Abstract
This article explores the intersection of music and political ideology in 20th-century Turkey, focusing on three seminal artists: Barış Manço, Erkin Koray, and Cem Karaca. By analyzing their musical styles, lyrical content, and public personas, it argues that their works reflect distinct strands of Turkish nationalism (ülkücülük and ulusalcılık) and leftist thought. Their music became a sonic battleground for Turkey’s cultural and political struggles, reflecting tensions between tradition and modernity, nationalism and internationalism.
The study situates their contributions within Turkey’s socio-political landscape, demonstrating how music served as a medium for ideological expression during periods of upheaval.
1. Introduction
Music in Turkey has long transcended entertainment, acting as a mirror to societal transformations and political struggles. The 20th century, marked by coups, Cold War tensions, and identity crises, saw musicians engage with ideologies ranging from nationalism to socialism. This article examines how Barış Manço, Erkin Koray, and Cem Karaca became emblematic of ülkücülük (right-wing nationalism), ulusalcılık (secular nationalism / Kemalism), and leftism, respectively. Through lyrical analysis and historical contextualization, it illuminates the symbiotic relationship between music and politics in shaping Turkish collective consciousness.
In Turkey’s turbulent 20th century, music served as both a reflection of and a catalyst for political ideologies. This study decodes their lyrics to reveal how they engaged with competing visions of Turkish nationalism and leftist thought, shaping public consciousness during eras of authoritarianism and social upheaval.
2. Historical Context: Turkish Nationalism and Political Movements
2.1 Ülkücülük: Idealism or The Nationalist Movement
Ülkücülük, rooted in the ideologies of Alparslan Türkeş and the Nationalist Movement Party (MHP), emphasized Turkic heritage, anti-communism, and Islamic values[1]. It gained traction in the 1970s amid violence between leftist and right-wing groups. It combined Turkic ethnic pride, Sunni Islamic identity, and anti-communism under Alparslan Türkeş’s leadership. It positioned Anatolia as the cradle of Turkish civilization.
Emerging in the 1970s, ülkücülük (Idealist Movement) combined Turkic ethnic pride, Sunni Islamic identity, and anti-communism under Alparslan Türkeş’s leadership. It positioned Anatolia as the cradle of Turkish civilization.
2.2 Ulusalcılık: Secular or Kemalist Nationalism
Ulusalcılık prioritized secularism, modernization, and loyalty to Kemalist principles[2], often critiquing both Islamism and Western imperialism. It found resonance among urban elites and military circles[3].
Ulusalcılık, also rooted in Atatürk’s reforms, emphasized secularism, Westernization, and centralized governance. It rejected both Islamism and leftist internationalism, advocating for a homogenous Turkish identity.
2.3 Leftist Movements
The Turkish left, influenced by Marxism and labor movements, advocated for social equality and anti-imperialism. Persecuted after the 1980 coup, its legacy endured through cultural figures. The movement influenced by Marxist-Leninist thought, mobilized workers and students against capitalist exploitation and U.S. imperialism. After the 1971 and 1980 coups, leftist voices were systematically suppressed[4].
3. Music as a Political Tool in Turkey
The Anadolu Rock movement (Anatolian Rock) emerged in the 1960s–70s, blending traditional Turkish folk with Western rock[5]. Artists used this hybridity to negotiate Turkey’s cultural duality—Eastern heritage versus Western modernity—while embedding political messages. The movement blended electric instruments with traditional Turkish folk scales (makams) and poetic forms. Artists used this fusion to negotiate Turkey’s cultural duality, embedding political critiques or nationalist narratives within their lyrics.
4. Barış Manço: Cultural Nationalism and Anatolian Romanticism
4.1 Musical Style and Themes
Barış Manço (1943–1999) fused psychedelic rock with Anatolian melodies, using saz rhythms and folkloric narratives. Songs like "Dağlar Dağlar" (1971) evoked mystical landscapes, symbolizing a romanticized Anatolia. Barış Manço’s (1943–1999) lyrics celebrated Anatolian folklore while embracing global cosmopolitanism. His 1975 song "İşte Hendek İşte Deve" (Here’s the Ditch, Here’s the Camel) uses absurdist humor to critique societal hypocrisy:
"İşte hendek işte deve / Hadi inmesin mi eve? / Yorgan gitti kavga bitti / Şimdi sıra sende bebe"
(Here’s the ditch, here’s the camel / Shouldn’t it come down to the house? / The quilt’s gone, the fight’s over / Now it’s your turn, baby)
The “ditch” and “camel” symbolize societal contradictions—tradition vs. modernity, rural vs. urban—while mocking elites who exploit Anatolian culture for superficial authenticity.
4.2 Connection to Ülkücülük
Though Manço avoided overt partisanship, his emphasis on Turkish cultural unity resonated with ülkücülük’s ethos. Tracks like "Sarı Çizmeli Mehmet Ağa" celebrated rural traditions, aligning with nationalist narratives of authenticity. Critics argue his apolitical stance allowed diverse groups to claim him, yet his TV show 7’den 77’ye promoted family values and patriotism, subtly reinforcing conservative ideals[6].
"Sarı çizmeli Mehmet Ağa / Yıllar sonra döner mi dağlar ardından?"
(Mehmet Ağa in yellow boots / Will he return from beyond the mountains after years?)
The song’s refrain evokes a longing for a pre-industrial utopia governed by communal values, resonating with ülkücülük’s idealization of a unified Turkish-Islamic identity. Manço’s use of the saz (Turkish lute) and folk rhythms reinforces this nostalgic nationalism.
He also gave place in his albums nationalist songs like “Genç Osman[7]”. During his programme on TRT, he made lots of annotions from heroic characters from Turkish History.
His 1981 song "Dönence" (Tropic) blends Turkish folk motifs with environmentalist themes, reflecting his pan-humanist philosophy:
"Gel git, gel git / Dönence’ye bir hal olmuş"
(Come go, come go / The Tropic has gone mad)
This universality allowed him to transcend political divides, earning admiration across ideologies.
The ülkücü groups call him as “Yeleli Bozkurt[8]” that means “Gray Wolf with Hair”. It is referring his long haiir and his ideological position. He has many pictures with Ebulfeyz Elçibey[9][10] who is Azerbaijan’s first prime minister after Soviet collapse. He is also a known famous Pan Turkist.
5. Erkin Koray and Ulusalcılık
5.1 Fusion of Traditional and Modern
Erkin Koray (b. 1941), the “Father of Turkish Rock,” merged electric guitar with Ottoman scales. "Cemalim" (1972) reinterpreted a folk song with psychedelic riffs, embodying Kemalist synthesis[11].
5.1.1 Modernizing Tradition in "Fesuphanallah"
Erkin Koray (b. 1941) merged Ottoman mysticism with psychedelic rock. His 1973 song "Fesuphanallah" combines Quranic exclamations ("Fesubhanallah") with electric guitar riffs, symbolizing Kemalism’s fusion of secularism and Turkish-Islamic heritage[12]:
"Fesuphanallah, canım efendim / Bu ne hâl böyle, bu ne heyecan?"
(Glory to God, my dear sir / What is this state, this excitement?)
The lyrics evoke Sufi transcendence while celebrating modernity’s liberating energy.
5.1.2 Secularism in "Krallar"
In "Krallar" (1977), Koray critiques authoritarianism through allegory, aligning with ulusalcılık’s distrust of both religious and Marxist dogmas:
"Krallar yapar kuralı / Çiğnerler çiğnenirler"
(Kings make the rules / They trample, they are trampled)
The song’s abstract style reflects Kemalism’s elitist skepticism of populist movements.
5.1.3 Instrumental Nationalism
Koray’s 1976 instrumental "Estarabim" reworks an Ottoman folk tune into a rock anthem, embodying Atatürk’s "muasır medeniyet" (contemporary civilization) ideal. The absence of lyrics allowed listeners to project their own nationalist or modernist interpretations.
5.2 Kemalist Ideals in His Music
Koray’s lyrics often avoided direct politics, but his persona—Westernized yet rooted—epitomized ulusalcılık. In interviews, he endorsed secularism and progress, mirroring Atatürk’s reforms. Instrumental pieces like "Estarabim" (1976) showcased this duality, appealing to urban youth navigating modernity.
6. Cem Karaca and Leftist Ideology
6.1 Protest Songs and Activism
Cem Karaca (1945–2004) openly supported socialist causes. Songs like "Tamirci Çırağı" (1975) critiqued class inequality and highlighted workers’ struggles. His band, Moğollar, collaborated with leftist poet Nazım Hikmet, further politicizing his art.
6.1.1 Class Struggle in "Parka"
Cem Karaca (1945–2004) openly aligned with socialist movements. His 1977 song "Parka" critiques militarism and poverty, referencing the iconic parka jackets worn by leftist students[13]:
"Parkamı satamıyorum / Soğuklar geldi, çok üşüyorum / Parkamın altında kaldı / Sosyalist düşüncelerim"
(I can’t sell my parka / The cold has come, I’m freezing / Beneath my parka remain / My socialist ideals)
The “parka” symbolizes resistance against state repression, with Karaca’s gravelly voice embodying the defiance of Turkey’s marginalized youth.
6.1.2 Anti-Imperialism in "Tamirci Çırağı"
"Tamirci Çırağı" (1975) uses the metaphor of a mechanic’s apprentice to critique Western exploitation:
"Motoru yaptım, gaz verdim / Tepsi gibi oldu yollar / Ama patron dedi ki: / ‘Oğlum, bu motor çalışmaz!’"
(I fixed the engine, hit the gas / The roads became smooth as a tray / But the boss said: / “Son, this engine won’t work!”)
The “engine” represents Turkey’s subservient modernization under Western capitalism, while the “boss” embodies foreign imperialists and local oligarchs.
6.1.3. Historical Materialism in "Namus Belası"
In "Namus Belası" (1978), Karaca critiques feudal labor relations through a folk narrative:
"Tarlada zeytin dalı / Namus belası / Ağa beni vurursan / Gider mi yası?"
(An olive branch in the field / A matter of honor / If you shoot me, Agha / Will your grief fade?)
The song reframes traditional türkü (folk song) structures to highlight class struggle, merging Marxist critique with Anatolian oral traditions.
6.2 Exile and Legacy
After the 1980 coup, Karaca was exiled[14] for “dividing the nation,” reflecting state suppression of dissent[15]. His songs were forbidden to play[16]. His post-return albums, like "Merhaba Gençler" (1987), maintained his critique of authoritarianism, cementing his status as a leftist icon.
"Yine doğar elbet Türkiye’mizde / Hürriyetin güneşi"
(The sun of freedom will rise again in our Turkey)
The lyrics reaffirmed his commitment to socialist ideals despite state persecution.
Before his death, he positioned himself close to Fethullan Gülen who is a leader of a terrorist organization right now. In the days Cem Karaca positioned himself as a follower of him, Gülen was an important cult leader who has closely following Turkish Politics[17].
7. Conclusion
Barış Manço, Erkin Koray, and Cem Karaca exemplify how music articulated Turkey’s ideological fissures. While Manço’s cultural nationalism bridged conservative and mainstream audiences, Koray’s ulusalcılık mirrored Kemalist modernity, and Karaca’s socialism gave voice to marginalized communities. Their legacies underscore art’s power to both reflect and shape national identity, offering a sonic map of Turkey’s turbulent 20th century.
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[2] Zürcher, E. J. (2004). Turkey: A Modern History. Londra: I.B. Tauris.
[3] Cizre, Ü. (2008). Secular and Islamic Politics in Turkey: The Making of the Justice and Development Party. London: Routledge.
[4] Ahmad, F. (1993). The Making of Modern Turkey. Londra: Routledge.
[5] Stokes, M. (1992). The Arabesk Debate: Music and Musicians in Modern Turkey. Oxford: Clarendon Press.
[6] Manço, B. (1995). 7’den 77’ye Anılar. İstanbul: İnkılap Kitabevi
[7] Öztuna, Y. (1974). Büyük Türk Tarihi. Ankara: Kültür Bakanlığı Yayınları.
[9] https://www.instagram.com/maziyeyolculukk/p/Cp2c33wNbKs/
[10] https://www.facebook.com/photo.php?fbid=10151213747766958&id=118924751957&set=a.155110916957
[11] O'Connell, J. M. (2013). Alaturka: Style in Turkish Music. Farnham: Ashgate.
[12] Koray, E. (1973). Fesuphanallah. [Albüm]. İstanbul: Türküola
[13] Ahmad, F. (1993). The Making of Modern Turkey. London: Routledge.
[14] Çelik, A. (2015). Politics of Cultural Control: Music Censorship in Post-1980 Turkey. Middle Eastern Studies, 51(4), 589–605.
[15] Belge, M. (2011). Türkiye’de Sağ-Sol Çatışması: 1960–1980. İstanbul: İletişim Yayınları.
[16] https://halkweb.com.tr/12-eylul-darbesinin-ardindan-yasaklanan-sarkilar-hangileri/
[17] https://www.evrensel.net/haber/493590/cem-karacanin-bizim-olmayan-hali-ozal-demirel-gulen-bahceli-oven-rock-star
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