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Published: 2006-11-18 15:45:34 +0000 UTC; Views: 1172; Favourites: 35; Downloads: 15
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Ölümünün üzerinden onlarca yıl geçmesine karşın ölmeyen halk ozanı Aşık Veysel, eserleriyle türkü barlarda ve "hayatın ta kendisinde" yaşamaya devam ediyor.Sertaç Kantarcı
Ankara/2006
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Comments: 32
perfect shot.
The lighting and the color, is just beautiful. 
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tebrikler Sertaç, kutlarım. cok guzel fotograf...
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teşekkürler hakan abi, beğendiğine çok sevindim
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O, mezhebimin gören gözü / "uzun ince yol"umun nabzı / yaşama sevincimin türküsüdür / O, dedemdir, güzelliğimdir benim / lafından hala şaşmadım / yolundan çıkı
Onu böyle andığınız için size müteşekkirim...
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Bu fotoğraın hastasıyım. Her zaman her yerde favorim
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teşekkürler sina,
adresini sertac@ekonometri.com.tr adresine gönderirsen, fotoğrafımı sana hediye etmek isterim.
sevgiler
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Çok güzel bir jest bu.
Mail atıyorum. Postaya cevaben benim de bir hediyem olacak o zaman
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rica ederim, fotoğrafımın ondan anlayan birinde olması güzel olacak
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merhabalar hocam cok guzel bir fotograf daha
saygilarimla,
Abdullah
[link]
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güzel bir fotoğraf olmuş zaten ekspresif bir fotoğraf açıklama yazmasanda olurmuş çok başarılı tebrikler
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tesekkurler, begendigine sevindim...
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I have no idea what you're saying, sertac - but that's a great shot...I love mixing pop art/advertising in the urban environment with human subjects.
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Hi Silim...
I shoot photo at Ankara. There is a wall of the biggest traditional Turkish music pub at Ankara. Left side of photo, his name is Asik Veysel who is the most traditional Turkish Music composer/singer with baglama instrument (like guitar)
Of the aşıks, or minstrels, that lived in Anatolia during the past century. Aşık Veysel is one of the most reknown and often spoken of.
The 1920s and 30s are years in which the aşık tradition present over Anatolia, due to changing socio-political and economic conditions, entered a new and different period. This was the period in which Veysel came onto the scene. As a middle-aged artist, he was able to take excellent advantage of the opportunities before him, and within a short time had become one of the singular figures in the aşık profession, working tirelessly for his cause. He became even more known for his works such as "Lament for Atatürk" and "Black Earth"; and through his recordings, published books and teaching positions at village institutes, he was able to reach a vast audience.
In this booklet, we have tried to examine Veysel's place within the aşık tradition, his connection to central authority and its ideology, and musical examples, of which very few have been examined till now. The first CD is comprised of the best recordings of Aşık Veysel’s most well- known performances. The second CD is devoted to selections from 78s, "deyiş" (folk poetry) and folk song recordings which have until now never been
published. in choosing these selections, utmost care has been taken in selecting those that best illustrate Aşık Veysel’s status as an aşık, his mastery as a performer of deyiş, and as a "source person".
Aşık Veysel [Şatıroğlu] was born in may of 1894 in Sivrialan village, in Şarkışla county of Sivas province. Up until the age of seven, Veysel ran, played, laughed... Shortly after that, a smallpox epidemic threw his village into terror, and struck Veysel along with his two brothers. Like many young children of the village, his two brothers succumbed to the merciless disease. Veysel lost his left eye.
When Veysel’s father discovered his son's passion for poetry, the saz, and language, he had a bağlama made for him. Veysel took his first saz lessons from the master saz players of his village. Molla Hüseyin and Çamşıhılı Ali Ağa. Many years passed and Veysel grew into a young man, married and had children. After a long life with many struggles, he became ill with cancer and passed on on March 21, 1973.
The Aşıks, who we come across in every corner of Anatolia with saz in hand, lyrics on their tongues, singing their own or others7 deyiş, are a type of local artist that in our day as in the past, work to fulfill the mission they have taken on, or perhaps have put upon them. in bygone eras, those identified as aşık performed the duties of doctor, magician, musician, and religious men. Their role changed in the 15th and 16th centuries, after which a special type of aşık performed a new function in Anatolia. During this period, they developed aşık literature, which was already evolving its own various technical and stylistic characteristics; and aşık music, from an aesthetic standpoint as well. From the end of the 19th to the beginning of the 20th centuries, along with the world/s changing living conditions, communications, human and international relations; certain changes came about as well in the function of aşıks in society. The early 20th century saw a decrease in the nomadic aspect of the Türkmen aşık, while his influence on and sensitivity to changing social, political, and cultural events increased.
During the first quarter of the 20th century, events playing out on Anatolian soil, resulted in national identity movements that brought about birth of the Republic. Aşıks, as the most important transmitters of this identity, came to take a great interest in the new regime.
Because at one point, the Republic symbolized a project of social change and transformation, the aşıks influenced the fundamental parameters of this change. The aşıks' world views, their ways of critiquing life, and their tendency to examine the issues of the country, were again taken into consideration during this transformation, and by this same transformation, aşıks were influenced in two ways: first, by explaining the new administration's activities to the people, they gained their appreciation, and became a means by which the people's issues could be transmitted to the administration; and second, they tried to live the change in their own inner worlds. No more did aşıks go around in çarık, they wore Italian shoes; neckties and felt caps replaced vests and peaked village caps; the villagers and the people of the nation had now come face to face.
Though one could go much deeper into this evaluation of social events, let us get on to the subject of Aşık Veysel, the most visible figure of his period. As Aşık Veysel was, through his thought and music, an advocate of a certain section the common people, he is a discovery, "special" aşık with respect to efforts toward understanding Anatolia. Veysel was "discovered", and gained outside exposure for the first time at the "Aşık Festival," organized in 1931 in Sivas by the Society for the Preservation of Folk Poetry. This was such an important event that ever since, it has been a determining factor in the process of passing from the status of "local artist" to "aşık." Certainty Veysel was not made an aşık by the Aşık Festival alone; this was only one means. Aşık Veysel's inner conflicts, his expectations from life, and the dramatic events he'd lived through, developed his inner world; and possibly brought about his maturity far before that day.
Certain characteristics typical of the Anatolia aşıks are absent in Veysel. For example, Veysel did not use atışma (competition between aşıks), he didn't sing in the leb-değmez (open-mouthed - "lips not touching") style, he wasn't brought out by a master as the result of a dream vision. But he fulfilled the fundamental two characteristics of the aşık: He played and sang his own and others’ deyiş accompanying himself with the saz.
Also, as far as we know, Aşık Veysel did not receive an education in a tekke (dervish lodge). During his youth, he had no master other than the one who taught him saz, to educate him in the aşık profession. He was a village aşık, steered towards his profession by the social conditions of a village in the middle of Anatolia, and by his own inner world. Much attention is given in his poetry to illustrations of the social structure of his village and environment. Taking this a little further, he deals events in the nation in general with the fundamental thought of the village and the villager. However -as we will examine more deeply in a later volume- in his poetry, which contains and deals with all these events, it is very difficult to find one overriding slant on the conflict between the ruler and ruled. This is because Veysel had close connections with the intellectuals and high government officials of his time, and consequently with the regime and its ideology. Despite the fact that many thus characterize him as a "modem aşık", the fact remains that in terms of technique, Veysel was a man firmly bound to traditional forms. Ali the forms characteristic of the aşık poetic tradition can be seen in Veysel's poetry.
Veysel's poetry is metrical and he uses 8- and 11- syllable meters. The local dialect is fully present in his deyiş. Aşık Veysel started singing poetry (deyiş
I embraced so many, thinking them a friend
My true love is the black earth
in vain l wandered, exhausted myself for naught
My true love is the black earth
Along with the lyricism and richness of imagery in his poetic voice, there exist more simple deyiş of his that speak of the relation with the earth:
When my essence and the earth mix and become one
l will become a flower and decorate my grave
The mountains clothe themselves in green, the clouds weep
l will float across the sky and listen
Or:
Veysel says, let me climb up a high mountain
The trees adorned with green leaves
The time will come when my flesh will fail to the earth
it will mix into the earth, become dust, and go away
One immediately feels in this poetry the lyricism, simplicity, earnestness and power of expression, dealing with the basic elements of village life. in his
poetry, rural life is depicted with clever and agile finesse. His clear and earth manner of expression, like gushing waters, takes the reader to the open seas... However, this same power is difficult to find in his ideological/sociological poetry. in these deyiş, the expression seems forced. Can an aşık who doesn't know city life, who has never adopted it, be expected to tell of its virtues? The difficulty of standing on asphalt trying to explain the smell of the earth is obvious. And yet, Veysel was able make subjects of such things as the benefits of working in the light of revolutions, opening of factories, founding of institutes, the laying of foundations for dams. Because he had discovered the importance of these structures, which he could never see, to modernization. He was a believer in this path. For aşıks bound into the closed environment of village society, creating poetry on such contemporary themes without departing from traditional poetic forms is nearly impossible. That he achieved this was one more special characteristic of Veysel.
Aşık Veysel holds a special place among the "Alevi aşıks" that are an important part of the aşık tradition. There is no doubt that his having been raised within Alevi culture directly affected the world of his sentiments. But outside of a few examples, he did not make his Alevism or Alevism in general, the subject of his deyiş. Veysel lived the most active portion of his life during the 1940s, a period of single-party rule. From the standpoint of the aşık profession, this is his most brilliant period. Throughout his life, he took part alongside the CHP party's highest and most enlightened, and in the Party's Village institutes, which they considered vitally important. During this period, a proposal, later signed into law, awarded Aşık Veysel, "for his service to our mother tongue and our national unity" a monthly salary of 500 lira for the remainder of his life.
Veysel's music also displays a special character. His style of singing his deyiş is as unique as his saz style. His melodic patterns, trills and emphases, which he performed masterfully, persuade us to think of him more as a local vocal artist -semiprofessional- than an aşık. Veysel did not only sing his own deyiş, but also successfully performed the "master material" of the old aşıks, local folk songs, and dance music. As much as we may consider him, from the standpoint of his musical works, an aşık within the tradition, he was at the same time an artist who managed to develop his own style. The conditions that brought him to the position of "popular aşık" became to some degree the conditions that created the Turkish popular music scene.
The 1940s were the years in which he made the most recordings. It's safe to say that Aşık Veysel was the truly popular aşık of the 78 era. in the following period he also produced 45 and 33 rpm records. in "cassette age," the 70s were Veysel's most lively period. But at present, among "nostalgic aşık albums", copies of his phonograph records are at the top of the wish list. Especially in the 70s and 80s, several artists included Veysel's works in their albums.
Undoubtedly, almost anyone interested in Turkey's folk music and literature has a material as well as a spiritual relationship with Veysel. For with the poetry he contributed to literature, and the pieces he contributed to music, he was truly one of the most significant figures of the aşık tradition
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Nice! Thanks for the post and the detailed background...the connection to the land evident in his lyrics reminds me of many American "folk" tunes as well.....
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Fotoğraftaki pembe gömlekli beyefendi de türkü bar fedaisi mi oluyor?
: )
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Selam Zeynep,
Ankara'da Kızılay Meydanı'na yaklaşırken çevik kuvvet kalkanlarının arasından çektim fotoğrafı. Pek hareket alanım da yoktu. O nedenle fazla dikkat edemedim kendisine. Bir de arkadaş sinirli sinirli bakıyordu çevresine, kendisine pek yaklaşamadım ama fedaiydi muhtemelen.
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