Research Article
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OTTOMAN MUSLIM MUSICIANS DRIFTING THROUGH THE TANZIMAT ERA: FROM BEGGARS TO FREED LABORERS

Year 2023, Volume: 6 Issue: 1, 1 - 14, 30.06.2023
https://doi.org/10.51576/ymd.1299352

Abstract

ABSTRACT
After exploring the study of ney teachers and their sonic spirituality in Istanbul from an ethnographic approach, I have seen many of my interlocutors these days dwelling in a conundrum in which most of them see themselves as living links of previous social orders, somehow lost and regained during the present. The closure of dervish lodges during the early days of the Turkish Republic, as much as the historic restoration and reopening of some of these venues in recent decades, are often presented as outcomes of a social transformation caused by a given moral rationality embedded within the new institutions of an emergent nation. From this point of view, individuals are seen in a distorted way as related –or opposed– to these institutions, thus, flattening their own dimension and the ways in which their sedimented co-constitution as individuals have emerged before 1924. Beyond the debate about the authenticity of the so-called Sufi music, or whether there are “real dervishes” in today’s Istanbul or not, this article looks back at the historical period in which tekkes and Sufi lodges were banned and closed to suggest that this closure opened an emergent form of labor that transformed the subjectivity of Turk-Ottoman instructors during the early twentieth century. Like an old watch that is repaired and rearranged to vindicate the present moment (Castrillón 2021), caretakers of Tasavvuf sonic repertoires are unavoidably embedded in larger systems of tension and movement that require constant tuning and interpretation.

Supporting Institution

Annenberg School for Communication, University of Pennsylvania

Thanks

Dr. Recep Uslu and Dr. Walter Feldman

References

  • Anderson, S. (1922). “The Dervish Orders of Constantinople.” Muslim World. 12: 53-61.
  • Arel, H. S. (1990). Türk Mûsikîsi Kimindir? Ankara, Kültür Bakanlığı.
  • Atabaki, T. –Brockett, G. (2009). Ottoman and Republican Turkish Labour History. Cambridge, Cambridge University Press . Barnes, J. (1986). An Introduction to Religious Foundations in the Ottoman Empire. Leiden, Brill.
  • Behar, C. (1993). Zaman, Mekân, Müzik: Klasik Türk Musikisinde Eĝitim (meşk), Icra ve Aktarim. İstanbul, Afa Yayinlari.
  • Castrillón, J. (2014). “Spatial Transformation of Sufi Music Practice in Istanbul and Repositioning of Subjectivities.” Porte Akademik. 10: 131-145.
  • Cerasi, M. (1988). “Late-Ottoman Architects and Master Builders.” Muqarnas. 1: 189-232.
  • Corbin, H. (1978). The Man of Light in Iranian Sufism. New York, Shambhala.
  • Elias, N. (1994). The Civilizing Process. Cambridge, Blackwell.
  • Faroqhi, S. (1988). “Agricultural Crisis and the Art of Flute-Playing: The Worldly Affaires of the Mevlevi Dervishes (1595-1652).” Turcica, Revue D’Études Turques. 20: 43-70.
  • Feldman, W. (1996). Music of the Ottoman Court: Makam, Composition and the early Ottoman Instrumental Repertoire. Berlin, VWB.
  • Foucault, M. (1990). The History of Sexuality. New York, Vintage Books.
  • Gül, M. (2009). The Emergence of Modern Istanbul: Transformation and Modernization of the City. New York, Tauris.
  • Hanıoğlu, Ş. (1997). “Garbcılar: Their Attitudes Toward Religion and their Impact on the Official Ideology of the Turkish Republic.” Studia Islamica. 1: 133-158.
  • Koymen, E. (2014, November). A Musical Minefield: Composing the Turkish Nation-State. Paper presented at Comstock Hall, University of Louisville, Louisville. URL: http://ams-sw.org/wp-content/uploads/2021/12/AMS SW_V3Spring2014Koymen.pdf. Retrieved 3/18/2015.
  • Kreiser, K. (1992). “Dervish Living.” The dervish Lodge: Architecture, Art, and Sufism in Ottoman Turkey (haz. Raymond Lifchez), Berkeley: University of California Press, s. 59-56.
  • O’Connell, J. M. (2013). Alaturka: Style in Turkish Music (1923-1938). Farnham, Ashgate.
  • _______. (2000) “Fine Art, Fine Music: Controlling Turkish Taste at the Fine Arts Academy in 1926.” Yearbook for Traditional Music. 32: 117-142.
  • Paçacı, G. (2008). Magnificent Ottoman Composers. Istanbul, Boyut Music.
  • Popescou, E. (1999). Prince Dimitre Cantemir: Theorist and Composer of Turkish Music. Istanbul, Pan.
  • ______ (1996). Meaning in Turkish Musical Culture. Istanbul, Pan.
  • Raymond, A. (2000). Cairo. Cambridge, Harvard University Press.
  • Rosenthal, S. T. (1980). The Politics of Dependency: Urban Reform in Istanbul. Westport, Greenwood Press.
  • Senay, B. (2014). “The Fall and Rise of the Ney: From the Sufi Lodge to the World Stage.” Ethnomusicology Forum. 23: 1-20.
  • Schafer, M. (1960). The New Soundscape: A Handbook for the Modern Music Teacher. Ontario, BML.
  • Stokes, M. (1992). The Arabesk Debate: Music and Musicians in Modern Turkey. New York, Oxford University Press.
  • _______ (1996). “History, Memory and Nostalgia in Contemporary Turkish Musicology.” Journal of Musical Anthropology of the Mediterranean. 1: 8-19.
  • Signell, K. (1986). Makam: Modal Practice in Turkish Art Music. New York, Da Capo Press.
  • “The Sultan’s players,” The Reading Eagle, August 24, 1903.
  • Uslu, R. (2008). “Historia Corta de la Música Turca.” Revista Música. 10: 23-25.
  • VanDuinkerken, W. (1998). Educational Reform in the Tanzimat Era (1839-1876): Secular Reforms in Tanzimat, Unpublished master's thesis, McGill University, Montreal.

Tanzimat Döneminde Türk-Osmanlı Müzisyenlerinin Sürüklenmesi: Dilencilerden Serbest İşçilere

Year 2023, Volume: 6 Issue: 1, 1 - 14, 30.06.2023
https://doi.org/10.51576/ymd.1299352

Abstract

ÖZET
Türkiye Cumhuriyeti'nin ilk günlerinde tekkelerin kapatılması ve son on yıllarda bu mekanlardan bazılarının tarihi restorasyonu ve yeniden açılması, genellikle yeni düzene gömülü verili bir ahlaki rasyonalitenin neden olduğu toplumsal dönüşümün sonuçları olarak sunulur. gelişmekte olan bir ulusun kurumları. Bu açıdan bakıldığında, bireyler çarpık bir şekilde bu kurumlarla ilişkili –ya da karşıt– olarak görülmekte, böylece kendi boyutları ve 1924 öncesinde ortaya çıkan birey olarak tortul oluşum biçimleri düzleştirilmektedir. Son on yılda İstanbul'daki ney hocalarının ses maneviyatını etnografik bir yaklaşımla inceledim. Muhataplarımdan birçoğunun şu anda bir muamma içinde yaşadığını gördüm; bu muammada kendilerini, bir şekilde şimdiki zamanda kaybedilmiş ve yeniden kazanılmış, önceki toplumsal düzenlerin yaşayan halkaları olarak görüyorlar. Şimdiki anı haklı çıkarmak için tamir edilen ve yeniden düzenlenen eski bir saat gibi (Castrillón 2021), Tasavvuf ses repertuarlarının bu bekçileri, kaçınılmaz olarak sürekli ayar ve yorumlama gerektiren daha büyük gerilim ve hareket sistemlerine gömülür. Bu makale, sözde tasavvuf müziğinin sahihliği veya günümüz İstanbul'unda “gerçek dervişler” olup olmadığı tartışmasının ötesinde, tekkelerin ve tekkelerin yasaklanıp kapatıldığı tarihi döneme şöyle bir bakmaktadır: kapanış, yirminci yüzyılın başlarında Türk-Osmanlı eğitmenlerinin öznelliğini dönüştüren, ortaya çıkan bir emek biçimini açtımaktadır.

References

  • Anderson, S. (1922). “The Dervish Orders of Constantinople.” Muslim World. 12: 53-61.
  • Arel, H. S. (1990). Türk Mûsikîsi Kimindir? Ankara, Kültür Bakanlığı.
  • Atabaki, T. –Brockett, G. (2009). Ottoman and Republican Turkish Labour History. Cambridge, Cambridge University Press . Barnes, J. (1986). An Introduction to Religious Foundations in the Ottoman Empire. Leiden, Brill.
  • Behar, C. (1993). Zaman, Mekân, Müzik: Klasik Türk Musikisinde Eĝitim (meşk), Icra ve Aktarim. İstanbul, Afa Yayinlari.
  • Castrillón, J. (2014). “Spatial Transformation of Sufi Music Practice in Istanbul and Repositioning of Subjectivities.” Porte Akademik. 10: 131-145.
  • Cerasi, M. (1988). “Late-Ottoman Architects and Master Builders.” Muqarnas. 1: 189-232.
  • Corbin, H. (1978). The Man of Light in Iranian Sufism. New York, Shambhala.
  • Elias, N. (1994). The Civilizing Process. Cambridge, Blackwell.
  • Faroqhi, S. (1988). “Agricultural Crisis and the Art of Flute-Playing: The Worldly Affaires of the Mevlevi Dervishes (1595-1652).” Turcica, Revue D’Études Turques. 20: 43-70.
  • Feldman, W. (1996). Music of the Ottoman Court: Makam, Composition and the early Ottoman Instrumental Repertoire. Berlin, VWB.
  • Foucault, M. (1990). The History of Sexuality. New York, Vintage Books.
  • Gül, M. (2009). The Emergence of Modern Istanbul: Transformation and Modernization of the City. New York, Tauris.
  • Hanıoğlu, Ş. (1997). “Garbcılar: Their Attitudes Toward Religion and their Impact on the Official Ideology of the Turkish Republic.” Studia Islamica. 1: 133-158.
  • Koymen, E. (2014, November). A Musical Minefield: Composing the Turkish Nation-State. Paper presented at Comstock Hall, University of Louisville, Louisville. URL: http://ams-sw.org/wp-content/uploads/2021/12/AMS SW_V3Spring2014Koymen.pdf. Retrieved 3/18/2015.
  • Kreiser, K. (1992). “Dervish Living.” The dervish Lodge: Architecture, Art, and Sufism in Ottoman Turkey (haz. Raymond Lifchez), Berkeley: University of California Press, s. 59-56.
  • O’Connell, J. M. (2013). Alaturka: Style in Turkish Music (1923-1938). Farnham, Ashgate.
  • _______. (2000) “Fine Art, Fine Music: Controlling Turkish Taste at the Fine Arts Academy in 1926.” Yearbook for Traditional Music. 32: 117-142.
  • Paçacı, G. (2008). Magnificent Ottoman Composers. Istanbul, Boyut Music.
  • Popescou, E. (1999). Prince Dimitre Cantemir: Theorist and Composer of Turkish Music. Istanbul, Pan.
  • ______ (1996). Meaning in Turkish Musical Culture. Istanbul, Pan.
  • Raymond, A. (2000). Cairo. Cambridge, Harvard University Press.
  • Rosenthal, S. T. (1980). The Politics of Dependency: Urban Reform in Istanbul. Westport, Greenwood Press.
  • Senay, B. (2014). “The Fall and Rise of the Ney: From the Sufi Lodge to the World Stage.” Ethnomusicology Forum. 23: 1-20.
  • Schafer, M. (1960). The New Soundscape: A Handbook for the Modern Music Teacher. Ontario, BML.
  • Stokes, M. (1992). The Arabesk Debate: Music and Musicians in Modern Turkey. New York, Oxford University Press.
  • _______ (1996). “History, Memory and Nostalgia in Contemporary Turkish Musicology.” Journal of Musical Anthropology of the Mediterranean. 1: 8-19.
  • Signell, K. (1986). Makam: Modal Practice in Turkish Art Music. New York, Da Capo Press.
  • “The Sultan’s players,” The Reading Eagle, August 24, 1903.
  • Uslu, R. (2008). “Historia Corta de la Música Turca.” Revista Música. 10: 23-25.
  • VanDuinkerken, W. (1998). Educational Reform in the Tanzimat Era (1839-1876): Secular Reforms in Tanzimat, Unpublished master's thesis, McGill University, Montreal.
There are 30 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Research Articles
Authors

Juan Castrillón 0000-0002-3930-9254

Publication Date June 30, 2023
Submission Date May 19, 2023
Published in Issue Year 2023 Volume: 6 Issue: 1

Cite

APA Castrillón, J. (2023). OTTOMAN MUSLIM MUSICIANS DRIFTING THROUGH THE TANZIMAT ERA: FROM BEGGARS TO FREED LABORERS. Yegah Müzikoloji Dergisi, 6(1), 1-14. https://doi.org/10.51576/ymd.1299352