BDB Bertsolaritzaren datu-basea

Turkish authorities have obstructed the expression of Kurdish culture and forms of Kurdish cultural expression for nearly a century. Beginning in the late 1990s, however, non-Turkish forms of cultural expressions gained visibility in the Turkish public sphere. This paper examines one aspect of this new Kurdish cultural production through an analysis of reconstruction of the tradition of the dengbêj (Kurdish singer) in the city of Diyarbakir. This process has developed through the participation and initiative of various Kurdish national(ist)s and the state actors. In contrast to typical depictions of opposition between an oppressive Turkish state and an oppressed Kurdish people, the paper argues that the dengbêj 'tradition' as it exists today is the result of a several-decades-long process of negotiation between different Kurdish individual and collective actors, between different part of the Kurdish society, and between these Kurdish actors and representatives of the state. It shows that both the state and the Kurdist movement(s) have demonstrated contradictory attitudes toward dengbêj, ranging from protection to disinterest and repression, and that the practice of the dengbêj as well as the definition of the ‘tradition’ have been profoundly shaped by this process.