از ادبيات شفاهي و موسيقي آرابسك تا سينماي مقاومت: زايش هويت در سينماي يلْماز گونَي

From Oral Literature and Arabesque Music to Resistance Cinema: The Generation of Identity in Yilmaz Guney s' Cinema

ﻣﻮﺳﯿﻘ ﯽ آراﺑﺴﮏ از ﻫﻤﺎن اواﯾﻞ ﺷﮑﻞﮔﯿﺮي در دﻫﮥ ﺳﯽ ﺳﺪة ﺑﯿﺴﺘﻢ ﺑﻪ ﻋﻨﻮان ﯾﮏ اﻋﺘﺮاض ﻣﺪﻧﯽ و ﺟﻨﺒﺶ ﺑﺪون ﺧﺸﻮﻧﺖ ﻋﻠﯿﻪ ﺳﯿ ﺎﺳﺖ ﻫﺎي دوﻟﺖ در ﺗﺮﮐﯿ ﻪ ﺧﻮد را ﻧﺸﺎن داد. ادﺑﯿﺎت ﺷﻔﺎﻫﯽ ﮐﺮﻣﺎﻧﺠﯽ ﻫﻢ ﺑﻪ ﺻﻮرت ﺑﺎزﻧﻤﺎﯾﯽ ﺷﺪه در دﯾﮕﺮ ﻫﻨﺮﻫﺎ ﻧﻈﯿﺮ ﻣﻮﺳﯿﻘﯽ و ﻓﯿﻠﻢ و ﭼﻪ ﺑﻪ ﻣﺜﺎﺑﮥ ژاﻧﺮي ﻣﺴﺘﻘﻞ ﻫﻤﻮاره درﺑﺮﮔﯿﺮﻧﺪة ﻣﻀﺎﻣﯿﻦ ﻣﯿﻬﻦﭘﺮﺳﺘﯽ و آرﻣﺎن ﻫﺎي ﺟﻨﺒﺶ ﻣﻘﺎوﻣﺖ ﮐُﺮدﻫﺎ در ﺗﺮﮐﯿﻪ ﺑﻮده اﺳﺖ. ادﺑﯿﺎت ﺷﻔﺎﻫﯽ در ﮐﻨﺎر ﻣﻮﺳﯿﻘﯽ آراﺑﺴﮏ ﻋﻤﻼً ﺑﺨﺸﯽ از ﺑﺎزﻧﻤﺎﯾﯽ ﻫﻮﯾ ﺖ ﻓﺮﻫﻨﮕﯽ اﻗﻠﯿﺖ در ﺑﺮاﺑﺮ ﻧﻔﻮذ ﻓﺮﻫﻨﮕﯽ ﻫﻤﻪ ﺟﺎﻧﺒﮥ ﻗﺪرت ﺣﺎﮐﻢ در ﺗﺮﮐﯿﻪ ﺗﻠﻘﯽ ﻣﯽﺷﺪ. ﺷﮑﻞ دورﮔﮥ آراﺑﺴﮏ ﻋﺎﻣﻠﯽ ﺷﺪ ﺗﺎ ﻓﺮﻫﻨﮓ ﻫﺎي ﻣﺨﺘﻠﻒ اﻗﻠﯿﺖ و اﮐﺜﺮﯾﺖ آﻣﺎدة ﭘﺬ ﯾﺮش آن ﺑﺎﺷﻨﺪ ﺗﺎ ﺟﺎﯾﯽ ﮐﻪ ﺑﻪ دﻟﯿﻞ ﻣﺤﺒﻮﺑﯿﺖ و ﮔﺴﺘﺮش اﺟﺘﻤﺎﻋﯽ اش دوﻟﺖ دﯾﮕﺮ ﺗﻮان ﻣﻬﺎر آن را ﻧﺪاﺷﺖ. اﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺎ ﺗﮑﯿ ﻪ ﺑﺮ ﻧﻈﺮﯾﮥ زﻣﯿ ﻨﻪ اي در ﻣﻄﺎﻟﻌﺎت ﮐﯿﻔﯽ از ﯾﮏ ﺳﻮ و ﺑﺎ اﺳﺘﻨﺎد ﺑﻪ ﻣﻔﻬﻮم ﻓﺮﻫﻨﮓ دورﮔﻪ در ﻣﻄﺎﻟﻌﺎت ﭘﺴﺎاﺳﺘﻌﻤﺎري در آراي ﻫﻮﻣﯽ ﺑﺎﺑﺎ، در ﭘﯽ آن اﺳﺖ ﮐﻪ ﻧﺸﺎن دﻫﺪ اﯾﻦ ﺷﮑﻞ ﻫﻨﺮي در ﻗﺎﻟﺐ ﻣﻮﺳ ﯿﻘﯿﺎﯾﯽ و ادﺑﯽ ﭼﮕﻮﻧﻪ ﺗﻮاﻧﺴﺖ زﻣﯿﻨﻪ ﺳﺎز ﺷﮑﻞ ﮔﯿﺮي ﺳ ﯿﻨﻤﺎ ي آراﺑﺴﮏ در ﺗﺮﮐ ﯿﻪ و ﺑﻪ ﺗﺒﻊ آن ﭘﯿﺪاﯾﯽ ﻣﻮج ﺟﺪﯾﺪي از ﺳﯿﻨﻤﺎي ﻣﻘﺎوﻣﺖ ﺑﺎﺷﺪ. ﺑﻪ اﯾﻦ ﻣﻨﻈﻮر ﺑﺎ اﺳﺘﻨﺎد ﺑﻪ ﻓﯿﻠﻢ ﻫﺎي ﻣﻄﺮح ﻓﯿﻠﻢ ﺳﺎز ﭘﯿﺸﺮو ﮐُﺮد ﯾﻠْﻤﺎز ﮔﻮﻧَﯽ ﺑﻪ ﻋﻨﻮان ﯾﮑﯽ از ﻣﻬﻢ ﺗﺮﯾﻦ ﻓﯿﻠﻢ ﺳﺎزان آن دوره، ﮐﻮﺷﯿﺪه اﺳﺖ ﺗﺎ ﺑﻪ ﺷﯿﻮة ﮐﺪﮔﺬاري ﺳﻪ ﻣﺮﺣﻠﻪاي، ﻣﻬﻢ ﺗﺮﯾ ﻦ ﻣﺆﻟﻔﻪ ﻫﺎي ﻫﻮ ﯾﺘﯽ ﻣﺸﺘﺮك اﯾﻦ دو ﺟﺮﯾﺎن را اﻧﺘﺨﺎب و ﻣﻮردﻣﻄﺎﻟﻌﻪ ﻗﺮار دﻫﺪ. ﯾﺎﻓﺘﻪ ﻫﺎي اﯾﻦ ﺗﺤﻘﯿﻖ ﻧﺸﺎن ﻣﯽدﻫﺪ ﮐﻪ ﺳﯿﻨﻤﺎي ﻧﻮﯾﻦ ﺗﺮﮐﯿﻪ ﺑﺎ اﺗﮑﺎ ﺑﻪ ﻣﻔﺎﻫ ﯿﻤﯽ ﺣﺎﺻﻞ از ﻓﺮﻫﻨﮓ آراﺑﺴﮏ، ﭼﻮن ﻗﻬﺮﻣﺎن ﻣﺘﻌﺼﺐ، ﺣﺎﺷﯿﻪ ﻧﺸﯿﻨﯽ، ﻓﺮوﭘﺎﺷﯽ ارزش ﻫﺎي ﺧﺎﻧﻮاده، ﺳﻠﻄﮥ ﺧﺸﻮﻧﺖ ﺳﯿﺎﺳ ﯽ و ﺗﺮوﻣﺎي اﺟﺘﻤﺎﻋﯽ و ﺑﺎ ﺗﻤﺮﮐﺰ ﺑﺮ ﻣﻮﺿﻮع زﻧﺎن و ﻧﯿﺰ ﺑﻪ ﮐﺎرﮔﯿﺮي ﯾﻦﻣﺎﯾﻪﻫﺎي ادﺑﯿﺎت ﺷﻔﺎﻫﯽ ﺗﻮاﻧﺴﺘﻪ اﺳﺖ ﺷﮑﻠﯽ از ﺳﯿﻨﻤﺎي ﻣﻘﺎوﻣﺖ ﺧﻠﻖ ﮐﻨﺪ ﮐﻪ در ذات ﺧﻮد ﺳﯿﻨﻤﺎﯾﯽ ﻣﻌﺘﺮض و ﻫﻮﯾﺖ ﻣﺤﻮر اﺳﺖ.

Arabesque music presented itself as a civil protest and a non-violent movement against the government policies in Turkey from its early formation (the 1930s). The oral in Kurmanji Kurdish literature is also of high significance and rich contents. The hybrid form of the Arabesque and oral songs made it possible for the various minority and majority cultures to accept it to the extent that the government could no longer control it due to its popularity and social development. On one hand, drawing on the underlying theory of qualitative studies, and on the other hand, considering the concept of hybrid culture in post-colonial studies in Homi K. Bhabha opinions, the present paper seeks to present how this genre of music could lay the ground for the formation of Arabesque cinema in Turkey and subsequently the emergence of a new wave of resistance cinema. To this aim, considering the popular movies of the pioneer Kurdish filmmaker Yilmaz Guney as one of the most important filmmakers of that time, the present study tries to select and study the most important components of these movements using a three-step coding method. The findings of the present study demonstrate that based on the concepts derived from the Arabesque culture such as hero fanaticism, marginal settlement, the collapse of family values, the domination of political violence and social trauma and by focusing on the women issues, the modern Turkish cinema has been able to create a form of resistance cinema that is intrinsically remonstrative and identity-centered.