Âşıklık geleneğinin güncel durumu ve âşıklar üzerine bazı tespitler
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Dosyalar
Tarih
2019
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
SELCUK UNIV, INST TURKISH STUDIES
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Âşıklık geleneği, Türkoloji araştırmalarının belki de en çok çalışılan alanlarından birisidir. Türk kültür ekolojisinin önemli bir unsuru olan bu gelenek, dini-ritüelistik kökenlerinden eğlence tasarımlarının nesnesi olduğu sürece değin bir şekilde ayakta kalmasını bilmiş, yine sosyokültürel bağlamda statü sahibi bilge şairler olan âşıklar da bu yolda çaba sarf etmiş, belirli ölçülerde çeşitli kültür ortamlarına, bu ortamların unsurlarına ve halkın/yöneticilerin reflekslerine bir ölçüde uyum sağlayabilmişlerdir. Araştırma, pek çok sanatsal organizasyon ve gelenekte olduğu gibi, belirli sosyokültürel bağlama, geleneği takip eden, yaşatan ve bilen katılımcı kitlesine, ekonomik bir arka plana ve destekleyici patronlara ihtiyaç duyan âşıklık geleneğinin geçmişi ve güncel durumu üzerine bazı tespitleri içermektedir. Bu tespitlerse, geleneğin öznesi olan âşıklar, geleneğin ikincil dereceden taşıyıcıları olan katılımcı kitle ve bağlam, kültürel organizasyonları destekleyicisi patronlar ve koşullar üzerinden gerçekleştirilecektir. Nihayetinde âşıklık geleneğinin bazı olumlu ve olumsuz nitelemelere muhatap olduğu, kendisini mevcut şartlar ve meseleler bağlamında güncellemekte problemler yaşadığı, elektronik kültür ortamıyla birlikte geçmişte haber kaynağı olma, tarihsel hafıza taşıyıcılığı, gerçekleştirilen bir kültürel eylemi uğurlu/bereketli kılma ve bilgelik gibi özellikleri olan âşıkların statü kaybına uğradıkları, geleneksel icra törenlerinde ve usta-çırak ilişkisinde bazı değişiklikler yaşandığı, şimdilerde yaygın olarak atışmalar (taşlamalar/takılmalar) üzerinden tanınır/bilinir olan geleneğin medya patronlarınca eğlence kültürünün bir unsuru olarak kabul edildiği, gelenekte kahvehane-köy odası-sağdıç geceleri temelli eril icra tavrından vazgeçilerek radyo-televizyon-internet ortamı merkezli yeni hitap, söylem ve konulara yönelindiği, kentlerden kopamayan âşıkların yerel tavırlardan da bir türlü vazgeçemedikleri anlaşılmıştır.
Minstrel tradition is likely one of the mostly studied field in Turcology research studies. This tradition, an important element of Turkish cultural ecology, has achieved to survive from the religious-ritualistic process to the process in which it has been an object of entertainment designs. Similarly, the Minstrels, who are wise poets with a prestigious status in sociocultural context, have spent efforts in this regard and have partially adapted to various cultural environments, the elements of these environments, and the reactions of public/administrators. This study includes some evaluations on the past and current state of minstrels tradition, which follows a specific sociocultural context and tradition; have a target audience sustain and know; and needs an economic background and supportive bosses, as is in most of the artistic organizations and traditions. These evaluations were released through minstrels as the subject of the tradition, participant audience as the carriers of the tradition at the second degree and the context, and the bosses as the supporters of the cultural organizations and conditions. As a result, minstrel tradition has some positive and negative characterizations. The tradition has problems regarding keeping itself up-to-date in the context of current conditions and issues. The minstrels have lost their prestigious status with the advent of electronic cultural environment in spite of their past characteristics such as being a source of news, being the ownerships of historical memory, making an organized cultural action fortunate/fertile, and wisdom. Some changes have been experienced in traditional performance rituals and master-apprentice relationship. Currently, the tradition has been adopted by the media bosses as an element of entertainment culture although it was commonly known as call-and-response duet (lampoon/kidology). The tradition has left masculine performance style based in coffeehouse-village chamber-groomsman nights and has directed to new addresses, discourses, and issues centered in radio-television-internet environments. It was finally revealed that the minstrels who could not leave the cities persist local styles.
Minstrel tradition is likely one of the mostly studied field in Turcology research studies. This tradition, an important element of Turkish cultural ecology, has achieved to survive from the religious-ritualistic process to the process in which it has been an object of entertainment designs. Similarly, the Minstrels, who are wise poets with a prestigious status in sociocultural context, have spent efforts in this regard and have partially adapted to various cultural environments, the elements of these environments, and the reactions of public/administrators. This study includes some evaluations on the past and current state of minstrels tradition, which follows a specific sociocultural context and tradition; have a target audience sustain and know; and needs an economic background and supportive bosses, as is in most of the artistic organizations and traditions. These evaluations were released through minstrels as the subject of the tradition, participant audience as the carriers of the tradition at the second degree and the context, and the bosses as the supporters of the cultural organizations and conditions. As a result, minstrel tradition has some positive and negative characterizations. The tradition has problems regarding keeping itself up-to-date in the context of current conditions and issues. The minstrels have lost their prestigious status with the advent of electronic cultural environment in spite of their past characteristics such as being a source of news, being the ownerships of historical memory, making an organized cultural action fortunate/fertile, and wisdom. Some changes have been experienced in traditional performance rituals and master-apprentice relationship. Currently, the tradition has been adopted by the media bosses as an element of entertainment culture although it was commonly known as call-and-response duet (lampoon/kidology). The tradition has left masculine performance style based in coffeehouse-village chamber-groomsman nights and has directed to new addresses, discourses, and issues centered in radio-television-internet environments. It was finally revealed that the minstrels who could not leave the cities persist local styles.
Açıklama
Anahtar Kelimeler
Minstrel, tradition, audience, context, performance, Âşık, gelenek, bağlam, katılımcı, icra
Kaynak
TURKIYAT ARASTIRMALARI DERGISI-JOURNAL OF STUDIES IN TURKOLOGY
WoS Q Değeri
N/A
Scopus Q Değeri
Cilt
Sayı
47
Künye
Sevindik, A. (2019). Âşıklık Geleneğinin Güncel Durumu ve Âşıklar Üzerine Bazı Tespitler/Current State of Minstrel Tradition and Some Evaluations on the Minstrels. Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, (47), 127-144.
