The women screams being transformed into the music ?ağlamalar- laments?

Öncelikle bir eylem biçimi olarak akla gelen “ağlama”, müzikal bir ifade biçimi olarak hem kültürel kimliğin, hem de kadın kimliğinin göstergelerinden biri olarak karşımıza çıkmaktadır. Kadınların yaşanmışlıklarındaki her türlü duygunun dışavurumunda varlık bulan çığlıkların, büyük bir ustalıkla ezgiye dönüştüğü “ağlamalar”, göç edilen mekânlarda, mekânın getirdiklerinin etkisiyle eskiye, yeniye olan yabancılaşmanın oluşturduğu değişim ve dönüşümün önemli örnekleridir. Bu örnekler kadına ait ifade biçiminin farklılığını ortaya koyarken, aynı zamanda kadına ait müzikal üretimlerin varlığını bir kez daha kanıtlamış olmaktadır. Müzikal ve edebi yönden “ağıt” başlığı altında incelenen başlı başına bir tür olarak ele alınan “ağlamalar”, öncelikle alan araştırmaları yapılarak çalışmaya dahil edilmişlerdir. Araştırma yöntemleri olarak kültürel çalışma, folklor, müzikoloji ve etnomüzikoloji metotlarının kullanıldığı bu çalışmada, alan araştırmalarında etnomüzikolojideki “katılımcı gözlem” (participiant observation) ve yerinde gözlem yöntemleri ile her bireyin kişisel tarihi olduğundan hareketle sözlü tarih yöntemlerinden yararlanılmıştır. İlk olarak Doğu Karadeniz’de Trabzon ili, Düzköy ilçesi ve bu ilçeye bağlı olan Haçka yaylası, Çal köy ve Çayırbağı köylerinde rastlanılan “ağlama” örneklerine, daha sonra Kuzey Kıbrıs Türk Cumhuriyetinde de rastlanmıştır. 1974 Kıbrıs Barış Harekâtı’ndan sonra Trabzon’dan Kuzey Kıbrıs Türk Cumhuriyeti’ne göç eden Karadenizlilerin, yoğun olarak yaşadıkları, Girne’ye bağlı Bahçeli köyünde kayıt edilen benzer nitelikteki örneklere, Trabzon’dan İstanbul’a göç etmiş olan kadınlar arasında da rastlamak mümkün olmuştur. Ancak göç edilen yerlerle birlikte mekândaki farklılığın getirdiklerinin tesiriyle, kadın yaşamlarındaki işlevleri bakımından değişim söz konusudur. Dolayısıyla çığlıkların müziğe dönüşmesinin yanı sıra değişimin etkisiyle farklılaşması, kadın kimliği ve kadın müziğinin anlamlandırılması bakımından oldukça önemlidir. Anahtar Kelimeler: Ağlama, kadın müziği, kadın kimliği, kültürel kimlik, göç, değişim.First of all as it is defined as a form of action, ağlama-lament is a way of expression in the music means being an indication of the cultural identity and women identity respectively. The screams which are taking place in  the outcome of the woman sentimental life and which are transformed with proficiency into the melodi as” ağlama-lament “, are the important examples of the change and the transformation issues while in becoming alienated to the former and to  the new era with the impact of the new locality accordingly. These examples with emphasizing the difference of women kind of expression, in the mean time the existence of the musical productions belonging to the women has been confirmed once again. The Ağlama-lament which is examined as “lament” in the perspective of music and literature has been included in the workshop by processing the area investigations previously. As investigation issue, the cultural workshops, folklore, musicology and etnomusicology methods are used hereof. Subject to the “participant observation” and site observation methods respect to the etnomusicology are performed by using the verbal history by taking into consideration that each person has their own personal history. In the beginning the examples of “ağlama-lament” taken from the city Trabzon’s the montain pasture Hacka which is attached to the district Düzkoy, Çalkoy and Çayırbagı villages situated in the eastern Black Sea, furthermore it has been met at the North Cyprus Turkish Republic in return. The examples taken, following the Turkish Peace Operation of 1974, in Bahceli village attached to Girne in which the (Black Sea originated) people which are concentrated there coming from Trabzon as immigrant and the examples taken from the woman originated from Trabzon immigrated to Istanbul have shown the similar characters. Although together with the immigrated land and the difference of location impact the differentiation function of woman life has been a question of. So together with the transformation of the screams into the music and the differentiation due to the transformation are meaningful in defining the women identity and the women music respectively. Thus, in this article, it is aimed to take up the differentiation between the past and today, change and formation, and their effects on social structure with the reflection upon women music and identity. And it is tried to explain that it is production of women or formed with women saying, coming from traditions to nowadays and including various images are belong to females world. But women’s own lives which are secret, is not written or drawn much, their womanhood, and the conditions of living as women have been examined with “women music” samples including expressions on women lives. Cultural identity is a sort of identity, at the same time it is one of the expression ways of identity. It is in a change and formation with different factors. Music which is located in cultural identity is one of the expression ways and it has been evaluated as “female (women) music”. “Women music” defines the music which has been produced by females, and has been recorded from females. “Ağlama-lament” is rare and very important samples which belong to “women music”. Musical samples are taken from ordinary people, the wealth in women’s expression of their own worlds and creativity in imaging these and expressions are the most important determining properties. But, it is possible to obtain these samples from the women over 50 ages. Because the younger generation do not want to know singing and producing of these musical samples, and for this reason they do not know. Thus, it is certain that they have changed in time. It is possible to say that this change is a reflection of a change in identity. The process in modernizing and the change occured in culture and formation of cultural identity have affected the musical tastes and even though they live in the same region they do not have any request possessing the traditional elements. Some of these elements belong to “women music”. Although the women have worked in agricultural areas, change in form of production and daily life has changed the musical function with musical production. Keywords: Ağlama-lament, women music, women identity, cultural identity, migration, change