The sung home : narrative, morality, and the Kurdish nation
Author(s)
Bibliographic Information
The sung home : narrative, morality, and the Kurdish nation
（Studies on performing arts & literature of the Islamicate world, v. 3）
Brill, [2016]
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Note
Includes bibliographical references (p. [409]-428) and index
Description and Table of Contents
Description
The Sung Home tells the story of Kurdish singer-poets (dengbejs) in Kurdistan in Turkey, who are specialized in the recital singing of historical songs. After a long period of silence, they returned to public life in the 2000s and are presented as guardians of history and culture. Their lyrics, life stories, and live performances offer fascinating insights into cultural practices, local politics and the contingencies of state borders. Decades of oppression have deeply politicized and moralized cultural and musical production. Through in-depth ethnographic analysis Hamelink highlights the variety of personal and social narratives within a society in turmoil. Set within the larger global stories of modernity, nationalism, and Orientalism, this study reflects on different ideas about what it means to create a Kurdish home.
Table of Contents
List of participating performers
List of songs discussed
List of figures, maps and tables
List of terms and abbreviations
Notes on language use and translation
Acknowledgements
Introduction
i.1 The Sung Home 2
i.2 Some notes on the dengbej art 17
i.3 Folklore, nationalism, and (self-)Orientalism in Turkey 31
i.4 Narrative and morality 50
i.5 Engaged writing 56
i.6 Chapter outline 58
Part I Songs and Performance
Chapter 1. 'My heart is on fire.' Singing a Kurdish past.
Introduction 63
1.1 The kilams and the corpus 69
1.2 Time, place, and figures
1.3 Women and men 73
1.4 Elite and commoners 86
1.5 Armenians 90
1.6 Local leaders in battle songs 96
1.7 A Kurdish geography: place names and landscape marks 108
1.8 Kurdish rebels and the Turkish state 111
1.9 Evdale Zeynike: the dengbej as a figure 122
Conclusion 126
Chapter 2. 'It would disappear in a moment.' Performing tradition. 131
Introduction 132
2.1 The empersonment of Kurdishness 135
2.2 The Diyarbakir Dengbej House and its dengbejs 138
2.3 Performing the village 145
2.4 Tribes and battles 154
2.5 Rebellions and tribes in performance 159
Conclusion 179
Part II Life stories 183
Chapter 3. 'A language is a life, and art is a bracelet.' A landscape of silence. 184
Introduction 185
Life story 1: Politicization of Kurdish language and culture 191
Life story 2: A female dengbej 201
Life story 3: Landlords and support 214
Life story 4: Armenian voices 222
Life story 5: The religious class 236
Life story 6: Turkish experiences 245
Life story 7: The prohibition on musical instruments 251
Conclusion 262
Part III Conflict and Activism 266
Chapter 4. 'Decorate your heart with the voice of the dengbejs.' Cultural activism. 267
Introduction 268
4.1 Kurdish television in Europe 278
4.2 Zana Gunes and TV activism 285
4.3 The Dengbej House in Diyarbakir 291
4.4 Zeki Baris and activism in the House 298
4.5 Individual dengbejs referring to political narratives 302
4.6 Istanbul, a market for dengbejs 312
Conclusion 320
Chapter 5. Songs crossing borders: musical memories of a family on the run. 324
Introduction 325
5.1 Context and history 331
5.2 Experiencing borders 356
5.3 The embodied experience of singing songs 365
5.4 Resignifying cultural memory and redefining the position of women 367
Conclusion 377
Bibliography 396
General index
by "Nielsen BookData"