Kurdish Music Essay

539 Words3 Pages
Kurdish music is, then, principally folk music and "anonymous". The circumstances of its origins and development are, in fact, very diverse and difficult to establish with accuracy. originally purely vocal, a song was often composed by a woman wishing to express her feelings of sadness or, more rarely, of joy. It might also break forth in the course of the poetic contests the young men and women indulged in on their return along mountain paths or at other gatherings of young people: nocturnal meetings in the village square, New Year's celebrations, marriage ceremonies which might last from three days to three weeks. or, then again, a song might be created from the blow of tragic events. Between 1982 and 1991 the performance or recording of songs in the Kurdish language was banned in Turkey, affecting singers such as Şivan Perwer and İbrahim Tatlıses. However a black market has long existed in Turkey, and pirate radio stations and underground recordings have always been available. Although there was no ban on performing Kurdish language music, it was effectively prevented from being broadcast on radio or television through censorship. Şivan Perwer is a composer, vocalist and tembûr player. He concentrates mainly on political and nationalistic music - of which he is considered the founder in Kurdish music - as well as classical and folk music. Another important Kurdish musician from Turkey is Nizamettin Arıç (Feqiyê Teyra). He began with singing in Turkish, and made his directorial debut and also stars in Klamek ji bo Beko (A Song for Beko), one of the first films in Kurdish. Arıç rejected musical stardom at the cost of debasing his language and culture. As a result of singing in Kurdish, he was imprisoned, and then obliged to flee to Syria and eventually to Germany. But change comes slowly, incrementally, if at all here. Concessions by the government of Prime
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