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Music, Migration, and Public Space: Syrian Street Music in the Political Context
Arts Pub Date : 2021-10-22 , DOI: 10.3390/arts10040071
Evrim Hikmet Öğüt

Due to the lack of social systems supporting the cultural productions of migrant societies in Turkey, the venues and opportunities to which migrant musicians have access for the maintenance of their musical practices are limited. Under the given circumstances, especially in the first years after their arrival, street musicianship emerged as a new musical practice for Syrian musicians in Istanbul, and Beyoğlu District, the city’s cultural and political center, has become the venue for street musicians’ performances. Despite undergoing a rapid neoliberal transformation, Beyoğlu district, with Taksim Square and Istiklal Avenue, is a venue of interaction among locals, tourists, and various migrant groups from diverse social classes and identities. As such, it still possesses the potential to be the public sphere which can operate as the space of “a democratic ideal.” For migrant musicians, the street music practices, which fill the very heart of city with their voices and sounds, are means of claiming their existence in the city as potential actors of this public sphere. However, conducting the interaction with the other public space actors and the state officials through street music is not an easy task for Syrian musicians, and it requires the use of tactics from them. In this article, I summarize the given circumstances of Syrian street music performances and discuss the Beyoğlu district in the frame of being—or not being—a public space. I propose street music practice as political action, a “social non-movement”, as Asef Bayat calls it, and situate migrant musicians as political actors who are possible allies of other subaltern groups in Turkey.

中文翻译:

音乐、移民和公共空间:政治背景下的叙利亚街头音乐

由于土耳其缺乏支持移民社会文化生产的社会制度,移民音乐家维持其音乐实践的场所和机会有限。在特定情况下,特别是在他们抵达后的最初几年,街头音乐表演成为伊斯坦布尔叙利亚音乐家的一种新的音乐实践,城市的文化和政治中心贝伊奥卢区已成为街头音乐家表演的场所。尽管经历了快速的新自由主义转型,拥有塔克西姆广场和 Istiklal 大道的贝伊奥卢区仍然是当地人、游客和来自不同社会阶层和身份的各种移民群体互动的场所。像这样,它仍然具有成为公共领域的潜力,可以作为“民主理想”的空间运作。对于移民音乐家来说,街头音乐实践让他们的声音和声音充满了城市的中心,是他们作为这个公共领域的潜在参与者在城市中生存的手段。然而,通过街头音乐与其他公共空间参与者和国家官员进行互动,对叙利亚音乐家来说并非易事,需要他们运用战术。在这篇文章中,我总结了叙利亚街头音乐表演的特定环境,并在成为或不成为公共空间的框架下讨论贝伊奥卢区。我建议街头音乐实践作为政治行动,一种“社会非运动”,正如 Asef Bayat 所说,
更新日期:2021-10-22
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