- If they do not attend the mosques, do
not recite the prayers, they make neither ablutions nor
the ritual fast and the principal pilgrimage which they
carry out is that of Hacibektas, in August, they meet and
sing the epic alévie there. This " not very
orthodoxe " Islam, is worth to them to be strongly
scorned by the sunnite majority of the country. The
expression and the clearness of the heart are more
significant than the rites. The alévis are deeply
humanistic and soutenèrent Ataturk in its company
of modernization and laicization of the state.
- The music, of oral tradition, holds a
dominating place in the rites alévis and the
transmission of the epic of the martyrs and the saints.
It is regarded as a means of spiritual rise very as much
as a means of expression for their dispute and their
- Ozan Firat inherits this tradition
and the kneaded collective memory of rejection of the
capacity and the memory of persecutions. This heritage is
rich texts and transmitted accounts from generation to
generation, like those of the large poet Pir Sultan Abdal
(XVIè century). Those, using a required language
which shackles the image and the double direction, form
today still part of the repertory of the bards
alévis. With this revolt, Ozan Firat will add its
nostalgia and the sorrow of the exile. The songs of exile
are an old tradition and the current waves of immigration
made only revive it.
- If Ozan Firat is before a whole
singer, he is also a virtuoso of the saz. Its technique
of accompaniment is with the service of its song,
introducing it, supporting it and answering him with
smoothness and discretion.
- The saz or better the " baglama ", is
the instrument of predilection of the bards
alévis. This lute with length handle was born
thinks your, in the Western Semites of current Syria. Its
origin must however be required in Central Asia.
Associated with the bards alévis, the saz always
had a connotation of instrument protestor related to the
memory of the troubadours turkmenes in revolt against the
central capacity ottoman.
- There are various sizes, going from
47 to 106 cm. Bards choosing the type of saz of which
they play according to tessiture of their voice. Its case
of resonance is generally made in mulberry tree and its
sounding board in conifer. It includes/understands three
series of double cords or triple. One generally plays
about it with a plectre, but the mountain dwellers
turkmenes of Taurus prefer to do it with the fingers,
like the majority of the players of lute of Central Asia.
Its handle long and fine is delimited by mobile nylon
hoops, which makes it possible to obtain all the
intervals of the Turkish musical system. One finds in
certain songs the expression of a symbolism attached to
the various elements of the instruments: the body is Ali
and the cord engraves Muhammed; in some saz the 12 cords
represent the 12 imams and the handle, the sword of Ali.
- The repertory of Ozan Firat is shared
between the sacred music and the profane music expressing
the revolt and nostalgia without forgetting some light
song and dance tunes, because the alévis do not
live only of pain. Its voice and its songs make us travel
in the heart landscapes anatoliens with emotion, force
- Ozan Firat is accompanied by Mahmut
Demir on the saw and Ozcan Dursun on the saz.