Zurna pratikleri ve kültürel kimlik: Turgutlulu Abdal Zurnacılar örneği
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Tarih
2017
Yazarlar
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Yayıncı
Ege Üniversitesi, Sosyal Bilimleri Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu tez, Turgutlulu Subaşı mahallesinde yetişen zurnacıların Abdal kültürel kimliğinin zurna pratiklerindeki dışavurumunu ve bu zurna pratiklerinin benimsenen kültürel kimliğin sürekliliğini sağlamadaki rolünü inceler. Turgutlulu Abdal zurnacılar örneklemi hem müzisyen kastına üye olmaları hem heterodoks İslam inancına sahip olmaları hem de profesyonel müzisyenler olarak Abdalların görünmez Romanların görünür olduğu Kıyı Ege'de yaşamaları nedeniyle çokboyutlu bir toplumsal marjinallik sergilerler. Kök kültür saydıkları Orta Anadolu Abdallarından uzakta, fakat reddettikleri kimliğe sahip Romanlarla akrabalık kurarak yaşamalarına karşın Abdal kimliğinin sürekliliğini sağlamayı başarırlar. Tezin temel araştırma soruları Noam Chomsky'nin ilk kez dilbilimde kullandığı Blacking'in ise etnomüzikolojik incelemeleri için önerdiği derin yapı-yüzey yapı kavramlarına dayanılarak sorulur. Tezde bu iki yapı arasındaki etkileşimin belirlenmesi amaçlanır. Derin yapının en önemli parçası olan Abdal kültürel kimliğinin yapılanışı ise Nuri Bilgin'in önerdiği, incelenen topluma ait bir "resim" çizilmesi ve "adres" in belirlenmesi şeklinde basitçe formüle ettiği yöntem benimsenerek çözümlenir. Bu formüle uyularak incelenen topluluğun bir "resmini" çizebilmek için, örneklemin yaşam, inanç ve müzik pratikleri antropolojik yöntem ve teknikler ve etnografiler kullanılarak ortaya konur. Bu resim derin yapının yüzey yapıdaki dışavurumlarını gösterir. "Adres" ise örneklemin kimlik düzleminde ilişkilendiği diğer toplumlara göre konumunun belirlenmesiyle saptanır. Bu saptamalardan sosyokültürel yapılanışın, yeniye uyum ve kültürde süreklilik stratejilerinin ortaya çıkarılmasında yararlanılır. Söz konusu zurna pratiklerindeki yüzey yapı, yani ideal tınının zurnada müziksel ifadesi hem geleneksel müzik çözümleme yöntemlerinden hem de müzik bilgi erişim yöntemlerinden yararlanılarak çözümlenir. Tezin çeşitli başlıkları altında ve özellikle sonuç bölümünde yüzey yapı ile derin yapı arasındaki etkileşim tartışılır.
This dissertation studies the manifestation of the Abdal cultural identity in the music practices of the zurna players who grew up in the Subası neighbourhood of Turgutlu and the role of these practices in the continuity of cultural identity. Belonging to the musicians' caste, holding a heterodox Islamic belief and living in the Coastal Aegean Region, where the Roma are visible while Abdals are invisible as professional musicians, the research sample of Abdal zurna players exhibit a multidimensional social marginality. They have maintained their cultural identity up to present although residing far away from their counterparts in Central Anatolia whose culture they regard as the original of their own while living in ties of kinship with the Roma, whose identity they refuse to identify themselves with. The elemental research questions of the dissertation are asked on the basis of the concepts of "deep and surface structures", first used by Noam Chomsky in linguistics and the use of which is suggested by John Blacking for ethnomusicological studies. The dissertation aims to state the interaction between these two structures. The most important constituent of the deep structure, namely, the construction of Abdal identity is analysed through a method formulated by Nuri Bilgin, in simple terms, as drawing a "picture" of the community in concern and marking the "address" thereof. In compliance with this formulae, in order to draw a 'picture' of the sample community, their practices of life, religion and music are examined through anthropological methods and techniques and described through ethnographies. This picture reflects the manifestations of the deep structure in the surface structure. Address, on the other hand, is determined by positioning the sample community among the other communities they are related to in terms of identity. Determining the 'address' helps analyse the sociocultural construction, adaptive strategies and how the continuity of culture is maintained. The surface structure in the zurna practices, i.e. the musical expression of the ideal sound in zurna performances, is analysed by means of both conventional and music information retrieval methods. The interaction between musical surface structure and sociocultural deep structure is discussed under various headings of the dissertation, particularly in the conclusion.
This dissertation studies the manifestation of the Abdal cultural identity in the music practices of the zurna players who grew up in the Subası neighbourhood of Turgutlu and the role of these practices in the continuity of cultural identity. Belonging to the musicians' caste, holding a heterodox Islamic belief and living in the Coastal Aegean Region, where the Roma are visible while Abdals are invisible as professional musicians, the research sample of Abdal zurna players exhibit a multidimensional social marginality. They have maintained their cultural identity up to present although residing far away from their counterparts in Central Anatolia whose culture they regard as the original of their own while living in ties of kinship with the Roma, whose identity they refuse to identify themselves with. The elemental research questions of the dissertation are asked on the basis of the concepts of "deep and surface structures", first used by Noam Chomsky in linguistics and the use of which is suggested by John Blacking for ethnomusicological studies. The dissertation aims to state the interaction between these two structures. The most important constituent of the deep structure, namely, the construction of Abdal identity is analysed through a method formulated by Nuri Bilgin, in simple terms, as drawing a "picture" of the community in concern and marking the "address" thereof. In compliance with this formulae, in order to draw a 'picture' of the sample community, their practices of life, religion and music are examined through anthropological methods and techniques and described through ethnographies. This picture reflects the manifestations of the deep structure in the surface structure. Address, on the other hand, is determined by positioning the sample community among the other communities they are related to in terms of identity. Determining the 'address' helps analyse the sociocultural construction, adaptive strategies and how the continuity of culture is maintained. The surface structure in the zurna practices, i.e. the musical expression of the ideal sound in zurna performances, is analysed by means of both conventional and music information retrieval methods. The interaction between musical surface structure and sociocultural deep structure is discussed under various headings of the dissertation, particularly in the conclusion.
