<h1>Wells of Knowledge: <p>Streams of poetry, music and resistance in Turkey</h1>
<h2>Merve Kılıçer</h2>
<p><i>“If history writing does not emancipate, it must be serving tyranny.”
Cemal Kafadar, ‘Kendine ait bir Roma’, <sup>1</sup></i><br></p>
Cemal Kafadar, <i>"Kendine ait bir Roma"</i>, <sup>1</sup></i><br></p>
<p>
In 2012, rumors started circulating about a shopping mall to be built in the place of Gezi Park<sup>2</sup> near Taksim Square in Istanbul. It had been a while since the park had been in good shape, but it was the last bit of green space in the concrete face of our cosmopolitan home. The redevelopment project was called “Taksim Yayalaştırma Projesi” (project for the pedestrianization of Taksim) and the ruling government of Adalet ve Kalkınma Partisi (justice and development party) was insistent on realizing it despite the opposition of Türk Mühendis ve Mimar Odaları Birliği (the union of engineering and architecture chambers) and organizations in solidarity against gentrification like Istanbul Kent Savunması (Istanbul city defence) and Taksim Dayanışması (Taksim solidarity). </p>
@ -16,11 +16,11 @@ The occupation was an historic event for all of the country. It was like falling
<p>
After seven years, I’m still trying to figure out how and why we managed to come together. Surely protecting a green area that belonged to our home, protecting friends, and preventing the increasing level of oppression were my instinctive triggers. However, my real question is: how did the spirit of Gezi Park come to life? </p>
<p>
In search of answers, this essay follows a path of folkloric production through the Gezi Park experience that relates to current political dynamics (Sakallıoğlu (1997), Bayket (2016)) and represents the different historical and ethnic communities of this land. The occupation brought together people from different economic backgrounds, ethnicities and beliefs, manifesting the idea that when we stand together we are heard. Together, our collective voice carried the tunes, rhythms and stories of Anatolia.4 While I have been listening closely to the echoes of this voice through cultural and folkloric production I asked myself: Could the accumulation of these voices and words be the substances that formed the Gezi spirit? What kind of knowledge do we inherit from the land of our roots? Which stories had we been raised with and how have they shaped our perception of the world and the “other” people we share it with? </p>
In search of answers, this essay follows a path of folkloric production through the Gezi Park experience that relates to current political dynamics (Sakallıoğlu (1997), Bayket (2016)) and represents the different historical and ethnic communities of this land. The occupation brought together people from different economic backgrounds, ethnicities and beliefs, manifesting the idea that when we stand together we are heard. Together, our collective voice carried the tunes, rhythms and stories of Anatolia.<sup>4</sup> While I have been listening closely to the echoes of this voice through cultural and folkloric production I asked myself: Could the accumulation of these voices and words be the substances that formed the Gezi spirit? What kind of knowledge do we inherit from the land of our roots? Which stories had we been raised with and how have they shaped our perception of the world and the “other” people we share it with? </p>
<p>
Learning and unlearning the tenets of my upbringing is an ongoing process of growth. At the park, we, the park commune, witnessed a clash between all the false and accurate knowledge we had been introduced to throughout our lives. This clash brought us a little closer to understanding the question of “what is political?” and how can we have our voice included to build a different future. Starting this research was not easy because history is always somehow mystified and obscured by state-related—deep/parallel/military—organizations (Sakallıoğlu (1997), Bayket (2016)). The type of historiography which glorifies nationalistic qualities is common all around the world and eliminates stories of minorities and critical thinking methods. To emancipate myself and my research practice, it has been meaningful to investigate the past through the folkloric productions that have reached our present day.</p>
<p>
This process has felt like looking down into a well with my eyes twinkling and trying to see the bottom. Instead, as I was looking at my reflection on the fluctuating surface of the deep dark water, I started listening to the memorized songs of my childhood years, looking into what or who they actually represent, and learning about the history of poetry, music and resistance. By following the development of oral and folkloric production, specifically storytelling traditions, I had access to an abundance of alternative streams of volatile knowledge5 that was previously hidden from me. </p>
This process has felt like looking down into a well with my eyes twinkling and trying to see the bottom. Instead, as I was looking at my reflection on the fluctuating surface of the deep dark water, I started listening to the memorized songs of my childhood years, looking into what or who they actually represent, and learning about the history of poetry, music and resistance. By following the development of oral and folkloric production, specifically storytelling traditions, I had access to an abundance of alternative streams of volatile knowledge<sup>5</sup> that was previously hidden from me. </p>
<pid="textdedekorkut">
In most antique societies such as the Greek, Persian or Hittites, for the sake of memory, poetry and music develop in parallel with each other. The first poets of the nomadic Turkic tribes were shamans whom were named Kam, Baksı, and Ozan (Kuloğlu (2009), Bars (2018)), alongside many others. Before the state of Turkey, these shamanic figures were often wanderers or minstrels who traveled from land to land, chanting their own poems and those of their predecessors. They were storytellers who narrated with poetry, music and dance during ceremonies, a common method of preserving cultural knowledge that has remained part of our everyday lives. </p>
<pid="textdadaloglu">
@ -34,7 +34,7 @@ The folk slowly moving is ours.<br>
Arabic horses render the distances close,<br>
The paths overrunning the mighty mountains are ours.<br>
<br>
Dadaloğlu, “Kalktı Göç Eyledi Avşar Elleri”<sup>6</sup>
Dadaloğlu, <i>“Kalktı Göç Eyledi Avşar Elleri”</i><sup>6</sup>
</p>
<p>
@ -63,7 +63,7 @@ They should not shed tears in the presence of strangers<br>
*An important Islamic war hero celebrated by the Bektaş-i Alevi community<br>
**The navy rifle that turns and sparks when lit<br>
Pir Sultan Abdal, “Bize de Banaz’da Pir Sultan derler”<sup>8</sup><br>
Pir Sultan Abdal, <i>“Bize de Banaz’da Pir Sultan derler”</i><sup>8</sup><br>
</p>
<p>
@ -72,7 +72,7 @@ In Anatolian lands, when the majority of people converted to Islam, it influence
After the fall of the Ottoman Empire following World War I, the folk of Anatolia, comprised of different ethnicities and cultures, came together in order to save the land from Western colonizers and to fight the War of Independence with the leadership of Atatürk, the founder of the Republic of Turkey. After negotiations with the invaders were complete and reforms were made through new laws (abolition of the Sultanate, terminating religious tariqas,<sup>11</sup> changing the alphabet and traditional clothing, etc.) the republic settled in order to start a new secular state (Ayvalıoğlu, 2012). The intention of forming a new country in Anatolia led the new state to evolve through nationalistic ideologies, ones which gradually eliminated the diverse fabric of the land. This politic was reflected in the themes of its anthems and torch songs that narrated epic stories about the war of independence and glorified the Turkish nation. With the arrival of new sound recording technologies (gramophones, phonographs) and communication lines (telegraph, radio) these ideologies quickly propagated throughout the country. However, despite the first radio broadcast airing in 1927, it was not until after the 1950’s that radio and the nationalistic propaganda it conveyed was able to reach all regions of central Anatolia.
</p>
<p>
The Westernization in music had already started in the last decades of the Ottoman Empire with European notation techniques being introduced to archive songs composed in the palace. During the first years of the new republic, the aforementioned radio broadcasts also had an important role in spreading the reforms of Westernization and educating the rural (folk) population. Even though Turkey was a so-called free republic, located at the crossroads of East and West, its urgent need to catch up with new technologies and the remaining debts of the Ottoman Empire rendered it vulnerable to cultural colonization.</p><spanid="textkaracaoglan"><spanid="textmuharrem">With the aim of defining the identity of “national music” from 1926 until the end of the 1940’s, trips were organized to archive (notate and record on vinyl) the cultural production in Anatolia. The archived content was used to teach Western-educated Turkish musicians to perform folkloric tunes that were broadcast on a few of the radio programs that transmitted folk music. At times, these programs invited Ashik figures to play live.</span></span><spanid="textasikV">Ashik Veysel, one of the most famous Ashik of the late Ottoman and early republic times, was the only Ashik with Alevi roots to be played on the radio. Even though in the 1930’s he was given the title of “milli şair” (national poet of the state), his Alevi roots were still not recognized. <spanid="textruhisu"> In the 1940’s Veysel was teaching children to play cura12 at several “Village Institutes” spread throughout Anatolia. </span><sup>13</sup> There it’s said that he encountered Ruhi Su and many other musicians and intellectuals from Istanbul.</span>
The Westernization in music had already started in the last decades of the Ottoman Empire with European notation techniques being introduced to archive songs composed in the palace. During the first years of the new republic, the aforementioned radio broadcasts also had an important role in spreading the reforms of Westernization and educating the rural (folk) population. Even though Turkey was a so-called free republic, located at the crossroads of East and West, its urgent need to catch up with new technologies and the remaining debts of the Ottoman Empire rendered it vulnerable to cultural colonization.</p><spanid="textkaracaoglan"><spanid="textmuharrem">With the aim of defining the identity of “national music” from 1926 until the end of the 1940’s, trips were organized to archive (notate and record on vinyl) the cultural production in Anatolia. The archived content was used to teach Western-educated Turkish musicians to perform folkloric tunes that were broadcast on a few of the radio programs that transmitted folk music. At times, these programs invited Ashik figures to play live.</span></span><spanid="textasikV">Ashik Veysel, one of the most famous Ashik of the late Ottoman and early republic times, was the only Ashik with Alevi roots to be played on the radio. Even though in the 1930’s he was given the title of “milli şair” (national poet of the state), his Alevi roots were still not recognized. <spanid="textruhisu"> In the 1940’s Veysel was teaching children to play cura<sup>12</sup> at several “Village Institutes” spread throughout Anatolia. </span><sup>13</sup> There it’s said that he encountered Ruhi Su and many other musicians and intellectuals from Istanbul.</span>
</p>
<pid="textasikA">
The cultural production of those years can serve as a record of the political climate around the new republic. Starting from the 1950’s, Western-educated musicians like Ruhi Su, <spanid ="texttulay"> Tülay German, Sümeyra Çakır and Fikret Kızılok started combining folkloric tunes and themes with popular Western instruments and methods in order to stay connected to their roots. While Tülay German adopted folkloric songs into jazz tunes and collaborated with Ashiks that migrated to the city, <spanid="textfikret">Fikret Kızılok went to study with Ashik Veysel in Anatolia and made records with the songs of his mentor. </span>This new approach was the result of the emigration of Anatolian folk (especially the minorities) to big cities to work in factories or study at universities and technical schools. </span> Universities became the meeting point for Western-educated city youth and the Anatolian youth who were brought up with local traditions. This possibility of exchange created a synthesis of ideas, traditions and culture that then shaped the left- or right-winged political groups joining together in solidarity. The socialist movement of 1970’s Turkey was influenced by the neighboring Soviet Union, and it sided with the Kurdish and Alevi minorities who already had a history of disobedience and resistance through their preservation of cultural production, which propagate ideas of equality (Aysan, 2013). These leftist groups were showing resistance to the economic sanctions of the United States who had been providing financial support to Turkey. <spanid="textneset">The folkloric music helped to create a bridge between urban intellectuals, factory workers (in Turkey and Europe) and farmers of the rural areas.</span></p>
@ -105,52 +105,67 @@ The obscurity of the afterwards adds a dimension to them<br>
And perhaps they become a pitch-black solace for the ones left behind<br>
Nights are getting longer preparation is for the fall </span><br>
<br>
Atilla İlhan, “Mahur”<sup>14</sup>
Atilla İlhan, <i>“Mahur”</i><sup>14</sup>
</p>
<pid="textasikM">
The resistance included many intellectuals and cultural workers who persistently retold the political history of their land through poetry. Musicians who adopted folkloric traditions used these same methods to pass on this knowledge and started to compose contemporary poetry into songs. <spanid="textnazim">Poems of leftist intellectuals like Nazım Hikmet,<spanid="textahmedA"> Ahmed Arif, Atilla İlhan and <spanid="textbuyuk"> many more <spanid="textezhel">continued to be composed for decades </span> by famous musicians in response to the local and global politics.</span><spanid="textceylan"> Still today young musicians, jazz soloists, rappers and pop singers voice the songs of famous Ashik figures or folkloric ballads in various styles and spread the voices of the Anatolian folk around the world </span>(see, for example, <spanid="textselda">the works of Selda Bağcan</span>, Erkin Koray)</span>.</span></p>
<p>
These songs carry not only the melodies and world views of important intellectuals but also the struggle and pain caused by political exiles, imprisonments, torture and executions in different stages of the history of Turkey. I would like to think of the telling of history through poetry and song as a cycle of growth that happens in our collective consciousness, and suddenly surfaces in moments like the Gezi Park Occupation. In this perspective, the spirit of Gezi Park is an accumulation of ideas and methods that flow through different streams of knowledge. It gets carried forward at moments and spaces of interaction by the audience, culture workers, and the creators who translate it to their era. </p>
<p>
The online map that you can reach through this publication creates a well of accessible knowledge gathered mostly through open sources. Short biographic information about names mentioned above and their proximity to or influence on other artists can be met through this online space. You can find more information about “Wells of Knowledge” at https://wellsofknowledge.wdka.nl/ </p>
The online map that you can reach through this publication creates a well of accessible knowledge gathered mostly through open sources. Short biographic information about names mentioned above and their proximity to or influence on other artists can be met through this online space. You can find more information about “Wells of Knowledge” at at.wdka.nl/wellsofknowledge </p>
<h2>Endnotes</h2>
<p><sup>1 </sup>Kafadar, C., Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine (on cultural geography and identity in a Roman - Greek land) (İstanbul: Metis Publishing, 2017).</p>
<p><sup>2 </sup>In 1806, where Gezi Park is located now, Ottoman Military Barracks were built. In 1939, after a process whereby the structure was abandoned, it was then demolished along with an Armenian graveyard that dated back to 1560. The aim of this change was to plan a Modern, so-called healthy city with green areas, near the planned residential districts. </p>
<p><sup>3 </sup>For the purposes of brevity, the occupation of Taksim Square and Gezi Park will subsequently be referred to as the Gezi Park Occupation.</p>
<p><sup>4 </sup>Anatolia is the western peninsula of Asia. It is bounded by the Black, Aegean, and Mediterranean Seas, and forms the greater part of Turkey.</p>
<p><sup>5 </sup>For further expansion on the term “volatile knowledge” in relation to my practice see Merve Kılıçer, “Volitional Volutions of the Volatile Waters,” www.mervekilicer.com. Last modified 2019. </p>
<p><sup>6 </sup>This eighteenth-nineteenth century epic folk poem was chanted by the well-known musician Ruhi Su in the 1960’s.
See at.wdka.nl/wellsofknowledge for further information.</p>
<p><sup>7 </sup>Tengriism is a shamanistic religion practiced in Central Asia. It is characterized by shamanism, totemism, and animism. It is both monotheistic and polytheistic. Ancestor worship is also a big part of Tengriism. Discover Mongolia, “The Ancient Religion of Tengriism” (January 7, 2019). https://www.discovermongolia.mn/blogs/the-ancient-religion-of-tengriism </p>
<p><sup>8 </sup>The poem of Pir Sultan Abdal was chanted by many Ashiks and reached this research through Ashik Veysel whose voice was recorded in 1961. Visit https://wellsofknowledge.wdka.nl/ for further information.</p>
<p><sup>9 </sup>The Turkic languages are a group of languages spoken across Eastern Europe, the Middle East, Central Asia and Siberia. Turkic languages are spoken as native languages by some 170 million people. Wikiwand / Wikipedia, “List of Turkic Languages.” Accessed January 15, 2021. https://www.wikiwand.com/en/List_of_Turkic_languages</p>
<p><sup>10 </sup>“Alevi is the term used for a large number of heterodox Muslim Shi’a communities with different characteristics. Thus, Alevis constitute the largest religious minority in Turkey. Technically they fall under the Shi’a denomination of Islam, yet they follow a fundamentally different interpretation than the Shi’a communities in other countries.” Minority Rights Group International, “Alevis.” Accessed January 19, 2021. https://minorityrights.org/minorities/alevis/</p>
<p><sup>11 </sup>Tariqa(t) is the Sufi doctrine or path of spiritual learning.</p>
<p><sup>12 </sup>Cura is a string instrument also known as bağlama or saz. I use this version because the word cura is better known internationally. </p>
<p><sup>13 </sup>Village Institutes were a set of schools in the rural areas of Anatolia which gathered children from nearby villages to teach both Western and local Eastern knowledge. They aimed to develop a basic level of education and raise teachers for the society of the newly established republic. These institutes were terminated due to the demand of the United States because of their socialist structures. Veysel taught between 1942–47.</p>
<p><sup>14 </sup>Mahur is one of the melodic systems used in Arabic, Persian and Turkish classical music. Atilla İlhan’s poem, “Mahur” (1972) was composed by Ahmet Kaya in 1993. Translated by Nihan Somay and Merve Kılıçer. See at.wdka.nl/wellsofknowledge for further bibliographic information. </p>
<h2>Bibliography</h2>
<p>Books</p>
<p>Aysan, Y., 2013, “Let’s Go to Postering” 1963-1980: The Visual Journey of the Left. Istanbul: İletişim Publishing.</p>
<p>Aysan, Y., 2013, <i>“Let’s Go to Postering” 1963-1980: The Visual Journey of the Left.</i> Istanbul: İletişim Publishing.</p>
<p>Kafadar, C., Kendine Ait Bir Roma - Diyar-ı Rum’da Kültürel Coğrafya ve Kimlik Üzerine (a Rome of one’s own: reflections on cultural geography and identity in the lands of rum). Istanbul: Metis Publishing, 2017.</p>
<p>Ortaylı, İ., Tarihimiz ve Biz (our history and us), 15th ed. Istanbul: Timaş Publishing, [2008] 2018.</p>
<p> Alpyıldız, E., “Yerelden ulusala taşınan müzik belleği ve yurttan sesler” (the memory of music carried from the local to the international and voices from the homeland). Milli Folklor (national folklore), year 24, issue 96, 2012. </p>
<p>Ayas, O. G., Kemalist Oryantalizm ve Osmanlı-Türk Müziği (Kemalist Orientalism and Ottoman-Turkish music). Muhafazakar Düşünce (conservative thinking), 2014: 189–212. </p>
<p>Ayvalıoğlu, N., “Cultural revolution of atatürk.” Psikoloji Çalışmaları (psychology studies), no. 15(0), 2012: 49–58. Retrieved from https://dergipark.org.tr/tr/pub/iupcd/issue/9418/118046 </p>
<p>Azar, B., “Sözlü kültür geleceği açışından türk saz şiiri (Turkish saz poetry in terms of oral culture future).” Fırat University Journal of Social Science, volume 17, no. 2, 2007: 119–33. </p>
<p> Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1 (looking at the formation and relations of Turkish folk and classical music from history-1). Uluslararası insan bilimleri dergisi (international j 1303-5134.</p>
<p> Bayket, S., “The anatomy of a parallel state: Gülen’s FETÖ,” Hürriyet Daily News, August 18, 2016. Accessed December 20, 2020. https://www.hurriyetdailynews.com/the-anatomy-of-a-parallel-state-gulens-feto--102959 </p>
<p>Bir eşitlik arayışı: Türkiye’de azınlıklar - Rapor (a quest for equality: minorities in Turkey - report), September 2007, Minority Rights Group International. </p>
<p>Erensü, S., and Karaman, O., “The Work of a Few Trees: Gezi, Politics and Space.” International Journal of Urban and Regional Research, 41(1), 2017: 19–36. DEPO (catalogue of exhibition and lecture series). Kind of Electricity Appeared in Outer Space: Musical Turkey in the 1960’s. Istanbul: Anadolu Kültür/Depo, 2012. </p>
<p> Göner, G., “Konargöçer Türkler kim?” (who are the nomad Turks?). Rusen, December 12, 2017. Accessed December 2020. http://www.rusen.org/konargocer-turkler-kim/ </p>
<p>Kaya, H., and Çeti̇n, N., “Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I” (Pir Sultan Abdal’s poems published in a journal I). HUMANITAS - Uluslararası Sosyal Bilimler Dergisi (Humanitas – international journal of social sciences), no. 4, volume 8, 2016: 131–56. DOI: 10.20304/humanitas.277542 </p>
<p>Koç, N., “Cumhuriyet’in ilk yıllarında radio” (radio in the first years of the republic). Cumhuriyet Tarihi Araştırmaları Dergisi (journal of republic history studies), year 8, issue 15, 2012. ISSN: 1305-1458 E-ISSN: 2147-1592</p>
<p> Köprülü, F., “Bektaşiliğin Menşe’leri” (the origins of bektashism). Türk Yurdu (Turkish homeland), no. 7, 1925. Accessed January 5, 2021. https://www.alevibektasi.eu/ </p>
<p>Kuloğlu, Ü., 2009, “Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi” (Music: Pre-Anatolian musical traditions of Turks and the influence of Islam.). T.C. Kültür ve Turizm Bakanlığı Türkiye Kültür Portalı Projesi (T.R. Turkey's culture ministry of culture and tourism portal project), Ankara. </p>
<p>Öymen, Ö. K., “‘Gezi’ Türkiye’nin onurudur” (‘Gezi’ is the honor of Turkey). Cumhuriyet Newspaper, February 24, 2020. Accessed May 20, 2020. https://www.cumhuriyet.com.tr/yazarlar/orsan-k-oymen/gezi-turkiyenin-onurudur-1722887 </p>
<p>Özdamar, F., “Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri (the effect of the Dede Korkut book on contemporary music artists).” Mili Folklor, year 26, no. 101 (2014). ISSN 2146-8087. </p>
<p>Sakallıoğlu, Ü.C., “The Anatomy of the Turkish Military’s Political Autonomy.” Comparative Politics, vol. 29, no. 2 (January, 1997): 151–66. Accessed January 31, 2019. https://www.jstor.org/stable/422077</p>
<p> Sarı, Ç.G., “Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si” (female musicians from the Ottoman Empire to the Republic: CD of Madame Lale and Nerkis in the future of stone records). Toplumsal Cinsiyet (gender), no. 6, 2013. </p>
<p>NTV Tarih Magazine, “Stüdyo Yapım-Proje (studio production project): Gezi 1-year anniversary print.” NTV Tarih Magazine, no. 1, (2014). Maslak, İstanbul: Doğuş Grubu İletişim Yayıncılık.</p>
<p>Millı̂ Folklor Araştırma Dairesi (folklore research office of Millî), Türk Folkloru Araştırmaları Yıllığı (almanac of Turkish folklore studies), 1975, Ankara: Ankara University Publishing House.</p>
<p> Alpyıldız, E., “Yerelden ulusala taşınan müzik belleği ve yurttan sesler” (the memory of music carried from the local to the international and voices from the homeland). <i>Milli Folklor </i>(national folklore), year 24, issue 96, 2012. </p>
<p>Ayas, O. G., Kemalist Oryantalizm ve Osmanlı-Türk Müziği (Kemalist Orientalism and Ottoman-Turkish music).<i> Muhafazakar Düşünce </i>(conservative thinking), 2014: 189–212. </p>
<p>Ayvalıoğlu, N., “Cultural revolution of atatürk.” <i>Psikoloji Çalışmaları</i> (psychology studies), no. 15(0), 2012: 49–58. Retrieved from https://dergipark.org.tr/tr/pub/iupcd/issue/9418/118046 </p>
<p>Azar, B., “Sözlü kültür geleceği açışından türk saz şiiri (Turkish saz poetry in terms of oral culture future).” <i>Fırat University Journal of Social Science</i>, volume 17, no. 2, 2007: 119–33. </p>
<p> Başer, F.A., 2006, Türk halk ve klasik müziklerinin oluşum ve ilişkilerine tarihten bakmak-1 (looking at the formation and relations of Turkish folk and classical music from history-1). <i>Uluslararası insan bilimleri dergisi</i> (international j 1303-5134).</p>
<p> Bayket, S., “The anatomy of a parallel state: Gülen’s FETÖ,” <i>Hürriyet Daily News</i>, August 18, 2016. Accessed December 20, 2020. https://www.hurriyetdailynews.com/the-anatomy-of-a-parallel-state-gulens-feto--102959 </p>
<p><i>Bir eşitlik arayışı: Türkiye’de azınlıklar</i> - Rapor (a quest for equality: minorities in Turkey - report), September 2007, Minority Rights Group International. </p>
<p>Erensü, S., and Karaman, O., “The Work of a Few Trees: Gezi, Politics and Space.” <i>International Journal of Urban and Regional Research</i>, 41(1), 2017: 19–36. DEPO (catalogue of exhibition and lecture series). <i>Kind of Electricity Appeared in Outer Space: Musical Turkey in the 1960’s</i>. Istanbul: Anadolu Kültür/Depo, 2012. </p>
<p> Göner, G., “Konargöçer Türkler kim?” (who are the nomad Turks?). <i>Rusen</i>, December 12, 2017. Accessed December 2020. http://www.rusen.org/konargocer-turkler-kim/ </p>
<p>Kaya, H., and Çeti̇n, N., “Pir Sultan Abdal’ın bir mecmuada yer alan şiirleri I” (Pir Sultan Abdal’s poems published in a journal I). HUMANITAS - <i>Uluslararası Sosyal Bilimler Dergisi</i> (Humanitas – international journal of social sciences), no. 4, volume 8, 2016: 131–56. DOI: 10.20304/humanitas.277542 </p>
<p>Koç, N., “Cumhuriyet’in ilk yıllarında radio” (radio in the first years of the republic). <i>Cumhuriyet Tarihi Araştırmaları Dergisi </i>(journal of republic history studies), year 8, issue 15, 2012. ISSN: 1305-1458 E-ISSN: 2147-1592</p>
<p> Köprülü, F., “Bektaşiliğin Menşe’leri” (the origins of bektashism). <i>Türk Yurdu</i> (Turkish homeland), no. 7, 1925. Accessed January 5, 2021. https://www.alevibektasi.eu/ </p>
<p>Kuloğlu, Ü., 2009, “Müzik: Türklerin anadolu öncesi müzik gelenekleri ve islamiyet etkisi” (Music: Pre-Anatolian musical traditions of Turks and the influence of Islam.). T.C. <i>Kültür ve Turizm Bakanlığı Türkiye Kültür Portalı Projesi</i> (T.R. Turkey's culture ministry of culture and tourism portal project), Ankara. </p>
<p>Öymen, Ö. K., “‘Gezi’ Türkiye’nin onurudur” (‘Gezi’ is the honor of Turkey). <i>Cumhuriyet Newspaper</i>, February 24, 2020. Accessed May 20, 2020. https://www.cumhuriyet.com.tr/yazarlar/orsan-k-oymen/gezi-turkiyenin-onurudur-1722887 </p>
<p>Özdamar, F., “Dede Korkut Kitabı’nın çağdaş müzik sanatçıları üzerindeki tesiri (the effect of the Dede Korkut book on contemporary music artists).” <i>Mili Folklor</i>, year 26, no. 101 (2014). ISSN 2146-8087. </p>
<p>Sakallıoğlu, Ü.C., “The Anatomy of the Turkish Military’s Political Autonomy.” <i>Comparative Politics</i>, vol. 29, no. 2 (January, 1997): 151–66. Accessed January 31, 2019. https://www.jstor.org/stable/422077</p>
<p> Sarı, Ç.G., “Osmanlı’dan Cumhuriyet’e kadın müzisyenler: Taş plak geleceğinde Lale ve Nerkis Hanımlar CD’si” (female musicians from the Ottoman Empire to the Republic: CD of Madame Lale and Nerkis in the future of stone records). <i>Toplumsal Cinsiyet</i> (gender), no. 6, 2013. </p>
<p>NTV Tarih Magazine, “Stüdyo Yapım-Proje (studio production project): Gezi 1-year anniversary print.” <i>NTV Tarih Magazine</i>, no. 1, (2014). Maslak, İstanbul: Doğuş Grubu İletişim Yayıncılık.</p>
<p>Milli Folklor Araştırma Dairesi (folklore research office of Milli), <i>Türk Folkloru Araştırmaları Yıllığı </i>(almanac of Turkish folklore studies), 1975, Ankara: Ankara University Publishing House.</p>
<p>Uluskan, Seda Bayındır, Atatürk’ün sosyal ve kültürel politikaları (Atatürk’s social and cultural policies). Ankara: AKDTYK Atatürk Araştırma Merkezi (AKDTYK Atatürk research center), 2010.</p>
<p>Online platforms and resources </p>
<p>Ahmet Yesevi University, Turkish Literature Name Dictionary. Accessed January 5, 2021. http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu</p>
<p>Ahmet Yesevi University, <i>Turkish Literature Name Dictionary</i>. Accessed January 5, 2021. http://teis.yesevi.edu.tr/madde-detay/asik-veysel-satiroglu</p>
<p>Bi’bak (have a look) video lecture series “Yerli Müzik” (local music). Recorded March 9, 2018. Accessed December, 2020. https://vimeo.com/bibak</p>
<p>Istanbul Research Institute, “History of the Taksim Promenade,” exhibition text, June 7, 2013. Accessed January 4, 2020. https://blog.iae.org.tr/en/other/history-of-the-taksim-promenade</p>
<p>Gezi için müzik / Music for Gezi, playlist. Accessed January 4, 2020, https://gezimusic.tumblr.com/playlist</p>
<p>Musiki Dergisi. Accessed January 5, 2021. http://www.musikidergisi.net/</p>
<p><i>Gezi için müzik / Music for Gezi</i>, playlist. Accessed January 4, 2020, https://gezimusic.tumblr.com/playlist</p>
<p><i>Musiki Dergisi</i>. Accessed January 5, 2021. http://www.musikidergisi.net/</p>
<p>Ottoman History Podcast, “Cemal Kafadar Between Past and Present, Part 2,” episode 474, September 2020. Accessed December 2020. http://www.ottomanhistorypodcast.com/2020/08/kafadar-2.html</p>
