Evaluating the subject of arabesque after the passing of Ferdi Tayfur, one of the most significant names in arabesque music, Prof. Dr. Nazife Güngör, author of the book ‘Arabesque’, stated that it was the first time a music form garnered mass appeal in its era, and that the public loved Ferdi Baba, Orhan Baba, and Müslim Baba.
Prof. Dr. Nazife Güngör also explained that the public embraced Ferdi Tayfur and never gave up on him, saying, “Because he always managed to stay with them. He never changed his lifestyle or his musical form, nor did he try to change them. Therefore, he never lost the affection of the masses.” Güngör noted that arabesque is not so much a music genre but a mass phenomenon, adding, “It is a mass culture or, as it is called today, a popular cultural genre. In it, the intricacies of musical art, notes, instruments, and vocal style are not very important; what matters is who the artist is, what life conditions they came from, how they live, and what they say.”
Üsküdar Üniversitesi Rector, Communication Scientist Prof. Dr. Nazife Güngör, evaluated the topic of arabesque after the passing of Ferdi Tayfur, one of the most important names in arabesque music.
The public embraces more if they identify with it
Prof. Dr. Güngör, who also authored a book titled ‘Arabesque’ in 1993, stated that Ferdi Tayfur, one of the most important names in arabesque music, left his mark on the arabesque of the 1970s. Güngör said, “He was an artist who captivated the hearts of the people with his melancholic lyrics and sorrowful melodies. The only reason for winning the public's love was not just his songs, of course. The public embraces more if they identify with someone. The public identified Ferdi Tayfur as one of their own. With his lifestyle and life struggles, he was one of the people, and thus he could be the voice of the people. Ferdi Tayfur was the musical reflection of the social transformation process of the 1960s and 70s. He gave voice to the crisis caused by rural-to-urban migration. Perhaps his songs offered a glimmer of hope to the despair of being displaced but unable to establish roots. Perhaps with his soulful voice, he became a companion and an empath to the journey of the new city dweller on the fringes, not yet accepted in the city.”
Arabesque was the voice of being caught in between…
Noting that Turkey in the 1970s was unprepared for rural-to-urban migration, and thus unemployment, poverty, and homelessness caused great chaos in society, Prof. Dr. Nazife Güngör continued:
“Shantytowns surrounded large cities, especially Istanbul. People were trying to hold on to life and adapt to their new lives in makeshift homes they built with their own means, lacking infrastructure, electricity, water, and transportation. They had broken away from the countryside, but they hadn't become urban dwellers either. It was the sorrowful lyrics of arabesque songs that became the voice of this state of being caught in between. The issue was not the music itself, but the words expressed in the music, lyrics that sometimes offered hope, and sometimes wove despair. ‘My peace is gone,’ ‘The setting sun,’ ‘Homeless birds,’ ‘It burned me,’ ‘Leave this foreign land,’ ‘There's a wound in my heart…’”
Ferdi Tayfur became the voice of the people…
Emphasizing the importance of the artist's lifestyle and how Ferdi Tayfur integrated with his fan base precisely at this point, Prof. Dr. Nazife Güngör said:
“The shantytown dwellers loved Ferdi. They saw him as one of their own because he reflected his own life struggles in his songs. It was never difficult for Ferdi to empathize with his audience, understand them, and reach out to them. He, too, had come to Istanbul from the countryside, from poverty, trying to hold on to life, to make himself accepted, to adapt. It was hard, very hard. But it would happen with effort, by nurturing hope. It had to. His own life struggles, pains, and twists from despair to hope were expressed in his songs. Thus, Ferdi Tayfur became the voice of the people. His records sold out rapidly, hundreds of thousands attended his concerts. For some, he was Ferdi Abi (elder brother), for others, Ferdi Baba (father). He was even declared the king of arabesque.”
What was the reason for arabesque receiving such interest?
Recalling that discussions about this new music form also began, Prof. Dr. Nazife Güngör said, “While those trained in the best music schools and producing the highest quality music did not receive such interest from the masses, what was the reason for this new style garnering such appeal? Musicians, music researchers, sociologists, and social psychologists had set out to uncover the truth. Many studies were conducted, much was written. What was it that affected the masses so much? Many musicians had come and gone from this world and this society. Folk songs, folk sayings, classical music, art music, etc. But for the first time, a music form received mass interest. Ferdi Baba, Orhan Baba, Müslim Baba, etc. The public loved these artists. Discussing the artistic value of their music is not very important in my opinion. We have long passed that point. They somehow captured the masses and bound them to themselves. It would not be right to consider this an empty or meaningless event. This 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 very important to have the same life experiences. This is perhaps the most fundamental reason why Ferdi Tayfur, Orhan Gencebay, and Müslüm Gürses were embraced by the masses.”
The masses do not want change…
Prof. Dr. Nazife Güngör also explained that the public embraced Ferdi Tayfur and never gave up on him, saying, “Because he always managed to stay with them. He never changed his lifestyle or his musical form, nor did he try to change them. Therefore, he never lost the affection of the masses. The masses do not want change. It is difficult for them to adapt. That’s why they flock to those who resemble them. This, I believe, is one of the most fundamental reasons why arabesque artists received so much interest.”
Arabesque is not a music genre…
Noting that arabesque is not so much a music genre but a mass phenomenon, Prof. Dr. Nazife Güngör said, “It is a mass culture or, as it is called today, a popular cultural genre. In it, the intricacies of musical art, notes, instruments, and vocal style are not very important; what matters is who the artist is, what life conditions they came from, how they live, and what they say. This is exactly what made Ferdi Tayfur who he is. One other point is that what is mass can also be political and ideological. This is an important reason why arabesque music and its artists gained mass appeal. Artists or art events that attract public interest and are embraced by the masses can often be turned into an instrument of popular politics and imbued with ideological value. In Turkey, especially since the early 1980s, we see that the arabesque phenomenon has become a tool of popular politics. For this reason, arabesque music artists have often been politically positioned.”
Arabesque found its own style in Turkey…
Prof. Dr. Nazife Güngör also stated that it could be said that most artists who gain mass popularity are somehow politically positioned and ideologically interpreted. She concluded her words by saying, “However, over time, we see that arabesque music, at least in Turkey, found its own style and took its place within musical art as a unique musical form. This required a challenging struggle process. Perhaps the most arduous struggles of arabesque music artists were in this direction. Prohibitions, restrictions, but ultimately it was accepted that a music with its own audience had the right to exist. Ferdi Tayfur, as one of the pioneering names in this struggle, put great effort into the development and establishment of arabesque, which is Turkey's popular music. He became the voice of the people. He won the love of the people, gathered the appreciation 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.”