Arabesque music is not just a music genre, but it is a mass phenomenon!
After the death of one of the most significant figures in Arabesque music, Ferdi Tayfur, the author of the book Arabesk Prof. Nazife Güngör, who analyzed the topic of Arabesque music, stated that for the first time in its era, a music form gained massive attention at a public level, and that the people loved Ferdi Baba, Orhan Baba, and Müslüm Baba.
Prof. Nazife Güngör explained that Ferdi Tayfur was embraced by the people and that they never abandoned him and made the following remarks: “Because he always managed to stay with them. He never changed his lifestyle or his music form, nor did he try to. Therefore, he never lost the affection of the masses.” Prof. Güngör emphasized that Arabesque was not just a music genre but a mass phenomenon and expressed that “It is a form of mass culture or, as we call it today, a popular cultural genre. In this, the intricacies of music, the notes, the instruments, and the style of singing are not as important. What matters is who the artist is, from what living conditions they come from, how they live, and what they say.”
Üsküdar University’s Rector, Communication Scientist Prof. Nazife Güngör evaluated Arabesque music after Ferdi Tayfur passed away.
Prof. Güngör, who also authored a book called Arabesk in 1993, explained that Ferdi Tayfur was one of the key figures who made a mark on the Arabesque music of the 1970s. Prof. Güngör stated that “With his melancholic lyrics and sorrowful melodies, he became a beloved figure in the hearts of the people. The reason why he won the people's affection was not just his songs, of course. When people recognize themselves in him, they embrace him more. The people saw Ferdi Tayfur as one of their own. Through his lifestyle and his struggle to survive, he was one of the people, and thus, he was able to become the voice of the people. Ferdi Tayfur was the reflection of the social change process of the 1960s and 1970s in music. He gave voice to the turmoil caused by the migration from rural to urban areas. His songs might have offered a bit of hope amidst the hopelessness of being displaced but not finding a place. Perhaps, with his soulful voice, he became a companion, an empathetic ally to the new urban migrants who had yet to be accepted in the city.”
Arabesque was the voice of being in between...
Prof. Nazife Güngör explained that Türkiye in the 1970s had been caught unprepared for the migration from rural areas to cities, which caused unemployment, poverty, and dislocation, leading to great chaos in society, and Güngör continued her remarks as follows: “In Istanbul and other major cities, the surrounding areas were surrounded by shantytowns. People were trying to hold on to life in the makeshift houses they built with their own means, lacking infrastructure, electricity, water, and transportation options. They had been cut off from the village but could not become city dwellers either. Arabesque music became the voice of this being caught in between, with the sorrowful lyrics of its songs. The issue was not the music itself, but the words that came out in music, which sometimes songs offering hope, and sometimes weaving despair. ‘Huzurum kalmadı, batan güneş, yuvasız kuşlar, yaktı beni, bırak şu gurbeti, yüreğimde yara var…‘“
Ferdi Tayfur became the voice of the people...
Prof. Nazife Güngör emphasized the importance of the artist's lifestyle and stated that Ferdi Tayfur became one with his fanbase exactly at this point. Güngör made the following remarks:
“The people living in the shantytowns loved Ferdi. They saw him as one of them. He reflected his own struggle for life in his songs. It was not difficult for Ferdi to empathize with his audience, to understand them, and to reach them. He, too, had come to Istanbul from the village, from poverty, and tried to hold on to life, to establish himself, to adapt. It was difficult, very difficult. However, through effort and by nurturing hope, he managed to succeed. His personal struggles, his pain, and his twists from hopelessness to hope came through in his songs. That is why Ferdi Tayfur became the voice of the people. His records were flying off the shelves, and hundreds of thousands attended his concerts. To some, he became Ferdi Abi (Big Brother), to others, Ferdi Baba (Father). He was declared the king of Arabesque.”
What was the reason behind arabesque music gaining such attention?
Prof. Nazife Güngör also pointed out that discussions had started regarding this new music form. She said, “Those who trained at the best music schools, those who made the finest music, did not attract as much attention from the masses. So, what was the reason behind the immense popularity of this new style? Musicians, music researchers, sociologists, and social psychologists took action to learn the truth. Many studies were conducted and written about it. What was it that affected the masses so profoundly? Many musicians had come and gone in this world and this society. Folk songs, folk sayings, classical music, art music, etc. But for the first time, a music form gained attention at a mass level. Ferdi Baba, Orhan Baba, Müslüm Baba... The people loved these artists. Discussing the artistic value of the music they made is not so important, I think. That part has already passed. They somehow captured the masses and bound them to themselves. It wouldn’t be correct to consider this a meaningless event. It means they were able to enter the emotional world of the masses. But to enter the emotional world and integrate with the masses, it is crucial to share the same life experiences. Perhaps the main reason why Ferdi Tayfur, Orhan Gencebay, and Müslüm Gürses were embraced by the masses is this.”
The masses do not want change...
Prof. Nazife Güngör also emphasized that the people never abandoned Ferdi Tayfur and stated that “Because he always managed to stay with them. He never changed his lifestyle or music form, nor did he try to. Therefore, he never lost the affection of the masses. The masses do not want change. It is hard for them to adapt. That is why they run toward what resembles them. I think this is one of the main reasons why Arabesque artists have received so much attention.”
Arabesque is not just a music genre...
Prof. Nazife Güngör emphasized that Arabesque was more of a mass phenomenon than a music genre and expressed that “It is a mass culture or, as we call it today, a popular cultural genre. The intricacies of music, the notes, instruments, and the way it is sung are not as important. What matters is who the artist is, where they come from, how they live, and what they say. This is what makes Ferdi Tayfur, Ferdi Tayfur. Another point is that the mass phenomenon can also be political and ideological. One important reason for the popularity of Arabesque music and its artists is this. Artists or cultural phenomena that attract the interest of the masses and are embraced by them are often turned into tools of popular politics and can carry ideological value. We see that since the early 1980s, the Arabesque phenomenon has become an instrument of popular politics in Türkiye. That is why Arabesque musicians have often been politically positioned.”
Arabesque found its own style in Türkiye...
Prof. Nazife Güngör said that many of the artists who gained popularity at a mass level were politically positioned and ideologically interpreted, and Güngör continued her remarks as follows: “However, over time, we see that Arabesque music, at least in Türkiye, found its own style and established its place in music as a unique musical form. This required a difficult struggle. The toughest battle for Arabesque musicians was in this regard. Bans, restrictions, but in the end, it was accepted that a music with its own audience had the right to exist. Ferdi Tayfur was one of the pioneers of this struggle, contributing greatly to the development and establishment of Arabesque, which became Türkiye's popular music. He became the voice of the people, won their affection, and earned the admiration of the masses. His efforts were not in vain; the love and loyalty of the masses continued. Indeed, he was sent off on his final journey with tears, songs, and applause.”
Üsküdar News Agency (ÜNA)