Araştırma Makalesi
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Almanya ve Hollanda’daki Türkçe Rap Sahnelerinin Karşılaştırılması

Yıl 2019, Sayı: 14, 203 - 213, 30.06.2019
https://doi.org/10.31722/ejmd.584384

Öz

Bu makalenin temel amacı, Türk nüfus yoğunluğunun yüksek olduğu Almanya ve Hollanda arasındaki,

özellikle 1980'lerin başlarından 1990'ların sonlarına kadar etkisini gösteren sosyo-politik farklılıkların, Türk.e

Rap Müziği’nin erken dönemlerinde gelişimini nasıl etkilediğini tartışmak olacaktır. Buradaki temel sorular,

Türk.e Rap Müziği denildiğinde ilk akla gelen ülkenin neden Almanya olduğu, Hollanda’nın ise akla neden

gelmediğidir. Bunun hangi etkenlerin sonucu olduğu somut farklılıklar aracılığıyla gösterilmeye çalışılacaktır.

Bu iki ülke arasındaki kültürel ve politik farklılıklar, ev sahibi toplumların yabancılara karşı tutumu,







Hollanda'daki Türk.e-Rap sahnesinin Almanya’dan daha az “gelişmiş” kalmasına mı neden olmuştur.

Kaynakça

  • Appadurai, A. (1983). Modernity at Large: Cultural Dimensions of Globalization. London: University of Minnesota Press.
  • Bennett, A. (2000). Popular Music and Youth Culture: Music, Identity and Place. New York: St. Martin’s Press.Çağlar, A. (1998). Popular Culture, Marginality and Institutional Incorporation. Cultural Dynamics 10.3, 243-61.
  • de Wit, T. D, and Ruud Koopmans. (2005). The Integration of Ethnic Minorities into Political Culture: The Netherlands, Germany and Great Britain Compared. Acta Politica 40.1, 50-73.
  • Deleuze, G. and Guattari, Félix. (1990). Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.
  • “Der beste Tag meines Lebens” Retrieved in 22 May 2014, from http://vvveuropeanhiphop.eu/kool-savas. Diessel, C. (2001). Bridging East and West on the ‘Orient Express’: Oriental Hip-Hop in the Turkish Diaspora of Berlin. Journal of Popular Music Studies 13.2, 165-87.
  • Doomernik, J. (2009). The Effectiveness of Integration Policies Towards Immigrants and Their Descendants in France, Germany and the Netherlands. International Migration Papers 27.
  • Eldering, L. (1997). Ethnic Minority Students in the Netherlands from a Cultural-Ecological Perspective. Anthropology and Education Quarterly 28.3, 330-50.
  • Elflein, D. (1998). From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany. Popular Music 17.3, 255-265.
  • el-Ojeili, C. and Hayden, Patrick. (2006). Critical Theories of Globalization. New York: Palgrave Macmillan. Featherstone, M. (1997). Undoing Culture. London: SAGE.
  • Frith, S. (2004). “What is Bad Music?” In Bad Music: The Music We Love to Hate edited by Christopher J. Washburne and Maiken Derno, 15-39. New York: Routledge.
  • Greve, M. (2006). Almanya’da Hayali Türkiye’nin Müziği [Imaginative Music of Turkey in Germany]. İstanbul: Bilgi Üniversitesi Yayınları.
  • Kaya, A. (1998). Multicultural Clientelism and Alevi Resurgence in the Turkish Diaspora: Berlin Alevis. New Perpectives on Turkey 18, 23-51.
  • Kaya, A. (2001). Sicher in Kreuzberg: Constructing Diasporas: Turkish Hip-Hop Youth in Berlin. Verlag: Transcript.
  • Kearney, M. (1995). The Local and the Global: The Anthropology of Globalization and Transnationalism. Annual Review of Anthropology 24, 547-65.
  • Koopmans, R. and Paul Statham. (2001). How National Citizenship Shapes Transnationalism: A Comparative Analysis of Migrant, Claims-Making in Germany, Great Britain and the Netherlands. Revue Eurohernne des Migrations Internationales 17, 63-100.
  • Maxwell, I. (2003). Phat Beats, Dope Rhymes. Middletown: Wesleyan University Press. Osmanoğlu, Y. K. (2009). Yaban [The Stranger], İstanbul: İletişim.
  • Papastergiadis, N. (1998). Dialogues in the Diasporas: Essays and Conversations on Cultural Identity. London: Rivers Oram Press.
  • Penninx, R. (1996). Immigration, Minorities Policy and Multiculturalism in Dutch Society since 1960. In The Challenge of Diversity: Integration & Pluralism in Societies of Immigration, edited by Rainer Bauböck and Agnes Heller, 187-206. Aldershot: Avebury.
  • Peterson, R. and Andy Bennett. (2004). “Introducing Music Scenes.” In Music Scenes: Local, Translocal and Virtual edited by Andy Bennett and Richard Petertson, 1-15. Nashville: Vanderbilt University Press.
  • Ritzer, G. (2003). Rethinking Globalization: Glocalization/Grobalization and Something/Nothing. Sociological Theory 21(3), 193-209.
  • Robertson, R. (1995). “Glocalization: Time-Space and Homogeneity-Heterogeneity.” In Global Modernities, edited by Mike Featherstone, Scott Lash and Roland Robertson, 25-44. London: Sage.
  • Robins, K. and David Morley. (1996). “Almancı, Yabancı.” Cultural Studies 10.2, 248-54.
  • Saharso, S. (2007). Headscarves: A Comparison of Public Thought and Public Policy in Germany and the Netherlands. Critical Review of International Social and Political Philosophy 10.4, 513-30.
  • Simmel, G. (1950). The Sociology of Georg Simmel. New York: Free Press.
  • Solomon, T. (2007). Whose Diaspora? Hybrid identities in ‘Turkish Rap’ in Germany. Paper for the 14th Nordic Migration Researchers' Conference: Bergen, November 14-16.
  • Solomon, T. (2009). Berlin, Frankfurt, Istanbul: Turkish Hip-Hop in Motion. European Journal of Cultural Studies 3.12, 305-27.
  • Soysal, L. (1999). Projects of Culture: An Ethnographic Episode in the Life of Migrant Youth in Berlin [Unpublished Doctoral thesis submitted to Anthropology and Middle Eastern Studies, Harward University], Ann Arbor.
  • Turino, T. (2003). Are We Global Yet? Globalist Discourse, Cultural Formation and the Study of Zimbabwean Popular Music.” British Journal of Ethnomusicology 12.2, 51-79.
  • Verkuyten, M. and Ali Aslan Yıldız. (2007). "National (Dis)Identification and Ethnic and Religious Identity: A Study among Turkish-Dutch Muslims." Personality Social Psychology Bulletin 33, 1448-62.
  • Vink, M. P. (2007). Dutch ‘Multiculturalism’ Beyond the Pillarisation Myth. Political Studies Review 5, 337–50.

COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS

Yıl 2019, Sayı: 14, 203 - 213, 30.06.2019
https://doi.org/10.31722/ejmd.584384

Öz

 The main purpose of this article is to explore to which degree socio-political differences between Germany

and the Netherlands particularly from early 1980s to late 90’s, where the Turkish population has a high

density,  affect developments of the Turkish-speaking rap music scenes in early 2000s. Here, the basic question

is why Germany generally comes to mind when many people think of Turkish-rap music, but the Netherlands

does not. To answer this question, I basically examined to what extent political (particularly as regards migration

policies) and social conditions in the two countries have influenced the development of Turkish-language rap

music. Cultural and political differences between these two countries and also the attitudes of the host society

towards foreigners have led the Turkish rap scene in the Netherlands to remain less “developed” than that of









Germany.

Kaynakça

  • Appadurai, A. (1983). Modernity at Large: Cultural Dimensions of Globalization. London: University of Minnesota Press.
  • Bennett, A. (2000). Popular Music and Youth Culture: Music, Identity and Place. New York: St. Martin’s Press.Çağlar, A. (1998). Popular Culture, Marginality and Institutional Incorporation. Cultural Dynamics 10.3, 243-61.
  • de Wit, T. D, and Ruud Koopmans. (2005). The Integration of Ethnic Minorities into Political Culture: The Netherlands, Germany and Great Britain Compared. Acta Politica 40.1, 50-73.
  • Deleuze, G. and Guattari, Félix. (1990). Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.
  • “Der beste Tag meines Lebens” Retrieved in 22 May 2014, from http://vvveuropeanhiphop.eu/kool-savas. Diessel, C. (2001). Bridging East and West on the ‘Orient Express’: Oriental Hip-Hop in the Turkish Diaspora of Berlin. Journal of Popular Music Studies 13.2, 165-87.
  • Doomernik, J. (2009). The Effectiveness of Integration Policies Towards Immigrants and Their Descendants in France, Germany and the Netherlands. International Migration Papers 27.
  • Eldering, L. (1997). Ethnic Minority Students in the Netherlands from a Cultural-Ecological Perspective. Anthropology and Education Quarterly 28.3, 330-50.
  • Elflein, D. (1998). From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany. Popular Music 17.3, 255-265.
  • el-Ojeili, C. and Hayden, Patrick. (2006). Critical Theories of Globalization. New York: Palgrave Macmillan. Featherstone, M. (1997). Undoing Culture. London: SAGE.
  • Frith, S. (2004). “What is Bad Music?” In Bad Music: The Music We Love to Hate edited by Christopher J. Washburne and Maiken Derno, 15-39. New York: Routledge.
  • Greve, M. (2006). Almanya’da Hayali Türkiye’nin Müziği [Imaginative Music of Turkey in Germany]. İstanbul: Bilgi Üniversitesi Yayınları.
  • Kaya, A. (1998). Multicultural Clientelism and Alevi Resurgence in the Turkish Diaspora: Berlin Alevis. New Perpectives on Turkey 18, 23-51.
  • Kaya, A. (2001). Sicher in Kreuzberg: Constructing Diasporas: Turkish Hip-Hop Youth in Berlin. Verlag: Transcript.
  • Kearney, M. (1995). The Local and the Global: The Anthropology of Globalization and Transnationalism. Annual Review of Anthropology 24, 547-65.
  • Koopmans, R. and Paul Statham. (2001). How National Citizenship Shapes Transnationalism: A Comparative Analysis of Migrant, Claims-Making in Germany, Great Britain and the Netherlands. Revue Eurohernne des Migrations Internationales 17, 63-100.
  • Maxwell, I. (2003). Phat Beats, Dope Rhymes. Middletown: Wesleyan University Press. Osmanoğlu, Y. K. (2009). Yaban [The Stranger], İstanbul: İletişim.
  • Papastergiadis, N. (1998). Dialogues in the Diasporas: Essays and Conversations on Cultural Identity. London: Rivers Oram Press.
  • Penninx, R. (1996). Immigration, Minorities Policy and Multiculturalism in Dutch Society since 1960. In The Challenge of Diversity: Integration & Pluralism in Societies of Immigration, edited by Rainer Bauböck and Agnes Heller, 187-206. Aldershot: Avebury.
  • Peterson, R. and Andy Bennett. (2004). “Introducing Music Scenes.” In Music Scenes: Local, Translocal and Virtual edited by Andy Bennett and Richard Petertson, 1-15. Nashville: Vanderbilt University Press.
  • Ritzer, G. (2003). Rethinking Globalization: Glocalization/Grobalization and Something/Nothing. Sociological Theory 21(3), 193-209.
  • Robertson, R. (1995). “Glocalization: Time-Space and Homogeneity-Heterogeneity.” In Global Modernities, edited by Mike Featherstone, Scott Lash and Roland Robertson, 25-44. London: Sage.
  • Robins, K. and David Morley. (1996). “Almancı, Yabancı.” Cultural Studies 10.2, 248-54.
  • Saharso, S. (2007). Headscarves: A Comparison of Public Thought and Public Policy in Germany and the Netherlands. Critical Review of International Social and Political Philosophy 10.4, 513-30.
  • Simmel, G. (1950). The Sociology of Georg Simmel. New York: Free Press.
  • Solomon, T. (2007). Whose Diaspora? Hybrid identities in ‘Turkish Rap’ in Germany. Paper for the 14th Nordic Migration Researchers' Conference: Bergen, November 14-16.
  • Solomon, T. (2009). Berlin, Frankfurt, Istanbul: Turkish Hip-Hop in Motion. European Journal of Cultural Studies 3.12, 305-27.
  • Soysal, L. (1999). Projects of Culture: An Ethnographic Episode in the Life of Migrant Youth in Berlin [Unpublished Doctoral thesis submitted to Anthropology and Middle Eastern Studies, Harward University], Ann Arbor.
  • Turino, T. (2003). Are We Global Yet? Globalist Discourse, Cultural Formation and the Study of Zimbabwean Popular Music.” British Journal of Ethnomusicology 12.2, 51-79.
  • Verkuyten, M. and Ali Aslan Yıldız. (2007). "National (Dis)Identification and Ethnic and Religious Identity: A Study among Turkish-Dutch Muslims." Personality Social Psychology Bulletin 33, 1448-62.
  • Vink, M. P. (2007). Dutch ‘Multiculturalism’ Beyond the Pillarisation Myth. Political Studies Review 5, 337–50.
Toplam 30 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik
Bölüm Makaleler
Yazarlar

Tunca Arıcan 0000-0003-4569-3253

Yayımlanma Tarihi 30 Haziran 2019
Gönderilme Tarihi 30 Nisan 2019
Yayımlandığı Sayı Yıl 2019 Sayı: 14

Kaynak Göster

APA Arıcan, T. (2019). COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS. Eurasian Journal of Music and Dance(14), 203-213. https://doi.org/10.31722/ejmd.584384
AMA Arıcan T. COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS. Eurasian Journal of Music and Dance. Haziran 2019;(14):203-213. doi:10.31722/ejmd.584384
Chicago Arıcan, Tunca. “COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS”. Eurasian Journal of Music and Dance, sy. 14 (Haziran 2019): 203-13. https://doi.org/10.31722/ejmd.584384.
EndNote Arıcan T (01 Haziran 2019) COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS. Eurasian Journal of Music and Dance 14 203–213.
IEEE T. Arıcan, “COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS”, Eurasian Journal of Music and Dance, sy. 14, ss. 203–213, Haziran 2019, doi: 10.31722/ejmd.584384.
ISNAD Arıcan, Tunca. “COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS”. Eurasian Journal of Music and Dance 14 (Haziran 2019), 203-213. https://doi.org/10.31722/ejmd.584384.
JAMA Arıcan T. COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS. Eurasian Journal of Music and Dance. 2019;:203–213.
MLA Arıcan, Tunca. “COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS”. Eurasian Journal of Music and Dance, sy. 14, 2019, ss. 203-1, doi:10.31722/ejmd.584384.
Vancouver Arıcan T. COMPARING TURKISH-SPEAKING RAP SCENES IN GERMANY AND THE NETHERLANDS. Eurasian Journal of Music and Dance. 2019(14):203-1.

Eurasian Journal of Music and Dance