Lexically the word connotes a sacred place where public entrance is absolutely forbidden. In specific usages of the word/ such as HAREM-İ ŞERİF the prophet's mausoleum in Medina is denoted, or in HAREM-İ HÜMAÛN women's guarters in the royal palace is referred to. In a general context it means a special space reserved for women within the social life of a tradional Turco-Islamic community. Though HAREM lost its inital mystery and enchantment with the passing of time, its currency is still retained at certain hocalities.
Life in the HAREM varied according to time and place. Ordinary household practice was obviously differently than its counterpart in the palace. Like wise variations accordirg to difterend seasons/ months/ and days manifested an indead colorful atmosphere.
In fact, reserving a special place for the ladies with a vien to provide a comfortable surrounding specifically for them should not be taken as a restrictive practice. Child rearing and its special education the enrichment of our cuisine culture, the teaching and training in embroidery, carpet weaving and various decarative arts were all urdertaken at the HAREM. Further more numerous other social activities used to take place in the HAREM. Receptions given during summertime in the gardens, or in closed guaters during winter usually had musical acompaniment, and the ladies enjoyed it from their secluded and quiet corner specially reserved for them. Within the same context the women-folk had the opportunity to listen to the reciting of Koranic texts from their secluded places during the holy month of Ramadan. In short the HAREM was the centre of all social and artistic activities within the household.
It is inconceivable that a social gothering would not have a musical accompaniment. Many stringed instruments were sleilfully played by the ladies both solo and ensemble. As a matler of fact most musical instruments had their different versions specifically designed for the ladies under the generic name of "ZENNE" (i.e. 'Zenne Udu" or "Zene Tanburu"). As faras dancing is concerned, boy dancers ("Köçek" or "Kûçek") were guite popular. A particular dance performed by a boy dancer was called "Tavşan". Though this form is long forgothen on a general scale it survives in certain folkloric practices one can go as for as calling it a sort of dance suite in which two dancers perform, facing each other first a slow rhythmical dance followed by a vivacious and circular one.
And here is for you a bouguet of musical pieces from the HAREM specially executed by female virtuosi...
Director: A. Kadri Rizeli
Musical Consultant: B. Reha Sağbaş
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