Homegrown Sounds of Istanbul: World Music, Place, and Authenticity

Değirmenci, Koray

doi:10.1080/14683849.2010.483866

Cited by 3 publications

(3 citation statements)

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“…. ” (Değirmenci, 2010, p. 264). Interviewing musicians and bands from various music genres, Akın elaborately depicts the city with its diverse cultures and lifestyles through sounds.…”

Section: Identity Politics Of Europe In the Eyes Of The Beholder: Fat...mentioning

confidence: 99%

Representation of European Utopia and its Discontents in the Films of Fatih Akın

Mert-Travlos¹

2021

Journal of Humanistic Psychology

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In this article, I contemplate the questions of “Europeanness” through the prism of Fatih Akın’s films. His works can be considered as being representative of European urban cinema, as he skillfully questions “European identity” through the cosmopolitan urban landscape and multicultural identities he employs. Such scrutinization of identities, be it on the level of individual, national, and/or postnational, are emphasized by the sampling of various eclectic music genres. Just as the identity of Europe has been shifting, Akın’s filmic representations have been successful in capturing the postindustrial cityscapes of certain European cities. Moreover, through the music and sounds he deploys, Akın opens up a “third space.” This unfolds through his cinematography, which aurally and visually reflects on cityscapes, immigrant and nonimmigrant identities, as well as emotional geographies created through his various subjectivities. Such a third space is also constituted by the flow of desire of his characters through their temporal displacements between (European) cities such as Hamburg and Istanbul, and their attachments to “places” through music. I thus discuss how Akın engages with the meaning of “Europeanness” and European identity in relation to the “Other,”—in other words, how this director tackles the issue of identities through the socio-political and cultural spaces of his protagonists. This also overlaps with how he utilizes music in his movies, as well as how he represents the idea of a utopia and dystopia through the social world of his diasporic characters.

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“…. ” (Değirmenci, 2010, p. 264). Interviewing musicians and bands from various music genres, Akın elaborately depicts the city with its diverse cultures and lifestyles through sounds.…”

Section: Identity Politics Of Europe In the Eyes Of The Beholder: Fat...mentioning

confidence: 99%

Representation of European Utopia and its Discontents in the Films of Fatih Akın

Mert-Travlos¹

2021

Journal of Humanistic Psychology

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“…He notes that‘Much more than being an independent category of its own, in Istanbul world music has increasingly become an umbrella term for not only the musical projects broadly defined as fusion or synthesis by musicians and the market but also for local and traditional music’, including Roma, Sufi and Turkish folk music forms. (Değirmenci, 2010: 253)…”

Section: From the Tekke To The World Stagementioning

confidence: 99%

“…This has amounted to the incorporation of images of whirling dervishes into the iconography of Turkish nationalism (Vicente, 2007: 116). Değirmenci (2010Değirmenci ( , 2013, on the other hand, provides an account of the rise of 'world music' in Istanbul over the last decade, a significant element of which has been its incorporation of 'Sufi music'. He notes that 'Much more than being an independent category of its own, in Istanbul world music has increasingly become an umbrella term for not only the musical projects broadly defined as fusion or synthesis by musicians and the market but also for local and traditional music', including Roma, Sufi and Turkish folk music forms.…”

Section: From the Tekke To The World Stagementioning

confidence: 99%

Artists, antagonisms and the ney in the popularization of ‘Sufi Music’ in Turkey

Şenay

2014

European Journal of Cultural Studies

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Following its successful marketing as a sub-genre of ‘world music’ in the mid-1990s, Sufi music has become a cover term to describe and publicize a disparate variety of musical styles in the Turkish popular music industry. In this article, I explore this phenomenon through the recent history of the ney (reed-flute), an instrument that has been re-contextualized as the acoustic and visual signifier of Sufism, and utilized to evoke feelings of spirituality in listeners in affirming the authenticity of the new genre. Musicians’ and recording studios’ sonic strategies for signifying and communicating a Sufi sound have not only generated new musical aesthetics but garnered both a global and local audience. They have also generated intense debates among musicians concerning the very existence of a thing named ‘Sufi music’ and the ney’s place in it.

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Istanbul

Tepe¹

2019

The Wiley Blackwell Encyclopedia of Urban and Regional Studies

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Istanbul is a unique global megacity due to its geographic location, rich history, and cultural heritage, as well as its representativeness of major contemporary urban and global issues. This entry describes how the long history of the city has shaped its multilayered identity, which can be seen in its architecture, public spaces, arts, and neighborhood communities. Then, in relation to current challenges of urban governance, the entry examines the ways Istanbul deals with rapid social, political, and economic transformations such as refugee migration, employment patterns, urban renewal projects, and ecological problems.

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Homegrown Sounds of Istanbul: World Music, Place, and Authenticity

Cited by 3 publications

References 0 publications

Representation of European Utopia and its Discontents in the Films of Fatih Akın

Representation of European Utopia and its Discontents in the Films of Fatih Akın

Artists, antagonisms and the ney in the popularization of ‘Sufi Music’ in Turkey

Istanbul

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