Seeking to offer an ethnographic snapshot that ascertains the effects of the transformative power of warfare, violence, and contentious politics on Kurdish culture, music, and musicians in Turkey, this thesis explains the authoritative role that music and music-centered practices have played in the process of Kurdish cultural and political movement in Turkey. It attempts to discuss, therefore, the functionality of proclaimed themes of these events in Kurdish culture and political movement. In addition to the investigation of a number of music-centered political events in relation to their musical-related contents, chapters of this thesis have also focused on raison d’être of these events.
With this claim, resistance politics in Kurdish music overflow within the broad scope of nationalism. Music, which could somehow be produced, distributed, and listened to, has featured many intertwined and multifaceted characters together such as entertaining, instructive, and source of sophisticated culture and taste. Discursively speaking, because of the lack of institutionalization, in addition, there has not been a well-defined distinction between refined and popular culture in Kurdish society. A number of cultural, ideological, and artistic sources, on the face of it, have had a lot to carry presumably because of Kurds’ lack of a nation-state institutionalization. However, this thesis contends that this term could hardly clarify the prevalent position of politicized music in Kurdish culture and society in Turkey. Many researchers imply the musical transformation of Kurdish resistance and nationalism when they employ the word “politicization” for the change of the characteristics of Kurdish music especially after the mid-1970s. Music, as the current study attempts to discover a small part of it, is one of the main channels through which Kurdish resistance and nationalism in Turkey have been nurtured for nearly four decades. The issue of how the relationship between music and resistance-based nationalist politics come into being has been systematically covered by ethnomusicologists lately. Despite their counter-hegemonic position, koms have articulated elements of the hegemonic discourses as well. In addition, with the political lyrics of the songs, the national elements such as common language, common history and the imagined territory are constructed, popularized, and canonized. Through modernization of Kurdish folk music, the identity is constructed as a modern and authentic one. As the Kurdish movement did not possess the institutional and ideological apparatuses of the national state in its national identity construction process, music started to play an important role. In addition to this, music has functioned as a field where the collective identity of the movement as well as the Kurdish identity is constructed. Through koms' politicizedmusic, the movement communicated its cause, told the struggle of the movement and aimed to mobilize the masses. The relation between politics and music is analyzed in the framework of the relation between nationalism and music and political movements' relation to music.
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