This article deals with the relation between recent manifestations of arabesk music (nostalgic arabesk albums by popular figures and Serkan Kaya, a new singer of arabesk) and the transformation of Turkey’s sociocultural climate during the 2010s. Drawing from concepts of nostalgia and neoliberal consumerism, it examines how contemporary arabesk music turned into a retro product or a nostalgic commodity to correspond to consumers’ constant desire for ‘new’. We compare Kaya’s lyrics and melodies with classical arabesk songs to reveal ruptures and continuities between classical and contemporary arabesk. Based on our findings, we initially claim that nostalgic arabesk albums, which simply reproduce a golden arabesk past, embrace restorative nostalgia through turning classical arabesk songs into historical souvenirs rather than reflecting on what contemporary arabesk may become. By the same token, Serkan Kaya’s version of arabesk somehow questions how to interpret this musical trajectory to capture the Zeitgeist and, in this connection, accommodates reflective nostalgia. Since both new manifestations of arabesk in the 2010s are products of/for the entertainment industry, fueled by neoliberal consumer culture, and replicate classical arabesk songs in a nostalgic manner, we argue that they lose their ability to create something new in the complete sense of the term.

本文探讨阿拉伯文音乐的最新表现（流行人物和阿拉伯文新歌手Serkan Kaya的怀旧阿拉伯文专辑）与2010年代土耳其社会文化气候的转变之间的关系。它借鉴了怀旧和新自由主义的消费主义概念，研究了当代阿拉伯文音乐如何变成一种复古产品或怀旧商品，以适应消费者对“新”的不断渴望。我们将Kaya的歌词和旋律与古典阿拉伯文歌曲进行比较，以揭示古典与现代阿拉伯文之间的断裂和连续性。根据我们的发现，我们最初声称怀旧的阿拉伯文专辑只是复制了金色的阿拉伯文历史，通过将古典阿拉伯文歌曲转化为历史纪念品，而不是反思当代阿拉伯文可能会变成什么样，来拥抱恢复性的怀旧之情。同样，塞尔坎·卡亚（Serkan Kaya）的阿拉伯文版本以某种方式质疑如何解释这种音乐轨迹以捕捉Zeitgeist并且在这方面容纳了反射性的怀旧之情。由于阿拉伯语在2010年代的两种新表现都是娱乐业的产物，或者是娱乐业的产物，在新自由主义消费文化的推动下，并且怀旧地复制了古典阿拉伯语的歌曲，因此我们认为，它们丧失了以全新的方式创造新事物的能力。期限。