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After the connections broke, the people in Iraq expressed their complaints about the broken relations, the longing in the khoyrats (bayatis) like this :

Eslim Qarabağlıdı,
Sinem �arpaz dağlıdı.
Kesilib gelib-geden,
Deme yollar bağlıdı.

Bağdad yolu Gencedi,
G�l� pence-pencedi,
Deme sizden iragam,
Bu sevda öl�ncedi ve s.

I am from Garabagh,
My soul is hurt.
Nobady comes and goes,
The connections turned out to be cut off.

  Road to Baghdad goes through Ganja, It has fully-blossomed flowers, Don't say that we are apart, This love is forever, etc.
  But neither the broken relations, nor the long-lived years of separation could influence the language and the folklore of this elat. Although the Ottoman Turkish language was accepted as the literary language at that time, the spoken language and the folklore closely reflects Azerbaijani language and folklore (69, 14; 22, 329).
  We don't intend to confront the Turkic languages that are very close. But at the same time, we have to accept the fact that Turkish, Azeri and Iraqi researchers, who did a deep study of Iraqi-Turkman folklore and are very well aware of Kirkuk dialect and folklore affirm that the dialect of this people coincides with Azeri language. Their folklore and folk songs, which share the same roots, are identical (6, 147-152; 18, 26; 45, 56-66, 44, 6; 42, 86-96; 54, 64-68; 55, 3-26; 69, 11-14; 71, 203; 9, 14; 36, 11; 2, 329).
  Fuad Koprulu, a Turkish researcher writes with confidence: "Iraqi-Turkmans - The Turks who speak in azeri dialect of Oghuz...".
  Amir Asim, the head of the Foundation of the Turkic Language, read the first part of the book "Selected khoyrtas of Kirkuk", published by Kirkuk researcher Molla Sabir, (Baghdad, 1951) wrote an acknowledgement to the second part, where he stated: "These folk poems, which resemble very typical patterns in Azeri dialect, include words and expessions that are very close to ours" (45, 57).
  Vahabi Ashgun, a Turkish scholar wrote an acknowledgement to the second part of molla Sabir's book and mentioned rightfully: "As the first book, this book is also in Azeri dialect" (45, 47).
  Mir oghlu Jamil, the Turkish counselor to Belgrade, read Molla Sabir's book and wrote: "Sabir bey's book "The selected Kirkuk khoyrats" birings an unquestionable fact to the surface that the language is totally the same with the Azeri dialect, which is the closest one to Turkish, the Western Turkic. (45, 140).
  From this point, the thoughts of ata Tarzibashi, the Kirkuk researcher are also worth paying attention: "Our Turkman dialect is much closer to Azeri dialect than Turkish language, and even perhaps thye are twin sisters. Regardless the fact that they split for various kinds of reasons and lived a long history without any connections, there ara not remarkable differences in thees dialects" (78, 26).
  Prof. Hidayat Kamal Bayatly also came to a reasonable conclusion in his book "Turkic dialact of Iraqi-Turkmans": "The dialect that Iraqi-turkmans use, is identicall to Azeri dialect. Geographically, Azeri dialect embraces Eastern Anadolu, Kirkuk (Iraq) and Suriya Turks. From the folklore point, it is the richest Turkic dialect with numerous variations" (21, 329).
  Prof. H. Mirzazadeh, a well-known scholar on the history of Azerbaijani language, also affirms this conclusion in his serious article "Some Considerations About the Language of the Azerbaijanis living in Iraq" (42, 86, 96).
  Interestingly, the history of literary language of Azerbaijan indicates that our literary language included numerous elements of the dialects of Southern Azerbaijan and Baghdad (Kirkuk) in XV-XVI centuries, and Kirkuk dialect was categorized in the Southern branch and dialects of Azerbaijani language (12, 37; 13, 43; 62, 17; 42, 85).
  By the way, since the phonetic and lexical parameters of Azerbaijani languag correspond with those of southern and Eastern dialects, some of the researchers of "Kitabi-Dadam Gorgud", V. Bartold, F. Koprulu, A. Dilachar, M. Ergin consider that as Bartold says "it belongs to Caucasian Turks" (32, 6, 10, 13). O. Gogyay, M. Ergin, Y. Yakubovski, H. Arasli, M. Tahmasib, A. Damirchizadeh, S. Jamshidov, Kh. Koroghlu and others believe that the Dresden copy of the book was entirely created in Azerbaijan (32, 10, 19).
  Doubtlessly, we can tell that for centuries Iraqi-Turkmans had to survive by themselves surrounded with other nations, so that they preserved the old lexical and phonetic characteristic features of their language and therefore their language reflects the peculiarities of "Kitabi-Dadam Gorgud". Tens of words, which were used in the "Kitabi-Dadam Gorgud", are still in use in Kirkuk dialect, precisely, the same words still carry the same meaning and this is an apt proof. For example: kapanak (yapıncı-felt cloak), xerxız (oğru-thief), ekmek (�örek-bread), ense (arxa-back, backside), qalavuz (beled�i-guide), qısraq (at, madyan-horse), yayan (piyada - pedestrian), nesne (eşya, alet-thing), semiz (kök-root), sığır (buğa, cönge-bull), mavlamaq (huşunu itirmek-to faint), qanara (�armıx-crucifix), borı �almaq (şeypur �almaq-to play trumpet), davul döğmek (tebil �almaq-to play the drum), ismarlamaq (tapşırmaq-to charge, to commission), yarın (sabah-tomorrow), ög (önfront), xoyrad (qaba, kobud, nadanqrude, impolite, ignorant), yağmalamaq (talamaq-o plunder, to rob), qavat (al�aq, eskik adam-ignoble person), oda (otaq-room), imdi (indi-now), baş �zerinde (baş �ste!-all right, no problem expression to say yes), qaum-qardash (qohum-qardaş-literal: the relateive-the brother (means: close people)), kelisa (kilse-church), iyi (gözel-nice), kendi (öz�-oneself) etc. In relation with Gorgud, Abulgazi Khan says: "Goul Ergi Khan offered Gorgud to sit at tor/tour in the place of honour" - at the head of gathering (1, 79). It is interesting that this word as "Dor//dour" is used in Turkmani even today.
  Therefore, Azerbaijani researchers consider the "Kitabi-Dadam Gorgud" "the ancestor of Azerbaijani folk and written literature" (32, 5), and at the same time, Ata Tarzibashi, the Kirkuk researcher, calls it the "mother book" of Iraqi-Turkmans.
  The fact should be added that, the linguists, such as P. Melioranski (40, 16, 18), M. Shiraliyev (75, 11), N. Baskakov (7, 9, 56), A. Sherbak (73, 27), H. Mirzazadeh (43, 20), E. Najip (49, 30), A. Orujov (50, 9), Y. Shirvani (76, 16) and others, state that since the "Dictionary of Ibn-Muhanna", which belongs to the late XIII, the early XIV centuries, is in old Azerbaijani, it should have been written either in Azerbaijan, or in Iraq territory.
  Prof. Mahir Nagib, an Iraqi-Turkman researcher affirms the shared roots of the music in his book "Categorization and Analysis of kirkuk Turk Folk Music: "The distance between the borders couldn't deteriorate the saherd roots of Kirkuk Turk folk music and Azerbaijani Turk folk music" (36,11). Researcher Subhi Saatchi is of the same opinion (70).
  This closeness, identicalness is sharply visible in the place names as well: these place names - Aghdam, Aghdash, Agsu, Billava, Boyat, Guruchay, Garabulag, Garaqoyunlu, Garadagh, Garabaghli, Amirli, Yaychi, Yengica, Mandili, Mardinli, Uchtapa, Khasa, Khasadarli, Chardaghli, etc. - are common for both Northern Azerbaijan and Kirkuk. As in Baku, there is "Shirvan Fortress" near kifri. This palace was indicated as a historical monument of Iraqi-Turkmans in the map of Iraq published in Bahgdad in 1961. Still there is a block called "Garabaghli" in Kirkuk. The Iraqi scholars insist that "Garabaghli" or from Azerbaijan - from Garabagh region. As well the folklore introduces so many similar facts.
  Sinan Said, a scholar from Kirkuk, who did research on "Arzu-Gambar" the famous Iraqi-Turkman epic, thinks that this is a funda-mental work, a document that can be referred to learn their dialect, to define their identity, the researcher brings this piece as an example :

Arzum endi bulağa,
Sesi geldi qulağa.
Arzuya peşkeş olsun
Şirvan, Tebriz, Marağa.

My Arzu went down to the spring, Her voice was heard.
Let Shirvan, Tabriz, Maragha
Be sacrificed/gifted to Arzu.
and writes: "These lines are enough to decide where and by who the epos is originated" (59). In the Tuz Khurmatu version of the epos the events take place by the Araz River :

Quruyasan, ey Araz,
Elimizden d�şd� saz.
Qemberi �ay apardı,
Yetiş, ey Xızır İlyas (60, 376)

Damn you, hey Araz,
We dropped our saz.
The river curried away Gambar,
Please, come help, hey Khizir Ilyaz (60, 376).
  This piece itself is an apt fact of our shared roots.
  Prof. Subhi Saatchi, who did a substantial work on exploring and advocating Iraqi-Turkman moral values, also stated his personal opinion about this historical issue: "If we explore the colorful folklore and oral literature, we will witness that Kirkuk dialect carries the motives of Azeri Turkic". If we study the customs and traditions of Azarbaijanis living either in the North or the South, we will witness that Kirkuk folk literature derives from the same source. This similarity and identicalness resembles in every example - from lullabies to riddles" (63, 11, 13-14).
  As mentioned above, many Azerbaijani and Iraqi-Turkman scholars share the same opinion. İn that case, is there any need to study the folklore of Iraqi-turkman separately? If we take into consideration that till the first quarter of XVI century Kirkuk was under Azerbaijan's authority and as Subhi Saatchi, the Iraqi researcher says, "Till the 16th century all of the publications in Iraq were in Azeri Turkic" (63, 14), we will witness a great need to study this elat's folklore deeply, who had to live apart from its roots for centuries.
  By the way, note that two terms are used in Kirkuk sources - Kirkuk folklore and Iraqi-Turkman folklore. Both terms refer to the folklore of all Iraqi-Turkman community living in Iraq. It should be considered normal. Becaues the term "Darband folklore" or "Nakhichevan folklore" refers to the folklore of the people living in the surounding areas of relatively Darband and Nakhichevan as well. Accordingly, Kirkuk folklore refers the folklore of the people, who inhabited of the people living in the neighbouring villages and regions. That's why the readers will observe use of the both terms throughout the books of author.
  Gathering, publishing and conducting research of Iraqi-Turkman folklore started in the middle of XX century. Ata Tarzibashi, Molla Sabir, Shakir Sabir Zabit, Mohammad Khurshid, Abdullatif Benderoghlu, Ibrahim Daquqi, Ihsan Vasfi, Subhi Saatchi, Mahir Nagip and others are the first remembered ones when the subject comes on to the scholars who collected this spiritual treasure, which was created and passed over to the following generations for centuries, and immortalized them in books, the greatest invention of humanity. As you look through the books that they complied with great difficulties, and published mostly at their own expense, you recall V. Beilinsky's words: "The hard work of the modest and honest people, who collected the invaluable pieces of folklore with paintstakingly stubbornness and endess efforts and didn't let them be forgotten and destroyed, should meet the fullest gratitude and appreciation" (6, 109).
  The folklore pieces they collected were first published in the newspapers "Kirkuk", "Afag", "Bashir", "Iraq", "Yurd" and the magazine "Qardashliq-Brotherhood", and these materials all together turned to a substantial source for any researcher to refer to. The proverbs and aphorisms, khoyrat and manis (a kind of bayati), folk songs, ceremonies, jokes (anecdotes), believes, proys, curses and other patterns were included in "The Selected Khoyrats of Kirkuk" by Molla Sabir, "Khoyrats and Manis in Kirkuk" by Habib Sevimlin, "Social Life in Kirkuk", "Proverbs in Kirkuk Dialect" by Shakir Sabir, "Khoyrats and Manis in Kirkuk", "Kirkuk Songs", "Invaluable Kirkuk words" by Ata Tarzibashi, "Iraqi-Turkmans, Their Language, History and Literature" by Ibrahim Daquqi, "A Step in the Literature of Iraqi-Turkman", and "Our Proverbs" by Abdullatif Benderoghlu, "Iraqi Turkmans", "Kirkuk Children Folklora" and "Folk Songs of kirkuk" by Subhi Saatchi, "Aphorisms and Proverbs of Iraqi-Turkmans" by Mahir Nagib and other books. The activities in this sphere weren't limited only to collecting the folklore pieces and publishing books but also the attempts were made at conducting scientific research on the certain genres of Iraqi-Turkman folklore. Ata Tarzibashi's research on khoyrats, manis, and folk music is worth paying great attention.
  But still the Iraqi-Turkman folklore is not entrely explored. It is the first attempt to analyze it systematically. The Iraq-Turkmani researcher A. Benderoghlu's opinion, who wrote the acknowledgement to our monograph "Iraqi-Turkman Folklora", supports this idea: "Until now such a research of a substantial, detailed context has never been conducted either in Iraq by Turkmans or in Azerbaijan or in Turkey" (52, 4).
  True, many genres and patterns of Iraq-Turkman folklore become subject to research for the first time. The main sources of our research were the books on Iraqi-Turkman folklore, the publications that we listed above, and the patterns, which we recorded in five tapes, each of which lasted for an hour and a half, and the examples we wrote down in several large notepads or more than a thousand pages each during our long-term visits to Iraq in 1962-1966 and 1972-1975.
  The early genres, the people's ceremonies and music, the bayatiriddles, the lullabies, the tales, the jokes, the riddles, and the proverbs of the Iraqi-Turkman folklore are being explored scientifically for the first time. Among these genres bayati-riddles and lullabies have not been studied as independent genres in our Folklora studies - the former entirely and the latter partially.
  The mutual relations of the azerbaijani and Iraqi-Turkman folklores were brought to light through parallels, comparisons of the patterns that derived from the same root and the categorization of the current genres were done through the latest achievements of the folklore studies (5; 34; 47; 48; 57; 58; 59; 61; 80; 81), etc.
  While talking about the importance of this study, it should be mentioned that, the thorough study of certain critical issues such as our history of aesthetic thought etc.
  Iraqi-Turkman folklore is such a treasure that it reflects all the nuances of the nation's language and every single person who is in love with his nation can find invaluable pearls in this treasure. There is closeness, identicalness to Azerbaijan Folklora in every layer of this treasure of the nation's wisdom. We are blessed becaues the nation didn't part in its consciousness, thoughts, and mentality! After all a stone gets crumbled and ruins, a rock becomes tumbledown and ruins, a spring dries, a river gets thinner and cuts off. And a nation forgets and disappears (17, 4).
  But still there is a bright reality, which consoles one. As Irmag, Iraq-Turkmani, writes: "The motherland's territory can expand or diminish, its borders can extinguish, its history can be falsified, even its honor can be offended, its religion can be converted. But one thing never changes. This is mother tongue" (19).
  As you see, there are two principal existences in life - folklore and language, which never disappear carry undeniable historical facts about a nation. We think this is the literary-historical value of the Iraqi-Turkman folklore in the first place.

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