Romani Professional Entertainers in the Ottoman Empire

Abstract

Ottoman rulers and members of the aristocracy utilized spectacular displays as “theatre state” to effectively institute and maintain power over their subjects and relied on the captivating skills of Romani professional entertainers. Romani entertainers survived through developing polyglot repertoires and styles from their stigmatized social position, existing in the Ottoman world as aesthetic cosmopolitans. Ottoman rulers implemented controls over such displays of music and dance due to their desire to curb inherently coercive affective power. The histories of entertainer types are traced, ranging from male and female as professional dancers (köçek; çengi), specialists on zurna, violin, G clarinet, percussion, and mehter military instruments. A description of çiftetelli and karşılama dance forms and their characteristic movements is followed by an analysis of two recordings performed by Romani musicians from the early twentieth century in order to explore the parameters of keriz musical improvisation and kıvrak melodies that inspire bodily movement.