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UDC: 78.078(560)"19"
MiddleEastTechnicalUniversity,Ankara,Turkey
E-mail:korayd@metu.edu.tr
OriginalScientificPaper
Izvorniznanstvenirad
Received:September6, 2005
Primljeno:6. rujna2005.
Accepted:November15,2005
Prihvaieno:15.studenog2005.
Abstract- Resume
This paper largely investigates the dynamics of cultural policy in the founding years of
the Turkish Republic (1923-1940s) by looking at
a particular cultural form, Turkish folk music.
The reconstruction of Turkish folk music and the
development of the term 'folk' reflect certain
cultural and political aspects of the formation
of the nation-state and of Turkish nationalism.
The paper also attempts to understand the in-
spirational sources of the founding cadres' cultural policy by looking at the genealogy of the
term 'folk' (in Romantic thought and during the
Enlightenment period) and their folk discourse.
Key words: Nation; Construction; Folk;
Turkish Folk Music; Turkish Republic; Cultural form; Turkish nationalism: Turkish music; Nationalism; Romanticism
Introduction:
SomePreliminary
Noteson CulturalForms
The cultural reproductionprocess cannot be envisaged outside power relations. Rather,power relationsare totally intrinsicto the culturaldomain. Cultural
transformationas a political strategy includes appropriationand reprocessingof
the meanings in cultural forms, institutionalregulationsto transformthe meanings and aestheticforms of culturaloutput, especially in the case of the State,and
utilization of some particularculturaldiscoursesin orderto maintaina politically
favorableposition. Thus, controlover culturalforms is to be consideredas a crucial element with which politics operatesin the culturaldomain.
48
K. DEGIRMENCI:
ON THEPURSUITOFA NATION,IRASM37 (2006)1, 47-65
There are two general assumptions in this articlethat form the basis of the
argument.The first one relates directly to the nature of culturalforms and their
meanings.Culturalforms or productionsare the bearersof meaningsand codes of
behavior inherent in the culture itself. They also provide a hint to the intricate
relationsamong those meanings.Changesin cultureare visible largely when concern closely touches upon the meanings and changes in culturalforms. Based on
such premises,culturalreproductionor the changesin culturecan be investigated
throughan analysis of the culturalproductionsthat seem best to reflect meanings
in culture.The second assumptionis an instrumentalone that tacklesthe conception of cultureitself. Culturecan be defined methodologicallyin two ways. It can
be depicted as a seminal elementthatbringsforththe culturalformsor determines
the general frameworkof the realm of meanings in those culturalforms. In that
case, the meanings in culturalforms are generallythe indicatorsof the culturethat
directlyprovide their content.In the second case, politicalstrategiesare to be imagined to have a certaincapabilityof transformingculturalproductsfor theirown
political interests.Therefore,the restrictivefunctionof culturein the formationof
culturalproducts is also consideredin the definition.This view is instrumentalto
any investigationof the relationshipbetween politicsand culture.Thus, cultureor
culturescircumscribethe possible formsthat culturalproductscan take as a result
of the manufactureof politics. The field of 'possible forms' is also determinedby
the power of differentpoliticaldiscoursesand theirdomainsof hegemony- sometimes they are intersectedsometimes they remainat the opposite poles.
This articleattemptsto demonstratesome peculiarcharacteristicsof the relation between culture and politics in the founding years of the TurkishRepublic
(1923-1940s)by looking at a particularculturalform,Turkishfolk music. The history or the reconstructionof Turkishfolk music reflects political aspects of the
formationof the nation-stateand Turkishnationalism.Nationalismemerged as a
political and social engineering projectfrom the spirit of the Enlightenmentin
Western Europe,which was accompaniedby the formationof nation-states.The
aspect of engineering in nationalismin the constructionof Turkishfolk music is
apparentin whole terms in the Turkishcase in which the task of constructinga
congruent structurefrom a population having numerous and different cultural
roots was seen as the primaryconcern.
TheConstruction
of theFolk
Debates on the discourse of 'the folk' inevitably include an elaborationon
nationalism.This hand-to-handrelationshipbetween the folk and nationalismactually appearsas the result of a historicalfact.The growing interestin the folk and
folk cultureand therebythe resultingfolk discourse,was an indispensablefeature
of European nationalisms during the nineteenth century. Indeed, this close inter-
K. DEGIRMENCI:
ON THEPURSUITOFA NATION,IRASM37 (2006)1, 47-65
49
est in the folk refersto a searchfor origin.The notion of origin revealing genuineness and authenticitygives the nationalistpoliticaldiscourselegitimacyas well as
meaning in its pursuit of constructinga nation having the same culturalroots in
origin. The very notion of states and nationalism as constructingthe imagined
concept of nation' plays a crucialrole at this point. The process of constructinga
nation with all its essential elements, including a common culture along with a
common language and heritage,is explicatedthoroughlyin some other works as
well.2 The nationassumed to have the same originand culturalheritageis nothing
but 'an imagined political community- and imagined as both inherentlylimited
and sovereign'.3Although thereare many controversiesamong these works,4their
conception of nationalism as having a crucial role in constructingan imagined
concept of nation and the origin myth is almost the same. This article operates
with the same conceptionof nationalismin understandingthe 'constructednature
of culture'in the case of Turkishfolk music.
Indeed, the concept of the folk has powerful connotationsof culturalunity,
although it is generally identified with the common people and they can be used
interchangeably.It marks a point of departurewhen used as a referencein any
politicalor culturaldiscourse.In fact,these two domainsareunrecognizablyoverlapping, especially when they appearas the two majorrealmswithin the snapshot
of the emergenceof the nationalin the culturaldomain.The concept of the folk in
a particularterritorypresumes a culturalhomogeneity and unity among peoples
living in that territory.Even in its most naive form,this presumptionabout homogeneity is severe; an outgrowth of an inculcationof the idea reflectinga concordance or integrity in the 'cultures'of peoples in a territory.Besides, it inevitably
refersto a seminal point from which the other partsof the society derive. The folk
discourse and the integrity of culture operate together through the origin myth.
Therefore,the characterof the folk readily involves a notion of authenticityrather
than being an ordinaryelement.
The increasingconcernfor the folk and, generally,the notion of culturalpatterns distinguishing nations from each other were the main tenets of Romantic
thought which was best reflected in the works of JohannGottfriedHerder. The
Germanphilosopher is seen as the discovererof the idea that every people has a
The notion actuallyhas roots in the Enlightenment;the idea that every
Volksgeist.5
EricJ. HOBSBAWM,NationsandNationalism
since1780:Programme,
Myth,Reality(Cambridge
and New York:CambridgeUniversityPress,1992).
2
ErnestGELLNER,Nationsand Nationalism(Ithaca:CornellUniversity Press, 1983);Benedict
on the Originand Spreadof Nationalism(Londonand
ANDERSON,ImaginedCommunities:
Reflections
New York:Verso,1991).
5.
Communities...,
3 B. ANDERSON,Imagined
4 For
example,Andersonin thiswork goes furtherand questionsthe existenceof any community,
the point on which he criticizedGellner;for his theory'simplicationof a duality between real/contrived communities.
Vol. 25 (1995):5-24,9.
Scandinavica,
5 TineDAMSHOLT,On the Conceptof the 'Folk',Ethnologia
50
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K. DEGIRMENCI:
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51
folk study activities in the earlierperiod. Its persistencewas made clearwith the
publicationof ThomasPercy'sReliquesofAncientEnglishPoetry(1765)and Francis
JamesChild's TheEnglishandScottishPopularBallads(1857)markingthe end of the
first period. He saw the search for the folk in the second period as mainly taking
place in the musical domain; an endeavor that also produced two majorworks:
Carl Engel's An Introductionto the Studyof NationalMusic(1866)and Cecil James
Sharp'sFolksong:SomeConclusions(1907),which also markthe beginning and end
of the second period.
These attempts at redefiningand reconstructingthe folk and folk cultureare
to be seen as the main tenets of the process of constructingthe categoryof nation.
The issue is clearly expressed in Bohlman'swork: ))The musical symbols of an
imagined community are many: an identifiablecorpus of folk song ... folk songs
that spell out the history of the nation in overt and subtle forms;and, in general,
the equationof folk music with nationalmusic.<"The cultureof the folk, the peasants, was defined as the characterof the nation in its pure and naturalstate. The
activity of collectingthe culturalforms of the folk and theirpreservationand reincarnationin the formof contemporaryworkswere consideredas the essentialsteps
in regaining the national culture. After the discovery of culturalheritage in folk
research,it is 'reprocessed'in orderto createthe nationalculture.'Contemporary'
nationalcultureis supposed to emerge fromthe remnantsof the 'original'national
culture.
TurkishNationalismandtheDiscoveryof theFolk
Such a brief history of the folk and folklorestudies in the general framework
of Romanticnationalismin Europetends to offer an overarchingexplanationfor
the emergence of the folk in all countries,as if these societies togetherfollowed a
linear developmental pattern in their political and cultural history. However,
Calhoun'sadmonition is plausible here in dealing with any phenomenaof different countries,which are multifariousenough to preventany generalization.There
is no single, universal definition, hence the theory of nationalism,which can be
applicablein all other contexts. Rather,the peculiaritiesof versatilenationalisms
depend highly on the 'contingentrelations'and 'distinctculturaltraditions'.'2In
some cases, such an inquirywould go furtherto the extent that it would question
whether such a cultural traditionexists at all. Investigationof culturalproducts
and their transformationwould help to demonstratethe peculiaritiesof various
nationalisms,as they are mainly dependent on the culturaltraditionswith which
"
PhilipV. BOHLMAN,TheStudyofFolkMusicin theModernWorld(BloomingtonandIndianapolis:
IndianaUniversityPress, 1988),54.
12 CraigCALHOUN,Nationalism
(Minneapolis:Universityof MinnesotaPress, 1987),123.
52
K. DEGIRMENCI:
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they operate. Elaboratingon the history of Turkish nationalismdefinitely transcends the bounds of this paper. However, a briefreview of Turkishnationalism
is necessaryin order to point out some peculiaritiesof the context.
The identity problem,which is generallydiscussed by scholarsin the context
of the proclamationof the TurkishRepublicin 1923,had indeed been debated in
Ottomanhistory for about a century.The multi-religiousand thus multi-cultural
structureof the OttomanEmpirecompelled the Ottomanintellectualsto createa
conceptualunity against the rising threatof nationalismamong ethnic groups living togetherunder the authorityof Ottomans.Yildiz conceptualizedthe attempts
of unifying the populationthroughoutthe OttomanEmpirein threestages.13These
were the modernizing Tanzimatmovement proclaimedin 1839,which strived to
unite people on the basis of citizenship in a modernizing state, the Pan-Islamist
stanceof AbdulhamidII,and the ethnicallybased Turkishnationalismof the Committee of the Union and Progressafterthe BalkanWarsin 1912-13.The 1908Revolution gave way to three strandsof thought,which attemptedto explain the backwardness of the Ottoman Empire,while speculatingabout the possible unifying
power of the population according to their views: Western secular modernists
blamed Shariafor the backwardness,Islamistswho claimedthat the main cause of
the backwardnesswas the lackof necessaryIslamicorder,and Turkistswho stated
that the cause of backwardnessmust be searchedfor in >the loss of nationalculture throughIslam'stendencyto superimposeitself as a civilizationat the expense
In Yildiz's perspective,the Republicinherited ethnic naof national cultures.<<14
tionalism from the 1908 Revolution. However, there have been also attempts to
differentiatethe nationalism of Kemalismfrom any category of ethnic nationalism. Gulalp sees the base of Kemalismas territorialnationalism,which he considers as similarto Ottomannationalism.In this conception,people living on the territoryof Turkeywere defined as Turks.'5
Complicatingthe issue, though, is the fact that the concepts of Turkishness,
Islamism,and Ottomanismin the perspectiveof Ottomanintellectualsin the 19th
century were quite differentand controversial.In the Tanzimatperiod, for example, Islamism and Turkishnessimplied almost the same category, thus Islamism
was a class of nation.16This understandingalso seems to have operated in the
concept of JeuneTurc(YoungTurk),which was used to denote the Ottomanintellectuals living abroad during the Tanzimatperiod. They called themselves new
Ottomans, since neither the concept of jeunenor Turkishnessmeant anything to
Sinirlari(1919TurkUlusalKimliginin
Etno-Sekuler
Diyebilene':
13AhmetYILDIZ,'NeMutluTurkum
1938)(istanbul:Iletisim,2001).
TheDevelopment
of Secularismin Turkey(Montreal:McGillUniversityPress,
14Niyazi BERKES,
1964),351.
15Haldun GULALP,The Crisisof Westernizationin
Turkey:Islamismversus Nationalism,Innovation:TheEuropean
Journalof SocialSciences,Vol. 8, No. 2 (June1995).
16N.
BERKES,
Turkiye'de
(agdaslasma(Istanbul:YapiKrediYayinlari,2002),225.
K. DEGIRMENCI:
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53
them.17This identity crisis continued in the process of establishmentof the Turkish Republic as well. The transformationof the Ottoman Empire with a multireligious structureinto a new Republicwith an almosttotallyIslamicpopulation,'18
though with an urge to constructa secularstate, fosteredthe predominanceof the
conceptof Turkishnessthatalreadyhad strongrootsand culminatedafterthe 1908
Revolution.
Although there was migrationof primarilyArmenianand Greekminorities
afterthe FirstWorldWar,Turkeycontinuedto have a multiculturaland ethnically
diversified population owing primarilyto the presence of Laz, Kurds, and other
groups. The statements of MustafaKemal Ataturk'9in one of his speeches interestingly expressed this multiculturalfeature,which did not cease to exist afterthe
... [he reminded his audience] the members
population exchanges:>>Gentlemen
who make up this exalted Assembly are not only Turks,are not only Circassian,
are not only Kurds,are not only Laz;it is composed of all of them and is an Islamic
Indeed his speech partlyreflectsthe ideology of Ottomanismin one sense;
body<<.20
Ottomanism claimed to embrace all people living in the Empire that belong to
differentnationalitiesand religions.However, afterthe establishmentof the Turkish Republic,the unificationof peoples in Turkeyunder the name of a single nation became a majorconcern.This was not an easy task consideringthe offensive
meaning attributedto the word Turkin the OttomanEmpire,which implied nomadic, uncivilized people who belong to a tribe.21
Turkishnationalismin the early Republicanera was generallyconsideredas
having a strong affiliationwith the ideas of Ziya Gokalp,one of the most important intellectual figures of the time. Although there are many objectionsto this
close affinity,22Turkishnationalismin the early periods of the Republicseems to
have taken its inspiration from Turkism,especially from Gokalp's ideas on the
issue of Turkishness,if not the issue of Islam.He was the ideologue of the Young
'7Ibid.,283.
18>>Before
the war,one out of fourpersonsliving in present-dayTurkeywas non-Muslim<.Caglar
KEYDER,StateandClassin Turkey(London:Verso,1987),79. The 1927census showed that non-Muslims constitutedonly 2.6 percentof the whole population.FerozAHMAD,The Developmentof Classconsciousnessin RepublicanTurkey,1923-45,Workers
andtheWorking
Classin theOttomanEmpireand
the TurkishRepublic1839-1950,ed. by D. Quataertand E. J. Zurcher(Londonand New York:Taurus
AcademicStudies, 1995),75.
19Ataturkmeans
literallythe Fatherof theTurks.
in F. AHMAD,The Developmentof Class-consciousness..., 76.
20 Quoted
21 Serif MARDIN, Din ve
Ideoloji[Religion and Ideology] (Ankara:Ankara Universitesi SBF
Yayinlari,1969),102.Basgozalso points out the offensivemeaningof Turkamong Ottomanelites. For
Such meaningof Turkwas
them, it >impliedonly uneducatedtownspeopleand ignorantvillagers.<<
alreadyrehabilitatedin the 19thcentury.IlhanBASGOZ,FolkloreStudiesand Nationalismin Turkey,
Institute,Vol. 9, No. 2/3 (August/December1972):162-176,164.
Journalof theFolklore
22SevketSureyyaAYDEMIR,TekAdam[TheUniqueMan](Istanbul:RemziKitabevi,1966).
K. DEGIRMENCI:
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54
Ibid.,174.
55
Basgoz offers a good summary of the meaning and significance of folklore studies
in that period:
... each folklore genre had a special value for the nation:proverbsreflectedthe high
morals and philosophy of the Turkishancestors,epics exemplifiedTurkishheroism,
riddles demonstratedthe clevernessand finesse of the Turkishmind, folk poetry revealed the naturalsentimentsof the people;in sum, folkloreas a whole expressedthe
nationalspirit which had been underminedfor centuries.27
Therefore, this immense activity of collecting folklore forms was the major
part of the project of constructing the imagined concept of nation, which was supposed to overarch all the distinct cultural traditions. Undoubtedly, those forms
shared similar characteristics that could be attributed to the same heritage. However, the concern should focus on the deliberate aim of those collections, which
was definitely to bring out the similarities rather than the differences in folklore
forms that can inevitably suggest a heterogeneous cultural background rather than
a homogeneous one. If one way of constructing a cultural heritage is overlooking
the differences, the other is reprocessing the collected folklore forms to categorize
them under the same rubric, which seems to operate better within the context of
the collection of folksongs.
theFolksongs:TheConstruction
of TurkishFolkMusic
Reprocessing
The understanding of music, hence the creation of national music, in Ziya
Gokalp's work was based on his distinction between culture and civilization. He
stated that both Eastern and Western music had emerged from Greek music, which
was not natural, thus artificial, since it is mainly based on quartertones.28Besides,
for him, Greek music was monotonous and boring. Western music transformed
the inherent structure of Greek music in the Middle Ages by the musical innovations in the newly emerging opera. They removed quartertones from the musical
structure and added harmony instead. However, Eastern music had not been capable of any improvements in the musical domain; it was 'ill' in that sense.29 This
music was the music of the Ottomans. After those explanations, Gokalp pointed
out that we have three kinds of music now: Western music, Eastern music and folk
27Ibid.,171.
29
is clearlyspeakingthe languageof
GokalpdescribedEasternmusic as morbid.Here, >>Gokalp
the Westernorientalist.The idea of the morbidityand irrationalityof the Easthas a historyas long as
thatof Westernorientalism,...<<.See MartinSTOKES,TheArabeskDebate:MusicandMusiciansin ModernTurkey(New York:OxfordUniversityPress,1992),34.
56
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ON THEPURSUITOFA NATION,IRASM37 (2006)1, 47-65
(halk)music." The latterwas the music of our culturewhilst the firstwas the music
of our new civilization.Therefore,our nationalmusic shall emerge from the synthesis of these two musical forms, namely folk music and Westernmusic, which
would be 'healthy'.3'Indeed, Ataturk'sview on music converges with Gokalp's
thoughts. In an interview with a Germanreporter,he clearly stated similar opinions about Easternmusic. In his responseto the Germaninterviewerimplying that
the only thingthatthe Westwas nevercapableof understandingwas Easternmusic,
Ataturkstated that zthese [Easternmusic] are inheritedfrom the Byzantines.Our
In the same intergenuine music can be heard among the Anatolian people.<<32
stated
that
he
Turkish
for
don't
have
time
to
wait
four
hundredyears
view,
people
for theirmusic to reachto the level of Westernmusic.33This mechanisticapproach
to the musical development and the 'magicformula'proposed by Gokalpformed
the underlyingmechanismof the 'revolutions'accomplishedin the musicalsphere
in the founding years of the Republic.
Indeed, westernizationin the musicalspherewas far frombeing the sole concern of the Republicanera. Beginning from the Tanzimatperiod, there had been
many attempts to promote Westernmusic. The year 1826 is seen as the starting
point of tanzimatin music, in which Westernmusic was introduced to Ottoman
society.34It is interesting that the first westernizationmovement in music happened in the Army;in 1826Giuseppe Donizetti,brotherof the famous opera composer Gaetano,was invited to head the militaryband of Nizam-iCedid(the Army
of the New Order),which was founded by Selim III.Donizetti then taught at the
Palace Military Band School (SarayMizikaMektebi),which was founded in 1833
with the aim of trainingprospective musicians in the militaryband. This period
fundamentallyinfluenced the musical taste of the palace in which Donizetti and
his band gave performancesof western polyphonic music. Many famous musicians visited the Ottomanpalace during that period.35Anothersignificantdevelopment in this period was the gradualadoption of western-stylenotationalso for
music other than that of the Army Band.g6Although therewere many differences
30 In Turkish,the word halkactuallyconveys almost the same meaning with an emphasison a
common heritageas volkin Germandoes. The word folk means halkin Turkish,which comes from
Arabicand also has the meaning'to create'.It meanscommonpeopleor peasantsas well as the people
in general(in Latin,vulgus)and nation.It has also connotationsof peoples fromdifferentculturesand
historicalroots as in the word folks,halklar.
31Ibid., 127.
veMusiki:O'nunlaBirlikte,O'ndanSonra[Ataturkand Music:With
32A. AdnanSAYGUN,Ataturk
Him and After Him] (Ankara:Sevda CenapMuzikVakfiYayinlari:1,1987),9.
33Ibid.,43.
Sesleri,
Olgusu,in Cumhuriyetin
34BulentAKSOY,CumhuriyetDonemiMusikisindeFarklilasma
ed. by G. Pacaci(Istanbul:TarihVakfi,1999),30.
35 They included FranzLiszt,Luigi Arditi,August von Adelburg,HenriVieuxtemps.See Gonul
Sesleri,ed. by G. Pacaci(istanbul:TarihVakfi,
PACACI,CumhuriyetinSesli Seruveni,in:Cumhuriyetin
1999),10.
TheRiseof a SpontaneousSynthesis:TheHistoricalBackgroundof Turk36OrhanTEKELIOGLU,
ish PopularMusic,MiddleEasternStudies,Vol. 32, No. 1 (April1996):194-216,199.
K. DEGIRMENCI:
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57
58
K. DEGIRMENCI:
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Music:ThePoliticalEconomy
(TheUniversityof Maryland;
45FezaTANSUG,Turkish
ofChange
Popular
Departmentof Music.UnpublishedPh. D. Dissertation,1999),39. Theauthoralso mentionsthe activeinvolvementof the StateConservatoryin Ankarain the collectionefforts,carryingout field researchfrom
1937to 1952.In thoseresearchprojects,abouteleventhousandrecordingsweremade.Ibid.,40.
TurkishFolkMusicfromAsiaMinor,ed.
46His collectionwas publishedas a book. BelaBARTOK,
By B. Suchoff(Princeton:PrincetonUP, 1976).
K. DEGIRMENCI:
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59
47 I. BASGOZ,
60
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62
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this case, Kemalism.However, this study shall suppose thatthis period also refers
to an alternativemethodologicalpoint regardingthe relationbetween politics and
culture, along with the definition of politics within the culturalsphere. The total
exclusion of ClassicalTurkishArt Music and tekkemusic from the public sphere
engendered particularresistance forms. One of these resistanceforms was Nota
Magazine (the first issue was published in 1930);its main aim was proposing a
new idea of synthesis that definitely opposed the projectof sudden change in the
music of the Republicelites.55Anothermajor development,which can be counted
among those resistanceforms, was that the tekkemusicians,afterthe abolishment
of tekkes,played the leading role in creatingpopularmusic formsin urbanspaces.56
These resistanceforms challengedthe classicalperspectiveregardingthe relation
between politics and culture,which mainly depends on macropoliticsand institutional regulations within that sphere. All those attempts,though seemingly cultural, include political discourses within themselves.Therefore,the popularreaction to the banning of Turkish monophonic music in radio broadcasts,as mentioned in the paper, led to later developments that can be interpretedas the result
of this 'political'attitude.Thus,this understandingof the relationbetween culture
and politics also has significantimplicationsfor the domain of popular culture.It
is no longer a mass productionof culturalforms:it can be interpretedas a source
for politicalresistance.Everyculturalformis a compositionof meanings,aesthetic
traditions,and messages, which togetherreferto a politicaldiscourse.In its chase
for hegemony, any politicalstrategyappropriatesdifferentelements fromvarious
culturalforms,removes them fromtheircontextsand reprocessesthem in the new
contexts.The constructionof Turkishfolk music is an epitome of this process.
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in Workers
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NotaMagazinesee 0.
5 I owe this informationto OrhanTekelioglu.Fordetailedinformationon
TurkMusiki InkilabininIcsel
TEKELIOGLU,
ModernizingReforms ..., and also O. TEKELIOGLU,
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K.DEGIRMENCI:
ONTHEPURSUIT
63
64
K. DEGIRMENCI:
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37(2006)1,47-65
K.DEGIRMENCI:
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65
Satetak
NARODAI FOLKLORNE
GLAZBEU
U POTRAZIZA NACIJOM:KONSTRUKCIJA
OSNIVACKIMDESETLJE(IMA
TURSKEREPUBLIKE
U elankuse
kulturnapovijestturskefolklorneglazbe s posebnimnaglaskom
istra.uje
na glazbene reforme
su
koje poduzete nakonustanovljenjaTurskerepublike(1923).Eliteu
Republicitragalesu za raznimmodelima (osobitoza modelimaistoCnoeuropskihzemalja)
i pozivale mnogobrojnepoznate glazbenike, ukljueujudii Belu Bart6ka,s namjeromda
pozapadnjaCetursku folklornuglazbu.ito se dogodilo s drugim glazbenimtradicijamau
Turskojkoje su bile proizvodi multikulturne i viSevjerskepopulacije koja je 2ivjela u
Otomanskomcarstvu?U tim glazbenim reformamabio je na djelu drugtveniin2enjering
kojise nadahnjivaoProsvjetiteljstvomu namjerida konstruiraprimjerenustrukturukojabi
se sastojalaod stanovnigtvas razli6itimi mnogobrojnimkulturnimi vjerskimkorijenima.
Razlike su ostale satuvane, bile su oak dobrodoSle,ali u vrlo tipitnom modernistiCkom
diskursu koji djelujena specificanna6inprepredenimuklanjanjemrazlika.Smatraloih se
dijelom 'kulturnog mozaika' harmonikneturske kulture. Ako je jedan natin ocrtavanja
jedinstvenogtijelanacijekonstruiranjehomogeneili integralnekulture,onda je drugi natin
davanjevede ili manjeprimjerenostirazli6itimkulturamana odredenomteritoriju.Zbirka
glazbenihkomadaiz Anatolijebila je standardizirana,tekstovisu bili prevedenina turskii,
Stoje paradoksalno,izvorniviseglasnikomadipretvorenisu u monodijske.Clanakse takoder
bavi diskursom osnivaCkihelita o narodu, koji je u velikoj mjeri pridonio stvaranjute
primjerenestruktureu podrudjuglazbe.Suprotnood politiCkihideala osnivatkih kadrova,
koje su uglavnom oblikovala natela Prosvjetiteljstva,njihov pojam o narodu spoj je
romantitkei prosvjetiteljskemisli.