Karagöz (black eyes) is Turkish shadow puppetry that usually has two comedic protagonists: Karagöz and Hacivat, as well as other supporting characters. According to legend, Karagöz and Hacivat were former builders of the Bursa mosque and were executed by the rulers because they were too good at joke telling to delay the construction period, and their humorous stories were passed down in the form of shadow puppets.
Karagz is Turkish for "black eyes" which represents a positive image with the most common Turkish looks: big eyes, round face, and a thick beard. He has a lively and humorous personality, always wants to earn money without a job, and although occasionally rude, but has a kind heart. Karagöz is perceived as Turkish favorite folk hero, and becomes the alias for shadow puppets. Hacivat is the villain in the play: pointed chin, triangular eyes, knowledgeable and pretentious. Bickering with Karagöz is his daily life.
Beginning with an introduction to the theme of the play, and after a whistle, the show begins. The conversation part is the climax of the story, with the protagonist and supporting characters dancing, singing, poetry reading, bickering, and even fighting each other at the same time. The performance usually ends with a fight.
The leather puppets, called tasvirs, are only aboutonefoot tall and are made of camel or cowhide. They areless carved but heavily painted, with a particular focus on the vivid expression of the eyes. Manipulated with poles, the puppets are projected onto the cotton curtain as shadows. The puppets are mainly operated by a chief artist, Hayalci, who is erudite and versatile, integrating operation, acting, singing, and recitation. The wonderful plot is all displayed by Hayashi's exquisite talent. The troupe also includes musicians, apprentices and assistants. The show is accompanied by typical Turkish instruments such as the davre drum, balama six-stringer and saze.
Shadow puppetry flourished during the Northern Song Dynasty in China, and had spread to Egypt, Persia and the then Ottoman Turkish Empire by the fifteenth century. While retaining the form of shadow puppet performance, Turks continued to integrate their own characteristics, especially Islamic religious culture and Sufi mysticism, and gradually formed their specific shadow puppetry with outstanding Turkish personality. Karagöz used to be performed in cafes, gardens and public squares, especially during Ramadan and circumcision. Today, most of the venues have moved to theatres, schools and shopping malls in big city and the shows are still popular. Karagöz Turkish shadow puppetry was inscribed on UNESCO's Representative List of Intangible Cultural Heritage in 2009.
