This paper discusses the revival and public re-invention of long suppressed Alevi-Bektasi tradition during the second half of the twentieth century in Turkey and looks into the construction of Topcu Baba tradition as a recent instance of this process. This manuscript is be based on secondary and primary sources and field work completed in Turkey and argues that festive culture has facilitated the recovery of some aspects of the outlawed popular-religion practices and suppressed Alevi identity in new, festive forms. Alevis are a minority constituting at least 15 percent of the population in Turkey. Alevi faith is often presented as a heterodox Shiite tradition with diverse characteristics. Alevis due to their persecution and discrimination have developed an underground culture during the Ottoman era and have kept a low profile during the Republican era. The start of the Hacibektas Festival in 1959 and the opening of the tomb of Haji Bektash Veli and the Bektashi lodge to public visits as museums mark the beginning of a historical process that transformed the saintly Bektashi tombs and Alevi shrines into desacralized spaces, but also initiated the reinvention of Alevi-rite as a public culture. It also has become a model for the “coming-out” of Alevi-Bektashi communities all around Turkey. Topcu Baba tradition is a good example of this recent trend. The tomb of Topcu Baba, in Topcular village of Kirkareli, has become the beginning point for the development of a public Alevi- Bektashi tradition. Topcular is a part of the Amucalar community that has been following the Bektashi and Bedreddini traditions, and has been commemorating Topcu Baba privately. The foundation of the Commemoration of Topcu Baba Culture and Art Association in 1997 started the construction of Topcu Baba as a public,” invented tradition.” The association organized the first public commemoration of Topcu Baba in the summer of the same year. Since then the association has been publicizing the annual commemoration, and Topcular of 85 residents has been hosting about five to six thousand people during the commemoration. The festival also has become a public stage for important Alevi-Bektashi cultural signifiers, such as the singing of Alevi-Bektashi hyms and “sema.” The association is building a “cemevi” in Kirklareli as a center for the Alevi-Bektashi community as well as the general population. The commemoration of Topcu Baba plays a central role in the revival of the Alevi-Bektashi culture in the region.