Dakika 4.40 sonrası aldığım haz, bir parçadan alınabilecek en iyi lezzetlerden...
Kırım Tatarcası
Kazan Tatarcası. Aqil İyase
Kırım Tatarcası
Bir Kazan Tatarcası bir Kırım Tatarcası oldu, sırayla 
Bu Kazan Tatarcası bir folklor.
Bu farklı bir yorumu, bu hali de pek eğlencelidir.
Bu Kazan Tatarcası bir folklor.
Bu farklı bir yorumu, bu hali de pek eğlencelidir.
Muthis gaciydi be
Renklensin gecelerimizz
Sevmeyi biz beceremedik askimmm
Solmasin hiç neşeli yüzün
Gel hadi şerefine içelim bu aşkınnn
Sevmeyi biz beceremedik askimmm
Solmasin hiç neşeli yüzün
Gel hadi şerefine içelim bu aşkınnn
🇦🇱
Ne kadar anlamlı bir parça... Aşağıya, parçanın anlamıyla ilgili bir Youtube kullanıcından çok güzel bir yorum bırakıyorum.
"the song is about child marriage, it talks about the last night the girl will have with her family before (forcefully) being married off to someone. At the time where the song was written there was no electricity, so "Kalle llamen" (light the lamp) refers to not sleeping when the night comes, but prolong the length of the nigh with some light, so the girl can spend as much time as possible with her family in her last night before getting married the day after.
The video is shot in a village where child marriage happened a generation ago and the girls represent the new female generation of this village. The new girls are the rebels, the ones who go to school, the empowered posing with a Golf 2, etc. It shows how women in Kosovo are breaking some normative and traditional prescribed gender roles in order to liberate themselves."
"the song is about child marriage, it talks about the last night the girl will have with her family before (forcefully) being married off to someone. At the time where the song was written there was no electricity, so "Kalle llamen" (light the lamp) refers to not sleeping when the night comes, but prolong the length of the nigh with some light, so the girl can spend as much time as possible with her family in her last night before getting married the day after.
The video is shot in a village where child marriage happened a generation ago and the girls represent the new female generation of this village. The new girls are the rebels, the ones who go to school, the empowered posing with a Golf 2, etc. It shows how women in Kosovo are breaking some normative and traditional prescribed gender roles in order to liberate themselves."