Music, Protest and Social Inclusivity: The Case of Ahmet Kaya as a Deviant Example of Protest Music in Turkey

Year 2024, Volume: 8 Issue: 2, 233 - 267, 31.12.2024

Diler Özer

https://doi.org/10.33906/musicologist.1282341

Abstract

This study examines Ahmet Kaya's significance as a protest singer-songwriter in Turkey, focusing on his unique position within the protest music scene of Turkey. Despite facing challenges and criticisms, Kaya used his music to voice the struggles of the oppressed, creating enduring documents of social strife. The research argues that Kaya's music exhibits a higher degree of social inclusivity compared to traditional Turkish protest music, attributed to his diverse musical-cultural background, relatable lyrical themes, emotional connection with audiences, and the socio-cultural transformation in Turkey during the 1980s and 1990s.
The study employs Homi Bhabha's concept of 'cultural hybridity' as a theoretical framework. Central to this analysis is the application of Bhabha's 'third space' concept, which illuminates how Kaya's music creates a unique cultural intersection where diverse musical traditions and social experiences coexist and interact. The study also introduces the concept of 'musical mixture' to describe Kaya's innovative fusion of various musical elements, which contributes significantly to the social inclusivity of his work.
The multifaceted methodology for this study combines historical analysis, biographical research, musical analysis, and sociopolitical contextualization, introducing 'musical accumulation' as an approach to analyzing Kaya's style. The research involves review of historical sources, audiovisual archives, and interviews, analyzing Kaya's musical elements, lyrical themes, and collaborations.
The study highlights the relationship between music, protest and society, illustrating music's role in protest, identification, and inclusivity. 'Social inclusivity' emerges as a key parameter in understanding Kaya's broad appeal, suggesting new avenues for protest music studies. This research contributes to understanding how hybrid cultural forms shape political discourse and social identity in late 20th century Turkey.

Keywords

Protest music, social inclusivity, Ahmet Kaya, social movements, cultural hybridity, musical mixture

Supporting Institution

İTÜ BAP Birimi (Scientific Research Projects Unit of Istanbul Technical University)

Project Number

37250

Thanks

As a subchapter of my doctoral thesis, this study has emerged, and I would like to extend my heartfelt gratitude to the following individuals who have contributed significantly to its completion: My thesis advisor, Prof. Dr. Belma Oğul, for her invaluable guidance, expert advice, and unwavering support throughout the research process. My thesis committee members, whose feedback and suggestions have greatly enriched the quality of this study. My friends and esteemed colleagues from the field, whose insights and discussions have played a vital role in shaping the socio-political, theoretical, and analytical framework of this research. Gülten Kaya, for her unwavering moral support and engaging conversations that have inspired and motivated me during the course of this study. I am deeply grateful to all of you for your contributions. Thank you.

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