Yirminci Yüzyılın İkinci Yarısında Türkiye'de Kadın Aşıklar
Yirminci Yüzyılın İkinci Yarısında Türkiye'de Kadın Aşıklar
Dosyalar
Tarih
2008
Yazarlar
Çınar, Sevilay
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Institute of Social Sciences
Özet
Kadın âşıklar, halk kültürü içerisinde önemli bir yer teşkil eden ve kendine özgü kuralları olan âşıklık geleneğinin / âşık sanatının asli temsilcileri arasındadırlar. Ancak, yirminci yüzyılın son çeyreğine kadar haklarında yeterli çalışma yapılamamış ve konu büyük ölçüde ihmale uğramıştır. Bu tez içerisinde, âşık sanatı oluşumunun ve sürekliliğinin ana kaynaklarından biri olan kadın âşıkların varlığı sorgulanmakta; ihmalin nedenleri irdelenmekte ve bu çerçevede ortaya çıkan pek çok soruya cevap aranmaktadır. Tezin asıl inceleme konusunu, büyük ölçüde yaşayan kadın âşıklar teşkil etmiştir. Bu bağlamda, tezin çalışma materyallerini de kadın âşıkların geleneksel sanatçı kimlikleri, yaşam biçimleri, geleneksel halk sanatı adına ortaya koydukları sözlü+müzikal ürünler ve bu ürünlerin geleneksel ve çağdaş sunuş yöntemleri oluşturmuştur. Tezin başlığı da bu düşüncelerle ?Yirminci Yüzyılın İkinci Yarısında Türkiye'de Kadın Âşıklar? olarak belirlenmiştir. Kadın âşıkların toplumsal koşullarda temsil ettikleri cinsiyet, kadın kimlikleri ve bu kimliklerinin sanatlarına ne şekilde yansıdığı da bu çalışmada sorgulanmış; örneklemeler bizzat kadın âşıkların kendi yaşantılarından alınmıştır. Bu haliyle tez, bir ?kadın çalışması? olarak da nitelendirilebilir. Tez çalışması, âşık sanatı ve yirminci yüzyıl kadın âşıklarına dair basılı kaynakların incelenmesi, yaşayan dokuz kadın âşık hakkında yapılan alan araştırması ve sonuçlarının sunumu, söz konusu kadın âşıkların eserlerinin müzikal analizleri vs. olmak üzere üç aşamada gerçekleştirilmiştir. Basılı kaynakların incelendiği birinci aşamada, âşıklık geleneğinin tarihsel süreci ve edebi ve müzikal yönüne dair teknik bilgileri barındıran kitap, dergi, ansiklopedi gibi basılı kaynaklar tespit edilmiş; gelenek içerisindeki kadın temsilcilerin hayatı, sanatçı kimlikleri ve eserlerini barındıran antolojiler/güldesteler, halk bilimi dergileri, müzik katalogları vs. gibi yayınlar irdelenmiştir. Bu tezin temel konusu olan âşık sanatının terminolojisine dönük bazı bilgilere de bu aşamada yer verilmiştir. Geleneğin önemli vasıflarından ?bâde?, ?karşılaşma?, ?usta-çırak ilişkisi? gibi teknik bilgilere ulaşılmış, ilgili kavramların tanımlamaları yapılmış ve söz konusu bilgiler de kadın âşıklar özelinde örneklendirilmiştir. Ayrıca araştırmanın kapsadığı yüzyıl dolayısıyla da günümüz âşık sanatından bahsedilmiş, geleneğin yaşadığı değişim sürecinin devamlılığına vurgu yapılarak, bugünkü koşulların âşık sanatına yansımalarına değinilmiştir. Yaşayan kadın âşıklar yanında, yazılı/basılı kaynaklarda birçok kadın âşık belirlenmiş, yaşamlarına dair bilgiler edinilmiş ve tespit edilen eserlerden örnekler verilmiştir. Ayrıca, kadın temsilcilerin elde edilen örnek eserlerinde, kadın dillerine özgü yaşamlarından yansıyan birtakım ifadeler ayıklanmış ve söz konusu ifadeler hakkında genişçe değerlendirmeler yapılmıştır. Bu değerlendirmeler de kadın temsilcilerin kimlikleri göz önüne alınarak yapılmıştır. Ancak, söz konusu basılı kaynaklarda onların müzikal yönlerine ve ürettikleri müzikal eserlere rastlanılamamış olması, ihmalin bir başka boyutunu göstermesi bakımından dikkat çekicidir. Bu doğrultuda yaşayan kadın âşıklardan bilhassa saz çalabilenler tercih edilmiş ve onların bu vasıfları da tezin ikinci aşamasında ele alınmıştır. Türkiye genelinde, saz çalabilen kadın âşıkların tespitinde, yöre farkı gözetilmemiş, buna karşın tespit edilenlerin, yörelerinin sanatsal temsilcisi olup olmadıkları dolaylı olarak sorgulanmıştır. Bu bağlamda, onların yaşadıkları yörelerdeki yaşam biçimlerini gözlemlemek üzere, alan araştırmaları / çalışmaları gerçekleştirilmiştir. Bu süreçte de, Kültür Bakanlığı'nda kayıtlı âşıklar listelerinden tarama yapılarak yararlanılmış; çeşitli il, ilçe, köy dernekleri, kültür evleri, âşık kahveleri de ziyaret edilerek titiz bir seçicilik gerçekleştirilmiştir. Ancak, çalışma sahası onların temsil ettikleri yörelerde değil de, halen yaşadıkları yerlere göre belirlenmiştir. Bu bağlamda da söz konusu alan çalışmaları Ankara, Ayvalık, Çankırı, Çorum, Eskişehir ve İstanbul gibi Türkiye'nin çeşitli illerinde, dokuz kadın âşıkla [Şahsenem Akkaş (Şahsenem Bacı), İlkin Manya (Sarıcakız), Durşen Mert (Nurşah Bacı), Filiz Yurdakul (Sinem Bacı), Telli Gölpek (Telli Suna), Sürmelican Kaya (Sürmelican), Ayten Çınar (Gülçınar), Arzu Yiğit (Arzu Bacı) ve Kevser Ezgili (Ezgili Kevser)] gerçekleştirilmiştir. Karşılaştırma, görüşme ve ?yapay ve doğal ortamlarında? gözlem yöntemleri kullanılarak, yaşayan dokuz kadın âşığın, âşıklık geleneği ile nasıl tanıştıkları, gelenek içerisindeki yetişme koşulları, icrâ ettikleri eserler ve özel yaşamlarına dair bilgiler kayıt altına alınmıştır. Her bir kadın âşığın biyografisi, alan çalışması öncesinde oluşturulan künyelere yazılmış ve kısaca âşık sanatı içerisindeki yaşamlarından bahsedilmiştir. Gerçekleştirilen saha araştırmaları sırasında yapılan kayıtlar öncelikli olmak üzere, kaynak kişilerin önceki yıllarda yapmış oldukları kaset, cd, televizyon programı, vs. gibi çalışmalardan yararlanılmış, bu çerçevede de tespit edilen ve notaya alınan bu eserler müzikal analiz aşamasında irdelenmiştir. Kaynak kişilerin müzikal kimlikleri üzerine değerlendirmelerin yapıldığı müzikal analizler, geçmiş yıllarda ve yakın zamanda kaset çalışması yapmış olan kimi kaynak kişilerin bazı eserlerinde, âşık müziğinden farklı üslûpta eserlerin olduğunu göstermiştir. Söz konusu kaynak kişilerin şimdiki yorumu ile karşılaştırmak için, geçmiş kayıtlardan elde edilen bu eserler de dikkate alınmıştır. Çalışma içerisinde yer alan eserlerin tümü sözlü müziklerdir ve büyük ölçüsü usullü olmakla beraber, serbest usullü ezgi örneklerini de içermektedir. Eserlerin 3 ila 12 ses aralığında seyrettiği, vokal icrâlarda iniş ve çıkışın oldukça nadir olduğu görülmektedir. Kadın âşıkların her biri sazlarını icrâ edebilmektedirler. Sazlarındaki düzenler, ?bağlama düzeni? ve ?kara düzen / bozuk düzeni? olmak üzere iki ayrı akort sistemindedir. Saz icrâlarında, sınırlı bir ses sahası içerisinde birbirini takip eden ezgiler, kimi halk türküleri ile benzer karakter göstermekte [donanım, ritim/ usul, seyir, tonalite, ses genişliği, vd.]; melodi kalıplarında genel olarak yöresel özgünlükten ziyade dinledikleri âşıkların / halk sanatçılarının üslûpları hissedilmektedir. Bu bağlamda ortaya çıkan kalıp ezgiler, çeşitli süslemelerden ve çarpmalardan uzak, daha sade kuruluşta ezgilerdir. Müzikal çalışmalarda dikkat çeken bir diğer nokta ise, kadın âşıkların geleneksel müzik kalıplarını kullanmaları yanında, günümüz müziklerinden de yararlanmalarıdır. Yani, günümüz piyasa müziklerinde görülen ?düzenleme anlayışı? kötü bir taklit olarak kadın âşıkların çalışmalarında da karşımıza çıkmaktadır. Söz konusu eserlerin varlığı da, geleneğin değişim sürecini gözlemleme imkânı vermekte; hatta onların beslendikleri ortamları, üretim biçimlerindeki değişim ve etkilenimi ve kadın âşıkların geleneği temsil biçimlerinin nasıl değiştiğini ve hatta eski icrâ biçimlerinin bundan ne şekilde etkilendiğini ispatlamaya imkân vermektedir. Kadın âşıkların eserlerinin edebi biçimi büyük ölçüde âşık sanatında sıklıkla karşılaşılan koşma türündedir. Bunun yanı sıra, destan ve mani türünde eserlerle, eserin yazılmasına neden olan ana temanın ?tahkiye? biçiminde seslendirildiği anlatılı eserlere de rastlanmaktadır. Eserlerde kullanılan kıta sayıları 2 ila 10 arasında değişmektedir. Bu kıtalarda da mısra sayıları 3 ? 4 satır arasındadır. Kimi eserlerde kıtalara bağlanan nakaratlara da rastlanmakta olup, nakaratlardaki mısra sayıları da çoğunlukla düzenli dörtlükler halinde görülür. Bunun yanında, düzenli nakarat kıtalarına yine düzenli ikinci bir dörtlük kıtanın veya 2'lik kıtaların bağlandığına da tesadüf edilmektedir. Bazı kıtalara bağlanan nakarat kıtalarında ise satır sayılarında düzensizliklere rastlanılabilmektedir. Eserlerin güftelerinde; aşk, gurbet, toplumsal, inanca dayalı konular işlenmekte; kadın kimliklerine bağlı özel tematik anlatımlara da rastlanmaktadır. Başka bir deyişle, kendilerine özgü anlatım üsluplarındaki özgün vurgulamalar oldukça dikkat çekicidir. Şiirsel ya da müzikal sunumlarındaki ağlamaklı duygu aktarımları, bu özgün vurgulamalara bir örnek teşkil edebilir ki, bu durum da ?kadın tarzı? bir sunumun doğal bir sonucu olarak değerlendirilebilir. İrdelenen bir başka husus da, kadın âşıkların meslekî algıları üzerine olmuştur. Sanatlarını kadın meclisleri ya da kına geceleri gibi kadınlara özel ortamlardan ziyade, daha geniş bir dinleyici kitlesinin bulunduğu bir ortamda sunma çabaları bu algının doğal bir sonucudur. Buna bağlı olarak, kaset çalışması yapmaya teşvik edilmeleri ve sanatlarını bir kazanca dönüştürme çabaları da meslekî algı ile ilgilidir. Buna bağlı olarak zaman içerisinde meslekî algılarının geliştiğini söyleyebilmek mümkündür. Kadın âşıkları yakından tanıma ve gözlemleme fırsatı bulduğumuz alan çalışmalarında; âşık sanatına dair bilgilerinde yetersizlikler, icrâ ortamlarında kısıtlanmalar ve icrâ tekniklerinde de bir takım eksiklikler olduğu gözlemlenmiştir. Buna bağlı olarak, bu gözlenen durumlar âşıklık geleneği ve âşık müziğinin genel yapısına dair bilgiler çerçevesinde değerlendirilmiş olup, kadın âşıkların gelenek içerisinde; kadın kimlikleri ile karşılaştıkları sorunlar ve sorumlulukların irdelenmesi ve bunların altında yatan toplumsal koşulların da çözümlenmesi için, Toplumsal Cinsiyet [Gender] teorisinden yararlanılmıştır. Buna bağlı olarak, araştırmanın çıkış noktasında ortaya çıkan sorular, kadın âşıkların toplumsal rolünün özel ve geleneksel yaşamları içerisindeki yansımalarına dayalı örneklemelerle cevaplandırılmış; kadın âşıkların sanatlarına etki yapan bu yaşamsal soruların karşısındaki tepki ve tutumları da günümüz koşulları göz önüne alınarak çözümlenmeye çalışılmıştır. Bunun yanında, kadın âşıkların gelenek içerisinde yetişmenin doğal sürecinden mahrum kalmaları, teknik bilgi yoksunlukluları, icrâ ortamlarındaki özgüven eksiklikleri ve söz konusu geleneğin kadınlar arasında daha az popüler olmasının altındaki nedenler de toplumsal rolün sonuçlarına bağlı kalınarak açıklanmaya çalışılmıştır. Diğer taraftan radyo, televizyon, internet, vb. teknolojik gelişimlerin ve müzik piyasasının âşıkların icrâlarını ne şekilde olumlu/olumsuz etkilediği; âşıkların teknolojik, sosyal gelişim ve değişimleri ne şekilde takip ettikleri; bakış açılarını ne yönde değiştirdikleri, kendilerini ifade etmede hangi yolları izledikleri ve ayrıca etkilendikleri ve/veya kendilerine model aldıkları kişi ya da kişiler de, yine günümüz koşullarında ve kadın âşıklar özelinde açıklanmaya çalışılmıştır.
Women minstrels are fundamental representatives of the minstrel tradition/minstrel art, which constitutes an important part of folk culture and which has specific rules of its own. However, sufficient research has not been made until the last quarter of twentieth century and the topic has largely been neglected. In this thesis, existence of women minstrels, who constitute one of the main sources of formation and continuity of minstrel art, is being questioned, reasons of neglect is being investigated and answers are seeked to many questions that arise within this framework. To a great extent, living women minstrels have constituted the main investigation sphere of the thesis. In this context, traditional artist identities and life styles of women minstrels, literary and musical works they have created in the name of traditional folk art, and traditional and modern presentation methods of these works have constituted the main materials of the thesis. With these ideas in mind, title of the thesis has been determined as ?Women Minstrels in Turkey in the Second Half of Twentieth Century?. The gender that women minstrels represent within the context of social conditions, their female identities and how these identities have reflected in their art, have also been questioned in this study; samples have been selected personally from lives of women minstrels themselves. From this aspect, the thesis can also be qualified as a ?study on women?. Work on the thesis has been performed in three stages, which are namely, research of printed sources on minstrel art and on twentieth century women minstrels, site research made on nine living women minstrels, musical analysis of works of above mentioned women minstrels, etc. In the first stage in which printed sources have been handled, printed sources such as books, journals, encyclopedias, etc. covering technical knowledge on historical process of minstrel tradition and its literary and musical aspects have been determined, and publications such as anthologies/folk anthologies, scientific folklore journals, musical catalogues covering lives of women representatives within the tradition, their identities and works have been examined. Obtaining some knowledge regarding the terminology of minstrel art, as the basic topic of this thesis, has also been given place in this stage. Technical information such as ?bâde? (so to say, musical drink)?, ?karşılaşma? (dialogue in musical language)?, ?master - apprentice relationship?, which are among important aspects of the tradition under consideration, has been gathered and relevant concepts have been defined, and also, examples of the above concepts have been pointed out in the particular framework of women minstrels. On the other hand, due to the century that the research covers, there is also mention of contemporary minstrel art; emphasizing the continuity of the process of change of the tradition, reflections of contemporary conditions on minstrel art has been touched upon. Apart from living women minstrels, many women minstrels have been selected from written/published sources, information about their lives has been gathered and examples of certain works have been given. Also, some specifically womanish expressions reflecting their lives have been selected from among the obtained sample works of women representatives and a wide range of evaluations have been made about the above mentioned expressions. While these evaluations were being made, identities of women representatives have been kept in mind. However, the fact that, in the above mentioned printed sources one could not come across with their musical aspects and the musical works they created, is interesting as it shows another dimension of the neglect. Hence in the thesis, specially those of the living women minstrels who play saz (A specific sub-group of universal stringed instrument lute. It is a sub-group because it also has various types.) have been chosen and this qualification of theirs, have been examined in the second stage. While initially determining the women minstrels who play saz in general in Turkey, we did not differentiate between regions, but afterwards, it has indirectly been questioned whether they are art wise representatives of their region or not. In this context, site research/work has been carried out in order to observe the life styles in the regions they live. In this process, lists of registered minstrels in the Ministry of Culture has been searched thoroughly, a meticulous selection has been made by visiting various provincial, town and village associations, cultural centers, minstrel cafes. In this context, the site work under consideration has been realised in various parts of Turkey, such as Ankara, Ayvalık, Çankırı, Çorum, Eskişehir and İstanbul, with nine women minstrels who are [Şahsenem Akkaş (Şahsenem Bacı), İlkin Manya (Sarıcakız), Durşen Mert (Nurşah Bacı), Filiz Yurdakul (Sinem Bacı), Telli Gölpek (Telli Suna), Sürmelican Kaya (Sürmelican), Ayten Çınar (Gülçınar), Arzu Yiğit (Arzu Bacı) ve Kevser Ezgili (Ezgili Kevser)]. By using comparison, interview and observation -in induced and natural environments- methods, data for nine living women minstrels regarding how they have come in contact with minstrel tradition, conditions of their training within the tradition, works they perform and information about their private lives have been recorded. While making use of, first and foremost, records kept during the site work, previous works such as cassettes, cd?s, television programmes of nine living women minstrels have also been utilised. In this context, these works, selected and that which is notated, have been examined in the musical analysis stage. Musical analysis, during which evaluations of musical identities of source personalities were made, has shown that in some works of some of the source personalities who had recorded cassettes in the past years as well as a short while ago, there were works different from minstrel music in style. These works taken from past records, have also been considered, in order to compare with the current interpretation of the source personality. All of the works that this study covers are musics with lyrics, and although most of them are rhythmic, there are also examples of non-rhythmic tunes. It is observed that the works follow a course within a voice range of 3 and 12, that in vocal performances ups and downs are quite rare. Each of the women minstrels can play their own music by saz. There are two different tuning systems of their saz, namely, ?bağlama (a type of saz with short stem) tuning? and ?kara /bozuk (a type of saz with long stem) tuning?. In saz performances, tunes that follow each other within a limited voice range, manifest similar features [key signature, rhythm, tuning, tone, voice range, etc.] with some folk songs; in melody formats in general, rather than regional authenticity, the style of minstrel/folk singers that they have listened is being felt. Those tunes that appear as a format in this context, are plain tunes free of various ornamental and finger-striking vibration effects. Another point that attracts attention in musical works is the fact that women minstrels, while using traditional formats, have made use of contemporary music as well. In other words, ?arrangement approach? that can be detected in contemporary market music, can also be detected, as a worse imitation, in the works of women minstrels. Having these works at hand, enables observation of the process of change of the tradition, moreover, allows one to produce proof of social environmental effects that have fed them, changes of and influences on the way they create their works, how the way of women minstrels? representation of the tradition has changed, also how their previous ways of performance has been influenced by these factors. Literary form of the works of women minstrels is mostly ballad type, which is quite widespread in minstrel art. As well as this, one can come across to epic and quatrain type works, also those wherein the main theme that has inspired the work is voiced in ?tahkiye?(story) form. The number of verses used in the works changes from 2 to 10. In these verses number of lines is between 3 and 4. In some works, one also comes across with refrains connected with verses. It is observed that with regard to number of lines, these refrains are mostly in regular quatrain form. On the other hand, one can also coincide with regular refrain verses being accompanied by another verse with four or two lines. One can find, in connection with some verses, refrain verses with irregular number of lines too. In the lyrics of the works, love, home-sickness, social and belief-based themes are expressed. There are also special, theme based expositions connected with their identity as women. In other words, a specific emphasis in their specific style of expression is quite considerable. Dramatically sad sensations expressed in their poetic or musical presentations can be considered as an example to these specific emphases, which in turn, can be evaluated as a natural result of ?womanish? presentation. Another point that was elaborated was the professional perception of women minstrels. The fact that they make their presentations not only in women?s meetings or henna-to-bride festivities (made just one night before weddings with the participation of women only and with distribution of henna to all women) but in places where there is a wider mass of listeners, is a natural result of this perception. In connection with this, the fact that they are encouraged to make commercial cassette recordings and their efforts to turn their art into a source of income are related with this perception. Therefore, it is possible to say that their professional perception has developed in time. In site work, in which we have found opportunity to get closer and to observe women minstrels, it has been observed that there are insufficiencies in their knowledge of minstrel art, limitations in the environment they perform and some shortcomings in their presentation techniques. However, these sort of observations have been evaluated within the framework of knowledge about minstrel art and general structure of minstrel tradition; Social Gender concepts have been utilised in order to elaborate the problems and responsibilities that women minstrels face within the tradition due to their female identities and to analyse the social conditions that lie underneath these. In this connection, the questions that were put forward at the starting point of the research were answered, with the help of examples based on reflections of social role of women minstrels in their private and traditional life; also effort was made to analyse reactions against and attitudes toward these vital questions that influence women minstrels? art. As well as this, effort was made to explain, in line with the results of their social role, the underlying reasons of the fact that women minstrels lack the natural training process within the tradition, of insufficiency of their technical knowledge, of shortcoming of their self-confidence in the environment they perform, and of the fact that the tradition under consideration being less popular among women. On the other hand, effort was made to explain on the basis of contemporary conditions and keeping in mind specific aspects of women minstrels, in what way, the technological developments like radio, television, internet, etc. and the music market influences the performance of minstrels in positive or negative direction; how minstrels follow technological developments and change; in what direction they have changed their respective viewpoints; what ways they follow to express themselves and also, person or persons from whom they were influenced and/or whom they have chosen as a model.
Women minstrels are fundamental representatives of the minstrel tradition/minstrel art, which constitutes an important part of folk culture and which has specific rules of its own. However, sufficient research has not been made until the last quarter of twentieth century and the topic has largely been neglected. In this thesis, existence of women minstrels, who constitute one of the main sources of formation and continuity of minstrel art, is being questioned, reasons of neglect is being investigated and answers are seeked to many questions that arise within this framework. To a great extent, living women minstrels have constituted the main investigation sphere of the thesis. In this context, traditional artist identities and life styles of women minstrels, literary and musical works they have created in the name of traditional folk art, and traditional and modern presentation methods of these works have constituted the main materials of the thesis. With these ideas in mind, title of the thesis has been determined as ?Women Minstrels in Turkey in the Second Half of Twentieth Century?. The gender that women minstrels represent within the context of social conditions, their female identities and how these identities have reflected in their art, have also been questioned in this study; samples have been selected personally from lives of women minstrels themselves. From this aspect, the thesis can also be qualified as a ?study on women?. Work on the thesis has been performed in three stages, which are namely, research of printed sources on minstrel art and on twentieth century women minstrels, site research made on nine living women minstrels, musical analysis of works of above mentioned women minstrels, etc. In the first stage in which printed sources have been handled, printed sources such as books, journals, encyclopedias, etc. covering technical knowledge on historical process of minstrel tradition and its literary and musical aspects have been determined, and publications such as anthologies/folk anthologies, scientific folklore journals, musical catalogues covering lives of women representatives within the tradition, their identities and works have been examined. Obtaining some knowledge regarding the terminology of minstrel art, as the basic topic of this thesis, has also been given place in this stage. Technical information such as ?bâde? (so to say, musical drink)?, ?karşılaşma? (dialogue in musical language)?, ?master - apprentice relationship?, which are among important aspects of the tradition under consideration, has been gathered and relevant concepts have been defined, and also, examples of the above concepts have been pointed out in the particular framework of women minstrels. On the other hand, due to the century that the research covers, there is also mention of contemporary minstrel art; emphasizing the continuity of the process of change of the tradition, reflections of contemporary conditions on minstrel art has been touched upon. Apart from living women minstrels, many women minstrels have been selected from written/published sources, information about their lives has been gathered and examples of certain works have been given. Also, some specifically womanish expressions reflecting their lives have been selected from among the obtained sample works of women representatives and a wide range of evaluations have been made about the above mentioned expressions. While these evaluations were being made, identities of women representatives have been kept in mind. However, the fact that, in the above mentioned printed sources one could not come across with their musical aspects and the musical works they created, is interesting as it shows another dimension of the neglect. Hence in the thesis, specially those of the living women minstrels who play saz (A specific sub-group of universal stringed instrument lute. It is a sub-group because it also has various types.) have been chosen and this qualification of theirs, have been examined in the second stage. While initially determining the women minstrels who play saz in general in Turkey, we did not differentiate between regions, but afterwards, it has indirectly been questioned whether they are art wise representatives of their region or not. In this context, site research/work has been carried out in order to observe the life styles in the regions they live. In this process, lists of registered minstrels in the Ministry of Culture has been searched thoroughly, a meticulous selection has been made by visiting various provincial, town and village associations, cultural centers, minstrel cafes. In this context, the site work under consideration has been realised in various parts of Turkey, such as Ankara, Ayvalık, Çankırı, Çorum, Eskişehir and İstanbul, with nine women minstrels who are [Şahsenem Akkaş (Şahsenem Bacı), İlkin Manya (Sarıcakız), Durşen Mert (Nurşah Bacı), Filiz Yurdakul (Sinem Bacı), Telli Gölpek (Telli Suna), Sürmelican Kaya (Sürmelican), Ayten Çınar (Gülçınar), Arzu Yiğit (Arzu Bacı) ve Kevser Ezgili (Ezgili Kevser)]. By using comparison, interview and observation -in induced and natural environments- methods, data for nine living women minstrels regarding how they have come in contact with minstrel tradition, conditions of their training within the tradition, works they perform and information about their private lives have been recorded. While making use of, first and foremost, records kept during the site work, previous works such as cassettes, cd?s, television programmes of nine living women minstrels have also been utilised. In this context, these works, selected and that which is notated, have been examined in the musical analysis stage. Musical analysis, during which evaluations of musical identities of source personalities were made, has shown that in some works of some of the source personalities who had recorded cassettes in the past years as well as a short while ago, there were works different from minstrel music in style. These works taken from past records, have also been considered, in order to compare with the current interpretation of the source personality. All of the works that this study covers are musics with lyrics, and although most of them are rhythmic, there are also examples of non-rhythmic tunes. It is observed that the works follow a course within a voice range of 3 and 12, that in vocal performances ups and downs are quite rare. Each of the women minstrels can play their own music by saz. There are two different tuning systems of their saz, namely, ?bağlama (a type of saz with short stem) tuning? and ?kara /bozuk (a type of saz with long stem) tuning?. In saz performances, tunes that follow each other within a limited voice range, manifest similar features [key signature, rhythm, tuning, tone, voice range, etc.] with some folk songs; in melody formats in general, rather than regional authenticity, the style of minstrel/folk singers that they have listened is being felt. Those tunes that appear as a format in this context, are plain tunes free of various ornamental and finger-striking vibration effects. Another point that attracts attention in musical works is the fact that women minstrels, while using traditional formats, have made use of contemporary music as well. In other words, ?arrangement approach? that can be detected in contemporary market music, can also be detected, as a worse imitation, in the works of women minstrels. Having these works at hand, enables observation of the process of change of the tradition, moreover, allows one to produce proof of social environmental effects that have fed them, changes of and influences on the way they create their works, how the way of women minstrels? representation of the tradition has changed, also how their previous ways of performance has been influenced by these factors. Literary form of the works of women minstrels is mostly ballad type, which is quite widespread in minstrel art. As well as this, one can come across to epic and quatrain type works, also those wherein the main theme that has inspired the work is voiced in ?tahkiye?(story) form. The number of verses used in the works changes from 2 to 10. In these verses number of lines is between 3 and 4. In some works, one also comes across with refrains connected with verses. It is observed that with regard to number of lines, these refrains are mostly in regular quatrain form. On the other hand, one can also coincide with regular refrain verses being accompanied by another verse with four or two lines. One can find, in connection with some verses, refrain verses with irregular number of lines too. In the lyrics of the works, love, home-sickness, social and belief-based themes are expressed. There are also special, theme based expositions connected with their identity as women. In other words, a specific emphasis in their specific style of expression is quite considerable. Dramatically sad sensations expressed in their poetic or musical presentations can be considered as an example to these specific emphases, which in turn, can be evaluated as a natural result of ?womanish? presentation. Another point that was elaborated was the professional perception of women minstrels. The fact that they make their presentations not only in women?s meetings or henna-to-bride festivities (made just one night before weddings with the participation of women only and with distribution of henna to all women) but in places where there is a wider mass of listeners, is a natural result of this perception. In connection with this, the fact that they are encouraged to make commercial cassette recordings and their efforts to turn their art into a source of income are related with this perception. Therefore, it is possible to say that their professional perception has developed in time. In site work, in which we have found opportunity to get closer and to observe women minstrels, it has been observed that there are insufficiencies in their knowledge of minstrel art, limitations in the environment they perform and some shortcomings in their presentation techniques. However, these sort of observations have been evaluated within the framework of knowledge about minstrel art and general structure of minstrel tradition; Social Gender concepts have been utilised in order to elaborate the problems and responsibilities that women minstrels face within the tradition due to their female identities and to analyse the social conditions that lie underneath these. In this connection, the questions that were put forward at the starting point of the research were answered, with the help of examples based on reflections of social role of women minstrels in their private and traditional life; also effort was made to analyse reactions against and attitudes toward these vital questions that influence women minstrels? art. As well as this, effort was made to explain, in line with the results of their social role, the underlying reasons of the fact that women minstrels lack the natural training process within the tradition, of insufficiency of their technical knowledge, of shortcoming of their self-confidence in the environment they perform, and of the fact that the tradition under consideration being less popular among women. On the other hand, effort was made to explain on the basis of contemporary conditions and keeping in mind specific aspects of women minstrels, in what way, the technological developments like radio, television, internet, etc. and the music market influences the performance of minstrels in positive or negative direction; how minstrels follow technological developments and change; in what direction they have changed their respective viewpoints; what ways they follow to express themselves and also, person or persons from whom they were influenced and/or whom they have chosen as a model.
Açıklama
Tez (Doktora) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 2008
Thesis (PhD) -- İstanbul Technical University, Institute of Social Sciences, 2008
Thesis (PhD) -- İstanbul Technical University, Institute of Social Sciences, 2008
Anahtar kelimeler
Halk Bilimi (Folklor),
Müzik,
Folklore,
Music