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Home , Anjelika Akbar, Cultural capital, Low culture

YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ YAZ 2016, SAYI 16: 23-32 SUMMER 2016, ISSUE 16: 23-32 YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ

‘Mediating Cultural ’ In-Between Dominant/Non-Dominant : A Case of Mısırlı Ahmet

Uğur ASLAN*

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Abstract

The goal of this paper is to explain how musicians posit their practices from ‘low’ status, which is defined by social disposition, to ‘high’ status. However, cultural signals, which cultural capital contains, can be gained by people to posit themselves from ‘lower’ status to ‘higher’ status. In this context, even though cultural capital represents high-status cul- tural signals, this concept is operated in ‘non-dominant’ groups as well as ‘dominant’ groups. In the circumstances, specific agents — who may be called cultural intermediaries — that have competence in both 'low'and 'higher' emerge in the process of mediating cultural capital. Thus, mediating cultural capital occurs in between 'high' and 'low' culture where reproduction of cultural capital can be seen through cultural intermediaries. In this context, Mısırlı Ahmet applies for me- diating cultural capital to situate his music practice to 'upper' level by developing new techniques and playing wide range of music styles.

Keywords: Cultural Capital, Cultural Intermediaries, Mediating Cultural Capital, Mısırlı Ahmet, Darbuka.

Baskın/Baskın Olmayan Kültürel Sermaye Arasında ‘Aracı Kültürel Sermaye’: Mısırlı Ahmet Örnek Olayı

Özet

Bu makalenin amacı müzisyenlerin kendi müzik pratiklerini toplumsal eğilim tarafından tanımlanan ‘düşük’ konumdan ‘yük- sek’ statüye nasıl konumlandırdıklarını açıklamaktır. Bununla birlikte kültürel sermayenin içerdiği kültürel işaretler, insanlar tarafından kendilerini ‘düşük’ konumdan ‘yüksek’ konuma konumlandırmak için kazanılabilir. Bu bağlamda kültürel sermaye, yüksek statüdeki kültürel işaretleri temsil etmesine rağmen bu kavram baskın grupların yanı sıra baskın olmayan gruplarda da işletilir. Bu koşullar altında hem ‘düşük’ hem de ‘yüksek’ kültürde yeterliliklere sahip, kültür aracıları olarak adlandırılabilecek belirli aktörler aracı kültürel sermaye sürecinde ortaya çıkarlar. Böylelikle aracı kültürel sermaye, yeniden üretimin kültür aracıları sayesinde görünebildiği ‘yüksek’ ve ‘düşük’ kültürler arasında meydana gelir. Bu bağlamda, Mısırlı Ahmet yeni teknikler geliştirerek ve geniş aralıkta müzik tarzlarını icra ederek kendi müzik pratiğini 'yüksek' seviyeye konumlandırmak için aracı kültürel sermayeye başvurur.

Anahtar Kelimeler: Kültürel Sermaye, Kültür Aracıları, Aracı Kültürel Sermaye, Mısırlı Ahmet, Darbuka.

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Bu makale hakem değerlendirmesinden geçmiştir. 23 * Doktora Öğrencisi, İstanbul Teknik Üniversitesi, MIAM, Etnomüzikoloji, İstanbul. Makale geliş tarihi: 17.01.2016 / Yayına kabul tarihi: 28.04.2016 E-posta: [email protected] YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ

Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

Introduction was 17 in an autodidact manner. When he was 25 years old, Musicians utilize their cultural background to give mean- he started to play the clay darbuka, which is practiced by ing to popular music in the process of production and con- Arabic technic. In order to improve himself in playing this sumption. It’s hard to analyze which resources are used instrument, he moved to Egypt to observe the music in its by musicians in the globalization process as being more original site (Karaol and Doğrusöz, 2013: 2). In addition intensive with , people circulation across to Egypt, He went to in order to learn new techni- the globe and intercultural communication. However, cal practices, and then he went to Spain to learn Flamen- these resources create one’s cultural capital, which has co Rhythm (Internet References, 01). Thus, the purpose been introduced by (1984). Bourdieu’s of Galata Ritimhanesi (the Galata Rhythm House), which theory of and cultural capital has been Mısırlı Ahmet founded in Istanbul, is to teach the darbuka well discussed in and in terms through the process of Mısırlı Ahmet. The of social disposition and social dimensions, specifically general idea is that Mısırlı Ahmet transfers his knowledge to ‘highbrow’ culture and ‘low’ culture. According to Bour- that he has obtained through the acculturation process to dieu, cultural capital can be observed in dominant groups his students by mediating cultural capital due to situating and individuals who belong to the upper class in order to the music practices from “lower” to “higher” status. Being mark their high-status signals such as attitudes, tastes and interconnected with more than one culture allows him to style. In this sense, culture is considered an “elite” . situate darbuka, and rhythm section of music to upper level However, cultural capital can be found among lower class- of music as he claims. However, Galata Ritimhanesi, where es as well (Dumais 2002: 44), and as Carter (2003) indicat- Mısırlı Ahmet teaches the darbuka, aims to blend diverse ed, it can be distinguished as “dominant cultural capital”, folkloric rhythms of with the universal dimension of which is related to high-status culture and “non-dominant music (Internet References, 02). By doing this, he posits cultural capital”, which belongs to lower status groups. one specific musical element locally in which he considers “lower” position, to the universal dimension in which he Using terms of ‘lower’ and ‘upper’ can be controversial thinks local music must be placed in this ‘higher’ position. from the researchers’ perspective due to ethnocentrisim and Mısırlı Ahmet, who has mediating cultural capital, under- . Therefore, in this paper, the difference takes the role of cultural intermediary in this situation. between “lower” and ‘upper’ position is determined by the discourse of case study. This paper investigates how musi- In the first part of this paper, the concept of cultural cians attempt to posit their music practices from ‘lower’ capital is discussed as a theoretical framework. Bourdieu’s position to ‘upper’ status. Bourdieu’s concept of cultural theory of social reproduction consists of three concepts capital is operated in order to demonstrate status positing (cultural capital, and field), and all of these con- of musicians in terms of music elements, which are used in cepts work together and are related to one other. There- their music, discourse that shows their cultural resources, fore, in order to understand the place of cultural capital and musical tastes. Musicians create their music accord- in one’s cultural practices, it is necessary to understand ing to their cultural background, which also may be called habitus and field as well. “Bourdieu introduced his no- cultural capital. Nevertheless, musicians as agents can be tion of cultural capital to explain how individuals’ access cultural intermediaries between these two kinds of status to certain cultural signals (such as attitudes, preferences, positing and seem to give new meaning to music through tastes and styles) either enables or limits their entry into the repositioning of cultural status. Mısırlı (Egyptian) Ah- high status social group, organizations or institutions” met, the case of this study, is chosen in this paper in order (Carter, 2003: 136,137). When we talk about positing cul- to explain this fact explicitly. tural status to higher level in light of cultural capital, it is particularly linked to the concept of cultural intermediar- Mısırlı Ahmet (real name Ahmet Yıldırım) was born in ies as individuals. Cultural intermediaries also attempt to Ankara in 1963. He learned to play the darbuka when he

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

build a bridge between two and may posit their “The concepts of field and habitus both derive from music practices to a level that is considered more ‘valu- Bourdieu’s engagements with earlier histories of their use able’. Thus, mediating cultural capital steps in when we in the relevant theoretical and scholarly literatures” (Ben- observe this issue in phenomena. In the second part of this nett and others, 2011: 429). Nevertheless, Dumais (2002: article, information from the case study is analyzed in light 46) describes the habitus in this way: of conceptual discussion. Information about the case study Habitus is one’s disposition, which influences the ac- is collected by netnography, the process of collecting infor- tions that one takes; it can even be manifested in one’s mation through internet resources. physical demeanor, such as the way one carries oneself or Cultural Capital as a Theoretical Framework walks. It is generated by one’s place in the social structure; In the 1960’s, the concept of cultural capital was used in by internalizing the social structure and one’s place in it, lectures (Gripsrud and others, 2011: 508), and thus, this one comes to determine what is possible and what is not concept got into the circulation of scientific works. Cultural possible for one’s life and develops aspirations and prac- capital is introduced in the theory of social reproduction tices accordingly. and it stems from Bourdieu. However, “Although cultural According to this description, habitus is related to capital is an important part of Bourdieu’s theory of social taking action as physically in a field where “dominant reproduction, it is only one component of his theoretical and subordinate groups struggle for control over re- framework. In , Bourdieu (1984) noted that sources” (Dumais, 2002: 46). People have resources, capital, habitus and field all work together to generate which are called capital, and habitus is about using practice or social action” (Dumais, 2002: 46). Therefore, those resources visibly. The concept of habitus is also understanding habitus and field plays an important role explained as “the whole of habits which are based on in comprehending the theory of social reproduction as a past experiences of people” (Erol, 2009: 237). whole. At the same time it fills our understanding of cul- Bourdieu’s book Distinction (1984) “constitutes his tural capital, which is used as the theoretical framework major contribution to the study of the dynamics of social of this study. divisions in contemporary society and their interrelation- People situate themselves to different groups and ship with the formation of lifestyle” (Prieur and others, social organizations according to their cultural, social 2008: 46). In order to show social dimensions in social and economic status. In addition to that, they take ac- life, Bourdieu uses different apparatuses in his theory, and tion in daily life according to their status which is posited the concept of “capital” is the central notion of his theory. by ideas, habits, and culture which can be described in a He treats the concept of capital in different ways to indi- cate social divisions more clearly such as social, cultural, broad term. Bourdieu’s theoretical framework provides economic and symbolic capital. All of these different types useful tools to demonstrate this fact in social divisions. of capital refer to different resources of individuals have. Drawing the big picture of this complexity requires in- Thus, “along with economic, social, and symbolic capital, terworking of three concepts which are capital, habitus cultural capital serves as a power resource or a way for and field. For instance, according to Dumais (2002: 45), groups to remain dominant or gain status” (Dumais, 2002: “studying cultural capital while ignoring habitus leaves 46). Furthermore, as Erel (2010: 647) indicated, different Bourdieu’s theoretical framework incomplete in its practi- forms of capital are interlinked with each other in Bour- cal application. It is necessary to consider both one’s re- dieu’s theory. Therefore, it is crucial not only to understand sources (capital) and the orientation one has toward using the concept of habitus and field which work with the con- those resources (habitus)”. Before elaborating the concept cept of capital in Bourdieu’s theory but also it is crucial of capital and cultural capital, to explain clearly concept to understand that one type of capital interacts with other of habitus and field drives us to understand the Bourdieu’s types of capital which creates overlapped resources that theoretical framework as a whole. one has.

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

Cultural capital “includes world views, linguistic considers variable forms of cultural capital. He describes codes, certain types of knowledge and material objects- the cultural capital in three different forms. such as books” (Reed- Danahay, 2005: 47). Those elements According to Bourdieu, cultural capital exists in three of cultural capital represent a high-status position. People forms: in an embodied state, i.e, as a long-lasting can situate themselves to upper class by those elements disposition of the individual’s mind and body; in an and can also find “high status signals (attitudes, preferenc- objectified state, when cultural capital is turned into es, formal knowledge, behaviors, goals and credentials)” cultural goods such as “pictures, books, dictionaries, (Kingston, 2001: 89) in cultural capital. However, accord- instruments, machines, etc. (Bourdieu, 1986: 243); ing to Bennett (2011: 430) having those features of cul- and in an institutionalized state, when the embodied tural capital provides certain kinds of advantages in par- cultural capital is recognized in the form of, say, an ticular fields. He mentions that “concept of cultural capital academic credential (as cited in Throsby, 1999: 4). is understood as a set of embodied capacities that is ac- When both of the apparatus are linked to capital, and quired as a socially transmitted ” (2011: 430). three forms of cultural capital occur at the same time, we Cultural capital, as a set of embodied capacities, appears would identify this as cultural capital. Nevertheless, we in individuals’ cultural activities, which consist of learned can observe embodied state, objectified state and institu- attitude and behaviors. Therefore, we can say that cultural tionalized states in ‘lower’ status as well. In this case, dif- capital is also “socially transmitted inheritance” which ferent types of capital help to grasp this concept. Capital can be learned as a culture. Thus, it is understandable to is a concept that gives “uncertain guide to researchers” see that people can try to be related to ‘high’ culture in (Kingston, 2001: 89). Even so, the concept of capital has order to get higher status in social life as if they try to suc- been developed by researchers in order to link the facts ceed in economic conditions in relation to economic capi- in specific cases. In this sense, even though cultural capi- tal. However, Kingston (2001: 89) indicates that “cultural tal represents high-status cultural signals, this concept is capital is like money in that it can be saved, invested and operated in ‘non-dominant’ groups as well as ‘dominant’ used to obtain other resources (such as access to economic groups. positions). It has this currency because its ‘signals’ are Dominant and Non-Dominant Cultural Capital broadly accepted.” Cultural signals, which cultural capital contains, can be gained by people who situate themselves Carter (2003) speaks of the difference between domi- from ‘lower’ status to ‘higher’ status. nant cultural capital and non-dominant cultural capital. He provides a useful distinction between those two kinds Thinking about ‘lower’ status is important in terms of of cultural capital while considering the cultural capital cultural capital as well. According to Prieur, Roselund and of 'low'- status cultures. As he indicated in the abstract Skjott-Lorsen (2008: 49), “competences within non-recog- of his article, “previous literature has failed to empiri- nized cultural forms are not recognized as valuable in a cally demonstrate the conceptual distinction that social market; they are inconvertible.” However, even in some sit- scientists make between ‘dominant’ and ‘non-dominant’ uations competence is not enough to create cultural capital cultural capital” (2003: 36). This lack occurs in literature as Bourdieu (1995: 186) mentions. According to Bourdieu, due to considering cultural capital as only in relation to “just as economic wealth cannot function as capital until it high-status culture. From this point of view, Carter (2003) is linked to an economic apparatus, so derives non-dominant cultural capital by taking account of in its various forms cannot be constituted as cultural capi- the dominant cultural capital. tal until it is inserted into the objective relations between system of economic production and the system producing The term “dominant cultural capital” corresponds to the producers”. Also, Bourdieu doesn’t describe the cul- Bourdieu’s conceptualization of powerful, high status tural capital solely based on various apparatus, but he also cultural attributes, codes, and signals. Cultural capital

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

provides individuals with an ability to “walk the walk” tion as well. Hence, I apply the concept of cultural inter- and “talk the talk” of cultural power brokers in our so- mediaries, which was introduced in order to demonstrate ciety. Similarly, “non-dominant cultural capital” em- those kinds of cultural workers by Bourdieu (1984) in his bodies a set of tastes, or schemes of appreciation and book Distinction. “The term ‘cultural intermediaries’ was understandings, accorded to a tower , that associated with Bourdieu’s comments on the “new petite include preferences for particular linguistic, musical, bourgeoise”, a new faction of middle-class workers that or interactional styles. Non-dominant cultural capital has grown in size and influence since the middle of twenti- describes those resources used by lower status indi- eth century” (Negus 2002: 502). However, all occupational viduals to gain “authentic” cultural status positions clusters cannot be thought of as cultural intermediaries. within their respective communities (2003: 138). According to Bourdieu (1986: 359), cultural intermediar- It is remarkable that Carter (2003) mentions gaining ies refer to those engaged in “presentation and represen- “authentic” cultural status by non-dominant cultural capi- tation, providing symbolic goods and services” (as cited tal. We can observe positing cultural status in this situa- in Negus, 1999: 18), “work between the production and tion by resources which create non-dominant cultural capi- consumption of cultural goods but the discursive produc- tal of one who is considered as belonging to . At tion of the intermediary is important as well” (Wright, the same time, understanding the meaning of “authentic” 2005: 118). In this way, we can pursue the role of cultural is significant in order to demonstrate the significance of intermediaries in due to their position in non-dominant cultural capital. between production and consumption. However, according to Negus (2002: 503), “the central strength of the notion According to Erol (2009: 204), the concept of authen- of cultural intermediaries is that it places an emphasis on ticity is associated with being ‘real’, ‘genuine’, ‘essential’, those workers who come in-between creative artists and ‘honest’, ‘sincere’ etc. in culture. People usually interrelate consumers (or, more generally, production and consump- with those terms when they talk about traditions. In the tion)”. By the work of cultural intermediaries, “use values context of music, according to Stokes (1997: 7) authen- and exchange values, and seek to manage how these val- ticity is a way of talking about music that differentiates ues are connected with people’s lives through the various between ‘us’ and ‘others’ (as cited in Erol, 2009: 207). techniques of persuasion and marketing and through the People ask for their apparent cultural practices among oth- construction of markets are shaped” (Negus, 2002: 504). ers’ practices, and has value in their meaning. Thus, be- Despite the fact that those features of cultural intermediar- ing “authentic” in is referred to positing a ies are in relation to activities that cultural intermediaries cultural practice to a different status via . do, using or exchanging values is impossible without hav- Also, it occurs when individuals posit a cultural practice ing a particular value in terms of either dominant cultural to a higher position in order to make this cultural practice capital or non-dominant cultural capital. of more value and gain power among other identities in terms of non-dominant cultural capital. In this case, spe- The concept of cultural capital plays a crucial role cific agents who may be called cultural intermediaries who in the work of workers who are characterized as cultural have competence in both ‘low’ and ‘higher’ culture emerge intermediaries. At the same time, cultural intermediaries in the process of mediating cultural capital. have a crucial role in the reproduction of cultural capital as well (Wright, 2005: 109). A cultural intermediary might Cultural Intermediaries and Mediating Cultural Capital work between ‘high’ and ‘low’ culture. The process of reproducing culture may be seen as a cen- In addition to cultural capital, mediating cultural tral issue in mediating cultural capital which occurs be- capital occurs in between 'high' and 'low' culture where re- tween ‘low’ and ‘high’ culture. Cultural practitioners who production of cultural capital can be seen through cultural are taking a role in both the production and consumption intermediaries. We can observe this changing status via re- process of culture can be an agent in the process of media-

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

producing cultural capital in Wright’s (2005) assertion. He it; low cultural audiences assume that the value of an art asserts that cultural intermediaries are central to change object lies in what it can do for them” (Frith, 1998: 18). of status such as when “ has become popular, When individuals who are agents have those values and ‘high-pop’” (2005: 111). work in between ‘low’ and ‘high’ status, they apply mediat- In order for mediating cultural capital to come into ing cultural capital, which includes both knowledge, ideas, sight, individuals who are mediating between 'high' and cultural goods, and competences of ‘low’ and ‘high’ cul- 'low' culture should have both dominant cultural capital ture. From the observer’s side, if people assume that the and non-dominant cultural capital. For this reason, cultural value of an art object is contained within it and also, at intermediaries are more likely to have mediating cultural the same time, they care about what these objects can do capital due to creative roles between those two statuses for them, it can be referred to as mediating cultural capital and their reflexivity. As Featherstone (1991: 44) indicates, that the audiences who consumes the music have. cultural intermediaries have the ability to “transmit the in- We are able to see mediating cultural capital in prac- tellectuals’ life-style to a larger audience and collude with tices of ‘non-western cultural intermediaries’ (Skov, 2002) the to legitimate new fields such as sport, clearly in terms of mediating between ‘high’ and ‘low’ via fashion and popular music and ” (as cited assumption that ‘Western’ culture is more valuable than in Wright, 2005: 111). ‘Eastern’ culture. Thus, Skov (2002: 553) indicates that Mediating Cultural Capital and Popular Music “although role of non-western cultural intermediaries in culture industry are globalized, they are still Euro-Centric”. The value of popular culture is another controversial issue In this context, cultural intermediaries “mediate between in terms of distinction between ‘low’ and ‘high’ culture for East and West, between the global and local” (Skov, 2002: mediating cultural capital. We can observe this distinction 567). This competence of cultural intermediaries requires in music as a culture as well. Popular music culture is well- mediating cultural capital, which consists of both ‘Western’ discussed in regards to ideologies, production and repro- and ‘Eastern’ values and sufficient knowledge of global and duction, aesthetic and function of music in disciplines such local values in order to mediate between these terms. as Cultural Studies, Ethnomusicology and . The value of music, which is classified as classical, folk and Mediating In Popular Music: Mısırlı (Egyptian) Ahmet popular music, in terms of ‘low’ and ‘high’ culture attempts Mısırlı (Egyptian) Ahmet, was born in Ankara in 1963. When to be determined in those disciplines. According to Bracket he was 17 years old he learned to play the darbuka (gob- (1999: 19), “Art” music is related to a transcendent experi- let drum) in an autodidactic way. He moved to France after ence of music and requires a good education. “Folk” music 1987 and he has continued his practice there. After his trip is about an authentic experience of a community, and last to France, he decided to move to Egypt, which he considers but not least, “popular” music is formed by the music in- “the country of dreams where darbuka is performed as best dustry and its agents (as cited in Erol, 2009:208). Thus, in the world”. He worked with several Egyptian musicians “today, the music curriculum in many countries reflects and he created a new, unique technique of playing the developments in that includes a mixture of folk, tradition- darbuka. This technique especially got attention through al, popular, jazz, and from all around the allowing artists to perform this musical instrument faster world” (Green, 2003:268). (Internet References, 03). After he moved to Istanbul, he The distinction between ‘good’ and ‘bad’ music is an- played for record albums and became famous through his other crucial issue for musical value. Thus, this distinction philosophy, solos, perception of rhythm and new technique drives us to understand the perception of music in terms of that he discovered, and he was named ‘Mısırlı Ahmet’. But, 'high' and 'low' culture as in relation to the consumption of at the same time, he was named “Ahmed-I Turki” which music from the audience’s side. “High cultural audiences means Turkish Ahmet in Egypt. Years later, he moved back thus assume the value of an art object is contained within to Egypt and practiced the Deholla (a large-sized darbuka)

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

at the Sinai Desert, and he created a technique to play the from being the Romany’s (Gypsies) musical instru- Deholla for the first time. He went to Spain and worked ment. Darbuka players won’t be underestimated any- on the Flamenco after he went to the Sinai Desert, and he more (Internet References, 06). released two albums, which he worked on with Spanish, Mısırlı Ahmet talks about underestimated musical in- Israeli and Turkish musicians as well after a period of one struments in terms of ‘low’ and ‘high’ culture. In his opin- year (Internet References, 04). ion, rhythm instruments are not second class in the West Mısırlı Ahmet expands his practice to different dimen- and this view of him posits “west” as upper level. Thus, sions such as being willing to be related to Egypt in order while saying, “I will save the darbuka from being the Ro- to play the darbuka ‘well’, going to different countries such many’s (Gypsies) musical instrument”, he undertakes the as Spain, and France in order to learn other cultures to role of mediating in order to posit the rhythm section of gain value in his music practices, and working with musi- music to higher position that is considered belonging to cians from other cultures. All of those decisions indicate the West. In this context, Mısırlı Ahmet is a non-Western that attempts at gaining value are in relation to cultural cultural intermediary who works between the West and capital. However, we can see the difference between ‘good’ East, 'high' and 'low' culture. In this way, Mısırlı Ahmet and ‘bad’ in his view as well, and this distinction is related applies for mediating cultural capital to posit his music to dominant/non-dominant cultural capital and, implicitly, practice to “upper” level by developing new techniques, mediating cultural capital. playing a wide range of music styles. Mısırlı Ahmet learned how to play the darbuka from Mısırlı Ahmet also says “I was consumed with listen- CDs which he would listen to while working as a dish wash- ing Egyptian artists’ CDs. They were awesome. What I will er in Ankara. Also he points out that the darbuka wasn’t say new to them! So I started by saying “there is some- popular and therefore he said “I’m a drum player” to oth- thing, Ahmet, there is!” In this way I created a new tech- ers and he hid this. He played the darbuka for the first nique. It’s a milestone of darbuka. And then I developed time in a wedding in Ankara and after that he consistently this technique” (Internet References, 04). This discourse played in weddings (Internet References, 05). To hide be- of him indicates the being in relation to ‘authentic’ culture, ing a darbuka player is an explicit sign that this musical which he considers Egyptian music, stemming from his at- instrument is considered as belonging to 'low' culture by tempt to bring in value to the darbuka. Also, creating a new social standing. We can see this in his discourse as well. He technique on the darbuka shows this fact explicitly. explains how rhythm players are underestimated by other He attended a music band that is called “Sharkiat” musicians through the experience that he had at weddings and arranged a tour that includes large part of Europe by saying this: such as Estonia, France, , Sweden, Austria, Although we describe the rhythm and rhythm instru- Italy and Middle East. When he came back to Turkey, ments as a second class and we don’t see it as impor- he attended to a new band is called “Asia Minor”. He tant as other instruments, rhythm exists in the core of founded Istanbul Rhythm band and they took to the our music. Look at the artists who get in touch with stage in Istanbul Jazz Festival and Bahia Percussion western. These artists give special meaning to rhythm Festival. SINAI which is a band he founded in 1999 in in their music. But we underestimate the rhythm in- Egypt had a concert tour in Israel for two months and struments. It depends on the people. No need to go then they had some concerts in Spain as well. At the further. The picture what we see in wedding saloon beginning of 2000, they made a record with Carlos Be- shows everything. Musician who plays darbuka stands nevant who is a bass guitar player. Mısırlı Ahmet had up and collects the money in a kind of begging way. a concert with percussion master Nana Vasconcelos in Have you ever seen that lead violinist or other violin- Turkey and he contributed to Anjelika Akbar’s “Bach ists get up and collect the money? I will save darbuka A L’Orientale”s project and he played for recording of

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

this project (Internet References, 03). observe this fact by the program of Galata Ritimhanesi as Mısırlı Ahmet, as one in an intercultural environments well: and working with musicians from different countries, cre- Practicing method of Galata Ritimhanesi comprises ates a new status for the darbuka by playing a wide spec- of the process which Mısırlı Ahmet has developed trum of music. Specifically, being related to jazz and per- himself. Education of classic rhythm splits up into forming this music with the darbuka gives an authentic two categories. First one is teaching the rhythm by meaning to his practice in order to gain value. However, template of düm-tek. The second way is technique Mısırlı Ahmet uses mainstream popular music to reach a studying. However, education of classic rhythm which larger audience. spirits away the creativity is not performed at Galata Mısırlı Ahmet started to run the firstdarbuka school, Ritimhanesi. Both advanced level of darbuka players Galata Ritimhanesi, in the Balat district of Istanbul in De- and beginners play the same composition. Difference cember 2007. Yet Mısırlı Ahmet doesn’t consider this place between advanced player and beginners is interpreta- a school but as a collective which produces rhythm (Inter- tion of compositions by practicing in the time. They net References, 07). Galata Ritimhanesi may be referred to proceed to practice compositions by adding one or as a ‘field’ where habitus and cultural capital can be found. two new rhythm sentences in every step (Internet Ref- Thus, the experience of Mısırlı Ahmet that consists of his erences, 08). musical thought, practicing way, and the way in which he The method of Galata Ritimhanesi, emphasizing the lived out his musical life is transferred to participants in interpretation of compositions by learning new rhythm this field. However, we can entitle this experience of Mısırlı sections makes it different from the conventional tech- Ahmet as mediating cultural capital due to the teaching nique of classic rhythm. Mısırlı Ahmet also posits his music method of Galata Ritimhanesi, which includes a new way practices to another level from the level of conventional of learning, with emphasis on improvisation. Hence, dis- technique of classic rhythm. He also situates his musical course of Mısırlı Ahmet indicates why Galata Ritimhanesi competences to higher position by mediating cultural capi- is not a school and how the teaching method of Galata Ri- tal as well. For instance, the ‘Turkish Technique’ which is timhanesi makes it different from other schools: well-known across the globe and the most difficult darbuka Galata Ritimhanesi is not a school because it has technique of Mısırlı Ahmet, is practiced in great detail at not a teacher. Mısırlı Ahmet states that he is a “stu- Galata Ritimhanesi. Therefore, both professional and ama- dent who is willing to learn” at every turn. Then, one teur darbuka players around the world come to this place doesn’t have anything neither to teach nor to learn if just to learn the technique of Mısırlı Ahmet through the they claim that they know, they learned and they are method of usta-çırak (master-apprentice), which means done. Galata Ritimhanesi is not a school because the learning the knowledge from the Usthad as face to face and aim of school is making students to achieve the level studying together (Internet References, 09). of teacher. Intention of Mısırlı Ahmet is not to create Galata Ritimhanesi also organizes rhythm and art his imitation or replica. Galata Ritimhanesi aims at camps every year and is attended by students of the ritim- nurture free, creative and assertive darbuka players hane and darbuka players from other countries outside of who can express their feelings, interior and their own Turkey. These camps are not limited to rhythm workshops words by darbuka. Galata Ritimhanesi is not a school but also include dance, creative drama, ceramic workshop, because there is no book, notebook, board or recorder yoga, production of puppet and dyeing fabric workshop (Internet References, 07). (Internet References, 10). The seventh year of this camp In this teaching way, Mısırlı Ahmet creates his own was held in 2014. For instance, the camp which was held in method to convey his mediating cultural capital. We can 2013 was attended by people from 16 countries, including Japan, Colombia, Azerbaijan, , Germany, Belgium,

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

Austria and Lebanon (Internet References, 11). This art Dumais, Susan A. (2002). “Cultural Capital, Gender and School camp is a sample of ‘field’ where mediating cultural can be Success: The Role of Habitus”, , Vol. seen by tangible components, cultural goods, and making 75, No.1, pp. 44-68. music in intercultural environment. Erel, Umut (2010). “Migrating Cultural Capital: Bourdieu in Migration Studies”, Sociology, Vol.44, No.4, pp. 642-660. Conclusion Erol, Ayhan (2009). Müzik Üzerine Düşünmek, Istanbul: Bağlam Although there is an implication of the breakdown between Yayınları. 'high' and 'low' culture by cultural theorists in cultural Frith, Simon (1998). Performing Rites: On The Value Of Popular studies, popular music can be applied to posit in between Music, United States of America: Harvard University Press. ‘high’ and ‘low’ status by discourse of musicians or audi- Green, Lucy (2003). “Music Education, Cultural Capital, and ences in the process of finding global market for cultural Social Group Identity”, The Cultural Study of Music: A practices. In this context, dominant cultural capital and Critical Introduction, ed. Martin Clayton, Trevor Herbert, non-dominant cultural capital is derived from this distinc- Richard Middleton, New York: Routledge Publication. tion. Musicians can appeal both to ‘high’ and ‘low’ culture Gripsrud, Jostein, Hovden, Jan Fredrik, Moe, Hallvard (2011). to reach a larger audience and make their music practices “Changing Relations: Class, Education and Cultural Capital”, more ‘valuable’ in its context. In this sense, those musi- Poetics, Vol.39, pp. 507-529. cians can be referred to cultural intermediaries who works Karaol, Esra, Doğrusöz, Nilgün (2013). “Toprak Darbukada Mısırlı in between 'high' and 'low' culture. They carry out task Ahmet Tekniği ve İcra Analizi”, Akademik Bakış Dergisi, Sayı: 36, pp. 1-14. of cultural intermediaries by mediating cultural capital, Negus, Keith (1999). Music Genres and Corporate Cultures, which is a resource of ‘high’ and ‘low’ culture such as cul- London: Routledge Pub. tural goods, preferences and tastes. Negus, Keith (2002). “The Work of Cultural Intermediaries and Mısırlı Ahmet makes music practices in intercultural The Enduring Distance Between Production and environments as by relating to musicians from different Consumption”, Cultural Studies, 16:4, pp. 501-151. countries. In this context, Mısırlı Ahmet is a non-Western Prieur, Annick, Roselund, Lennart, Skjott-Lorsen, Jakob (2008). cultural intermediary who works between the West and “Cultural Capital Today A Case Study From Denmark”, Poetic, East, ‘high’ and ‘low’ culture. In this way, Mısırlı Ahmet ap- Vol.36, pp. 45-71. plies mediating cultural capital to posit his music practice Reed- Danahay, Deborah (2005). Locating Bourdieu, Bloomington: to ‘upper’ level by developing new techniques and playing Indiana University Press. a wide range of music styles. Skov, Lise (2002). “Hong Kong Fashion Designers As Cultural Intermediaries: Out Of Global Garment Production”, Cultural Studies, 16:4, pp. 553-569. References Throsby, David (1999). “Cultural Capital”, Journal of Cultural Bennett, Tony, Silva, Elizabeth (2011). “Introduction: , Vol. 23, pp. 3-12. Capital- Histories, Limits, Prospects”, Poetics, Vol.39, pp. Wright, David (2005). “Mediating Production and Consumption: 427-443. Cultural Capital and ‘Cultural Workers’”, The British Journal Bourdieu, Pierre (1984). Distinction: A Social Critique of the of Sociology, Vol.56, Issue.1, pp. 105-121. Judgement of , London: Routledge Publication. Internet References Bourdieu, Pierre (1995). Outline of a Theory of Practice, (Translated 1. Mısırlı Ahmet (Ahmet Yıldırım) by Richard Nice), New York: Cambridge University Press. http://www.egitim-forum.com/muzik-eserleri-calismalari/ Carter, Prudence L. (2003). ““Black” Cultural Capital, Status misirli-ahmet-(ahmet-yildirim)/?wap2 , (07.10.2015). Positioning and Schooling 2. Mısırlı Ahmet Ritimhanesi, Neden? Conflicts for Low-Income African American Youth”, Social http://www.misirli-ahmet.com/galataritimhanesi.asp, Problems, Vol. 50, No.1, pp. 136-155. (07.10.2015).

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Uğur ASLAN · ‘Mediating Cultural Capital’ In-Between Dominant/Non-Dominant Cultural Capital: A Case of Mısırlı Ahmet

3. Genç, Vural (2006). “Mısırlı Ahmet 6 Şubat Salı/ 21:30 Babylon”, Konser Duyurusu http://www.anatolianrock.com/konser3430.htm (27.5.2014). 4. Mısırlı Ahmet Biyografisi http://tr.wikipedia.org/wiki/M%C4%B1s %C4%B1rl%C4%B1_Ahmet (27.05.2014). 5. Durgun, Özgür Duygu (2012). “Ritmin Peşinde Mecnun Mesali”, Taraf Gazetesi http://www.taraf.com.tr/haber-ritmin-pesinde-mecnun- misali-94811/ (27.05.2014). 6.http://arsiv.zaman.com.tr/2000/10/29/kultursanat/ kultursanatdevam.htm (27.5.2014). 7. Mısırlı Ahmet Ritimhanesi, Ne Değildir? http://www.misirli-ahmet.com/gr_nedegildir.asp (1.6.2014). 8. Mısırlı Ahmet Ritimhanesi, Nasıl Çalışıyoruz? http://www.misirli-ahmet.com/gr_nasilcalisiyoruz.asp (1.06.2014). 9. “Mısırlı Ahmet Ritimhanesi’nde 1 Aylık Ritim Atölyesi 250 TL Yerine 125 TL!” http://www.sehirfirsati.com/deals/istanbul/340-misirli- ahmet-ritimhanesi-ritim-atolyesi/19167970 (27.05.2014). 10. “Mısırlı Ahmet ve Ekibi Gökçeada’da”, ahaber http://www.ahaber.com.tr/multimedya/galeri/yasam/ misirli-ahmet-ve-ekibi-gokceadada (27.05.2014). 11. “Mısırlı Ahmet Ritim ve Dans Kampı, Kazdağları Eteklerinde Yapılacak”, http://www.sondakika.com/haber/haber-misirli-ahmet- ritim-ve-dans-kampi-kazdaglari-4883490/ (27.05.2014).

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