Γεια σας,
Μια που έγινε συζήτηση για την Ευθαλία hanum (Deniz kizi)…Έχω βρει ένα ενδιαφέρον άρθρο για την Ευθαλία και γενικά για τους Έλληνες καλλιτέχνες στην τούρκικη δισκογραφία. Είναι όμως μεγάλο και δεν μπορώ να το παραθέσω σαν συνημμένο αρχείο. Όποιος ενδιαφέρεται μπορεί να μου στείλει ένα Π.Μ. και θα το έχει σε μορφή PDF.
A Resounding Issue: Greek Recordings of Turkish Music, 1923-1938
This paper concerns the resounding record of recorded sounds. In particular, it
concerns the disappearance of Greek voices from Turkish records during the
early republican era (1923-1938). After the foundation of the Turkish Republic
(1923), sound recordings made by Greek vocalists declined dramatically in
Turkey, a decline that reflected extreme demographic fluctuations after the
Treaty of Lausanne (1923) and restrictive modernizing reforms instituted by
Mustafa Kemal Ataturk (1881-1938). During this tumultuous period of national
reconstruction, Greek vocalists were no longer promoted by resident record
companies and no longer sponsored by national musical institutions, with one
notable exception, Deniz Kizi Eftalya Hanim (1891-1939). This Greek artist was
able to circumvent republican disapprobation by remaining anonymous during
her formative years (1925-1932) and by performing a standard repertory of
Turkish art and folk genres with classical distinction. By invoking the pseudonym
‘Mermaid’ (Tr. 'Deniz Kizi"), she was able to assuage the ignominy attached to
her ethnic identity and to forge a new professional space for non-Muslim
performers in the public domain. While her contribution to Turkish music remains
largely invisible in written records, her legacy is still audible on sound records
that have survived from the period. In this respect, the re-issue of these
recordings by Onlu (1998a) is significant. As a sound source, the issue clearly
shows the stylistic complexity and multicultural character of Ottoman musical
practice. As a sound bridge, the publication demonstrates the continuities and
discontinuities that occurred in vocal performance during a major disjuncture in
Turkish history. As a sound record, the publication not only provides a tangible
way of engaging with tradition but it also presents a sensible means of
questioning that tradition, a tradition which was believed to be lost but which is
found once again in the mediated grooves of commercial disks. In this way, the
loss of sound is no longer a resounding loss.