“Cahil Mevlidhanlar”: Mevlid İcracılarına Yönelik Eleştiriler Üzerine Bir Değerlendirme
“Ignorant Mawlidhāns”: An Evaluation of Criticisms Directed at Mawlid Reciters

Summary/Abstract: Süleyman Çelebi’s Mawlid is more than just a literary work; it is a dynamic tradition that has been recited across a wide geographical area for centuries and enriched by musical performances and ceremonial practices. The textual changes over time, the musical diversity in performances, and the local elements in gatherings indicate that the work is a transforming cultural practice rather than a fixed text. However, various criticisms directed at Mawlid reciters (mawlidhāns, hereafter), one of the most important actors in the process, can also be found in the literature. These criticisms, based on different reasons and perspectives, have not been evaluated from a holistic perspective. It is noteworthy that, mainly since the second quarter of the 20th century, the increase in criticism of mawlidhāns and the changing content of this criticism have been influenced by a rationalityfocused understanding that seeks standards. Furthermore, it is observed that studies in the field of literary history tend to interpret the diversity in the Mawlid text as “corruption” and to place the responsibility on the mawlidhāns. This study aims to examine the criticisms directed at mawlidhāns in the 20th century with a holistic approach. Accepting that the Mawlid is a tradition that has transformed in its social, musical, and ceremonial dimensions, the study discusses the foundations on which the criticisms are based, the dynamics behind the diversity in the text, why the changes are often evaluated as “corruption,” and why the responsibility is placed on the mawlidhāns. Additionally, the historical, social, and scientific concerns underlying the criticisms are also addressed. The study employed a qualitative approach that combines historical and textcentered analyses with cultural analysis methods. The theoretical framework draws on the disciplines of literary and music history, as well as discourse analysis. It first examines the diversification of the Mawlid text throughout history and its reproduction in a ceremonial context. Then, the criticisms directed at mawlidhāns were evaluated under headings such as distorting the text with additions and omissions, style and comprehension problems, influencing the public, and gaining benefits. Likewise, in this context, criticisms directed at the audience, which are rarely found in the literature, and ideal descriptions of mawlidhāns were conveyed. The analysis of the criticisms led to two main conclusions: First, the reductionist view, which sees the Mawlid solely as a text and regards any alterations to it as a form of “distortion,” has identified reciters to be the main culprits. Second, since the 1950s, there has been a notable increase in Mawlid ceremonies, which may have led to the emergence of a “Mawlid market,” raising criticisms related to influencing the public and gaining benefits. In conclusion, Mawlid’s transmission has primarily relied on musical performance, with mawlidhāns as key figures. Textual changes and performance practices should be assessed within the historical, social, and cultural contexts of Mawlid to foster a more comprehensive understanding of criticisms aimed at mawlidhāns.

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