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Istanbul Technical University Institute of Social Sciences ISTANBUL TECHNICAL UNIVERSITY « INSTITUTE OF SOCIAL SCIENCES MUSIC IN TRANSIT: MUSICAL PRACTICES OF THE CHALDEAN-IRAQI MIGRANTS IN ISTANBUL Ph.D. THESIS Evrim Hikmet ÖĞÜT Department of Music Music Programme Anabilim Dalı : Herhangi Mühendislik, Bilim Programı : Herhangi Program MARCH 2015 v ISTANBUL TECHNICAL UNIVERSITY « INSTITUTE OF SOCIAL SCIENCES MUSIC IN TRANSIT: MUSICAL PRACTICES OF THE CHALDEAN-IRAQI MIGRANTS IN ISTANBUL Ph.D. THESIS Evrim Hikmet ÖĞÜT (409072006) Department of Music Music Programme Thesis Advisor: Prof. Ş. Şehvar BEŞİROĞLU Co-Advisor:Anabilim Assoc. Dalı Prof. : Herhangi Dr. Robert Mühendislik, REIGLE Bilim Programı : Herhangi Program MARCH 2015 İSTANBUL TEKNİK ÜNİVERSİTESİ « SOSYAL BİLİMLER ENSTİTÜSÜ GEÇİŞ HALİNDE MÜZİK: ISTANBUL’DAKİ KELDANİ-IRAKLI GÖÇMENLERİN MÜZİK PRATİKLERİ DOKTORA TEZİ Evrim Hikmet ÖĞÜT (409072006) Müzik Anabilim Dalı Müzik Programı Tez Danışmanı: Prof. Ş. Şehvar BEŞİROĞLU EşAnabilim Danışman: Dalı Doç. : HerhangiDr. Robert Mühendislik, REIGLE Bilim Programı : Herhangi Program MART 2015 FOREWORD This dissertation would not have been completed without the support of many people. Firstly, I would like to thank my thesis advisors Şehvar Beşiroğlu and Robert Reigle for their guidence, and my committee members Arzu Öztürkmen, Belma Kurtişoğlu, and Didem Danış for their contributions and support from the beginning of this project. I would especially like to thank Didem Danış for her contribution to this study through her previous studies and eye-opening comments. I would also like to express my gratitude to Mgr. François Yakan and my dear “informants” Flona, Farah, Nana, Manuela, Cefiye, Ricky, and the others, who soon became my friends,. I would also like to appreciate everyone who was a part of my six-month visit to the United States. This experience gave me an extensive perception on music and migration and allowed me to conduct many interviews with people as a part of my research. I would like to thank my dear friends and colleaguas Elif Damla Yavuz, Onur Karabiber, Gönenç Hongur, and Faraz Butte for their contributions in both the writing and the editing process of this dissertation. Most importantly, my loving family not only supported me in every way possible during the years I was writing this dissertation, but also provided me a quietude throughout my life with their affection. March 2014 Evrim Hikmet ÖĞÜT vii viii TABLE OF CONTENTS FOREWORD ............................................................................................................ vii TABLE OF CONTENTS .......................................................................................... ix ABBREVIATIONS ................................................................................................... xi LIST OF TABLES .................................................................................................. xiii LIST OF FIGURES ................................................................................................. xv SUMMARY.............................................................................................................xvii ÖZET ..................................................................................................................................xix 1. INTRODUCTION ………………………...……………………………………………….1 1.1 The Objective and The Scope of the Project ...................................................... 1 1.2 Methodology: Field Research ............................................................................ 4 1.3 Self Reflexivity ................................................................................................ 10 1.4 Significance of Studying Transit Migration in Ethnomusicology ................... 11 1.5 Organization of Chapters ................................................................................. 18 2. BACKGROUND: CHALDEANS AND THEIR MIGRATION TO TURKEY ............................................................................................................... 21 2.1 The Chaldeans in Iraq ...................................................................................... 21 2.1.1 Ethnic groups in Iraq ................................................................................. 21 2.1.2 Christians in the Middle East and Iraq ...................................................... 24 2.1.3 Syriac communities in the Middle East .................................................... 25 2.1.4 The Chaldeans ........................................................................................... 26 2.2 The Chaldean-Iraqis in Turkey ........................................................................ 27 2.2.1 General characteristics of transit migration and Iraqi transit migration to Turkey ................................................................................................................ 27 2.2.2 Iraqi Christian transit migrants in Istanbul ................................................ 30 2.3 Basic Characteristics of the Chaldean Community .......................................... 33 2.3.1 Being “Chaldean” ...................................................................................... 33 2.3.2 The family as the core of the Chaldean community and the transformation of gender roles through migration ...................................................................... 38 2.4 Social and Religious Networks in Istanbul ...................................................... 43 2.4.1 Social networks ......................................................................................... 43 2.4.2 Religious networks .................................................................................... 44 2.5 The relationship Between the Chaldean Migrants and the Chaldean-Turkish Community ............................................................................................................. 47 3. MUSICAL PRACTICES AT THE CHALDEAN MIGRANT CHURCH IN ISTANBUL ........................................................................................................... 49 3.1 The Choir ......................................................................................................... 50 3.2 Music as a Cultural Capital .............................................................................. 52 3.3 The Cases of Incorporation into Network through Music ............................... 54 3.3.1 Three newcomer sisters ............................................................................. 54 3.3.2 Jan Dark .................................................................................................... 56 ix 3.3.3 Related cases ............................................................................................. 56 3.3.4 Instrumentalists ......................................................................................... 57 3.4 Creating Hierarchical Relationships through Music ........................................ 60 3.5 Presence of an Outsider Professional ............................................................... 63 3.6 Maintaining Culture by Performing Music ...................................................... 65 3.7 The Religious Repertoire ................................................................................. 67 3.7.1 The hymn repertoire .................................................................................. 68 3.8 Resistance to Change ....................................................................................... 73 3.9 Innovation in Church Music ............................................................................. 74 3.10 Interactions with the Chaldean-Turkish Church through Music .................... 79 4. LISTENING PATTERNS OF YOUNG MEMBERS ................................... 81 4.1 Musical Practices of Young Chaldean Migrants .............................................. 83 4.1.1 Live music ................................................................................................. 84 4.1.2 Use of technology and listening practices ................................................. 86 4.1.3 Listening and sharing recorded music ....................................................... 87 4.1.4 Listening to Chaldean music ..................................................................... 89 4.1.5 Listening to music from Turkey ................................................................ 91 4.2 Circulation of Music among the Transnational Chaldean Networks ............... 93 4.2.1 Circulation of recorded music ................................................................... 96 4.2.2 Mediation of people .................................................................................. 97 4.3 Age as a Determined Axis in Listening Practices .......................................... 100 5. SINGING FOR IRAQ, SINGING AS A MIGRANT ................................. 103 5.1 A Special Event at Oratorio ........................................................................... 104 5.1.1 The song contest ………………...………..…………………………….......106 5.1.2 Rapping at the carnival……...……………...……..…….…........................106 5.1.3 Dance contest …………………………………………...…………………...107 5.2 Reflecting the Identity through Singing ......................................................... 107 5.3 Rapping for Iraq, Rapping for Displacement ................................................. 111 5.4 The Identity to show to the “Others” ............................................................. 113 5.5 Folk Music and Dance ..................................................................................
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