\"text-align: justify\">Anlatanlar\u0131n t\u00fcm\u00fc de <strong>Kimona<\/strong> ve <strong>Kemani\u2019yi<\/strong> kendi \u00f6z \u00e7alg\u0131lar\u0131 olarak kabul etmekte, fakat filolog Hayrik Muratyan, \u015eatakh\u2019ta (Van b\u00f6lgesi-\u00e7evirmenin notu) <strong>Kemona<\/strong> kulland\u0131klar\u0131n\u0131 ve <strong>\u015eaver<\/strong> olarak adland\u0131rd\u0131klar\u0131n\u0131 belirtmektedir. (S. Vardanyan, Bilinen ve Bilinmeyen Hem\u015finliler, Garun dergisi, 1982, say\u0131 11, s.61 .)<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1795\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1795\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1795\" title=\"9 kemence-tulum-kamancha-tkzar-1\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/9-kemence-tulum-kamancha-tkzar-1.jpg\" alt=\"\" width=\"316\" height=\"228\" \/><\/a>Hem\u015finli Ermeniler k\u0131y\u0131, orman ve da\u011f b\u00f6lgelerinde ya\u015fad\u0131klar\u0131ndan dolay\u0131 u\u011fra\u015flar\u0131yla ilgili olarak ya\u011fmur ya\u011fd\u0131rma ve ya\u011fmur dindirme t\u00f6renlerine \u00f6zel bir ilgi beslemekteydi. Ermenistan\u2019\u0131n di\u011fer b\u00f6lgelerinde oldu\u011fu gibi, Hem\u015finli Ermeniler aras\u0131nda da <strong>ya\u011fmur gelini<\/strong> dola\u015ft\u0131rma t\u00f6reni yayg\u0131n olmu\u015ftur. S\u00f6z konusu zaman diliminde, Hem\u015fin t\u00f6renlerinde \u00e7ok tipik antik kal\u0131nt\u0131 formlar\u0131 belirgindir. Belirgin, hatta son derece \u00f6nemli edevatlar merasim d\u00fczeni d\u0131\u015f\u0131nda kalm\u0131\u015flard\u0131r. Banlar\u0131n en \u00f6nemlilerinde bire de gelin-kukla-kudzkudzura haz\u0131rlanmas\u0131d\u0131r. Bu isimle de kukla kudzkudzura gezdirme merasimi an\u0131lm\u0131\u015f ve kal\u0131nt\u0131 bi\u00e7iminde g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015ft\u0131r. <strong>Kukla kudzkudzura<\/strong> g\u00f6r\u00fcn\u00fc\u015fte bulunmamakta, fakat t\u00f6renin kendisi kudzkudzura, baz\u0131 yerlerde ise kukla gezdirme veya t\u00f6ren yeme\u011finin ad\u0131yla Ku\u015fkurik olarak an\u0131lmaktad\u0131r (gudza yeme g\u00fcn\u00fc). <a rel=\"attachment wp-att-1796\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1796\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1796\" title=\"10 NAV1\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/10-NAV1.jpg\" alt=\"\" width=\"98\" height=\"219\" \/><\/a>Anlat\u0131lanlara g\u00f6re Kura\u011f (kurak) y\u0131llarda, ya\u011fmur ya\u011fmad\u0131\u011f\u0131 zaman ya\u015fl\u0131 kad\u0131n ve erkekler adak adama ve gudza yemek i\u00e7in toplanmaktayd\u0131lar.<\/p>\n<p style=\"text-align: justify\">Ya\u015fl\u0131lar grubu evden eve gezerek para ve yiyecek toplamakta, bunun sat\u0131\u015f\u0131yla elde edilen parayla ham (k\u0131s\u0131rla\u015ft\u0131r\u0131lmam\u0131\u015f) bir s\u0131\u011f\u0131r al\u0131p sabah erkenden kiliseye veya kutsal bir yere g\u00f6t\u00fcr\u00fcp kutsal yerin etraf\u0131nda \u00fc\u00e7 kere doland\u0131r\u0131p kutsanm\u0131\u015f tuz yediriyorlard\u0131. Ard\u0131ndan hep birlikte p\u0131nar\u0131n etraf\u0131nda toplanarak adakl\u0131k hayvan\u0131n y\u00fcz\u00fcn\u00fc do\u011fuya \u00e7evirip ha\u00e7 \u00e7\u0131kar\u0131yor ve kuban ediyorlard\u0131. Kurban\u0131 kesen, namuslu ve temiz ellere sahip olma, ailesinin ilk erkek \u00e7ocu\u011fu olma gibi kriterler g\u00f6z \u00f6n\u00fcne al\u0131narak (sadece insan de\u011fil hayvan dahi \u00f6ld\u00fcrmemi\u015f olmas\u0131 gerekmekteydi) \u00f6nceden belirlenmekteydi.<\/p>\n<p style=\"text-align: justify\">Kurban eti <strong>ha\u015flanmal\u0131<\/strong> ve <strong>ya\u011fni<\/strong> (ha\u015flama) yap\u0131lmal\u0131, kesinlikle ate\u015f \u00fczerinde \u0131zgara yap\u0131lmamal\u0131yd\u0131. Adak eti herkese da\u011f\u0131t\u0131l\u0131rd\u0131, ba\u015fta yoksullara, hastalara ve ya\u015fl\u0131lara, daha sonra ise t\u00fcm orda bulunanlara.<\/p>\n<p style=\"text-align: justify\">Adak-ziyafete kat\u0131lanlar\u0131n kural gere\u011fi p\u0131nara gidip su i\u00e7ip, y\u0131kan\u0131p, bu sudan da biraz orda bulunanlara serpi\u015ftirmeden ada\u011fa el s\u00fcrmeye hakk\u0131 yoktu. T\u00f6ren esnas\u0131nda su haricinde ba\u015fka bir \u015fey i\u00e7ilmez, t\u00f6ren sona erdikten sonra ise muhakkak temizlik ayini yap\u0131l\u0131p etraf-taraf toplan\u0131r, kullan\u0131lan t\u00fcm kap-kacak y\u0131kan\u0131r ve sadece t\u00fcm bunlar yerine getirildikten sonra evlere d\u00f6n\u00fcl\u00fcrd\u00fc.<\/p>\n<p style=\"text-align: justify\">\u00a0Ara\u015ft\u0131rmalar\u0131m\u0131z sonucunda, art\u0131k hi\u00e7 kimsenin gelin-kukla <strong>Kudzkudzura\u2019n\u0131n<\/strong> nas\u0131l haz\u0131rland\u0131\u011f\u0131n\u0131 hat\u0131rlamad\u0131\u011f\u0131 ortaya \u00e7\u0131kmas\u0131na ra\u011fmen, <strong>gudza yeme g\u00fcn\u00fc<\/strong> olarak an\u0131lan ya\u011fmur ya\u011fd\u0131rmayla ilgili \u00e7ocuk t\u00f6reni, bunun eskiden var oldu\u011funu kan\u0131tlamaktad\u0131r.<\/p>\n<p style=\"text-align: justify\">Eski zamanlarda <strong>Kudzkudzura<\/strong> yeme ayini ya\u015fl\u0131 kad\u0131n ve erkekler taraf\u0131ndan yap\u0131l\u0131rken, daha sonraki d\u00f6nemlerde de\u011fi\u015fime u\u011fray\u0131p <strong>oyun-dans-t\u00f6ren<\/strong> \u015fekline d\u00f6n\u00fc\u015ferek genelde \u00e7ocuklara ge\u00e7mi\u015f, kukla ise yerini elden yapma bir bayra\u011fa veya en k\u00fc\u00e7\u00fck \u00e7ocu\u011fun Kudzkudzura yap\u0131lmas\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/p>\n<p style=\"text-align: justify\">Anlat\u0131lanlara g\u00f6re, ya\u011fmur ya\u011fd\u0131rmakla ilgili daha eski d\u00f6nemlere ait t\u00f6ren, <strong>gudza yeme g\u00fcn\u00fc<\/strong> olarak an\u0131lmakta, t\u00f6ren ge\u00e7i\u015fini ise birka\u00e7 k\u0131z \u00e7ocu\u011fundan meydana gelmi\u015f grup ger\u00e7ekle\u015ftirmektedir. \u00c7ok b\u00fcy\u00fck olmayan bir sopan\u0131n ucuna bir bez par\u00e7as\u0131 ba\u011flayarak (rengi belli de\u011fil) y\u00fcr\u00fc\u015f kolunun \u00f6n\u00fcnden gidenlerin eline tutu\u015fturmu\u015f veya eski pa\u00e7avralar giydirdikleri \u00e7ocuklar\u0131n en k\u00fc\u00e7\u00fc\u011f\u00fcn\u00fc ya\u011fmur gelini yaparak Kudzkudzura ismi vermi\u015fler ve bu y\u00fcr\u00fcy\u00fc\u015f kolu \u015fark\u0131 s\u00f6yleyip dans ederek evden eve dola\u015fm\u0131\u015f. \u015eark\u0131n\u0131n kelimeleri unutulmu\u015ftu, b\u00fcy\u00fck bir ihtimalle i\u00e7inde <strong>kudzkudzura<\/strong> veya <strong>gudza<\/strong> kelimeleri ge\u00e7mekteydi, fakat maalesef bu konuda bilgi toplayamad\u0131k. \u00c7ocuk grubu para, kaymak, m\u0131s\u0131r unu, tavuk ve yumurta toplam\u0131\u015f, ev kad\u0131nlar\u0131 hediyeleri \u00e7ocuklara verirken, ya\u011fmur ya\u011fmas\u0131n\u0131 sembolize ederek \u00fczerlerine su serpmi\u015fler. Merasim, <strong>gudza<\/strong> yiyerek sona ermi\u015f. <strong>Gudza<\/strong>, m\u0131s\u0131r unu, s\u00fct ve ya\u011fla haz\u0131rlanan lapa benzeri bir yemektir.<\/p>\n<p style=\"text-align: justify\">Antik ve genel haliyle kudzkudzura dola\u015ft\u0131rma ayini olarak an\u0131lan ya\u011fmur ya\u011fd\u0131rma merasimi, ileriki d\u00f6nemde t\u00f6ren yemeklerinden birinin,\u00a0 gudza yemenin t\u00f6ren g\u00fcn\u00fc anlam\u0131n\u0131 belirten ismi elde etmi\u015f, kukla ise yerini bayrak ifade eden elden yapma bir e\u015fya veya y\u00fcr\u00fcy\u00fc\u015fe kat\u0131lan \u00e7ocuklardan biriyle yer de\u011fi\u015ftirmi\u015ftir.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1797\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1797\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1797\" title=\"11 pontia_1\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/11-pontia_1.jpg\" alt=\"\" width=\"307\" height=\"433\" srcset=\"https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/11-pontia_1.jpg 307w, https:\/\/akunq.net\/turkish\/wp-content\/uploads\/sites\/5\/2010\/09\/11-pontia_1-213x300.jpg 213w\" sizes=\"auto, (max-width: 307px) 100vw, 307px\" \/><\/a>Kendi t\u00f6ren kurallar\u0131 i\u00e7inde kay\u0131t edilen bir t\u00f6rensel dans belgelerde \u00e7ok \u00f6nemli bir yer tutmaktad\u0131r. 1962 y\u0131l\u0131nda <strong>ya\u011fmur ya\u011fd\u0131rma ve ya\u011fmur dindirmeyle<\/strong> ilgili t\u00f6renleri kaydederken, t\u00f6rensel bir erkek dans\u0131n\u0131n, <strong>Ay\u00e7on Bar\u2019\u0131n<\/strong> (Ay\u0131 dans\u0131) g\u00fcn\u00fcm\u00fcze ula\u015ft\u0131\u011f\u0131 ortaya \u00e7\u0131kt\u0131. Bu dans, O\u00e7am\u00e7iri b\u00f6lgesindeki Ermeni k\u00f6y\u00fcndeki okulun bah\u00e7esinde kaydedilmi\u015ftir. Parlak, g\u00fcne\u015fli bir Eyl\u00fcl g\u00fcn\u00fc aniden ba\u015flayan iri damlal\u0131 ya\u011fmur \u00fczerine bayan \u00f6\u011fretmenlerden biri, Nunik Babgen k\u0131z\u0131 \u00c7ermakyan, \u00e7ocuklar\u0131, <strong>Ay\u00e7on Bar dansedelim<\/strong> diyerek hemen toplar. Orada bulunan di\u011fer \u00f6\u011fretmenler de onlara kat\u0131l\u0131r ve 8\u201310 ya\u015f\u0131ndaki erkek \u00e7ocuklarla halka olu\u015fturarak, <strong>Hop, hop, Ay\u00e7on Bar, Ay\u00e7on Bar<\/strong> kelimeleriyle bir nevi \u015fark\u0131 tutturup dans etmeye ba\u015flarlar.<\/p>\n<p style=\"text-align: justify\">Bu dans-oyun ya\u011fmur dinene kadar s\u00fcrer. Herkes, ya\u011fmurun yap\u0131lan bu t\u00f6ren sayesinde kesildi\u011fine emindi. Bu dans Hem\u015finliler aras\u0131nda \u00e7ok yayg\u0131nd\u0131r. 1966 y\u0131l\u0131nda Yukar\u0131 Loo\u2019dan Semyon Hovhannes o\u011flu Grigoryan, <strong>\u011eeapon vrayeg<\/strong> (\u00e7akal d\u00fc\u011f\u00fcn\u00fc ya\u011fmuru) geldi\u011finde <strong>Ay\u00e7on Bar<\/strong> dans ettiklerini ve <strong>vrayeg\u2019in<\/strong> (ya\u011fmur) kesildi\u011fini anlatmaktad\u0131r. (J. Kha\u00e7atryan ar\u015fivi, 1966, s.58). Grigoryan\u2019\u0131n belirtti\u011fine g\u00f6re \u00e7ocuklar dans etmeye ba\u015flad\u0131\u011f\u0131nda genellikle ya\u015fl\u0131 ki\u015filer de onlara kat\u0131lmaktad\u0131r.<\/p>\n<p style=\"text-align: justify\"><strong>Ay\u00e7on Bar<\/strong> s\u0131\u00e7rama halay\u0131d\u0131r. Y\u00fczler merkeze d\u00f6n\u00fck, halka \u015feklinde dizilip, 90 derece katlanan sol diz bele kadar kald\u0131r\u0131larak sol kol \u00f6n taraftan kald\u0131r\u0131lm\u0131\u015f baca\u011f\u0131n alt\u0131ndan ge\u00e7irilerek sol tarafta duran\u0131n sa\u011f eli avu\u00e7-avuca tutulmaktad\u0131r. V\u00fccudun a\u011f\u0131rl\u0131\u011f\u0131 sa\u011f ayak \u00fczerindedir. Dans ad\u0131m\u0131, sa\u011f ayak \u00fczerinde 6 birbirine benzeyen s\u0131\u00e7ramalardan ibarettir. Her bir s\u0131\u00e7ray\u0131\u015f, yukar\u0131 do\u011fru s\u0131\u00e7rama ve geri d\u00f6nme olarak 2 b\u00f6l\u00fcme ayr\u0131lmaktad\u0131r. Ritmin senkoplar\u0131n sekizliklerinde yukar\u0131 s\u0131\u00e7ray\u0131\u015f, vuru\u015fun sekizliklerinde ise aya\u011f\u0131 parmaklardan t\u00fcm tabana kadar yere koyup dizi k\u0131rarak a\u015fa\u011f\u0131 ini\u015f. Ard\u0131ndan iki sekizlik es gelmektedir.<\/p>\n<p style=\"text-align: justify\">Ay\u0131lar\u0131n bulundu\u011fu t\u00fcm b\u00f6lgelerde ay\u0131lara tap\u0131nmayla ilgli danslar ve oyunlar yarat\u0131lm\u0131\u015ft\u0131r. Ormanl\u0131k alanlarda ya\u015fayan Hem\u015finli Ermeniler istisna te\u015fkil edemezlerdi. Bu durum ilk olarak bu t\u00f6ren dans\u0131yla, daha sonra ise canl\u0131 ve k\u0131yafet de\u011fi\u015ftirmi\u015f, yani ay\u0131 k\u0131l\u0131\u011f\u0131na girmi\u015f insanlar\u0131n danslar\u0131yla kan\u0131tlanmaktad\u0131r. Hem\u015finlilerle ilgili folklorik metinlerde bize ula\u015fan bir gelene\u011fe g\u00f6re ay\u0131n\u0131n bir zamanlar insan oldu\u011funa g\u00f6re bir inan\u00e7\u0131n var oldu\u011funa rastlamaktay\u0131z. Adam\u0131n biri bir g\u00fcn a\u011faca \u00e7\u0131km\u0131\u015f armut yiyormu\u015f. A\u011fac\u0131n alt\u0131nda \u0130sa Mesih havarileriyle ge\u00e7er. \u0130sa Mesih adamdan \u00fc\u00e7 defa armut ister ve kar\u015f\u0131l\u0131\u011f\u0131nda sadece <strong>khrdi\u00e7<\/strong> (\u00e7\u00f6p\u00fc) al\u0131r. Buna k\u0131zan Mesih <strong>ba\u015f \u00fcst\u00fc \u00e7\u0131kt\u0131n, ba\u015f a\u015fa\u011f\u0131 inesin<\/strong> diyerek beddua okur ve adam ay\u0131ya d\u00f6n\u00fc\u015ferek a\u011fa\u00e7tan ba\u015f\u0131 a\u015fa\u011f\u0131ya d\u00f6n\u00fck olarak iner.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1798\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1798\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1798\" title=\"12 trabzonluRumkadin\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/12-trabzonluRumkadin.jpg\" alt=\"\" width=\"309\" height=\"448\" \/><\/a>H.V. Bji\u015fkyan, Pontus Ermenileri hakk\u0131ndaki anlat\u0131lar\u0131nda Ermeniler\u2019in en \u00f6nemli ziyaret yerlerinden biri olan, Kha\u00e7kar Manast\u0131r\u0131\u2019n\u0131n yan\u0131nda bir ay\u0131 mezar\u0131 bulundu\u011funu ve \u00fczerindeki yaz\u0131tta ay\u0131n\u0131n sadakatle manast\u0131ra hizmet etmi\u015f oldu\u011funun yaz\u0131l\u0131 oldu\u011funu belirtmekte, manast\u0131r\u0131 ziyaret edenlerin mezar ba\u015f\u0131nda mum yak\u0131p dua etti\u011fini anlatmaktad\u0131r. (<strong>Pontus tarihi<\/strong>, Venedik, 1819. s.96). Benzer bir mezar Kha\u00e7en\u2019deki (Hac\u0131n) Ptksaberk Kilisesi yak\u0131n\u0131nda da bulunmakta, ziyaret\u00e7iler burada mum yak\u0131p dilek tutmaktad\u0131rlar. Ermenilerde, ay\u0131n\u0131n bir insan, \u00fcstelik de\u011firmenci oldu\u011funa dair inan\u0131\u015f mevcuttur. (Varanda, AH\u2019den al\u0131nt\u0131, Tiflis, 1898, s.215-216). Antik Ermeni halk inan\u0131\u015flar\u0131na istinaden ay\u0131 atad\u0131r, hayvanlar\u0131n kral\u0131, orman\u0131n efendisi, t\u00fcm bitki d\u00fcnyas\u0131 \u00fczerine h\u00fckmeder, k\u0131s\u0131rl\u0131k ba\u015fta olmak \u00fczere \u00e7e\u015fitli hastal\u0131klar\u0131 iyile\u015ftirebilir. Burada, Hem\u015finlilerin evlerinin, e\u015fyalar\u0131n\u0131n ve hemen-hemen her \u015feylerinin tahtadan yap\u0131lm\u0131\u015f oldu\u011funu belirtmek gerekir. Ay\u0131lara y\u00f6nelik ilgiyi, birinin ay\u0131 yakalad\u0131\u011f\u0131nda, ona bak\u0131p, toplum i\u00e7inde dola\u015ft\u0131r\u0131p oynatmak i\u00e7in al\u0131\u015ft\u0131rmas\u0131ndan g\u00f6rebiliriz. Oyunun ba\u015fl\u0131ca k\u0131sm\u0131 ay\u0131y\u0131 oynatmaktan ibaretti. Bunun haricinde, Y\u0131lba\u015f\u0131 sabah\u0131, \u0130sa\u2019n\u0131n do\u011fu\u015fuyla ilgili t\u00fcm g\u00fcnler boyunca, Barekendan\u2019da (karnaval) ve Paskalya\u2019da ay\u0131 kost\u00fcm\u00fcyle oyunlar tertiplemek \u00e7ok yayg\u0131nd\u0131. \u0130ki gen\u00e7 erkekten biri kal\u0131n palto giyip, eline b\u00fcy\u00fck bir de\u011fnek al\u0131p, ba\u015f\u0131na da y\u00fcn kalpak giyerek y\u00fcz\u00fcn\u00fc is, un ve k\u0131rm\u0131z\u0131 pancarla boyay\u0131p, komik bir b\u0131y\u0131k ve sakal yap\u0131\u015ft\u0131r\u0131r. Di\u011fer delikanl\u0131 ise derilerden dikili, t\u00fcm v\u00fccudunu \u00f6rten bir elbise giyer. Bazen bu elbisenin ay\u0131 p\u0131ostundan haz\u0131rlanm\u0131\u015f oldu\u011fu da g\u00f6zlenmi\u015ftir. El ve ayaklara y\u00fcn pen\u00e7eler giyip, y\u00fcz\u00fcne g\u00f6zler, burun ve a\u011f\u0131z i\u00e7in a\u00e7\u0131kl\u0131klar\u0131n bulundu\u011fu me\u015finden maske tak\u0131p, ba\u015f\u0131na da y\u00fcn kalpak ge\u00e7irip boynuna zorunlu olarak \u00e7\u0131ng\u0131rdayan, madeni bir kolyenin asarlard\u0131. \u00c7o\u011fu zaman, ay\u0131 yavrusu olarak, ayn\u0131 \u015fekilde giyinmi\u015f 2-3 \u00e7ocuk da onlara kat\u0131lmaktayd\u0131. Ay\u0131n\u0131n oyunu, genelde dans etmek ve sahibinin emirlerini yerine getirmekten ibaretti. Sahibi, ona insanlara yakla\u015fmas\u0131, onlar\u0131 ka\u00e7\u0131rtmas\u0131, ellemesi, ok\u015famas\u0131 veya tehdit etmesini emrederdi. Bu oyun da Hem\u015finlilerin haf\u0131zalar\u0131nda <strong>Ay\u00e7on Bar<\/strong> olarak kalm\u0131\u015ft\u0131. Ermeniler ve Partlar aras\u0131nda ay\u0131n\u0131n, totem olarak belirli bir tap\u0131nmaya konu oldu\u011fu, g\u00fcn\u00fcm\u00fcze kadar kullan\u0131lan Ar\u015fak (Ar\u0161aka, Ar\u00e7 &#8211; Erm. Ay\u0131) \u015fah\u0131s isminde g\u00f6r\u00fclmektedir. (<strong>Hr. A\u00e7aryan<\/strong>, \u015eah\u0131s adlar\u0131 s\u00f6zl\u00fc\u011f\u00fc). Eskiden, ay\u0131-toteme ithaf edilen danslarla ger\u00e7ekle\u015ftirilen t\u00f6ren ayinleri hayvan\u0131n \u00e7o\u011fal\u0131p geli\u015fmesiyle ilgiliyken bu oyunlar kutsal olarak kabul edilmekteydi. Daha sonralar\u0131, bu t\u00f6ren anlamlar\u0131n\u0131 kaybettikten sonra d\u00fcnyevi-\u015faka oyunlar\u0131 halini al\u0131p \u00e7ocuk oyunlar\u0131na d\u00f6n\u00fc\u015f\u00fcrler.<\/p>\n<p style=\"text-align: justify\">Ermenistan\u2019\u0131n t\u00fcm b\u00f6lgelerinde yap\u0131lan d\u00fc\u011f\u00fcnlerde, kapan\u0131\u015f olarak <strong>Haysin Bar<\/strong> (gelin dans\u0131) oynan\u0131r ve bu oyundan sonra hem oyunlar hem de d\u00fc\u011f\u00fcn son bulmu\u015f olur. Bu dans \u00f6zel bir t\u00f6rendir ve yeni evli \u00e7ifte belli baz\u0131 g\u00f6revler ve haklar vermektedir. Hem\u015finli Ermenilerde de, d\u00fc\u011f\u00fcn\u00fcn sona ermek \u00fczere oldu\u011fu zaman gelin dans\u0131 oynanmaktad\u0131r. Masay\u0131 y\u00f6neten ki\u015fi \u00f6nceden, <strong>Haysin Bar\u2019\u0131n<\/strong> yakla\u015fmakta oldu\u011funu haber verir. T\u00fcm evli \u00e7iftlerin bu dansa kat\u0131lmalar\u0131 gerekir. Dans ba\u015flad\u0131\u011f\u0131nda, \u00e7alg\u0131c\u0131 tek-tek evli \u00e7iftlere yakla\u015farak dans s\u0131ras\u0131na girmelerini \u00f6nerir. Bu merasim <strong>Gor\u015flam\u0131\u015f<\/strong> etmek (kar\u015f\u0131lamak) olarak an\u0131l\u0131r. Oyun \u015f\u00f6yle geli\u015fir. \u00c7alg\u0131c\u0131, sa\u011f dizi \u00fczerine \u00e7\u00f6kerek \u00f6zellikle o \u00e7ift i\u00e7in biraz \u00e7alar. \u00c7alg\u0131c\u0131, kad\u0131n\u0131n \u00f6n\u00fcnde diz \u00e7\u00f6km\u00fc\u015f olmas\u0131na ra\u011fmen erkek hediye olarak para vererek ona te\u015fekk\u00fcr eder. Sonunda bu paralar \u00e7alg\u0131c\u0131lar aras\u0131nda e\u015fit bir \u015fekilde payla\u015f\u0131l\u0131r. (J. Kha\u00e7atryan ar\u015fivi, Bicosyan Matevos, 1967, s.30). Oyunun ba\u015flamas\u0131 a\u00e7\u0131klan\u0131rken ayn\u0131 zamanda dans esnas\u0131nda kimsenin s\u0131radan \u00e7\u0131kmaya veya girmeye hakk\u0131 olmad\u0131\u011f\u0131 kesin bir dille ifade edilir. B\u00f6yle bir davran\u0131\u015f t\u00f6rene sayg\u0131s\u0131zl\u0131k olarak telakki edilir ve \u015fayet biri b\u00f6yle bir \u015fey yaparsa sertlikle cezaland\u0131r\u0131l\u0131r, toplum ise o ki\u015fiyi dengesiz biri olarak kabul eder ve art\u0131k sayg\u0131 duymazd\u0131. Bu dansa t\u00fcm \u00e7iftler kat\u0131lmaktayd\u0131, gelin ve damat, sa\u011fd\u0131\u00e7 ve e\u015fi, iki taraf\u0131n ebeveynleri, evli erkek ve k\u0131z karde\u015fler, daha sonra da kalan akrabalar \u00e7iftler halinde. Dullar\u0131n ve bek\u00e2rlar\u0131n kat\u0131lmas\u0131 yasakt\u0131. Gelin art\u0131k duva\u011f\u0131 a\u00e7\u0131k olarak dansa kat\u0131l\u0131rd\u0131. Dans sadece \u00fc\u00e7 tur s\u00fcrmektedir. Haysin Bar, oyun \u015fekliyle en basit ad\u0131mlarla oynanan Srabar\u2019\u0131n bir variasyonudur. Bu oyunun temel y\u00f6n\u00fc sa\u011fa do\u011frudur. Hem\u015finlilerin Haysin Bar\u2019\u0131n\u0131n bir \u00f6zelli\u011fi daha vard\u0131r. Bu dans iki kere oynan\u0131r, birincisi gelin evden \u00e7\u0131kt\u0131\u011f\u0131nda, ikincis ise d\u00fc\u011f\u00fcn sonunda. \u0130lk seferi g\u00f6r\u00fcn\u00fc\u015fe g\u00f6re veda bar\u0131d\u0131r. Gelinin dans\u0131 ayn\u0131 zamanda, hayat\u0131n bir d\u00f6neminin bitip di\u011ferinin ba\u015flad\u0131\u011f\u0131 bir s\u0131n\u0131r \u00e7izgisini belirlemektedir. Dans \u015f\u00f6yle oynanmaktad\u0131r. \u00c7iftler, evin ortas\u0131n\u0131 te\u015fkil eden oca\u011f\u0131n etraf\u0131nda kapal\u0131 bir halka te\u015fkil ederler. Yan yana, kollar 90 derece katlanm\u0131\u015f ve y\u00fczler halkan\u0131n merkezine d\u00f6n\u00fckt\u00fcr.<\/p>\n<p style=\"text-align: justify\">1-\u00a0\u00a0\u00a0\u00a0\u00a0 Sa\u011f ayakla sa\u011fa ad\u0131m, yar\u0131m ad\u0131m mesafede.<\/p>\n<p style=\"text-align: justify\">2-\u00a0\u00a0\u00a0\u00a0\u00a0 Sol ayakla ad\u0131m at\u0131l\u0131p birle\u015ftirme, d\u00f6rd\u00fcnc\u00fc durumda.<\/p>\n<p style=\"text-align: justify\">Ayaklar kayd\u0131rarak at\u0131l\u0131r, yerden kald\u0131rmadan.<\/p>\n<p style=\"text-align: justify\"><a rel=\"attachment wp-att-1799\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1799\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1799\" title=\"13 horon1a\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/13-horon1a.jpg\" alt=\"\" width=\"313\" height=\"245\" \/><\/a>Erkekler bazen hareket ettikleri aya\u011f\u0131 hafif kald\u0131r\u0131p havada oynat\u0131rlar. Bu dans kesin t\u00f6renseldir. D\u00fc\u011f\u00fcn esnas\u0131nda k\u0131zlar\u0131n, <strong>K\u0131z mendil<\/strong> oyunu ad\u0131mlar\u0131yla t\u00f6rensel tek ki\u015filik danslar yapt\u0131klar\u0131 konusunda baz\u0131 veriler bulunmaktad\u0131r. Bu danslar damad evinin \u00f6n\u00fcnde oynanmaktad\u0131r. Bu danslardan biri de, halan\u0131n, tepsiyle gelinin etraf\u0131nda yapt\u0131\u011f\u0131 danst\u0131r. Bu dans esnas\u0131nda k\u0131zlar da, gelini ve k\u0131z karde\u015fini \u00e7embere al\u0131p dansa kat\u0131lmaktad\u0131r. Tepsi i\u00e7inde gelin evinden getirilip dans edenlere ikram edilen kuru yemi\u015f ve yiyecekler bolluk ve mutluluk sembolleri olarak kabul edilmekteydi. (B. Torlakyan ar\u015fivi, IV., s.46). Benzer bir dans o\u011flan\u0131n evinde de, damat tra\u015f\u0131 t\u00f6reni esnas\u0131nda yap\u0131lmaktayd\u0131. L\u00e2kin bu sefer tepsi \u00fczerinde mutlaka, sa\u011fd\u0131\u00e7, damat ve arkada\u015flar\u0131 i\u00e7in en iyi hediye olarak kabul edilen gelin evinden g\u00f6nderilmi\u015f ve iki ucuna horoz i\u015flemeli havlular bulunmal\u0131yd\u0131. Horoz, Hem\u015finliler taraf\u0131ndan totem hayvan\u0131 olarak kabul edilmekteydi. Horoz, ku\u011fu, g\u00fcvercin, leylek, turna ve karga bilgi\u00e7 ku\u015flar olarak bir\u00e7ok milletin hik\u00e2ye ve masallar\u0131nda, s\u0131rlar\u0131 a\u00e7\u0131klayan, ak\u0131l veren ve \u00f6ng\u00f6r\u00fcler yapan olarak g\u00f6r\u00fclmektedir. Antik Ermeni inan\u00e7lar\u0131na g\u00f6re ise ku\u011fular tanr\u0131lar\u0131n habercisi kabul edilip, m\u00fcjde ve haber getiren ku\u015f olarak Ermenilerin atalar\u0131 taraf\u0131ndan sayg\u0131 beslenilmi\u015ftir. Ermeni leh\u00e7elerinde <strong>khukhu<\/strong>, <strong>gugu<\/strong>, <strong>toy<\/strong> olarak da ge\u00e7mektedir.\u00a0 <strong>Toynal\u0131<\/strong> dans\u0131, ismini buradan al\u0131p b\u00fcy\u00fck ihtimalle Karabdal (karab \u2013 Erm. ku\u011fu) ifade etmektedir. Sukhum\u2019da ya\u015fayan Avedis Tzaduryan ve Harutyun Galaycyan, <strong>Karabdal Bar\u0131\u2019n\u0131<\/strong> ku\u011fu oyunu olarak kabul etmekte ve \u015f\u00f6yle bir a\u00e7\u0131klama getirmekteydiler, <strong>karabin dal\/tal<\/strong> (ku\u011fuya vermek) <strong>ku\u011fuya benzemek anlam\u0131na gelmektedir<\/strong>. (Srb. L\u0131s\u0131tzyan ar\u015fivi, 1960).<\/p>\n<p style=\"text-align: justify\">N. Mar, Karapet isminin <strong>\u00f6nder<\/strong>, <strong>\u00f6nc\u00fc<\/strong>, anlam\u0131n\u0131 karap (ku\u011fu) kelimesine ba\u011flamaktad\u0131r. Ku\u011fu ad\u0131yla an\u0131lan bir y\u0131ld\u0131z k\u00fcmesi vard\u0131r. Karap ad\u0131nda bir \u015fehrin var oldu\u011funa dair veriler mevcuttur. \u201cKarap k\u00fc\u00e7\u00fck bir \u015fehirdi, Antitoros da\u011flar\u0131n\u0131n kuzeyinde, S\u0131vas\u2019taki F\u0131rat Nehri yak\u0131nlar\u0131nda\u201d (Mkhitar Abba\u2019n\u0131n \u00f6\u011frencileri, BHL, II. Cilt, 1769).<\/p>\n<p style=\"text-align: justify\">\u015eahumyanovka K\u00f6y\u00fc\u2019nden, Sargis Toros o\u011flu Uzl\u0131yan, Platana K\u00f6y\u00fc \u00e7e\u015fmesinin yak\u0131nlar\u0131nda, <strong>Karabdal<\/strong> ad\u0131nda bir kutsal mek\u00e2n\u0131n varl\u0131\u011f\u0131n\u0131 hat\u0131rlamaktad\u0131r. <strong>Karabdal<\/strong> bayram\u0131nda (harman ay\u0131nda), sadece erkekler, daha sonralar\u0131 ise kad\u0131nlar da d\u00e2hil olmak \u00fczere bu kutsal yeri ziyarete gidip, yanlar\u0131nda g\u00f6t\u00fcr\u00fckleri yiyecekleri yiyip, p\u0131nardan su i\u00e7tikten sonra g\u00f6lde y\u00fcz\u00fcp, ard\u0131ndan da Karabdal oyununu oynarlarm\u0131\u015f. Harutyun Galaycyan\u2019a g\u00f6re, \u201c<strong>kad\u0131nlar\u0131n Karabdal oynamalar\u0131 ay\u0131p olarak kabul edilirdi<\/strong>\u201d. Bu durum, Karabdal oyununun erkeklere mahsus t\u00f6rensel bir oyun oldu\u011funu g\u00f6stermektedir. Avedis Dzaduryan\u2019a g\u00f6re, Trabzon\u2019un 100 km uza\u011f\u0131nda Karabdal ad\u0131nda y\u00fcksek bir da\u011f bulunmakta ve Kara Abdal burada g\u00f6m\u00fcl\u00fcd\u00fcr. Karabdal kutsal mek\u00e2n\u0131 i\u015fte bu mezard\u0131r. Hem\u015finlilerde <strong>Toynal\u0131<\/strong> oyunu vard\u0131r. Toynal\u0131, Karap oyunu (ku\u011fu oyunu) veya Karabdal anlam\u0131na gelmektedir.<\/p>\n<p style=\"text-align: justify\">Titreme, sars\u0131nt\u0131, \u00fcrperti, deh\u015fet anlam\u0131na gelen <strong>T\u0131rt\u0131rug<\/strong> oyunu da enteresand\u0131r.\u00a0(<strong>\u041c\u0430\u0433\u0430\u0437\u0430\u043d\u0438\u043a,<\/strong> \u0422\u0443\u0440\u0435\u0446\u043a\u043e-\u0440\u0443\u0441\u0441\u043a\u0438\u0439 \u0441\u043b\u043e\u0432\u0430\u0440\u044c, 1945).<\/p>\n<p style=\"text-align: justify\">Bu oyun <strong>g\u0131dri\u00e7lerin<\/strong> (yi\u011fit) oyunudur. Bu oyunun ayak hareketleri bir muharebe oyununa has sald\u0131r\u0131 ve savunma unsurlar\u0131 bar\u0131nd\u0131rmaktad\u0131r. T\u00fcm v\u00fccutla, kollarla, omuzlarla sallan\u0131p titrenilmektedir. Hem\u015finliler genellikle t\u0131rt\u0131rug oyununa \u00f6zg\u00fcn ayak hareketleriyle <strong>Danagi par<\/strong> (b\u0131\u00e7ak oyunu) veya <strong>Bi\u00e7ag-Khoromi<\/strong> an\u0131lan tek veya \u00e7iftli bir oyun oynamaktad\u0131r. Bu, tek ki\u015filik bir d\u00f6\u011f\u00fc\u015f oyunudur ve \u00f6zel durumlarda oynanmaktad\u0131r. Oyun ba\u015flad\u0131\u011f\u0131nda erkekler dans edeni kapal\u0131 bir halkayla \u00e7evrelemektedir. Oyun esnas\u0131nda sald\u0131r\u0131, b\u0131\u00e7akla tehdit unsurlar\u0131 mevcuttur. Dans eden, yeniliyormu\u015f gibi yere d\u00fc\u015fmekte, tekrar aya\u011fa kalk\u0131p nazari bir d\u00fc\u015fmana kar\u015f\u0131 d\u00f6\u011f\u00fc\u015fmektedir. Dans eden ki\u015fi kar\u0131n \u00fcst\u00fc ve yana d\u00fc\u015febilir, fakat asla s\u0131rt\u00fcst\u00fc d\u00fc\u015fmemelidir. Oyun zafer edas\u0131yla biter, sa\u011f elde b\u0131\u00e7ak haz\u0131r, sol el ise yukar\u0131ya do\u011fru uzat\u0131lm\u0131\u015f olarak.<\/p>\n<p style=\"text-align: justify\"><strong><a rel=\"attachment wp-att-1800\" href=\"http:\/\/akunq.net\/tr\/?attachment_id=1800\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1800\" title=\"14 untitled\" src=\"http:\/\/akunq.net\/tr\/wp-content\/uploads\/2010\/09\/14-untitled.bmp\" alt=\"\" width=\"403\" height=\"243\" \/><\/a>Karabdal, T\u0131rt\u0131rug, Bi\u00e7ag-Khoromi<\/strong> isimli erkek oyunlar\u0131 yeni yerle\u015fim yerlerinde arzu edildi\u011fi zaman, bayramlarda ve d\u00fc\u011f\u00fcnlerde oynanmaktad\u0131r. Bu oyunlar benzetme oyunlar\u0131d\u0131r ve pantomim unsurlar\u0131 ihtiva etmektedir. Oyun ad\u0131mlar\u0131 karma\u015f\u0131kt\u0131r, hareketler, ritmin h\u0131zlanmas\u0131yla birlikte\u00a0 giderek geli\u015fmektedir. Erkek oyunlar\u0131ndan <strong>Tik khoran<\/strong> muharebe oyununu sayabiliriz. Bu oyun, birinci k\u0131sm\u0131 a\u011f\u0131r, ikinci k\u0131sm\u0131 ise h\u0131zl\u0131 olmak \u00fczere iki k\u0131s\u0131mdan meydana gelmi\u015ftir.<\/p>\n<p style=\"text-align: justify\">Anlat\u0131lanlara g\u00f6re, <strong>Sra bar<\/strong> olarak an\u0131lan bir kad\u0131n <strong>T\u0131rt\u0131rug\u2019u<\/strong> da vard\u0131r. Hem\u015finliler, <strong>Sra bar\u0131<\/strong>, <strong>T\u0131rt\u0131rug<\/strong> ve <strong>Dzondr bar<\/strong> aras\u0131nda bir oyun veya <strong>T\u0131rt\u0131rug\u2019un<\/strong> a\u011f\u0131r variasyonu olarak kabul etmektedir. <strong>Sra bar\u0131n<\/strong> \u015fark\u0131yla s\u00f6ylenen bir a\u015fk metni de vard\u0131r, fakat \u015fark\u0131 s\u00f6yleyerek oynanmas\u0131 \u00e7ok enderdir. Genelde <strong>Kemani<\/strong> e\u015fli\u011finde oynanmaktad\u0131r.<\/p>\n<p style=\"text-align: justify\">Kar\u0131\u015f\u0131k, yani kad\u0131n-erkek birlikte oynanan oyunlardan Hem\u015finliler aras\u0131nda <strong>Kholomendza<\/strong> veya daha \u00e7ok d\u00fc\u011f\u00fcnlerde oynanan <strong>Hedir\u011fona<\/strong> yayg\u0131nd\u0131r. <strong>Kholomendza\u2019da<\/strong> kat\u0131l\u0131mc\u0131lar\u0131n say\u0131s\u0131 s\u0131n\u0131rlanmam\u0131\u015ft\u0131r. Hem gen\u00e7ler hem de ya\u015fl\u0131lar taraf\u0131ndan oynan\u0131r. Oyunun temposu a\u011f\u0131r, ritmi yeknesakt\u0131r. <strong>Kholomendza<\/strong>, bir tek a\u011f\u0131r b\u00f6l\u00fcmden meydana gelmi\u015ftir. Dans fig\u00fcr\u00fc, ayaklar\u0131n sa\u011fa y\u00f6nelik biraz ileri ve geri sallanan hareketlerinden olu\u015fur.<\/p>\n<p style=\"text-align: justify\"><strong>Topal bar<\/strong>, komik oyundur. Alt\u0131 vuru\u015flu olan bu oyun iki k\u0131s\u0131mdan meydana gelmektedir. Hareketler topal bir insan\u0131 and\u0131rmaktad\u0131r. Birinci b\u00f6l\u00fcmde topall\u0131k sa\u011f aya\u011f\u0131n sola do\u011fru \u00e7apraz ad\u0131m\u0131yla, sa\u011f aya\u011f\u0131 sol ayaktan uzak basarak taklit edilmektedir. Dizler iyice katlan\u0131p v\u00fccudun a\u011f\u0131rl\u0131\u011f\u0131 geri verilerek sol aya\u011fa de\u011fi\u015ftirilmektedir. Bundan sonra ise sa\u011fa do\u011fru d\u00f6rt ad\u0131m at\u0131lmaktad\u0131r. Ikinci k\u0131s\u0131mda ilk iki s\u0131\u00e7rama ileri geri sallanarak yap\u0131lmakta, ard\u0131ndan sa\u011fa do\u011fru d\u00f6rt s\u0131\u00e7rama ger\u00e7ekle\u015ftirilmektedir. Oyunu seyredenlerde bir alay intibas\u0131 uyanmaktad\u0131r.<\/p>\n<p style=\"text-align: justify\"><strong>Tek tanzara<\/strong> ve <strong>Cukht<\/strong> (\u00c7ift)<strong> tanzara<\/strong> <strong>\u015faka oyunlar\u0131<\/strong> isimlerini Tamzara (Tumarza, Tomarza) adl\u0131 Ermenilerle mesk\u00fbn yerle\u015fim yerinden alm\u0131\u015ft\u0131r. \u015eark\u0131n\u0131n metninde de bu yerle\u015fim yeri an\u0131lmaktad\u0131r. Oyun alt\u0131 vuru\u015fludur. Iki k\u0131s\u0131mdan meydana gelmi\u015ftir. Birinci b\u00f6l\u00fcmde ilk ad\u0131mdan itibaren \u00e7eyrek d\u00f6n\u00fc\u015f yaparak sa\u011fa d\u00f6n\u00fclmekte, arka arkaya dizilmektedirler. B\u00f6ylece \u00fc\u00e7 ad\u0131m at\u0131l\u0131r. Alt\u0131 \u00f6l\u00e7\u00fc sonra ayaklar birle\u015ftirilir. Ikinci b\u00f6l\u00fcmde tekrar arka arkaya dizilerek ayn\u0131 \u015fekilde, fakat ad\u0131mlar yerine s\u0131\u00e7ramalar yap\u0131l\u0131r.<\/p>\n<p style=\"text-align: justify\"><strong>Bir elmacu\u011f <\/strong>(bir elmac\u0131k) ve<strong> Cukht bir elmacu\u011f <\/strong>(tekrarlanan bir elmac\u0131k)<strong> <\/strong>oyunlar\u0131 hemen-hemen ayn\u0131 oyun fig\u00fcrlerine sahiptir. Anlat\u0131lanlara g\u00f6re, ikinci oyunun ba\u015fl\u0131\u011f\u0131ndaki cukht (\u00e7ift) terimi oyun fig\u00fcr\u00fcn\u00fcn tekrarlanmas\u0131ndan dolay\u0131 eklenmi\u015ftir. Elma gibi bir k\u0131z Bir elmac\u0131k olarak adland\u0131r\u0131l\u0131p oyun da ona ithaf edilmektedir.<\/p>\n<p style=\"text-align: justify\"><strong>Sari k\u0131z <\/strong>(da\u011fl\u0131 k\u0131z) \u015faka-oyunu lirik bir \u015fark\u0131 metnine sahiptir. Oyun \u015fekli aya\u011f\u0131 yere vurarak ger\u00e7ekle\u015ftirilir ve d\u00f6rder kere ayaklar yere vurarak oynan\u0131r.<\/p>\n<p style=\"text-align: justify\"><strong>Hromi bar<\/strong> (Rum oyunu) oyununu Hem\u015finliler, Yunanl\u0131lara has bir oyun olarak kabul etmelerine ra\u011fmen, oyun fig\u00fcrlerinden yola \u00e7\u0131karak bu oyunun bir Ermeni epik dans\u0131 oldu\u011funu belirtmek gerek. Oyun, ayak sallayarak oynan\u0131r.<\/p>\n<p style=\"text-align: justify\"><strong>Hromi bar\u0131n<\/strong> uzun, 16 vuru\u015fluk dans fig\u00fcr\u00fc vard\u0131r. D\u00f6rt kere ayak de\u011fi\u015ftirerek sa\u011fa sola salland\u0131ktan sonra sa\u011f aya\u011f\u0131 \u00e7apraz at\u0131p sol aya\u011f\u0131 birle\u015ftirerek sola do\u011fru d\u00f6rt ad\u0131m at\u0131lmaktad\u0131r. Enteresan olan, 12 vuru\u015fa kadar, her \u00e7ift vuru\u015fta ellerin yukar\u0131-a\u015fa\u011f\u0131 sallanmas\u0131d\u0131r.<\/p>\n<p style=\"text-align: justify\">Son alt\u0131 oyun kar\u0131\u015f\u0131k ve farkl\u0131 ya\u015flarda Hem\u015finliler taraf\u0131ndan istenildi\u011fi zaman\u00a0 oynanmaktad\u0131r. Hepsi de iki k\u0131s\u0131mdan meydana gelmi\u015ftir, yeknesak ritme ve gitgide h\u0131zlanan tempoya\u00a0 sahiptir.<\/p>\n<p style=\"text-align: justify\">\u00a0<\/p>\n<p><strong>HEM\u015e\u0130N VE HEM\u015e\u0130NL\u0130 ERMEN\u0130LER<\/strong><\/p>\n<p><strong>(k o n f e r a n s\u00a0\u00a0 m a k a l e l e r i)<\/strong><\/p>\n<p>ERIVAN\u00a0 &#8211; 2 0 0 7<\/p>\n","protected":false},"excerpt":{"rendered":"<p>J.K. Kha\u00e7atryan Ermenistan Cumhuriyeti, Bilimler Milli Akademisi, Arkeoloji ve Etnografi Enstit\u00fcs\u00fc \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 Karadeniz\u2019in kuzeydo\u011fu k\u0131y\u0131lar\u0131nda bug\u00fcn h\u00e2la kendi \u00f6zg\u00fcn leh\u00e7eleriyle konu\u015fan, atalar\u0131ndan miras kalm\u0131\u015f ananeleri, inan\u00e7lar\u0131yla ya\u015fayan, isimlerini ve ya\u015fad\u0131klar\u0131 yer isimlerini koruyan ve anavatanlar\u0131, ya\u015fam tarz\u0131 ve ananeleriyle Karadeniz\u2019in Anadolu k\u0131y\u0131lar\u0131nda bulunan Hem\u015finli Ermenilerle ba\u011fl\u0131 olan \u00e7ok say\u0131da Ermeni ya\u015famaktad\u0131r. Bu insanlar kendilerini [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-1781","post","type-post","status-publish","format-standard","hentry","category-hamsen-hemsin"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>HEM\u015e\u0130N DANSLARI VE \u00d6ZELL\u0130KLER\u0130: 19. yy.\u0131n ikinci yar\u0131s\u0131 ve 20.yy. - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/turkish\/2010\/07\/19\/hemsin-danslari-ve-ozellikleri-19-yy-in-ikinci-yarisi-ve-20-yy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"HEM\u015e\u0130N DANSLARI VE \u00d6ZELL\u0130KLER\u0130: 19. yy.\u0131n ikinci yar\u0131s\u0131 ve 20.yy. - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"J.K. Kha\u00e7atryan Ermenistan Cumhuriyeti, Bilimler Milli Akademisi, Arkeoloji ve Etnografi Enstit\u00fcs\u00fc \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 Karadeniz\u2019in kuzeydo\u011fu k\u0131y\u0131lar\u0131nda bug\u00fcn h\u00e2la kendi \u00f6zg\u00fcn leh\u00e7eleriyle konu\u015fan, atalar\u0131ndan miras kalm\u0131\u015f ananeleri, inan\u00e7lar\u0131yla ya\u015fayan, isimlerini ve ya\u015fad\u0131klar\u0131 yer isimlerini koruyan ve anavatanlar\u0131, ya\u015fam tarz\u0131 ve ananeleriyle Karadeniz\u2019in Anadolu k\u0131y\u0131lar\u0131nda bulunan Hem\u015finli Ermenilerle ba\u011fl\u0131 olan \u00e7ok say\u0131da Ermeni ya\u015famaktad\u0131r. 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