Görüntüleme
22
İndirme
9
Âşıklık geleneğinde mekân, âşığın sadece performansını sergilediği bir alan olarak düşünülmemelidir. Sözlü kültürün icra edildiği âşık mekânlarının oluşmasında; bellek, eş zaman, âşık ve bilinçli dinleyici gibi önemli dinamiklerin bir arada ve yüz yüze olması gerekir. Bu birliktelik geleneğin yazılı olmayan kurallarındandır. Araştırmanın amacı; gelenekten moderniteye geçiş sürecindeki değişen icra mekân türlerinden ve bu mekânlarda uygulanan icra pratiklerinden bahsetmek, ayrıca değişen icra mekânlarında uygulanan pratikleri gelenek çerçevesinden değerlendirmektir. Araştırmada belgesel tarama modeli kullanılarak var olan kayıt ve belgeler incelenmiş ve bu yolla çalışmanın kuramsal çerçevesi ve bulguları elde edilmiştir. Gelişen teknolojiyle beraber toplumun gündem ve sanat ihtiyacının bu olanaklarla karşılandığını gören âşık, dijital çağa ayak uydurarak yeni icra mekânını oluşturmuştur. Radyo ile başlayan serüven televizyon, sinema ve internet/sosyal medya gibi icra mekânlarıyla devam etmiş, bir yandan da plak, kaset, band kaydı vb. albüm çalışmaları yürütülmüştür. Âşık bu yeni icra mekânlarını; hem kültürü daha çok kişilere ulaştırma, tanıtma ve kendi reklamını yapma hem de kahvehanelerden elde ettiği gelirden daha fazlasını kazanma gibi iki farklı amaçla kullanmıştır. Sonuç olarak, modernite içerisindeki icra mekânları âşığın hedef kitlesini artırmış ve ülke genelinde bu kültürü yeniden popüler etme eşiğine getirmiştir. Ancak gelenek içerisinde icra edilen önemli çeşitli türleri (destan, hikaya vb. uzun anlatılar) ve uygulamaları (irticalen söyleme, muamma çözme vb.) modernite icra mekânlarında icra etmemiş/edememiştir. Çünkü modernite içerisindeki icra mekânlarında süre, eş zamanlılık ve yüz yüze etkileşim bir arada olamamaktadır. Dolayısıyla modernite icra mekânlarında geleneğin kısmen temsil edildiği ve medyanın şekillendirdiği popüler olma merkezli âşık modelleri ortaya çıkmıştır.
In the tradition of love, the space should not be considered as a space where the lover only shows his performance. In the formation of loving spaces where oral culture is performed; important dynamics such as memory, simultaneously, loving and conscious listener must be together and face-to-face. This is one of the unwritten rules of the tradition. The purpose of the study is to discuss the variable types of execution spaces in the process of transition from tradition to modernity and the practices implemented in these spaces, as well as to evaluate the practices implemented in the variable execution spaces from the traditional framework. The research examined the records and documents existing using the documentary scan model and in this way the theoretical framework and findings of the study were obtained. With the advanced technology, the lover, who sees that society’s agenda and art needs are met with these possibilities, has created a new place of execution by steering the digital age. Starting with radio, it continued with its executive spaces such as television, cinema and internet/social media, and on the one hand plays, recordings, band recordings, etc. The album work was carried out. Love has used these new executive spaces for two different purposes: both to bring culture to more people, to promote and to make its own advertising and to earn more than it earns from the cafés. As a result, the executive spaces in modernity have increased the target audience of the lover and brought this culture to the threshold of re-population throughout the country. However, there are many different kinds of traditions that are performed (distances, stories, etc.). Long stories) and their practices (irticalen speech, muamma solving, etc.) The modernity has not been performed in the ICC locations. For in modernity’s executive spaces time, simultaneity and face-to-face interaction cannot be combined. Therefore, in the modernity executive spaces, there have appeared loving models that are centered on popularity in which the tradition is partially represented and the media shapes.
In the minstrelsy tradition, space should not be considered as a space where the minstrel only performs. In the formation of minstrels' spaces where oral culture is performed; memory, synchronously, important dynamics, such as minstrels and conscious listeners, need to be together and face to face. This togetherness is one of the unwritten rules of tradition. The aim of the study is to talk about the changing types of performance spaces in the transition process from tradition to modernity and the performance practices applied in these places, and also to evaluate the practices applied in the changing execution spaces from the framework of tradition. In the research, the existing records and documents were examined by using the documentary scanning model and in this way, the theoretical framework and findings of the study were obtained.Seeing that the agenda and artistic needs of the society are met with these opportunities with the developing technology, the minstrel has created a new performance space by keeping up with the digital age. The adventure that started with radio continued with performance venues such as television, cinema and internet/social media, and on the other hand, album works such as records, cassettes, band recordings, etc. were carried out. The minstrel used these new performance venues for two different purposes, both to convey the culture to more people, to promote and to advertise himself, and to earn more than the income he earned from the coffee houses. As a result, the places of performance within modernity have increased the target audience of the minstrel and brought this culture to the brink of re-popularizing it throughout the country. However, the various important genres (epics, stories, long narratives) and practices (improvisation discourse, solving enigmas, etc.) performed within the tradition have not been performed or could not be performed in the places of modernity. Because in the execution spaces within modernity, time, synchronicity and face-to-face interaction cannot coexist. Therefore, in the places of modernity, tradition is partially represented and the media-shaped models of popularity-centered minstrels have emerged.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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