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THE EMERGENCE and EVOLUTION of a POLITICIZED MARKET: THE PRODUCTION and CIRCULATION of KURDISH MUSIC in TURKEY a Ph.D

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THE EMERGENCE and EVOLUTION of a POLITICIZED MARKET: �THE PRODUCTION and CIRCULATION of KURDISH MUSIC in TURKEY � � � a Ph.D ! ! ! ! ! THE EMERGENCE AND EVOLUTION OF A POLITICIZED MARKET: !THE PRODUCTION AND CIRCULATION OF KURDISH MUSIC IN TURKEY ! ! ! A Ph.D. Dissertation! ! ! by ALEV PINAR! KURUOĞLU ! ! ! ! ! ! ! Department of Management İhsan Doğramacı Bilkent University Ankara January 2015 ! ! ! ! THE EMERGENCE AND EVOLUTION OF A POLITICIZED MARKET: THE PRODUCTION AND CIRCULATION! OF KURDISH MUSIC IN TURKEY ! ! ! ! Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent! University ! ! by! ! ALEV PINAR! KURUOĞLU ! In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY! in! THE DEPARTMENT OF MANAGEMENT İHSAN DOĞRAMACI BİLKENT UNİVERSİTY ANKARA! ! January 2015 ! ! ! ! I certify that I have read this thesis and have found that it is fully adequate, in scope !and in quality, as a thesis for the degree of Doctor of Philosophy in Management. --------------------------------- Prof. Dr. Güliz Ger !Supervisor ! I certify that I have read this thesis and have found that it is fully adequate, in scope !and in quality, as a thesis for the degree of Doctor of Philosophy in Management. --------------------------------- Assist. Prof. Dr. Olga Kravets !Examining Committee Member ! I certify that I have read this thesis and have found that it is fully adequate, in scope !and in quality, as a thesis for the degree of Doctor of Philosophy in Management. --------------------------------- Assoc. Prof. Dr. Nedim Karakayalı !Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope !and in quality, as a thesis for the degree of Doctor of Philosophy in Management. --------------------------------- Prof. Dr. Özlem Sandıkcı Türkdoğan !Examining Committee Member ! I certify that I have read this thesis and have found that it is fully adequate, in scope !and in quality, as a thesis for the degree of Doctor of Philosophy in Management. --------------------------------- Prof. Dr. Alev Çınar !Examining Committee Member ! !Approval of the Graduate School of Economics and Social Sciences --------------------------------- Prof. Dr. Erdal Erel !Director ! ! ! ABSTRACT THE EMERGENCE AND EVOLUTION OF A POLITICIZED MARKET: THE PRODUCTION AND CIRCULATION OF KURDISH MUSIC IN TURKEY ! Kuruoğlu, Alev Pınar Ph.D., Department of Management Supervisor: Prof. Dr. Güliz Ger ! This dissertation explicates the emergence and evolution of a market for Kurdish music in Turkey. Using ethnographic methods, I start by detailing the illegal circulation of cassettes during the restrictive and strife-laden period of the 1970s, 80s, and 90s. Through the resistive practices of circulation - recording, hiding, playing, and exchanging cassettes – cassettes became saturated with emotions, established shared emotional repertoires, and habituated individuals and collectives into common emotional dispositions. An emotional structure was generated, and accompanied the emergence of a sense of “us,” the delineation of the “other,” and the resistive relationship between the two. I thus demonstrate the entwinement of materiality with emotions, and the structuring potentiality that this entwinement generates. In the second part, I ethnographically explore the trajectory of the market after legalization in 1991. Situated within a context characterized by the socio- political dynamics of domination and stigmatization, I detail how market producers collectively construct an oppositional “market culture” by framing their market- related experiences, as well as by interacting with and borrowing ideological codes from the neighboring Kurdish political movement. These frames become entrenched as a political-normative logic, shaping artistic production and business decisions. This emergent logic negotiates societal-level conflict and stigma, and also resolves the market-level tension between artistic and commercial concerns. Finally, I explore the segmentation of the market in conjunction with changes in the socio-political atmosphere in the 2000s. I discuss how segmentation also corresponds to competing !social imaginaries of a Kurdish public. KEYWORDS: Materiality, Circulation, Emotional Structures, Resistance, Community Market Formation, Framing, Political Normativity, Institutionalization, Social Movements, Market Culture, Stigmatization, Domination, Segmentation. $iii ! ! ! ÖZET B"R P"YASANIN S"YAS"LE%EREK GEL"%MES": TÜRK"YE’DE KÜRTÇE MÜZ"K ÜRET"M" VE DOLA%IMI ! Kuruo#lu, Alev Pınar Doktora, "&letme Bölümü Tez Danı&manı: Prof. Dr. Güliz Ger Bu tezde, Türkiye’deki Kürtçe müzik piyasasının olu&umu ve geli&imi etnografik metodlarla incelenmektedir. "lk kısımda, 1970, 80 ve 90lardaki kısıtlamalı ve çatı&malı ortamda, müzik kasetlerinin yasadı&ı yollarla dola&ımlarını ara&tırıyor, bu dola&ımın ortaya çıkardı#ı “duygusal ekonomi”yi tarif ediyorum. Kasetlerin dola&ımları sürecinde (müzik kaydedilirken ve çalınırken, kasetler saklanırken, alı&veri& veya de#i&-toku& edilirken) açı#a çıkardıkları duygular ile yüklendiklerini, bu &ekilde ortak duygusal repertuvarlar ve yönelimler olu&masına, ve bir “duygusal yapılanma”ya vesile olduklarını anlatıyorum. Bu yapılanmanın hem “topluluk” hissini olu&turmaya, hem de “öteki”ni - bu durumda, devleti - tanımlamaya ve ona kar&ı direnmeye tekabül etti#ini belirtiyorum. "kinci kısımda, 1991de Kürtçe müzik üretiminin yasalla&masından sonra piyasanın geli&imini takip ediyorum. Tahakküm, ötekile&tirme ve damgalama ili&kileri üzerinden tarif etti#im bir ba#lamda, piyasa aktörlerinin kolektif olarak kar&ıt bir “piyasa kültürü”nü nasıl in&a ettiklerini inceliyorum. Bunu, hem kendi piyasa içi tecrübelerini, hem de piyasayla yakın ili&ki içerisindeki Kürt siyasi hareketindeki bazı yerle&ik ideolojik kodları çerçeveleyerek yaptıklarını anlatıyorum. Aktörlerin kurguladı#ı çerçevelerin, piyasada zamanla yerle&erek siyasi-normatif bir “kurumsal mantık” olu&turdu#unu, bu mantı#ın da hem sanatsal hem de i&letme ile ilgili kararları &ekillendirdi#ini belirtiyorum. Bu siyasi- normatif mantık ile hem toplumsal düzeydeki çatı&maların piyasadaki yansımalarının hedef alındı#ını, hem de piyasa düzeyindeki estetik-sanatsal kaygılar arasındaki çatı&manın çözümlendi#ini anlatıyorum. Son olarak da, piyasanın 2000li yıllarda, sosyo-politik ortamdaki de#i&ikliklerle beraber bölümlenmesini inceliyorum. Bu bölümlenmenin aynı zamanda birbiriyle yarı&an farklı Kürt toplumu tahayülleri ile de !örtü&tü#ünü belirtiyorum. ANAHTAR KEL"MELER: Materyal Kültür, Dola&ım, Duygusal Yapılanmalar, Direni&, Toplum Tahayyülü, Tahakküm, Siyasi Normativite, Çerçeveleme, Piyasa Olu&umu, Piyasa Kültürü, Kurumsalla&ma, Sosyal hareketler, Bölümlenme $iv ! ! ! ! ACKNOWLEDGEMENTS I would like to begin by thanking Prof. Dr. Güliz Ger. She was not just an advisor who guided me through the long and arduous PhD process - she was, to put it simply, a most inspiring role model. I feel honored to have been her student. I was also very fortunate to have Prof. Dr. Özlem Sandıkcı, Assoc. Prof. Dr. Nedim Karakayalı, Prof. Dr. Alev Çınar, and Assist. Prof. Dr. Olga Kravets in my examining committee. They witnessed the emergence and evolution of this project throughout the years, offered invaluable and stimulating comments and critiques, and patiently supported me in my endeavors to shape it into its current incarnation. Thank you all for your time and wisdom. I gratefully acknowledge the support of Prof. Dr. Erdal Erel, our dean; Dr. Zeynep Önder, the director of the PhD program; as well as the wonderful administrative staff of the Faculty of Business Administration. I don’t know how I would have written this dissertation without the support and camaraderie provided by an army of friends. I am especially grateful to Berna Ekal, N. Pınar Özgüner, Pelin Ayter, Ye&im Özalp, Hilal Alkan, Ozan Zeybek, Onur Güvenç, Altan "lkuçan, Kerem Yücetürk, Aykut Erdem, Paul D. Melton, and Wendelmoet Hamelink, who shared my excitement (and sometimes boredom) about this research, and generously allocated their time - encouraging me via e-mail, hosting me in their homes, joining me on food and ice-cream expeditions, commenting on drafts, and providing tech support, along the road to defense. My $v wonderful, adventurous friend Esther Giovanna Parker, who accompanied me on several field excursions, was senselessly taken from this world on April 6, 2014. I miss her very much. Cohorts from the MSc/PhD program at Bilkent were partners in fun and crime, as well as “sounding boards” for academic grievances. I am thankful to have known and befriended %ahver Omeraki, Berna Tarı Kasnako#lu, Meltem Türe, Anıl "&isa#, Figen Güne& Do#an, Burze Kutur Ya&ar, Jan Dirk Kemming, and many others throughout the years. The endless love and support of my family - my parents Yıldız and Zeki Kuruo#lu, as well as my grandmother Emine Leman Bulca - lifted me and kept me going. Finally, I would like to acknowledge the people who contributed very significantly to this work: my “informants,” who generously volunteered their time, shared their experiences, and allowed their stories to be retold. While researching for and writing this dissertation, I have become “attuned” into soundscapes and lifeworlds that were once, admittedly, quite foreign to me - and for that I will always be grateful. I can only hope that I have done justice to the material I have been entrusted with. I am truly thankful for the many friendships and convivial dialogues this dissertation has initiated - sadly, I cannot disclose any names, but can only say, gelek spas. ! ! ! ! $vi ! ! ! TABLE OF CONTENTS ! ! ! !ABSTRACT
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