Research Information System
MILLI FOLKLOR, no.113, pp.5-16, 2017 (AHCI)
Studies that are about asildik (minstrelsy inTurkish tradition) have analysed it by centering the custom representative. The oral aspect of asiklik, performance structure, the audience and the variations of the texts have been accentuated. Progress of the asik beginning from the apprenticeship is one of the key issues. Nevertheless asik tradition has not been approached as a group performance. Because asik art is an individual art in respect of the person who represents the tradition. However when we think of the tradition as from the popular aspects of it and its transfer from master to the apprentice we should also see it as a group performance. The purpose of this article is to discuss the minstrel tradition as a group execution. The effects of this situation on the traditions listed under main headings. Articles prepared according to comparative methods. This comparison is based on two issues: The situation in the tradition of the past century and the impact on the tradition of audience. It's being a group performance is related not only to performing with two or three asiks but also to their private lives. The performances of the ones who carry on their friendship by the way of performance are shaped through the nature of this relationship. This study brings an introductory point of view on the topic that has not been accentuated yet. Generally, singer's identity as an artist is focused on. But his relationship with his friends will help ifs understand his character. Artists more or less affect the execution of friendship. The twentieth century has led to executive produce new forms of performance. Instead of one person's success the satisfaction of the audience has come to the fore. Can be said that the period of the last century, groups performance. From master to apprentice in the transmission of tradition has been shaped in the execution of this group. During the performance, the effects of space and audience are detected. However, communication among singers before and during the performance is superficially discussed. Links between the work of art and the artist should not be taken in a unidimensional way. It must be known that a second or third singer affects the text created in verbal performance. For this reason we should be looking at the tradition not only from the prose and poetry works but also from the other tradition aspects that create the surroundings of the singer.