SHERVIN MUSTAFA,JAFER JAFO / AL-SHAHBA

The demographic change carried out by the Turkish occupation state and its mercenaries in Afrin area led to the imposition of different cultures from other areas in Afrin, regardless of the resettlement of thousands of residents of al-Ghouta, Duma, Homs, Hama and Idlib and other Syrian areas in Afrin.

Despite all the violations committed by the Turkish occupation and its mercenaries, the people of Afrin maintained their identity, culture, customs and traditions, and did not allow Turkish occupation to spoil their culture.

Characteristics of Afrin

Every nation or people inherited from its past history that reflected the customs and traditions of incidents, beliefs, biographies, and tournaments, all centered on the folklore of the people, Afrin’s cultural and artistic connection is manifested through its nature and its people's preservation of the authenticity of the Afrinian culture.

Afrin is known as the "Bride of Rojava," for its natural beauty and climate, which is adorned with olive and vegetable trees. It has been a habitat for human beings throughout the ages, a region of conflict and competition between different empires and civilizations.

The Afrini songs

The epics and legends are passed across generations through the narration of "dengbijê" or roundelay singing, and this is what characterized the area of Afrin through the ages, so it remained on the legendary and historical epics in their sessions, and the most important features of it are the drum and the clarinet.

The heritage song in Afrin has preserved the oral history of the community culture, and legends that the people of the canton believe in. The heritage song contributed to documenting the history of the region.

Singing in Afrin contributed greatly to documenting the history of the region from various political, social and economic aspects, in an oral way because of the absence of mechanisms of codification hundreds of years ago, and preventing the Kurds from writing in their language, in addition to the Tatars practices of throwing books and records of the Baghdad Library in the Tigris River, which led to the loss of the written heritage in the 13th  century AD.

The Afrini song derives its origin from the nature of the mountainous lands that has become part of the lives of the people of the region. The high mountains associated with the Afrini character create a high class of lyrical character. The lyrical art in Afrin canton is based on the traditional epic songs that transferred the history of the canton from one generation to the other orally.

The most famous singers are Bave Salah, Ali Tijo, Adnan Dilbrin, Jamil Horo, Odek, Omar Jamalou, Rashid Mem Jujane, Petaz, Ali Akal, Adnan Bayan, Hamoush Kork, Ibrahim Turku, Hass Nazi and Abdi Shari. " and dozens others

One of the most frequent roundelays by Afrin artists are Darwishi Abdi, Mimi Allan, Jabali, Haloji, Demes, Kali Dam Dam (Omar Jalali), Mirzan Beck (Fattah Beck), Hosny Aly, Rashid Beck, Sherine Farhad, Taher Beck, Salhi Naso and Gulek." "

The Afrini dancing

There are many types of folk dancing that are characteristic of Afrin, and it is noticeable that most of the old Afrini dances are danced by the elderly. There is even a special band such as Çiyayê Kurmênj or Kuma Kala band, all of whose members are at old age. In addition to Narê, Seyranê, Dulabê, Berkepkî, Yaxlı kenar, Hoşer, Berkolê, Bolıyê, Tevşok, Xorbeyıê Molenıyê, Qertel, Sêlıng, Sısonkî and Merş.

The people of Afrin have also created several dances: " Hemo", " Çeftetılî " and others, in order to diversify the cultures and introduce the people to the general culture of the Kurdish folk dance.

Afrin's costume

The people of Afrin have a special character in the dress or clothes, where the women's clothes vary from one social class to another, women in the rich family wears good quality cloth, such as velvet and silk. The poor women are bought cheap fabrics from raw materials, and the common denominator between the clothing of the two categories is the colors are bright, and the names and types of dress are almost the same.

In the late 19th and early 20th centuries, the head dress was different between the old woman and the young wife and girl. The older woman wore the koffiyah, the younger one placed the fez on occasions, or the special handkerchief called Jior or Shash.

The dresses are colored and worn on an inner is called (Kiras), and inner trousers (Heval Kiras) are like man's trousers, made of colored raw cloth. These two pieces are white raw for Yazidi women. (Tosem and Qebqab), a common shoe between men and women.

Preserving culture and artistic heritage saves Afrin from annihilation

In the Afrin region, during the attacks of the Turkish occupation army and its mercenaries on January 20, the occupiers and colonists target the culture, customs and traditions of a society to exterminate the people, even olive trees which symbolizes the area of Afrin destroying and uprooting them in an attempt to erase the history of the region and destroy its culture.

The culture, beliefs and art throughout the accumulation, as each civilization left its imprint in the region, for thousands of years, the people of Afrin have maintained their culture, customs and traditions. They have not allowed capitalist modernity to change the culture of the region.

Despite the targeting of the Turkish occupation army and its mercenaries to Afrin region, and the outbreak of wars in it, but members of the Movement of Culture and Art and the people were in the squares, and derived from the resistance  words for their songs, script for films and plays, and movements for dances.

Dozens of songs and plays about the Resistance of Afrin

A number of members of Culture and Art Movement, especially the "Koma Agirî, Botan, Berçem" and others composed dozens of revolutionary songs to express the resistance of Afrin, while theatrical bands and the cinema comedies plays and films telling "58-Days Resistance to Warplanes, the Agreement of Nations on Afrin, Targeting Children of Afrin, and other scenarios that show the resistance demonstrated by the people of Afrin.

Afrin in the heart..

The departure of the people of Afrin from the region does not mean that they have abandoned their history, existence, customs, traditions and culture. The Afrini man/woman expresses what he/she has experienced and suffered from the complicity of the world against them by singing roundelays within their tents.

The people of Afrin maintain their customs, traditions and culture, singing, dancing, wearing Afrini uniforms, to show Afrin everywhere, and challenging the Turkish occupation army and its mercenaries.

After the departure of the people of Afrin and heading to the area of Shahba, and with the passage of days, the Culture and Art Movement reorganized themselves, and the collection of its members, which exceeds one thousand members and members in all bands and fields, and opened its center in Berxwedan and Serdem camps.

A.H

ANHA