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ARABESK Een Populaire Cultuur Als Antwoord Op De Wisselwerking Tussen Oost En West in Turkije

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ARABESK Een Populaire Cultuur Als Antwoord Op De Wisselwerking Tussen Oost En West in Turkije K A R E N F LORIZOONE M ASTERPROEF P AGINA | 1 KAREN FLORIZOONE MASTER KUNSTWETENSCHAPPEN UNIVERSITEIT GENT 2008-2009 ARABESK Een populaire cultuur als antwoord op de wisselwerking tussen Oost en West in Turkije K A R E N F LORIZOONE M ASTERPROEF P AGINA | 2 UNIVERSITEIT GENT FACULTEIT LETTEREN EN WIJSBEGEERTE VAKGROEP KUNST-, MUZIEK- EN THEATERWETENSCHAPPEN ARABESK Een populaire cultuur als antwoord op de wisselwerking tussen Oost en West in Turkije MASTERPROEF VAN DE OPLEIDING KUNSTWETENSCHAPPEN OPTIE MUSICOLOGIE DOOR KAREN FLORIZOONE 20052388 K A R E N F LORIZOONE M ASTERPROEF P AGINA | 3 ACADEMIEJAAR 2008-2009 1 VOORWOORD Dit document is mijn masterproef, die ter afsluiting van de opleiding kunstwetenschappen optie musicologie aan de universiteit Gent, is uitgevoerd. In deze thesis heb ik geprobeerd om een zo goed mogelijk beeld van arabesk, als muziekgenre en als cultuurgegeven, te schetsen. Ik heb gekozen om arabesk als onderwerp te nemen, omdat ik enorm onder de indruk was van de Turkse muziek in het algemeen en in het bijzonder geïnteresseerd was in de arabeskmuziek en hoe men met dit genre omging. Arabesk is namelijk een Turkse muzikale stijl die ontstond halfweg de vorige eeuw in grote steden, zoals Istanbul. Arabesk werd oorspronkelijk gemaakt voor en door arbeidersmigranten – uit het armere Zuidoosten van Turkije – die in de periferie van de grote steden leefden. Deze muziek is, sinds het ontstaan ervan, steeds op een negatieve manier benaderd en mijn bedoeling was onder andere om na te gaan waarom dit zo is en of dit ook echt zo is. Mijn bedoeling in dit werk is dus om arabesk zo breed mogelijk te duiden, in de hoop alle facetten te behandelen. Daarbij denk ik onder andere aan de muziek, de maatschappelijke context, de beleving van het genre, … Hierbij heb ik onder andere gebruik gemaakt van een literatuuranalyse, een enquête en persoonlijke gesprekken. In deze masterproef wordt de populaire cultuur arabesk besproken in al haar facetten. Wat eerst ontstond als een muzikaal genre, groeide uit tot een gehele cultuur met een eigen film- en muziektraditie. De populaire cultuur wordt geassocieerd met de marginale rand van de Turkse maatschappij, door de banden met de arbeidersmigranten uit het Zuidoosten van Turkije. Vandaag de dag heeft arabesk echter niets meer te maken met die migrantencultuur, maar toch is de associatie er nog steeds. Deze masterproef bespreekt eerst en vooral kort de algemene achtergrond van arabesk. In hoofdstuk 5 wordt kort de geschiedenis van de Midden-Oosterse en de Turkse muziek geschetst. Daarnaast worden de verschillende Turkse muzikale genres en de Turkse modale theorie besproken. In hoofdstuk 6 wordt daarna dieper ingegaan op arabesk. Eerst wordt besproken waar de term arabesk voor staat. Daarna worden de verschillende contexten, waarin arabesk vervat ligt, uitgebreid besproken. In hoofdstuk 6.2, 6.3 en 6.4 worden respectievelijk arabesk als muzikaal genre, als filmgenre en als populaire cultuur besproken. Tot slot wordt nagegaan hoe arabesk door het Turkse volk beleefd werd en wordt. In de conclusie wordt alles opnieuw verduidelijkt en in hoofdstuk 8 vindt u de verschillende bijlagen terug. Daarnaast is een cd bij deze masterproef toegevoegd, waarin een aantal voorbeeldfragmenten terug te vinden zijn, die u een beter beeld verschaffen over arabesk. K A R E N F LORIZOONE M ASTERPROEF P AGINA | 4 Dit voorwoord wil ik ook graag gebruiken om enkele personen te bedanken. Eerst en vooral wil ik enkele van mijn waardevolle contactpersonen bedanken. Martin Stokes, voor de waardevolle hints op vlak van westerse invloeden op arabesk. Okan Mürat Öztürk, voor de bruikbare informatie op vlak van de Turkse muziekgeschiedenis. Osama Abdulrasol, voor informatie over zowel Arabische muziek als arabesk. Tuğrul Yücesan en Mustafa Avşar, om met me te praten over arabesk en Turkse muziek in het algemeen. Alsook Esma Karkukli en Mahir Sinan Özdemir, voor de vertaling van de enquête in het Turks en de vertaling van enkele bronnen uit het Turks. En Dirk Moelants en Liselotte Sels, voor de begeleiding van mijn masterproef. Leen De Bruyn, voor de hulp met het statistische gedeelte van deze thesis. Erika Tanghe en Katelijn Florizoone, om het document helemaal door te nemen. En als laatste wil ik mijn lieve vriend Ozhan Karkukli bedanken omdat hij altijd klaarstond voor mij, me vele malen geholpen heeft en omdat hij dit document doorgenomen heeft. K A R E N F LORIZOONE M ASTERPROEF P AGINA | 5 2 INHOUDSOPGAVE 1 Voorwoord....................................................................................................................................... 3 2 Inhoudsopgave ................................................................................................................................ 5 3 Lijst van tabellen en figuren ............................................................................................................ 7 4 Inleiding ........................................................................................................................................... 9 5 Algemene achtergrond .................................................................................................................. 11 5.1 De Midden-Oosterse muziek ................................................................................................. 11 5.1.1 Geschiedenis van de Arabische muziek ......................................................................... 12 5.1.2 Genres in de Arabische muziek ..................................................................................... 13 5.1.3 Ontwikkelingen in de 20ste eeuw ................................................................................... 15 5.2 De Turkse muziek .................................................................................................................. 16 5.2.1 De geschiedenis van de Turkse muziek ......................................................................... 17 5.2.2 Genres in de Turkse muziek .......................................................................................... 20 5.2.3 Ontwikkelingen in de 20ste eeuw ................................................................................... 26 5.3 De modale theorie van de Turkse muziek ............................................................................. 28 5.3.1 Makam ........................................................................................................................... 28 5.3.2 Usul ................................................................................................................................ 37 6 Arabesk .......................................................................................................................................... 40 6.1 Wat is arabesk? ..................................................................................................................... 40 6.1.1 Ontstaan van arabesk .................................................................................................... 41 6.1.2 Invloeden op arabeskmuziek ......................................................................................... 41 6.1.3 De context van arabesk ................................................................................................. 44 6.1.4 Conclusie ....................................................................................................................... 48 6.2 Arabeskmuziek ...................................................................................................................... 48 6.2.1 De geschiedenis van arabeskmuziek ............................................................................. 48 6.2.2 Theoretisch kader .......................................................................................................... 50 6.2.3 Voorbeelden .................................................................................................................. 57 6.2.4 Conclusie ....................................................................................................................... 67 6.3 Arabeskfilm ............................................................................................................................ 68 6.3.1 De geschiedenis van de Turkse film .............................................................................. 68 6.3.2 Theoretisch kader .......................................................................................................... 71 6.3.3 Voorbeelden .................................................................................................................. 73 6.3.4 Conclusie ....................................................................................................................... 79 6.4 De arabeskcultuur ................................................................................................................. 80 K A R E N F LORIZOONE M ASTERPROEF P AGINA | 6 6.4.1 Het arabeskpubliek ........................................................................................................ 80 6.4.2 Radio .............................................................................................................................. 82 6.4.3 Televisie ........................................................................................................................ 83 6.4.4 Conclusie ....................................................................................................................... 83 6.5 De beleving van arabesk .......................................................................................................
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