Media and Other Archaeologies in Southeast Anatolia: The Case of Enver Demirbağ
Enver Demirbağ (1935-2010) is known as the master of the Harput Divan—the urban art music in the (once major) cities of Harput/Elazığ and Palu in South Eastern Anatolia. Owing to modal formations that tie this music more closely to neighbouring countries than Istanbul, and to improvisatory practices...
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| Publicado en: | URI:https://journals.openedition.org/esma, |
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| Autor Principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
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Égypte Soudan mondes arabes
2025
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | Enver Demirbağ (1935-2010) is known as the master of the Harput Divan—the urban art music in the (once major) cities of Harput/Elazığ and Palu in South Eastern Anatolia. Owing to modal formations that tie this music more closely to neighbouring countries than Istanbul, and to improvisatory practices that have restricted efforts to notate it, this is a neglected repertory. Owing to the complexities of life in these cities in the aftermath of Armenian genocide and the Kurdish tribal uprisings early in the century—and various other factors—Demirbağ failed to make a national career for himself. The circulation of his recordings, today amongst small groups of afficionados on flash drives, poses some interesting challenges for a kind of media archeology attentive to the workings of lost, obscured or damaged archives. Here, they also invite consideration alongside other—conflicted—archeologies in the region, as well as, on a different scale, the ‘deep time’ of a tectonic “shatterzone” (Kezer 2023). The question, then, becomes one of conceptualizing Demirbağ’s voice in a broader landscape marked by various kinds of catastrophe, various kinds of struggle. |
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