Erzurum Bar Game

Erzurum Bar Game refers to the collective body of traditional folk dances shaped by specific regional movement patterns, musical understanding, and performance rules. These dances developed on a shared cultural foundation across the districts of Erzurum province and its surrounding areas, with Erzurum city as the center; although regional variations emerged over time, their fundamental structural characteristics have been preserved. Physically, Bar games are defined as dances in which participants line up side by side, holding shoulders or arms, and collectively perform designated figures.

The scope of Bar games is not limited to dance figures alone. This tradition encompasses multiple layered elements including music, rhythm, costume, dance organization, leadership systems, and social functions. Therefore, Erzurum Bars are not merely an aesthetic sequence of movements but a holistic cultural structure reflecting social relationships and values. The order observed during performance, the harmony among participants, and adherence to specific rules constitute the core of the Bar concept.

Erzurum Bar Game in Performance (Erzurum Provincial Directorate of Youth and Sports)

In terms of scope, Erzurum Bar games are examined under different groups, primarily male Bars and female Bars. Male Bars are distinguished by more forceful, dynamic figures evoking military discipline, while female Bars feature softer transitions and different rhythmic structures. Nevertheless, the common element in both groups is the collective movement concept and adherence to rhythm. Some Bar games have, over time, adopted mixed performance forms within staged arrangements and cultural events.

The scope of Erzurum Bars has also expanded through the social contexts in which they are performed. Traditionally performed in settings of intense social cohesion such as village halls, weddings, holidays, and military send-offs, Bars are now also presented in different contexts through cultural festivals, official ceremonies, and folk dance competitions. This demonstrates that the functional domain of Bar games has broadened over time and acquired new layers of meaning.

Historical Background

The historical background of Erzurum Bar games is closely linked to the socio-cultural structure of the region, its geographical position, and the political and social transformations it has undergone throughout history. Erzurum has been influenced by various civilizations throughout history; this has played a decisive role in shaping the local culture. Bar games emerged during this long historical process and gradually developed into a distinct traditional form.

Although the exact historical origins of Bar games cannot be definitively established through written records, oral cultural transmission and folklore research indicate that these dances possess an ancient past. The collective movement concept, disciplined formations, leadership systems, and rhythmic structures evident in the games reveal that Bars served not only an entertainment function but also a practical role in reinforcing community order and solidarity. These characteristics suggest that Bar games were historically connected to military traditions, ceremonies, and collective rituals.

During the Ottoman period, Erzurum’s status as a frontier city was a significant factor influencing the character of Bar games. The emphasis on discipline, coordinated movement, and hierarchical order in regional social life was reflected in the figures and performance style of the Bars. During this era, Bar games were performed in village halls, military send-offs, weddings, and various social gatherings, becoming a symbol of social cohesion. The dances were sustained through an oral and practical tradition passed from master to apprentice, rather than through written rules.

1934 - Erzurum Gücü Sports Club Bar Team with Colonel İhsan Yavuzer (Ministry of Culture and Tourism of the Republic of Türkiye)

During the Republican era, Erzurum Bar games began to be systematically collected and documented alongside growing interest in folk culture. Research conducted by the Ministry of Culture and Tourism and universities contributed to identifying the figures, music, and performance characteristics of the Bars. During this period, Bars reached broader audiences not only within local community life but also through staged performances, folk dance ensembles, and cultural events.

Over time, changes have occurred in the performance context of Bar games. Traditionally, Bars performed in natural settings with limited improvisation and strict adherence to rules have been adapted with specific modifications for stage presentations. Nevertheless, the fundamental figure structure, rhythmic organization, and discipline have been largely preserved. This demonstrates that Erzurum Bar games have maintained historical continuity up to the present day.

Geographical and Cultural Context

Erzurum Bar games have been directly influenced by the natural conditions of the region where they emerged and developed, as well as by its cultural structure. Erzurum’s harsh continental climate and long, cold winters led to the concentration of social life in enclosed spaces, creating favorable conditions for the proliferation of Bar games, which are performed collectively and reinforce a sense of solidarity. Village halls, large interior spaces of homes, and communal gathering areas became the primary venues for Bar performances.

The geographical context also played a decisive role in shaping the movement patterns of Bar games. The forceful, angular, and ground-anchored figures seen in Erzurum Bars are associated with the region’s challenging living conditions. The dancers’ firm stances, sudden stops and rises, and powerful steps highlight both physical endurance and collective movement awareness. These characteristics reflect not only the aesthetic structure of the Bar games but also the daily life practices of the region’s people.

Culturally, Erzurum Bar games developed in close association with the “dadaşlık” ethos. Dadaşlık is an identity marker in the region defined by values such as courage, honesty, solidarity, and social responsibility. Bar games serve as a non-verbal expression of these values, made tangible through the disciplined postures and harmonious movements exhibited by dancers during performance. In this sense, Bars are not merely physical activities but also spaces where cultural identity is expressed.

The cultural context of Erzurum Bars is also linked to gender roles. Traditionally, male and female Bars were performed separately, with each group reflecting the social norms and aesthetic sensibilities of their time. In male Bars, strength and discipline were emphasized, while female Bars featured softer transitions and distinct rhythmic structures. This distinction illustrates how Bar games are connected to the broader social structure.

The geographical and cultural context of Bar games did not remain confined to Erzurum; over time, they developed through interaction with neighboring provinces. Nevertheless, Erzurum Bars have largely preserved their unique characteristics in terms of figure structure, musical understanding, and performance discipline. This demonstrates that while Bar games maintain their regional identity, they also exhibit openness to cultural exchange.

General Characteristics of Bar Games

Erzurum Bar games attract attention through their disciplined, collective movement structure performed within specific rules. Their most distinctive feature is the prioritization of group harmony over individual expression. Dancers move in unison throughout the performance, adhering to the same rhythm; figures are executed in a predetermined sequence without disrupting the collective formation. This is one of the key elements distinguishing Bar games from other folk dances based on improvisation.

Formation patterns hold significant importance in Bar games. Dancers typically line up side by side and perform the dance while holding shoulders or arms. The dancer at the head of the line, known as the Bar leader, directs the performance and determines transitions between figures. The Bar leader’s commands are often conveyed through bodily movements rather than verbal instructions. This leadership system enables the maintenance of order and rhythmic unity during the performance.

Rhythmic structure occupies a central position among the general characteristics of Erzurum Bar games. The dances usually begin with a slow tempo and gradually accelerate into a more dynamic form. This tempo shift enhances the dramatic effect of the performance while testing the dancers’ physical endurance. Sudden stops, forceful foot strikes, and pronounced body movements are characteristic features of Erzurum Bars.

Another important feature of Bar games is the discipline and seriousness exhibited during performance. Dancers’ facial expressions, postures, and movements adhere to a strict measure; excessive facial gestures or individual displays are avoided. This seriousness indicates that Bar games are perceived not merely as entertainment but as a form of representation and expression. Mistakes made during performance, which disrupt group cohesion, are not tolerated and are corrected by the Bar leader within the traditional context.

In terms of figure structure, Erzurum Bar games consist of simple yet emphatic movements. Movements are predominantly lower-body oriented and emphasize firm grounding. Jumping and leaping movements are limited; strong steps and synchronized turns are prioritized. This feature not only defines the aesthetic approach of the Bar games but also ensures compatibility with the performance venues. The general characteristics of Erzurum Bar games are shaped around collective movement, rhythmic unity, leadership systems, and discipline. These features have transformed Bar games into a unique folk dance tradition reflecting the cultural identity of the Erzurum region.

Musical Elements

In Erzurum Bar games, music is one of the fundamental determining elements and is directly linked to movement. The figure structure, tempo changes, and transitions are shaped according to the rhythmic patterns of the melodies used. Therefore, music in Bar games is not merely an accompaniment but is regarded as an essential component that guides the flow and shapes the performance. The most commonly used instruments in Bar game performances are the davul and zurna.

The davul establishes the rhythmic foundation of the game, while the zurna defines the melodic structure. The deep, powerful beats of the davul direct the dancers’ steps and ground accents. The zurna’s repertoire, ranging from long, sustained melodies to lively tunes, supports the emotional and dynamic character of the dance. This instrument pair provides a suitable acoustic structure for Bar performances both in open-air and enclosed spaces.

Time signature and tempo hold significant importance in Erzurum Bar music. The dances typically begin with a heavy introduction and gradually accelerate through subsequent sections. This tempo change strengthens the dramatic structure of the performance while necessitating coordination among dancers. Since any disruption in the rhythmic pattern directly affects the integrity of the dance, a strong alignment between musicians and dancers is essential.

In terms of melodic structure, Erzurum Bar music is based on the repetition of short motifs. These repetitions facilitate the learning of figures and synchronized movement among dancers. Simultaneously, sudden pauses and accents in the melodies highlight transitions between figures. This makes music a crucial element enhancing the visual impact of Bar games.

Musical elements may vary according to the type of Bar game. Some Bar games favor sharp and fast melodies, while others emphasize slow and measured tunes. This variation directly affects the character and performance style of the game. However, the common fundamental feature across all Bar games is the central role of music in guiding the performance. Ultimately, the musical elements of Erzurum Bar games—rhythm, tempo, and melodic structure—are inseparable components of the dance. Accompanied by davul and zurna, this music completes both the aesthetic and functional structure of the Bar games, ensuring the continuity of the traditional performance.

Types of Bar Games

Erzurum Bar games are classified into different types based on the composition of the performing groups, the nature of the figures, and the social contexts in which they are performed. This classification reveals the diversity of the Bar tradition and makes clearer the functions and cultural meanings of the dances within society. Generally, Erzurum Bars are categorized as male Bars, female Bars, and, over time, mixed performance forms.

Male Bars constitute the most common and prominent type within the Erzurum Bar tradition. The figures in these Bars exhibit a forceful, dynamic, and disciplined structure. The dancers’ firm stances, powerful steps, and synchronized movements are emphasized. The collective movement concept in male Bars is highly pronounced, with limited room for individual deviations. The guiding role of the Bar leader is clearly felt throughout the performance, reinforcing the hierarchical order and discipline within the dance. Traditionally, male Bars were performed in social settings marked by strong communal solidarity, such as weddings, military send-offs, and group gatherings.

Female Bars differ from male Bars in terms of figure structure and performance style. In these Bars, movements are relatively softer and transitions more fluid. While the rhythmic structure is maintained, forceful ground accents and sudden stops are more restrained. Aesthetic concerns, harmony, and rhythmic adherence are prioritized in female Bars. Within the traditional social structure, female Bars were typically performed in spaces reserved for women and served as one of the social interaction arenas for women in the region. This illustrates the relationship between the Bar tradition and gender roles in society.

Mixed Bar performances, which emerged over time, are evaluated primarily within the context of staging and theatrical representation. These forms have become widespread through cultural events, festivals, and folk dance ensemble performances. In mixed performances, traditional figures are preserved, but stage design, aesthetic unity, and visual impact are emphasized. In this context, mixed Bars are regarded as contemporary modes of Bar representation. This distinction among Bar game types does not represent rigid, clearly defined categories but rather a classification shaped by performance context and social conditions.

Main Erzurum Bar Games

While Erzurum Bar games share common regional characteristics, they consist of various dances, each distinguished by its unique figure structure, rhythmic organization, and performance style. These dances hold significant importance in local memory and documentation efforts as concrete examples of the Bar tradition. The main Erzurum Bar games reflect the core features of Bar culture through the intensity of their figures, tempo changes, and collective movement patterns.

Dadaş Bar holds a symbolic position among Erzurum Bar games. Its name is directly linked to the region’s unique “dadaş” identity. In Dadaş Bar, disciplined formations, powerful steps, and prominent ground accents are emphasized. The game typically begins with a slow tempo and accelerates in subsequent sections. The synchronized and harmonious execution of figures constitutes the core character of the dance. This Bar is regarded as one of the representative examples of the general structure of Erzurum Bars.

Aşırma Bar exhibits a lively and dynamic figure structure. Although jumping and lifting movements are limited, the acceleration of steps and sudden directional changes are striking. The rhythmic structure in Aşırma Bar is distinct, and the dancers’ synchronization with the music directly affects the fluidity of the performance. This dance is typically performed in the middle or faster sections of the Bar sequence.

Hançer Bar is one of the Bar games distinguished by its dramatic structure and symbolic figures. The figures used consist of controlled and measured movements, with sudden stops and emphatic steps playing a prominent role. As its name suggests, Hançer Bar carries historical and symbolic meaning. In this sense, the dance is not merely a physical performance but also regarded as a representational form of expression.

Nare Bar is one of the Bar games notable for its rhythmic organization and figure transitions. Throughout the performance, tempo changes progress in a controlled manner, with harmony among dancers taking precedence. The figures in Nare Bar are simple, yet rhythmic repetitions ensure the integrity of the dance. This feature facilitates learning and transmission across generations.

Tamzara (Erzurum variant) is a dance known in various regions, but its Erzurum form is considered part of the Bar tradition. The Erzurum Tamzara exhibits regional characteristics in its figure structure and tempo understanding, while preserving the Bar formation and discipline concept. This demonstrates that the Erzurum Bar tradition has developed through interaction with neighboring regions while maintaining its distinctive structure.

Costume and Apparel Elements

The costumes and clothing used in Erzurum Bar games serve not only to complete the aesthetic appearance of the dance but also as indicators of regional identity and cultural continuity. Bar attire has been shaped according to the climatic conditions, historical lifestyle, and social values of the Erzurum region and has gradually acquired a specific traditional form. These garments serve the function of supporting movement during performance while ensuring visual unity.

Traditional clothing worn in male Bar games typically consists of dark, natural colors. Key components include şalvar (baggy trousers), cepken (vest), kuşak (belt), and çizme or yemeni (boots). The loose fit of the şalvar allows for comfortable movement during the dance, while the cepken and kuşak accentuate body posture and enhance the clarity of the figures. The manner of tying the belt and the accessories used include details that reflect regional variations.

Erzurum Bar Attire (Ministry of Culture and Tourism of the Republic of Türkiye)

Apparel worn in female Bar games displays a richer decorative approach. Long entari (dresses), embroidered vests, head coverings, and jewelry are the primary elements of female Bar costumes. Color usage in these garments is more varied compared to male attire. Nevertheless, despite the richness of decoration and color, the garments are designed not to restrict movement during performance. This demonstrates the simultaneous consideration of aesthetic concerns and functionality.

Bar attire has also been viewed not only as clothing worn during performance but also as a reflection of social status and traditional values. In the past, the quality of fabric, density of embroidery, and nature of accessories could provide clues about an individual’s social position. In this sense, Bar clothing functions as a non-verbal cultural medium.

Today, Erzurum Bar costumes have become the subject of various initiatives aimed at preserving cultural heritage. Efforts to register traditional Bar garments demonstrate that these costumes are regarded not merely as folkloric elements but as vital components of tangible cultural heritage. These garments, used by folk dance ensembles and cultural events, are reproduced while remaining faithful to traditional forms.

Erzurum Bar Games Today

Today, Erzurum Bar games continue to exist both within their traditional context and within cultural representation and staging processes. Although performed in more limited areas of social life compared to the past, Bar games are recognized as an essential element of cultural identity and are actively sustained through various institutions. This reflects an effort by the Bar tradition to adapt to changing social conditions.

In Erzurum today, Bar games are primarily performed through folk dance ensembles, cultural associations, and official events. Local festivals, national holiday celebrations, and cultural promotion activities are the main platforms where Bar games gain visibility. At such events, the dances are presented with their traditional figure structure adapted to stage arrangements.

Work carried out by the Ministry of Culture and Tourism and local administrations plays a critical role in documenting and promoting Erzurum Bar games. Collection, archiving, and publication activities related to Bar games contribute significantly to their formal recording. Additionally, academic research conducted within universities enables the scientific examination of the historical, structural, and cultural dimensions of Bar games.

One of the most significant challenges in the transmission of Bar games today is the gradual decline of traditional performance settings. The replacement of village halls and daily social gatherings with stage-based performances has limited the natural transmission process of the Bar tradition. Nevertheless, folk dance courses and cultural projects targeting youth play a vital role in ensuring the continuity of this tradition.

Media and digital platforms are also among the factors enhancing the visibility of Erzurum Bar games today. Visual recordings, documentaries, and online sharing enable Bar games to reach wider audiences, offering new opportunities for both promotion and education. However, it is recognized that such transmissions carry the risk of detachment from the traditional context.

In conclusion, contemporary Erzurum Bar games are seeking a balance between traditional and modern performance forms. As long as the preservation of cultural heritage is supported by accurate transmission and conscious representation approaches, it is considered possible for Bar games to be passed on to future generations.

UNESCO and the Context of Intangible Cultural Heritage

Erzurum Bar games are considered within the framework of intangible cultural heritage due to their historical structure, social function, and traditional transmission across generations. Intangible cultural heritage refers to the totality of practices, narratives, knowledge, and skills recognized by communities, groups, and individuals as part of their cultural identity. Erzurum Bar games, in this definition, embody a living and transmitted cultural practice.

In Turkey, Bar games are categorized under the broader folk dance tradition by the Ministry of Culture and Tourism and are recognized as cultural values requiring protection. Erzurum Bars have been included in national inventory and archiving initiatives and have been represented in activities aimed at raising awareness of intangible cultural heritage. Publications and digital resources produced by the Ministry play a critical role in promoting and documenting Bar games.

The principle of safeguarding through transmission, a core tenet of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage, is also decisive for Erzurum Bar games. It is essential not merely to archive these games but to sustain their performance within their natural context and preserve their social function for the continuity of this heritage. In this regard, Bar games are being maintained through a balance between traditional performance settings and staged representations.

Another important aspect of Erzurum Bar games within the intangible cultural heritage context is their community-based transmission process. The Bar tradition relies on collective memory rather than individual creation, aligning with UNESCO’s understanding of cultural heritage. The active participation of local communities in learning, performing, and transmitting the dances strengthens the cultural continuity of Bar games.

Additionally, the traditional attire, music, and performance rules associated with Erzurum Bar games are considered complementary elements of intangible cultural heritage. Initiatives to preserve and register Bar costumes reflect this holistic understanding of heritage. This approach reveals that Bar games are not merely collections of figures but present a multi-layered cultural structure.

In conclusion, Erzurum Bar games are recognized as a cultural value requiring protection and preservation, aided by their alignment with UNESCO’s concept of intangible cultural heritage. The ongoing process supported by national institutions, academic research, and local communities aims to strengthen the place of Erzurum Bar games within cultural identity and ensure their transmission to future generations.