This study explores the often un(der)-recognized presence of tall tales in Turkish folklore, highlighting the narratives and storytelling techniques of Teyo Pehlivan and Cumhur Seval from Erzurum as key illustrations of this presence. Despite their universal appeal, tall tales have yet to be acknowledged as a distinct genre within Turkish folklore. Likely due to their unique blend of truth and fiction, these tales are often classified into broader categories such as fairy tales, folktales, anecdotes, or jokes. This study examines the limitations in previous folklore research and the terminology issues that may have led to these misclassifications. It proposes the term ‘üfürme hikâye’ (blown tale) to capture the playful essence of tall tales and distinguish them as a unique genre. Teyo Pehlivan’s deadpan delivery of tall tales in teahouses and Cumhur Seval’s animated performances of these stories on stage and screen highlight the evolving nature of storytelling traditions. However, Teyo’s tales, fragmented and reduced to mere jokes in written records, highlight the difficulty of capturing the essence of tall tales in written form and the challenges in categorizing them. This underscores the vital role of performance in preserving and conveying the dynamic, multifaceted nature of this folklore. The study highlights the significant contributions of Teyo Pehlivan and Cumhur Seval in preserving the cultural heritage, values and dialect of Erzurum through their tall tales, fostering a sense of belonging among their audiences. Seval carries on Teyo’s legacy by embodying his character and playing a crucial role in preserving the tall tale tradition. This research aims to stimulate interest in Turkish tall tales and advocates for their recognition as a vibrant and essential aspect of Turkish folklore.
Arargüç et al. (Fri,) studied this question.