{"id":94,"date":"2021-11-21T07:47:00","date_gmt":"2021-11-21T07:47:00","guid":{"rendered":"https:\/\/selahattingezer.com.tr\/?p=94"},"modified":"2025-06-08T15:35:08","modified_gmt":"2025-06-08T15:35:08","slug":"ozgurluk-arzusu-ve-yikimin-sarkacinda-direnisi-bestelemek","status":"publish","type":"post","link":"https:\/\/selaheddinbiyani.com.tr\/index.php\/2021\/11\/21\/ozgurluk-arzusu-ve-yikimin-sarkacinda-direnisi-bestelemek\/","title":{"rendered":"\u00d6ZG\u00dcRL\u00dcK ARZUSU VE YIKIMIN SARKACINDA D\u0130REN\u0130\u015e\u0130 BESTELEMEK"},"content":{"rendered":"\n

“Haf\u0131za, \u00f6dev verir ve bor\u00e7lu k\u0131lar. Bir nevi kendini an\u0131msamak gibi bir \u015feydir bu. B\u00fct\u00fcn o an\u0131lar size musallat olur ve sizi tutsak eder\u2026” Ricoeur[1]<\/strong><\/em><\/p>\n\n\n\n

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K\u00fcrt m\u00fczi\u011finin K\u00fcrt ulusal haf\u0131zas\u0131n\u0131n in\u015fas\u0131nda y\u00fcklendi\u011fi ba\u015fat rol\u00fcn derin tarihselliklerine do\u011fru ilerledi\u011fimizde ilk g\u00f6ze \u00e7arpan \u015fey, K\u00fcrt m\u00fczi\u011finin yarat\u0131c\u0131s\u0131n\u0131n bile \u00f6znel niyetini ve anlat\u0131m\u0131n\u0131 a\u015fan bir hakikat bar\u0131nd\u0131r\u0131yor olmas\u0131d\u0131r. Klee\u2019nin deyi\u015fiyle \u2018sanat\u0131n t\u0131pk\u0131 din gibi tatmin edilmemi\u015f arzulardan do\u011fdu\u011fu\u2019[2] ger\u00e7ekli\u011fi \u00fczerinden ilerledi\u011fimizde ger\u00e7e\u011fin bizi \u00e7\u00fcr\u00fctmemesi i\u00e7in de sanat\u0131n hem bir ila\u00e7 hem bir zehir oldu\u011fu ger\u00e7ekli\u011fiyle y\u00fcz y\u00fcze kal\u0131r\u0131z. Tam da bu e\u015fikte \u2018A\u011flamamak i\u00e7in yarat\u0131yorum; tek gerek\u00e7em bu\u2019[3] diyen Klee\u2019nin belirlemesine Esker\u00ea Boy\u00eek\u2019in \u2018Kilam hem derde hem derman e \/ kilam ji evda re d\u00een \u00fb \u00eeman e\u2026\u2018 d\u00f6rtl\u00fc\u011f\u00fc e\u015flik eder.<\/p>\n\n\n\n

Sanat, K\u00fcrd\u00fcn topografyas\u0131nda \u00e7o\u011funlukla oyuna indirgenmeyecek kadar sert bir ger\u00e7ekli\u011fin i\u00e7inde boy verir. Post-zamansall\u0131klarda bir bayku\u015f sesi gibi tepemize \u00e7\u00f6ken \u2018sanat politik olmak zorunda de\u011fildir\u2019 kural\u0131n\u0131 h\u00fck\u00fcms\u00fcz k\u0131lar; Apollon\u2019un \u00f6l\u00e7\u00fcl\u00fc k\u0131s\u0131tlay\u0131c\u0131l\u0131\u011f\u0131na kar\u015f\u0131 Dioniysos\u2019un sanatsal zarafetini sal\u0131k veren Nietzsche\u2019ye de kulak asmaz. Bizleri ger\u00e7ekli\u011fin y\u0131k\u0131c\u0131l\u0131\u011f\u0131ndan kurtarmak i\u00e7in ger\u00e7eklik ile aram\u0131zda ince bir t\u00fcl gibi \u00f6r\u00fclen sanat, K\u00fcrt co\u011frafyas\u0131nda t\u00fcl\u00fc y\u0131rtar, e\u011fretilemeden, alegoriden, te\u015fbihten ve te\u015fhisten ge\u00e7erek \u00e7\u0131r\u0131l\u00e7\u0131plak bir direni\u015f mevziisine d\u00f6n\u00fc\u015f\u00fcr. K\u00fcrt m\u00fczi\u011finin sanat\u0131n bizi ger\u00e7eklikten ve m\u00fccadele alan\u0131ndan uzakla\u015ft\u0131ran estetik co\u015fkusundan daha \u00e7ok, bizi ger\u00e7ekli\u011fin \u00fczerine y\u00fcr\u00fcten, y\u0131k\u0131m\u0131 ve \u00f6zg\u00fcrle\u015fme arzusunu ayn\u0131 anda \u00e7\u0131plakla\u015ft\u0131ran bir karakteri vard\u0131r.  Hem i\u00e7eride hem d\u0131\u015far\u0131da olan biteni bize g\u00f6steren, iki tarafl\u0131 bak\u0131\u015f\u0131 m\u00fcmk\u00fcn k\u0131lan geni\u015f ve puslu bir pencere misali\u2026 Erdewan Zaxoy\u00ee ile ba\u015flay\u0131p Sefkan, El\u00ee Temel, Hozan Serhad ve Del\u00eela\u2019ya kadar uzanan bir omzunda saz, \u00f6b\u00fcr omzunda silahla y\u00fcr\u00fcyen bir sava\u015fan sanat\u00e7\u0131 silsilesi, s\u00f6z konusu denklemin belki de en sert ve en ger\u00e7ek g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc olu\u015fturur.<\/p>\n\n\n\n

M\u00fczik uzmanlar\u0131 melodik sezgilerimizin sadece \u00fc\u00e7 binden fazla ses perdesini alg\u0131layabildi\u011fini buna kar\u015f\u0131 en geni\u015f ses aral\u0131klar\u0131na sahip olan piyanonun bile bu seslerden en fazla seksen sekiz tonu \u00e7alabildi\u011fini iddia eder. K\u00fcrtl\u00fck d\u00fcnyas\u0131n\u0131n ve direni\u015finin derin haf\u0131zas\u0131nda hi\u00e7bir ses perdesinin ula\u015famayaca\u011f\u0131 aral\u0131klar vard\u0131r; hi\u00e7bir t\u0131n\u0131n\u0131n ya da oktav\u0131n ula\u015famayaca\u011f\u0131 yerlerdir bunlar. Bat\u0131n\u0131n bir tonalite fa\u015fizmine d\u00f6n\u00fc\u015fen kat\u0131 ve sistematik m\u00fczi\u011fine kar\u015f\u0131 Cud\u00ee ve Gabar oyuklar\u0131ndan yank\u0131lanan bir heyranok ya da pay\u00eezok b\u00fct\u00fcn ses perdelerini par\u00e7alay\u0131p bir \u00e7\u0131\u011fl\u0131k gibi yank\u0131lan\u0131r. Dayat\u0131lm\u0131\u015f bir gramere zerre kadar iman etmemi\u015f ve hizalanmay\u0131 reddeden do\u011fal bir senfoni gibi.<\/p>\n\n\n\n

\u0130nsan bilincine spazm ge\u00e7irtecek t\u00fcrden etimolojik zorlama ve kasmalar\u0131n modaya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc g\u00fcn\u00fcm\u00fczde, dengb\u00eajli\u011fi deng ve b\u00eaj kombinasyonuna s\u0131k\u0131\u015ft\u0131rman\u0131n keyfili\u011fi bir tarafa, dengb\u00eajli\u011fi abart\u0131l\u0131 bir romantik y\u00fcceltme tuza\u011f\u0131ndan da kurtarmak gerekir. Dengb\u00eajlik denen \u015fey, iddia edildi\u011fi kadar K\u00fcrtl\u00fc\u011f\u00fcn asimile olmay\u0131\u015f\u0131n\u0131n tek nedeni olmamakla birlikte K\u00fcrt\u00e7e bilmeyen bir K\u00fcrtl\u00fc\u011f\u00fcn otantik bir sevimlili\u011fe d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fc o oryantalist alg\u0131n\u0131n g\u00f6rd\u00fc\u011f\u00fcnden de \u00e7ok daha fazlas\u0131d\u0131r.  Tarih boyunca dengb\u00eajler sadece mir ve pa\u015falar\u0131n divan\u0131nda oturup s\u00f6z konusu patronaj ili\u015fki \u00fczerinden ayr\u0131cal\u0131\u011f\u0131n nimetinden faydalanmam\u0131\u015flard\u0131r. Ayn\u0131 zamanda birer gezgin gibi malumat da\u011f\u0131tan, haber veren, geli\u015fme aktaran, k\u00fclt\u00fcrel aktar\u0131m yapan, lokal tarihi ba\u015fka bir lokasyona ekleyip oradan ulusal haf\u0131zaya ta\u015f\u0131yan ve dinleyenin hayal d\u00fcnyas\u0131n\u0131 zenginle\u015ftiren bir i\u015flev de \u00fcstlenmi\u015flerdir. Evdal\u00ea Zeynik\u00ea S\u00fcrmeli Mehmet Pa\u015fa ile gitti\u011fi \u00c7ukurova\u2019dan d\u00f6n\u00fc\u015fte Serhatl\u0131lara portakal\u0131 anlat\u0131r, \u015eakiro, Dersim\u2019in do\u011fal g\u00fczelli\u011fini bir kad\u0131nda kristalize ederek Tujik Da\u011f\u0131n\u0131, S\u00fcphan\u2019\u0131n dibindeki k\u00f6ylere ta\u015f\u0131r. Hayatlar\u0131 boyunca Botan s\u0131n\u0131r\u0131n\u0131n \u00f6tesine ge\u00e7memi\u015f Behd\u00eenan k\u00f6yl\u00fcleri, Batman\u2019da a\u015firetler aras\u0131 bir k\u0131y\u0131m\u0131 anlatan Filt\u00eete Quto kilam\u0131n\u0131 Erivan ve Ba\u011fdat Radyolar\u0131ndan dinler ve zamanla g\u00fcndelik diline bo\u015f k\u00fclhanili\u011fi imleyen bir deyim ekler: \u2018Qey tu Fil\u00eeti\u00ea Quto y\u00ee?\u2019 Dengb\u00eajli\u011fin i\u00e7inde hem sosyolojik hem de etik bir alan gizlidir. Kahramanl\u0131k, adanm\u0131\u015fl\u0131k, ba\u015fkald\u0131r\u0131n\u0131n yan\u0131nda a\u015fk, \u00e7aresizlik, gurur ba\u015fta olmak \u00fczere neredeyse K\u00fcrtl\u00fck d\u00fcnyas\u0131n\u0131n b\u00fct\u00fcn ya\u015fam formlar\u0131 vard\u0131r. Derw\u00ea\u015f\u00ea Evd\u00ee ve Kir\u00eev\u00ea, K\u00fcrtler aras\u0131 mezhepsel b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011fe kar\u015f\u0131 a\u015fk\u0131n bir ba\u015fkald\u0131r\u0131s\u0131n\u0131 dillendirirken Xal\u00ea Cemil \u00e7ocuk evlili\u011fine kar\u015f\u0131 \u00e7aresizli\u011fi, \u015eer\u00ea Tarxan i\u00e7 ihanete kar\u015f\u0131 bir i\u00e7 isyan\u0131 ve hay\u0131flanmay\u0131 dillendirir.<\/p>\n\n\n\n

1925\u2019lerden sonra s\u00f6m\u00fcrge limanlar\u0131nda ad\u0131 san\u0131 bilinmeyen y\u00fczlerce m\u00fczisyen derme \u00e7atma kay\u0131t st\u00fcdyolar\u0131nda s\u00f6m\u00fcrgelerin ritim ve ezgilerini kaydederken ayn\u0131 \u015fekilde dengb\u00eajlik de paralel bir tarihsellik yakalayarak hemen hemen ayn\u0131 tarihlerde t\u0131pk\u0131 Havana\u2019n\u0131n Son\u2019u, Rio\u2019nun Samba\u2019s\u0131, New Orleans\u2019\u0131n Caz\u2019\u0131, Buenos Aires\u2019in Tango\u2019su, Sevilla\u2019n\u0131n flamenko\u2019su, Kahire\u2019nin Tarab\u2019\u0131, Johannesburg\u2019un Marabi\u2019si gibi K\u00fcrtl\u00fc\u011f\u00fcn kilamlar\u0131 ve stranlar\u0131 kaydediliyordu. Kolonile\u015ftirilmi\u015f d\u00fcnyalarda geli\u015fen bu yeni tarihsellik K\u00fcrtlerde bamba\u015fka bir uzam ve mek\u00e2nsall\u0131k \u00fczerinden ya\u015fan\u0131yordu: B\u00fct\u00fcn s\u00f6m\u00fcrgele\u015ftirilmi\u015f \u00fclkelerde m\u00fczikler bizzat o \u00fclkenin s\u0131n\u0131rlar\u0131 i\u00e7inde kaydedilirken K\u00fcrtlerde kay\u0131tlar daha \u00e7ok M\u0131s\u0131r, Ermenistan, \u0130ran ve Irak devletlerinin s\u0131n\u0131rlar\u0131 i\u00e7inde kurulan radyo st\u00fcdyolar\u0131 \u00fczerinden kaydedilerek ar\u015fivleniyordu.<\/p>\n\n\n\n

Dengb\u00eajlik ile K\u00fcrt ulusal direni\u015f haf\u0131zas\u0131 aras\u0131ndaki ili\u015fki, E. J. Hobsbawm\u2019\u0131n \u2018eski g\u00f6z\u00fcken veya eski oldu\u011fu iddia edildi\u011fi halde gayet yeni ortaya \u00e7\u0131km\u0131\u015f ve hatta bazen icat edilmi\u015f gelenek\u2019[4] teziyle belli bir uyum g\u00f6stermektedir. \u0130cat edilmi\u015f gelenekler, ulus\u00e7ulu\u011fun modern geli\u015fiminde ulusal birlik ve kolektif kimlik tahayy\u00fcl\u00fcn\u00fc in\u015fa eden bir k\u00fclt\u00fcrel haf\u0131zay\u0131 kurabilme kudretine her zaman sahip olmu\u015ftur. Kuzey Kurdistan\u2019da \u00f6zellikle 1990 sonras\u0131 ulusal direni\u015fin y\u00fckseli\u015fi ve sars\u0131c\u0131 etkisine paralel bir \u015fekilde ulusu in\u015fa eden iki \u00f6nemli moment olan teritorya (\u00fclke) ve kolektif haf\u0131za (tarih) anlat\u0131m\u0131 en \u00e7ok m\u00fczikal alanda kendini g\u00f6r\u00fcn\u00fcr k\u0131lmaya ba\u015flad\u0131. O d\u00f6nemlerde hemen hemen hi\u00e7bir politik \u015fark\u0131n\u0131n te\u011fet ge\u00e7emedi\u011fi \u00e7oklu kavram setleri olu\u015ftu ve zamanla neredeyse b\u00fct\u00fcn m\u00fczikal s\u00f6zlerin k\u0131lcallar\u0131na kadar sirayet etti. Bu kavram setinin en ba\u015fat olanlar\u0131, welat, ziman, d\u00eerok, serhildan, heyfa salan, tolhildan ve berxwedan \u015feklinde s\u0131ralanan m\u00fczikal bir ament\u00fc gibi i\u015flev g\u00f6rm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

1990\u2019lardan \u00e7ok \u00f6nceleri ortaya \u00e7\u0131km\u0131\u015f olan dengb\u00eajlikte teritoryal arzular\u0131n olmad\u0131\u011f\u0131 ya da c\u0131l\u0131z da olsa yer yer Kurdi bir ulusall\u0131\u011f\u0131n izlerinin okunmad\u0131\u011f\u0131n\u0131 s\u00f6ylemek anakronik bir tuza\u011fa \u00e7eker bizleri. Ehmed\u00ea Xan\u00ee, Feq\u00ee ya da Melay\u00ea Ciz\u00eer\u00ee\u2019nin hi\u00e7bir divan\u0131nda denb\u00eaj isminin ge\u00e7medi\u011fi ve K\u00fcrtlerin ya\u015famsal bir formu olarak ortaya \u00e7\u0131km\u0131\u015f olan dengb\u00eajli\u011fin dengb\u00eajlik olarak tan\u0131mlanmas\u0131n\u0131n tarihinin en fazla y\u00fcz elli y\u0131l oldu\u011fu do\u011frudur. Fakat her olu\u015fu tarihsel ba\u011flam\u0131 i\u00e7erisinde de\u011ferlendirdi\u011fimizde b\u00f6ylesi bir geri \u00e7a\u011f\u0131rman\u0131n da bizleri hi\u00e7bir yere g\u00f6t\u00fcremeyece\u011fi a\u015fik\u00e2rd\u0131r. K\u00fcrtl\u00fck politize olduk\u00e7a dengb\u00eajlik romantize edildi ve ulusal anlat\u0131n\u0131n repertuar\u0131na eklendi. Oto oryantalist bir alg\u0131 d\u00fcnyas\u0131n\u0131n d\u0131\u015f\u0131ndan bakt\u0131\u011f\u0131m\u0131zda dengb\u00eajlik ne iddia edildi\u011fi kadar politiktir, ne de iddia edildi\u011fi kadar apolitiktir! Ku\u015fkusuz Reso, \u015eakiro ya da Mihemed Arif kalabal\u0131k divanlarda \u015fark\u0131lar\u0131n\u0131 s\u00f6ylerken bunu tamam\u0131yla K\u00fcrtl\u00fck ad\u0131na ya da K\u00fcrdistan \u00f6zg\u00fcrl\u00fck ruhuyla s\u00f6ylememi\u015flerdir. Ama bu durum, A\u011fr\u0131 ya da \u015e\u00eax Sa\u00eed \u0130syan\u0131n\u0131n \u00f6nc\u00fc komutanlar\u0131n\u0131n kahramanl\u0131klar\u0131n\u0131 anlatan kilamlar\u0131n rahatl\u0131kla ulusal direni\u015f haf\u0131zas\u0131na eklemlenebilecek geni\u015f bir s\u00f6ylem zenginli\u011fine sahip olmad\u0131klar\u0131 anlam\u0131na da gelmez. Tam da burada Ricoeur\u2019un \u2018kendini an\u0131msamak ve an\u0131lar\u0131n bize musallat olup bizi tutsak edi\u015fi\u2019[5] dedi\u011fi \u015fey devreye girer.<\/p>\n\n\n\n

Ulusall\u0131\u011f\u0131n ve s\u0131n\u0131fsal konumlan\u0131\u015f\u0131n tarihselli\u011fiyle m\u00fczikal tercihler aras\u0131ndaki ili\u015fkiye belki de en g\u00fczel \u00f6rneklerden biri, Van\u2019da k\u00f6yl\u00fclerin ve kentin \u00e7eperindeki yoksullar\u0131n yo\u011fun bi\u00e7imde al\u0131\u015fveri\u015f yapt\u0131\u011f\u0131 \u00e7ar\u015f\u0131n\u0131n i\u00e7 kesimlerindeki \u00fc\u00e7 tekerlekli kaset arabalar\u0131nda \u00e7al\u0131nan m\u00fcziklerin her tarihsel d\u00f6neme g\u00f6re ayr\u0131 bir i\u00e7erik kazanmas\u0131 s\u00fcrecidir. K\u00fcrt\u00e7enin kamusal alanda yasakl\u0131 oldu\u011fu 90\u2019l\u0131 y\u0131llar\u0131n ba\u015f\u0131nda \u00fc\u00e7 tekerlekli arabalarda sat\u0131lan K\u00fcrt\u00e7e kasetler yo\u011funluklu olarak dengb\u00eaj kasetlerinden olu\u015furken 1991-92 sonras\u0131nda ayn\u0131 arabalardan Koma Berxwedan, \u015eivan Perwer, Xel\u00eel Xemg\u00een ve Dilge\u015f\u2019in direni\u015fe \u00e7a\u011f\u0131ran sesleri y\u00fckselmeye ba\u015flad\u0131. Ayn\u0131 d\u00f6nemlerde az say\u0131da kentli K\u00fcrt ve yo\u011funluklu olarak T\u00fcrkmen ve Azerilerin konumland\u0131\u011f\u0131 merkezi caddelerde M\u00fcsl\u00fcm G\u00fcrses, \u0130brahim Tatl\u0131ses ve bilumum arabesk m\u00fczikler \u00e7al\u0131nmaktayd\u0131. 2000 y\u0131llar\u0131 sonras\u0131 orta s\u0131n\u0131f K\u00fcrtlerin kent i\u00e7lerine do\u011fru yay\u0131lmas\u0131yla birlikte \u00e7ar\u015f\u0131n\u0131n \u00e7eperinde \u00e7al\u0131nan m\u00fcziklerle k\u0131yasland\u0131\u011f\u0131nda daha az radikal K\u00fcrt\u00e7e m\u00fczikler de \u00e7al\u0131nmaya ba\u015fland\u0131. 2015\u2019ten sonra \u00e7ar\u015f\u0131 merkezindeki o sesler tamam\u0131yla sustu…<\/p>\n\n\n\n

Bu \u00f6rneklem \u00fczerinden ilerlersek \u015funu rahatl\u0131kla s\u00f6yleyebiliriz: K\u00fcrtlerin politik arzular\u0131yla e\u015fg\u00fcd\u00fcm halinde yeni bir politik gramer ve m\u00fccadele tarz\u0131 geli\u015ftik\u00e7e ayn\u0131 de\u011fi\u015fimler birebir m\u00fczikal tercihlere de yans\u0131m\u0131\u015ft\u0131r. 1990\u2019lardan \u00f6nceki d\u00f6nemlerde kaba bir sol indirgemecilikle burun k\u0131vr\u0131lan, geleneksel ve feodal bir geri kalm\u0131\u015fl\u0131\u011f\u0131n k\u00fclt\u00fcrel formlar\u0131 olarak kodlanan dengb\u00eajli\u011fin asl\u0131nda hem asimilasyona kar\u015f\u0131 bir blokaj g\u00f6revi g\u00f6rd\u00fc\u011f\u00fc, hem bir tarihsel me\u015frula\u015ft\u0131rma momentine d\u00f6n\u00fc\u015febildi\u011fi hem de ulus kurgusunun ihtiya\u00e7 duydu\u011fu tarihsel anlat\u0131lar bar\u0131nd\u0131rd\u0131\u011f\u0131 fark edildi. K\u00fcrdistan\u2019da en politik ailelerin \u00e7ocuklar\u0131n\u0131n bile dengb\u00eaj kasetlerinin \u00fcst\u00fcne arabesk kasetler kaydetti\u011fi zamanlar bitmi\u015f, dengb\u00eajli\u011fin asl\u0131nda \u00e7ok g\u00fc\u00e7l\u00fc bir yurtsever repertuara sahip olmad\u0131\u011f\u0131 halde politize edilebilir bir dinamik oldu\u011fu gerece\u011fi ortaya \u00e7\u0131km\u0131\u015ft\u0131.<\/p>\n\n\n\n

80\u2019li y\u0131lar\u0131n ortalar\u0131ndan itibaren H\u00fbnerkom ve 90\u2019l\u0131 y\u0131llar\u0131n ba\u015f\u0131ndan itibaren MKM b\u00fcnyesinde yarat\u0131lan kom\u00fcnal m\u00fczik gelene\u011fi neredeyse K\u00fcrt ulusalla\u015fma s\u00fcrecinde co\u015fku ve direni\u015f duygusunun kataliz\u00f6r\u00fc i\u015flevini \u00fcstlendi. Ajitatif m\u00fczi\u011fin en co\u015fkulu \u00f6rneklerinin ortaya \u00e7\u0131kt\u0131\u011f\u0131 bu d\u00f6nemlerde Hernep\u00ea\u015f ve \u00cero \u00c7erxa \u015eore\u015f\u00ea standart mar\u015flar, \u00c7iyay\u00ea Bagok\u00ea, K\u00eene Em ve Werxan gibi \u015fark\u0131lar K\u00fcrt halay ezgilerine kendili\u011finden eklendi. B\u00fct\u00fcn bu kurumsal \u00fcretimlerin yan\u0131nda d\u00fc\u011f\u00fcnlerde genellikle bir org ve bir ba\u011flama ile bazen insana cinnet ge\u00e7irtecek kadar detone amat\u00f6r gruplar bile bu ulusalla\u015fma s\u00fcrecinin ba\u015fka bir kamusal dinami\u011fi haline geldiler. \u00d6zellikle 1990\u2019l\u0131 y\u0131llar\u0131n sonlar\u0131ndan itibaren T\u00fcrkiye metropollerinin promil ve nikotin d\u00fczeyi y\u00fcksek kimi barlar\u0131nda K\u00fcrt\u00e7e m\u00fcziklerin pop\u00fclaritesi art\u0131nca ayn\u0131 durum e\u015fzamanl\u0131 olarak Kurdistan\u2019\u0131n belli \u015fehirlerinde de belirmeye ba\u015flad\u0131. \u00d6zellikle metporollerde s\u00fcrg\u00fcnl\u00fc\u011f\u00fcn, b\u00fcy\u00fck kentlere yenilmi\u015fli\u011fin ve \u00fclke hasretinin melankolisiyle ba\u015flayan giri\u015f m\u00fczikleri, gecenin sonunda yerini K\u00fcrtl\u00fc\u011f\u00fcn bir ilan sahas\u0131 olan halaylarla kapan\u0131yor ve bu seremoni barlar\u0131n de\u011fi\u015fmez program ak\u0131\u015f\u0131 haline geliyordu.<\/p>\n\n\n\n

K\u00fcrtlerdeki m\u00fczikal tercihlerin de\u011fi\u015fimini salt i\u00e7 toplumsal dinamiklerin ve politik m\u00fccadelenin seyriyle a\u00e7\u0131klamak ku\u015fkusuz yetersizdir. 1990\u2019larda klasik s\u0131n\u0131f sava\u015f\u0131mlar\u0131n\u0131n yerine k\u00fclt\u00fcr \u00e7at\u0131\u015fmalar\u0131n\u0131n ge\u00e7mesi, yeni k\u00fclt\u00fcr kaynaklar\u0131n\u0131n ke\u015ffi, postlar d\u00f6nemi kimlik patlamalar\u0131 ve geleneksel olan\u0131 dijital ortamlarda yayma end\u00fcstrisi, K\u00fcrt m\u00fczi\u011fini ulusal in\u015fan\u0131n en g\u00fc\u00e7l\u00fc dinamiklerinden biri haline getirdi. MED TV\u2019de yap\u0131lan dengb\u00eaj programlar\u0131, Kurdistan\u2019\u0131n de\u011fi\u015fik yerlerinde 2000\u2019ler sonras\u0131 a\u00e7\u0131lan dengb\u00eaj evlerini geleneksel olana geri d\u00f6n\u00fc\u015f\u00fcn emareleri olarak de\u011fil,  modern m\u00fccadele pratikleri ile geleneksel formlar\u0131n bile\u015fkesinden yeni bir ulusal direni\u015f s\u00f6yleminin in\u015fa s\u00fcreci olarak okumak gerekir. Ge\u00e7mi\u015f ile g\u00fcncel aras\u0131ndaki bu ili\u015fki m\u00fczik \u00fcretilen m\u00fcziklerin formunda belirleyici bir etken olmu\u015ftur. \u00d6rne\u011fin modern d\u00f6nem K\u00fcrt m\u00fczi\u011fi formlar\u0131n\u0131 dikkatlice inceledi\u011fimizde Mihemed Arif\u2019\u0131n \u015eivan\u2019\u0131, Cemil Horo\u2019nun Xelil Xemg\u00een\u2019i, Mirad\u00ea Kin\u00ea\u2019nin Ciwan Haco\u2019yu, Serhat Dengb\u00eajlerinin Nizamettin Ari\u00e7 ve Del\u00eel D\u00eelanar \u00fczerindeki etkisini rahatl\u0131kla g\u00f6rebiliriz. \u015eakiro ile Rojda\u2019n\u0131n, H\u00fbs\u00ean\u00ea Org\u00eenos\u00ea ile Del\u00eel\u2019in d\u00fceti ayn\u0131 zamanda \u00f6lmek \u00fczere olan bir gelene\u011fi ve onun sahibi olan dengb\u00eaji geri \u00e7a\u011f\u0131rma rit\u00fceli gibidir. Ge\u00e7mi\u015fi ve bug\u00fcn\u00fc birbirine eklemleyen bu de\u011ferli \u00e7abalar\u0131n en g\u00f6r\u00fcn\u00fcr oldu\u011fu sosyal medya platformlar\u0131nda ba\u015fka bir dram devreye girer. K\u00fclt\u00fcr end\u00fcstrisi denilen ve pazarlayabilece\u011fi hi\u00e7bir \u015feyi d\u0131\u015far\u0131da b\u0131rakmayan bu kapma ayg\u0131t\u0131, uzun bir tarihselli\u011fi 140 karakterlik malumatlara s\u0131k\u0131\u015ft\u0131rmaya \u00e7al\u0131\u015fan ve g\u00fcndelik ya\u015fam\u0131nda dengb\u00eaj dinlemeyen \u2018dengb\u00eajsevici\u2019 bir birey tipi yaratm\u0131\u015ft\u0131r. Ayd\u0131nlanmak i\u00e7in de\u011fil daha \u00e7ok par\u0131ldamak i\u00e7in \u0131\u015f\u0131\u011fa ko\u015fan yeni sosyal medya fenomenlerinin \u00f6nemli bir k\u0131sm\u0131 i\u00e7in Kek\u00ea Qiyasedd\u00een ya da Mala Sey\u00eedxan kilamlar\u0131n\u0131n hangi direni\u015f ve y\u0131k\u0131m diyalekti\u011finden t\u00fcredi\u011finin \u00e7ok da bir \u00f6nemi yoktur. Bu sert ger\u00e7eklik ile ilgili bir fikir olu\u015fturmak ya da o derin haf\u0131zan\u0131n i\u00e7inde ilerleyip ge\u00e7mi\u015f ile bu g\u00fcn aras\u0131nda bir mekik gibi dokunmu\u015f olan o direni\u015f arkeolojisiyle hemhal olmak en nihayetinde daha fazla be\u011feni kayg\u0131s\u0131n\u0131n asla \u00f6n\u00fcne ge\u00e7memelidir. \u00dcstelik bu tarz bir derinle\u015fme ve sahicilik sorgulamas\u0131 140 karakterlik bir twite asla s\u0131\u011fmaz!<\/p>\n\n\n\n

Her egemen ulus, kendi tarihsel k\u00f6klerini kurgularken bunu hem ezip yok sayd\u0131\u011f\u0131 uluslar\u0131n k\u00fclt\u00fcrel ve tarihsel ger\u00e7ekli\u011finin reddi \u00fczerinden yapar hem de kolonile\u015ftirdikleri ulusun-lar\u0131n k\u00fclt\u00fcrel formlar\u0131n\u0131 tam bir talan motivasyonuyla kendi ulusal repertuar\u0131na doldurup ba\u015fkala\u015ft\u0131r\u0131r. K\u00fcrt m\u00fczi\u011finin bizzat resmi desteklerle ve sistematik olarak talan edili\u015fi apayr\u0131 bir s\u00f6m\u00fcrgecilik okumas\u0131 olarak \u00fczerine k\u00fclliyat yaz\u0131lacak kadar kapsaml\u0131 ve derinliklidir. K\u00fcrtlerin kimlik, toprak, k\u00fclt\u00fcr ve dil gramerinin bu kadar g\u00fc\u00e7l\u00fc bir tonlama bar\u0131nd\u0131rmas\u0131n\u0131n asli nedeni K\u00fcrt tarihselli\u011finin ve k\u00fclt\u00fcrel ger\u00e7ekli\u011finin y\u00fcceltilmesi de\u011fil, totalitarizme ve tek\u00e7i ulus egemenli\u011fine kar\u015f\u0131 \u2018yan\u0131l\u0131yorsun ben senden farkl\u0131y\u0131m\u2019 refleksidir. Hesen Z\u00eerek\u2019in \u2018Ey Ni\u015ftiman\u2019 \u015fark\u0131s\u0131n\u0131 \u2018Ankara\u2019n\u0131n Ta\u015f\u0131na Bak\u2019 Koma Deng\u00ea Qami\u015flo\u2019nun \u2018Day\u00ea\u2019 \u015fark\u0131s\u0131n\u0131 \u2018\u00d6l\u00fcr\u00fcm T\u00fcrkiyem\u2019, Tehs\u00een Teha\u2019n\u0131n \u2018Min Xem Deryayek\u2019 \u015fark\u0131s\u0131n\u0131 \u2018Aya\u011f\u0131nda Kundura\u2019 ya d\u00f6n\u00fc\u015ft\u00fcr\u00fcp asli ba\u011flam\u0131ndan koparan bu \u00e7arka kar\u015f\u0131 \u2018kendine ait olan\u0131 istemek ve sahiplenmek\u2019 bug\u00fcn etik ve politik bir sorumluluk olarak b\u00fct\u00fcn K\u00fcrtlerin omuzuna \u00e7\u00f6km\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

Zaman\u0131n tahakk\u00fcm\u00fcn\u00fc hafifleten m\u00fczik, zaman\u0131n ak\u0131\u015f\u0131n\u0131 da dura\u011fanla\u015ft\u0131rarak bizi bir an\u0131 ya da an\u0131lar k\u00fcmesinin i\u00e7ine hapseder ve haf\u0131za dedi\u011fimiz yeri yeniden kurar. Olan ve olabilecek her \u015feyi bize yeniden d\u00fc\u015f\u00fcnd\u00fcrten m\u00fczik, K\u00fcrtler i\u00e7in bir taraftan sahiplenmenin, \u00f6b\u00fcr taraftan reddedi\u015fin sa\u011flam kalelerinden biri i\u015flevini \u00fcstlenmi\u015ftir. S\u00f6z konusu bu ret kabul \u00f6l\u00e7\u00fclerinin aras\u0131na s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131n yaratt\u0131\u011f\u0131 daralma ve sanatsal yarat\u0131n\u0131n \u2018\u00f6zg\u00fcrl\u00fck\u2019 ko\u015fulu ve mevcut ger\u00e7eklik bizleri bamba\u015fka bir tart\u0131\u015fmaya g\u00f6t\u00fcr\u00fcr. E\u011fer m\u00fczik, bize ya\u015fam\u0131n vah\u015fetini ve sanc\u0131s\u0131n\u0131 anl\u0131k olarak da g\u00f6sterebiliyorsa ve irasyonel bir uzam\u0131n kap\u0131lar\u0131n\u0131 a\u00e7\u0131k tutuyorsa m\u00fczi\u011fin ideolojik bile\u015fenlerini de kabul etmek zorunday\u0131z. \u00dcstelik m\u00fczik, ontolojik olarak toplumsal ger\u00e7ekli\u011fi ve onun kar\u015f\u0131tl\u0131klar\u0131n\u0131 a\u015ft\u0131\u011f\u0131n\u0131 iddia ediyorsa. Yitirdiklerimizi geri \u00e7a\u011f\u0131rd\u0131\u011f\u0131m\u0131z, yitirdiklerimizden yeniyi in\u015fa etti\u011fimiz, ak\u0131p giden zamana kar\u015f\u0131 ge\u00e7mi\u015fi gelece\u011fe, gelece\u011fi ge\u00e7mi\u015fe ba\u011flamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z bir tela\u015f ve heyecandan \u00e7\u0131kan K\u00fcrt politik m\u00fczi\u011fi, ayn\u0131 zamanda ger\u00e7ekli\u011fin kendi gramerini, gramerin de yeni bir ger\u00e7ekli\u011fi in\u015fa etmesinin \u00f6yk\u00fcs\u00fcd\u00fcr. Faili me\u00e7hul bir cinayette babas\u0131n\u0131 yitiren bir \u00e7ocu\u011fun annesine \u2018Ez\u00ea sibe mezin bibim ne?\u2019 sesleni\u015findeki zamana yay\u0131lm\u0131\u015f bir k\u0131rg\u0131nl\u0131k, meydan okuma ve \u00f6fkenin izd\u00fc\u015f\u00fcm\u00fc gibi\u2026<\/p>\n\n\n\n

\u00d6zetle, bir s\u00f6m\u00fcrge diyalekti\u011fi olan \u2018izleri silerek unutturma\u2019 stratejisine kar\u015f\u0131 \u2018izlerin izini s\u00fcrerek\u2019 unutmaya kar\u015f\u0131 haf\u0131zay\u0131 direnmeye \u00e7a\u011f\u0131rman\u0131n sava\u015f\u0131nda m\u00fczik, ideolojik bir kataliz\u00f6r ve bir duygular atlas\u0131 g\u00f6revi \u00fcstlenmi\u015ftir. Varl\u0131\u011f\u0131 ask\u0131ya al\u0131nan, tarihten d\u00fc\u015f\u00fcr\u00fclerek g\u00f6r\u00fcnmez k\u0131l\u0131nan ve en nihayetinde b\u00fct\u00fcn tarihsel ve k\u00fclt\u00fcrel varl\u0131\u011f\u0131yla reddedilen bir halk ve co\u011frafyada, m\u00fczik hem direni\u015fin haf\u0131zas\u0131n\u0131 durmadan an\u0131msatan hem de direni\u015fe \u00e7a\u011f\u0131ran taleplerin ilan sahas\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Platon\u2019un zehir ve ila\u00e7 ikili\u011fi \u00fczerinden tan\u0131mlad\u0131\u011f\u0131 hat\u0131rlama eylemini K\u00fcrtl\u00fc\u011f\u00fcn haf\u0131zas\u0131na en \u00e7ok i\u015fleyen sanat kategorisi olan m\u00fczik, K\u00fcrtlerin felaketlerden ve direni\u015ften te\u015fkil olmu\u015f tarihinin bir taraf\u0131na Dersim Tertelesini anlatan a\u011f\u0131tlar bir taraf\u0131na da Herne p\u00ea\u015f co\u015fkusunu arma\u011fan etmi\u015ftir. Tarihsel d\u00f6n\u00fcm noktalar\u0131n\u0131n bellek i\u00e7erisinde kodlanmas\u0131na, hat\u0131rlanmas\u0131na, ya\u015fat\u0131lmas\u0131na ve bazen geri \u00e7a\u011f\u0131r\u0131lmas\u0131na \u00e7o\u011funlukla m\u00fczik \u00f6nc\u00fcl\u00fck etmi\u015ftir. K\u00fcrt m\u00fczi\u011fi tam da burada b\u00fct\u00fcn bask\u0131 ve zor ay\u0131tlar\u0131na kar\u015f\u0131 tahakk\u00fcm gramerini par\u00e7alaman\u0131n bir yolunun da m\u00fczik ile direni\u015fin ritmik g\u00fczelli\u011fini birle\u015ftirmek oldu\u011funu a\u00e7\u0131k se\u00e7ik beyan etmi\u015ftir. Fanon\u2019un \u2018nefes alamad\u0131\u011f\u0131m\u0131z i\u00e7in isyan ediyoruz\u2019 belirlemesinin yan\u0131na K\u00fcrtler, \u2018nefes alamad\u0131\u011f\u0131m\u0131z i\u00e7in her isyana bir \u015fark\u0131, her \u015fark\u0131ya bir isyan ekliyoruz\u2019 kural\u0131n\u0131 eklemi\u015flerdir. Her k\u0131y\u0131m ve felaket sonras\u0131 olu\u015fan melankolik i\u00e7e kapan\u0131\u015fa kar\u015f\u0131 bir ba\u015fka isyan \u015fark\u0131s\u0131 yard\u0131ma ko\u015fmu\u015ftur. Her dinledi\u011fimizde kabuk tutmayan bir yara gibi i\u00e7imizi yeniden kanatan \u2018Halep\u00e7e\u2019 a\u011f\u0131t\u0131n\u0131n hemen ard\u0131ndan \u2018Berxwedan Jiyane\u2019 co\u015fkusuna s\u0131ra gelir. Duygular\u0131n bu s\u0131ra yolda\u015fl\u0131\u011f\u0131 neredeyse b\u00fct\u00fcn m\u00fczikal ak\u0131\u015flarda kendini g\u00f6sterir. \u00c7\u00fcnk\u00fc K\u00fcrt m\u00fczi\u011finin ulusal varolu\u015f ve direni\u015fle olan ba\u011f\u0131, stratejik olarak k\u00f6kleri \u00e7ok derinlerde olan tarihsel bir alan savunmas\u0131d\u0131r.<\/p>\n\n\n\n

Direni\u015f halaylar\u0131m\u0131za ezgiler, a\u011f\u0131r kederlerimize a\u011f\u0131tlar ekleyip hem s\u00f6z\u00fcm\u00fcze hem de sesimize \u00f6zg\u00fcr bir \u00fclke d\u00fc\u015f\u00fc ekleyen b\u00fct\u00fcn ustalara sayg\u0131 ve minnetle\u2026<\/p>\n\n\n\n

KAYNAK\u00c7A<\/strong><\/h3>\n\n\n\n

[1] Ricoeur, Haf\u0131za Tarih Unutu\u015f, Metis Yay\u0131nlar\u0131
[2] Aktaran: Jacques Attal\u0131, G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.
[3] Aktaran: Jacques Attal\u0131, G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.
[4] Gelene\u011fin Icad\u0131-Eric J.Hobsbawm-Terence Ranger-Mehmed Murad \u015eahin, Agora Kitapl\u0131\u011f\u0131
[5] Ricoeur, Haf\u0131za Tarih Unutu\u015f, Metis Yay\u0131nlar\u0131
[6]Gelene\u011fin Icad\u0131-Eric J.Hobsbawm-Terence Ranger-Mehmed Murad \u015eahin, Agora Kitapl\u0131\u011f\u0131
[7]Haf\u0131za Tarih Unutu\u015f, Ricoeur, Metis Yay\u0131nlar\u0131
[8]G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe,\u00a0 Jacques Attal\u0131, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.<\/p>\n","protected":false},"excerpt":{"rendered":"

“Haf\u0131za, \u00f6dev verir ve bor\u00e7lu k\u0131lar. Bir nevi kendini an\u0131msamak gibi bir \u015feydir bu. B\u00fct\u00fcn o an\u0131lar size musallat olur ve sizi tutsak eder\u2026” Ricoeur[1] K\u00fcrt m\u00fczi\u011finin K\u00fcrt ulusal haf\u0131zas\u0131n\u0131n in\u015fas\u0131nda y\u00fcklendi\u011fi ba\u015fat rol\u00fcn derin tarihselliklerine do\u011fru ilerledi\u011fimizde ilk g\u00f6ze \u00e7arpan \u015fey, K\u00fcrt m\u00fczi\u011finin yarat\u0131c\u0131s\u0131n\u0131n bile \u00f6znel niyetini ve anlat\u0131m\u0131n\u0131 a\u015fan bir hakikat bar\u0131nd\u0131r\u0131yor olmas\u0131d\u0131r. Klee\u2019nin deyi\u015fiyle \u2018sanat\u0131n t\u0131pk\u0131 din gibi tatmin edilmemi\u015f arzulardan do\u011fdu\u011fu\u2019[2] ger\u00e7ekli\u011fi \u00fczerinden ilerledi\u011fimizde ger\u00e7e\u011fin bizi \u00e7\u00fcr\u00fctmemesi i\u00e7in de sanat\u0131n hem bir ila\u00e7 hem bir zehir oldu\u011fu ger\u00e7ekli\u011fiyle y\u00fcz y\u00fcze kal\u0131r\u0131z. Tam da bu e\u015fikte \u2018A\u011flamamak i\u00e7in yarat\u0131yorum; tek gerek\u00e7em bu\u2019[3] diyen Klee\u2019nin belirlemesine Esker\u00ea Boy\u00eek\u2019in \u2018Kilam hem derde hem derman e \/ kilam ji evda re d\u00een \u00fb \u00eeman e\u2026\u2018 d\u00f6rtl\u00fc\u011f\u00fc e\u015flik eder. Sanat, K\u00fcrd\u00fcn topografyas\u0131nda \u00e7o\u011funlukla oyuna indirgenmeyecek kadar sert bir ger\u00e7ekli\u011fin i\u00e7inde boy verir. Post-zamansall\u0131klarda bir bayku\u015f sesi gibi tepemize \u00e7\u00f6ken \u2018sanat politik olmak zorunda de\u011fildir\u2019 kural\u0131n\u0131 h\u00fck\u00fcms\u00fcz k\u0131lar; Apollon\u2019un \u00f6l\u00e7\u00fcl\u00fc k\u0131s\u0131tlay\u0131c\u0131l\u0131\u011f\u0131na kar\u015f\u0131 Dioniysos\u2019un sanatsal zarafetini sal\u0131k veren Nietzsche\u2019ye de kulak asmaz. Bizleri ger\u00e7ekli\u011fin y\u0131k\u0131c\u0131l\u0131\u011f\u0131ndan kurtarmak i\u00e7in ger\u00e7eklik ile aram\u0131zda ince bir t\u00fcl gibi \u00f6r\u00fclen sanat, K\u00fcrt co\u011frafyas\u0131nda t\u00fcl\u00fc y\u0131rtar, e\u011fretilemeden, alegoriden, te\u015fbihten ve te\u015fhisten ge\u00e7erek \u00e7\u0131r\u0131l\u00e7\u0131plak bir direni\u015f mevziisine d\u00f6n\u00fc\u015f\u00fcr. K\u00fcrt m\u00fczi\u011finin sanat\u0131n bizi ger\u00e7eklikten ve m\u00fccadele alan\u0131ndan uzakla\u015ft\u0131ran estetik co\u015fkusundan daha \u00e7ok, bizi ger\u00e7ekli\u011fin \u00fczerine y\u00fcr\u00fcten, y\u0131k\u0131m\u0131 ve \u00f6zg\u00fcrle\u015fme arzusunu ayn\u0131 anda \u00e7\u0131plakla\u015ft\u0131ran bir karakteri vard\u0131r.  Hem i\u00e7eride hem d\u0131\u015far\u0131da olan biteni bize g\u00f6steren, iki tarafl\u0131 bak\u0131\u015f\u0131 m\u00fcmk\u00fcn k\u0131lan geni\u015f ve puslu bir pencere misali\u2026 Erdewan Zaxoy\u00ee ile ba\u015flay\u0131p Sefkan, El\u00ee Temel, Hozan Serhad ve Del\u00eela\u2019ya kadar uzanan bir omzunda saz, \u00f6b\u00fcr omzunda silahla y\u00fcr\u00fcyen bir sava\u015fan sanat\u00e7\u0131 silsilesi, s\u00f6z konusu denklemin belki de en sert ve en ger\u00e7ek g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc olu\u015fturur. M\u00fczik uzmanlar\u0131 melodik sezgilerimizin sadece \u00fc\u00e7 binden fazla ses perdesini alg\u0131layabildi\u011fini buna kar\u015f\u0131 en geni\u015f ses aral\u0131klar\u0131na sahip olan piyanonun bile bu seslerden en fazla seksen sekiz tonu \u00e7alabildi\u011fini iddia eder. K\u00fcrtl\u00fck d\u00fcnyas\u0131n\u0131n ve direni\u015finin derin haf\u0131zas\u0131nda hi\u00e7bir ses perdesinin ula\u015famayaca\u011f\u0131 aral\u0131klar vard\u0131r; hi\u00e7bir t\u0131n\u0131n\u0131n ya da oktav\u0131n ula\u015famayaca\u011f\u0131 yerlerdir bunlar. Bat\u0131n\u0131n bir tonalite fa\u015fizmine d\u00f6n\u00fc\u015fen kat\u0131 ve sistematik m\u00fczi\u011fine kar\u015f\u0131 Cud\u00ee ve Gabar oyuklar\u0131ndan yank\u0131lanan bir heyranok ya da pay\u00eezok b\u00fct\u00fcn ses perdelerini par\u00e7alay\u0131p bir \u00e7\u0131\u011fl\u0131k gibi yank\u0131lan\u0131r. Dayat\u0131lm\u0131\u015f bir gramere zerre kadar iman etmemi\u015f ve hizalanmay\u0131 reddeden do\u011fal bir senfoni gibi. \u0130nsan bilincine spazm ge\u00e7irtecek t\u00fcrden etimolojik zorlama ve kasmalar\u0131n modaya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc g\u00fcn\u00fcm\u00fczde, dengb\u00eajli\u011fi deng ve b\u00eaj kombinasyonuna s\u0131k\u0131\u015ft\u0131rman\u0131n keyfili\u011fi bir tarafa, dengb\u00eajli\u011fi abart\u0131l\u0131 bir romantik y\u00fcceltme tuza\u011f\u0131ndan da kurtarmak gerekir. Dengb\u00eajlik denen \u015fey, iddia edildi\u011fi kadar K\u00fcrtl\u00fc\u011f\u00fcn asimile olmay\u0131\u015f\u0131n\u0131n tek nedeni olmamakla birlikte K\u00fcrt\u00e7e bilmeyen bir K\u00fcrtl\u00fc\u011f\u00fcn otantik bir sevimlili\u011fe d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fc o oryantalist alg\u0131n\u0131n g\u00f6rd\u00fc\u011f\u00fcnden de \u00e7ok daha fazlas\u0131d\u0131r.  Tarih boyunca dengb\u00eajler sadece mir ve pa\u015falar\u0131n divan\u0131nda oturup s\u00f6z konusu patronaj ili\u015fki \u00fczerinden ayr\u0131cal\u0131\u011f\u0131n nimetinden faydalanmam\u0131\u015flard\u0131r. Ayn\u0131 zamanda birer gezgin gibi malumat da\u011f\u0131tan, haber veren, geli\u015fme aktaran, k\u00fclt\u00fcrel aktar\u0131m yapan, lokal tarihi ba\u015fka bir lokasyona ekleyip oradan ulusal haf\u0131zaya ta\u015f\u0131yan ve dinleyenin hayal d\u00fcnyas\u0131n\u0131 zenginle\u015ftiren bir i\u015flev de \u00fcstlenmi\u015flerdir. Evdal\u00ea Zeynik\u00ea S\u00fcrmeli Mehmet Pa\u015fa ile gitti\u011fi \u00c7ukurova\u2019dan d\u00f6n\u00fc\u015fte Serhatl\u0131lara portakal\u0131 anlat\u0131r, \u015eakiro, Dersim\u2019in do\u011fal g\u00fczelli\u011fini bir kad\u0131nda kristalize ederek Tujik Da\u011f\u0131n\u0131, S\u00fcphan\u2019\u0131n dibindeki k\u00f6ylere ta\u015f\u0131r. Hayatlar\u0131 boyunca Botan s\u0131n\u0131r\u0131n\u0131n \u00f6tesine ge\u00e7memi\u015f Behd\u00eenan k\u00f6yl\u00fcleri, Batman\u2019da a\u015firetler aras\u0131 bir k\u0131y\u0131m\u0131 anlatan Filt\u00eete Quto kilam\u0131n\u0131 Erivan ve Ba\u011fdat Radyolar\u0131ndan dinler ve zamanla g\u00fcndelik diline bo\u015f k\u00fclhanili\u011fi imleyen bir deyim ekler: \u2018Qey tu Fil\u00eeti\u00ea Quto y\u00ee?\u2019 Dengb\u00eajli\u011fin i\u00e7inde hem sosyolojik hem de etik bir alan gizlidir. Kahramanl\u0131k, adanm\u0131\u015fl\u0131k, ba\u015fkald\u0131r\u0131n\u0131n yan\u0131nda a\u015fk, \u00e7aresizlik, gurur ba\u015fta olmak \u00fczere neredeyse K\u00fcrtl\u00fck d\u00fcnyas\u0131n\u0131n b\u00fct\u00fcn ya\u015fam formlar\u0131 vard\u0131r. Derw\u00ea\u015f\u00ea Evd\u00ee ve Kir\u00eev\u00ea, K\u00fcrtler aras\u0131 mezhepsel b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011fe kar\u015f\u0131 a\u015fk\u0131n bir ba\u015fkald\u0131r\u0131s\u0131n\u0131 dillendirirken Xal\u00ea Cemil \u00e7ocuk evlili\u011fine kar\u015f\u0131 \u00e7aresizli\u011fi, \u015eer\u00ea Tarxan i\u00e7 ihanete kar\u015f\u0131 bir i\u00e7 isyan\u0131 ve hay\u0131flanmay\u0131 dillendirir. 1925\u2019lerden sonra s\u00f6m\u00fcrge limanlar\u0131nda ad\u0131 san\u0131 bilinmeyen y\u00fczlerce m\u00fczisyen derme \u00e7atma kay\u0131t st\u00fcdyolar\u0131nda s\u00f6m\u00fcrgelerin ritim ve ezgilerini kaydederken ayn\u0131 \u015fekilde dengb\u00eajlik de paralel bir tarihsellik yakalayarak hemen hemen ayn\u0131 tarihlerde t\u0131pk\u0131 Havana\u2019n\u0131n Son\u2019u, Rio\u2019nun Samba\u2019s\u0131, New Orleans\u2019\u0131n Caz\u2019\u0131, Buenos Aires\u2019in Tango\u2019su, Sevilla\u2019n\u0131n flamenko\u2019su, Kahire\u2019nin Tarab\u2019\u0131, Johannesburg\u2019un Marabi\u2019si gibi K\u00fcrtl\u00fc\u011f\u00fcn kilamlar\u0131 ve stranlar\u0131 kaydediliyordu. Kolonile\u015ftirilmi\u015f d\u00fcnyalarda geli\u015fen bu yeni tarihsellik K\u00fcrtlerde bamba\u015fka bir uzam ve mek\u00e2nsall\u0131k \u00fczerinden ya\u015fan\u0131yordu: B\u00fct\u00fcn s\u00f6m\u00fcrgele\u015ftirilmi\u015f \u00fclkelerde m\u00fczikler bizzat o \u00fclkenin s\u0131n\u0131rlar\u0131 i\u00e7inde kaydedilirken K\u00fcrtlerde kay\u0131tlar daha \u00e7ok M\u0131s\u0131r, Ermenistan, \u0130ran ve Irak devletlerinin s\u0131n\u0131rlar\u0131 i\u00e7inde kurulan radyo st\u00fcdyolar\u0131 \u00fczerinden kaydedilerek ar\u015fivleniyordu. Dengb\u00eajlik ile K\u00fcrt ulusal direni\u015f haf\u0131zas\u0131 aras\u0131ndaki ili\u015fki, E. J. Hobsbawm\u2019\u0131n \u2018eski g\u00f6z\u00fcken veya eski oldu\u011fu iddia edildi\u011fi halde gayet yeni ortaya \u00e7\u0131km\u0131\u015f ve hatta bazen icat edilmi\u015f gelenek\u2019[4] teziyle belli bir uyum g\u00f6stermektedir. \u0130cat edilmi\u015f gelenekler, ulus\u00e7ulu\u011fun modern geli\u015fiminde ulusal birlik ve kolektif kimlik tahayy\u00fcl\u00fcn\u00fc in\u015fa eden bir k\u00fclt\u00fcrel haf\u0131zay\u0131 kurabilme kudretine her zaman sahip olmu\u015ftur. Kuzey Kurdistan\u2019da \u00f6zellikle 1990 sonras\u0131 ulusal direni\u015fin y\u00fckseli\u015fi ve sars\u0131c\u0131 etkisine paralel bir \u015fekilde ulusu in\u015fa eden iki \u00f6nemli moment olan teritorya (\u00fclke) ve kolektif haf\u0131za (tarih) anlat\u0131m\u0131 en \u00e7ok m\u00fczikal alanda kendini g\u00f6r\u00fcn\u00fcr k\u0131lmaya ba\u015flad\u0131. O d\u00f6nemlerde hemen hemen hi\u00e7bir politik \u015fark\u0131n\u0131n te\u011fet ge\u00e7emedi\u011fi \u00e7oklu kavram setleri olu\u015ftu ve zamanla neredeyse b\u00fct\u00fcn m\u00fczikal s\u00f6zlerin k\u0131lcallar\u0131na kadar sirayet etti. Bu kavram setinin en ba\u015fat olanlar\u0131, welat, ziman, d\u00eerok, serhildan, heyfa salan, tolhildan ve berxwedan \u015feklinde s\u0131ralanan m\u00fczikal bir ament\u00fc gibi i\u015flev g\u00f6rm\u00fc\u015ft\u00fcr. 1990\u2019lardan \u00e7ok \u00f6nceleri ortaya \u00e7\u0131km\u0131\u015f olan dengb\u00eajlikte teritoryal arzular\u0131n olmad\u0131\u011f\u0131 ya da c\u0131l\u0131z da olsa yer yer Kurdi bir ulusall\u0131\u011f\u0131n izlerinin okunmad\u0131\u011f\u0131n\u0131 s\u00f6ylemek anakronik bir tuza\u011fa \u00e7eker bizleri. Ehmed\u00ea Xan\u00ee, Feq\u00ee ya da Melay\u00ea Ciz\u00eer\u00ee\u2019nin hi\u00e7bir divan\u0131nda denb\u00eaj isminin ge\u00e7medi\u011fi ve K\u00fcrtlerin ya\u015famsal bir formu olarak ortaya \u00e7\u0131km\u0131\u015f olan dengb\u00eajli\u011fin dengb\u00eajlik olarak tan\u0131mlanmas\u0131n\u0131n tarihinin en fazla y\u00fcz elli y\u0131l oldu\u011fu do\u011frudur. Fakat her olu\u015fu tarihsel ba\u011flam\u0131 i\u00e7erisinde de\u011ferlendirdi\u011fimizde b\u00f6ylesi bir geri \u00e7a\u011f\u0131rman\u0131n da bizleri hi\u00e7bir yere g\u00f6t\u00fcremeyece\u011fi a\u015fik\u00e2rd\u0131r. K\u00fcrtl\u00fck politize olduk\u00e7a dengb\u00eajlik romantize edildi ve ulusal anlat\u0131n\u0131n repertuar\u0131na eklendi. Oto oryantalist bir alg\u0131 d\u00fcnyas\u0131n\u0131n d\u0131\u015f\u0131ndan bakt\u0131\u011f\u0131m\u0131zda dengb\u00eajlik ne iddia edildi\u011fi kadar politiktir, ne de iddia edildi\u011fi kadar apolitiktir! Ku\u015fkusuz Reso, \u015eakiro ya da Mihemed Arif kalabal\u0131k divanlarda \u015fark\u0131lar\u0131n\u0131 s\u00f6ylerken bunu tamam\u0131yla K\u00fcrtl\u00fck ad\u0131na ya da K\u00fcrdistan \u00f6zg\u00fcrl\u00fck ruhuyla s\u00f6ylememi\u015flerdir. Ama bu durum, A\u011fr\u0131 ya da \u015e\u00eax Sa\u00eed \u0130syan\u0131n\u0131n \u00f6nc\u00fc komutanlar\u0131n\u0131n kahramanl\u0131klar\u0131n\u0131 anlatan kilamlar\u0131n rahatl\u0131kla ulusal direni\u015f haf\u0131zas\u0131na eklemlenebilecek geni\u015f bir s\u00f6ylem zenginli\u011fine sahip olmad\u0131klar\u0131 anlam\u0131na da gelmez. Tam da burada Ricoeur\u2019un \u2018kendini an\u0131msamak ve an\u0131lar\u0131n bize musallat olup bizi tutsak edi\u015fi\u2019[5] dedi\u011fi \u015fey devreye girer. Ulusall\u0131\u011f\u0131n ve s\u0131n\u0131fsal konumlan\u0131\u015f\u0131n tarihselli\u011fiyle m\u00fczikal tercihler aras\u0131ndaki ili\u015fkiye belki de en g\u00fczel \u00f6rneklerden biri, Van\u2019da k\u00f6yl\u00fclerin ve kentin \u00e7eperindeki yoksullar\u0131n yo\u011fun bi\u00e7imde al\u0131\u015fveri\u015f yapt\u0131\u011f\u0131 \u00e7ar\u015f\u0131n\u0131n i\u00e7 kesimlerindeki \u00fc\u00e7 tekerlekli kaset arabalar\u0131nda \u00e7al\u0131nan m\u00fcziklerin her tarihsel d\u00f6neme g\u00f6re ayr\u0131 bir i\u00e7erik kazanmas\u0131 s\u00fcrecidir. K\u00fcrt\u00e7enin kamusal alanda yasakl\u0131 oldu\u011fu 90\u2019l\u0131 y\u0131llar\u0131n ba\u015f\u0131nda \u00fc\u00e7 tekerlekli arabalarda sat\u0131lan K\u00fcrt\u00e7e kasetler yo\u011funluklu olarak dengb\u00eaj kasetlerinden olu\u015furken 1991-92 sonras\u0131nda ayn\u0131 arabalardan Koma Berxwedan, \u015eivan Perwer, Xel\u00eel Xemg\u00een ve Dilge\u015f\u2019in direni\u015fe \u00e7a\u011f\u0131ran sesleri y\u00fckselmeye ba\u015flad\u0131. Ayn\u0131 d\u00f6nemlerde az say\u0131da kentli K\u00fcrt ve yo\u011funluklu olarak T\u00fcrkmen ve Azerilerin konumland\u0131\u011f\u0131 merkezi caddelerde M\u00fcsl\u00fcm G\u00fcrses, \u0130brahim Tatl\u0131ses ve bilumum arabesk m\u00fczikler \u00e7al\u0131nmaktayd\u0131. 2000 y\u0131llar\u0131 sonras\u0131 orta s\u0131n\u0131f K\u00fcrtlerin kent i\u00e7lerine do\u011fru yay\u0131lmas\u0131yla birlikte \u00e7ar\u015f\u0131n\u0131n \u00e7eperinde \u00e7al\u0131nan m\u00fcziklerle k\u0131yasland\u0131\u011f\u0131nda daha az radikal K\u00fcrt\u00e7e m\u00fczikler de \u00e7al\u0131nmaya ba\u015fland\u0131. 2015\u2019ten sonra \u00e7ar\u015f\u0131 merkezindeki o sesler tamam\u0131yla sustu… Bu \u00f6rneklem \u00fczerinden ilerlersek \u015funu rahatl\u0131kla s\u00f6yleyebiliriz: K\u00fcrtlerin politik arzular\u0131yla e\u015fg\u00fcd\u00fcm halinde yeni bir politik gramer ve m\u00fccadele tarz\u0131 geli\u015ftik\u00e7e ayn\u0131 de\u011fi\u015fimler birebir m\u00fczikal tercihlere de yans\u0131m\u0131\u015ft\u0131r. 1990\u2019lardan \u00f6nceki d\u00f6nemlerde kaba bir sol indirgemecilikle burun k\u0131vr\u0131lan, geleneksel ve feodal bir geri kalm\u0131\u015fl\u0131\u011f\u0131n k\u00fclt\u00fcrel formlar\u0131 olarak kodlanan dengb\u00eajli\u011fin asl\u0131nda hem asimilasyona kar\u015f\u0131 bir blokaj g\u00f6revi g\u00f6rd\u00fc\u011f\u00fc, hem bir tarihsel me\u015frula\u015ft\u0131rma momentine d\u00f6n\u00fc\u015febildi\u011fi hem de ulus kurgusunun ihtiya\u00e7 duydu\u011fu tarihsel anlat\u0131lar bar\u0131nd\u0131rd\u0131\u011f\u0131 fark edildi. K\u00fcrdistan\u2019da en politik ailelerin \u00e7ocuklar\u0131n\u0131n bile dengb\u00eaj kasetlerinin \u00fcst\u00fcne arabesk kasetler kaydetti\u011fi zamanlar bitmi\u015f, dengb\u00eajli\u011fin asl\u0131nda \u00e7ok g\u00fc\u00e7l\u00fc bir yurtsever repertuara sahip olmad\u0131\u011f\u0131 halde politize edilebilir bir dinamik oldu\u011fu gerece\u011fi ortaya \u00e7\u0131km\u0131\u015ft\u0131. 80\u2019li y\u0131lar\u0131n ortalar\u0131ndan itibaren H\u00fbnerkom ve 90\u2019l\u0131 y\u0131llar\u0131n ba\u015f\u0131ndan itibaren MKM b\u00fcnyesinde yarat\u0131lan kom\u00fcnal m\u00fczik gelene\u011fi neredeyse K\u00fcrt ulusalla\u015fma s\u00fcrecinde co\u015fku ve direni\u015f duygusunun kataliz\u00f6r\u00fc i\u015flevini \u00fcstlendi. Ajitatif m\u00fczi\u011fin en co\u015fkulu \u00f6rneklerinin ortaya \u00e7\u0131kt\u0131\u011f\u0131 bu d\u00f6nemlerde Hernep\u00ea\u015f ve \u00cero \u00c7erxa \u015eore\u015f\u00ea standart mar\u015flar, \u00c7iyay\u00ea Bagok\u00ea, K\u00eene Em ve Werxan gibi \u015fark\u0131lar K\u00fcrt halay ezgilerine kendili\u011finden eklendi. B\u00fct\u00fcn bu kurumsal \u00fcretimlerin yan\u0131nda d\u00fc\u011f\u00fcnlerde genellikle bir org ve bir ba\u011flama ile bazen insana cinnet ge\u00e7irtecek kadar detone amat\u00f6r gruplar bile bu ulusalla\u015fma s\u00fcrecinin ba\u015fka bir kamusal dinami\u011fi haline geldiler. \u00d6zellikle 1990\u2019l\u0131 y\u0131llar\u0131n sonlar\u0131ndan itibaren T\u00fcrkiye metropollerinin promil ve nikotin d\u00fczeyi y\u00fcksek kimi barlar\u0131nda K\u00fcrt\u00e7e m\u00fcziklerin pop\u00fclaritesi art\u0131nca ayn\u0131 durum e\u015fzamanl\u0131 olarak Kurdistan\u2019\u0131n belli \u015fehirlerinde de belirmeye ba\u015flad\u0131. \u00d6zellikle metporollerde s\u00fcrg\u00fcnl\u00fc\u011f\u00fcn, b\u00fcy\u00fck kentlere yenilmi\u015fli\u011fin ve \u00fclke hasretinin melankolisiyle ba\u015flayan giri\u015f m\u00fczikleri, gecenin sonunda yerini K\u00fcrtl\u00fc\u011f\u00fcn bir ilan sahas\u0131 olan halaylarla kapan\u0131yor ve bu seremoni barlar\u0131n de\u011fi\u015fmez program ak\u0131\u015f\u0131 haline geliyordu. K\u00fcrtlerdeki m\u00fczikal tercihlerin de\u011fi\u015fimini salt i\u00e7 toplumsal dinamiklerin ve politik m\u00fccadelenin seyriyle a\u00e7\u0131klamak ku\u015fkusuz yetersizdir. 1990\u2019larda klasik s\u0131n\u0131f sava\u015f\u0131mlar\u0131n\u0131n yerine k\u00fclt\u00fcr \u00e7at\u0131\u015fmalar\u0131n\u0131n ge\u00e7mesi, yeni k\u00fclt\u00fcr kaynaklar\u0131n\u0131n ke\u015ffi, postlar d\u00f6nemi kimlik patlamalar\u0131 ve geleneksel olan\u0131 dijital ortamlarda yayma end\u00fcstrisi, K\u00fcrt m\u00fczi\u011fini ulusal in\u015fan\u0131n en g\u00fc\u00e7l\u00fc dinamiklerinden biri haline getirdi. MED TV\u2019de yap\u0131lan dengb\u00eaj programlar\u0131, Kurdistan\u2019\u0131n de\u011fi\u015fik yerlerinde 2000\u2019ler sonras\u0131 a\u00e7\u0131lan dengb\u00eaj evlerini geleneksel olana geri d\u00f6n\u00fc\u015f\u00fcn emareleri olarak de\u011fil,  modern m\u00fccadele pratikleri ile geleneksel formlar\u0131n bile\u015fkesinden yeni bir ulusal direni\u015f s\u00f6yleminin in\u015fa s\u00fcreci olarak okumak gerekir. Ge\u00e7mi\u015f ile g\u00fcncel aras\u0131ndaki bu ili\u015fki m\u00fczik \u00fcretilen m\u00fcziklerin formunda belirleyici bir etken olmu\u015ftur. \u00d6rne\u011fin modern d\u00f6nem K\u00fcrt m\u00fczi\u011fi formlar\u0131n\u0131 dikkatlice inceledi\u011fimizde Mihemed Arif\u2019\u0131n \u015eivan\u2019\u0131, Cemil Horo\u2019nun Xelil Xemg\u00een\u2019i, Mirad\u00ea Kin\u00ea\u2019nin Ciwan Haco\u2019yu, Serhat Dengb\u00eajlerinin Nizamettin Ari\u00e7 ve Del\u00eel D\u00eelanar \u00fczerindeki etkisini rahatl\u0131kla g\u00f6rebiliriz. \u015eakiro ile Rojda\u2019n\u0131n, H\u00fbs\u00ean\u00ea Org\u00eenos\u00ea ile Del\u00eel\u2019in d\u00fceti ayn\u0131 zamanda \u00f6lmek \u00fczere olan bir gelene\u011fi ve onun sahibi olan dengb\u00eaji geri \u00e7a\u011f\u0131rma rit\u00fceli gibidir. Ge\u00e7mi\u015fi ve bug\u00fcn\u00fc birbirine eklemleyen bu de\u011ferli \u00e7abalar\u0131n en g\u00f6r\u00fcn\u00fcr oldu\u011fu sosyal medya platformlar\u0131nda ba\u015fka bir dram devreye girer. K\u00fclt\u00fcr end\u00fcstrisi denilen ve pazarlayabilece\u011fi hi\u00e7bir \u015feyi d\u0131\u015far\u0131da b\u0131rakmayan bu kapma ayg\u0131t\u0131, uzun bir tarihselli\u011fi 140 karakterlik malumatlara s\u0131k\u0131\u015ft\u0131rmaya \u00e7al\u0131\u015fan ve g\u00fcndelik ya\u015fam\u0131nda dengb\u00eaj dinlemeyen \u2018dengb\u00eajsevici\u2019 bir birey tipi yaratm\u0131\u015ft\u0131r. Ayd\u0131nlanmak i\u00e7in de\u011fil daha \u00e7ok par\u0131ldamak i\u00e7in \u0131\u015f\u0131\u011fa ko\u015fan yeni sosyal medya fenomenlerinin \u00f6nemli bir k\u0131sm\u0131 i\u00e7in Kek\u00ea Qiyasedd\u00een ya da Mala Sey\u00eedxan kilamlar\u0131n\u0131n hangi direni\u015f ve y\u0131k\u0131m diyalekti\u011finden t\u00fcredi\u011finin \u00e7ok da bir \u00f6nemi yoktur. Bu sert ger\u00e7eklik ile ilgili bir fikir olu\u015fturmak ya da o derin haf\u0131zan\u0131n i\u00e7inde ilerleyip ge\u00e7mi\u015f ile bu g\u00fcn aras\u0131nda bir mekik gibi dokunmu\u015f olan o direni\u015f arkeolojisiyle hemhal olmak en nihayetinde daha fazla be\u011feni kayg\u0131s\u0131n\u0131n asla \u00f6n\u00fcne ge\u00e7memelidir. \u00dcstelik bu tarz bir derinle\u015fme ve sahicilik sorgulamas\u0131 140 karakterlik bir twite asla s\u0131\u011fmaz! Her egemen ulus, kendi tarihsel k\u00f6klerini kurgularken bunu hem ezip yok sayd\u0131\u011f\u0131 uluslar\u0131n k\u00fclt\u00fcrel ve tarihsel ger\u00e7ekli\u011finin reddi \u00fczerinden yapar hem de kolonile\u015ftirdikleri ulusun-lar\u0131n k\u00fclt\u00fcrel formlar\u0131n\u0131 tam bir talan motivasyonuyla kendi ulusal repertuar\u0131na doldurup ba\u015fkala\u015ft\u0131r\u0131r. K\u00fcrt m\u00fczi\u011finin bizzat resmi desteklerle ve sistematik olarak talan edili\u015fi apayr\u0131 bir s\u00f6m\u00fcrgecilik okumas\u0131 olarak \u00fczerine k\u00fclliyat yaz\u0131lacak kadar kapsaml\u0131 ve derinliklidir. K\u00fcrtlerin kimlik, toprak, k\u00fclt\u00fcr ve dil gramerinin bu kadar g\u00fc\u00e7l\u00fc bir tonlama bar\u0131nd\u0131rmas\u0131n\u0131n asli nedeni K\u00fcrt tarihselli\u011finin ve k\u00fclt\u00fcrel ger\u00e7ekli\u011finin y\u00fcceltilmesi de\u011fil, totalitarizme ve tek\u00e7i ulus egemenli\u011fine kar\u015f\u0131 \u2018yan\u0131l\u0131yorsun ben senden farkl\u0131y\u0131m\u2019 refleksidir. Hesen Z\u00eerek\u2019in \u2018Ey Ni\u015ftiman\u2019 \u015fark\u0131s\u0131n\u0131 \u2018Ankara\u2019n\u0131n Ta\u015f\u0131na Bak\u2019 Koma Deng\u00ea Qami\u015flo\u2019nun \u2018Day\u00ea\u2019 \u015fark\u0131s\u0131n\u0131 \u2018\u00d6l\u00fcr\u00fcm T\u00fcrkiyem\u2019, Tehs\u00een Teha\u2019n\u0131n \u2018Min Xem Deryayek\u2019 \u015fark\u0131s\u0131n\u0131 \u2018Aya\u011f\u0131nda Kundura\u2019 ya d\u00f6n\u00fc\u015ft\u00fcr\u00fcp asli ba\u011flam\u0131ndan koparan bu \u00e7arka kar\u015f\u0131 \u2018kendine ait olan\u0131 istemek ve sahiplenmek\u2019 bug\u00fcn etik ve politik bir sorumluluk olarak b\u00fct\u00fcn K\u00fcrtlerin omuzuna \u00e7\u00f6km\u00fc\u015ft\u00fcr. Zaman\u0131n tahakk\u00fcm\u00fcn\u00fc hafifleten m\u00fczik, zaman\u0131n ak\u0131\u015f\u0131n\u0131 da dura\u011fanla\u015ft\u0131rarak bizi bir an\u0131 ya da an\u0131lar k\u00fcmesinin i\u00e7ine hapseder ve haf\u0131za dedi\u011fimiz yeri yeniden kurar. Olan ve olabilecek her \u015feyi bize yeniden d\u00fc\u015f\u00fcnd\u00fcrten m\u00fczik, K\u00fcrtler i\u00e7in bir taraftan sahiplenmenin, \u00f6b\u00fcr taraftan reddedi\u015fin sa\u011flam kalelerinden biri i\u015flevini \u00fcstlenmi\u015ftir. S\u00f6z konusu bu ret kabul \u00f6l\u00e7\u00fclerinin aras\u0131na s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131n yaratt\u0131\u011f\u0131 daralma ve sanatsal yarat\u0131n\u0131n \u2018\u00f6zg\u00fcrl\u00fck\u2019 ko\u015fulu ve mevcut ger\u00e7eklik bizleri bamba\u015fka bir tart\u0131\u015fmaya g\u00f6t\u00fcr\u00fcr. E\u011fer m\u00fczik, bize ya\u015fam\u0131n vah\u015fetini ve sanc\u0131s\u0131n\u0131 anl\u0131k olarak da g\u00f6sterebiliyorsa ve irasyonel bir uzam\u0131n kap\u0131lar\u0131n\u0131 a\u00e7\u0131k tutuyorsa m\u00fczi\u011fin ideolojik bile\u015fenlerini de kabul etmek zorunday\u0131z. \u00dcstelik m\u00fczik, ontolojik olarak toplumsal ger\u00e7ekli\u011fi ve onun kar\u015f\u0131tl\u0131klar\u0131n\u0131 a\u015ft\u0131\u011f\u0131n\u0131 iddia ediyorsa. Yitirdiklerimizi geri \u00e7a\u011f\u0131rd\u0131\u011f\u0131m\u0131z, yitirdiklerimizden yeniyi in\u015fa etti\u011fimiz, ak\u0131p giden zamana kar\u015f\u0131 ge\u00e7mi\u015fi gelece\u011fe, gelece\u011fi ge\u00e7mi\u015fe ba\u011flamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z bir tela\u015f ve heyecandan \u00e7\u0131kan K\u00fcrt politik m\u00fczi\u011fi, ayn\u0131 zamanda ger\u00e7ekli\u011fin kendi gramerini, gramerin de yeni bir ger\u00e7ekli\u011fi in\u015fa etmesinin \u00f6yk\u00fcs\u00fcd\u00fcr. Faili me\u00e7hul bir cinayette babas\u0131n\u0131 yitiren bir \u00e7ocu\u011fun annesine \u2018Ez\u00ea sibe mezin bibim ne?\u2019 sesleni\u015findeki zamana yay\u0131lm\u0131\u015f bir k\u0131rg\u0131nl\u0131k, meydan okuma ve \u00f6fkenin izd\u00fc\u015f\u00fcm\u00fc gibi\u2026 \u00d6zetle, bir s\u00f6m\u00fcrge diyalekti\u011fi olan \u2018izleri silerek unutturma\u2019 stratejisine kar\u015f\u0131 \u2018izlerin izini s\u00fcrerek\u2019 unutmaya kar\u015f\u0131 haf\u0131zay\u0131 direnmeye \u00e7a\u011f\u0131rman\u0131n sava\u015f\u0131nda m\u00fczik, ideolojik bir kataliz\u00f6r ve bir duygular atlas\u0131 g\u00f6revi \u00fcstlenmi\u015ftir. Varl\u0131\u011f\u0131 ask\u0131ya al\u0131nan, tarihten d\u00fc\u015f\u00fcr\u00fclerek g\u00f6r\u00fcnmez k\u0131l\u0131nan ve en nihayetinde b\u00fct\u00fcn tarihsel ve k\u00fclt\u00fcrel varl\u0131\u011f\u0131yla reddedilen bir halk ve co\u011frafyada, m\u00fczik hem direni\u015fin haf\u0131zas\u0131n\u0131 durmadan an\u0131msatan hem de direni\u015fe \u00e7a\u011f\u0131ran taleplerin ilan sahas\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Platon\u2019un zehir ve ila\u00e7 ikili\u011fi \u00fczerinden tan\u0131mlad\u0131\u011f\u0131 hat\u0131rlama eylemini K\u00fcrtl\u00fc\u011f\u00fcn haf\u0131zas\u0131na en \u00e7ok i\u015fleyen sanat kategorisi olan m\u00fczik, K\u00fcrtlerin felaketlerden ve direni\u015ften te\u015fkil olmu\u015f tarihinin bir taraf\u0131na Dersim Tertelesini anlatan a\u011f\u0131tlar bir taraf\u0131na da Herne p\u00ea\u015f co\u015fkusunu arma\u011fan etmi\u015ftir. Tarihsel d\u00f6n\u00fcm noktalar\u0131n\u0131n bellek i\u00e7erisinde kodlanmas\u0131na, hat\u0131rlanmas\u0131na, ya\u015fat\u0131lmas\u0131na ve bazen geri \u00e7a\u011f\u0131r\u0131lmas\u0131na \u00e7o\u011funlukla m\u00fczik \u00f6nc\u00fcl\u00fck etmi\u015ftir. K\u00fcrt m\u00fczi\u011fi tam da burada b\u00fct\u00fcn bask\u0131 ve zor ay\u0131tlar\u0131na kar\u015f\u0131 tahakk\u00fcm gramerini par\u00e7alaman\u0131n bir yolunun da m\u00fczik ile direni\u015fin ritmik g\u00fczelli\u011fini birle\u015ftirmek oldu\u011funu a\u00e7\u0131k se\u00e7ik beyan etmi\u015ftir. Fanon\u2019un \u2018nefes alamad\u0131\u011f\u0131m\u0131z i\u00e7in isyan ediyoruz\u2019 belirlemesinin yan\u0131na K\u00fcrtler, \u2018nefes alamad\u0131\u011f\u0131m\u0131z i\u00e7in her isyana bir \u015fark\u0131, her \u015fark\u0131ya bir isyan ekliyoruz\u2019 kural\u0131n\u0131 eklemi\u015flerdir. Her k\u0131y\u0131m ve felaket sonras\u0131 olu\u015fan melankolik i\u00e7e kapan\u0131\u015fa kar\u015f\u0131 bir ba\u015fka isyan \u015fark\u0131s\u0131 yard\u0131ma ko\u015fmu\u015ftur. Her dinledi\u011fimizde kabuk tutmayan bir yara gibi i\u00e7imizi yeniden kanatan \u2018Halep\u00e7e\u2019 a\u011f\u0131t\u0131n\u0131n hemen ard\u0131ndan \u2018Berxwedan Jiyane\u2019 co\u015fkusuna s\u0131ra gelir. Duygular\u0131n bu s\u0131ra yolda\u015fl\u0131\u011f\u0131 neredeyse b\u00fct\u00fcn m\u00fczikal ak\u0131\u015flarda kendini g\u00f6sterir. \u00c7\u00fcnk\u00fc K\u00fcrt m\u00fczi\u011finin ulusal varolu\u015f ve direni\u015fle olan ba\u011f\u0131, stratejik olarak k\u00f6kleri \u00e7ok derinlerde olan tarihsel bir alan savunmas\u0131d\u0131r. Direni\u015f halaylar\u0131m\u0131za ezgiler, a\u011f\u0131r kederlerimize a\u011f\u0131tlar ekleyip hem s\u00f6z\u00fcm\u00fcze hem de sesimize \u00f6zg\u00fcr bir \u00fclke d\u00fc\u015f\u00fc ekleyen b\u00fct\u00fcn ustalara sayg\u0131 ve minnetle\u2026 KAYNAK\u00c7A [1] Ricoeur, Haf\u0131za Tarih Unutu\u015f, Metis Yay\u0131nlar\u0131[2] Aktaran: Jacques Attal\u0131, G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.[3] Aktaran: Jacques Attal\u0131, G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.[4] Gelene\u011fin Icad\u0131-Eric J.Hobsbawm-Terence Ranger-Mehmed Murad \u015eahin, Agora Kitapl\u0131\u011f\u0131[5] Ricoeur, Haf\u0131za Tarih Unutu\u015f, Metis Yay\u0131nlar\u0131[6]Gelene\u011fin Icad\u0131-Eric J.Hobsbawm-Terence Ranger-Mehmed Murad \u015eahin, Agora Kitapl\u0131\u011f\u0131[7]Haf\u0131za Tarih Unutu\u015f, Ricoeur, Metis Yay\u0131nlar\u0131[8]G\u00fcr\u00fclt\u00fcden M\u00fczi\u011fe,\u00a0 Jacques Attal\u0131, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131.<\/p>\n","protected":false},"author":1,"featured_media":337,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":4,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-94","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/94","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=94"}],"version-history":[{"count":3,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/94\/revisions"}],"predecessor-version":[{"id":338,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/94\/revisions\/338"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media\/337"}],"wp:attachment":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=94"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=94"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=94"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}