Müzik ve Politika İlişkisi Bağlamında Dengbej Müziğinin Toplumsal İşlevi

Abstract

The relationship between human, object, and action has a special significance. This in- terrelation from the point of music performance refers to a "person-object-music rela- tion” that can be interpreted that the voice contains the audibility, and therefore, other object. When we look at the acquisition of man making music from this point, it is pos- sible to say that the man who produces the music carries wish and desire to be heard by someone else. Therefore, this form of musical expression, which people make through the practice of singing, refers to a political situation. The object of which man wants to be heard, which he is addressing to is a reflection of this political situation. In this context, when we consider that music production is related to behavior; it is possi- ble to see that when we look at music as a human behavior, not just aesthetically, but also individuality and creativity, music performance comes together on a musical basis of the individual and social factors that underlie and act on this action. In this respect, the role of words cannot be denied. Especially in a social structure where written cul- ture cannot find development possibilities, dengbejs and dengbej music, which we can evaluate in verbal culture, has an important role as a form of expression. Today, new political establishments and the degeneration experienced with the media and popular works, are not leaving an area in which different music cultures in Turkey can find opportunity to express themselves freely. The reflection of this to Kurdish mu- sic in particular can be interpreted as the fact that the assimilation and repression pol- icies of the past still keeps its problematic update and that the written culture cannot develop itself with the influence of the social events in the region. Therefore, dengbej music, one of the ways of expressing itself, has an important functional role in preserv- ing the cultural identity and handing the collective memory down generation to gen- eration. Dengbejs, under many restrictive conditions, have created their own re- sistance fields on a musical ground. In this context, while music is a tool for the discourse of power, in parallel with this, what does it gain as a means of social holding in the current tension between power and society? What kind of harmony and resistance patterns have been displayed in Kurdish society as a consequences of the state policies and social events that the gov- ernment implements periodically? What kind of tensions do the experiences encoun- tered create in society, and what are impacts on the musical basis? In so doing, it is hoped to attempt to answer these questions.