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Cem ceremonies are the primary communal assemblies of the spiritual lineages of the Alevi Muslim minority living in Anatolia, the Balkans, and the surrounding regions. Alevis designate settings for the cem known as cemevis or cem evis (literally “houses of the cem”). Cemevis may be purpose built structures or buildings temporarily converted for ritual observance. The essential requirement of the cemevi is that it be suitable for the cem, both spatially and in terms of the intentionality and appropriate moral background of the host and participants. The setting must permit all in attendance, men and women, to have equal visual and aural access to each other and to their Dede, the elder spiritual guide who descends from the family of the Prophet Muhammad. This leaves the cemevi open to a wide variety of design schemes, materials, furniture and decor, all of which make the ceremony possible, yet do not determine or confine its liturgy. The emphasis on community and comportment allows symbolic imagery and reenactments to activate and envelop the space in a meaningful, albeit often temporary, manner. Both the increasing visibility of purpose-built Alevi centres since the late twentieth century and the hidden nature of cem sites during periods of persecution dating back to the sixteenth century are related to Alevi resistance to elements in mainstream Islamic culture in the region. Alevis sometimes refer to the practices and ideologies of their Sunni neighbours as “cami kūltūrū” (“mosque culture”), differentiating this from themselves and their own cem-centred worship.This project explores the development, use, meaning, and changing role of the Alevi cemevi and its iconography from the thirteenth century to the present within the geographical region framed by the Turkish Republic. Through a combination of architectural site visits, the collection of oral histories, and an analysis of the historical setting, this study examines the relationship between ceremony and space, village architecture and religious settings, definitions of places of worship determined by Turkish law, and the place of an Alevi architecture within the history of Islamic religious architecture.

The lyric songs of Turkish oral tradition broadly understood by the term deyiş provide one of the richest perspectives on the historical construction, communal perceptions and creative impetus of Turkish Alevi culture. One of the most evident defining characteristics of the deyiş is the convention in which the poetic persona to which the lyric is attributed, known as the mahlas, is incorporated in the final verse. While this convention is ubiquitous in this lyric form it has received little scholarly attention particularly in regards to is role in expressive culture. This study approaches Alevi expressive culture by means of focusing on the interpretive force of the mahlas. The theoretical basis for this study is the tripartite model proposed for ethnomusicological study by Timothy Rice in 1987, by which musical experience may be understood as being historically constructed, socially maintained and individually applied. In applying this model my study pursues an interpretive approach both in terms of identifying interpretive practice and in suggesting interpretive perspectives. This approach follows Paul Ricoeur's hermeneutical perspective as an encounter that seeks not to understand the inner experience of people of another culture, but rather to understand the world that is suggested by music sounds, performance and contexts. The structure of this study follows this hermeneutical epistemology in terms of pre-understanding (encounters in text), explications (the analysis of the form and structure of the text and music) and experiences (interpretive encounters with expressive culture that suggest new understandings). Methods employed for this study include a broad reading and familiarity with Alevi related and initiated publications and scholarship (in Turkish and English); observation of Alevi (and more broadly Turkish) public expressive culture through audio and visual recordings and attending festivals and other events; and participation in Alevi expressive culture and critical reflection through learning the bağlama (Turkish lute) and performing Alevi deyiş informally and in public. This study begins by considering ‗pre-understandings‘ through the way the persona of the most influential of the Alevi poets, Pir Sultan Abdal, is presented in the pursuit of a historical identity as the lyrics or oral tradition attributed to him have become the basis of canonical textual collections. This chapter suggests the limitation of this approach to understanding while revealing the centrality of the mahlas as the object of study. The second part of the study focuses on explicating the deyiş lyric form and the mahlas as a defining characteristic of that form. These explications suggests the mahlas is more than merely a convention used to identify the author of the lyric but is, rather, a subtle and adaptable traditional textual integer that, while inherently meaningful, is not fixed in its meaning or purpose; and with its immanent associations provides interpretive and creative potential. The third part of the study considers the interpretive and creative potential of the Alevi deyiş and the immanent qualities of the mahlas in performance. Firstly, a context to Alevi public expressive culture is provided by examining a series of commercial recordings produced in the 1980s by Arif Sağ, a formative period when Alevis began to be more open and assertive in the articulation of Alevi culture. This is followed by an examination of the interpretive potential of performance through the description and analysis of a performance by Tolga Sağ at the 2002 Pir Sultan Abdal festival in the village of Banaz in central Turkey. The study further considers the application of the interpretive potential provided by the immanent and associative qualities of the mahlas through a critical reflective analysis of my performances of Alevi deyiş. Finally, this study includes the largest collection of lyrics by the major Alevi poet Pir Sultan Abdal yet to appear in English translations. These translations are included to demonstrate and reveal the hermeneutical challenge presented by this material as well as providing broader scholarly access to a substantial representative sample of the lyrics associated with this major Alevi figure. This study concludes that the mahlas is a richly meaningful textual integer that conveys, with communicative economy, immanent aspects of authority, lineage, communal identity and inclusion. As such, rather than being a simple convention to identify authorship, it is an adaptive yet critical element in the creative and interpretive expression of Alevi culture. This study aims to contribute to the understanding of a rich oral lyric tradition and creative expressive culture that has received relatively little scholarly attention, especially in the English language scholarship, and to reveal the mahlas in the context of oral and expressive culture as a subject deserving of further scholarly study.