Alevi women in traditional clothing dance in a circle during the Hıdrellez ritual, accompanied by songs sung for the occasion. Photo by Diana Nikolova, used with permission.
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.
(L) Putting on a women's kenar shirt and woven decorative trousers is the first stage in preparing for the ritual. (R) Securing the pleated fata is an essential part of traditional Alevi women's attire. Photos by Diana Nikolova, used with permission.
A beaded belt with copper clasps fastens in front like a seal, representing feminine strength and fertility.
(Top): A beaded belt with copper clasps provides the final touch, symbolizing feminine strength and fertility. (Bottom): Detail of an embroidered “uchkurna” scarf, hand-stitched with floral motifs that carry both personal and symbolic meaning. Photos by Diana Nikolova, used with permission.
A velvet vest trimmed with silver thread connects her inner self to her outward appearance.
The traditional Alevi women’s attire is nearly complete – the final two scarves with three carnations placed on top, and the forehead adornment are yet to be added. Photo by Diana Nikolova, used with permission.
Over the fez on her head, she layers several scarves, each with its own meaning.
(L): Alevi women cover their head with a plain blue scarf, an intermediate stage in ritual dressing that precedes the final silk scarf. (R): A key stage in ritual dressing is the point at which the colorful kefiye bezi scarf is placed over the blue kozan çemberi as part of the traditional Alevi layering process. Photos by Diana Nikolova, used with permission.
This final adjustment of the second colorful scarf provides the finishing touch in arranging the ritual Alevi women’s attire. Photo by Diana Nikolova, used with permission.
Details of this sacred ritual adornment include beaded decoration with gold pendants – called “istifan” – three carnations, and forehead sequins as part of traditional Alevi attire. Photo by Diana Nikolova, used with permission.
Traditional Alevi ritual attire in its complete form, worn for the Hıdrellez celebration. Photo by Diana Nikolova, used with permission.
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.
Fastening traditional woolen “poturi” trousers – part of ceremonial Alevi male attire – using braided trim and wire buttons. Photo by Diana Nikolova, used with permission.
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.
Wrapping a woven woolen belt over a ceremonial Alevi shirt with gathered sleeves is part of traditional male ritual attire. Photo by Diana Nikolova, used with permission.
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.
Tying the sarık in front of the mirror marks the final detail in completing ceremonial Alevi male attire. Photo by Diana Nikolova, used with permission.
Gochev and his mother in ceremonial Alevi attire for the Hıdrellez ritual, pictured in the courtyard before the celebration begins. Photo by Diana Nikolova, used with permission.
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.
During the Hıdrellez ritual, an elder Alevi woman lifts a nişan item while asking its owner to identify it, as a young girl sits covered with a red veil. Photo by Diana Nikolova, used with permission.
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.
The ritual begins as elder Alevi women sing a devotional hymn evoking the image of the nightingale. Photo by Diana Nikolova, used with permission.
Keeping the tradition alive
Alevi women in traditional clothing dance in a circle during the Hıdrellez ritual, accompanied by songs sung for the occasion. Photo by Diana Nikolova, used with permission.
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.”
Alevi women perform a ritual circle dance as the Hıdrellez ceremony concludes. Photo by Diana Nikolova, used with permission.
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.
