The köçek (plural in Turkish) was typically a very handsome young male slave or a Romani dancer (rakkas), who usually cross-dressed in feminine attire, and was employed as an entertainer. Roots The Turkish küçük derives from the Persian word kuchak, from Middle Persian (kwck' /kūčak/, “small”), from Proto-Iranian *kaw-ča-ka, from Proto-Indo-Iranian *kaw- ~ *ku- (“young, small”).In the Crimean Tatar language, the word köçek means "baby camel". The culture of the köçek, which flourished from the 17th to the 19th century, had its origin in the customs in Ottoman palaces, and in particular in the harems. Its genres enriched both the music and the dance of the Ottomans. The support of the Sultans was a key factor in its development, as the early stages of the art form was confined to palace circles. From there the practice dispersed throughout the Empire by means of independent troupes. Culture A köçek would begin training around the age of seven or eight after he was circumcised and would be considered accomplished after about six years of study and practice. A dancer's career would last as long as he was clean shaven and retained his youthful appearance. The dances, collectively known as köçek oyunu, blended elements from throughout the empire, most importantly Turkish (like Karsilamas and Kaşık Havası) and Arab elements. They performed to a particular genre of music known as köçekçe, which was performed in the form of suites in a given melody. It too was a mix of Sufi, Balkan and classical Anatolian influences, some of which survives in popular Turkish music today. The accompaniment included various percussion instruments, such as the davul-köçek, the davul being a large drum, one side covered with goat skin and the other in sheep skin, producing different tones. A köçeks skill would be judged not only on his dancing abilities but also on his proficiency with percussion instruments, especially a type of castagnette known as the çarpare. The dancers were accompanied by an orchestra, featuring four to five each kaba kemençe and laouto as principal instruments, used exclusively for köçek suites. There were also two singers. A köçek dance in the Ottoman seraglio (palace harem) involved one or two dozen köçeks and many musicians. The occasions of their performances were wedding or circumcision celebrations, feasts and festivals, as well as the pleasure of the sultans and the aristocracy. The youths, often wearing heavy makeup, would curl their