An ancient form of art in Asian and Middle-Eastern cultures, shadow plays have been a part of Turkish traditions for centuries, particularly during the holy month of Ramadan. With the most famous in the country being "Karagöz and Hacivat," this heritage has been kept alive in modern times, but it has been slowly sinking into oblivion.

Using their structures and puppets, artists recreate many different characters and scenes. These performances are often combined with traditional music and songs and tell exemplary tales and mythological stories. The play is performed in front of a curtain and staged with shadows reflected on a screen.

"Karagöz and Hacivat" is a traditional shadow play that dates back to the Ottoman period in the Turkish public house. There is no certain information about exactly when and where the play originated, but it is thought to have existed in Anatolia as early as the 14th century.

The main characters of the play are two friends, namely Hacivat and Karagöz. Hacivat is portrayed as intelligent, kind and decent, while Karagöz is a naive, thoughtless and comedic character. The play is usually based on the dialogues and adventures between these two characters.

The central theme of the plays is the contrasting interaction between these two friends who are perfect foils of each other with Karagöz representing the illiterate but straightforward public and Hacivat standing for the educated class.

Hacivat and Karagöz have a great place in Turkish folklore and are still widely loved characters today. The play was accepted as an art form and played a major role in enriching the Turkish language and humor.

There are various accounts about the emergence of shadow plays and their arrival in Türkiye.

The play's stage is also called "Küşteri Square," after Sheikh Küşteri from the era of 14th-century Ottoman Sultan Orhan, who according to one account is the historical creator of the play.

According to legend, Karagöz and Hacivat were actual people and they were construction workers on a mosque in Bursa in the mid-14th century. Their clownish and silly antics led to their execution by the order of Sultan Orhan. The sultan felt sorry afterward, so Sheikh Küşteri immortalized the duo as puppets, who would go on to entertain the empire for centuries.

According to other accounts, the play originated from the island of Java where shadow puppet shows were performed already as early as the 11th century and arrived in the Ottoman Empire via traders.

During the Ottoman Empire, the plays would take place in coffee houses and in rich private houses and were even performed before the sultan. Every quarter of the city had its own Karagöz.

During the month of Ramadan, shadow play scenes set up in the streets and mosque courtyards, especially after iftar, allow people to have fun when they come together. It is one of the many festivities that you can enjoy during this month.

After a day of fasting, crowds would wander the streets and celebrate, eating, drinking, dancing, watching street performers, and going into the coffeehouses to see Karagöz and Hacivat plays.

The names "Hacivat" and "Karagöz" carry particular meanings pertaining to their characteristics as well. While "Karagöz" literally means "black eye" in Turkish, the name "Hacivat" is thought to be a shortened version of "Hacı Ivaz," meaning "Ivaz the Pilgrim." Hacivat and Karagöz plays became very popular among the people during the Ottoman period and were even played in the palace. The game was also recognized and attracted attention in Europe in the 19th century.

The play consists of four parts. The first is the preface or the prologue. Usually, the depiction of a house or a forest is raised slowly upwards from the bottom of the screen. First, Hacivat comes onto the screen and invites Karagöz by reciting a couplet, a catchphrase if you will. Karagöz accepts this invitation and starts bickering with Hacivat.

The second part of the conversation involves Hacivat and Karagöz asking each other riddles. They describe an event or a dream they saw as if they were real.

The third part, the main act, is the play. In this part, where the main subject develops, other characters are introduced, according to the context. Ghazals, a form of poem or ode, also occupy an important place in the music of this section.

Finally, there is the finale or the epilogue. In this very short chapter, the main part of the performance is over and the events are resolved. When Hacivat's line "You destroyed the curtain, you ruined it/I'll let the owner know right away," is heard, it is the audience knows that the play is over.