ABSTRACT

When does war end and peace begin? Does commemoration serve indelibly to bracket conflict from post–conflict? In this article, I argue that memorial rituals serve to extend an ongoing conflict by concealing retribution in the guise of reconciliation. With specific reference to the centennial commemoration of the Gallipoli Campaign (2015), I focus on a musical performance of the iconic number entitled: Çanakkale Türküsü (lit. ‘The Dardanelles Folksong’) sponsored by the Turkish Navy, which was broadcast on Turkish television to mark the centennial celebration of the Gallipoli landings. The message of the performance is one of power, a resurgent Turkey on the high seas of world diplomacy – and also one of normality, a tacit recognition that war is every day. Significantly, the musical arrangement of the famous folksong is socially organised to emphasise consensus and inclusiveness. Further, the musical performance reinforces the theme of reconciliation between old enemies from abroad and new enemies at home. That the event was scheduled to coincide with the centennial commemoration of the Armenian deportations is no coincidence. In this way, a song of reconciliation might become a song of retribution by extending a longstanding conflict into an era that is apparently post conflict.

摘要

战争何时结束，和平何时开始？纪念活动是否不可磨灭地将冲突与冲突后的冲突联系起来？在这篇文章中，我认为纪念仪式通过以和解的幌子隐藏报复来扩大持续的冲突。特别提到加里波利战役百年纪念（2015 年），我重点介绍了一个名为：Çanakkale Türküsü的标志性数字的音乐表演(lit. 'The Dardanelles Folksong') 由土耳其海军赞助，在土耳其电视台播放，以纪念加里波利登陆百年庆典。表演传达的信息是一种力量，是世界外交公海上的复兴土耳其——也是一种常态，一种对战争每天都在进行的默许。值得注意的是，著名民歌的音乐编排是社会组织的，以强调共识和包容性。此外，音乐表演强化了国外老敌人与国内新敌人和解的主题。该活动原定与亚美尼亚驱逐出境一百周年纪念活动同时进行，这并非巧合。通过这种方式，