Here we are in our school yard, in National Day ceremony.

In the Ottomans, the Çiftetelli game is seen in palace entertainments. Today, it is easily played by anyone in all regions of Anatolia due to its freedom of movement and richness of figures. It can be performed by a single person or with the participation of many people, both men and women.

In Çiftetelli, the steps are small and the feet have no value in the game. It is possible to step freely and at will. The main thing is to take the rhythm to the body and shoulders. In Çiftetelli there is entertainment and the joy of a body adapted to the music is shown or experienced. It is said that it is an independent, even undisciplined game because there is no restriction of direction.

In Çiftetelli, there are no special clothes like Zeybek and Halay. Generally, bright, vivid and ornate clothes are used.

Some of the types played in Turkey are Eskişehir Çiftetellisi, Bursa Çiftetellisi, Bahriye Çiftetellisi, Adana Çiftetellisi, Keban Çiftetellisi, Balıkesir Çiftetellisi, Kemalpaşa Çiftetellisi (Arab Çiftetellisi), İnegöl Çiftetellisi, Gaziantep Çiftetellisi, Şanlıurfa Çiftetellisi, Trakya Çiftetellisi, Ada Çiftetellisi, Bandırma Çiftetellisi and İstanbul Çiftetellisi.

The link attached to the file contains the gameplay of Adana's Çiftetelli.

Debreli Hasan, according to rumors, managed to escape from the security forces during the population exchange and migrated to Türkiye. In short, Debreli Hasan settled in the hearts of the Rumelian Turks with his legends.

The halay is played at weddings in the Aegean, Thrace and Samsun. It is very popular among the exchangees who came from Greece during the 1st World War.

It is played with drums and zurna.

It has a slow rhythm. You may get tired while performing the halay.

Participating in the Balkan Folk Dance Festival in 1936, the Artvin local folk dances team dance Artvin Barı in the presence of Mustafa Kemal Atatürk. Atatürk liked this dance very much. And asked to dance again. And with then he joined to dance as the bar leader, dance it to the end. Thereupon, the name of this folk dance is changed to Atabarı for keep this spectacular memory alive.

This folk dance has its own folk song. Here is the folk song’s lyrics. By the way, the words also changed for keep the memory alive in 1936.

https://www.youtube.com/watch?v=z8eniGNACE4

It encompasses key events from the biblical narrative: the announcement of Christ's birth, the Virgin Mary giving birth in Bethlehem (Viflaim in Romanian), the shepherds being awakened and going to worship the newborn king, the arrival of the Three Wise Men guided by a star bearing gifts, and King Herod's fear and subsequent attempt to kill the infant Jesus.

Beyond just recounting the events, the song evokes a sense of wonder, reverence, and joy associated with the birth of Jesus. It also touches upon themes of divine significance, faith, and the contrast between the humble beginnings of Jesus and his royal destiny.

The inclusion of the lament for the innocent children adds a layer of solemnity and acknowledges the darker aspects of the Nativity story. Finally, the transition to a celebratory mood at the end emphasizes the triumph and enduring significance of Christ's birth for believers.

In essence, "Viflaim" is a musical and narrative tradition that brings the story of Christmas to life for the community, reinforcing religious beliefs and fostering a sense of shared cultural heritage during the holiday season.

"Erik Dalı" is a traditional Turkish folk song that is well-known in Turkish music culture. The song is often associated with the Black Sea region of Turkey and is characterized by its lively rhythm and catchy melody. The lyrics typically express themes of love, longing, and the beauty of nature, often using the metaphor of the plum tree (erik) to convey deeper emotions.

The song is frequently performed at weddings, celebrations, and folk dance events, and it is often accompanied by traditional instruments such as the violin, clarinet, and various percussion instruments. "Erik Dalı" has been interpreted by many artists over the years, each bringing their own style and flair to the performance.

In addition to its musical appeal, "Erik Dalı" is also significant in Turkish culture as it reflects the rich traditions and communal spirit of folk music. The song's infectious energy makes it a favorite for dancing, and it continues to be a beloved piece in the repertoire of Turkish folk music.

The Călușar expresses strength, courage and belonging to the Romanian tradition, being a true symbol of our vitality and cultural identity.

The word "halay" refers to a type of group dance performed in a line or circle, usually accompanied by folk music played with instruments like the zurna (a traditional wind instrument) and davul (a large drum). In Demirağa Halayı, dancers hold each other by the hands or shoulders and move in coordinated steps that express strength, unity, and joy.

"Demirağa" means "to the iron network" or can be seen as a metaphor for resilience and connection, perhaps symbolizing the bonds among people or the strength of tradition. The dance is often performed at weddings, village celebrations, and cultural festivals, keeping the local traditions alive and vibrant.

Demirağa Halayı is not only a physical expression of joy but also a way to pass down cultural values and historical memory through generations.