عامه‌سروده‌های استان کرمان، انواع و درون‌مایه‌ها

عامه سروده‌ها یکی از دل‌نشین‌ترین گونه‌های ادبیات شفاهی در بین اقوام ایرانی اند که معرف روحیات، اندیشه‌‌ها و افکار تودۀ مردم و برخاسته از نیازهای طبیعی و روزمرۀ آن‌ها هستند. ترانه‌ها و اشعار از شکل‌های ادب عامه هستند و در حوزۀ جغرافیای فرهنگی این سرزمین گوناگونی دارند. عامه سروده‌ها در استان کرمان نیز با نام‌های متعددی پراکنده شده‌ و بیشتر در قالب دوبیتی سروده شده اند و دارای اوزان عروضی هستند. دوبیتی‌های رایج این خطه در مراسم‌ مختلف، نام هایی همچون شرمه، اجاق‌بوس، بیرقی، خیلون، موردخوانی، آبادو، سرآسیابی، آیینو، بیابانی، کردی‌خوانی، حجله‌گشون، غریبی‌خوانی، حنابندی، در حمومی و... دارند. این اشعار در حوزه های سرور، سوگ، کار، اشعار خواب و نوازش، لالایی ها، ترانه بازی ها، سرگرمی و نیایش قرار می‌گیرند. نگارندگان در این مقاله به شیوۀ توصیفی تحلیلی و با روش کتابخانه‌ای، تلاشکرده اند تا علاوه بر معرفی سرودهای عامه و محلی استان کرمان، اشعار را بر اساس مضمون، تحلیل و طبقه‌بندی کنند تا زوایای فرهنگی و عناصر بومی نیز قابل دریافت باشد.

Folk Songs of Kerman Province: Types and Themes

AbstractFolk poems are one of the most pleasing types of oral literature among the Iranian ethnic groups, which represent the spirits, thoughts, and ideas of the masses, and arise from their natural and daily needs. Songs and poems are forms of popular literature and are diverse in the cultural geography of this land. Folk poems in Kerman province are titled differently and are mostly composed in the form of couplets having a particular prosody. The common couplets of this region in different ceremonies have titles such as Sharma, Ajaghboos, Birghi, Kheloon, Mordekhani, Abado, SarAsyabi, Aino, Biabani, Kurdish reading, Hujlashshoon, Gharibi Khani, Hanabandi, in the bathroom, etc. These poems fall into the realms of server, mourning, work, sleep and caressing poems, lullabies, game songs, entertainment, and prayer. This study employed the descriptiveanalytical and library methods in order to introduce the folk and local songs of Kerman province, and analyze and classify the poems based on their themes so that the cultural prospects and local elements can be obtained.Kerman; folk poems; oral literature; theme; popular culture. Research backgroundThe first person who has done a study in the field of popular culture of people in Kerman is Lerimer. Ali Tavakoli (2015) has studied the literature and popular culture of Amjaz in another research. Moayed Mohseni (2007) in her book on popular culture of Sirjan has introduced the popular culture of people of that region, and since her work is based on the method of observation and participation, she has been precise and delicate.Koohi Kermani (1966) is another pioneering work in collecting rural legends and songs of Kermanians. In 1931, he published a book of national songs, which attracted the attention of literary circles. Also, on the music and couplets of Kerman, case studies and only a few articles have been done so far, which are as follows: Music of the regions of Kerman province by Towhidi (2011), Themes of local songs, a case study of Sirjan songs by Moayed Mohseni (2013), Analysis of rhyme and line structure in Kermani native poems of Shahrbabak city by Riahi and Radmanesh (2019). In the latter study, a real view of the folk songs of Kerman province is provided.What distinguishes the present study from the others is that so far no research has been done in relation to Kerman folk poems. Therefore, this study aims to fill this gap.Aims, questions, and assumptionsThe aim of this research is to study and classify the popular and local poems of Kerman province, which are performed in different ways and sometimes with music. It is also aimed to examine any poem that refers to their indigenous elements and religious beliefs in order to be able to show the manifestations of Kerman culture.Considering the variety of melody types, songs, and chants in this vast region, it can be said that Kerman is a treasure trove of oral culture the richness of which can be seen in less places, because it has never been invaded by foreign and nonIranian tribes, and because of this, its songs, chants, and music are kept intact to a large extent.This article seeks to answer the following questions:1. What is the content of the popular and local poems in Kerman province?2. How many categories are there for the popular poems and songs considering their content?Results and DiscussionOne form of folk literature is folk poetry, which are sung on various occasions during work, celebrations and rituals, mourning, play and fun, putting children to sleep, and entertainment. They are mostly in the form of local songs, accompanied by traditional music. They are the source of human manifestations and thoughts, and represent the history of culture, life, and expressive thoughts of people who express their feelings in a completely obvious and untouched way. In the meantime, popular and local songs and chants have a prominent role that have been passed down from a distant past, and have circulated around Iran, particularly in the geographical area of ​​Kerman.Popular art and literature in Kerman province reflect an important part of the rich and diverse culture, a culture that is rooted in the turbulent history of thought and customs of different tribes, ethnicities, and races (Persians, Arabs, Kurds, Lors, Turks and Baluchis) and the ancient natives of this region.Considering the variety of melody types, songs, and chants along with the vastness of this region, it can be said that Kerman is a treasure trove of oral culture, the richness of which can be seen in few places. This has made the songs, chants, and music in this area remain pristine.Folk music and local songs in Kerman province have various names such as Shink Bilal, Holoo Halo Holoo, Seriao Gonal, Ey Dalak Sar Tarash, Ji Saro Ji Saro, Dokhtare Dekandar, and Hey Ya Lalal. The most important types of Kerman musical instruments are Nay, Anban reed, drum, and harp (Nazari, 2011, p. 146). The classification and arrangement of these poems, based on the theme and content of the songs or local hymns, are as follows: 1. Sur hymns, 2. mourning, 3. work, 4. romantic, 5. epic, 6. childish, 7. entertaining, and 8. religious.ConclusionConsidering the variety of melody types, songs, and chants, it can be concluded that Kerman music and folk songs are unique in terms of quality and quantity, and have a special place in Iran. Further examination of the songs reveals that their composers were tasteful, but anonymous, and in only a few cases, titles such as Hosseina, Mehdi and Baqir appeared in some of the songs. Also, the content of some songs shows that their composers were women.Kerman folk songs and literature are still prevalent in many cities and among generations to come. Some songs are a combination of common songs in other parts of the country that have reached Kerman from elsewhere and after brief changes, have been combined with the dialect and living environment of the people in Kerman for many years. In some cases, it can be said that Kermanchr('39')s special couplet is written in that line. The folk poems and songs in Kerman could be divided into seven groups based on the theme and content of the songs.ReferencesKoohi Kermani, H. (1966). Seven hundred songs from rural Iran (in Farsi). Ibn Sina Library.Moayed Mohseni, M. (2007). Sirjan folk culture (in Farsi). Kerman Studies Center.Moayed Mohseni, M. (2013). Themes of local songs; A case study of Sirjan songs. Culture of the Iranian people, 32, 183200.Nazari, G. (2011). A study of climatic elements in the poetry of local poets in the south of Kerman. MA Thesis of Hormozgan University, Hormozgan, Iran.Riahi, F., Radmanesh, A. M. (2019). Analysis of rhyme and line structure in Kermani native poems of Shahrbabak city. Local Languages, 1, 5370.Towhidi, F. (2011). Music of Kerman province. Culture of the Iranian People, 27, 85111.