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Wrapped in ritual: How Bulgaria’s Alevi community maintains its heritage [1]

['Diana Nikolova']

Date: 2025-06-03

Traditional attire is not worn for performance, but for remembrance. For the Alevis of Mădrevo, a village in northeastern Bulgaria, tradition is not a relic of the past – it is a way to stay spiritually connected, both personally and communally.

Though rarely mentioned in Bulgaria's public discourse, the Alevi community, having endured centuries of change and marginalization, has maintained its identity with quiet determination. It is a process that begins with the sacred act of clothing.

A unique form of faith

In Bulgaria, the faith of the Alevis – also known as Kızılbaş, Alians, or Aliani – has developed a distinct local form within the Turkish-speaking population. As a branch of Shia Islam influenced by pre-Islamic customs, shamanism, Zoroastrianism, and early Christianity, it incorporates mystical, Sufi, and even pagan elements.

The community traces its origins to the 7th century, following the death of the Prophet Muhammad, when disputes arose over spiritual succession. Sunnis accepted leaders chosen by consensus, while the Alevis – as the name suggests – believed that leadership belonged to the Prophet's family, beginning with his cousin and son-in-law, Ali.

Over time, the community faced persecution, often forcing it into isolation. During the 15th century Ottoman-Persian wars, many Alevis – called Kızılbaş (“Red Heads”) because of their distinctive red turbans – were forcibly resettled from Persia to parts of the Balkans, including what is now Bulgaria.

Throughout history, one of the most distinctive features of the Alevi culture is its principle of equality. Rituals have no gender-based separation; everyone participates in equal measure and, as an embodiment of the harmony and balance that are central to Alevi spirituality, women hold a sacred position.

Dressing as ritual on Hıdrellez

Hıdrellez is a vibrant tradition that blends personal fortune-telling with collective memory. On May 6, before sunrise, Kamber Gochev’s house in Mădrevo is already awake as he and his mother prepare for the occasion, dressing in silence and showing reverence with each step.

Though equal, men and women follow a slightly different process that begins with long, warm woolen socks, which are not simply practical; they open the way to the sacred.

For Gochev’s mother, putting on a women's “kenar” shirt and woven decorative trousers is the first stage in preparing for the ritual. Next comes the “miltan,” a long silk robe. Over it, she dons a pleated “fata” apron, tied with handmade cords that symbolize maturity.

A beaded belt with copper clasps fastens in front like a seal, representing feminine strength and fertility.

A velvet vest trimmed with silver thread connects her inner self to her outward appearance.

Over the fez on her head, she layers several scarves, each with its own meaning.

The final silk scarf is adorned with three carnations, representing Allah, Muhammad, and Ali. At this point, the garments become more than attire – they become her connection to ancestral memory.

As with their female counterparts, the men’s dressing ritual follows a defined sequence, with each element of the outfit carrying both practical function and symbolic meaning.

It begins with dark blue, woolen “poturi” – traditional trousers that are fastened along the calves with wire buttons for a snug fit. Far beyond a technical detail, this firm fastening ensures stability during movement, particularly with ritual dances and ceremonies.

Gochev takes a belt of handwoven wool – typically in reddish tones with white threads – and wraps it over his keener shirt, which keeps his lower back warm while securing the upper and lower parts of the outfit. Symbolically, it represents maturity and masculinity.

He then places a fez on his head, wrapped with a colorful “sarık” – a long, narrow strip of cloth. The wrapping is done by hand, usually in front of a mirror, and requires careful precision as the shape and tightness of the wrap reflect respect for the occasion.

Objects of fate

According to Gochev, on the eve of the holiday, young women place nişan (small personal items) into a copper pot, traditionally meant for their fiancés or male relatives. This ritual is considered the most important part of the Hıdrellez celebration. At dawn, as each item is drawn, it is accompanied by a sung quatrain believed to carry symbolic or prophetic meaning.

The ceremony begins with elder women reciting the “Kasida for the Nightingale,” setting a spiritual tone for the day.

In Mădrevo and Sevar, the celebration incorporates songs, dances, and the exchange of nişan, which are also symbols of unity and hope.

Keeping the tradition alive

As one of the last bearers of Alevi traditions in the village of Mădrevo, Kamber Gochev is keen to share stories of holidays, customs, and music, offering a glimpse into a living culture that continues to resist disappearance.

“There are several major holidays for the Alevis,” Gochev explains. “First is Kırklar or Nevruz, celebrated on the night of March 21 to 22. It marks the birth of Ali, as well as his wedding to Fatima, the daughter of the Prophet Muhammad. The celebration carries numerous cultural and religious symbols, many of which originate in ancient Mesopotamian rites later woven into Islamic tradition.” The rituals for this occasion take place in the home of the “boba” (elder), following a strict and established sequence.

Another major celebration is Köfür, which coincides with Christian Easter. “On this day,” Gochev continues, “small piles of straw are lit in seven places, and people leap over them – a symbolic act of cleansing their sins.”

The most popular holiday is Hıdrellez, once celebrated over two days [May 6 and 7], but now observed only on May 6. “It commemorates the meeting of the saints Hızır and Ilyas,” Gochev says. “Its roots are pagan – a celebration of spring’s renewal and the rebirth of nature.”

There is also a day of mourning, Gochev reveals: “Aşure Bayramı, also known as Matem Bayramı, which honors the martyrdom of Hussein, the son of Ali, at Karbala.”

A sense of place and culture

As far as sacred places go, Gochev points to a valley known as Düldül izi, “a place with rock formations believed to be the hoof prints of the horse of either Demir Baba or Hazreti Ali,” where people go to perform water-based rituals for health and healing. He personally believes the prints belong to Hazreti Ali, “since his horse was named Düldül, while Demir Baba’s horse was called Alaca.”

Color has a symbolic part to play in community rituals, Gochev explains: “Red stands for vitality and youth. Blue is for protection. Yellow serves as an accent color, and white symbolizes a transition to a new stage of life.”

Music also enjoys a central role in Alevi life: “Through music, we connect both spiritually and as a community. It’s present in rituals, daily life, and festive moments.” Traditional instruments include the “bozuk” (a type of “saz” or long-necked lute); the “darabuka” or “lyub” (a goblet-shaped hand drum); the “zilli maşa” or “def” (tambourine). The accordion and clarinet came into use later on.

Naturally, where there is music there is also dancing – and the dance that is most characteristic of the community is the “semah,” which Gochev describes as “a sacred, barefoot circle dance that symbolizes unity and the connection between humans and the universe.”

A rich collection of traditions, each of which reflects how the Alevi community in Mădrevo continues to preserve its identity through ritual, memory, and intergenerational transmission.

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[1] Url: https://globalvoices.org/2025/06/03/wrapped-in-ritual-how-bulgarias-alevi-community-maintains-its-heritage/

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