Not: Bu bir K\u0131z\u0131lderili \u00f6yk\u00fcs\u00fc de\u011fildir!<\/p>\n\n\n\n
“Ermen\u00ee \u00fb pez, Kurd \u00fb rez bihevnakevin”<\/em><\/p>\n\n\n\n (Ermeni ile koyun, K\u00fcrt ile ba\u011f-bah\u00e7e ba\u011fda\u015fmaz)<\/p>\n\n\n\n L\u00eaw\u00een platosundan Kato ya da \u00c7iyare\u015fk doruklar\u0131na bir g\u00fcnde \u00e7\u0131kan bir kad\u0131n\u0131n \u00fc\u00e7 bin metrede s\u00f6yledi\u011fi heyranok makam\u0131nda \u00f6yle bir ini\u015f \u00e7\u0131k\u0131\u015f vard\u0131r ki “heyran jaro” diye as\u0131ld\u0131\u011f\u0131 makam\u0131n nerede nas\u0131l bir ini\u015f ya da \u00e7\u0131k\u0131\u015f yapaca\u011f\u0131n\u0131 asla kimse kestiremez. M\u00fczi\u011fin tonalitesi ait oldu\u011fu kavmin co\u011frafyas\u0131ndan ve karakterinden beslenerek serpi\u015fir, b\u00fcy\u00fcr ve Behd\u00eenan’dan Serhad’a kadar uzanan bir dengb\u00eajin kilam\u0131na tak\u0131l\u0131r kal\u0131r.<\/p>\n\n\n\n \u00d6zg\u00fcr a\u015firet topluluklar\u0131 \u015feklinde ya\u015fayan bu kadim kavmin m\u00fczi\u011finde iktidar yoktur; yal\u0131nd\u0131r; liriktir. En \u00f6nemlisi K\u00fcrt m\u00fczi\u011finin o ani ve sert ini\u015f \u00e7\u0131k\u0131\u015flarla dolu olmas\u0131, di\u011fer kavimlerin belli bir kal\u0131p \u00fczerinden ilerleyen m\u00fczikal totalli\u011fine meydan okur. Zerzan, buna tonalitenin fa\u015fizmi der. Botan y\u00f6resinde herhangi bir pay\u00eezok dinleyen birinin K\u00fcrtler ile K\u0131z\u0131lderililer akraba m\u0131 sorusunu sormas\u0131 gayet normaldir. \u00c7\u00fcnk\u00fc do\u011fa, a\u015fk, kad\u0131n ve do\u011fan\u0131n ritmi i\u00e7 i\u00e7e ge\u00e7mi\u015ftir: Kerem\u00ea Kor’un her kilam\u0131n arkas\u0131na serpi\u015ftirdi\u011fi o muhte\u015fem replikler do\u011fan\u0131n sesidir. Ya da Kawis Axa’n\u0131n bazen sesini keman inceli\u011fine \u00e7ekmesi \u00c7em\u00ea \u00c7etel\u00ea’den emanet al\u0131nm\u0131\u015f bir do\u011fal repliktir.<\/p>\n\n\n\n K\u00fcrd\u00fcn k\u0131r\u0131lganl\u0131\u011f\u0131, al\u0131nganl\u0131\u011f\u0131, kendine kar\u015f\u0131 olan inad\u0131 ve yaln\u0131zl\u0131\u011f\u0131 kederli tarihi kadar co\u011frafyas\u0131ndan miras kalm\u0131\u015ft\u0131r. Ani \u00f6fke patlamalar\u0131n\u0131, inad\u0131n\u0131, hayattaki tek varl\u0131\u011f\u0131 olan kat\u0131r\u0131n\u0131n inatla\u015fmas\u0131na inat onu vurarak \u00f6ld\u00fcrmesini ve ba\u015f\u0131nda oturup h\u00fcng\u00fcr h\u00fcng\u00fcr a\u011flamas\u0131n\u0131 ba\u015fka ne izah edebilir ki. Ya da deliler gibi sevdi\u011fi bir kad\u0131n\u0131n \u00e7ad\u0131r\u0131n \u00f6n\u00fcnde y\u00fcz\u00fcne bakmamas\u0131n\u0131 \u00f6m\u00fcr boyu bir ayr\u0131l\u0131k gerek\u00e7esi yapmas\u0131n\u0131n ve o kad\u0131n\u0131n ard\u0131ndan \u00f6m\u00fcr boyu yas tutmas\u0131n\u0131n ba\u015fka nas\u0131l bir izah\u0131 olabilir ki. Bu naif ve de\u011fi\u015fken karakter K\u00fcrd\u00fcn ba\u015f\u0131n\u0131 nicedir \u00e7ok a\u011fr\u0131tmaktad\u0131r. Bu a\u011fr\u0131, tarihsel bir pi\u015fmanl\u0131\u011f\u0131n ve \u00e7aresizli\u011fin izd\u00fc\u015f\u00fcm\u00fc gibidir. <\/p>\n\n\n\n Yaylalar K\u00fcrtlerin y\u00fcksek yurdudur. Zoma-zozan-war-wargeh \u015feklinde tan\u0131mlanan y\u00fczlerce yaylan\u0131n i\u00e7inde Lale\u015f\u00een, Fara\u015f\u00een, \u015eerefd\u00een, Eledax, Elegez yaylalar\u0131 K\u00fcrt dengb\u00eaj m\u00fczi\u011finin her taraf\u0131na serpi\u015fmi\u015ftir. \u00d6rne\u011fin \u015eakiro’nun belli bir ritimle ilerlerken birden ritmi inan\u0131lmaz bir ini\u015f ya da \u00e7\u0131k\u0131\u015fla darmada\u011f\u0131n etmesi ve belli bir tonaliteyi ret etmesi Baz\u00eed ovas\u0131ndan Eledax yaylas\u0131na \u00e7\u0131kan bir b\u00ear\u00eevan\u0131n ya da bir tirpank\u00ea\u015fin da\u011f ile ova aras\u0131ndaki u\u00e7urumi duygusundan \u00e7\u0131kmad\u0131r. Dengb\u00eaj m\u00fczi\u011fi anti-otoriterdir. K\u00fcrtlerin ince bir edebi ustal\u0131kla ve harikulade bir haf\u0131zayla yaratt\u0131klar\u0131 bu m\u00fczik t\u00fcr\u00fcn\u00fcn uzunlu\u011fundan yabanc\u0131lar inan\u0131lmaz derecede s\u0131k\u0131l\u0131rlar. Bir parma\u011f\u0131 kula\u011f\u0131nda ve avucu yana\u011f\u0131ndayken ovaya kar\u015f\u0131 \u015fark\u0131 s\u00f6yleyen birinin d\u00fcnya umurunda de\u011fildir. Do\u011fayla b\u00fct\u00fcnl\u00fck halindedir. Kendini do\u011fan\u0131n ve kendi i\u00e7 do\u011fas\u0131n\u0131n ak\u0131\u015f\u0131na b\u0131rakm\u0131\u015ft\u0131r. Anti-otoriterli\u011fi buradan gelmektedir bu m\u00fczi\u011fin; piyasa yoktur; be\u011fendirme kayg\u0131s\u0131 yoktur! Bir g\u00f6\u00e7 yolunu saatlerce s\u00fcren bir anlat\u0131mla ortaya koyar. Mahsun K\u0131rm\u0131z\u0131g\u00fcl gibi her bir karesinden binlerce roman \u00e7\u0131kar\u0131labilecek K\u00fcrdi bir trajediyi bir filmde verme aceleci\u011fi, piyasac\u0131l\u0131\u011f\u0131 ve kurnazl\u0131\u011f\u0131 yoktur. \u00c7\u00fcnk\u00fc nicedir k\u00fcrd\u00fcn l\u00fcgat\u0131nda Yankilerin verdi\u011fi parayla K\u0131z\u0131lderili \u015fark\u0131s\u0131 s\u00f6ylemek ve onlar\u0131 e\u011flendirmek omurgas\u0131z\u0131n soytar\u0131l\u0131\u011f\u0131 olarak ge\u00e7er.<\/p>\n\n\n\n ”O kadar \u00e7ok g\u00f6\u00e7 ederdik ki hi\u00e7bir \u00f6l\u00fcm\u00fcze tabut bile haz\u0131rlayamazd\u0131k! \u0130\u015fe, a\u015fa ve do\u011faya ihtiyac\u0131m\u0131z vard\u0131! Yaylalarda \u00f6len hi\u00e7bir ya\u015fl\u0131n\u0131n tabutu yoktur. Bir g\u00fcn k\u00f6ylerimiz yak\u0131l\u0131p bo\u015falt\u0131ld\u0131; kalan k\u00f6ylere de yaylalara \u00e7\u0131k\u0131\u015f yasa\u011f\u0131 geldi! O yaylalarda gen\u00e7 \u00e7ocuklar\u0131m\u0131z\u0131n y\u00fczlerce tabutsuz mezar\u0131 oldu\u011funu \u00f6\u011frendik sonralar\u0131\u2026 Do\u011fan\u0131n b\u00fcy\u00fck bir c\u00f6mertlikle bize sundu\u011fu o otlaklar bizden sonra daha da g\u00fcrle\u015fti, o p\u0131narlar hala akmakta fakat kocaman kazanlarda kaynayan s\u00fct\u00fcm\u00fcz\u00fc burnumuzdan getirdiler. \u00d6nceleri k\u00f6yde herkes \u015fark\u0131 s\u00f6ylerdi. \u015eimdi, \u015fehirde ya\u015fl\u0131lar\u0131m\u0131z\u0131n d\u0131\u015f\u0131nda herkes o \u015fark\u0131lar\u0131 unuttu…”<\/em><\/p>\n\n\n\n (Eliy\u00ea Qaso \/ Colem\u00earg-2009)<\/p>\n\n\n\n Botan ve Behd\u00eenan’da \u00fc\u00e7 mevsimde d\u00f6rt defa g\u00f6\u00e7 yollar\u0131na d\u00fc\u015f\u00fcl\u00fcrd\u00fc. Birinci g\u00f6\u00e7te, zozan, ilkbahar\u0131n sonuna do\u011fru k\u00f6ye yak\u0131n bir yere kurulur; do\u011fan\u0131n c\u00f6mert\u00e7e sundu\u011fu bereketli otlaklardan beslenen binlerce hayvan\u0131n s\u00fct\u00fcnden peynirler yap\u0131l\u0131rd\u0131. Yaza do\u011fru ikinci zozan biraz daha y\u00fcksek bir platoya yada karl\u0131 kapl\u0131 da\u011flar\u0131n doruklar\u0131na kurulurdu. Burada berxbir denilen kuzu k\u0131rpma \u015fenlikleri d\u00fczenlenirdi. Y\u00fcn yapa\u011f\u0131 ve tereya\u011f\u0131 \u00fcretimi yap\u0131l\u0131rd\u0131. En son g\u00f6\u00e7 yani sonuncusu ise havalar\u0131n so\u011fumas\u0131yla birlikte k\u00f6ye yak\u0131n mezralara yada vadi yataklar\u0131na yap\u0131l\u0131rd\u0131. Teremast denilen k\u0131\u015f yo\u011furdu bu zozanlarda yap\u0131l\u0131rd\u0131. Ko\u00e7lar burada d\u00f6v\u00fc\u015ft\u00fcr\u00fcld\u00fc. Havalar iyice serinledi\u011finde tekrar k\u00f6ye d\u00f6n\u00fcl\u00fcrd\u00fc. K\u00fcrdi m\u00fczi\u011fin ritmi ve ak\u0131\u015f\u0131 bu g\u00f6\u00e7lerin ak\u0131\u015f\u0131na g\u00f6re \u015fekil ald\u0131 y\u00fczy\u0131llarca.<\/p>\n\n\n\n \u00dc\u00e7 ah\u015fap s\u00fctunun \u00fczerine oturtulmu\u015f, ke\u00e7i k\u0131l\u0131ndan yap\u0131lm\u0131\u015f simsiyah k\u0131l \u00e7ad\u0131r alt\u0131nda s\u00fctunun birinde Bruno marka (birno) t\u00fcfek, ikinci s\u00fctunda g\u00fcneyden yirmi koyun kar\u015f\u0131l\u0131\u011f\u0131 al\u0131nm\u0131\u015f transist\u00f6rl\u00fc bir radyo ve \u00fc\u00e7\u00fcnc\u00fc s\u00fctunun \u00fczerinde \u015eahmeran i\u015flemesi olan patiska \u00e7antan\u0131n i\u00e7inde bir Kuran olan o \u00e7ad\u0131rda \u00f6yk\u00fcler, \u015fiirler, an\u0131lar anlat\u0131l\u0131rd\u0131 geceler boyu.O s\u00fctunlardan birine as\u0131lm\u0131\u015f olan o radyodan y\u00fckselen “gel\u00ee guhdar\u00ean ez\u00eez” diye ba\u015flayan \u00car\u00eevan ve Ba\u011fdat radyolar\u0131n\u0131n k\u0131sa s\u00fcren yay\u0131nlar\u0131n\u0131n hemen ard\u0131nda kurulan dengb\u00eaj divanlar\u0131nda \u00e7ad\u0131r\u0131n arkas\u0131na saklan\u0131p s\u00f6ylenen \u015fark\u0131lar\u0131 dinleyen kad\u0131nlar\u0131n g\u00f6r\u00fcnt\u00fcs\u00fc hala haf\u0131zamda tap tazedir. Tereya\u011f\u0131 ve yo\u011furt yap\u0131l\u0131rken, deri tulumlar (p\u00eest-hinban-me\u015fk) bir bir temizlenirken kad\u0131nlar\u0131n s\u00f6yledi\u011fi \u015fark\u0131lar kad\u0131n ve do\u011fa aras\u0131ndaki ili\u015fkiyi en \u00e7\u0131plak haliyle verirdi…<\/p>\n\n\n\n Da\u011f, ova, nehir, eriyen kar, a\u015fk, \u00f6zlem, k\u0131l \u00e7ad\u0131rlar, yasakl\u0131 sevmeler, \u00e7aresizlik, kahramanl\u0131k ve pornografik sertli\u011fe kar\u015f\u0131 a\u015fkla yo\u011frulmu\u015f bir erotizm… Dengb\u00eajin sesiyle irkilen ruhlar\u0131n k\u00f6klerini nerelere sald\u0131\u011f\u0131n\u0131 \u00f6zetleyen Esker\u00ea Boy\u00eek’in deyimiyle: Kilam hem derde hem dermane \/ Kilam ji evda re d\u00een \u00fb \u00eemane…<\/p>\n","protected":false},"excerpt":{"rendered":" Not: Bu bir K\u0131z\u0131lderili \u00f6yk\u00fcs\u00fc de\u011fildir! “Ermen\u00ee \u00fb pez, Kurd \u00fb rez bihevnakevin” (Ermeni ile koyun, K\u00fcrt ile ba\u011f-bah\u00e7e ba\u011fda\u015fmaz) L\u00eaw\u00een platosundan Kato ya da \u00c7iyare\u015fk doruklar\u0131na bir g\u00fcnde \u00e7\u0131kan bir kad\u0131n\u0131n \u00fc\u00e7 bin metrede s\u00f6yledi\u011fi heyranok makam\u0131nda \u00f6yle bir ini\u015f \u00e7\u0131k\u0131\u015f vard\u0131r ki “heyran jaro” diye as\u0131ld\u0131\u011f\u0131 makam\u0131n nerede nas\u0131l bir ini\u015f ya da \u00e7\u0131k\u0131\u015f yapaca\u011f\u0131n\u0131 asla kimse kestiremez. M\u00fczi\u011fin tonalitesi ait oldu\u011fu kavmin co\u011frafyas\u0131ndan ve karakterinden beslenerek serpi\u015fir, b\u00fcy\u00fcr ve Behd\u00eenan’dan Serhad’a kadar uzanan bir dengb\u00eajin kilam\u0131na tak\u0131l\u0131r kal\u0131r. \u00d6zg\u00fcr a\u015firet topluluklar\u0131 \u015feklinde ya\u015fayan bu kadim kavmin m\u00fczi\u011finde iktidar yoktur; yal\u0131nd\u0131r; liriktir. En \u00f6nemlisi K\u00fcrt m\u00fczi\u011finin o ani ve sert ini\u015f \u00e7\u0131k\u0131\u015flarla dolu olmas\u0131, di\u011fer kavimlerin belli bir kal\u0131p \u00fczerinden ilerleyen m\u00fczikal totalli\u011fine meydan okur. Zerzan, buna tonalitenin fa\u015fizmi der. Botan y\u00f6resinde herhangi bir pay\u00eezok dinleyen birinin K\u00fcrtler ile K\u0131z\u0131lderililer akraba m\u0131 sorusunu sormas\u0131 gayet normaldir. \u00c7\u00fcnk\u00fc do\u011fa, a\u015fk, kad\u0131n ve do\u011fan\u0131n ritmi i\u00e7 i\u00e7e ge\u00e7mi\u015ftir: Kerem\u00ea Kor’un her kilam\u0131n arkas\u0131na serpi\u015ftirdi\u011fi o muhte\u015fem replikler do\u011fan\u0131n sesidir. Ya da Kawis Axa’n\u0131n bazen sesini keman inceli\u011fine \u00e7ekmesi \u00c7em\u00ea \u00c7etel\u00ea’den emanet al\u0131nm\u0131\u015f bir do\u011fal repliktir. K\u00fcrd\u00fcn k\u0131r\u0131lganl\u0131\u011f\u0131, al\u0131nganl\u0131\u011f\u0131, kendine kar\u015f\u0131 olan inad\u0131 ve yaln\u0131zl\u0131\u011f\u0131 kederli tarihi kadar co\u011frafyas\u0131ndan miras kalm\u0131\u015ft\u0131r. Ani \u00f6fke patlamalar\u0131n\u0131, inad\u0131n\u0131, hayattaki tek varl\u0131\u011f\u0131 olan kat\u0131r\u0131n\u0131n inatla\u015fmas\u0131na inat onu vurarak \u00f6ld\u00fcrmesini ve ba\u015f\u0131nda oturup h\u00fcng\u00fcr h\u00fcng\u00fcr a\u011flamas\u0131n\u0131 ba\u015fka ne izah edebilir ki. Ya da deliler gibi sevdi\u011fi bir kad\u0131n\u0131n \u00e7ad\u0131r\u0131n \u00f6n\u00fcnde y\u00fcz\u00fcne bakmamas\u0131n\u0131 \u00f6m\u00fcr boyu bir ayr\u0131l\u0131k gerek\u00e7esi yapmas\u0131n\u0131n ve o kad\u0131n\u0131n ard\u0131ndan \u00f6m\u00fcr boyu yas tutmas\u0131n\u0131n ba\u015fka nas\u0131l bir izah\u0131 olabilir ki. Bu naif ve de\u011fi\u015fken karakter K\u00fcrd\u00fcn ba\u015f\u0131n\u0131 nicedir \u00e7ok a\u011fr\u0131tmaktad\u0131r. Bu a\u011fr\u0131, tarihsel bir pi\u015fmanl\u0131\u011f\u0131n ve \u00e7aresizli\u011fin izd\u00fc\u015f\u00fcm\u00fc gibidir. Yaylalar K\u00fcrtlerin y\u00fcksek yurdudur. Zoma-zozan-war-wargeh \u015feklinde tan\u0131mlanan y\u00fczlerce yaylan\u0131n i\u00e7inde Lale\u015f\u00een, Fara\u015f\u00een, \u015eerefd\u00een, Eledax, Elegez yaylalar\u0131 K\u00fcrt dengb\u00eaj m\u00fczi\u011finin her taraf\u0131na serpi\u015fmi\u015ftir. \u00d6rne\u011fin \u015eakiro’nun belli bir ritimle ilerlerken birden ritmi inan\u0131lmaz bir ini\u015f ya da \u00e7\u0131k\u0131\u015fla darmada\u011f\u0131n etmesi ve belli bir tonaliteyi ret etmesi Baz\u00eed ovas\u0131ndan Eledax yaylas\u0131na \u00e7\u0131kan bir b\u00ear\u00eevan\u0131n ya da bir tirpank\u00ea\u015fin da\u011f ile ova aras\u0131ndaki u\u00e7urumi duygusundan \u00e7\u0131kmad\u0131r. Dengb\u00eaj m\u00fczi\u011fi anti-otoriterdir. K\u00fcrtlerin ince bir edebi ustal\u0131kla ve harikulade bir haf\u0131zayla yaratt\u0131klar\u0131 bu m\u00fczik t\u00fcr\u00fcn\u00fcn uzunlu\u011fundan yabanc\u0131lar inan\u0131lmaz derecede s\u0131k\u0131l\u0131rlar. Bir parma\u011f\u0131 kula\u011f\u0131nda ve avucu yana\u011f\u0131ndayken ovaya kar\u015f\u0131 \u015fark\u0131 s\u00f6yleyen birinin d\u00fcnya umurunda de\u011fildir. Do\u011fayla b\u00fct\u00fcnl\u00fck halindedir. Kendini do\u011fan\u0131n ve kendi i\u00e7 do\u011fas\u0131n\u0131n ak\u0131\u015f\u0131na b\u0131rakm\u0131\u015ft\u0131r. Anti-otoriterli\u011fi buradan gelmektedir bu m\u00fczi\u011fin; piyasa yoktur; be\u011fendirme kayg\u0131s\u0131 yoktur! Bir g\u00f6\u00e7 yolunu saatlerce s\u00fcren bir anlat\u0131mla ortaya koyar. Mahsun K\u0131rm\u0131z\u0131g\u00fcl gibi her bir karesinden binlerce roman \u00e7\u0131kar\u0131labilecek K\u00fcrdi bir trajediyi bir filmde verme aceleci\u011fi, piyasac\u0131l\u0131\u011f\u0131 ve kurnazl\u0131\u011f\u0131 yoktur. \u00c7\u00fcnk\u00fc nicedir k\u00fcrd\u00fcn l\u00fcgat\u0131nda Yankilerin verdi\u011fi parayla K\u0131z\u0131lderili \u015fark\u0131s\u0131 s\u00f6ylemek ve onlar\u0131 e\u011flendirmek omurgas\u0131z\u0131n soytar\u0131l\u0131\u011f\u0131 olarak ge\u00e7er. ”O kadar \u00e7ok g\u00f6\u00e7 ederdik ki hi\u00e7bir \u00f6l\u00fcm\u00fcze tabut bile haz\u0131rlayamazd\u0131k! \u0130\u015fe, a\u015fa ve do\u011faya ihtiyac\u0131m\u0131z vard\u0131! Yaylalarda \u00f6len hi\u00e7bir ya\u015fl\u0131n\u0131n tabutu yoktur. Bir g\u00fcn k\u00f6ylerimiz yak\u0131l\u0131p bo\u015falt\u0131ld\u0131; kalan k\u00f6ylere de yaylalara \u00e7\u0131k\u0131\u015f yasa\u011f\u0131 geldi! O yaylalarda gen\u00e7 \u00e7ocuklar\u0131m\u0131z\u0131n y\u00fczlerce tabutsuz mezar\u0131 oldu\u011funu \u00f6\u011frendik sonralar\u0131\u2026 Do\u011fan\u0131n b\u00fcy\u00fck bir c\u00f6mertlikle bize sundu\u011fu o otlaklar bizden sonra daha da g\u00fcrle\u015fti, o p\u0131narlar hala akmakta fakat kocaman kazanlarda kaynayan s\u00fct\u00fcm\u00fcz\u00fc burnumuzdan getirdiler. \u00d6nceleri k\u00f6yde herkes \u015fark\u0131 s\u00f6ylerdi. \u015eimdi, \u015fehirde ya\u015fl\u0131lar\u0131m\u0131z\u0131n d\u0131\u015f\u0131nda herkes o \u015fark\u0131lar\u0131 unuttu…” (Eliy\u00ea Qaso \/ Colem\u00earg-2009) Botan ve Behd\u00eenan’da \u00fc\u00e7 mevsimde d\u00f6rt defa g\u00f6\u00e7 yollar\u0131na d\u00fc\u015f\u00fcl\u00fcrd\u00fc. Birinci g\u00f6\u00e7te, zozan, ilkbahar\u0131n sonuna do\u011fru k\u00f6ye yak\u0131n bir yere kurulur; do\u011fan\u0131n c\u00f6mert\u00e7e sundu\u011fu bereketli otlaklardan beslenen binlerce hayvan\u0131n s\u00fct\u00fcnden peynirler yap\u0131l\u0131rd\u0131. Yaza do\u011fru ikinci zozan biraz daha y\u00fcksek bir platoya yada karl\u0131 kapl\u0131 da\u011flar\u0131n doruklar\u0131na kurulurdu. Burada berxbir denilen kuzu k\u0131rpma \u015fenlikleri d\u00fczenlenirdi. Y\u00fcn yapa\u011f\u0131 ve tereya\u011f\u0131 \u00fcretimi yap\u0131l\u0131rd\u0131. En son g\u00f6\u00e7 yani sonuncusu ise havalar\u0131n so\u011fumas\u0131yla birlikte k\u00f6ye yak\u0131n mezralara yada vadi yataklar\u0131na yap\u0131l\u0131rd\u0131. Teremast denilen k\u0131\u015f yo\u011furdu bu zozanlarda yap\u0131l\u0131rd\u0131. Ko\u00e7lar burada d\u00f6v\u00fc\u015ft\u00fcr\u00fcld\u00fc. Havalar iyice serinledi\u011finde tekrar k\u00f6ye d\u00f6n\u00fcl\u00fcrd\u00fc. K\u00fcrdi m\u00fczi\u011fin ritmi ve ak\u0131\u015f\u0131 bu g\u00f6\u00e7lerin ak\u0131\u015f\u0131na g\u00f6re \u015fekil ald\u0131 y\u00fczy\u0131llarca. \u00dc\u00e7 ah\u015fap s\u00fctunun \u00fczerine oturtulmu\u015f, ke\u00e7i k\u0131l\u0131ndan yap\u0131lm\u0131\u015f simsiyah k\u0131l \u00e7ad\u0131r alt\u0131nda s\u00fctunun birinde Bruno marka (birno) t\u00fcfek, ikinci s\u00fctunda g\u00fcneyden yirmi koyun kar\u015f\u0131l\u0131\u011f\u0131 al\u0131nm\u0131\u015f transist\u00f6rl\u00fc bir radyo ve \u00fc\u00e7\u00fcnc\u00fc s\u00fctunun \u00fczerinde \u015eahmeran i\u015flemesi olan patiska \u00e7antan\u0131n i\u00e7inde bir Kuran olan o \u00e7ad\u0131rda \u00f6yk\u00fcler, \u015fiirler, an\u0131lar anlat\u0131l\u0131rd\u0131 geceler boyu.O s\u00fctunlardan birine as\u0131lm\u0131\u015f olan o radyodan y\u00fckselen “gel\u00ee guhdar\u00ean ez\u00eez” diye ba\u015flayan \u00car\u00eevan ve Ba\u011fdat radyolar\u0131n\u0131n k\u0131sa s\u00fcren yay\u0131nlar\u0131n\u0131n hemen ard\u0131nda kurulan dengb\u00eaj divanlar\u0131nda \u00e7ad\u0131r\u0131n arkas\u0131na saklan\u0131p s\u00f6ylenen \u015fark\u0131lar\u0131 dinleyen kad\u0131nlar\u0131n g\u00f6r\u00fcnt\u00fcs\u00fc hala haf\u0131zamda tap tazedir. Tereya\u011f\u0131 ve yo\u011furt yap\u0131l\u0131rken, deri tulumlar (p\u00eest-hinban-me\u015fk) bir bir temizlenirken kad\u0131nlar\u0131n s\u00f6yledi\u011fi \u015fark\u0131lar kad\u0131n ve do\u011fa aras\u0131ndaki ili\u015fkiyi en \u00e7\u0131plak haliyle verirdi… Da\u011f, ova, nehir, eriyen kar, a\u015fk, \u00f6zlem, k\u0131l \u00e7ad\u0131rlar, yasakl\u0131 sevmeler, \u00e7aresizlik, kahramanl\u0131k ve pornografik sertli\u011fe kar\u015f\u0131 a\u015fkla yo\u011frulmu\u015f bir erotizm… Dengb\u00eajin sesiyle irkilen ruhlar\u0131n k\u00f6klerini nerelere sald\u0131\u011f\u0131n\u0131 \u00f6zetleyen Esker\u00ea Boy\u00eek’in deyimiyle: Kilam hem derde hem dermane \/ Kilam ji evda re d\u00een \u00fb \u00eemane…<\/p>\n","protected":false},"author":1,"featured_media":259,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":7,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-198","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sopa-hunere"],"_links":{"self":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=198"}],"version-history":[{"count":3,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/198\/revisions"}],"predecessor-version":[{"id":260,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/198\/revisions\/260"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media\/259"}],"wp:attachment":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=198"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=198"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}