Tülütabaklar

Tülütabaklar, as an integral part of Balıkesir’s historical and cultural fabric, stand out both as a village spectacle tradition and as one of the original symbols of resistance during the National Struggle. This tradition emerged from the deep-rooted history of leathercraft and over time developed an identity reflecting communal solidarity and the spirit of the Kuva-yı Milliye. During the occupation years of Balıkesir, Tülütabaklar provided a psychological advantage against Greek forces and remain a living heritage that transmits the cultural memory of the people from generation to generation.

^{Tülütabaklar} (AA)

The origins of Tülütabaklar are rooted in the history of leathercraft in Anatolia. Debbağlık or dabaklık was a widely practiced trade in Balıkesir in the past. During the Anatolian Seljuk period, Ahi Evran Nasirüddin Mahmut’s (1172–1262) transformation of leathercraft into an institutionalized art marked a pivotal turning point in its development. In Balıkesir, tabakhaneler were located in the “Deve Yoncası” region, where camel leather processing took place; this area served as a center bringing together the city’s two major guilds: camel breeders and leatherworkers.

The Tülü Kabak game is a village spectacle tradition inspired by the hides worked by leatherworkers. The name derives from the Balıkesir dialect term “tülü,” meaning unshorn wool from a sheep or a strong camel. “Kabak” evolved from “debbağ” through colloquial simplification over time. Originally performed by guilds during weddings, ceremonies, and important occasions as a traditional display, the practice acquired a new dimension during the National Struggle years.

^Tülütabak (AA)

Tülütabaklar are prepared with a frightening and striking appearance. Costumes are meticulously crafted in the tabakhane one month before the September 6 Liberation Ceremony. Performers, who are volunteer leatherworkers, paint all exposed parts of their bodies—including their faces—with soot from beneath the tabakhane cauldrons. They wear white robes or trousers folded up to the knees, which are also dyed black to ensure uniformity. Upper bodies are covered with furry leather pieces, black furry headgear is placed on their heads, and strange mustaches made of leather are added. In their hands they carry long sticks or brooms; in some cases, bells are also part of the costume. The group consists of eight to ten members, one of whom is designated as the “kadi”. The kadi rides on horseback, smoking a cigarette through a long pipe, while being accompanied by his seyis, who directs the ceremony. The seyis carries a fan in his hand to cool the kadi.

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The performance begins on the morning of September 6 in the tabakhane and proceeds through the streets among the crowd. During the parade, Tülütabaklar suddenly blend into the crowd, smearing black soot on people’s faces and evoking both fear and joy. The public strives to get to the front of the crowd to witness this moment; some even wait in line to be sooted or to have their photographs taken. In the past, the people referred to attending this ceremony as “going to see the tülü kabaklar”, and the performance overshadowed all other elements of the day’s festivities. During part of the show, when Tülütabaklar reach the front of the official protocol, they form a circle, throw their sticks into the air, and greet the crowd by performing a zeybek dance; this ritual continues until the end of the ceremony.

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During the National Struggle, Tülütabaklar emerged as a unique form of resistance specific to Balıkesir’s occupied condition. Beginning on June 30, 1920, with the Greek occupation, the Ottoman army’s weapons had been collected and its military strength weakened. The people of Balıkesir responded with intelligence and conviction beyond physical resistance, and Tülütabaklar became a component of this strategy.

The “Deve Yoncası” region, where the tabakhaneler were located, attracted attention due to its proximity to Greek headquarters. According to legend, Greek soldiers were intimidated by the fearsome appearance of the leatherworkers; this perception was later exploited by German intelligence to ensure the secrecy of meetings. Tülütabaklar staged performances in the opposite direction of locations where national meetings were held, thereby diverting the enemy’s attention and creating favorable conditions for the organization of the Kuva-yı Milliye.

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Tülütabaklar assumed a symbolic role in Balıkesir’s liberation and became a heritage embodying the spirit of the Kuva-yı Milliye. Although its roots lie in village spectacle traditions, its role during the National Struggle made it an example of social solidarity. The tradition performed during the September 6 Liberation Ceremony represents the unified stance of the people against the occupiers.

Culturally, Tülütabaklar carry elements of village theatre such as animal impersonation and transformation. However, changes in the dances in the modern era demonstrate the dynamic nature of the tradition. This adaptation has been instrumental in sustaining the practice. Tülütabaklar are not merely entertainment; they are regarded as an essential element reflecting Balıkesir’s historical identity and spirit of resistance.

^Tülütabak (AA)

Today, Tülütabaklar continue to exist as a traditional element of the September 6 Liberation Ceremony. The repair and preparation of costumes still take place in the tabakhane, as in the past, contributing to the preservation of this professional heritage.

Tülütabaklar are a multifaceted phenomenon reflecting Balıkesir’s courage during the National Struggle and its cultural richness. Originating from leathercraft, this tradition became a strategic tool of resistance during the occupation years and strengthened social solidarity. The performances during the September 6 ceremonies serve as a bridge connecting past heroism with the present. Their transmission from generation to generation is vital for preserving Balıkesir’s identity and inspiring future generations.